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Where Do You Go? Searching for Context in the Music Curriculum

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Where Do You Go? Searching for Context in the Music Curriculum Title: Where Did You Come From? Where Do You Go? Searching for Context in the Music Curriculum Author(s): Kari K. Veblen, Claire W. McCoy, and Janet R. Barrett Source: Veblen, K. K., McCoy, C. W., & Barrett, J. R. (1995, Fall). Where did you come from? Where do you go? Searching for context in the music curriculum. The Quarterly, 6(3), pp. 46-56. (Reprinted with permission in Visions of Research in Music Education, 16(6), Autumn, 2010). Retrieved from http://www-usr.rider.edu/~vrme/ Visions of Research in Music Education is a fully refereed critical journal appearing exclusively on the Internet. Its publication is offered as a public service to the profession by the New Jersey Music Educators Association, the state affiliate of MENC: The National Association for Music Education. The publication of VRME is made possible through the facilities of Westminster Choir College of Rider University Princeton, New Jersey. Frank Abrahams is the senior editor. Jason D. Vodicka is editor of the Quarterly historical reprint series. Chad Keilman is the production coordinator. The Quarterly Journal of Music Teaching and Learning is reprinted with permission of Richard Colwell, who was senior consulting editor of the original series. Where Did You Cc-rrre Frotn.?Where Do You Go? Searching For Context In The Music Curriculu:lll By Kari K. Veblen, Claire W. McCoy and Janet R. Barrett ven in our increasingly mobile and and characteristic motives. Perceived simi- electronically networked society, geo- larities and differences influence how deeply E graphical origins and birthplaces con- we respond to a new piece, how likely we tinue to fascinate us. When we meet a new are to seek it out for another hearing, or how colleague or prospective friend, the conver- knowledgeably we perform it. An indi- sation inevitably turns at some point to the vidual's pool of musical encounters (his or question of home town, and the series of her personal repertoire) provides an impor- moves or circumstances that brought this tant grounding in musical context. But to person to this particular moment of the here what extent do music educators deliberately and now. During the quick autobiographical acknowledge the social and historical con- review, the participants in the conversation texts of musical works in classrooms in the often discover shared experiences, affilia- same manner that we seek information about tions, or mutual acquaintances. The process a new personal acquaintance? How is this of recognizing some connection between in- search for context central to curriculum in dividuals is gratifying, and, at the same time, music and the education of music teachers? piques our interest because of all of the pos- In practice, it often seems that the origins sible variants of personal and professional and social meanings of musical works are lives. The conversational search, far from incidental and secondary to the structural idle chatter, functions as a powerful social elements of music that receive primary em- act to establish who we are and how we are phasis. The purpose of this article is to ad- related in some fashion to the other. dress the contextual dimensions of music So it is with music. New songs or works through an introductory illustration of a are not new for long as we relate what we search for the origins and transformations of hear to all that we have heard before, search- a Southern fiddling tune, a discussion of the ing for stylistic categories, recognizable texts, implications of music's historical and social Kari K. Veblen is a music education consultant Claire W. McCoy is an Associate Professor of based in Madison, Wisconsin. Current inuesti- Music Education at the University of Minne- gations span multicultural music education, sota. Her scholarly interests include move- sociology of music, traditional transmission, rnent and music, assessment and evaluation, and Celtic / Scandinavian ways. and curriculum. Janet R. Barrett is an Associate Professor of Music Education at tbe University of Wiscon- sin- Wbitewater. Her research interests include children's musical tbinleing, music teacber education, and curriculum development. 46 The Quarterly Journal of Music Teaching and Learning contexts for curriculum development and Don't you remember, don't you know teacher education, and an invitation to teach- Daddy worked a man called Cotton-Eyed Joe, ers to examine the transformation of texts Daddy worked a man called Cotton-Eyed Joe. through the common vehicle of parody songs. Had not 'a' been for Cotton-Eyed Joe, How the Search for Musical Con- I'd 'a' been married a long time ago, text Begins I'd 'a' been married a long time ago. Not long ago, one of us oanet) was transporting her But to what Down in the cotton patch teenaged percussionist to a extent do music down below rehearsal when he began to Everybody's singing the Cot- sing the Southern fiddling educators ton-Eyed Joe, tune, "Cotton-Eyed Joe": Everybody's singing the Cot- deliberately ton-Eyed Joe. Where did you come from? acknow-ledge the Where do you gal I know a gal lives down below Where did you come social and Used to see her but I don't no from? Cotton-Eyed Joe? historical contexts mo', Where did you come Used to see her but I don't no from? Cotton-Eyed Joe? of musical w-orks mo'. If it hadn't been for Cot- in classrooms in Tune my fiddle and rosin my ton-Eyed Joe, the same manner bow I'd-a been married long Gonna make music where time ago, that w-e seek ever I go I'd-a been married long Playa little tune called Cot- time ago. information about ton-Eyed Joe. a new- personal Surprised at the sudden switch Norm Cohen notes that in repertoire from the usual acquaintance? "this ante-bellum song has Weezer or Green Day alter- been found in both White native band lyrics,janet asked and Negro tradition and Alex how he knew this song. He quickly probably originated in the replied that it was included on a new CD, Sex minstrel theatre" (1975). Other text variants, and Violins, by a Swedish technopop group such as the following collected by John and called the Rednex, and offered to play it for Alan Lomax during the 1930's, evoke a her. Surely enough, the tune was similar to starker image of the times. the Doc Watson version Janet knew, but was all dressed up in the guise of sampled fiddle, If it had not 'a' been for Cotton-Eyed Joe, I'd 'a' been married forty years ago. banjo, and vocal layers over a decidedly in- sistent percussion track. The curious trans- Cornstalk fiddle and cornstalk bow plantation of this song to a new time, place, Gwine to beat hell out-a Cotton-Eyed Joe. and technology resulted in an investigation of the musical ontogeny of Cotton-Eyed [oe, a Gwine to go shootin' my forty-fa' study that netted both history and social Won't be a nigger in a mile or mo'. commentary, carried along by the discovery of an intriguing variety of texts. Hain't seen 01' Joe since way last fall, Cotton-Eyed Joe Say he's been sold down to Guines Hall. The familiar Doc Watson version of "Cotton- Great long line and little short pole, Eyed joe" is one of many variants of a popular I'm on my way to the crawfish hole. American fiddle tune still played for square dances. This tune sets the stage for a Depres- Oh. it makes dem ladies love me so sion-era dance in the soundtrack for the W'en I come round a-ptckin' Cotton-Eyed Joe. movie, Places in the Heart (Watson, 1984). Volume VI, Number 3 47 Hal' my fiddle an' hol' my bow, What's to be done with a prodigal son' Whilst I knock 01' Cotton-Eyed Joe. Welcome him home with open arms Throw a big party, invite your friends Oh, law, ladies, pity my case, Our boy's come back home For Ise got a jawbone in my face. When a girl goes home with the oats he's sown o Lawd, 0 Lawd, come pity my case, It's draw your shades and your shutters Fore I'm gettin' old an' wrinkled in de face. She's bringing such shame to the family name (Lomax, 1934, pp. 262-263). The return of the prodigal daughter, singing, oh Cotton-Eyed Joe. Clearly the Lomax version would not ap- peal to modern sensibilities because of its Went to see the Doctor and I almost died When I told my mama Lordy how she cried racism. The Lomaxes write that Cotton-Eyed Me and my daddy were never too close Joe was a person whose eyes were milky But he was there when I needed him most white from trachoma (Cohen, 1975), a conta- gious disease of the conjunctiva and cornea, Look here comes a prodigal son which is a major cause of blindness in Asia Fetch him a tall drink of water and Africa (Soukhanov, 1992, p. 1896). But there's none in the CLIp'cause he drank it Marion Thede (967) suggests an alternative all up interpretation: cotton-eyed is "a term de- Left for a prodigal daughter, scriptive of a person with very light blue singing, oh Cotton-Eyed Joe eyes, a type often called 'white eye' " (p. 26). Had not've been for the Cotton-Eyed Joe Thede's collected text shown below is cred- I'd have been married a long time ago ited to "Negroes on the Mississippi River." Out in the cornfield I stubbed my toe Cornstalk fiddle and shoe-string bow I called for the doctor, Cotton-Eyed Joe Come down gals on Cotton-Eyed Joe.
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