The Fisk Jubilee Singers

An Educational Program in Support of HONOR! A Celebration of the African American Cultural Legacy Curated by Jessye Norman

CARNEGIE HALL presents Perelman American Roots A Program of The Weill Music Institute at Carnegie Hall African American

UnitingSong Voices

Teacher Guide

The Weill Music Institute at Carnegie Hall

The Weill Music Institute at Carnegie Hall CARNEGIE HALL presents Perelman American Roots

An Educational Program in Support of HONOR! A Celebration of the African American Cultural Legacy Curated by Jessye Norman

African American Song Uniting Voices

A Program of The Weill Music Institute at Carnegie Hall

Teacher Guide

The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

TABLE OF CONTENTS

FOREWORD 4

Using Your Teacher guide 5

Perelman American Roots CD Track Listing and DVD 6

PROGRAM TIMELINE 7

Acknowledgments PRE-CURRICULUM SURVEY 8 Writer and Editor: David Wallace, DMA Lesson 1: discovering Unity through Music 9 Consulting Editor: Portia Maultsby Lesson 2: United by the Rhythms of Work 13

Lesson 3: what is a Spiritual? 16

This program is made possible, in part, by the Ronald O. Perelman Music Endowment Fund. Lesson 4: Religion and the African American Experience 21

Major funding for Honor! A Celebration of the African American Cultural Legacy has been Lesson 5: United by Dreams 29 provided by The Andrew W. Mellon Foundation, The Horace W. Goldsmith Foundation, The Alice Tully Foundation, The Rockefeller Foundation’s New York City Cultural Innovation Fund, Howard University, and the A. L. and Jennie L. Luria Foundation. Lesson 6: Uniting Our Voices 38

The opening performance of Honor! is sponsored by Bank of America. Lesson 7: United in Faith: Gospel Song 40

Honor! is made possible, in part, by public funds from the National Endowment for the Arts. Lesson 8: United We Move: Telling Stories with African American Song and Dance 43

Lesson 9: cultural Ambassadors 46 The Weill Music Institute at Carnegie Hall 881 Seventh Avenue Lesson 10: Meet the Fisk Jubilee Singers 53 New York, NY 10019 Tel: 212-903-9670 Lesson 11: The Final Project 57 Fax: 212-903-0925 weillmusicinstitute.org CONCERT: Fisk Jubilee Singers in Zankel Hall 59 Lesson 12: African American Song 60

© 2009 The Carnegie Hall Corporation. All rights reserved. POST-CURRICULUM SURVEY 61 Photo Credits Cover: Martin Luther King Jr. Leading a March © Bettmann/CORBIS, license granted by Intellectual Properties Management, Atlanta, Georgia, as Meet the artists: Fisk Jubilee Singers 62 exclusive licensor of the King Estate; Gospel Singers Raising Arms and Singing © Nubar Alexanian / CORBIS; Marian Anderson Singing at the Lincoln Memorial © Bettmann/CORBIS. Page 10: Eileen Bortey. Page 29: Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library, Astor, Lenox, and Tilden Foundations. Page 30: Photographs and Prints Division, Schomburg Center for Research in Black Culture, The New York Public Library, Astor, Lenox, and Tilden Foundations; license granted by Intellectual Properties Management, Atlanta, Georgia, BibliogRAPHY 63 as exclusive licensor of the King Estate. Page 39: George Morris. Pages 48 and 51: Courtesy of the Carnegie Hall Archives. Page 50: Carol Friedman. Pages 53 and 54: Fisk University, Franklin Library’s Special Collections. Page 62: Bill Steber. Perelman American Roots CD and DVD Credits 66

The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

FOREWORD Using your Teacher Guide

Thank you for joining us in our exploration of African American song. This year’s The teacher guide for African American Song: Uniting Voices includes questions for Perelman American Roots program was designed in conjunction with Honor! A class discussion. These are indicated throughout the teacher guide in light yellow shading. Celebration of the African American Cultural Legacy, curated by Jessye Norman—a Please note that these questions do not appear in the student guide. Carnegie Hall festival in March 2009. The curriculum provides you and your students with activities and information that will enrich your musical encounters with the Fisk Information sheets, worksheets, and choral arrangements appear in both the teacher and Jubilee Singers at Carnegie Hall. student versions of Uniting Voices. These materials have been indicated with a red square, providing the instructor with the corresponding page number in the student guide (SG). The concert touches upon African American song in many different guises: music from In this year’s curriculum, we have identified two types of supplements to selected Africa, work songs, Spirituals, and gospel. These songs have provided a historical means lessons, as detailed below. by which dreams can be realized, prayers can be answered, burdens can be cast off, people can be united, and freedom can become a reality. Throughout this yearlong MUSICAL EXTENSIONS program, there is a guiding question that will define our work: These activity ideas are designed for music teachers who are implementing the full curriculum in their own music classrooms or who are helping to bring more music How does African American song unite people? specialty approaches into an arts-integrated learning environment. These ideas emphasize skills-based learning approaches, and provide opportunities for collaboration between classroom teachers and music teachers. This inquiry naturally encompasses and leads to other guiding questions.

• What are some of the African roots in African American song? CREATIVE EXPLORATIONS These activity ideas are designed for Teaching Artists or music specialists whose work • How can we experience the power and context of these songs? supplements that of either social studies or choral classroom teachers. These ideas emphasize hands-on work that gives students a chance to creatively respond • How can Spirituals and freedom songs express our stories and viewpoints? to relevant artistic and historical contexts.

• What are some current issues that these songs effectively address?

Perelman American Roots Corresponding Perelman American Roots • How has African American song effected change in our world? page number in the student guide (SG), • In groups, students should use Part 2 of their Personal Beliefs worksheet to PRE-CURRICULUM SURVEY rewrite the lyrics of “I Want to Be a Christian” to represent the belief system where applicable they have been assigned. 1. How is music a part of your everyday life? The lessons in this guide begin the process of asking and answering these questions. • Lead the class through an example together before asking them to make their own.

We are excited by the opportunity to explore a rich chapter of America’s cultural heritage, PART 4: Respecting and Understanding Religious Traditions • Have the groups share their new lyrics. Discuss these questions as a class: 2. What kinds of ideas are expressed in the music you listen to now? and we hope you will be too. – Who are some of the important individuals in the belief systems we researched? – What are some of the ideals and goals of the belief systems discussed? Questions – What do these belief systems have in common? What sets them apart? to be discussed 3. What are some occasions or events during which people sing? – What is important to keep in mind when people express beliefs that are Let’s begin! different from your own? as a class – How can you best express your own beliefs and opinions when people disagree with you?

SG 1 MUSICAL EXTENSION 4. What does the word united mean to you? • Select some of the students’ new renditions. Have the entire class or selected volunteers sing them together, using the melody Musical Extension of “I Want to Be a Christian.”

5. Can music unite a group of people or a society? If so, how? If not, why? Give at least CREATIVE EXPLORATION one example to support your opinion. • Sing the melody of “Swing Low, Sweet Chariot” from the included sheet music. • Listen to the Fisk Jubilee Singers’ arrangement [Track 10], and ask the students to notice at least three different ways the singers use their voices to create a unified performance. (Examples could include singing in unison, singing in harmony, and call-and-response.) Creative Exploration 6. Who or what comes to mind when you think of African American song? • Affirm the students’ observations and provide additional insight. Some key singing techniques to underscore include call-and-response, use of solo voices, harmony and unison, and background hums. Discuss this question as a class: - What other techniques could be added? • Work as a team to incorporate some of these techniques in creating a new rendition of “Swing Low, Sweet Chariot.”

The Weill Music Institute The Weill Music Institute 22 at Carnegie Hall 8 at Carnegie Hall

The Weill Music Institute The Weill Music Institute at Carnegie Hall at Carnegie Hall

The Weill Music Institute The Weill Music Institute at Carnegie Hall at Carnegie Hall The Weill Music Institute

at Carnegie Hall The Weill Music Institute The Weill Music Institute 4 at Carnegie Hall at Carnegie Hall 5

The Weill Music Institute The Weill Music Institute at Carnegie Hall at Carnegie Hall

The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Perelman American Roots CD Track Listing and DVD PROGRAM TIMELINE We hope you will use this timeline as a calendar for your semester planning. Everything CD below is organized so that you know what is expected of you in advance of our two concert African American Song events. Wherever possible, we have included the dates for the activities. You will, however, need to choose dates for other lessons based on your own classroom timeline. African Roots 1. “Mawu Nye Lolo” Fisk Jubilee Singers Date Activity 2. “Africa Anointed” Limit X, Christafari, and Stitchie 3. “Postal Workers Canceling November 10, 2009 PROFESSIONAL DEVELOPMENT #1: Program introduction Stamps at the University of Lesson 1: Discovering Unity through Music Ghana Post Office” Lesson 2: United by the Rhythms of Work 4. “Tie Tamping Chant” Henry Truvillion Lesson 3: What is a Spiritual? Lesson 4: Religion and the African American Experience 5. “Rock Island Line” Convicts of Cumins Farm in Gould, Arkansas Lesson 5: United by Dreams Lesson 6: Uniting our Voices Spirituals and Gospel 6. “Goin’ Up to Glory March 2, 2010 PROFESSIONAL DEVELOPMENT #2: Teachers prepare for final (No More Auction Block for Me)” Fisk Jubilee Singers projects and preview the work their students would like to present 7. “Wade in the Water” Fisk Jubilee Singers at the final concert. 8. “Rise, Shine, Lesson 7: United in Faith: Gospel Song For Thy Light is a’ Comin’” Fisk Jubilee Singers Lesson 8: United We Move: Telling Stories with African American Song 9. “I Want to Be a Christian” Fisk Jubilee Singers and Dance 10. “Swing Low, Sweet Chariot” Fisk Jubilee Singers Lesson 9: Cultural Ambassadors 11. “Free at Last” Kim and Reggie Harris Lesson 10: Meet the Fisk Jubilee Singers 12. “Amazing Grace” Mahalia Jackson Lesson 11: The Final Project 13. “I Can Go to God in Prayer” Brooklyn Tabernacle Choir 14. “Wade in the Water” Revelations May 21, 2010 CONCERT: Fisk Jubilee Singers in Zankel Hall 15. “Rocka My Soul in the In addition to the performance by the Fisk Jubilee Singers, Bosom of Abraham” Revelations selected students can share one of the following: 16. “I Wanna Be Ready” Revelations • present their classroom motto, explaining how it communicates 17. “He’s Got the Whole World their collective hopes and dreams in His Hands” Marian Anderson • present their “A New Dream” speech 18. “Move On Up a Little Higher” Mahalia Jackson • present their work-rhythms exploration 19. “O, By and By” • present their new arrangement of “Swing Low, Sweet Chariot” from A Child of Our Time Jessye Norman • present their new arrangement of “Free at Last” 20. “Deep River” Paul Robeson Lesson 12: African American Song

June 2, 2010 PROFESSIONAL DEVELOPMENT #3: Teachers reflect on their work DVD throughout the year. A Spiritual Journey with the Fisk Jubilee Singers Documentary produced by News 2 WKRN, Nashville Excerpts from Alvin Ailey American Dance Theater’s Revelations Courtesy of Alvin Ailey American Dance Theater

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

PRE-CURRICULUM SURVEY Lesson 1: Discovering Unity through Music

1. How is music a part of your everyday life? Aim: What are our notions and experiences of unity in music, specifically in African and African American music? Objective: Students share their preconceptions of music and African American song as they begin to explore how music can unite people. Standards: NYS Social Studies—1.3; Blueprint—Making Connections 2. What kinds of ideas are expressed in the music you listen to now? Materials: Pre-Curriculum Survey (completed), Perelman American Roots, Perelman American Roots CD, computer with internet connection and audio (optional)

PART 1: Sharing Our Thoughts About Music and Discovering Points of Unity • Have students share their responses to the Pre-Curriculum Survey (completed as 3. What are some occasions or events during which people sing? a homework assignment before this class). Discuss these questions as a class: - What are some common beliefs we have about the role of music in our lives? - What is our understanding of African American song?

SG 1 4. What does the word united mean to you? • Document these responses in a manner that will allow the students to continue to add their observations throughout the Perelman American Roots curriculum.

PART 2: Discovering Unity in African Song • At its root, African American song comes from African musical and cultural 5. Can music unite a group of people or a society? If so, how? If not, why? Give at least traditions that continue to be strong to this day. one example to support your opinion. • Singing is a central element of African cultures. According to some of the first musicologists and historians to observe African societies, Africans were surprised to hear that in other cultures, singing does not involve the participation of everyone present at the event. In Africa, there is no distinction between performers and audiences. • Many African songs contain simple, memorable melodies. At the same time, 6. Who or what comes to mind when you think of African American song? there is also a rich tradition of blending different voices in harmony and with intricate rhythms. • Listen to the Fisk Jubilee Singers sing the Ghanaian song “Mawu Nye Lolo” [Track 1] and complete Part 1 of the Discovering Unity in African Song worksheet. • As in most cultures, music is an integral part of the African religious experience. Listen to “Africa Anointed” by Limit X, Christafari, and Stitchie [Track 2]. This is a contemporary example of a song about the entire continent of Africa being unified in religious praise. Complete the rest of the Discovering Unity in African Song worksheet.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

WORKSHEET: Discovering Unity in African Song PART 1: Listen to the Fisk Jubilee Singers sing the Ghanaian song “Mawu Nye Lolo.”

1. Where do you notice unity in this performance?

2. What do you notice about how the singers blend their voices together in this song? How does their unity allow for individual expression?

3. African music also has a strong rhythmic and percussive tradition. What do you notice SG 2 Ghanaian drummers about the drumming or the finger-snapping in this song? How does it rhythmically relate to the singing? Do we ever hear the percussion or the singing on its own? What does the rhythmic accompaniment add? MUSICAL EXTENSION • In keeping with the African ideal of music being participatory, select one of the songs you heard or a song chosen by the students. • Experiment with tapping along to the beat as a class. • Try adding a layer of percussion or rhythmic finger-snapping. • Try humming along with the melody or let volunteers try improvising a vocal harmony. • How does participating change our experience of the song? 4. What is similar between this performance and some of the African American music and musicians you have discussed?

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

PART 2: As in many cultures, music is an integral part of the African religious experience. Lesson 2: United by the Rhythms of Work Listen to “Africa Anointed” by Limit X, Christafari, and Stitchie. This is a contemporary example of a song about the entire continent of Africa being unified in religious praise. Aim: How can rhythm and music help people work together? 1. How is the use of percussion and singing similar to or different from “Mawu Nye Lolo”? Objective: Students gain an introduction to African and African American traditions of making music while working. Standards: NYS Social Studies—1.3, 2.1; Blueprint—Making and Music Literacy Materials: Perelman American Roots, Perelman American Roots CD, standard business-size envelopes (optional)

PART 1: African Roots of Music and Work In Africa, music permeates all aspects of life, including work. Discuss this question 2. What is similar between this performance and some of the African American music as a class: and musicians you have discussed? – What are some chores or jobs people do that are boring or repetitive? • Take a brief survey of your class: – How many of you listen to music when you do your homework? Why or why not? SG 3 – Are there any other circumstances where you make music or listen to music while working? – Do any of you sing or drum rhythms with your hands outside of a performance situation? – Do you listen to music while you work out? • Listen to “Postal Workers Canceling Stamps at the University of Ghana Post Office” [Track 3]. Discuss these questions as a class: – What do you notice about the power of music to unite people? – How would doing these jobs be different if there were no music?

NOTE: YouTube links of “Postal Workers Canceling Stamps at the University of Ghana Post Office” are listed in the Bibliography of this teacher guide.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

PART 2: Listening to African American Work Songs CREATIVE EXPLORATION #1 • Listen to “Tie Tamping Chant” [Track 4]—a work song sung by prisoners as they did manual labor. Discuss these questions as a class: • Think of a task or a job that requires physical labor or repetition. • Once the task is determined, have the class mime the motions – How is this song similar to or different from the recording of the postal of the job, then come up with a rhythmic pattern or sounds that workers in Ghana? go with the motions. – What impact do you think singing had on these men and their work? • Create a short song or chant that goes with the rhythm, or have – How is unity expressed in this recording? a volunteer free-style rap over it. • Listen to “Rock Island Line” [Track 5]—a work song that was originally sung by men working on the railroad, but subsequently sung by farmers and folk CREATIVE EXPLORATION #2 singers. Compare and contrast this song to “Tie Tamping Chant” and to the postal workers in Ghana. Discuss this question as a class: • Divide your class into small groups of three or four students. • Tell them that they’ve been hired to work for the Ghana postal – How is unity expressed in this recording? service and that their first job is to create an interesting new stamp-canceling beat with their team. PART 3: Moving Together in the Rhythms of Work • Using fists and the palms of their hands, let each team create • Discuss these questions as a class: patterns and rhythms that would work for sorting and canceling letters. – What kind of motions and sounds are involved in building a railroad? If desired, give students a few envelopes as props. Share as a class. – This recording of “Rock Island Line” was not made while the singers • Discuss these questions as a class: were actually working, but if they were, how would the motions fit with – What do students notice about each pattern? the rhythm of this song? Experiment with moving together to this music. – Which groups would do the fastest job? – How could this song help you work as a united team? – Which groups seemed to have the most fun with their patterns? – Which patterns would be the easiest for a new postal employee MUSICAL EXTENSION to learn? • One of the key ingredients in African music is polyrhythm (having • If time permits, try combining patterns, or let each group teach more than one rhythm occur simultaneously). another group how to do their pattern. • Teach your students to create a two-against-three polyrhythm by • Musician Bobby McFerrin is famous for saying “Musicians play patting eighth notes with the left hand and triplets with the right hand. for a living.” Discuss these questions as a class: – Compared to your usual school routine, did this activity feel more like work or more like play? – What are some jobs you do around the house or at school? How might you add music to lighten the work, or to create a sense of rhythm or community?

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Lesson 3: What is a Spiritual? MUSICAL EXTENSION • In “Rise, Shine for Thy Light is a’ Comin,” the Fisk Jubilee Singers Aim: What is a Spiritual, and what unifying messages and functions does it have? make substantial use of echoes between the male and female voices. Objective: Students create personal connections to Spirituals. • Divide your class into boys and girls, and practice the opening phrases Standards: NYS Social Studies—1.3; Blueprint—Making Connections and Music Literacy of “Rise, Shine for Thy Light is a’ Comin,” as heard on the CD. (Students will echo one another on the words rise and shine, then Materials: Perelman American Roots, Perelman American Roots CD, Perelman everyone will join in unison on for thy light is a’ comin.’) Also try American Roots poster experimenting with different tempos. • Reflect on what the group must do to successfully sing this passage PART 1: Initial Discussion together. • As a class or with small groups, discuss the following questions, or have students answer them as a short independent writing assignment: – What are some things that make you happy? – What are some things that bring you down? – What are some obstacles to people being free?

PART 2: Introducing Spirituals and Their Many Purposes • Our study of African American song for today focuses on Spirituals and songs of freedom. Most of these songs originated in the early 19th century, though some have earlier or later origins. • Have your students read aloud the descriptions of Spirituals from the Introduction to Spirituals sheet. Discuss this question as a class: – According to the people quoted, what are the purposes of the Spiritual? • Some Spirituals were also linked to the Underground Railroad, a secret system for helping slaves escape to freedom in the North. Many Spirituals also have double meanings and messages about freedom and overcoming oppression.

PART 3: Listening to Spirituals • Listen to the Spirituals “Goin’ Up to Glory (No More Auction Block for Me)” [Track 6], “Wade in the Water” [Track 7], and “Rise, Shine, For Thy Light is a’ Comin’” [Track 8] on your Perelman American Roots CD. • As a group, use the Listening to Spirituals worksheet to answer questions about the Spirituals.

NOTE: It will probably take many hearings to fully answer the questions. As you listen and discuss, begin to write down your observations on the Perelman American Roots poster.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Introduction to Spirituals WORKSHEET: Listening to Spirituals

The plantation songs known as ‘Spirituals’ are the As you listen to each Spiritual, take notes based on the questions below. spontaneous outbursts of intense religious fervor, and had their origin chiefly in religious services conducted Example 1: “Goin’ Up to Glory (No More Auction Block for Me)” is a Spiritual by slaves and free Blacks, camp meetings, revivals, that contrasts a life of hard work with the hope of “goin’ up to glory.” Many Spirituals and other religious exercises. have double meanings: “Goin’ up to glory” could mean dying and going to Heaven, or it could mean escaping from slavery to freedom. The auction block was a platform where Success in singing these Folk Songs is primarily people were sold into slavery to the highest bidder. Families were often separated, and dependent upon deep spiritual feeling. The voice is sometimes even free African Americans were kidnapped and sold at these auctions. not nearly so important as the spirit; and then rhythm, for the Negro’s soul is linked with rhythm, and it is an 1. Where do you notice unity in this performance? essential characteristic of most all the Folk Songs.

… through all these songs there breathes a hope, a faith in the ultimate justice and brotherhood of man. The cadences of sorrow invariably turn to joy, and the message is ever manifest that eventually deliverance from all that hinders and oppresses the soul will come, 2. What words stand out as you listen? and man—every man—will be free. SG 4 —Harry T. Burleigh, The Spirituals of Harry T. Burleigh SG 5

3. What kind of moods or feelings do you hear expressed by the singers? Spirituals can be separated into two primary classifications, folk Spirituals and concert arrangements of the Negro Spiritual.

Some folk Spirituals are sung in a call-and-response style, while others are based on repetitive courses or a verse-chorus format. Most folk Spirituals are accompanied by hand-clapping and foot-stomping with singers encouraged to contribute spontaneous expressions, including moans, cries, and hollers. Example 2: “Wade in the Water” is an example of a Spiritual with coded instructions Concert arrangements of the Negro Spiritual are the post–Civil War form of the folk for a successful escape. On the surface, the song references a number of Bible stories Spirituals that emerged from Black colleges established to educate the emancipated involving water. In focusing on the role of water in spiritual salvation, the song also slaves. Choral directors arranged the folk Spiritual using four-part harmony and other implies that waterways are a means to find freedom from slavery. Crossing rivers, Western-based vocal techniques and styles. To preserve the Spiritual tradition, however, wading, or swimming enabled slaves to evade the search dogs used to track escaped the fundamental elements remained—a call-and-response structure, repetitions of slaves, since water caused the dogs to lose the scent of the person being tracked. melodies and texts, and percussive vocal timbres. —Portia Maultsby 1. In this choir do you hear men, women, or both?

The Weill Music Institute 18 at Carnegie Hall 19

The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

2. African American songs often include a soloist who sings an independent part while Lesson 4: Religion and the African American Experience a choir sings something else. Is the main soloist in this recording a man or a woman?

Aim: How can we respect and understand different belief systems and faiths? Objective: Students examine their own beliefs, learn about African Americans’ religious experiences and struggles, examine issues of religious freedom and tolerance, and examine how another belief system might express itself through the words of a Spiritual.

3. What message is the choir emphasizing? What does the soloist seem to be saying? Standards: NYS Social Studies—1.3; Blueprint—Music Making and Making Connections Where do you hear unity in this performance? Materials: Perelman American Roots, Perelman American Roots CD

PART 1: Religion and the African American Experience • Have your students read aloud from the Religion and the African American Experience sheet. Discuss these questions as a class: Example 3: “Rise, Shine, For Thy Light is a’ Comin’” is a Spiritual celebrating freedom. According to Hebrew law in the Bible, every 50 years is a “year of jubilee.” – What are some of the obstacles and issues African Americans have In the jubilee year, nobody works, slaves are set free, and all stolen land is given back to faced throughout history in practicing religion? How did they adapt? its original owner. Many Spirituals refer to the year of jubilee as a way of expressing hope for freedom. – How do different belief systems bring people together?

SG 6 PART 2: E stablishing Personal Beliefs and Perspectives, and Listening to a Personal 1. How does this Spiritual’s mood compare to “Goin’ Up to Glory (No More Auction Expression of Belief Block for Me)” and “Wade in the Water”? • Have your students complete Part 1 of the Personal Beliefs worksheet. • Play the Fisk Jubilee Singers’ recording of “I Want to Be a Christian” [Track 9], a Spiritual expressing heartfelt religious desires. Discuss these questions as a class: – Why would an African American in the 1800s sing “I Want to Be a 2. At one point the soloist sings, “I intend to shout and never stop until I reach the Christian”? mountaintop.” In addition to speaking, the word “shout” refers to an energetic circle dance used in both traditional African religions and Christian traditions – Why might an African American in the 1800s refuse to sing “I Want developed by African Americans. What does “Rise, Shine” have in common with to Be a Christian”? dance music that you know? Where do you notice unity in this performance? PART 3: Expressing Other Belief Systems Through the Spiritual • Divide the class into small groups, assigning each group a different religious tradition or belief system. You may either take suggestions from the students or assign traditions based on your curriculum. Use supplemental materials as necessary, or visit nypl.org for additional resources. 3. All of these Spirituals include meaningful messages. Singing these songs unites the singers by having them proclaim the same message together. What are some NOTE: It is possible to complete this exercise using any belief system, or any philosophical or messages you would like to hear people sing about today? political ideology.

The Weill Music Institute 20 at Carnegie Hall 21

The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

• In groups, students should use Part 2 of their Personal Beliefs worksheet to Religion and the African American Experience rewrite the lyrics of “I Want to Be a Christian” to represent the belief system they have been assigned. Before Africans were brought to the Americas, most of them practiced the religion • Lead the class through an example together before asking them to make of their individual societies. Traditional African worship often involved drumming, their own. chanting, prolonged dancing and music making, and altered states such as trances and spirit possession. Most Americans, who were predominantly Christian or secular, did not approve of African religious practices, so slaves were forbidden to practice PART 4: Respecting and Understanding Religious Traditions their African faiths. Drums and other items associated with traditional religious practice • Have the groups share their new lyrics. Discuss these questions as a class: were confiscated because loud instruments were associated with the organization of slave revolts. – Who are some of the important individuals in the belief systems we researched? Introducing Christianity to slaves was a controversial issue. Some slave owners feared – What are some of the ideals and goals of the belief systems discussed? that the Christian ideals of universal brotherhood would cause slaves to resent their masters and revolt. Other slave owners believed that Christianity would have moral – What do these belief systems have in common? What sets them apart? and spiritual benefits for slaves, so they encouraged religious education, and invited – What is important to keep in mind when people express beliefs that are preachers to hold meetings for the slaves to pray and worship. different from your own? – How can you best express your own beliefs and opinions when people Despite their eventual acceptance into Christianity, slaves and freed African Americans disagree with you? were constantly pressured about how they should or should not express their religious beliefs. Some ministers, both Anglo American and African American, actively discouraged such vestiges of African-style worship as dancing, clapping, Musical extension shouting, and the singing of Spirituals. SG 7 • Select some of the students’ new renditions. Have the entire class or selected volunteers sing them together, using the melody To escape religious oppression, many slaves would hold independent prayer meetings of “I Want to Be a Christian.” and church services late at night in secret locations deep in the woods. In this way, African Americans were able to practice religion freely as they saw fit. Spirituals played a central role at these meetings, and new ones would be regularly improvised and CREATIVE EXPLORATION composed to address the needs and prayers of the day.

• Sing the melody of “Swing Low, Sweet Chariot” from the included Material excerpted from Dena Epstein’s Sinful Tunes and Spirituals: Black Folk Music to the Civil War; presented in sheet music. edited form. • Listen to the Fisk Jubilee Singers’ arrangement [Track 10], and ask the students to notice at least three different ways the singers use their voices to create a unified performance. (Examples could include singing in unison, singing in harmony, and call-and-response.) • Affirm the students’ observations and provide additional insight. Some key singing techniques to underscore include call-and-response, use of solo voices, harmony and unison, and background hums. Discuss this question as a class: - What other techniques could be added? • Work as a team to incorporate some of these techniques in creating a new rendition of “Swing Low, Sweet Chariot.”

The Weill Music Institute 22 at Carnegie Hall 23

The Weill Music Institute at Carnegie Hall

The Weill Music Institute at Carnegie Hall Melody Swing Low, Sweet Chariot Melody Perelman American Roots Melody Swing Low, SweetAfrica Chariotn American Song:SPIRITUAL Uniting Voices Swing Low, Sweet ChariotArr. M. Roger Holland II Melody SPIRITUALTeacher Guide Arr. M. Roger Holland II Melody Moderate Swingq = 72 Low, Sweet Chariot SPIRITUAL Melody Swing Low, Sweet ChariotArr. M. Roger Holland II Moderate q = 72 SPIRITUAL Melody1 Swing Low, Sweet Chariot Melody b 4 j j œArrœ . M. Rogerw SPIRITUAL Holland II WORKSHEET: Personal Beliefs & 4Moderateœ Swingq˙ = 72 œ Lowœ. œ, Sweetœ Chariotœ œ œ œ 1 Swing Low, œSweetœ. ChariotArr. M. RogerSPIRITUAL Holland II 4 Swing low, sweet char - i j- ot, Com-ing for to car-ry me home. b Moderateœ q = 72 œ j œ œ œ w & 4 ˙ œ. œ œ . œ œ œ œ Arr. M. RogerSPIRITUAL Holland II 1 Moderate4 q = 72 j œ œArrœ. M. Rogerw Holland II PART 1 & b 4 Swingœ low˙ , sweetœ charœ. - œi - ot,j Comœ -ingœ forœ toœ carœ -ryArrme. M. Rogerhome. Holland II 1 Moderate4 q = 72 j œ œ. œ œ w 5 & b Moderate4 Swingœ qlow = 72, sweetœ char - i - ot,j Com-ing for to carœ -1ry. me home.2. 1 4Moderate q ˙= 72 œ. œj œ œ. œ œ œ œ œ œ w 1 & b 4 œ œ j œ 1. Name two people whom you admire. 5 4 Swing low˙ , sweet charœ. - œij- ot, Comœ -ingœ forœ toœ car-ry me home. b œ œ& b˙4 œ œ œ j j œj œ. œ œ œ œ1. œ .w 2. œ & 1 4 Swing low˙ , œ. sweetœ charœ. - œij-œœot, œ. œ Comœœ -ingœ forœ œtoœ car-ryœwmeœ home.w ˙. 5 b 4 œ œ œ œ. j j œ œ œ œ w Swingœ &œ lowb 4, Swingœsweetœlow˙ , charsweet-œi j- ot, charœ. - œiCom- ot,j-ing for Comtoœ -caringœ - ryforœ metoœ carœ -home.ry1. me home.. home.2. 1. I & b ˙ ˙ œ. œ j œ. œ œœ œ. œ œ œœ œœ œ w . ˙. œ 5 œ Swing low, sweetj œ charœ. - i - ot, Com-ing for to car-ry1. me home.2. b Swingœ low˙ , sweetœ char - i - ot,j Com-ing for to carœ - ryœ me home. . home. 1.œ I 5& œ. œ œ œ œ œ œ 1. w 2. ˙. 1 œ j œ œ. 510 b œ œ j 1. . 2. 2. What kind of person do you want to be known as? What do you hope other people & Swing low˙ , sweet charœ. - œi - ot, Comœ -ingœ forœ toœ carœ - ryœ meœ home.w . home.˙. 1.œ I 5 œ œ œ j œ . . 5 b 1 ˙ j œ œ œ 1. . 2. œ 10& œSwing low, jsweet charœ. - œij- ot, Comœ -ingœ forœ toœ car - ry meœ home.1. w home.2. ˙. 1. I will say about you? & b œ œ ˙ j œ j œj œ. j œ œ œ œ œ œ ˙.. œ 1 Swingœ J œ lowœ, œ sweetœ œcharœ. -œœij- œot,œ œ. œ Comœ -.ingœ forœ œ toœ œcar œ- ry œme home.w home.˙. 1. I 10 b œ œ ˙ œ j j œ œ œ œ . œ & bb Swinglookedœ o low-˙ver, j Jorjsweet-dan andcharjœ. what- œi -didot,j I see,jComœ -ingœ forœComtoœ-ingcarœfor- ryœ tomeœcarœ -ryœhome.mewœ home.˙.. home.˙. 1.Aœœ I & 1 J œ œ œ œ. œœ œœ œœ. œ œ œ œœ œ œ œ w ˙. 10 Swing low,œ jsweet œchar - i - ot, œ Comœ-.ing for to car - ry me home. home. 1. I b1 lookedœ o - verj Jor-dan andj what did I see,j Com-ing for to carœ -ryœ meœ home.˙. Aœ 10& J œ œ œ œ œ œ œ œ œ œ 1 œ œ j œ œ œ. œ œ 2 ˙ œ 1014 b looked o - verj Jor-dan andj what did I see,j Com-ing for to carœ -ry me home.. A & 1 J œ œ œ œ œ œ œ œ œ œ 10 b 1 œ œj j œj œj œ. œ œ ˙. œ 3. What is something you strongly believe in? 10& looked œo - ver Jorœ -danœ and whatœ didœ œI see, Comœ -ingœ forœ toœ carœ -ry me 2 home. A 14 b œœJ œ œj j œj œj œ. œ œ . ˙. œ & b looked œoœ- verœ Jorœ -danœ and whatœ didjœ œI see, Comœ -ingœ forœœ toœ carœ -ry me . home.œ Aœ & Jœ œ œ j œ œœ œ œ œ œ œ œ.œ œ œ œ wœ œ 2 ˙. ˙ œ 14& b œ j j œ. j œ œ œ ˙. œ & b lookedbandœJ œ oœof- veranœ -gelsJorœ -danœcomand-œing afwhat-terœ me.didjœ œI see,œCom-ing forComœto -caringœ -ryforœ metoœ carœhome.-ry me .home.Swing low, sweetA & J œ œ œ œ œœ œ œ œ œ œ.œ œ œ œ œ œ w 2 . œ ˙ œ 14 looked o - ver Jor-dan and what œdid œI . see, Com-ing for to car-ry me home. A b œbandœ of an-gels com-ing af-ter me.j Com-ing for to car -ry me home. 2 . Swing low, sweet 14& œ œ œ œ œ œ œ œ œ œ œ œ œ œ w . œ ˙ œ œ œ œ. 2 4. What would you do if other people told you that you were not allowed to believe 1419 b bandœ ofœ anœ -gels com-ing af-ter me.j Com-ing for to carœ -ryœ me home. . Swingœ low, sweetœ & œ œ œ œ œ œ œ œ œ œ w 2 ˙ 14 b œ œ œj œ. . SG 8 1419& œ œ œ œ œ . œ œ SG 9 this or talk about it? b œbandœ jofj an-gelsœ comœ -ingœ afœ -terœ œme.j œœ.œ Comœ w-ingœ forœ toœ car -ryœ me œ home.w˙ œ. Swing low˙ ,j jsweet & bandœ. œ ofœ anœ -gelsœ œcomœ œ-ingœ œafœ-œterœ me. Comœ -ingœ forœ toœ carœ -ryœ meœ home.w . Swingœ œ.low˙œ, sweetœ 19 œ œ œ œ. œ . . œ œ. & b charœ -œi j-œot, œ Com-ing for to carj-ryœœmeœ home.w œ œSwingœ œ œ low, sweetœ. œchar - i j- ot, œ & b bandœ. œ ofœ janœ-gelsœ œcomœ œ-ingœ œafœ-terœœ me.œœ œ. Comœ -ingœ forœ toœ carœ -ryœ meœ home.w˙ . Swingœ œ.low˙œ, jsweetœ 19 band ofœ anœ-gels. com-ing af-ter me.œ œ. Com-ing for to car -ry me home. Swing low, œ sweetœ. b charband- ij-ofot,jan-gels Comcom-ing-ingforaf-toter carme.-ryœ meœ Comhome.w-ing for to car -ryœSwingme œ home.low, sweetœ Swingcharlow- ,ij- ot,jsweet 19& œ. œ œ œ œ œ œ ˙ œ. œ œ œ. 3 œ œ. 19 b j j œ œ w œ œ œ j j 24& charœ. - œij- ot, Comœ -ingœ forœ toœ carœ -ry me home. œSwing low˙ , sweet charœ. - œij- ot, 5. What is something you don’t believe in doing? 19 b œj œ. œ œ w œ œ œj œ. 19& charœ. - œij- ot, Comœ -ingœ forœ toœ carœ -ry me home. 3 œSwing low˙ , sweet charœ. - œij- ot, 24 b œj œ. œ œ w œ œ œ œj œ. & b charœ. - œi - ot, œComœ -œingœ forœ toœ carœ -ry me home.œ Swingœ low˙j, sweet charœ. j- œi - ot, & b œ œj œœj œ.œ œ ˙œ. œ w 3 œ œœ. œœ œ œ œ j œj œ. 24& b j œ œ œ w œ œ˙ œ œ jœ. & b Comcharœ. --ingœi - ot,œfor œto. carComœ- ry-ingœ meforœ toœ carœhome.-ry me 2.home. If youœ get Swingthere lowbe˙j,- foresweet I charœ.do,-jœi - ot,œ œ. & charœ - œi - œot,œ œ.œ Comœ -œing forœ to car-ry˙. me home.œ 3 œ Swingœ. low, œsweet œ char - i - œot, œ. 24 char - i - ot, Com-ing for to car-ry me 3.home. I'm some-times Swingup andœ lowœ , somesweet- timeschardown,œ- i - ot,œ. b Com-ing for to car - ry me home. 2. If 3 youœ get there bej - fore I do,j 24& œ œ œ œ œ œ œ ˙. œ œ œ. œ œ 3. I'm 3 some-times up andœ œ some - times œdown, œ. 24 b Com-ing for to carœ - ryœ me home. 2. œIf youœ get œthere bej - fore I do,j 28& œ œ œ œ œ ˙. 3 œ œ. œ œ œ PART 2: Adapting “I Want to Be a Christian” to the Belief System 24 b 3. I'm someœ -times up and œj some - times œdown,j œ. 24& Comœ -ingœ forœ toœ carœ - ryœ meœ home.˙. 2. œIf you getœ œthere. be - foreœ œI do, (assigned belief system) b œ œ œ œ œ œj œj œ. 28& Comœ -ingœ forœ toœ carœ- ryœ meœ ˙. home.˙. 2.3.œ IfI'm œsomeyouœ-timesgetœ œthereup. andœ be - someforeœ - timesœI do,down, & b œ Swing Low, Sweet œChariotœ œ œj œjj œ. 2& b Comœ -ingœœ œforœ œtoœ carœ - ryœ meœ home.˙. 2.3. œIfI'm someyouœ -timesgetœ thereupœ. andœbej - someforeœœ -œtimesœI œ do,down,œj . , I want to be 28& œ œ œ œ œ ˙. œ œ œ. œ œ œ œ œ œœ. 2 b Com--inging forfor totocarœcar-ryœ- rymeœ me home.˙. home.Swing Low3.2.Tell œI'mIf, Sweetallsomeyou Chariotœ-timesmygetœ friendsupthereœ andI'mbeœ - someforecom--ingtimesI down,œdo,too,j œ. (name of a leader, founder, or god for this belief system) & Comœ -ingœ forœ œto car - ry me home. 2. If you get there œbe - foreœ œ I œ do, 28 Com-ing for to car-ry me home. 4 3.ButI'm stillsome-timesmy soulup andfeels someheav--entimes- ly down,bound,œ œ. 32 b Com-ing for to car-ryœ meœ home.˙. 3.Tœ ellI'm œallsomeœ-timesmy friendsup andI'm somecom-ingtimes down,too,j 28& œ œ œ œ œ 4 œ œ œ œ œ œ 32 Com-ing for to car-ry me home. But œstill my soul feels heav-en - ly œbound, œ. 28 b Com-ing for to carœ -ryœ meœ home.˙. Tœell all œ myœ friendsœ I'm com-ing too,j a in my heart. & b œ œ œ œ œ œ . œ œ j œj œ œ œ œ œ œ 28& b Comœ -ingœ forœ toœ car-ryœ meœ whome.˙. Butœ ˙ œstill œ my œsoul. œ feels heavœ -enœ- lyœ œbound,œj œ. 28& b Comœ -ingœ forœ toœ carœ -ry me home. . T©2009ell œall myœ friendsœ jœI'mœj œ. comœ -œing œ too, œ œ (what people practicing this belief system are called) & b Comœ -ingœ forœ toœ carœ -ryœ meœ home.w˙. . Swingœ œ low˙ , sweetœœ charœ. - œi - ot, Comœ -ingœ forœ toœj carœ -ryœme. & Comœ --ingingœ forforœ totoœ carcarœ --ryry me home. TButell allstill myœ friendssoulœ feelsI'mœœ œ. comheavœ --œingen - lyœ too,bound, b Com-ing for to car-ryœ meœ home.˙. Swingœ©2009low, œ sweetœ char - i - ot, Com-ing for toœj car-ryœ.me & b Comœ -ingœ forœ toœ carœ -ryœ meœ home.˙. TButellœ allstill œ myœ friendssoulœ feelsI'mœ heavcomœ --ingenœ - lyœ too,bound,j & Comœ -ingœ forœ toœ car-ry me home. œ œ œ œ œ . Com-ing for to car-ry me home. But©2009still my soul feels heav-en - ly bound,œ œ. I want to in my heart. Com-ing for to car-ry me home. Tell all my friends I'm com-ing too, 37 (a personal goal of someone practicing this belief system) Com-ing for to car-ry me home. But©2009 still my soul feels heav-en - ly bound, 37 b w œ œ ˙ œ ©2009j j œ œ & w œ œ œ œ. ©2009œjœ . œ œ œ œ œ w & b ˙ ©2009j œ œ œ œ I want to be like in my heart. home. Swing low, sweet charœ. -©2009œi - ot,œ œ. Comœ -ingœ forœ toœ car-ry me home.w (name of an important individual to this belief system) home. Swing low, sweet char - i - ot, Com-ing for to car-ry me home.

The Weill Music Institute 24 at Carnegie Hall 25

The Weill Music Institute at Carnegie Hall

The Weill Music Institute at Carnegie Hall 2 Swing Low, Sweet Chariot 2 Swing Low, Sweet Chariot

2 14 œ 2 14& b œ œ œ j œ œ œ . œ œ œ œ œ œ œ œ œ. œ œ œ œ w ˙ œband of an-gels com-ing af-ter me. Com-ing for to car-ry me home. Swing low, sweet & b œ œ œ j œ œ œ . œ œ œ œ œ œ œ œ œ. œ œ œ œ w ˙ band of an-gels com-ing af-ter me. Com-ing for to car-ry me home. Swing low, sweet & b j . Œ bw œ œ œ œ bœ œ œ b˙ œ œ œ. nœ bœ w . & b Hm, j Comœ -ing for to car-ry me home. . Œ Swing low, bw œ œ œ œ. œ œ bœ œ nœ bœ w œ b˙ Perelman American Roots Hm, ComAfric-ing for ato ncar -Americry me home.an Song:Swing Unitinglow, Voices Swing Low, Sweet Chariot Teacher Guide SPIRITUAL Swing Low, Sweet ChariotArr. M. Roger Holland II 19 Moderate q = 72 j œ j Swing Low, Sweet Chariot SPIRITUAL 19& b j œ œ œ w œ ˙ œ j Arr. M. Roger Holland II œ. œ œ œ. œ œ œ œ œ. œ œ œ. Moderate q = 72 char - ij- ot, Com-ing for to car-ryœ meœ home.w œSwingœ low, sweetœ char - ij- ot, 1 4 j œ œ w SPIRITUAL & b œ. œ j œ œ œ œ œ ˙ œ. œ j & b 4 œ œ j œ Arr. M. Roger Holland II œ œ. œ œ. ˙ œ. œ œ . œ œ œ œ char - i - ot, Com-ing for to car-ry me home. Swing low, sweet char - i - ot, Moderate q = 72 œ 1 4 Swing low, sweet char - ij- ot, Com-ing for to car-ryœ meœ home.w j j & b 4 œ ˙ œ œ. œ j œ œ œ œ œ & b j j Œ j j (Sing 2nd time only, optional all on part 1 firstœ time)œ. œ. œ œ œ œ œ œ œ œ œ ˙ b˙ œ. œ Swing low, sweet char - i - ot, Com-ing for to car-ry me home. œ œ. œ œ œ. 1 4 j œ œ w b char - ij- ot, Comj -ing toj car-ry me home. Œ Swing low, char - ij- ot, 2 & b 4 Œœ ˙ œ œ. œj j œj œ œ œj œ & œ. œ j œ œ œ œ œ œ œ œ ˙ b˙ œ. œ j & 4 (Sing 2nd time onlyb˙ , optional all on part 1 firstœj time)œ. œ œ œ œ œ œ œ ˙ œ œ. œ œ œ. Swing lowœ , sweet charœ. - œi - ot,œ œ. Com-ing for to car-ry me home. œ char - i - ot, Com-ing to car-ry me home. Swing low, char - i - ot, 2 b 4 Œ Swing low, char - ij- ot, Comj -ing toj car-ry me home. & 4 (Sing 2nd time only, optional all on part 1 firstj time) œ œ œ œ œ œ œ œ b˙ œ. œ œ œ. œ ˙ 2 b 4 Œ Swing low, char - ij- ot, Comj -ing toj car-ry me home. 3 & 4 j œ œ œ œ œ œ œ 24 œ b˙ œ. œ œ œ. œ ˙ Swing low, char - i - ot, Com-ing to car-ry me home. 3 24& b œ œ œ œ œ œ j j 5 1. 2. œ œ œ œ ˙. œ œ. œ œ œ œ œ œ. b Com-ing for to carœ - ryœ me home. 2. œIf youœ get there bej - fore I do,j b œ œ œ j j . & œ œ œ œ œ ˙. 3. I'm some-timesœ œup. andœ someœ - timesœ down, 5& ˙ œ. œ œ œ œ œ œ œ œ 1. w . 2. ˙. œ œ œ œ. œ œ. Com-ing for to car - ry me home. 2. If you get there be - fore I do, Swing low, sweet char - i - ot, Com-ing for to car - ry me home. home. 1. I b œ œ œ j j . Swing Low3. ,I'm Sweetsome Chariot-times up and some - times down, 3 5& ˙ œ. œ œ œ œ œ œ œ œ 1. w . 2. ˙. œ & b œ j j œ œ. 1. 2. œ œ œ bœ œ œ œ œ œ. œ œ œ œ œ œ. œSwing low, sweet char - ij- ot, Com-ing for to car - ry me home. home. 1. I nœ bœ ˙. & b œ ˙ œ j œ œ œ . œ & b Comœ -ing for to car - ry me home. 2. œIf youœ getœ œthere. bej - foreœ œI do,j b Œ œ. œj œ œ œ œ 1. w . 2. ˙. œ œ bœ œ œ œ . & b˙ œ. œ œj œ. œ œ œ bœ  œ œ nœ bœ ˙. 3. I'm some-times up and some - times down, œ Swing lowœ , sweet char - i - ot,œ œ. Com-ing for to carœ -nryœ bmeœ home. home.˙. 1. I Com-ing for to car - ry me home. 2. If you get there be - fore I do, Swing low, char - i - ot, Com-ing for to car - ry me home. 1. I SG 1026 . 3. I'm some-times up and some - times down, SG 11 & b Œ j j 1. . 2. b˙ œ œ  œ 28 œ œ. œ œ œ. œ bœ œ nœ bœ ˙. 28 b Œ Swing low, char - ij- ot, Com-ing for to car - ry me . home. 1. I œ & b˙ j œ œ  . œ & b œ œ œ ˙. œ œ œ œ œ j œ œ. œ œ œ. œ bœ œ nœ bœ ˙. & œ œ œ œ œ œ œ œ œ œ œ œ œ. Swing low, char - i - ot, Com-ing for to car - ry me home. 1. I Com-ing for to car-ry me home. Tell all my friends I'm com-ing too,œ œ. 1 Com-ing for to car-ry me home. Tell all my friends I'm com-ing too, 10 Com-ing for to car-ry me home. But still my soul feels heav-en - ly bound, b 1 œ j j j j œ œ ˙. œ 10& œ J œ œ œ œ œ œ œ œ œ œ. œ œ œ œ & b œ œ œ œ œ œ œ œ Œ j looked o - ver Jor-dan and what did I see, Com-ing for to car-ry me home. A & œ œ œ œ œ œ œ œ œ œ bw ˙ œj 1 œ j œ œ ˙. œ œ œ. 10& b j j j œ Com-ing for to car-ry me home. Hm, J œ œ œ œ œ œ œ œ œ œ. œ œ œ œ Com-ing for to car-ry me home. Hm, looked o - ver Jorj-dan and what did I see, Com-ing for to car-ry me home. A Com-ing for to car-ry me home. Hm, 2& b œj j j j Swing Lowj , Sweet Chariot œ œ œ ˙. œ & b œJ œ œj œ œ œj œ œ œ œj œ. œ œ œ œ œ œ œ œ Œ looked o - verœ Jor-dan andœ what did I see,œ œ. Com-ing for to car-ry me home. œ œ A lookedj o - ver Jorj-dan and what did I see, Com-ing for to car-ry me home. b j j j Œ 4 & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 32 œ œ œ œ. œ œ 32 b lookedj o - verj Jorj-dan andj what did I see,j Com-ing for to car-ry me home. Œ . j œ œ & œ œ œ œ œ œ œ œ œ œ . œ œ œ œ œ œ œ 2 œ œ œ & b œ œ œ œ œ œ œ w . œ ˙ œ œ. œj j œ œ œ œ œ œ œ 14 œ & œ œ œ œ œ w ˙ œ. œ œ œ. œ œ œ œ lookedœ o - ver Jor-dan and what did I see, Com-ing for to car-ry me home. Com-ing for to car -ry me home. Swing low, sweet char - i - ot, Com-ing for to car-ry me & b œ œ œ j œ œ œ . œ œ Com-ing for to car -ry me home. œ œ œ œ œ œ œ. œ œ œ œ w ˙ band of an-gels com-ing af-ter me. Com-ing for to car-ry me home. Swing low, sweet b . Œ j j j & b œ œ . Œ b˙ j j œ œ œ œ œ œ œ œ œ bœ œ nœ bœ w œ b˙ œ. œ œ œ. œ œ œ œ œ œ Com-ing for to car -nryœ bmeœ home.w Swing low, char - i - ot,œ œ. Com-ing to car-ry me b . Œ Com-ing for to car -ry me home. Swing low, char - i - ot, Com-ing to car-ry me & j œ©2009 . Com-ing for to car -ry me home. bw œ œ œ œ. œ œ bœ œ nœ bœ w œ b˙ Hm, Com-ing for to car-ry me home. Swing low, ©2009

37 ©2009 37 The Weill Music Institute 26 at Carnegie Hall w œ œ œ j 27 & b w œ ˙ œ œ. œ j œ œ œ œ œ œ œ w 19 œ. œ œ œ. œ œ œ œ w home. Swing low, sweet char - i - ot, Com-ing for to car-ry me home. b j j œ œ œ w œ œ ˙ œ j j & œ. œ œ œ. œ œ œ œ œ. œ œ œ. The Weillchar - Musici - ot, InstituteCom-ing for to car-ry me home. Swing low, sweet char - i - ot, at Carnegie Hall b Œ j & b œ ˙ Œ b˙ j j œ œ œ œ ˙ œ b˙ œ. œ œ œ. œ œ œ bœ œ œ œ bœ œ œ ˙ home. Swing low, char - i - ot,œ œ. Com-ing for to car-ry me, car-ry meœ home. b j j j Œ j home. Swing low, char - i - ot, Com-ing for to car-ry me, car-ry me home. & j œ œ œ œ œ œ œ ˙ b˙ j œ. œ œ œ. œ œ œ. œ œ œ. The Weillchar - Musici - ot, InstituteCom-ing to car-ry me home. Swing low, char - i - ot, at Carnegie Hall

The Weill Music Institute 3 24at Carnegie Hall

& b œ œ œ œ œ œ j j œ œ œ œ ˙. œ œ. œ œ œ œ œ œ. Com-ing for to car - ry me home. 2. If you get there be - fore I do, The Weill Music Institute 3. I'm some-times up and some - times down, at Carnegie Hall b j j & œ œ œ œ œ œ. œ œ œ œ bœ œ nœ bœ ˙. œ œ œ. Com-ing for to car - ry me home. 2. If you get there be - fore I do, 3. I'm some-times up and some - times down, Swing Low, Sweet Chariot 3

28 œ & b œ œ œ ˙. œ œ œ œ j œ œ œ œ œ œ œ œ œ œ. Com-ing for to car-ry me home. Tell all my friends I'm com-ing too, Com-ing for to car-ry me home. But still my soul feels heav-en - ly bound,

& b œ œ œ œ œ œ œ œ Œ j œ œ bw ˙ œ œ. Com-ing for to car-ry me home. Hm, Com-ing for to car-ry me home. Hm,

4 32 b œ œ . œ œ j j œ œ œ & œ œ œ œ œ w ˙ œ. œ œ œ. œ œ œ œ Com-ing for to car -ry me home. Swing low, sweet char - i - ot, Com-ing for to car-ry me Com-ing for to car -ry me home.

b . Œ j j j Perelman& œ Americanœ Roots . b˙ j œ œ œ œ œ œ œ bœ œ nœ bœ w œ œ. œ œ œ. African American Song: Uniting Voices Com-ing for to car -ry me home. Swing low, char - i - ot, Com-ing to car-ry me Teacher Guide Com-ing for to car -ry me home.

Lesson 5: United by Dreams

37 œ j & b w œ ˙ œ j œ œ œ œ. œ œ œ. œ œ œ œ w Aim: What dreams and hopes do we have as individuals and as a group? home. Swing low, sweet char - i - ot, Com-ing for to car-ry me home. Objective: Students explore African American song in relation to social change. Standards: NYS Social Studies—1.1; Blueprint—Community and Cultural Resources b Œ j & œ ˙ b˙ j œ œ Materials: Perelman American Roots, Perelman American Roots CD œ œ œ. œ œ œ. œ bœ œ œ œ bœ œ œ ˙ home. Swing low, char - i - ot, Com-ing for to car-ry me, car-ry me home. PART 1: Spirituals as the Expression of Hopes and Dreams • Have students fill out their My Hopes and Dreams worksheet. • Use the stories of Dred Scott, Harriet Tubman, and Rosa Parks to demonstrate how individuals fought for their hopes and dreams. Use supplemental materials as necessary, or visit nypl.org for additional resources. “Swing Low, Sweet Chariot” • As a class, discuss these questions in relation to the worksheet: Wallace Willis, 1862 – What hopes and dreams do we have in common as a class? Chorus – What aspirations do we have as individuals? Swing low, sweet chariot – How many of those aspirations have become realities? Coming for to carry me home SG 1228 Swing low, sweet chariot – What dreams still wait to be fulfilled? Coming for to carry me home PART 2: “Free at Last” I looked over Jordan and what did I see Coming for to carry me home • Listen to the recording of “Free at Last” [Track 11]. Discuss these questions A band of angels coming after me as a class: Coming for to carry me home – What motto do you hear repeated in this song?

– What are some of the hopes and dreams that this song addresses? Chorus

If you get to Heaven before I do Coming for to carry me home Tell all my friends I’ll be coming there, too Coming for to carry me home

Dred Scott Harriet Tubman Rosa Parks Chorus

I’m sometimes up and sometimes down Coming for to carry me home But still my soul feels heavenly bound Coming for to carry me home

Chorus Dred Scott Harriet Tubman Rosa Parks

The Weill Music Institute 28 at Carnegie Hall 29

The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Melody PART 3: “I Have a Dream” FreeFree Atat LastLast • Watch video excerpts from Dr. Martin Luther King Jr.’s “I Have a Dream” speech SPIRITUAL delivered at the Lincoln Memorial in Washington, DC, on August 28, 1963. Arr. M. Roger Holland II NOTE: The video is available at americanrhetoric.com/speeches/mlkihaveadream.htm. Lively q = 132 • Discuss these questions as a class: All on melody, 1st time # 1 # 4 j j œ œ j œ œ œ œ – What aspects of Dr. King’s dream do you think have become realities? & 4 œ œ œ ˙ J œ œ œ œ œ œ Free at last, free at last, thank God a'-might-y we're – What aspects of Dr. King’s dream have not yet come true?

– If you were to update this speech for the present, what other issues 4 might you include? # j # œ œ œ ˙ j j œ œ j œ œ œ – How did Dr. King’s speech unite people? & J œ œ œ ˙ J œ œ œ œ œ œ œ free at last. Free at last, free at last thank God a'-might-y we're – Why do you think Dr. King chose to reference the Spiritual “Free at Last”?

1 8 PART 4: “A New Dream” # & # j j . œ œ œ œ œ œ j œ œ œ ˙ œ œ œ œ • Complete the “A New Dream” worksheet and then perform your composition œ œ œ ˙ J œ œ œ free at last. One o' these morn - ings so bright and fair, Thank God a'-might-y we're for the class.

12 # j MUSICAL EXTENSION # œ œ œ œ œ œ œ œ œ œ œ ‰ j œ œ œ œ œ & J œ œ œ œ œ œ œ œ SG 13 • Learn the chorus of “Free at Last” from the included arrangement. free at last, Gon-na put on my wings and try the air. Thank God a'-might-y we're You can also try singing the two-part arrangement, as well.

16 2 # # j j j j œ œ j œ œ œ œ & œ œ œ ˙ œ œ œ ˙ J œ œ œ œ œ œ free at last. Free at last, free at last, thank God a'-might-y we're

20 # j # œ œ œ ˙ j j œ œ j œ œ œ & J œ œ œ ˙ J œ œ œ œ œ œ œ free at last. Free at last, free at last thank God a'-might-y we're

3 24 # j # j j œ œ œ œ œ œ j œ œ ˙ œ œ œ œ & œ œ œ œ. J J J œ œ œ free at last. If you get there be - fore I do, Thank God a'-might-y we're

28 # j # œ œ œ œ œ œ œ œ œ œ œ œ œ j œ œ œ & J J œ œ œ œ œ œ œ free at last. Tell all o' my friends I'm com-ing too. Thank God a'-might-y we're

The Weill Music Institute 30 at Carnegie Hall 31

The Weill Music Institute at Carnegie Hall

The Weill Music Institute at Carnegie Hall Free At Last Perelman American Roots African American Song: Uniting Voices SPIRITUAL Free At Last Arr. M. Roger Holland TeacherII Guide Swing Low, Sweet Chariot 2 Lively q = 132 Free At Last SPIRITUAL All on melody, 1st time Arr. M. Roger Holland II 4 Lively q = 132 SPIRITUAL 32 1 # 4 j Free At Lastj & # 4 j Free atœ Lastœ Arrœ . M.œ Rogerœ Hollandœ II # Allœ on œmelodyœ, 1st time˙ J œ œ œ œ œ œ # j j . j j œ j œ # LivelyFree q =at 132 last, free at last, thank God a'-mightSPIRITUAL-y we're & œ œ . œ ˙ œ œ œ œ œ œ œ œ œ 1 # 4 j j Arr. M. Roger Holland II œ ˙ œ œ J œ & 4 Allj on melody, 1st time œ œ œ œ œ œ free at last. Free at last, free at last, thank God a'-might-y we're œ œ œ ˙ J œ œ œ œ œ œ # Lively q = 132 21 ## 4 Free at last,j free at last,j thank God a'-might-y we're & # 4 AllÓj on melodyœ, 1st time˙j j œ œ œ œ œ œ œ œ œ œ 36 1. & 4 œ œ œ œ œ œJ. œ œ œ œ œ ˙ œ 1 # Free at last, free at last, œ thank God a'-might-y we're # j 2 ## 4 j Free at last. Oh,j I wan-na thank God we're # œ ˙ j j œ j œ & # 4 Ój œ ˙j j œ œ œj œ œ œ œ œ œ œ & œ œ œ ˙ œ œ œ œ œ œ œ œ & 4 œ œ J œ œ œ œ J œ œ J œ œ # Free at last, œ œ œ freeœ. at last, œ œ thankœ God˙ a'-might-y we'reœ free at last. Free at last, free at last thank God a'-might-y we're 2 # 4 Free at last. Oh,j I wan-na thank God we're & 4 Ó j j œ œ œ 4 # œ œ œ œ. œ œ œ ˙ œ 2 # 4 Free at last. Oh,j I wan-na thank God we're 40 2. # j & 4 Ó j j # œ œ œ ˙ j jœ œ œ œ.œ œ œ j œ œ œ œœ ˙œ œ œ # > > > > 4& œ ˙ œ œ œ œ œ œ # j j . œ ˙. œ ˙. œ ˙. J œ œ Free at last. J Oh, I wanœ -na thank God we'reœ & œ œ œ ˙ # freej at last. Free at last,j free at lastj thank God a'-might-y we're > > 4 # œ œ œ ˙ j œ œ œ œ œ free at last. thank God, thank God, thank God, & J œ œ œ ˙ J œ œ œ œ œ œ œ ## freej at last.j Free at last,j free at lastj thank God a'-might-y we're 4& # œj œ œ ˙ Ój œ ˙ œ œ ‰ œj œ œ œ œ œ œ Broad & œ œ Jœ ˙ œ œ œ œ œJ œ œ œ œ nœ #œ ˙ œ 44 rit. # freej at last. Free at last, œ œ free at last thank God a'-might-y we're U ## free at last.œ ˙ j j Free at last. œ Oh,j I wan-na thankœ God we're , , U & # œj œ j Ó œ ˙ œ ‰ œj œ œ œ œ œ œ ## >œ >˙. ˙ ˙ w w & œ Jœ ˙ œ œ J œ nœ #œ ˙ œ & œ œ œ œ œ œ # freeœ at last. Free at last, œ œ œ œ freeœ at lastœ œ œ thank God a'-might-y we'reœ # free at last.j Free at last. Oh, I wan-na thank God we're thank God, Thank God a'-might-y we're free at last. & j œ ˙ Ó ‰ j œ œ 1 œ œ œ œ œ œ œ nœ #œ ˙ œ 8 # j œ œ rit. # freej at last. Ó Free at last. ‰ Oh,j I wan-na thank God we're & # œ œ œ ˙ œ œ œ œ œ œ œ nœ #œ ˙ œ SG 3214 # j j . 1 œ œ œ œœ œœ œ j œ œ œ ˙ œ œ œ œ SG 15 8& freeœ atœ last.œ ˙ Free atJ last. œ Oh, I wan-na thank God œ œ we're # freej at last. 1 One o' theseœ morn - ings soj bright and fair, Thank God a'-might-y we're 8 # j . œ œ œ œ œ œ œ œ ˙ œ œ œ œ & œ œ œ ˙ J œ œ œ ## freej at last. . 1 One o' theseœ morn - ings soj bright and fair, Thank God a'-might-y we're 8& # j j . œ œ œ œ œ œ œ œ ˙ œ œ œ œ & œ œ œj ˙  J œ  œ œ œ œ œ œ # freej atœ last.œ ˙ One o' theseœ morn - ings soj bright and fair, Thank God a'-might-y we're ## free at last.j . œ œ œ œ œ œ œ œ ˙ Thankœ Godœ a'œ-might-y we'reœ & # œj œ œj ˙ .  J œ  œ œ # freeœ atœ last.œ ˙ One o' these morn - ings so bright and fair, Thankœ Godœ a'œ-mightœ -œy we'reœ & # freej at last.j .   Thank God a'-might-y we're 12 # œ œ œ ˙ œ œ œ œ œ œ ## freej at last. . Thank God a'-might-y we're & # œ œ œj œ œ œ œ œ œ œ œ ‰ j œ œ  œ œ œ œ œ œ 12& œ œJ ˙ œ œ œ œ œ œ œ œ # freefreej atat last.last, Gon-na putœ on my wings andj try the air. Thank God a'-might-y we're 12 # œ œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ & J œ œ œ œ œ œ œ œ ## freej at last,j Gon-na putœ on my wings andj try the air. Thank God a'-might-y we're 12& # œj œ œ œ Œœ œ œ œ œ œ ‰ œ œ œ œ œ & œ œ œJ œ  œ œ œ œ œ œ œ ˙ œ œ œ # freej at last, Gon-na putœ on my wings andj try theœ airœ . ˙ Thank God a'-might-y we'reœ & ## freeœ atœ œlast,j œ œ œ œ œ œ œ ‰ tryœ theœ air. Thankœ Godœ œ we're 2& j œ œJ œ Œ  Free Atœ Last œ œ œ œ œ œ œ freeœ at last, Gon-na put on my wings and tryœ theœ air. Thankœ God˙ a'-might-y we're 16 # 2 œ ˙ œ # free at last,j try the air. Thank God we're & # j œ œ œ Œ  ## œj j j j œ œ œ œ jœ ˙ œ œ ˙ œ œ œœ & # freeœ atœ last,j œ ˙ try theœ air. œ œ Thank God œ œwe're & j œ œ œ˙ Œ œ œ  ©2009 J œ freeœ at last. Free at last, freeœ at œ last,œ ˙ œthank ˙God a'-might-y we'reœ free at last, try the air. Thank God we're ©2009 ## j & j j Ó j j œ œ œ œ œ ˙ œ œ œ©2009 œ. œ œ œ œ ˙ œ free at last. Free at last. Oh, I wan-na thank God we're ©2009 The Weill Music Institute at Carnegie Hall 20 32 # j 33 # œ ˙ j j œ j œ & œ œ J œ œ œ ˙ J œ œ œ œ œ œ œ œ œ œ free at last. Free at last, free at last thank God a'-might-y we're The Weill Music Institute at Carnegie Hall ## j & j œ œ ˙ Ó ‰ j œ nœ #œ ˙ œ œ œ œ œ œ œ œ œ œ free at last. Free at last. Oh, I wan-na thank God we're

The Weill Music Institute at Carnegie Hall 3 24 # # j j ‰ œ œ œ œ & œ œ œ œ.   œ œ free at last. Thank God a'-might-y we're The Weill Music Institute at Carnegie Hall # & # j j j j j j j œ œ œ œ. œ œ œ œ œ œ œ œ œ ˙ w free at last. If you get there be - fore I do, The Weill Music Institute at Carnegie Hall

28 # j # œ œ œ œ Œ œ œ œ & J   œ œ œ free at last. Thank God a'-might-y we're # & # Ó Œ j j œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ Tell all o' my friends I'm com-ing too. Oh, we're

32 4 # # j j . j j œ œ j œ œ œ œ & œ œ œ ˙ œ œ œ ˙ J œ œ œ œ œ œ free at last. Free at last, free at last, thank God a'-might-y we're # # j . Ó j j j & j . œ œ œ œ œ œ ˙ œ œ œ œ. œ œ œ ˙ œ free at last. Free at last. Oh, I wan-na thank God we're Free At Last 3 2 Free At Last Free At Last 3 36 1. 16 2 2 Free At Last 36 # j 1. 2 # Free At Last # j j j 2 j j & œ œ œ ˙ j œ œ œ œ œ 16 # j j œ œ œ œ œ œ # j J œ œ œj ˙ J œj œ œ œ œ œ œ 16& œ 2 œ ˙ œ œ œ œ # œ ˙ j œ œ œ œ ˙ œ œ J œ œ & freeœ atœ last. Free at last,œ ˙ free atœ œlast œ œ thank Godœ a'œ-mightœ -œy we're ## freej at last. Free at last,j free at last,j thank God a'-might-y we're J œ œ J œ œ & # j j œ œ œ œ œ œ free at last. Free at last, free at last thank1. God a'-might-y we're & # œj œ œj ˙ œj œ œj ˙ Jœ œ œj œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ # 1. # free at last.œ ˙ Freeœ atœ last, freeJ at last, œ thank God a'-might-y we're # j j Ó ‰ j # free at last.j FreeÓ at last, j j free at last,j thank God a'-might-y we're & # œ œ œj ˙ œ œ œ œ œ œ œ nœ #œ ˙ œ & j œ ˙ œ œ œ œ. œ œ œ œ œ ˙ œ & # j œ ˙ Ó œ œ ‰ j # œ œ œ freeœ atœ last. œFree at œlast. œ œOh, œ œI wanœ -nnaœ thank#œ God˙ we'reœ Perelman# American# free at last.j Roots Ó Freej at last.j Oh,j I wan-na thank God we're œ œ African American Song: Uniting Voices & # j œj ˙ Ó œj œ œj œ œj œ œ œ œ ˙ œ free at last. Free at last. Oh, I wan-na thank God we're & œj œ œ ˙ œ œ œ œ. œ œ œ œ œ œ ˙ œ freeœ atœ last. Free at last. . Oh, I wan-naœ thank God we're Teacher Guide 20 free at last. Free at last. Oh, I wan-na thank God we're

# j 40 2. 20 # œ ˙ j j œ j œ & œ œ œ ˙ œ œ œ œ œ œ œ 40 2. 20 J œ œ J œ œ œ ## j . > >. > >. ## freej at last. Free at last,j free at lastj thank God a'-might-y we're & # j . œ ˙. >œ >˙ >œ >˙ & ## œj œ œ ˙ j œj ˙ œ œ œj œ œ œ œ œ œ # œj œ œj ˙ . > > œ ˙. œ ˙. & œ œ Jœ ˙ œj œ œ ˙ Jœ œ œ œ œ œ œ œ œ œ œ œ & freeœ at last. . thankœ God,˙. thank God, thank God, free at last.J Freeœ atœ last, freeJ at last œ œ thank God a'-might-y we'reœ œ œ ˙ > > # free at last. thank2. God, thank God, thank God, # freej at last.j FreeÓ at last, free at‰ lastj thank God a'-might-y we're marcato & œ ˙ 2. œ œ nœ #œ ˙ # marcato j # œ j œ œ œ œ œ œ œ œ œ # j . j j . ## freej at last. Ó Free at last. ‰ Oh,j I wan-na thank God we're & # j #œ œ œ œ. œ œ œ œ. œ œ œj œ & # j œ œj ˙ Ó ‰ j œ nœ #œ ˙ & # œj œ œj ˙ . œ j œ j œ œ œ œ œ. & œ œ œ ˙ œ œ œ œ œ œ œ œ œ nœ #œ ˙ œ freeœ at last. thank#œ Godœ a'œ-mightœ -yœ,. thankœ Godœ a'œ-mightœ -yœ,. thank God a'œ-might-y, freeœ at last. Freeœ at last.œ œ Oh,œ œ œI wan-na thank God we'reœ œ œ ˙ œ œ free at last. thank God a'-might-y, thank God a'-might-y, thank God a'-might-y, free at last. 3 Free at last. Oh, I wan-na thank God we're 24 # # j 3 Broad 24 j ‰ 3 œ œ œ œ 24& œ œ   œ œ 44 rit. # œ œ. U Broad freej at last. Thank God a'-might-y we're 44 rit. , , U & ## j j ‰   œ œ œ œ ## >œ U>˙. ˙ ˙ w w & # œ œ œj œ. ‰   œ œ œ œ œ œ & # > > œ œ œ œ œ œ , , U freeœ atœ last.œ œ. Thank God a'-mightœ -œy we're # œ ˙. ˙ ˙ w w & thank God, Thankœ Godœ a'-mightœ -œy we'reœ free at last. ## freej at last. Thank God a'-might-y we're œ & j j j j j j thank God, Thank God a'-might-y we're free at last. œ œ rit. # œ œ œ. œ œ œ œ œ œ œ œ ˙ w U , , , U ## freej at last. If you get there be - fore I do, # rit. j & # œj j j j œ j j j # U. œ œ œ œ œ œ , , , U & œ œ œj œ. œj œj œ œj œj œ œj œ œ ˙ w & ## #œ œ œ œj œ œ #˙ n˙ œ œ œ œ w free atœ last.œ œ. Ifœ youœ get thereœ œ œ beœ - foreœ œI do,˙ w & #œ >œ >œ >œ >œ. œ œ œ œ œ œ œ #˙ n˙ œ œ œ œ w free at last. If you get there be - fore I do, thank God> >a'-might> -y>, Thank God a'-might-y we're free at last, we're free at last. thank God a'-might-y, Thank God a'-might-y we're free at last, we're free at last. 28 ## j 28& œ œ œ œ Œ   œ œ œ 28 J œ œ œ SG 3416 ## freej at last. Thank God a'-might-y we're SG 17 & ## œj œ œ œ Œ   œ œ œ œ œ & œ œ Jœ œ Œ   œ œ œ œ œ œ “Free at Last” # free at last.J Thank God a'-might-y we'reœ & # freeÓ at last. Œ j j Thank God a'-might-y we're # œ œ œ œ œ œ œ œ œ œ ˙ ˙ œ œ Chorus ## Ó Œ Tell all o' my friends I'm com-ing too.j Oh, we're & # Ó Œ œ j œ œj ˙ ˙ œ Free at last, free at last & œ œ œ œ œ œ œ œj œ œ ˙ ˙ œ œ Thank God Almighty, we’re free at last. Tœell4 all o'œ myœ friendsœ œ I'mœ comœ -ing too. Oh, we'reœ 32 Tell all o' my friends I'm com-ing too. Oh, we're Free at last, free at last # Thank God Almighty, we’re free at last. 32 # j j 4. j j œ j œ & œ 4. œ ˙ œ œ œ œ œ œ œ œ 32 # œ œ ˙ œ œ J œ œ ## freej at last.j . Freej at last,j freeœ at last,j thankœ God a'-might-y we're One of these mornings, so bright and fair & # œj œ j . j œj ˙ œ œ œj œ œ œ œ œ œ œ œ & œ œ œ ˙ . œ œ œ ˙ J œ œ œ œ œ œ œ œ œ œ Thank God Almighty, we’re free at last. # free at last.œ ˙ Freeœ atœ last, freeJ at last, œ thank God a'-might-y we're # free at last.j . FreeÓ at last, j j free at last,j thank God a'-might-y we're I’m gonna put on my wings and try the air & j . œ œ œ # œ œ œ ˙ œ œ œ œ. œ œ œ ˙ œ Thank God Almighty, we’re free at last. ## free at last.j . Ó Freej atFreelast.j At Last Oh,j I wan-na thank God we're3 & # j œj ˙ . Ó œj œ œj œ. œj œ œ œ œ ˙ œ & œj œ œ ˙ œ œ œ œ œ œ œ œ œ œ ˙ œ Chorus freeœ atœ last. Free at last. . Oh, I wan-naœ thank God we're 36 free at last. Free at last. Oh, I wan-na 1thank. God we're # j # œ œ œ ˙ j j œ œ j œ œ œ If you get there before I do & J œ œ œ ˙ J œ œ œ œ œ œ œ Thank God Almighty, we’re free at last. free at last. Free at last, free at last thank God a'-might-y we're Tell all of my friends, I’m coming too 1. Thank God Almighty, we’re free at last. ## j & j œ œ ˙ Ó ‰ j œ nœ #œ ˙ œ œ œ œ œ œ œ œ œ œ Chorus free at last. Free at last. Oh, I wan-na thank God we're

The Weill Music Institute 34 40at Carnegie Hall 2. # > > > > 35 # j j . œ ˙ œ ˙. œ ˙. & œ œ œ ˙ . free at last. thank> God,> thank God, thank God,

The Weill Music Institute 2. marcato at Carnegie## Hall . j j j & j j . #œ œ œ œ. œ œ œ œ. œ œ œ œ. œ œ œ ˙ œ œ œ free at last. thank God a'-might-y, thank God a'-might-y, thank God a'-might-y,

The Weill Music Institute at Carnegie Hall Broad 44 rit. U , # >œ >˙. ˙ , w Uw & # œ œ œ œ œ ˙ The Weill Music Institute œ at Carnegiethank God, Hall Thank God a'-might-y we're free at last. rit. U , , , # j U & # #œ œ œ œ œ. œ œ œ œ œ œ #˙ n˙ œ œ > > > > œ œ œ w The Weillthank MusicGod a' -mightInstitute-y, Thank God a'-might-y we're free at last, we're free at last. at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

WORKSHEET: My Hopes and Dreams WORKSHEET: “A New Dream” Complete this worksheet based on the dreams you have for your world, including places where you would like to see these dreams fulfilled. 1. What are some of the hopes and dreams expressed in Spirituals? I have a dream that one day

I have a dream that one day

2. How can Spirituals be meaningful in today’s world? How do they unify us? I have a dream that one day

I have a dream today.

And if America is to be a great nation, this must become true. So let freedom ring. Let freedom ring from SG 3618 3. If there is one thing you could change for your family or community, what would it be? SG 19 Let freedom ring from

Let freedom ring from

4. What are some dreams you have for yourself? And when this happens, we’ll be able to join hands and sing in the words of the old Negro Spiritual, Free at last! Free at last! Thank God Almighty, we are free at last!

5. What are some dreams you have for your country? For the world?

Permission to reprint excerpts from the “I Have a Dream” speech is granted by Intellectual Properties Management, Atlanta, Georgia, as exclusive licensor of the King Estate.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Lesson 6: UNITING OUR VOICES PART 3: Sharing the Lyrics • Let the groups share their lyrics with one another. Discuss these questions Aim: What makes a voice compelling? How do we unite our voices as a group? as a class: Objective: Students share their homework, observe qualities that make for compelling – If we are to put these lyrics together in a song, what would be the use of voice, and begin to unite their ideas into lyrics. logical order? Standards: NYS Social Studies—1.1, 1.3; Blueprint—Music Making and Music – How often would we state the chorus? Literacy Materials: Perelman American Roots CREATIVE EXPLORATION PART 1: Giving Voice to New Dreams • Help students revise the chorus and lyrics based on their mottos • Have students perform their “A New Dream” assignments as speeches. and dreams. Discuss these questions as a class: • Using the melody of “Free at Last,” another African American song, – What makes for a compelling speaker? or a completely new melody, help students create a vocal arrangement – How does a compelling speaker use his or her voice? that can be performed or played from a recording at the concert. Share these versions with staff at Carnegie Hall.

PART 2: Turning Dreams into Lyrics • Discuss this question as a class: SG 38 – What are some of the dreams we care about together as a group? • Have students create a motto about realizing one of their dreams. A good motto says as much as possible in only a few words and helps people to unite around a cause. Provide several examples: “Yes, we can!” (from Barack Obama’s presidential campaign); “Faster, Higher, Stronger” (from the Olympics). Discuss this question as a class: – What are these mottos trying to unite people to do? • Create a motto as a class for one of the dreams that the students have in common. • Turn the words of this motto into a short chorus; the chorus of “Free at Last” can serve as an example. • Divide the class into small groups, assigning each group a topic or a dream that the students have in common. Ask each group to create a short four-line verse that describes the dream and the emotions surrounding it. Have the groups practice so that they can easily recite the lyrics together.

Civil Rights protesters give voice to their grievances.

The Weill Music Institute 38 at Carnegie Hall 39

The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Lesson 7: United in Faith: Gospel Song WORKSHEET: Gospel Music and Inspiration

PART 1: Songs that Inspire Aim: How does music inspire us and our community? 1. A song that inspires me is Objective: Students identify inspiring music from their lives and reflect on inspirational gospel music. Standards: NYS Social Studies—1.3; Blueprint—Music Literacy and Making Connections 2. A few words I would use to describe the music to this song are Materials: Perelman American Roots, Perelman American Roots CD

Part 1: Discussing Inspiration, Belief, and Music • Ask students to complete the first part of the Gospel Music and Inspiration worksheet. Discuss these questions as a class: 3. A few words I would use to describe the voice and style of the singer are – What are some ways that religion inspires or unites people? – What functions can music have in a religious context? (Examples could include praise, adoration, worship, prayer, encouragement, testimony, teaching, and healing.)

Part 2: Listening for Unity and Inspiration in Gospel Song SG 40 • Listen to the following examples of gospel songs, and ask students to SG 20 write down their responses on the Gospel Music and Inspiration worksheet: Mahalia Jackson singing a gospel arrangement of the hymn “Amazing Grace” [Track 12], the Brooklyn Tabernacle Choir singing Calvin Bridges’s “I Can Go to God in Prayer” [Track 13], and the recording of the Spiritual “Wade in the Water” in a gospel style [Track 14]. • Discuss and reflect on the responses; listen to the selections again as needed.

MUSICAL EXTENSION Mahalia Jackson • Listen to the Fisk Jubilee Singers’ rendition of “Wade in the Water” and compare it to the gospel rendition. Make a Venn diagram PART 2: “Amazing Grace,” performed by Mahalia Jackson comparing and contrasting the two. • Experiment with singing “Swing Low, Sweet Chariot” in more of 1. What do you notice about Mahalia Jackson’s singing? a gospel style.

2. What kind of unified mood or message do you think she is trying to inspire?

The Weill Music Institute 40 at Carnegie Hall 41

The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

“I Can Go to God in Prayer” by Calvin Bridges, performed by the Brooklyn Lesson 8: United We Move: Telling Stories with African American Tabernacle Choir Song and Dance

1. What kind of unified mood or message do you think this song is trying to inspire? Aim: How does Alvin Ailey use Spirituals and gospel music to create narrative dances in his masterwork Revelations? Objective: Students see portions of Alvin Ailey’s Revelations and observe how he uses Spirituals and gospel music to convey universal stories of faith. Standards: NYS Social Studies—1.1, 1.3; Blueprint—Making Connections and Music 2. Do you notice unity in this performance? Give at least one example to support your Literacy opinion. Materials: Perelman American Roots, Perelman American Roots CD, excerpts from Alvin Ailey Revelations DVD

PART 1: Moving with African American Song • Have your students form a circle, facing away from each other so that they “Wade in the Water,” from the soundtrack of Alvin Ailey’s Revelations cannot see anybody else. Let them stretch and limber up their bodies. • Tell the class that when you put on the music, they should move in any way that feels appropriate to the song’s style. Start with a minute or two of “Rocka 1. What kind of unified mood or message do you think this song is trying to inspire? My Soul in the Bosom of Abraham” [Track 15]. Without warning, switch to the Spiritual “I Wanna Be Ready” [Track 16], and encourage students to improvise SG 2142 new movements based on this different type of song. Discuss this question as a class: – How did each of these selections make you want to move? 2. Is that mood or message the same or different from the Spiritual-style version of • Let a few volunteers demonstrate a gesture or a movement that felt “Wade in the Water” performed by the Fisk Jubilee Singers? appropriate for each excerpt. Play the music and try these gestures as a group in unison.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

• Inform your students that they will be watching the second and third part of Revelations. (Each section is approximately 10 minutes.) • The second part, “Take Me to the Water,” begins with gospel arrangements of Spirituals to create the celebratory atmosphere of an outdoor ceremonial baptism at the river. After this section, a soloist dances to the Spiritual “I Want to Be Ready.” • After viewing this section, discuss these questions as a class: – How did the dancers move to the music? – What kind of a story did each section tell? – How did the story of the dance seem to correspond with the stories being sung in the songs? – How did the dancers work together to create the scenes? What role did props play? Alvin Ailey American Dance Theater performs Revelations. • The third part, “Move, Members, Move” uses gospel music to create the atmosphere of a Baptist church service in the South. PART 2: Alvin Ailey’s Revelations • After viewing this section, discuss these questions as a class: • Share the following Alvin Ailey biography and introduction to Revelations with the class. – How would you describe the mood of this section? – How are the dancers interacting? Alvin Ailey (1931–1989): Alvin Ailey was one of the leading figures in American – What story does this section seem to tell? modern dance during the 20th century. After training and working as a dancer in California, Ailey moved to New York City, where he founded Alvin – How does the movement of this gospel-inspired section compare Ailey’s American Dance Theater (AAADT). Revelations, widely regarded as a to the Spiritual-inspired “I Want to Be Ready”? masterpiece, is a work that expresses the African American experience and faith through dance and the use of Spirituals and gospel music. AAADT still performs this work almost 300 times each year. CREATIVE EXPORATION Revelations is split into three sections with the following songs in each. • Choreograph a Spiritual or a gospel song from the Perelman American Roots CD. Discuss these questions as a class: Part 1: Pilgrim of Sorrow “I Been ‘Buked” – What motions capture the rhythm or lyrics of the song? “Didn’t My Lord Deliver Daniel” – What story could we tell through movement as this music plays? “Fix Me, Jesus” Part 2: Take Me to the Water Processional “Honor, Honor” “Wade in the Water” “I Wanna Be Ready” Part 3: Move, Members, Move! “Sinner Man” “The Day is Past and Gone” “You May Run On” “Rocka My Soul in the Bosom of Abraham”

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Lesson 9: Cultural Ambassadors PART 3: Listening to Diplomacy • Listen to recordings of the respective artists on the Perelman American Roots CD [Tracks 17–20]. Aim: Who are some of the important people involved in the history of the Spiritual? • Discuss these questions as a class: How did they use music to unite people? – What do these voices have in common with each other? Objective: Students study how individuals have contributed to the importance of Spirituals and gospel music in American culture. – What do they have in common with popular African American singers today? Standards: NYS Social Studies—1.3; Blueprint—Music Literacy and Making Connections – What about these voices made them ideal Cultural Ambassadors? Materials: Perelman American Roots, Perelman American Roots CD – What obstacles did they have to overcome to help make America more united as a nation and as a culture? PART 1: Cultural Ambassadors • Introduce the notion that artists and performers can influence politics and MUSICAL EXTENSION culture. Discuss this question as a class: • Try singing “Swing Low, Sweet Chariot” in the style of one of these Cultural Ambassadors. Discuss this question as a class: – Which singers have had an impact on how people think or vote today? – How does the style affect the message of the song? (Examples could include John Legend, Will.I.Am of the Black Eyed Peas, and country singer John Rich—each who created songs and videos to influence voters during the 2008 presidential election.)

• Assign students or pairs of students to one of the four following artists who furthered African American causes and worked to unite people through their artistry: Marian Anderson, Mahalia Jackson, Jessye Norman, and Paul Robeson. In addition to the biographies on the following pages, visit nypl.org for supplemental information, or refer to the Bibliography (page 59) for more references. • After reading the profile of their artist, students should answer the questions and complete the bio-poem form on the Cultural Ambassadors worksheet.

PART 2: Group Work • Students gather in groups divided according to the artists they were assigned to share their responses and bio-poems. • Compare similarities and differences.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Cultural Ambassador Biographies

Marian Anderson was born in Philadelphia, Pennsylvania, on February 27, 1897. She joined a junior church choir at the age of six, and applied to an all-white music SG 22 school after graduating from high school in 1921, but was turned away because she MAHALIA JACKSON was born in New Orleans on October 26, 1911, and has been SG 23 was black. Consequently, she continued her singing studies with a private teacher. called “the queen of gospel.” Jackson began singing at an early age at the Mount She debuted with the New York Philharmonic on August 26, 1925, and was an Moriah Baptist Church. When she was 16, Jackson moved to Chicago, where she immediate success. In 1928, she sang for the first time at Carnegie Hall. Her reputation began singing with the Johnson Gospel Singers. She also met Thomas A. Dorsey, a was further advanced by her tour through Europe in the early 1930s where she did musician, composer, and songwriter who was beginning to write sacred music in a not encounter the racial prejudices she had experienced in the US. During this time, style that borrowed from jazz and blues. During the 1930s, Jackson began touring with Anderson made numerous commercial recordings of Spirituals. Dorsey, and she began to make her first commercial recordings with Decca records. In 1947, her rendition of “Move On Up a Little Higher” sold over one million copies, In 1939, the Daughters of the American Revolution (DAR) refused permission for resulting in an increased demand for her to appear on radio and television. In 1954, Anderson to sing to an integrated audience in Constitution Hall in Washington, DC. Jackson hosted a gospel music program on CBS television. Instead she sang a concert on the steps of the Lincoln Memorial. The concert, which began with a dignified and stirring rendition of “My Country, ‘Tis of Thee” attracted a At the request of Dr. Martin Luther King Jr., Jackson sang “Move On Up a Little Higher” crowd of more than 75,000 people of all colors and was a sensation with a national at the March on Washington in 1963 just before he delivered his famous “I Have a radio audience of millions. Dream” speech. A supporter of Dr. King during the 1960s, Jackson also sang “Take My On January 7, 1955, Anderson broke the color barrier by becoming the first African Hand, Precious Lord” at his funeral. American to perform with the New York Metropolitan Opera. On that occasion, she sang the part of Ulrica in Verdi’s Un ballo in Maschera. In 1958 she was officially Although she refused to sing secular music throughout her entire career, Mahalia designated a delegate to the United Nations by President Dwight D. Eisenhower, Jackson’s style derived much from blues singers Ma Rainey and Bessie Smith. She also a formalization of her previous role as “goodwill ambassador.” She received the UN served as a mentor to Aretha Franklin and has been a major influence on singers of Peace Prize in 1972. many different genres and styles.

To hear Marian Anderson, listen to “He’s Got the Whole World in His Hands” To hear Mahalia Jackson, listen to “Move On Up a Little Higher” [Track 18] on the [Track 17] on the Perelman American Roots CD. Perelman American Roots CD.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

JESSYE NORMAN is “one of those once-in-a- Paul Robeson was born April 9, 1898, generation singers who is not simply following in Princeton, New Jersey. His father had run in the footsteps of others, but is staking out away from a North Carolina plantation where her own niche in the history of singing.”* he was born into slavery. Robeson won an This rich history continues as she performs academic scholarship to Rutgers University. around the world, bringing her joy of singing He was only the third African American and passion to recital performances, operatic student ever accepted at Rutgers and was portrayals, and appearances with symphony the only black student on campus at the orchestras and chamber music ensembles. The time. After graduation, Robeson moved to sheer size, power, and luster of her voice share Harlem and began to study law at Columbia equal acclaim with that of her thoughtful music University. Between 1920 and 1923, Robeson making, innovative programming of the classics, helped pay his way through school by working and advocacy of contemporary music. as a professional football player and as a performer. Miss Norman is the recipient of many awards and honors, including the Kennedy Center Honor With his beautiful and powerful bass voice, awarded in December 1997 when she made Robeson found fame as a singer and actor. He history by becoming the youngest recipient of was one of the few true basses in American this, the highest award in the US for performing music, able to sing as low as C below the artists, in its then 20-year history. bass clef. Robeson was among the first to bring Spirituals to the concert stage in the SG 24 She is an honorary ambassador to the United 1920s, ‘30s, and ‘40s. Throughout his career SG 25 Nations and was awarded the French Legion of he appeared in countless stage and film Honor by President Francois Mitterand. productions, all while fighting racial injustice in the US. He was closely associated with the Her many other prestigious distinctions include song “Ol’ Man River,” which he sang in the honorary doctorates at 35 colleges, universities, stage version of Show Boat and in concert. and conservatories around the world, the most recent being the Doctor of Fine Arts from the After a long hiatus from performing, he University of North Carolina in May 2008. Miss gave two sold-out recitals at Carnegie Hall Norman, a five-time Grammy winner, is a fellow in 1958 that were later released on record. of the American Academy of Arts and Sciences. He was also celebrated at Carnegie Hall on the occasion of his 75th birthday. *New York Times

To hear Jessye Norman, listen to “O, By and By” [Track 19] on the Perelman To hear Paul Robeson, listen to “Deep River” [Track 20] on the Perelman American Roots CD. American Roots CD.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

WORKSHEET: Cultural Ambassadors Lesson 10: Meet the Fisk Jubilee Singers

Name of artist: Aim: As a united cultural force, how have the Fisk Jubilee Singers used Spirituals to advance the causes of education and racial equality?

Objective: Students watch the Perelman American Roots DVD about the Fisk Jubilee What role has music played in this artist’s life and career? Singers and discuss the ensemble’s social and musical contributions. Standards: NYS Social Studies—1.3; Blueprint—Music Literacy and Making Connections Materials: Perelman American Roots, Perelman American Roots CD, Perelman American Roots poster, A Spiritual Journey with the Fisk Jubilee Singers DVD

Use the information to create a bio-poem for your artist, filling in the blanks as follows:

(name of artist)

SG 26 Who believed , (something the artist strongly believed in)

Who , (something the artist accomplished)

, (a second accomplishment of the artist)

and , (a third thing the artist accomplished) Fisk Jubilee Singers, 1873 . (conclude with a final thought about the artist) PART 1: Meet the Fisk Jubilee Singers • Remind students that they will be seeing the Fisk Jubilee Singers in concert at Zankel Hall. • As a class, watch the DVD A Spiritual Journey with the Fisk Jubilee Singers (22 minutes). • Ask students to complete the Fisk Jubilee Singers worksheet as they watch the DVD.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

PART 2: Reflecting on the DVD CREATIVE EXPLORATION #1 • In pairs, let students discuss the DVD and research or review any details that they may have missed. • By now, your class has had the opportunity to create and explore several original works and performances, including a classroom motto, • As a class, share your answers and observations. “A New Dream” speech, work rhythms, and new arrangements of “Swing Low, Sweet Chariot” and “Free at Last.” • Choose one to serve as the basis for a final project, which can be recorded and submitted to Carnegie Hall staff before the concert. • Begin developing and refining the project, using some of the guidelines outlined in the next lesson.

CREATIVE EXPLORATION #2 • Once you have identified the activity that you will record together as a class, document the activity using audio or video recording equipment. • Share this work with staff at Carnegie Hall.

Fisk Jubilee Singers, 1961

MUSICAL EXTENSION • Using repertoire suggested by New York State School Music Association or some of the Spirituals we have studied, hold a mock audition for admission to the Fisk Jubilee Singers. • In addition to having students sing and sight-read, include questions about the history of the Fisk Jubilee Singers and about their motivation for auditioning.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

WORKSHEET: Fisk Jubilee Singers Lesson 11: The Final Project

1. When and where were the Fisk Jubilee Singers founded? Why? Aim: How do we express what we’ve learned in our final project? Objective: Students reflect on the work they have done throughout the curriculum and prepare for the final project. Standards: NYS Social Studies—1.3; Blueprint—Making Connections Materials: Perelman American Roots, Perelman American Roots CD

2. Where have the Fisk Jubilee Singers performed? PART 1: Reviewing Our Work • Ask students to review their work from throughout the American Roots curriculum. While students work, play selections from the American Roots CD. • When complete, discuss these questions as a class: – As you looked through your American Roots worksheets, what activities 3. What qualities does Mr. Paul Kwami, Music Director of the Fisk Jubilee Singers, look or information did you remember most vividly? for in applicants? – What was your favorite way of participating in the African American song lessons?

SG 27 PART 2: Preparing for the Final Project • Make a list of the creative work you’ve done in the lessons that might serve as a springboard for a final project. Possible options include: 4. What Spirituals did you hear on this DVD? – developing a work song or rhythmic piece (Lesson 2) – a new arrangement of “Swing Low, Sweet Chariot” (Lesson 4) – the “A New Dream” speech (Lesson 5) – a new song based on students’ dreams (Lesson 6) – a choreographed performance of a song (Lesson 8) 5. In what ways have the Fisk Jubilee Singers empowered or united African Americans? • Discuss these questions as a class: – Which project do we want to focus on? – What do we need to do to get ready to make an audio or video recording? – What roles can different people have? – What aspects of what we’ve learned do we want to include in our recording?

6. What was something else that you learned about Spirituals from watching this DVD? PART 3: Rehearsing • Once students have voiced their opinions, give them a chance to practice and rehearse. HOMEWORK • Use the Letter to Paul Kwami worksheet to write a letter to the director of the Fisk Jubilee Singers. Express your feelings about the upcoming concert and include questions that you may have.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

WORKSHEET: Letter to Paul Kwami CONCERT: Fisk Jubilee Singers in Zankel Hall On May 21, 2010, you and your class will come to Zankel Hall at Carnegie Hall to participate in the culminating concert of the Perelman American Roots program. The Fisk Jubilee Singers will perform a program of African and African American songs that feature the works studied throughout this curriculum. In addition, selected Paul Kwami students can share one of the following: Fisk University • present their classroom motto, explaining how it communicates their collective Nashville, Tennessee hopes and dreams • present their “A New Dream” speech Dear Mr. Kwami: • present their work-rhythms exploration • present their new arrangement of “Swing Low, Sweet Chariot” • present their new arrangement of “Free at Last”

SG 28

Sincerely,

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Lesson 12: African American Song Post-Curriculum Survey

Aim: What have we learned about African American song and its ability to unite people? 1. Name a memorable experience you have had in your study of African American song. Objective: Students reflect on their whole American Roots experience and imagine the role Spirituals might play in the future. Standards: NYS Social Studies—1.2; Blueprint—Making Connections Materials: Perelman American Roots, Perelman American Roots CD, Perelman American Roots poster 2. Who or what comes to mind when you think of African American song? PART 1: Post-Curriculum Survey • As homework, have the students complete the Post-Curriculum Survey. • Ask students to briefly share their responses from the Post-Curriculum Survey. You may do this as a class, in groups, or in pairs. • Listen to the audio recording or watch the video recording of your final project. 3. What does the word united mean to you? How have you experienced or witnessed PART 2: African American Song Timeline unity in your study of African American song? • Ask students to examine the African American song timeline included on SG 29 your American Roots poster. • In groups, students can add to the timeline, projecting how Spirituals and the performers we have studied might play a role in the next 100 years.

PART 3: Sharing and Summarizing • Groups present their timelines and discuss them as a class. Discuss these 4. Can music unite a group of people or a society? If so, how? If not, why? Give at least questions as a class: two examples to support your opinion. – How might you help these potential milestones become realities? – How might African American song play a role in your life and in your community?

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

BIBLIOGRAPHY

BOOKS AND PERIODICALS

Allen, William Francis, Charles Pickard Ware, and Lucy McKim Garrison. Slave Songs of the United States. New York: A. Simpson, 1867.

Bowen, Meirion. The Contemporary Composers: Michael Tippett. London: Robson Books, Ltd., 1981

Burnim, Mellonee V. and Portia K. Maultsby, eds. African American Music: An Introduction. New York: Routledge, Taylor, and Francis Group, 2006.

Crawford, Richard. An Introduction to America’s Music. New York: W. W. Norton and Company, 2001.

Epstein, Dena J. Sinful Tunes and Spirituals: Black Folk Music to the Civil War. Urbana and Chicago: University of Illinois Press, 1977.

Jackson, Bruce, ed. The Negro and His Folklore in Nineteenth-Century Periodicals. Austin: University of Texas Press, 1967.

SG 30 King, Martin Luther, Jr. I Have a Dream: Writings and Speeches that Changed the MEET THE ARTISTS: Fisk Jubilee Singers World. New York: HarperCollins Publishers, 1992. The Fisk Jubilee Singers are young men and women—vocal artists and students—from Matthews, David. Michael Tippett: An Introductory Study. London: Faber and Faber, 1980. Fisk University in Nashville, Tennessee. The original Jubilee Singers introduced “slave Maultsby, Portia. “African American Traditional Music: Cultural Traditions and songs” to the world in 1871 and were instrumental in preserving this American musical Aesthetics.” The New Grove Dictionary of Music and Musicians. Rev. ed., 2000. tradition. They broke racial barriers in the US and abroad in the late 19th century by becoming the first African American ensemble to tour Europe, entertaining many of ———. “The Use and Performance of Hymnody, Spirituals, and Gospels in the Black the world’s kings and queens. At the same time, they raised money in support of their Church. Hymnology Annual, 1992. beloved school. Murphy, Jeanette Robinson. “The Survival of African American Music in America.” In 1999, the Singers were featured in the documentary Singers: Sacrifice and Glory, Popular Science Monthly. New York, 1899. part of the PBS award-winning television series The American Experience. To this day, Patterson, Lindsay, ed. The Negro in Music and Art. New York: The Association the Fisk Jubilee Singers continue the tradition of singing Negro Spirituals around the for the Study of Negro Life and History, 1969. world. This has allowed the ensemble to share its rich heritage while preserving this distinct style of music. Quam, Alison, ed. American Negro Spirituals Performed by the Harlem Spiritual Ensemble. New York: The Lincoln Center Institute, 1993. In July 2007, the Fisk Jubilee Singers went on a sacred journey to Ghana at the invitation of the US Embassy. During this historic event, the ensemble joined Ghanaians Southern, Eileen. The Music of Black Americans: A History, 3rd ed. New York: W. W. in celebrating the nation’s 50th independence anniversary (Golden Jubilee). Norton and Company, 1997. Southern, Eileen and Josephine Wright. Iconography of Music in African-American Culture 1770s–1920s. New York: Garland Publishing, Inc., 2000.

Tippett, Michael. Tippett on Music. Oxford, England: Clarendon Press, 1995

Titon, Jeff, ed. Worlds of Music. Boston: Thomson Schirmer, 2005.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

DISCOGRAPHY Tippett, Michael. A Child of Our Time: Oratorio for soli, chorus and orchestra with text and music by Michael Tippett. Mainz: Schott, 1944. A Child of Our Time. Sir Colin Davis, conductor, Decca Label Group, 1975. Williams, Arthur B. Jr., ed. Lift Every Voice and Sing II: An African American Hymnal. Afro-American Spirituals, Work Songs, and Ballads. The Library of Congress Archive of New York: The Church Pension Fund, 1993. Folk Culture. Rounder CD 1510, 1998. Work, John W. American Negro Songs: 230 Folk Songs and Spirituals, Religious, and Anderson, Marian. Marian Anderson: Spirituals. BMG Classics. 09026-63306-2, 1999. Secular. Mineola, NY: Dover Publications, Inc., 1998.

Battle, Kathleen and Jessye Norman. Spirituals in Concert. Deutsche Grammophone, CD 429 790-2, 1991.

Been in the Storm so Long: Spirituals, Folk Tales, and Children’s Games from John’s VIDEOGRAPHY Island. Smithsonian Folkways Recordings SF 40031, 1990. A Spiritual Journey with the Fisk Jubilee Singers. DVD. Fisk Jubilee Singers. Tennessee Fisk Jubilee Singers. In Bright Mansions. Curb Productions, Inc. / Fisk University, 2003. Arts Commission and the National Endowment for the Arts’ American Masterpieces Initiative, 2007. ———. Rise, Shine! The Fisk Jubilee Singers Live in Concert. Fisk Jubilee Singers, Paul T. Kwami, producer. Fisk University CD19901, 1999. Matthew Kennedy: One Man’s Journey. DVD. Directed and produced by Nina Kennedy, 2006.

———. Sacred Journey. Sunrise Entertainment, Inc., 2007. Sacred Journey. DVD. Fisk Jubilee Singers. Sunrise Entertainment, Inc., 2007.

John’s Island, South Carolina: Its People and Songs. Folkways Records, 1973. Revelations: Alvin Ailey American Dance Theater. Negro Work Songs and Calls. The Library of Congress Archive of Folk Culture. Rounder CD 1517, 1999.

Robeson, Paul. Paul Robeson Spirituals: Original Recordings 1925–1936. Naxos Gospel 8.120638, 2003. WEBSITES The Harlem Spiritual Ensemble. In Concert. Arcadia ARC 1991-2, 1991. American Public Media. “Joe Carter and the Legacy of the African-American Spiritual.” Speaking of Faith. http://speakingoffaith.publicradio.org/programs/joecarter/gallery.shtml.

Center for Teaching and Learning at the University of Denver. “Sweet Chariot: The Story PRINTED MUSIC of the Spirituals.” The Spirituals Project. http://ctl.du.edu/spirituals/Freedom/index.cfm.

Allen, William Francis, Charles Pickard Ware, and Lucy McKim Garrison. Slave Songs Encyclopedia–Brittanica Online Encyclopedia. Encyclopedia Britannica, Inc. of the United States. New York: A. Simpson, 1867. http://www.brittanica.com.

Burleigh, Harry T. The Spirituals of Harry T. Burleigh. Miami: Belwin Mills Moses, Dr. Oral. “AfricanAmericanSpirituals.com.” Publishing Corp., 1984. http://www.africanamericanspirituals.com.

Johnson, James Weldon and J. Rosamond Johnson. The Books of American Negro Postal workers singing and canceling stamps in rhythm. Video. Spirituals. New York: Da Capo Press, 1969. http://www.youtube.com/watch?v=0dw47fZLpSw&feature=related.

Silber, Irwin. Songs of the Civil War. New York: Columbia University Press, 1960. The New York Public Library, Astor, Lenox, and Tilden Foundations. “The New York Public Library.” http://www.nypl.org. Silverman, Jerry. Of Thee I Sing: Lyrics and Music for America’s Most Patriotic Songs. New York: Citadel Press, 2002. Women singing and making rhythm with hoes as they farm. Video. http://www.youtube.com/watch?v=-iB0B8J-yxE&feature=related.

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The Weill Music Institute at Carnegie Hall

Perelman American Roots African American Song: Uniting Voices Teacher Guide

Perelman American Roots CD and DVD Credits 11. “Free at Last” Kim and Reggie Harris © 1998 | From the album Steal Away: Songs of the Underground Railroad CD Courtesy of Appleseed Recordings African American Song 12. “Amazing Grace” Mahalia Jackson African Roots © 2000 | From the album The Essential Mahalia Jackson 1. “Mawu Nye Lolo” Courtesy of Apollo Records courtesy of Malaco Records Fisk Jubilee Singers 13. “I Can Go to God in Prayer” (arr. Calvin Bridges) © 2007 | From the album Sacred Journey Brooklyn Tabernacle Choir Courtesy of Fisk University Jubilee Singers © 2008 | From the INO Records release Be Glad, featuring the Brooklyn Tabernacle Choir 2. “Africa Anointed” Courtesy of Integrity Media, Inc. and the Harry Fox Agency Limit X, Christafari, and Stitchie © 2002 | From the album Africa Anointed 14. “Wade in the Water” (arr. Ella Jenkins and Howard Roberts) Courtesy of Lion of Zion Entertainment Alvin Ailey American Dance Theater’s Revelations Words and Music for “A Man Went Down to the River” by Ella Jenkins 3. “Postal Workers Canceling Stamps at the University of Ghana Post Office” © 1998 | From the album Revelations From accompanying CD to Worlds of Music, 3rd ed. Courtesy of Alvin Ailey American Dance Theater © 1996 Wadsworth, a part of Cengage Learning, Inc. Reproduced by permission. | cengage.com/permissions 15. “Rocka My Soul in the Bosom of Abraham” (arr. Howard Roberts) Alvin Ailey American Dance Theater’s Revelations 4. “Tie Tamping Chant” © 1998 | From the album Revelations Henry Truvillion Courtesy of Alvin Ailey American Dance Theater © 1997 | From the album Field Recordings Volume 6 Texas (1933–1958) Courtesy of Document Records 16. “I Wanna Be Ready” (arr. James Miller) Alvin Ailey American Dance Theater’s Revelations 5. “Rock Island Line” © 1998 | From the album Revelations Convicts of Cumins Farm in Gould, Arkansas Courtesy of Alvin Ailey American Dance Theater and ECS Publishing © 1999 | From the album Too Late, Too Late Volume 12 (1917–1948) Courtesy of Document Records 17. “He’s Got the Whole World in His Hands” Marian Anderson © 1999 | From the album Spirituals Spirituals and Gospel Courtesy of Sony Music Entertainment 6. “Goin’ Up to Glory (No More Auction Block for Me)” Fisk Jubilee Singers 18. “Move On Up a Little Higher” © 1999 and 2003 | From the albums Rise, Shine! and In Bright Mansions Mahalia Jackson Courtesy of Fisk University Jubilee Singers © 2000 | From the album The Essential Mahalia Jackson Courtesy of Apollo Records and Malaco Records 7. “Wade in the Water” Fisk Jubilee Singers 19. “O, By and By” from A Child of Our Time © 1999 and 2003 | From the albums Rise, Shine! and In Bright Mansions Jessye Norman Courtesy of Fisk University Jubilee Singers © 1975 | From the album A Child of Our Time Courtesy of Universal Music Enterprises 8. “Rise, Shine, For Thy Light is a’ Comin’” Fisk Jubilee Singers 20. “Deep River” © 1999 and 2003 | From the albums Rise, Shine! and In Bright Mansions Paul Robeson Courtesy of Fisk University Jubilee Singers © 2000 | From the album: Rhapsodies in Black: Music and Words from the Harlem Renaissance Courtesy of Sony Music Entertainment 9. “I Want to Be a Christian” Fisk Jubilee Singers © 1999 and 2003 | From the albums Rise, Shine! and In Bright Mansions Courtesy of Fisk University Jubilee Singers DVD 10. “Swing Low, Sweet Chariot” A Spiritual Journey with the Fisk Jubilee Singers Fisk Jubilee Singers © 1999 and 2003 | From the albums Rise, Shine! and In Bright Mansions Documentary produced by News 2 WKRN, Nashville Courtesy of Fisk University Jubilee Singers Excerpts from Alvin Ailey American Dance Theater’s Revelations Courtesy of Alvin Ailey American Dance Theater

The Weill Music Institute 66 at Carnegie Hall 67

The Weill Music Institute at Carnegie Hall