Role Play and Socialization

           This game is titled, The Farmer’s in the Dell. It is performed by St. Saviour’s C of E Primary School in Venice, London. The instrumentation for this game is voice. The Farmer’s in the Dell is singing game, and children’s song. The song was first recorded in Germany, and is believed to have made its way to North America by German immigrants. 

           Play is important in the learning and development of young children. Lew and Campbell state, “In addition to learning the repertoire of chants and games, Indian children learn the social skills of establishing membership in a peer group and of learning game rules and ritual actions, while continually reinforcing physical skills (e.g., running, walking, hopping, and skipping) that are important in their growing years.” This is not specific to just the Indian culture, but globally. Many students around the world partake in games that promote social skills, guidelines and physical activities. In fact, circle games are prevalent in many cultures. Musical games such as The Farmer and the Dell, can help children learn how to follow routines by simply following the game rules. This game can also help students develop social skills by allowing them to hold hands, and allowing the child in the middle of the circle to pick a friend. Physical activity and coordination skills are also affected when children have to skip sideways in a circle. Students develop social skills in this game, when selecting the farmer's family. They may select friends, or classmates they may not know yet, allowing them to find ways to interact with unfamiliar people. This game also helps students take turns, and the moving encourages them to interact with one another. 

          

  Children join hands and dance around the farmer, who stands in the center of the circle as they sing. At the end of the first verse, the farmer chooses his wife, who joins him inside the circle. At the end of the next verse, the wife chooses a child. The verses continue with students being selected as the nurse, bow, dog, rat, and cheese. Who ever ends up being the cheese becomes the farmer for the next round. The lyrics are as follows: 

The farmer in the dell

The farmer in the dell

Hi-ho, the derry-o

The farmer in the dell

The farmer takes a wife

The farmer takes a wife

Hi-ho, the derry-o

The farmer takes a wife

The wife takes a child

The wife takes a child

Hi-ho, the derry-o

The wife takes a child

The child takes a nurse

The child takes a nurse

Hi-ho, the derry-o

The child takes a nurse

The nurse takes a cow

The nurse takes a cow

Hi-ho, the derry-o

The nurse takes a cow

The cow takes a dog

The cow takes a dog

Hi-ho, the derry-o

The cow takes a dog 

The dog takes a cat

The dog takes a cat

Hi-ho, the derry-o

The dog takes a cat

The cat takes a rat

The cat takes a rat

Hi-ho, the derry-o

The cat takes a rat

The rat takes the cheese

The rat takes the cheese

Hi-ho, the derry-o

The rat takes the cheese

The cheese stands alone

The cheese stands alone

Hi-ho, the derry-o

The cheese stands alone 

Call and Response

The title of this piece is Swing Low, Sweet Chariot, Performed by the Plantation Singers of Charleston, South Carolina. Their music originates from the low country of South Carolina. This piece is known as a negro spiritual which was one of many sung during and after the slavery period in America. The piece begins with a soloist and an acapella group. After two call and responses, the song is repeated with instruments and a quicker tempo. The Plantation Singers use percussive instruments such as; tambourines, wood block, hand drum,  bongos, and a cabasa. The soloist begins the solo with the call, “Swing low, sweet chariot.” The choir responds with, “Coming forth to carry me home.” Together, they repeat the words from both the call and the response. 

Each time the soloist/leader sings a call, the choir responds with “Coming forth to carry me home.” Pieces like this can allow students to “practice and play out skills and concepts they have begun to acquire” Campbell, pg. 212. The soloist can change the words, as long as they understand the musical structure. Negro spirituals were sung at churches. Using one of Campbell’s suggestions, students could collect songs with call and response form and develop a medley of these songs. The students could also use their stead percussive rhythm to create a call and response form. 

Campbell, P. S. (2004) Teaching Music Globally. Oxford, New York: Oxford University Press, Inc.

[RTL Nieuws New York]. (2012, February 22). Swing Low, Sweet Chariot -The Plantation Singers. [Video File]. Retrieved from https://youtu.be/ljup8cIRzIk.

The Models of Authenticity

Sandstone Middle School World Music Class

West Africa, Ghana

Kpanlogos, and Djembes 

     Mrs. Ellis, the music teacher at Sandstone Middle School, does not take the performance out of context to

teach her students. Without the use of traditional instruments, I believe some music educators would rely on

traditional American wind band classroom instruments. Palmer describes authenticity as “A continuum places

absolute authenticity on one end and I assume music taken out of context on the other end” pg. 24. The piece is

performed on traditional instruments from Ghana such as the kpanlogos, and djembes. 

Kivy’s explains the historical and personal authenticity as “Using authenticity to enhance the aesthetic value.

This can be done by using instruments pertaining to that culture, and knowing the intention of the composer’s

and the performance practices at that time” pg.25. The instruments used for this ensemble are unique and

topped with African antelope hide. The African music culture make use of corpophones, and membranophones

quite often.  

     Swanwick explains authenticity as reproduction, reality, and relevance. He describes reproduction as

“reproducing the piece exactly as it was first performed.” “Reality as reflecting the music practice in the world 

and not just in the classroom, and relevance as generating individual meaning” pg.25. I believe Mrs. Ellis’ world

music class creates an authentic reproduction of the piece, but as Kivy and Koops argue, “This hinges on a

belief that there is a unitary example to produce” pg. 26. This assumptions bothers many educations because

we believe that each performance is unique. No one can perfectly replicate the first performance of

Tchaikovsky’s nutcracker, no matter how many times it has been performed. I also believe Mrs. Ellis should

describe to her students (if she has not already) why a piece of music is important to the people who created it. 



                                                                                  References 

Koops, L.H. (2010). "Can't We Just Change the Words?": The Role of Authenticity in Culturally Informed Music Education. Music Educators Journal, 97(23), 23-28. doi: 10.1177/0027432110376892

https://youtu.be/UHPr7efX5Y8

 

Context in music

                                                                 Context in Music

     Knowledge of the music's context provides an understanding of its cultural and historical significance. Students who can understand the history behind a specific song such as, Sometimes I feel Like a Motherless Child, can understand the cultural meaning behind the piece. This pieces dates back to a time when children of slaves were sold away from their parents. Negro spirituals have christian concepts as well as the tribulations endured by slavery. This piece does state "sometimes", which may indicate that the person may not be suffering constantly. The words may indicate a slave that is longing for his homeland, or one that may be separated from his or her family. It could indicate a slave that may have been free but left behind family that were still in captivity.

The title of this piece is, Sometimes I feel like a Motherless Child, performed by Bessie Griffin. Negro spirituals, such as this one, were created by African slaves in the United States. This song is orchestrated using organ and vocals. 




Sometimes I feel like a motherless child Sometimes I feel like a motherless child Sometimes I feel like a motherless child A long way from home A long way from home Sometimes I feel like I'm almost gone Sometimes I feel like I'm almost gone Sometimes I feel like I'm almost gone Way up in the heavenly land Way up in the heavenly land True believers a long way from home Along way from home Sometimes I feel like a motherless child A long way from home A long way from home True believers a long way from home A long way from home A long way from home A long way from home

The Bamboo Orchestra

This piece is titled,"The Nyamebekyere" It is performed by the Kukyekukyeku Orchestra (traditional bamboo orchestra) This piece originates from Ghana, in West Africa. The Instrumentation- Handmade bamboo instruments are classified as (Idiophones), clapping and stomping (corpophone) and singing (Membranophones) according to the Sachs-Hornbostel system. 

The classification system has been around for many years. Wade states, “They loved to classify and devised a variety of exhaustive categorizations (37).” As you may seen from the title of this video, it is grouped into a category as well. It is actually grouped into a few categories. Traditional, Bamboo, and Orchestra are all entirely separate categories, but when placed together, it can be used to describe a beautiful ensemble. The musicians of the bamboo orchestra are also singing, clapping, and stomping their feet. Wade states, “The human voice is often neglected in the classifications systems (p.44).” These ensemble performers are using their vocals as well. I rarely hear percussionist singing while performing in my region. Instruments are also identified by their region as well as historical associations. Instruments can be categorized by social status, gender, and spiritual associations. Classification systems are useful because they define who we are, and  defines our cultures. I believe it also helps us to identify and express certain emotions and meanings. It is something we have been doing since ancient times. 

1 Title of piece-Kilimanjaro

2 Performer(s)-Warriors from the East

3 Culture of Origin-East African

4 Instrumentation-Guitar, drums, possibly drum set, electronic keyboard, or synthesizer, and 3 males voices, 1 female voice. 

5 A one paragraph reaction to the piece that makes connections to course readings/discussion; the theme for this week is how does the study of ethnomusicology inform world music pedagogy?-

The study of ethnomusicology informs world music pedagogy by focusing on similarities and differences within the different cultures. Most people would probably be familiar with the title of this piece. Most people would also be familiar with the instrumentation used in this song. Truth be told, the only major differences would be the language used. I could easily see this tune being done by an American song writer. Music can cross cultures lines, and even take on similar or new meanings. Wade states that “We Shall Overcome began as a Christian hymn and was adopted by the 1960’s civil rights movement.” I believe we need to realize that there is no high, medium or low art. There is just art. We need to realize that one culture is not the supreme and above all culture. Just because it is what we know, does not mean that it is the only right way to do something.