Hape- Ote Inging Esson - Smithsonian Education
OCT 00 hape ote inging esson GRADES 3-8 SUBJECTS Music HistoryPublication of this issue of Smithsonian in YourClassroom is made possible through the generous support of the Pacific Life Foundation.
ontents 3 Essay10 Lesson Plan Keeping the Spirit AliveThe purpose of Smithsonian in Your Classroom is to helpteachers bring to their students the educational power ofmuseums and other community resources. It draws on theSmithsonian’s exhibitions and programs—from art to zoology—to create classroom-ready materials for grades 3–8.Each of the four annual issues takes an interdisciplinaryapproach to a single topic. The Smithsonian invites teachers to duplicate the materials for educational purposes.You may request an audiotape, large-print,braille, or disk version (Mac or PC) by writing tothe address listed on the back cover or by faxing yourname, school name, and address to 202-357-2116. Pleasespecify the issue you are requesting.Photo Credits:Cover: Miriam A. KilmerPages 4, 7, and 13: Miriam A. KilmerPage 5: William L. Clements Library, Universityof MichiganPages 6 and 8: Lauren Piperno/KingstonPage 9: Birthplace of Country Music AllianceMusic in cover image used by kind permission of HughMcGraw of the Sacred Harp Publishing Company.2A Shape-Note Singing Lesson addresses the followingstandards:National Standards for Arts Education (Music ContentStandards) Singing alone and with others, a varied repertoireof music Reading and notating music Understanding relationships between music, theother arts, and disciplines outside the arts Understanding music in relation to history andcultureNational Standard for History Regional folklore and culture contributions thathelped to form our national heritage
usic education in eighteenth-centuryAmerica was, in one respect, like music educationtoday—there was precious little of it. New England, however, had the singing schools of itinerantteachers, some of whom were the first Americancomposers. They wrote their own choral settingsfor sacred texts, music that was boldly melodic butoften quite inconsistent with rules of harmony.“Nature is the best Dictator,” declared the bestknown of them, William Billings of Boston, asometime tanner and municipal stray-hog catcher.Nature gave way to European refinements inchurch music reforms early in the nineteenth century, but by then teachers had carried the work ofBillings and the other “tunesmiths” to the westernand southern frontiers. In the South, especially,this Yankee music took hold, as did the medium inwhich it arrived, shape notes.The shape-note method of singing fromwritten music first appeared in a book calledThe Easy Instructor, printed in 1801. It used foursyllables for the seven notes of the scale and gaveeach syllable a distinctive note head: a trianglefor fa, an oval for sol, a rectangle for la, and adiamond for mi. Before the Civil War, southernpublishers sold hundreds of thousands of shapenote songbooks, the most enduring of whichwas The Sacred Harp, first printed in 1844.Revised editions are still used today in pocketsof the South where “Sacred Harp singings” arean unbroken tradition, and by people across thecountry who have come to the tradition in thelast couple of decades.The new singers observe the practices ofsouthern Sacred Harp groups. The four parts—tenor, bass, alto, and treble—face each other to form a “hollow square.” Each singer has achance to “lead a lesson” bystanding in the center of thesquare, selecting a song or setof songs, and beating thetempo with up-and-downstrokes of the arm. Thesingings are sometimes all-dayaffairs, with a break for a bigpotluck meal called “dinner onthe grounds.”The term “lesson” is a vestige of the singing schools.Some singings begin with anactual lesson, an introductionto the shapes and a firstopportunity to join one’s voiceto the antique harmonies ofthe songs. We intend this issueof Smithsonian in Your Classroom as somethinglike that. The appeal of the music cannot befully understood without singing it, and learning to sing it is still as good a way as any tobegin associating the sight of a note with itssound. If your students are able to follow thesteps of the lesson plan—led by you or a musicteacher at your school—they will be the latestinheritors of a long history that they will helpkeep alive.There are dozens of shape-note recordingsin print. Some of the earliest were made byFolkways Records, which the Smithsonianacquired in 1987. To supplement the issue,Smithsonian Folkways has put sound clips ofthree songs on a Web site:3
A shape-note singing in the Shenandoah Valley of Virginia outhern ccentsSacred Harp songs were never accompanied byharps. The reference may have been to the harpof David, the psalmist, or to the human voice asan instrument. The singing is a cappella, and theemphasis seems always on the music produced bythe singers. Each song is rehearsed by a singing ofthe syllables, which can be as passionate as therendition of the text.Most of the peculiar characteristics of themusic date back to the New England composers.The melody is carried by the tenors rather thanthe upper voices, and the singers sometimesdouble the parts: a few tenors might join in onthe highest line, but sing it an octave lower;sopranos might sing the tenor line an octavehigher. William Billings prescribed this “conjunction of masculine and feminine voices” as ameans of giving extra body to the sound.But in the South the music became, inmany ways, southern. By 1815, the shape-notelocus had shifted to Virginia’s Shenandoah Valley. The composers there favored a widelyspaced harmony, with intervalsof fourths and fifths rather thanthirds, which one singer likensto “a picket fence with a few ofthe boards missing.”Some of the early southernworks were based on tunes fromthe camp-meeting revivals thatbegan in Kentucky and Tennessee around 1800. The revivalmovement was in reaction tonearly everything we associatewith eighteenth-century rationalism, and thereaction was extreme. In her 1832 travel bookDomestic Manners in America, Frances Trollope,mother of the English novelist Anthony Trollope, described a firelit camp meeting asNathaniel Hawthorne might have described anassembly of the possessed.“About a hundred persons came forward,uttering howlings and groans so terrible that Ishall never cease to shudder when I recall them,”she recalled with a shudder. “They appeared todrag each other forward, and on the word beinggiven ‘Let us pray,’ they all fell on their knees;but this posture was soon changed for othersthat permitted greater scope for the movementsof their limbs; and they were all soon lying onthe ground in an indescribable confusion ofheads and legs.”This new kind of worship, boiling up fromthe hearts of the people, was accompanied bythe people’s own music—familiar dance andballad tunes turned into hymns. The shape-notestandard “Wondrous Love,” for instance,derived from the ballad “Captain Kidd.” In theoriginal, the pirate recounts his crimes anddepredations:4
I murdered William MoreAs I sailed, as I sailed.The adaptation kept only the framework ofmelody and meter:What wondrous love is this!Oh, my soul! Oh, my soul!The distribution of the songbooks followedthe general movement of the Scots Irish—theProtestants of Northern Ireland—most of whomcame first to southeastern Pennsylvania and thensettled in the Appalachians. In Sacred Harpsinging there are still Celtic traces: tones heldlike the drone of a bagpipe; leaps between thenotes of gapped scales, but with the lilt or theburr flattened into a twang.After the Civil War, the books passed intothe hands of African Americans, who made themusic equally their own. As folk music collectorAlan Lomax wrote about southern music in general, the isolation of the South fostered the“growth of two separate, hybrid traditions, whichwere similar enough to permit a back-and-forthmovement of songs, but sufficiently different tokeep this exchange a stimulating one.”The first collection of African American compositions was The Colored Sacred Harp, publishedin 1934 by Judge Jackson, a farmer and businessman in the wiregrass country of southeasternAlabama. The works are basically in keeping withthe New England models, but the parts are sometimes arranged into a call and response, a formbrought from Africa, and the singers take greatliberties in embellishing the notes, as in olderspirituals and newer gospel music. raditions and onventionsSacred Harp singing is a very deliberate tradition. Groups meet at a set time once a month,or as often as once a week, and attend annualregional singing conventions, where they observebusinesslike rules of order. A chair presides, calling each member up to lead, and a secretaryrecords the selections of songs. Just before theThe frontispiece of WilliamBillings’s 1770 songbook The NewEngland Psalm-singer wasengraved by another revolutionaryfigure, Paul Revere.5
break for the meal, there is a “memorial lesson,”a time to honor singers who are ill or have diedsince the last gathering.Like a constitution, these formalities preserve a democratic idea. As seen in the inwardfacing arrangement of the vocal parts, the gatherings are not performances. They are meant forthe singers themselves, and no one is excludedfrom joining in. At their most generous, the bestsingers will say that another’s lack of talent doesnot diminish the experience.“I’d go a thousand miles to sing thismusic,” said a veteran from northern Georgia.“I wouldn’t cross the street to hear it.”Most groups adhere to one of two twentieth-century versions of the 1844 book. The B. F.White Sacred Harp, also known as the Cooperrevision, has a wide distribution in the lowlandSouth, from Texas to northern Florida. TheSacred Harp, also known as the Denson revision,has a smaller traditional territory—the uplandnorthern parts of Georgia, Alabama, and Mississippi—and is a somewhat more traditionalbook. New editions include new compositions,but the publishers have held firmagainst modern harmonies.Another shape-note bastion ismountainous eastern Tennessee,where “Old Harp” groups singfrom The New Harp of Columbia,first published in 1867 in Nashville.In this book there are seven shapesfor the syllables do, re, mi, fa, sol,la, si. Seven-shape singers regardthe four-shape method—the repetition of syllables and shapes within an octave—as too complicatedThe Wiregrass Sacred Harp Singers duringthe recording of a 1993 New World Recordsalbum, The Colored Sacred Harp6rather than too simple. As a Tennessee singingschool teacher put it, “What man gives two ofhis boys the same name?”Four-shape singers beg to differ. “It’s easierfor the same reason that English is easier tolearn than Chinese,” said one. “There are fewersymbols.”A big difference in the sound of the musichas to do with tempo, but this varies among thefour-shape groups as well. Musicologists havecompared the fastest-singing Sacred Harpers toBulgarian folk choirs, while less expert listenershave been put in mind of chainsaws revving up.Old Harp and slow Sacred Harp groups seemto take a more solemn approach to the songs.Such matters of style are not in the notation;they are habits that formed as early as the nineteenth century. inging from emoryIn the piney low country of southeastern Georgia, fifty miles back from the hotels and golfcourses on the booming coast, there is a Cooperbook group made up mostly of an extended
David Lee of Hoboken, Georgiareturning. They met people from all over thecountry who, however differently they sang,were “similar to us in their hearts.” Mr. Lee hassince traveled to singings in Seattle, Minneapolis, Chicago, Washington, D.C., and Hanover,New Hampshire. Northern singers have madeHoboken, Georgia, a pilgrimage site.Some in the town have stopped singingbecause of changes the visitors have brought, butmany more have been attracted to Sacred Harpby the outside attention. In the 1970s, the groupwas down to a core of fifty members. Big annualmeetings now draw as many as five hundredpeople, about half of them locals.“I would submit that there were differencesfrom daddy’s time to great-granddaddy’s time,”said Mr. Lee. “A living tradition changes. If itstopped changing, it would be because it died.” wo inds of hangeThe seven-shape tradition, an evolution fromthe four shapes, is evolving still. Throughout theSouth, there are seven-shape “new book” conventions at which groups sing thoroughly modern gospel songs with the accompaniment ofinstruments. Some numbers feature quartets and7 family named Lee. The singings have beengoing on so long that none of the Lees cansay for sure when they started, and theyare a people whose history is always closeat hand.“I live within a mile of my great-greatgrandfather’s farm,” said David Lee, a JohnDeere dealer from the town of Hoboken.“He lived across the creek. I can see theyard lights there on certain nights.”The group is the only one in that partof the state, and until recently they knewof only one time when there was contactwith other singers. In the 1960s, one ofMr. Lee’s uncles went to a Denson-book singingin northern Alabama and brought back a taperecording. The rapid-fire sound was almostunrecognizable to the slow-singing Lees. Theycontinued to think of their own tradition assomething singular in all the world, and in someways it is.Instead of taking turns leading songs everyfew minutes, they elect one member to “leadthroughout his useful life.” Mr. Lee has led fornearly a decade, and he carries on a practicefound nowhere else: he “walks time,” steppingaround the square to the tempo of the song. Hehas a theory that this was an idiosyncrasy of thefirst singing-school teacher in the area. Becausethe family belongs to a Primitive Baptist churchand observes its prohibitions, he feels someexplanation is needed.“It’s always a forward motion, so that’s whywe say it’s not dancing,” he said. “It’s just walking funny.”In 1994, a singer in Florida found the Leeson the mailing list of the publishers of The B. F.White Sacred Harp, and invited them to a convention in Tallahassee. The invitation was surprise enough—they couldn’t have known therewas such a thing as a Sacred Harp convention.When they arrived, they felt like a lost tribe
The Wiregrass Sacred Harp Singersat Union Grove Baptist Church,Ozark, Alabamasolos. Just about all that remains of the oldmusic is the shape notation.But it’s the archaic Denson Sacred Harp thathas become the most popular book nationwide.It’s the one used at urban singings, where theremight be foccacia bread and San Pellegrinowater at the dinner on the grounds, alongsidechicken and dumplings and buttermilk piemade from recipes on a shape-note Web page.Its success is due in large part to the work ofHugh McGraw, chairman of the nonprofit publishing company, who has taught singingschools and organized conventions in twentythree states. New singers will say, though, that itwould have been their preference anyway—theoldest tunes are exactly what attracted them.“This is living history,” said StephenMcMaster of Richmond, Virginia. “When wesing the Stephen Jenks song ‘Mount Vernon,’we’re singing a funeral dirge written for GeorgeWashington. It’s all right there before you, andit’s astonishing. You realize why we won theRevolution when you listen to Billings. It’s suchgutsy music.”Mr. McMaster, whogrew up in Connecticut,first heard the work ofBillings at a choral concertat Old Sturbridge Village inMassachusetts. He liked itso much he went lookingfor sheet music, but foundnothing until he came upona copy of The Sacred Harp.He was studying music atthe University of Richmond when he attendedhis first singings, which struck a chord in him inmore ways than one.“The southern music is like nothing else,”he said. “It ends on open fifths—this wildsound—and somewhere in the back of yourhead, through all this noise that’s pouring out ofyou, you hear the missing third, because of harmonic vibrations. It just fills in on its own.” arting andAnd then there are the words. These wild tunes,unsubdued by dynamic markings and sung atfull throttle, carry the poetry of great Englishhymnists like Isaac Watts, John Newton, andCharles Wesley. Some of it trips happily alongin verse schemes that are musical without themusic:How painfully pleasing the fond recollectionOf youthful connection and innocent joy.Some of it offers a comfort that is only commiserative, like an old-time country song: 8
How tedious and tasteless the hoursWhen Jesus no longer I see;Sweet prospects, sweet birds, and sweet flow’rsHave lost all their sweetness to me.The best of it is as fine as anything in the language:’Twas grace that taught my heart to fear,And grace my fears relieved.Any resemblance to country music is probably not coincidental. The Carter Family, theLouvin Brothers, and a number of other earlyartists got their training from singing-schoolteachers. The Victor Company’s historic firstrecordings of “hillbilly” music, made in 1927 inBristol, Tennessee, included a quartet singingfrom a shape-note book.David Winship, education director of Bristol’s Birthplace of Country Music AllianceMuseum, introduces students to poetry throughcountry lyrics. His work is made easier by all themetaphors and similes, in which he sees glimmers of the psalmic language of eighteenth- andnineteenth-century hymns.“With a traditional country tune like‘Mountain Railway,’ common human experience is shown symbolically,” he said. “‘Life islike a mountain railway / With an engineerthat’s brave, / You must make the run successful / From the cradle to the grave.’”An understanding of that song does notdepend on a familiarity with steep grades andperilous trestles; a deeper understanding ofSacred Harp texts, apparently, does notdepend on sect or even faith. At an urbansinging, one is likely to meet mainline andfundamentalist Protestants, Catholics, Jews,The Carter Family: Maybelle, A.P., and Saraand a good many who would call themselvesnonbelievers. A Unitarian singer in Washington,D.C., said that she feels something spiritual inthe act of harmonizing on songs that are“uniquely meaningful to each person.”If one earthly theme runs through TheSacred Harp, it is the joy of fellowship so keenthat there is always an awareness of its obverse,the heartache of separation. The closing tune atconventions, “Parting Hand,” sums it up:Ye mournful souls, lift up your eyesTo glorious mansions in the skies;O trust his grace—in Canaan’s landWe’ll no more take the parting hand.“When there are five hundred of you,” saidDavid Lee, “chances are good that you’ll losesomebody every year. It’s difficult for me to findwords to say how much I love somebody. I cansay that through the music: Because I love youso much, I’m really going to be hurt if you’renot there.”In “Parting Hand,” this Canaan, this land ofno parting, is imagined as a place where “we’llshout and sing with one accord.” The imagination doesn’t have to reach far. It seems verymuch like a Sacred Harp singing.
esson lanKEEPING THE SPIRIT ALIVEby Leanne WibergI was working on a geological field project incentral Texas, mapping the ups and downs of asuspected impact crater, when I stumbled uponmy first Sacred Harp singing. Walking along ahigh limestone ridge, I heard a faint sound, akind of wail, coming from the river valley below.It was a little spooky. I headed down the slopeand followed it to what my topographical maptold me was a church. The building, baked bareof all paint, looked more like a disused barn.Singers of all ages were gathered at a picnicshelter out back, seated at tables arranged in asquare. I watched and listened, entranced by thestrange harmoni
rendition of the text. Most of the peculiar characteristics of the music date back to the New England composers. The melody is carried by the tenors rather than the upper voices, and the singers sometimes double the parts: a few tenors might join in on the highest line, but sing it an octave lower; sopranos might sing the tenor line an octave .
lesson 12. how to tell time w orkbook l esson 12: c Ómo decir la hora - h ow to tell time lesson 13. negatives w orkbook l esson 13: l a negaciÓn - n egation lesson 14. prepositions w orkbook l esson 14: p reposiciones - p repositions lesson 15. por and para w orkbook l esson 15: p or and p ara lesson 16. perfect tense w orkbook l esson 16: t iempo perfecto - p erfect t ense
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Horizons Preschool For Three's Student Workbook Companion 4 . Contents 47 Lesson 21. Jesus' Birth, Luke 2:1-7 esson 2249 L The Shepherds Visit Jesus, Luke 2:8-20 esson 23 51 L The Wise Men, Matthew 2:1-12 esson 2453 L Jesus Calls the Disciples, Luke 5:1-11, 5:27-28, 6:12-16
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The design of the system of which 'Ocean Thermal Energy - Stirling Power Plant' is a proposed part is as shown below. Fig.3 Schematic diagram of OTE-SPP structure . The 'OTE-SPP' is an assembly of modified individual stirling engine modules which uses the thermal energy difference in the ocean to run their working fluid. This
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