THE GUITAR AS A TEACHING TOOL IN THE ELEMENTARY GENERAL
MUSIC CLASSROOM
Kathryn A. Copeland
B.A., Millikin University, Decatur, Illinois, 1975
PROJECT
Submitted in partial satisfaction of
the requirements for the degree of
MASTER OF ARTS
in
EDUCATION
(Curriculum and Instruction)
at
CALIFORNIA STATE UNIVERSITY, SACRAMENTO
SPRING
2010
THE GUITAR AS A TEACHING TOOL IN THE ELEMENTARY GENERAL
MUSIC CLASSROOM
A Project
by
Kathryn A. Copeland
Approved by:
, Committee Chair
Crystal Olson, Ed.D.
Date
ii
Student: Kathryn A. Copeland
I certify that this student has met the requirements for format contained in the
University format manual, and that this project is suitable for shelving in the Library
and credit is to be awarded for the Project.
__________________________, Associate Chair ___________________
Rita M. Johnson, Ed.D.
Date
Department of Teacher Education
iii
Abstract
of
THE GUITAR AS A TEACHING TOOL IN THE ELEMENTARY GENERAL
MUSIC CLASSROOM
by
Kathryn A. Copeland
This project is an Alternative Culminating Experience for a Master of Arts in
Education: Curriculum and Instruction with an Elective Emphasis on Arts in
Education. It follows Pathway II: The art of teaching art. The culminating experience
for this project was guided by the author’s motivation to gain knowledge and develop
expertise in playing the guitar, and by applying those skills to teach fourth and fifth
grade general music students utilizing the guitar as an additional teaching tool in the
classroom.
The author had adapted her teaching style for this project by implementing
creative opportunities for her students to become familiar with a variety of wellknown American and multicultural folk songs. By introducing folk music from around
the world, the author was confident that her students would acquire an appreciation of
cultural diversity and a greater understanding of the historical and musical significance
of folk songs.
iv
Interdisciplinary connections and integration of the arts as part of the core
curriculum are a major focus in this project. The value of group singing in the schools
with regard to the positive effects that often result from such blending of efforts and
raising of voices within a community is also explored.
Because the guitar is portable, and one of the most commonly used folk
instruments throughout history, the author determined that the guitar was the
instrument that would be most logical to use to accompany students in the classroom.
This realization was the beginning of her journey to achieve the playing skill level
necessary to successfully accompany her students.
The author’s research verifies the importance of arts experiences as a positive
influence in the development of well-rounded individuals. Through a creatively
designed curriculum, executed by skilled specialists who value the learning process
through true aesthetic experiences, the arts reach the level of importance they deserve.
The contents of the literature review reveals basic philosophies of noted educational
theorists and reflect the importance of a creative approach to arts education and its
applications in the elementary general music classroom. Numerous studies have
shown the positive effects of music in student development and academic success, and
it is the author’s intent to provide experiences that increase the possibilities for higher
levels of creativity and participation. Through the inclusion of folk music and the use
v
of the guitar, the author expects students to benefit musically, academically, socially,
creatively, and emotionally.
, Committee Chair
Crystal Olson, Ed.D.
Date
vi
ACKNOWLEDGMENTS
The author wishes to express her gratitude to the following people for their
guidance, support, encouragement, and assistance throughout the development of this
project:
Crystal Olson
Karen Benson
Lorie Hammond
Roz Van Auker
Vince Martini
Steve Breshears
Jim Copeland
vii
TABLE OF CONTENTS
Page
Acknowledgments ...................................................................................................... vii
Chapter
1. INTRODUCTION .................................................................................................. 1
Overview of the Project .................................................................................... 1
Rationale ........................................................................................................... 1
Statement of the Problem ................................................................................. 1
Goal and Objectives ......................................................................................... 2
Procedure of the Project ................................................................................... 3
Limitations ........................................................................................................ 4
Definition of Terms .......................................................................................... 5
Organization of the Project ............................................................................... 8
2. REVIEW OF RELEVANT LITERATURE ......................................................... 10
Theory and Philosophy of Arts Education ..................................................... 10
Experiencing Music ........................................................................................ 22
What is Folk Music? ....................................................................................... 23
Folk Music in Elementary Schools................................................................. 25
Connecting Music to Other Subjects in the Curriculum ................................ 26
Using the Guitar in the Classroom ................................................................. 27
viii
Folk Music Activities for the Classroom........................................................ 28
America’s Community Song Tradition .......................................................... 30
Making Stringed Folk Instruments ................................................................. 42
Folk Music and the Guitar .............................................................................. 45
History of American Folk Music .................................................................... 46
3. PORTFOLIO ........................................................................................................ 53
Introduction .................................................................................................... 53
My Background .............................................................................................. 53
Journaling the Guitar Experience ................................................................... 56
4. REFLECTION ...................................................................................................... 77
Implementation of the Project ........................................................................ 77
Challenges of the Project ................................................................................ 78
Success of the Project ..................................................................................... 80
Next Steps of the Project ................................................................................ 81
Appendix A. Regional Folk Songs of the United States .......................................... 83
Appendix B. American Folk Songs for Children ..................................................... 87
Appendix C. Multicultural Folk Songs for Children ................................................ 94
Appendix D. Historical American Folk Songs ......................................................... 99
Appendix E. Beginning Guitar Strum Patterns ...................................................... 102
Appendix F. Capo Conversion Chart ..................................................................... 105
References ................................................................................................................ 108
ix
1
Chapter 1
INTRODUCTION
Overview of the Project
The culminating experience for this project was based on the author’s desire to
increase her knowledge of the guitar as an accompaniment instrument in the
elementary general music classroom and to gain a level of expertise in playing the
instrument for this purpose. Attaining basic guitar-playing skills was especially
appealing to the author since the instrument was unfamiliar to her and had never been
used in her previous experience as a music educator.
Rationale
Having a Bachelor of Music degree in piano and voice, the author saw the
advantages of learning to play the guitar in view of the fact that pianos were not
available in her current job description as a traveling music specialist serving 10
elementary locations within her school district. By expanding her musical skills to
include the guitar, the author saw the opportunity for greater student participation and
overall success in the general music program.
Statement of the Problem
The author is currently assigned to regular classrooms at each elementary
school to conduct her music classes. These classrooms are not designed to
accommodate large numbers of students adequately in a comfortable and inviting
learning atmosphere. It was partly because of this undesirable situation that the author
felt the need to pursue a long-standing dream to learn to play the guitar in order to
2
better serve her students in her music classes. Although the author’s main area of
expertise was the piano, she regarded her current teaching assignment as more
challenging because there were no pianos or other accompaniment instruments
available in any of the elementary classrooms where general music was taught.
Furthermore, all materials needed for the planned music lessons were transported from
classroom to classroom daily as the author traveled to schools throughout the district
each week.
The author believed that with the use of the guitar as an accompaniment
instrument, the level of student participation and ability would improve, and music
class would be a place where the students could feel welcome, safe, and successful
through positive musical experiences.
Goal and Objectives
The principal objective of this project was to gain technical skills to play the
guitar in order to accompany the students and increase opportunities for presenting a
wide variety of vocal music. In the hope that students would become more actively
involved in learning various song styles, particularly folk songs, the author continually
displayed her enthusiasm, which encouraged the students to become more actively
engaged in the learning process.
Typically, the general music classes were comprised of approximately 24 to 30
students, although there were as few as 12 and as many as 40 in some classes. Because
of the large numbers in most classes, many of which included students with special
needs and English learners, another objective to consider was the importance of
3
reaching and being sensitive to all students in a classroom that was comprised of such
a wide variety of ability levels. With the assistance of instructional aides and very
supportive teaching and administrative staffs, this did not present difficulties for the
author.
The ultimate goal was to gain a new skill, and through intense study and
practice, to enhance the curriculum through the means of the guitar as the primary
accompaniment tool in the general music classroom. The author developed the
technical skills necessary to successfully master the guitar at a level appropriate for the
elementary school music program.
Procedure of the Project
The procedure for this project started with the author finding an experienced
guitar instructor and scheduling weekly lessons to study guitar fundamentals and
technical skills. The author visited a high school guitar program and spent a
considerable amount of time at local music stores searching for guitar method books to
use in her study and for personal growth. The author researched music materials and
lesson plan ideas that incorporated the use of the guitar as an accompaniment tool to
create lessons that could encourage musical growth in all of her students. Special
performances at end-of-the-year programs were planned to include folk songs that
used the guitar as the major accompaniment instrument.
The author documented her work by keeping a practice log of her progress and
by journaling her story from the beginning of the project throughout the entire process.
She also included her instructor’s observations, comments, and critiques indicating
4
improvement in skills as they developed. Concerns and struggles were also
documented.
The author evaluated her own growth for this project by assessing her ability to
play major, minor, seventh, and bar chords as well as various picking styles and
simple strumming patterns in folk songs for use in the classroom. All the skills the
author developed were used to teach general music lessons and helped expand the
repertoire of music, including folk songs and patriotic music that all children should
know.
Limitations
In order to attain her goal for professional growth during the course of this sixmonth project, the author realized possible limitations and planned ways to avoid
them. The greatest obstacle arose from a hectic daily schedule, which made practicing
on a daily basis difficult. In order to overcome this situation, the author maintained a
weekly practice log and worked hard to discipline herself to practice daily. Scheduling
a weekly private lesson was a challenge as well, but the author realized the necessity
of obtaining instruction from an experienced guitar teacher in order to develop good
habits and properly executed playing skills.
It was critical that the author maintain a positive attitude and a passion for
learning, realizing that improvement would only happen through perseverance and
striving for excellence. The author also found that learning a new skill, especially as
an adult, was very time consuming and required a great deal of energy. Because the
process of learning to play the guitar required practice over an extended period of
5
time, intensive study with an experienced professional, and a deep commitment and
desire to improve, the author found patience throughout this project was essential to its
success.
Definition of Terms
Terms relating to the study and technique of playing the guitar for this project
are as follows.
Accompaniment instrument: A musical instrument used to enhance the
performance of another.
Acoustic guitar: Any non-electric guitar.
Acoustic guitar parts: Head, tuning keys, nut, frets, sound hole, pick guard,
bridge, strings, finger board, neck, body, bridge pins, bridge saddle, waist.
Ballad: A song that tells a story with short, simple verses.
Bar chord: A chord played with one finger lying across all six strings.
Bass: The lower regions of pitch in general. On guitar, the fourth, fifth, and
sixth strings.
Bass runs: A succession of individual, low pitched notes which may be played
in place of a chord. A bass run may be used to break the monotony of the same chord
being played in succession for several beats.
Binary: A musical form with two sections and contrasting themes.
Bridge: The part of the stringed instrument that supports the strings.
Capo: A device placed across the neck of the guitar to allow a key change
without alteration of the chord shapes.
6
Chord: Three or more notes sounded at the same time.
Chord progression: A series of chords played as a musical unit (as in a song).
Epistemology: The philosophical study of human knowledge.
Ethnomusicology: The study of the music of human cultures.
Form: The shape or order in which a piece of music is written.
Fret: Narrow ridge of wood, metal, or ivory fitted to the fingerboard of the
guitar to divide the neck into fixed segments at half step intervals.
Harmony: Two or more pitches sung or played at the same time.
Improvise: To play spontaneously without a written copy.
Key: Describes the notes used in a composition in regards to the major or
minor scale from which they are taken.
Lyrics: Words that accompany a melody.
Metronome: A device which indicates the number of beats per minute, and can
be adjusted in accordance to the desired tempo.
Multicultural: Involving a diversity of cultures.
Open: No fingers of the left hand pushing on the strings while the right hand is
stroking the strings or string.
Open chord: A chord that contains at least one open string.
Pentatonic Scale: Scale of five tones, usually with the fourth and the seventh
tones of the major scale omitted.
Pick: The act of stroking the string to produce a sound. Also another name for
plectrum.
7
Plectrum: Another name for pick, a small object (often in a triangular shape)
made of plastic, which is used to pick or strum the strings of a guitar.
Power chord: Type of chord commonly used in rock and blues guitar playing.
Only two strings are played on each chord.
Primary Triads: Most important chords in a key. The primary triads (chords)
are built on the first, fourth, and fifth notes of the key (more commonly known as the
I, IV, and V7 chords).
Recorder: A member of the woodwind family that has eight finger holes and is
played by blowing into a mouthpiece.
Repertoire: A list of works adopted by a performer or group of performers.
Root note: The note after which a chord or scale is named (also called key
note).
Semitone: Smallest interval used in conventional music. In guitar, a distance of
one fret (also called half step).
String instruments: Instruments that produce tones when their strings are
struck, plucked, or bowed.
Strum: Stroking more than two strings at the same time so the strings vibrate
simultaneously. Use of a downstrum movement with the right hand is from top to
bottom. An upstrum moves from bottom to top.
Strum pattern: A series of down and up strums combined to form a rhythmic
pattern.
8
Ternary form: Consists of three main sections of music (usually called A B A
form).
Tone: A distance of two frets; the equivalent of two semitones.
Organization of the Project
This project is organized into four chapters. Chapter 1 introduces and describes
the purpose of the project and identifies the procedure by which the author developed
new skills in order to teach general music classes with the use of a guitar as the
primary accompaniment instrument. Limitations and challenges were expressed and
terms were defined in order to present a better understanding of the entire process.
The Literature Review in Chapter 2 provides valuable information to confirm
that music and all experiences in the arts are essential to a well-balanced curriculum,
and through careful planning by the instructor, creative experiences will have a
positive influence on the intellectual and social growth of the students. The arts teach
students in a manner that shows how to overcome obstacles and achieve goals through
a creative process.
Chapter 3 presents documentation of the author’s journey to accomplish a skill
to use in the classroom. This chapter includes journals of the development of learning
to play the guitar and using the instrument as a teaching tool in the elementary general
music classroom.
Chapter 4 serves as a reflection of the culminating experience and provides
recommendations and implications for the classroom based on what was learned in the
9
project. Appendices are included containing information to assist others interested in
the study of the guitar and folk music for the classroom.
10
Chapter 2
REVIEW OF RELEVANT LITERATURE
Theory and Philosophy of Arts Education
In this review of literature, the author considered the importance of the arts in
education, and more specifically, the value of music in the classroom. After collecting
considerable research conducted by major theorists in the field of arts education, it
became apparent that music education has a positive effect on student development,
both socially and intellectually.
Throughout history many philosophers, educators, and authors have
contributed significant literature relevant to educational theory and have presented
suggestions for the implementation of practices to enhance experiences in arts
education. In an attempt to cohesively connect the works, theories, and practices of
several educational theorists and philosophers, this review will commence with John
Dewey (1934) and his philosophies concerning arts in education and their
implementation into the curriculum as well as the realization of a true aesthetic
experience. Through this review process, other philosophers’ ideas will be presented
and various practices will be explored and will be related directly to the pathway
selected for curriculum development in today’s schools. The ultimate aim is to reveal
the imposing need to consider arts in education as a key to the attainment of
meaningful learning experiences in all areas of the curriculum and produce students
with the knowledge and skills necessary to contribute successfully to an ever-changing
society in a complex world.
11
John Dewey (1934) valued the creative spirit, and through his comprehensive
approach to education, he stated that feeling is connected to an experience whereby
one is actively involved by thinking and becoming engaged in the process. Dewey
pointed out that having an experience is determined by the perceptions and emotions
directly involved in that experience, but it takes much time and thought to reach the
level of emotion considered artistic. Furthermore, as an experience moves toward a
conclusion, there is a continuous blending of an individual and a part of his
environment with which he connects in order to assume a total experience (Dewey).
“Inner harmony is attained only when, by some means, terms are made with the
environment” (Dewey, p. 16). The importance of the past and its connection to the
present intensifies what happens in the moment and allows movement toward the
future. This, in turn, enhances perception, thus resulting in deeper understanding
(Dewey). Dewey continued by presenting the importance of the relationship between
undergoing and doing in order to attain meaning as it relates to understanding in any
experience. He described the importance of a constant succession of prior experiences,
in connection with the present state and future aims. The important point to stress is
that through means of the senses by which one communes with his surroundings, and
at completion, the implicit esthetic quality of an experience has emerged (Dewey).
The arts have the “capacity to foster qualities of experience that will enhance a very
broad range of learnings” (Arnstine, 1995, p. 87).
Having an experience must incorporate thought and not fall into the category
of routine, mechanical, or capricious. To be considered an experience, as Dewey
12
(1934) projected, it must maintain a continuous flow, be emotionally charged, exhibit
some degree of tension in order to attain resolution of the undergoing qualities, and
reveal connectedness with the past and the future as described previously. “All
experience is the product of the features of the world and the biography of the
individual. Our experience is influenced by our past as it interacts with our present”
(Eisner, 1998, p. 34).
Qualitative thinking was described by Dewey (1934) as every bit as demanding
as thinking in terms of verbal or mathematical ways. If all meanings could be
expressed by the written word, music or painting, for example, would not exist. It is
the visual and audible qualities that create meaning in the arts. Furthermore, “seeing
comes before words” (Berger, 1972, p. 7) and “the way we see things is affected by
what we know or what we believe. To look is an act of choice. As a result of this act,
what we see is brought within our reach” (Berger, p. 8). In essence, Berger is saying
that it is not as much what one says about a work of art, as what one perceives it to be,
or its uniqueness. The work of art, which is typically more expressive than the written
words surrounding it, allows the viewer an opportunity to share in the artist’s
experience (Berger). Likewise, what is seen is affected by past experiences, and the
aim is the preparation, the continuous process, and the completion of the actions
coupled with emotional movement as they transform into finality.
Learning through experience, rather than strictly by texts and teachers was
prominent in Dewey’s (1934) philosophy of most worth. In his position regarding
curriculum, Dewey integrated and restructured certain ideals presented by his
13
contemporaries in the development of 20th century educational doctrine. His position
in curricular matters did not align with any of the established movements, but instead
represented a synthesis of ideas, and during the period of 1896 to 1904, he established
the Laboratory School at the University of Chicago, which became a symbol of
educational reform (Kleibard, 1982). One of the primary goals of the Laboratory
School was to show students how to make connections, and Dewey attempted to tie
the curriculum to reality in an interdisciplinary manner in order to unify the
curriculum. Dewey’s educational theory emphasized the idea of continual
reconstruction of experience and the realization that “ it is only by giving an artistic
expression to their own life experiences that children can get any real aesthetic
training” (Tanner, 1997, p. 39). Furthermore, teachers at the Laboratory School
believed and practiced the idea that mental activity was connected to physical
movement.
Visitors to Dewey’s Laboratory School observed students not in straight rows,
but instead, moving physically, speaking out to express ideas instead of raising their
hands as would be expected in society outside of the school environment (Tanner,
1997). The teachers based their work on the Dewey (1934) concept that knowledge
starts with the child’s activities. In today’s curriculum, these concepts can be instituted
as well. It is important to realize that all ideas may not be effective in curriculum
design, but perhaps restructuring the plan can offer notable results, especially if used
in collaboration with other educators. Also, plans should be tentative, while having a
purpose concerning the curriculum as a whole. Finally, a theme should be in place that
14
can be related to the school’s social purposes and the child’s psychological
development that can encompass other subjects of a unified curriculum (Tanner) and
provide insights into curricular design in our schools today.
Arnstine (1967, 1995), a Dewey advocate and follower, held similar views and
incorporated Dewey’s philosophy in his approach to curriculum. Both emphasized the
importance of the teacher providing conditions conducive to learning, where the
classroom is a safe harbor, embedded with a positive atmosphere. Both men agreed
that the teacher was the one with the knowledge to best select the material to be taught
in the classroom, but always with careful consideration to accommodate student needs
and interests. The teacher must display a keen awareness of the student’s prior
knowledge and a sincere sensitivity to each individual who enters the classroom. Also,
the knowledge and skills that students acquire need to arouse their curiosity, be
considered meaningful, and be presented in a context of appropriate dispositions.
Students should be encouraged to formulate their own decisions and be allowed
freedom of thought. A student must develop dispositions that enable him to learn to
learn (Arnstine, 1967) in order for him to develop his own purpose. By equipping the
student with conditions which provide the opportunity for making careful choices, the
teacher creates a learning atmosphere whereby the student deals with problems and
learns to acquire dispositions as presented by a sensitive, knowledgeable teacher
(Arnstine, 1967).
Many educational philosophers of the past believed that education in the arts
provided life-enriching experiences, much like arts educators believe today. Elliot
15
Eisner (1998) stated that a curriculum is needed that fosters the student’s uniqueness
as well as individual strengths and abilities. In other words, the need for a broader,
more diverse conception of literacy is essential (Eisner). Eisner made clear his point
that without diverse and appropriate forms of representation, growth that occurs
through modes of expression will not be realized. Minds are made, and it is the
curriculum that has the power to shape the mind and the culture. A rich environment is
necessary to facilitate vast, deep cognitive experiences, and to provide a means of
expansion of the mind (Eisner). By planning activities involving the needs and
interests of the student, meaning is more easily clarified, and the likelihood of a truly
aesthetic experience is much more probable. The arts should be enjoyed, because
without that ingredient, the quality of the experience is diminished, learning suffers,
and the flowing aesthetic experience will not be successfully accomplished (Arnstine,
1995).
The curriculum is one of the first topics considered in any discussion regarding
schooling, and the activities that foster learning are ones that satisfy curiosity and
involve thought and effort on a path to understanding. When teachers are clear about
their aims, games can be a fun and educational way to learn (Arnstine, 1995).
Teachers in Dewey’s Lab School believed that mental activity could not be separated
from the opportunity of physical movement, and that concept development begins
with student activities (Tanner, 1997).
One valuable means of incorporating games and play into the curriculum is
Education Through Music (ETM), a process of teaching and learning through song
16
and play. By using language, song, movement, and interactive play, the students
develop musical skills and literacy as well as a joy for music as they build cognitive
skills. Based on English-language folk songs inspired by Zoltan Kodaly’s philosophy
of music education, the singing-based curriculum introduces the musical concepts of
each song through a variety of musical and physical games. Since Kodaly-based music
is a physical activity, students are taught sounds before notation in order to gain a
greater sense of pitch and rhythm. Kodaly believed that children should learn folk
songs from their native land just as they learn language from exposure at a very early
age. As children continue to learn in a comprehensive and sequential manner, it is
likely they will grow to treasure their musical heritage to a much greater degree
(Grice, 2005). Kodaly stated, “The bad taste of adults can hardly be improved. On the
other hand the good taste developed early is difficult to spoil later on. Therefore, we
should be very careful with the initial impressions. They affect the whole life” (Grice,
p. 137). Because Kodaly’s objective was to ensure that music education was available
for every child at an early age, he wholeheartedly believed that the life of every human
being was enriched by good music (Sinor, 1997).
Mary Helen Richards (1978), the founder of Education Through Music (ETM),
was advised by Zoltan Kodaly to utilize folk songs as the foundation to create
successful musical experiences. Richards’ approach incorporates song-experiencegames built on simple English and American folk songs. As Richards (1977)
expressed in her book, Aesthetic Foundations for Thinking Rethought:
17
The song experience is designed to set up conditions in social interaction,
movement, language, music, symbolization, and thought, through activities
that develop interest in what is happening. This creates a good environment of
study for all things that can happen in the song experience. It also creates
interest in what makes the song sound the way it does, providing an ideal
atmosphere for the study of music and the language in song. (p. 13)
Furthermore, communication results from song-experience-games because
they often create an atmosphere in which the students are able to relax and become
more self-confident and comfortable with other participants (Richards, 1980). Also,
since non-competitive exploration is a basic activity in Education Through Music, fear
is diminished greatly (Richards, 1977).
Dewey (1934) characterized the initial stage of any complete experience as
impulsion. “Impulsions are the beginnings of complete experience because they
proceed from need; from a hunger and demand that belongs to the organism as a
whole and that can be supplied only by instituting definite relations with the
environment” (Dewey, p. 61). A child’s impulse is very important, and opportunities
should be made available through engaging activities (Tanner, 1997). These activities,
including games, typical of the rich song experiences in the ETM approach, make
learning fun, while at the same time, help develop skills in strategy, community, how
to learn from mistakes, and how to win and lose gracefully (Dewey).
Another method in which games, chants, poems, rhymes, songs, dances, and
instruments are used in a non-competitive atmosphere is Orff Schulwerk, a way to
18
teach and learn music (American Orff Schulwerk Association [AOSA], 2008). Orff
Schulwerk began in the 1920s by composer Carl Orff and his colleague Gunild
Keetman. In this educational approach, children actively participate. By the use of
language, rhythmic patterns, improvisation, instruments, and movement, students
become sensitive listeners and develop creativity. Teachers break down each activity
into its simplest form and then layer additional steps one at a time to create a more
complex completed performance (AOSA). For example, the students’ musical
development begins with experiences guided by the teacher with an emphasis on
spontaneity and exploration. The students imitate given examples, and finally are
guided to apply musical patterns that lead to improvisation. This approach encourages
creativity for all students, regardless of the level of musical talent. This type of
sequential learning helps develop a sense of confidence and self-esteem (Honn, 2005).
One of the major advantages of the Orff method is the opportunity for students to
work together in collaboration to create and perform complex musical form. Through
such musical activity, as well as through any work of art, the experience involves a
community effort as a sign of unification toward a fulfilling conclusion (Dewey,
1934).
The importance of the contribution of the arts to education, where in the past,
the sciences have maintained prominence, was explored by Elliott Eisner (1998). He
spoke of the need for expanding the kinds of meaning through the curriculum and
development of multiple forms of literacy in an effort to build cognitive skills. The
curriculum has always played an essential role because the experiences of students and
19
the forms of representation available to them determined their ability to gain meaning
and understanding. Different forms of literacy enable different forms of knowing,
which is made possible through the curriculum. Literacy is not limited to text, and
varied forms are necessary to create meaning (Eisner).
The need exists today to consider redesigning testing practices and university
requirements, which have historically regarded the arts as a low priority within the
curriculum. Connections exist among all facets of a well-developed curriculum, and
visual learning has always been an important way of constructing meaning. The ability
to create visual forms allows one to communicate those meanings with others. Eisner
(1998) noted that images are immediate, they have the ability to simplify, and visual
examples allow creative imagining to surface. He suggested open dialogue with policy
makers in order to create a curriculum to include the education of vision. Eisner
believed that there is a gross misunderstanding of the role of the arts in the educational
process. One reason for this belief is the limited amount of time given to the arts in our
schools. Even though the research shows incomplete results, it appears the arts raise
the academic achievement in reading and writing. We need to understand the
importance of the arts, develop policy to include them as an important part of the
existing curriculum, provide students with competent teachers, and help parents
understand what arts education can do to enhance and better the lives of their children
(Eisner).
Eisner (1998) encouraged the use of alternative paradigms as a way of utilizing
different forms whereby mind and knowledge “reject the idea that there is only one
20
single epistemology” (p. 104). He explained the growing interest in alternative
paradigms and how a greater awareness exists in which the presence of methods and
knowledge recognize that there is not just one philosophy that maintains dominance.
Literal language needs to be supplemented by various forms of representation in order
to convey meaning. New models have raised the awareness of research, evaluation,
and the potential to provide more equitable methods to reflect the values the teacher
considers worthy. History tells us that American schools are at risk of failing, and a
need for school reform is essential. After the 1970s, achievement tests became the way
schools accepted accountability, but Eisner made it clear that mandates of the 1980s
have not been successful and stated the need for assessments that have more validity
than what has been traditionally used by the educational system. Different forms of
assessment are needed for different functions, and growing pluralism will continue to
develop the area of assessment and continue to improve it (Eisner).
Coherence, imagery, and particularity are the end result of artistic thinking.
With that in mind, it makes perfect sense that artistically crafted research will help us
recognize what teachers actually do. Even more importantly, it will help us understand
the unique qualities of each student through the development of empathetic knowing,
especially since we are aware that not everything is measurable, but everything can be
felt (Eisner, 1998).
The programs we provide in our schools reflect the direction we expect our
children to follow. What is chosen to include or remove from the curriculum
demonstrates the value we place on those subjects. Most curricular decisions neglect
21
individual idiosyncrasies or aptitudes by assuming one size fits all (Eisner, 1998).
Education should reflect every form of literacy that enables students to participate in,
enjoy, and find meaning in their education and in their lives. If we believe aesthetic
values are important, we must purposely introduce them as only education in the arts
can do.
In conclusion, it is clear that many notable philosophers, educators, and
authors were in agreement on several of the challenging concepts in arts education and
shared the general awareness that creativity is essential to any successful curriculum.
They also expressed concern for the lack of attention given to the arts in education. It
is clear that teachers must possess knowledge of the subject matter and understand
how students learn in order to expect learning to occur. Teachers must also provide a
creative, yet challenging environment that is sensitive and genuinely interested in each
student’s life. The creative climate is not constant, is always changing, requiring
adjustments and sometimes even major changes as challenges present themselves
(Arnstine, 1995).
Working your way through a challenge is like riding a rowboat in a storm.
Everyone in the boat knows how to row, but when a storm comes up, the
waves and wind can hit you from any direction. To make it through the storm,
you have to keep rowing in the right direction while giving the boat the
freedom to go left and right as it needs to. And remember, your team members
are your rudders. (Imagineers, 2003, p. 142)
22
Educators have the duty to develop a curriculum where the challenges can be
met with renewed enthusiasm and an intrinsic ability to meet the needs of each
student. Arts education has the potential to enhance all subjects in a well-planned and
executed curriculum.
Experiencing Music
Music has always been an important part of the history of mankind.
Throughout the ages, music has played a significant role in the human experience
through celebrations, rituals, and everyday events, where human emotion and intellect
are expressed and woven into a rich musical tapestry. Expressing one’s feelings
through a pathway of musical experience can be accomplished more effectively
through a comprehensive music education program which encourages all students to
develop knowledge and skills. By providing creative opportunities, students can truly
learn to use music as a means to enjoy life and gain the ability to express themselves
more clearly and communicate more effectively in the present and perhaps more
importantly, in the future. By expressing themselves through music, a sense of selfconfidence will likely present itself in a variety of positive ways, providing a solid
foundation by which the students gain understanding. By actively participating in a
standards based music program, the students will likely develop into individuals who
embrace aesthetic experiences and appreciate the fact that music connects them to
their world.
One of the most common ways for students to experience music is through
singing. Through frequency and sequential development, students will learn to sing on
23
pitch with rhythmic accuracy and expression. Music educators must guide the students
by including a diverse repertoire of music from various styles and cultures. The
importance of studying and performing world music will raise cultural and social
awareness. After gaining knowledge and skills, aesthetic valuing should result from
the students emotional response and reflection of the musical experience through the
perceptions and critiques of the performances they heard or performed (California
Department of Education, 2004).
Even though a comprehensive music program should be the basic building
block for student success, growth can be expanded greatly by inviting community
members, whether professional or amateur, to work and perform with students. By
inviting guest musicians and encouraging parent involvement in the music classroom,
students will not only gain additional support, but also may be motivated to seek out
additional musical opportunities outside the music classroom to further their
development and love of music for the rest of their lives (California Department of
Education, 2004).
What is Folk Music?
The author chose to discuss ways to improve the elementary general music
curriculum through an intensive study of American folk music and the use of the
guitar as an accompaniment instrument in the classroom. In order to define folk music,
first it is important to understand that folk songs can be dated back hundreds of years,
but many are recent. Second, folk songs are not all anonymous as many people think.
Finally, folk songs do exist in written form and nearly all have been collected and
24
documented (Praver & Praver , 1984). In 1955, the International Folk Music Council
created the following definition of folk music:
Folk music is the product of a musical tradition that has been evolved through
the process of oral transmission. The factors that shape the tradition are (i)
continuity that links the present with the past; (ii) variation which springs from
the creative impulses of the individual or the group; and (iii) selection by the
community which determines the form or forms in which the music survives.
The term can be applied to music that has been evolved from rudimentary
beginnings by a community uninfluenced by popular and art music and it can
likewise be applied to music which has originated with an individual composer
and has subsequently been absorbed into the unwritten living tradition of a
community. The term does not cover composed popular music that has been
taken over ready-made by a community and remains unchanged for it is the refashioning and re-creation of the music by the community that gives it its folk
character. (Praver & Praver, 1984, p. 57)
It is imperative to realize that an important characteristic of all folk music is
change through the folk process. Lomax (as cited in Praver & Praver, 1984) described
this folk process when he wrote:
...the mass of a people participate in folk song’s growth forever reweaving old
materials to create new versions, much as an old lady creates a new quilt out of
an old by adding, year by year, new scraps and patches. So folk song grows in
small steps, with every slight change tested for audience reaction, thereby
25
achieving a permanence in man’s affection matched only by the greatest art.
This art lives upon the lips of the multitude and is transmitted by the grapevine,
surviving sometimes for centuries because it reflects so well the deepest
emotional convictions of the common man. This is a truly democratic art,
painting a portrait of the people, unmatched for honesty and validity in any
other record. (p. 57)
So in simple terms, folk music is the music of the people. It reflects the wide
cultural diversities of the American people and literally tells the story of the people
who are the fabric of our country.
Folk Music in Elementary Schools
The author was in agreement with Jerry and Bev Praver (1984) who suggested
that if children do not hear American folk music in school, they will not hear it at all.
Very few children will be exposed to their rich musical folk heritage at home, and
most will miss out on the benefits that experiencing folk music can provide. This is
why it is of critical importance to introduce students to folk music, as a carefully
designed comprehensive music curriculum may be the only avenue for students to
experience and enjoy the music of their cultural heritage. Not only does folk music
possess humor, wisdom, and historical information, but it also utilizes instruments that
are typical to folk music and may not be heard elsewhere. The acoustic guitar is
perhaps the most common, but other instruments representative of traditional folk
music include the banjo, mandolin, autoharp, harmonica, Appalachian dulcimer, as
26
well as simple instruments like the kazoo, spoons, bones, Jew’s harp, tin whistle, and
limberjack (Praver & Praver, 1984).
Connecting Music to Other Subjects in the Curriculum
Interdisciplinary teaching, a style that includes elements of more than one
subject at a time, can be of immense value, especially when working with students
who do not consider themselves musical. The National Standards 8 and 9 emphasize
the links between music, culture, history, and other academic subjects. Therefore, it is
important to initiate lesson plans in which connections are made to enhance learning in
all areas of the curriculum. An example is how music connects to language. Literary
devices like alliteration, similes, metaphors, and song lyrics in connection with poetry
could help strengthen musical and language skills through such collaboration (Block,
2009). If music teachers will guide their students by connecting music and languagebased instruction, the probability of improving their speaking and reading skills exists.
Children love to sing simple songs over and over again, and each time they do, their
language skills improve and their love for music grows. Susan Kenney, professor of
music at Brigham Young University wrote in the Winter 2008 issue of General Music
Today:
Simple folk songs...are most appropriate for young children. One of the
reasons they have lasted so long is that they are carriers of the flow of
language. Of course, other songs may be used for other reasons, but they are
not as valuable for building the music-literacy connection. (as cited in Moore,
2009, p. 57)
27
Even though the connections already exist between the arts and the other
subject areas, arts teachers must work diligently and creatively with their colleagues to
integrate all areas of the curriculum in order to gain respect and support for their
programs within the school and the community (Lyon, 2005).
Using the Guitar in the Classroom
Research has shown how the work of the nonprofit organization, Guitars in the
Classroom, has been successful in reinforcing spelling, rhyming patterns, vocabulary
words, history lessons, and math and science facts. The program (GITC), founded in
1998 by Santa Cruz, California, music educator, Jessica Baron Turner, was designed
to create a more positive approach in declining music education programs. By training
teachers in guitar fundamentals and technique, teachers use their basic guitar skills to
help students pay attention and increase retention. Turner points out that such creative
approaches often work extremely well with “unconventional learners, anxious
children, kids with disabilities, and kids who are not fluent in English” (Turner, as
cited in Capone, 2005, p. 26).
The GITC program was created in part because guitars were portable and
relatively inexpensive, and Guitars in the Classroom now boasts programs in nearly a
dozen states. Teachers take free lessons using Turner’s Smart Start guitar books to
learn songs using open G, and by the end of an eighth week course, teachers master
two more chords C and D which makes it possible to play a wide variety of simple
songs (Capone, 2005).
28
Many folk songs use chord progressions of three chords, so the GITC program
could be a great means of introducing American folk songs in the elementary
classroom for those teachers who wish to utilize the guitar as a teaching tool in their
classroom.
Folk Music Activities for the Classroom
One of the most simple folk song activities for the classroom uses folk songs
based on a pentatonic scale. Carl Orff and Zoltan Kodaly used folk music as a major
source in teaching music. Both Orff and Kodaly asserted that folk songs were not
complex and were based on spontaneous music from childhood day-to-day
experiences. Kodaly stated the following regarding folk music:
First of all, a good folk song is a perfect masterpiece in itself. Only the music
which has sprung from the ancient musical traditions of a people can reach the
masses of that people...folk songs offer such a wide variety of moods and
perspectives that the child grows in human consciousness, feeling more and
more at home in his country. (Kodaly, as cited in Hardy, 2007, p. 29)
Most folk music is binary or ternary with a verse/chorus pattern, is
uncomplicated with much repetition, uses a limited range, and primary triads (I, IV,
V7). Most folk songs are pentatonic (do, re, mi, sol, and la) which contain no half
steps. Since the tones in a pentatonic scale sound good together, it makes improvising
and harmonizing patterns much more effective, giving the student a much greater
opportunity for success. Orff instruments including xylophones, metallophones, and
glockenspeils can elevate the experience when set up with the bars of the pentatonic
29
scale so that students can improvise patterns that complement each other in a given
song. Rhythm instruments can also be added, whereby students spontaneously create
patterns. An aesthetic ensemble results as children learn to play and sing without
hesitation and learn to work together with freedom in a non-threatening environment.
Some familiar pentatonic songs that can be sung and performed by students in
the classroom and accompanied by the guitar are:

“Mary Had a Little Lamb”

“Rain, Rain”

“Hush Little Baby”

“All Night, All Day”

“Old Brass Wagon”

“Steal Away”

“Every Time I Feel the Spirit”

“Shake Them Simmons Down”

“Git Along Little Dogies”

“Swing Low, Sweet Chariot”

“Goodbye, Old Paint”

“If I Had a Hammer”

“Going Down to Cairo”

“Nobody Knows the Trouble I’ve Seen”

“Tom Dooley”

“Rock Island Line”
30

“O Susanna” (first part)

“Old Folks at Home” (first part) (Hardy, 2005, pp. 29-30)
America’s Community Song Tradition
For more than 100 years, group singing was the main activity in American
public school music education. Once a singing nation, our heritage was brought to life
through community singing, which not only provided enjoyment, but also an
understanding of the rich music unique to our country. Singing once played a major
role in our educational, social, religious, political, and community activities, but today
community singing has experienced a dramatic decline, and it seems we are rapidly
becoming a nation of non-singers who no longer celebrate our cultural heritage in song
as we once did.
Will Schmid, President of Music Educators National Conference from 19941996, met with invited representatives of several other music organizations in April,
1995, to discuss singing in America. It was agreed that something needed to be done
to encourage people to sing, so a campaign was launched, and the result was a book
published by Hal Leonard Corporation entitled Get America Singing...Again! The
campaign sought to present a common song repertoire that “Americans, of all ages,
know and can sing” (Schmid, as cited in Music Educators National Conference
[MENC], 1996). Another main objective of the campaign was to promote community
singing including audience participation at concerts, public gatherings, meetings,
clubs, and at home. Through the efforts of Americans from every walk of life, Schmid
and his selected committee believed a positive change could occur by including the
31
members of a community in the act of singing. The creation of Get America
Singing...Again), a compilation of 43 songs, helped establish a renewed interest in
group singing in the United States. Volume two was added in an attempt to broaden
the repertoire and include more songs that the public considered their favorites, with
special emphasis on selecting singable songs that represented a wide variety of folk,
popular, and cultural styles (Schmid, as cited in MENC, 2000). Schmid described the
importance of group singing when he said:
Singing with others builds community, and America and the world are in bad
need of that. When people join together in song it creates a sense of being
connected, of belonging, and of being an active participant in life. This feeling
is so needed in an age of electronic isolation and ‘virtual’ participation in life.
There is also mounting evidence that singing and other forms of interpersonal
active music making (drumming, playing guitars or keyboards, participating in
a band, choir or orchestra) has significant health and long-term wellness
benefits. (Schmid, as cited in MENC, 2000, p. 4)
This trend of more and more Americans referring to themselves as “nonsingers” should be of great concern to music educators. Many people believe that
modern technology has led to less participation, allowing most people to become
music spectators. Although this may be partially true, music educators must assume
part of the responsibility for the decline in America’s community song tradition. In the
early part of this century, it was the goal of music educators to teach every student
about his or her cultural heritage through a common body of song. It was a common
32
belief that there were specific songs that all American students should know in order
to fully contribute in the life of their community. Group singing in class, as well as
assembly singing was the norm, and music teachers were expected to maintain the
necessary skills to conduct effective assembly sings. Such organized group singing
resulted in the publication of a variety of songbooks used for community singing;
some popular songbooks included 18 Songs for Community Singing (Casterton, 1913,
as cited in Elliott, 1990), 55 Songs and Choruses for Community Singing (Dykema,
1917, as cited in Elliott), and Twice 55 Community Songs: The Green Book (Dykema,
1923, as cited in Elliott). Today, however, such songbooks are rarely utilized as
teaching tools, and the de-emphasis of group singing, especially for those students not
enrolled in performance based vocal groups, has been detrimental to the celebration of
our cultural heritage through music education. Today it is common for specialists to
approach music education from the appreciation standpoint with songs strictly selected
from a concept perspective, with little concern or value given to the simple joy of
singing (Elliott). Since music programs have limited time constraints, and the majority
of students are not enrolled in performing groups, it is of great importance that these
students experience music with a positive attitude, value it in their lives, maintain
skills to participate at some level within their communities, and have familiarity with
their cultural heritage. These goals can be accomplished through group singing
(Elliott). Music educators should be concerned that our students are not familiar with
much of the rich music that is an important part of our heritage, and by taking some
responsibility for this decline, could develop a music curriculum that would include an
33
enduring understanding of our cultural heritage accomplished partially through group
singing. The community song movement influenced the general music curriculum
mostly during the period of 1913 to 1930, but over the past few decades, its impact has
diminished a great deal in our country (Foy, 1990).
An all-school sing at the elementary level can provide a rewarding experience
for students and teachers. Because many students are self-conscious about singing in
public, it is the responsibility of the music teacher to help alleviate the fear the student
may have by providing experiences that help contribute to promoting confidence and
self-assurance. After the students learn songs in a small group setting, and the
administration and teaching staff are all onboard with the idea of performing folk
songs that relate to other areas of the curriculum and to the specific culture of the
community, the music teacher should make a list of appropriate songs for large-group
singing, including call-and-response songs, story songs, patriotic songs, simple folk
songs, and simple rounds with the intention of accompanying the group on piano or
guitar. The goal is for the entire school to come together for a performance when it has
been determined that the students are prepared. The all-school sing can have a
positive, lasting effect in the lives of students (Sins, 1990).
Research conducted by Anat Anshel & David A. Kipper (1988) investigated
the effects of two components of group singing--music and activity. The component of
activity, coordinated and active interactions among the group members, caused greater
cooperation (Cartwright & Zander, as cited in Anshel & Kipper, 1988). The musical
experience contributed to better communication and manifested into greater group
34
cohesion, trust, and positive self-image (Anshel & Kipper). Several authors claim that
exposure to music in group situations enhances self-confidence, self-awareness,
emotional relief, pleasure, and communication, and that it affects interpersonal
behavior. Some authors believe that these could have a positive effect on
cooperativeness (Gaston, as cited in Anshel & Kipper), which could be strengthened
in group singing and might possibly create greater trust in the participants. The
research found that the involvement in group singing was shown to promote trust and
cooperation among its members (Ansel & Kipper).
Little research has been conducted on the impact of singing on human emotion
or mood, and in the research study entitled “The Effects of Group Singing on Mood”
(Unwin, Kenny, & Davis, 2002) participants were randomly placed into three groups
in which each participated in one session of either singing or listening. All three
groups experienced the same singing program, and the results of this study supported
the hypothesis that singing can alter mood. Although not confirmed, the results also
were clear that the singing group showed greater positive changes in mood compared
to the listening group. Because singing requires the use of breathing and vocal muscles
to express emotions, it may result in a much different physiological effect compared to
passive listening (Unwin et al.).
Peter Amidon (2009), a seasoned workshop presenter in storytelling,
traditional dance, and music expressed his views on the all-school sing. He considers
each all-school sing as unique since each is guided by the personalities of the teachers,
school administrators, and the students. Also affecting the experience is the size of the
35
group, the space where the gathering occurs, and the frequency of the sing (Amidon).
Mr. Amidon included specific examples of all-school sings he has observed or been
involved with over the past several years as follows:
Townshend Elementary: K-6, about 100 students, Townshend, VT: When
Townshend found themselves without a music teacher in 1983, some of the
parents and teachers started singing with the students every day. As the
children came off the playground first thing in the morning they came in
through the front door and up the stairs on the left and on the right. The adult
leaders wrote out songs on oak tag, often one sheet for each verse of a song,
and held them up, while a parent who could play piano accompanied. When
Mary Kay Brass started teaching music there in 1984 she found a school
transformed by singing. Singing was as essential as reading and writing and
eating, and the school sounded like a children’s chorus. As a matter of fact
they have put out a couple of tapes of their singing, which are great resources
for all-school sing songs. They still sing every day. (para. 2)
Marion Wilder School; K-6, 300-400 students, Norwich, VT: The
Wilder school has had a weekly event called Rep held faithfully every
Thursday afternoon to which the public is also invited. The music teacher
Mary Ann Wilde starts and ends with a song for all; all the other performances
are created and performed by the students. They have to let Mary Ann review
the performances first, and she coordinates the whole thing. Performances
might be acting out the beginning of a favorite book, “...and you’ll have to read
36
it to learn the ending”, or a performance of student instrumentalists and
singers. (para. 4)
Molly Stark School; K-6, 300 students, Bennington, VT: Molly Stark
starts each week with an all-school sing Monday morning. A couple of the
classroom teachers lead the singing along with the music teacher; one of the
classroom teachers plays guitar and mandolin to accompany the singing. The
principal plays a central role in the planning and leading of this event, which
includes the giving out of awards, other important messages, and the
celebrating of birthdays on the first Monday of each month. (para. 5)
All of the schools Amidon (2009) described have found that the all-school
singing activities have created a positive impact on their school community. Because
of the differences in each school, it is important to determine what works for a specific
school and creatively search for techniques and material in order to have a significant
effect on the spirit and culture of the school in order to sustain its existence (Amidon).
Family music nights have been organized as a community service in some
schools. In a Music Educators National Conference (MENC) online forum, a
participant from Napa, California explained how his family music nights have been
mostly based on echo singing with the teacher as the leader. The simple, familiar
songs with words projected for greater participation, as well as some simple folk
dances, served to help families understand the value of music in their lives. The
teacher found that recruiting other teachers and adults to participate helped encourage
parents to join in with greater enthusiasm. The purpose was not only to educate
37
parents about the music curriculum, but also to encourage families to make music
together (David D., participant, Napa, California, MENC, n.d.).
Second grade teacher Jinny Vroom, in the Folsom Cordova Unified School
District, Folsom, California, (personal communication, October 17, 2009) started the
“Gator Sing” program when the Sandra J Gallardo Elementary School opened in 2003.
The 25 minute sing-fest is scheduled every other week throughout the school year, and
includes all students in first and second grades, or approximately 240 students. Songs
sung with the assistance of Mrs. Vroom and other teachers are accompanied by
compact discs and include several patriotic and folk song selections. To boost
enthusiasm and create an exciting atmosphere, a parent often dons an alligator
costume, which is the school mascot. Mrs. Vroom explained her inspiration for
starting the group-sing at her elementary school by saying:
I wanted to start this program so we could get together and establish a
community while having fun singing our hearts out! The children look forward
to “Gator Sing”, and I have had numerous parents applaud the program.
Teachers love it, and have become very creative in leading us in song. Music
can be used in all areas of the curriculum, and I know that it has spread into
other areas of study such as math, social studies, and science in my classroom
and in others too. “Gator Sing” has established a great sense of community
with the children and teachers as well. Sometimes we are so moved that we are
all up dancing while we are singing in unison. It is a lovely thing. (Vroom,
personal communication, October 17, 2009)
38
According to Abbie Ehorn (personal communication, November 11, 2009), an
elementary music specialist from the Evergreen Elementary School in Redding,
California, school unity and pride are instilled in her students through a monthly
school sing focusing on character, community building and self esteem. She plans
performances by grade level and stresses singing for the pure joy of many voices
coming together.
Pulitzer-winning author Thomas L. Friedman discussed the importance of
meaningful musical experiences, such as group singing, and their life-long effects as
they apply to globalization and its “flattening” effect on the world (Friedman, as cited
in Beckmann-Collier, 2009). Now is a critical time for music teachers to prepare their
students for a changing global economy. In his research to identify the kind of
education young people need to survive in the new global economy, Friedman
concluded that “the abilities that matter most are now closer in spirit to the specialties
of the [brain’s] right hemisphere--artistry, empathy, seeing the big picture and
pursuing the transcendent” (Friedman, as cited in Beckmann-Collier, 2009, p. 28).
Friedman states:
To flourish in this age, we’ll need to supplement our well-developed high-tech
abilities with aptitudes that are “high-concept” and “high-touch.” High concept
involves the ability to create artistic and emotional beauty, to detect patterns
and opportunities, to craft a satisfying narrative, and to come up with
inventions the world didn’t know it was missing. High touch involves the
capacity to empathize, to understand the subtleties of human interaction, to
39
find joy in one’s self and to elicit it in others, and to stretch beyond the
quotidian in pursuit of purpose and meaning. (Friedman, as cited in BeckmannCollier, p. 28)
Now possibly more than ever before, music teachers must reevaluate their
goals and strategies in order to establish greater participation, redefining how to help
their students learn to learn, awaken passion, develop people skills, and engage in
activities that focus on empathy and artistry (Beckmann-Collier, 2009).
The author agrees with Friedman and recognizes the importance of a sense of
community. Through activities such as group or community singing, a stronger sense
of teamwork and an enhanced group identity can result. Also a sense of pride and an
atmosphere of trust and sensitivity to others will likely prevail. The introduction of
folk music can influence values and feelings by helping students develop musical
skills as well as encourage personal skills necessary to be successful in a flat world.
Beckmann-Collier (2009) states that “Teaching that creates meaningful,
comprehensive experiences for students will result in inspired and inspiring music
making and lifelong learning for both students and their teachers” (p. 30).
The Importance of Using Multicultural Folk Music in the Classroom
It is the responsibility of the music educator to encourage student interest in
music by choosing material such as timeless folk songs, including multicultural
selections, in order to broaden musical awareness and appreciation. Folk music has
always had a tremendous appeal to children, and when presented with a creative, fresh
approach, students embrace it with joy and emotional responsiveness. Folk music has
40
a stabilizing emotional effect with which students can identify and the elements of
lyrics and music can be easily adapted to fit current community needs in celebration
and local happenings. Harmony of folk songs can be altered to fit the taste of any
generation and experimentation in chord progressions can lend another creative twist
to a familiar folk song.
By supplying students with vital folk songs from around the world, including
Africa, South America, the East and Middle East, Australia, Europe, as well as our
own country, students will be better equipped to express their own feelings through
music by singing, dancing, and performing. Folk music is popular music of enduring
quality (Landeck, 1968) and has the ability to develop growth in our youth
emotionally, physically, socially, and musically.
The importance of presenting American folk music to elementary students is
equaled by the importance of designing music programs that implement multicultural
folk music. Besides providing students with a wide variety of folk songs from around
the world, teaching about music from many cultures can lead students to value cultural
diversity. When Americans truly acknowledge and accept all of its cultures and the
worth of each, only then can we develop into a truly great society. Teaching music
from a multicultural perspective will augment the music program in our schools and
enable all students to establish a sense of pride in their specific racial and ethnic
background. When developing a curriculum that includes multicultural folk music, the
following guidelines may assist the music educator in the selection of various issues
regarding multiculturalism:
41
1. Music teachers should learn as much as they can about the cultures that their
students represent. Open minds and sincerity in accepting music that is
representative of all Americans will help students overcome their prejudices.
2. Music teachers should also encourage their students to share their unique
cultural backgrounds in the classroom.
3. One way to celebrate the diversity of our student population is to incorporate
opportunities for creativity and improvisation into the curriculum. When
students improvise, they are involved in spontaneous musical composition,
drawing upon musical skills and understandings that are truly culturally
creative. Music of all cultures incorporates improvisation as an integral part of
its creation and performance. This includes vocal as well as instrumental
improvisation.
4. Music teachers need to learn as much as possible about students’ homes and
communities, interests, talents, skills, and potentials and construct the music
program to reflect these.
5. Music teachers can invite parents to help collect materials and other resources
that pertain to a particular ethnic group. (Rauscher, 2005, pp. 112-113)
To ensure that all students benefit from a wide variety of multicultural
experiences in the elementary general music classroom, the future will depend on
music educators who believe that we must consider cultural diversity in order to
provide enriching musical experiences for all students (Rauscher, 2005).
42
There is an abundance of information on the web under the topic “multicultural
music education”. Due to the change of our student populations in our schools,
multicultural education has risen to a higher level of importance. With classrooms
filled with students from many cultures, it has become critically important to emphasis
cultural diversity in music instruction and to develop strategies to include the cultures
of all students in a given classroom (Fojas, 2009). It is of utmost importance to
approach the musical cultures of others and our own with respect and seek meaningful
ways to engage the students especially when the music may be unfamiliar. Our
teaching methods must be authentic to the culture of the music, preserving their
intended meaning and integrity, by not simplifying or altering their structure. We must
also be authentic to the students who are being taught. The teacher must be sensitive to
the needs, backgrounds, experiences, and skills of each student, with a clear
understanding of the importance of allowing the students to connect past experiences
with new ones and valuing each child as an individual musician (Blair & Kondo,
2008).
Making Stringed Folk Instruments
Whether in a group setting or as a solo performer, making music can be a
positive way in which to channel feelings and emotions. Music can create joy or
express sorrow in a language that all people understand. Musical experiences can
create a magic unlike anything else, and a creative way to extend the pleasure music
gives us, is to provide opportunities for young children to experiment with building
simple, primitive instruments by which they will learn not only from an historical
43
perspective, but also provide an exciting, hands-on approach to creating a unique
instrument to express a wide variety of sounds. This, in turn, would develop a keener
musical ear. Children are naturally curious, and with encouragement, building an
instrument, although quite simple, can expand the imagination of the child and help
develop musical skills and engrain a love for music at an early age. Making and
playing an instrument will provide an outlet for creative energy that can enable
children to become sensitive musicians, becoming aware of their own artistic talents
(Waring, 1990). It is common to skip some basics and start young children playing
sophisticated instruments such as the piano, violin, or flute. However, if young
children begin their music training by making basic sounds on simple instruments,
they can acquire a deeper understanding of where and how sounds originate, and they
will be able to discern simple tunes and play them on the instrument. Helping young
children make their own simple instruments can be a great source of learning and
enjoyment and can be a means to encourage creativity in sound production (Cline,
1980).
One of the oldest references of stringed instruments is found in the wall
paintings in the caves of Les Trois Freres, dated circa 15,000 B.C. It is believed the
wall painting depicts a shaman dressed as a bison holding a musical bow against his
mouth and performing an enchanted dance with a real bison. Throughout history,
instruments have been an important part of ceremonies and rituals and continue to be
associated with such pageantry with the power to induce mood changes. Modern
44
stringed instruments also share the basic components of their earlier counterparts in
that the strings and the resonator have remained basically the same.
The word “string” is used even though the strings are made of various
materials, such as steel, nylon, or gut. Silk, twine, and plant fibers have been used in
some cultures in the construction of stringed instruments, and the kind of sound
produced is determined by the material used (Waring, 1990). Waring explained:
These three factors affect the sound of any stringed instrument.
1. The tension of the string affects the pitch. (the tighter the string, the higher the
pitch).
2. The length of the string affects the pitch (the longer the string, the lower the
pitch).
3. The thickness and the material of the string affects the pitch and tone quality
(the thicker the string, the lower and fuller the sound). (Waring, 1990, p. 11)
Strings are played by plucking with the fingers or a plectra made from a quill,
bone, or plastic pick (for the guitar). The material and the style of picking have an
enormous effect on the tone produced. After the string has been activated, a hollow
chamber to which the strings are attached reflects the sound. Resonating cavities, often
used in their natural form, include gourds, logs, pods, tubes, shells, framed skins,
crafted boxes, and even human skulls (Waring, 1990).
Some typical, simple stringed instruments young students can build themselves
include the rubber band harp, Indian mouth bow, wall harp, ground bow, washtub
45
bass, bleach bottle banjo, board zither (Waring, 1990), and ham can guitar (Cline,
1980).
Folk Music and the Guitar
In his book, Guitar, An American Life, Tim Brookes (2005) stated, “I didn’t
want an expensive guitar, or even necessarily a beautiful one. I wanted a guitar that
would feel at home, that would curl up in my lap like a cat” (p. 4). He went on to say,
”What a remarkable thing a guitar is, a small miracle of wood, vulnerable but oddly
resilient” (p. 5). In the United States, during the 20th century, the guitar has become
the instrument that has been sold more than all other instruments combined. For
example, in 1940, 190,000 new guitars were sold. Between 1940 and 1959, guitar
sales doubled. They doubled again in 1964 and in 1970 to more than two and a half
million. Its immense popularity could be attributed in part by the fact that the guitar is
portable, relatively inexpensive, can be learned in a short period of time, and has a
range that encompasses both treble and bass voices (Brookes). The guitar became the
most popular accompanying instrument with the resurgence of American folk music in
the 1960s and early 1970s, and with this popularity, we have seen an increase in guitar
classes offered in the music curriculum of many public schools throughout the nation.
The guitar is especially appealing since it can be used as a melodic or a harmonic
instrument, and can be applied to both large and small group instruction (WilsonMarsh, 2005). More and more music schools and university music departments are
offering guitar classes as well as degree programs in guitar performance.
46
History of American Folk Music
Folk music, passed down through generations, is usually less sophisticated and
complex than other music styles, but it is often extremely beautiful and filled with
emotion. Popular American folk music can be traced back to singer-songwriter Woody
Guthrie. Guthrie, born in Oklahoma in 1912, grew up in a poor but musical family.
After a great dust storm forced his family to leave in search of employment in the
west, Guthrie hitchhiked to California, where he wrote songs about his experiences.
Later, he traveled all over the United States and became an advocate for migrant
workers, as well as a critic of politicians. Guthrie was the most important folk artist of
the first half of the twentieth century, and his recordings during the 1940s influenced
such folksingers as Joan Baez and Bob Dylan, both of whom were responsible for a
revival of folk music in the 1960s (Cutchin et al., 2005).
In his book entitled The Folk Songs of North America, Alan Lomax (1960)
introduced us to the social and historical setting of American folk songs in an effort to
tell the story of the people who made and sang them. He pointed out that most folk
songs did not have a direct connection with political events, but rather reflected
economic conditions that directly affected the common man. Some songs were a
response to major social changes, and often transformed slowly into new versions as
the songs were passed down from one generation to another by word of mouth
(Lomax). Each group of immigrants to the New World brought with them the musical
heritage of their native land, but the main influence of our country’s traditional folk
music was mostly British. Anglo-Scots-Irish ballads continued from the time of World
47
War I well into the 20th century all across the country (Davis, 1982). Some of these
folk songs were sung in England, Scotland, and Ireland before Columbus discovered
the New World, but others became popular during American colonization, and as the
population pushed westward, many Anglo-Scots-Irish ballads traveled along with
them. Even though the ballads remained primarily the same, changes in phrasing and
melody became common, as were geographical variations as time passed (Davis). Folk
music, as described by Davis “synthesizes the values and anxieties of the group, and in
expressing the feelings of the community reaffirms that community’s basic values and
social solidarity” (p. 230). He continues by stating:
The folk song essentially applauds its community for feeling the way it does
and serves to unite its society to the past. Unlike the art musician, who
perceives life individually, freshly, and with the desire to go beyond the
conventional, the folk musician seeks to maintain the status quo. Like the city
that supports him, the creative artist favors change, while the folk artist, linked
to the hinterland, emphasizes accepted values and existent experience and
resists departing from a known that is understandable. (p. 230)
Folk songs changed very slowly, but new versions arose gradually, transmitted
by word of mouth. In more remote areas such as the Appalachians, folk songs often
remained unchanged, but in more socially dynamic areas, many of the original folk
songs died out or were dramatically altered. The Anglo-American folk ballad was
most commonly sung without accompaniment, but in the early 19th century, a banjo,
fiddle, or dulcimer were sometimes used, followed more recently by a guitar
48
accompaniment. By the mid-19th century the old folk ballads had all but become
extinct, especially in the urban areas where a growing excitement in commerce
existed. The conflicts and stress associated with the traditional Anglo-Scots-Irish
ballads were replaced by Native American songs, associated with aspects of a regional
environment. Many early American folk songs did center on political and economic
issues. Street vendors at the beginning of the 18th century sold their goods on the
streets in many cities, singing street cries that became popular songs of the day.
Likewise, with the Industrial Revolution came labor songs, oftentimes expressing
discontent among workers concerning work conditions, long hours, and low pay.
Songs about various occupations were common, as were comic songs, often using
uncouth frontier humor that appealed to urban folk. As industry expanded in the
Northeast before the Civil War began, shipping experienced great growth on the
Atlantic seaboard. Sailors established the custom of singing while they labored aboard
their ships. Chanteys, or work songs, were sung by the crew as they toiled vigorously,
partially in an effort to maintain a positive spirit and make the time pass more quickly
as they rhythmically sang to the particular work being done. Chanteys generally
consisted of a solo sung by a leader, also known as a chantey-man, who was
considered one of the most important members of the crew. The solo parts were
improvised, whereas the chorus lines were standard melody and words. Even though
steamships replaced the sailing vessels, many of the folk songs survived. Furthermore,
many seamen were also lumberjacks during the winter season. The bunkhouses of
loggers were known as “shanties”, and the term “shanty-song” described the songs
49
sung by the lumberjacks after a long, hard day of labor. Their songs were mostly
lonely in nature, with lyrics reminiscent of home (Davis, 1982).
In the days of the westward expansion, pioneers experienced feelings of
loneliness and solitude as they traveled across the plains and wilderness in covered
wagons. Many of the folk songs they sang referred to sadness and a feeling of
rootlessness. With dangers lurking constantly, many embraced humor and fun to
endure the trip. By singing tall tales of a ridiculous nature, the travelers poked fun in
order to withstand the dangers that surrounded them every step of the way. Laughter
became the medicine that soothed the soul and allowed the pioneers to persevere. As
Anglo-American frontiersmen began to settle in the west, the Spanish borders from
California to Texas were enjoying music on a large scale. Many women played the
guitar, and men were skillful on the violin. Spanish folk dances linked with singing
and fiestas often lasted for days (Davis, 1982).
Alan Lomax (1960), American folklorist, musician, and renowned
ethnomusicologist stated, “The most one can say at present is that folk songs, even the
seemingly factual ones, are expressions of feelings, and many of them, in our guiltridden and repressive culture, provide outlets for all sorts of unconscious fantasies...”
He continues, “An ideal folk-song study could be a history of popular feeling”
(Lomax, p. xxi). “Folk music sums up the patterns of family, of love, of conflict, and
of work which give a community its special feel and which shape the personalities of
its members” (Lomax, p. xv). Each group of settlers brought with them songs that
were popular in their homelands, so the American folk songs were a blend of folk
50
traditions of many other lands (Lomax). Many early folk songs were crude, but
possessed a quality of honesty that did not exist in other forms of American music
(Davis, 1982).
Lomax (1960) described folk songs as “part dream and part reality” (p. xxviii).
From the depths of the heart of the people, folk songs represented the experience of
the people who created them. They evoked feelings and a belonging to the human
family, and having been kept alive and reshaped over time, they have “acquired the
patina of art” (Lomax, p. xxviii). They reflect the creativity of the heart and result in
true beauty (Lomax).
It is Lomax’s (1960) belief that many young folk musicians in the
entertainment field are turning to folk music as a means to express their political
discontent and voice their feelings through their music. It is his belief that some of the
modern ballads created presently may become the folk songs of the future,
maintaining the staying power that the folk songs of our past have endured. American
emotional problems are relatively constant, regardless of a specific historical period,
and our folk songs are a symbol of these problems. Lomax expressed his
understanding of this by pointing out that young people may discover the source of
their own emotions and those of the American people by singing folk songs, and
“begin to face these problems with increased maturity” (Lomax, p. xxviii).
Folk music needs to come to life, be sung and played, and what better place to
start this process than in our schools, teaching children not only the songs, but learning
our history in the process. Lomax (1960) is convinced of the importance of singing
51
and feeling folk songs as they were originally intended to be sung and felt by those
who created them. If we wish to learn to sing folk songs well, it requires knowledge
and effort in order to cultivate the singing style necessary to master the style. First, the
singer gains the ability to capture the style through imitation, next by absorption, and
eventually understanding is consummated. Through listening, then applying what he
has learned, the singer will successfully perform folk songs in the style by which they
were intended.
Lomax (1960), one of the great field collectors of folk music from America,
referenced folk songs according to specific sections of our country, including the
north, the southern mountains and backwoods, the west, and the Negro south. Many
of his folk song selections from these geographical areas will be included in an
appendix at the end of this project for use in a general music classroom (Lomax).
In this literature review, the author documented that the arts are essential in
offering a comprehensive and high-quality education to all students. As a part of the
core curriculum, the arts have a real impact on learning and achievement, and through
interdisciplinary teaching can greatly enhance learning across the curriculum.
Consequently, students overcome obstacles and enjoy accomplishments through the
learning process. The author revealed an in-depth look at American and multicultural
folk music through historical background information, shared the importance of the
guitar as a teaching tool, and offered suggestions for its use in the elementary general
music classroom. Finally, the author emphasized how community singing can provide
an opportunity for students to build character, a sense of pride, confidence, and self-
52
esteem by merely joining together in song. Although the arts tend not to be a high
priority item in many school districts, this literature review identified research to
substantiate the need for arts education to maintain its prominence in our educational
system. In music education, all students are equal. Even those students who feel
ineffective in other areas of the curriculum can be successful in the music classroom,
given guidance through the efforts of skilled and creative teachers. Every student who
participates in a musical experience will likely acquire not only greater musical skills,
but also a much greater sense of self and a deeper appreciation for the art experience.
53
Chapter 3
PORTFOLIO
Introduction
This chapter consists of journal entries written in narrative form for the
purpose of documenting my growth and development as a musician for a period of six
months. By developing skills to play the guitar in my elementary general music
classes, my ultimate goal was to successfully accompany the students in classroom
music lessons and in a concert in May at each school. The written entries, which show
the progress of the project through weekly guitar lessons, are presented in a journal
style and show the challenges as well as the joy of accomplishment in this
undertaking. Not only are the entries informative in direct relation to the project, but
they also explain the goals and expectations during the process from my perspective
and from the viewpoint of my private guitar teacher. Many of the journal entries
describe in detail specific feelings and concerns experienced throughout the project,
including struggles regarding practice and performing with an accompaniment
instrument in the classroom and in a prospective concert situation.
My Background
My first musical experience began as a piano student at the age of six. Through
the encouragement of my parents, I continued to study the piano throughout high
school and focused all of my musical interest to the development of piano skills. It
was not until I attended college that I was introduced to the acoustic guitar as an
instrument that could be a valuable accompaniment tool in a general music classroom.
54
As a requirement in an elementary methods class, the guitar was taught in an effort to
familiarize the students with the basic skills, which included learning a few major and
minor chords with simple strumming patterns. I purchased a small guitar, learned to
play simple folk songs, but did not continue to develop my skills. This was my only
exposure to playing the guitar until this project was conceived.
After receiving a Bachelor of Arts degree in music education with a piano
major and voice minor, I taught kindergarten through high school vocal and general
music in a small public school in Illinois for more than 20 years. All students in grades
K-6 were required to participate in regular general music classes in a large room
designed strictly for that purpose. The piano was used whenever an accompaniment
instrument was required, and students often performed using rhythm instruments,
soprano recorders, and Orff instruments such as metallophones, glockenspiels, and
xylophones, which were available in the spacious and well-equipped music classroom.
My teaching career continued in California when I relocated in 2001. After a
brief time as a substitute teacher and teaching part-time in the Folsom Cordova
Unified School District, I was hired as a full time elementary music instructor,
assigned to general and vocal music in fourth and fifth grade in all of the Folsom
elementary schools. In the Folsom Cordova school district, a team of elementary
music specialists are required to travel from school to school each day, scheduling all
fourth and fifth grade students twice weekly for a period of 35 minutes per class. Since
general music is taught in regular classrooms, instruments and equipment are
generally not available or easily accessible. Hence, accompaniment is primarily
55
accomplished by the use of Ipod systems or compact discs. Due to the logistics
involved in teaching music classes in this particular manner, the use of guitar to
accompany the classroom music lessons seemed to be a logical choice. Furthermore,
the use of the guitar as a teaching tool would most likely entice more students to
participate more enthusiastically, since the guitar is such a popular instrument with
youth of all ages. It was my hope that many of the students would be encouraged to
pursue musical experiences outside the classroom through the use of the guitar in my
general music classes, and perhaps even be inspired to seek private lessons to learn
basic skills on their own. Developing such skills can be very rewarding as a life-long
learning opportunity, and can provide an avenue for expressive qualities to emanate
and create beauty through true musical aesthetic experiences.
Whether or not a student considers private lessons outside the confines of the
general music classroom, the fact remains that by participating in a music class in
which the guitar is the main accompanying instrument, a sense of community and a
real feeling of cohesiveness within a group of students can and often will be born.
Given enough exposure and time, it will likely bloom into real joy and a genuine love
for continued musical involvement. As educators, our goal should be to provide
musical experiences, presented in a way that encourages the love of music, all the
while carefully developing skills that create a well-rounded individual who appreciates
the arts through participation in a wide variety of methods, including listening,
performing, creating, and analyzing.
56
This project hopes to open the students’ eyes to the music of the people, the
music we know as folk music. Many believe there are songs in America that all
students should know and learn to appreciate, and it is the responsibility of the
educator to provide meaningful and creative experiences through a carefully planned
curriculum. To make it interesting, the music teacher should incorporate other areas of
the curriculum in order to bring the music to life and enlighten the students in a more
meaningful manner. For instance, when learning a song about the Gold Rush, a short
history lesson could be included for a deeper understanding. Other areas of the
curriculum could also be introduced to create a more comprehensible visualization of
the song, its derivation, the geographical section of the country from which it came,
and the true meaning of the lyrics. The opportunities for learning and enjoyment are
limitless when creativity is valued as an important ingredient in the teaching process.
Journaling the Guitar Experience
Wednesday, April 8, 2009
My son gave me his guitar that was being stored at his father’s home in
Illinois. While visiting my family nearby, I retrieved the instrument and shipped it to
California. Shipping was very costly, but much less expensive than purchasing a new
guitar. I believe this guitar will be suitable for my purposes in the classroom.
Friday, June 19, 2009
I visited Sierra Music in Diamond Springs, California to inquire about guitar
lessons. This location appealed to me because of its close proximity and convenience
57
to my home. However, I plan to contact other guitar instructors before making a final
decision.
Tuesday, June 23, 2009
Vince Martini, a music educator at Vista Del Lago High School in the Folsom
Cordova Unified School District, agreed to advise me in my quest to explore the use
of the guitar for my general music classes. I drove to his studio at his home in Shingle
Springs, California, and he recommended I take my guitar to a reputable music store
and replace the strings and have the action checked. Vince gave me a book entitled
Mastering the Guitar (Bay & Christiansen, 1996), a Mel Bay Publication that he uses
as a student text in his high school beginning classes. He also printed some sheets for
my use, which included descriptions for playing open chords, minor chords, seventh
chords, sixth chords, suspended chords, bar chords, and moveable power chords. All
of this information, seemingly overwhelming at this point, will hopefully prove
helpful given time. Vince invited me to contact him at any time if I had specific
questions or needed more guidance, which I appreciated. He also told me I was
welcome to visit his guitar classes at Vista Del Lago High School when school
resumes in August.
After leaving Vince’s studio, I gave several piano lessons in Folsom and then
proceeded to Nicholson Music Company to have the needed repairs and adjustments
done to my guitar. It was an unusually hot day, and the guitar had been in my car for
several hours. When I opened the case, the repairman was concerned that some
damage may have resulted due to heat exposure. That possibility did not occur to me.
58
Otherwise, I would have been diligent to take the guitar into each of the homes where
I was giving piano lessons in order to shield it from the extreme heat in the car for an
extended period of time.
Friday, June 26, 2009
A representative of Nicholson Music Company called today to inform me that
my guitar was not damaged by the heat, the strings had been replaced, the bridge
adjustment was complete, and the instrument was ready. This came as very good
news, since I was fearful that the heat could have done enough damage to force me to
purchase a new guitar.
Saturday, June 27, 2009
I picked up my guitar from the music store, and plan to work on my own with
the comprehensive method book that Vince Martini gave me. I plan to study the
vocabulary, correct hand and arm positions, and basic strumming and tuning
techniques. I do not intend to move ahead aggressively in the book, as I do not wish to
establish bad habits prior to commencing private guitar lessons.
Friday, August 7, 2009
I called Steve Breshears to inquire about his availability for beginning guitar
lessons. Steve teaches acoustic guitar at all levels at Nicholson Music Company. He
agreed to provide weekly lessons if we could find a half-hour slot that would
accommodate both our schedules. After a few phone messages back and forth, we
decided on 12:30-1:00 each Friday.
59
Friday, August 21, 2009
My first guitar lesson was today at 12:30. I finish my morning teaching
schedule at 12:05, so I have just enough time to drive to Steve’s studio at Nicholson
Music Company. It works perfectly since I do not begin my afternoon classes until
1:20 at an elementary school nearby. Steve began the lesson by asking me about my
goal. Once he understood that this endeavor was directly related to my completion of
the requirements for my masters project and understood that I wished to use the guitar
in my general music classrooms as an accompanying instrument, he knew what
direction to lead me. At this lesson, Steve demonstrated the proper way to hold the
guitar and the pick, also known as a plectrum. He also discussed simple, strumming
patterns suitable for folk music. He provided me with chord diagrams for E, A, and D
to practice this week and pointed out that many folk songs can be performed using
these three chords, the primary chords in the key of A major. I purchased a footstool
after my lesson in order to elevate my left leg for a comfortable position while playing
seated.
Friday, August 28, 2009
We reviewed the chords and strumming technique provided at my first lesson,
then moved forward with new chord diagrams and instructions for practice. The new
chords included C, G, C2, B7, E minor, and A minor. Steve reminded me that now I
have learned the primary chords in the key of G major as well as A major, which gives
me more flexibility in playing chord progressions.
60
I was concerned that I could not play for more than 15 minutes at a practice
session because my fingers were quite sore from pressing on the metal strings. Until
my fingers build strength and develop calluses, it will be difficult to practice for longer
periods of time.
Friday, September 4, 2009
Steve introduced the bar chord at my lesson today. This is a chord played by
fretting several strings with one finger. The moveable bar chords that he demonstrated
were built with the root note on the sixth string, which is the E string. By playing the E
chord with fingers two, three, and four, the first finger is able to depress all of the
strings of the fret preceding the fingered chord. By moving the entire shape of the
chord to each ascending fret, the chord also ascends a half step. Playing bar chords
such as these is a tremendous benefit for building strength as well as increasing the
possibilities for various chord patterns. I found this very challenging at first, but each
time I practiced the bar chords, I could soon tell I was gaining strength and accuracy.
Friday, September 11, 2009
I shared with Steve that I struggled this week to find time to practice. Having
practiced only three days, I tried to utilize what little time I had available by reviewing
all of the chords I have learned thus far, as well as continuing to develop strength by
practicing the bar chords. Steve wrote out chord progressions using C, F bar chord,
and G bar chord. He stressed the importance of lifting, shifting, and then replacing the
fingers in an effort to maintain accuracy and clean technique. Also he pointed out that
61
these three chords have the third finger in common which makes the movement from
one chord to the next technically less difficult. He continued to explain that to identify
a common finger between two consecutive chords is a fundamental principal at all
proficiency levels. In order to execute chord changes effectively, an understanding of
this principal is essential.
This week I used the metronome to set a realistic tempo for strumming and
changing chords in a progression. As I felt more comfortable, I increased the tempo
gradually. At first, in a four beat pattern, I changed chords on beat one, next I changed
on beats one and three, and finally was able to accomplish a change on each beat at a
relatively slow tempo. Each day I increased the tempo slightly.
Thursday, September 17, 2009
I spent time at the Folsom Public Library searching for guitar methods books
that may assist me in my understanding of basic skills and help develop a deeper
appreciation of the process of learning a new instrument.
Friday, September 18, 2009
Steve diagramed the root six bar chords, including major, minor, and seventh
chords. He asked me to practice these chords with various rhythm patterns. He also
created two chord progressions using G, D, C2, and E minor that he suggested I
practice. By playing these progressions repeatedly, movement from one chord to the
next will eventually become more flowing and cohesive, which is imperative when
using the guitar as an accompanying instrument in a classroom or concert situation.
62
Steve demonstrated several chords including G, C2, and D in an attempt to
clarify terminology known as the shape of a chord. Chords such as these have
common strings and the movement from one chord to another maintains a similar
shape. He explained that guitarists relate chord types and formulas to particular
shapes. This is especially important to understand and be able to perform, especially
when playing the guitar as an accompaniment instrument.
Friday, September 25, 2009
Since I have been experiencing difficulty setting aside time to practice in the
evening, I have decided to practice in the morning before going to school. I am
extremely tired when I return from a full day of teaching, and finding 30 minutes to
practice is never easy. Since I am more focused and rested in the morning, I am better
able to accomplish my practice goals.
Using chords that I have already learned, Steve notated two progressions using
a new strumming pattern. First, I pick the root string, and then I downstrum on beat
two, three, and four. An alternate strumming pattern was also given with an added
upstrum between beats two and three. I am eager to learn more sophisticated
strumming patterns to add interest to my basic skills.
Steve encouraged me to be patient with myself and to practice slowly
remembering to lift, then move or shift, and finally replace the fingers on the proper
strings. This will result in greater accuracy with a much cleaner sound. I am starting to
move more quickly with ease as I change chords and develop muscle memory.
63
I spent about 15 minutes reviewing my lesson assignment for this week when I
returned home after school. I will continue to practice bar chords this week to increase
my strength. I will play C, then move to an F and a G bar chord in succession.
Friday, October 2, 2009
After reviewing the chords and strumming patterns introduced at last week’s
lesson, Steve reminded me of the importance of developing a relaxed strumming style
in order for the music to flow more smoothly. I need to practice with less arm
movement, allowing the strumming action to come from the wrist instead of the elbow
and allowing for more smoothness with greater potential for rhythmic accuracy and
interest.
My progress seems unusually slow, but Steve indicated that perhaps because I
am a musician, I have placed too much pressure on myself to improve my skills at an
unrealistic rate. Due to the fact that I have very limited time daily to practice the
instrument, I must realize my limitations and accept the fact that my progress will be
achieved at a slower pace than originally anticipated. Steve is extremely patient, and
his expectations are realistic. I am very grateful to have found a teacher with such an
understanding nature.
This week Steve wrote a progression using C, A minor, D minor, and G7,
along with diagrams of the chords, accompanied by a strumming pattern in which the
root is picked on beat one followed by downstrums on beats two and three. An
upstrum is added between beats three and four, and finished with a downstrum on beat
four. He also included a sheet of chord progressions containing bass note runs between
64
the chords. He explained to me the importance of keeping my fourth finger strong, and
never allowing it to collapse. There are no scheduled lessons next week, so I should
have more time to practice and improve my skills.
Friday, October 2, 2009, Afternoon General Music Classes
This was the first time I accompanied a music class with the guitar. I admit I
was slightly nervous, even though I was working with fourth, fifth, and sixth graders.
The students already knew the lyrics and melody of “This Land is Your Land” so it
seemed a logical choice. This American folk classic requires only three chords and can
be successful with a simple strumming pattern. I used A, E, and D, and the students
were quite responsive. I noticed they sang along, but many of them watched me
intently as they sang. Unfortunately, I still need to watch my fingers as they assume
their positions on the strings, so I could not watch the students to assess their
participation at all times during this activity.
Tuesday, October 6, 2009
I asked my husband to help me with bass runs, since I was having trouble
understanding some of the patterns. He was able to assist me, and then I practiced until
it felt comfortable. I also worked on strumming patterns that picked the root string on
beat one. I am feeling a bit more confident and am achieving greater strength as I play.
Friday, October 16, 2009
This week Steve played a song from a CD in his collection that he thought
might interest me. The composer and performer is Jack Johnson. I plan to purchase
some of his selections from itunes and add to my library. After listening to several of
65
Johnson’s songs, I agree with Steve that students in fourth and fifth grade could relate
to his pop-folk style.
He also wrote out two turnaround progressions for my practice this week. I
have noticed that I am able to move more easily and smoothly from one chord to the
next in a progression after several weeks of lessons.
Friday, October 23, 2009
I expressed my frustration at my lesson as usual due to lack of practice, and as
usual, Steve encouraged me to be satisfied with whatever progress I make each week.
I am improving slowly but surely. This is not an easy process, but I will continue to
stay the course in an effort to accomplish my goal. It will be satisfying in the spring
when I can successfully accompany my students in a short end of the year concert.
Steve helped me with “This Land is Your Land” by writing the chord progression on
paper in the key of G. It is amazing that so many folk songs use only three chords,
which make playing the guitar for my purposes a bit simpler and much more
achievable.
Friday, October 30, 2009
After some review and discussion, Steve wrote another bass run for my
practice this week. I am finding that if I do not go home Friday after school and
practice my guitar, I forget much of what was accomplished at the lesson. It is best for
me to play on Friday or early Saturday to retain the information and directions for
accurate practice from the lesson on Friday. When it is fresh in my mind, I have a
66
much more successful week of practice. I just need to discipline myself to do this on a
weekly basis.
Friday, November 6, 2009
Steve is challenging me to develop more advanced strumming patterns. By
using bar chords, Steve wrote five varied rhythm patterns to practice utilizing
downstrums, upstrums, muted strums, and ghost strums, which are those that use the
correct wrist action without actually strumming the strings.
This week he wrote a pattern to practice that involved both downstrums and
upstrums within two measures using G, D2/F#, E minor7, and C2. This progression is
rhythmically exciting and has a great deal of potential for many other folk songs. The
chord diagrams Steve provides are very helpful.
Friday, November 13, 2009
Much of today’s lesson was based on the review of bar chords, strumming
patterns, previously learned chord progressions, and bass runs. Steve stressed the
importance of repetition and finding joy in small victories. I now realize that this
undertaking was far more difficult than originally anticipated. As a pianist and
vocalist, I totally understand chord structure, and can read chord symbols successfully
while performing on a piano. However, when transferring that knowledge to a guitar,
the technique becomes a barrier, as it requires an entirely different technical skill set.
It is rather like learning a new language. Although you may know the meaning in one
language, you must be able to express that meaning through the context of something
totally different and unfamiliar.
67
This can create an uncomfortable situation, but like all things, with continuous
practice, soon a comfort level prevails by which the person presented with the
challenge accepts the situation and looks toward a future of vast improvement.
Perseverance and a positive attitude are essential in learning any new skill.
Saturday, November 28, 2009
My lesson was scheduled for one hour, since I missed two regular lessons in
November due to the holidays. Besides reviewing everything I have learned so far, I
selected “Feliz Navidad” and “Go Tell it on the Mountain” to practice and use in my
music classes in December before our winter break. Steve helped me with these two
songs, and encouraged me to keep practicing to develop greater strength and
confidence. He also suggested I continue to select songs for the classroom to practice
now that I have some basic knowledge and skills. I purchased an old Peter, Paul, and
Mary songbook, which included twelve of their hits. I selected “Blowin’ In The Wind”
to practice for future classroom use. Since it only uses three chords, I plan to learn it in
three major keys in order to practice more chords. That also gives me the opportunity
to use the best key to fit the children’s voices in each particular situation. Steve
reminded me that using a capo, a device placed across the neck of the guitar, the same
results could be accomplished. The use of a capo allows a key change without
alteration of the chord shapes.
Friday, December 4, 2009
We spent the lesson today working on the two holiday songs I selected for use
in the music classrooms. I expressed my plan to continue guitar lessons upon
68
completion of this project. My original time-line of six months of scheduled weekly
guitar lessons to journal my progress will be followed by lessons to increase my skills
and continue to play for the sheer enjoyment of playing the instrument and
accompanying students in the general music classroom. However, we discussed a twomonth break in order to complete the project and commence again on a regular basis
in April or May.
Monday, December 7, 2009
I awakened early this morning to about fourteen inches of snow and no
electricity. It was absolutely beautiful, but impossible to get up the steep hill near my
house and drive to school in Folsom. I found it a perfect time to play the guitar with no
pressure, and I found it more enjoyable than ever before. I played the two holiday
songs repeatedly for 30 minutes, and totally enjoyed the relaxed atmosphere with no
distractions. It is a blessing to have a day when the hectic pace of life is buried in a
foot of snow. It was truly a joy to sit by the fire and strum the instrument that is
becoming my friend.
Monday, December 7, 2009, 5:30 PM
After enjoying a relaxing day, I received a phone call from my sister-in-law in
Illinois informing me that my mother had been taken by ambulance to a nearby
hospital after suffering a massive stroke in her home. It seemed everything came to a
sudden halt.
69
Tuesday, December 8, 2009
The shock of my mother’s stroke has had a tremendous effect on my ability to
focus. My brother said he would call to report on her condition and advise me
regarding my trip to Illinois, which is eminent in the near future. I practiced my two
holiday songs that I will use this week in the classroom, although my heart is
elsewhere. The A7 alternate chord that Steve showed me at my last lesson seems to
move easily from D and G, which helps make my chord transitions more smooth and
connected. After playing for 15 minutes, my emotions refused to allow me to
continue, so instead of playing I started praying.
Thursday, December 10, 2009
The first week in December I taught the lyrics to “Feliz Navidad” to my
general music classes, and today I accompanied the singing of the song with the
guitar. It went well, and the students rose to the occasion by singing in a spirited style.
It was truly an uplifting experience to have such great participation.
Friday, December 11, 2009
After having talked to my brother in Illinois this morning, it was clear to me
that I must travel to my mother’s bedside immediately. I called Steve to cancel my
weekly lesson. He was very understanding, and I told him I would call as soon as I
returned to resume lessons. I made airline reservations for early tomorrow morning, so
my plan to practice and accompany my classes next week will not happen as planned.
When I return after the New Year, the chords I practiced for the holiday songs can be
transferred to other folk songs that will be more appropriate in January.
70
December 12, 2009-January 2, 2010
My mother passed on December 13, 2009 at 2:30 AM. She had a compact disc
player by her bedside with beautiful Christmas carols being played softly as she
slipped away. I sat beside her bed when I first arrived at approximately 9:00 PM,
spoke to her, and then sang “Silent Night,” one of her favorite carols. I thought about
how lovely it would have been to be able to accompany myself on a guitar at this
particular moment, similar to the first time it had ever been performed so many years
ago.
I spent almost three weeks in Illinois taking care of what details I could before
returning to my life in California on January 2, 2010. I expect it will be difficult to
return to a sense of normalcy right away.
Friday, January 8, 2010
I have been unable to practice since returning home after the death of my
mother. It has been almost a week, and I have yet to pick up the guitar. I have found it
difficult to function at school as well, but the students and teachers have been
extremely kind and compassionate. I did not take my guitar to my lesson today, but
instead talked to Steve about my project. He agreed to offer his own perspective and
write down his thoughts to questions and concerns I have regarding this project.
Friday, January 15, 2010
We discussed in detail the questions and responses I presented to Steve via
email. I asked him about his main goal as a teacher, and he answered by saying that he
discerns and assesses the student’s motives, makes a plan, and discusses how to best
71
accomplish the goals of the student. His job is to help and encourage growth and tailor
his teaching style to the individual needs of each student. He considers himself a coach
and a source of encouragement.
When asked his best advice for an adult beginner, Steve recommended the
student be cognizant of the fact that the study of a new instrument such as the guitar
requires regular practice, and the student needs to make certain that ample time is
available in their schedule to make improvement. He also stressed that the student
needs to be patient, enjoy the process, and above all, have fun.
Steve indicated that significant progress could be achieved if regular practice is
maintained, and continued by saying most students show improvement within two to
three weeks. At that time, the teacher can assess the ability level and be better able to
set expectations for the student. However, he stated that it might take as much as one
to two years before a comfort level is attained whereby the student plays with
confidence and poise.
When asked what benefits he could identify for utilizing the guitar in a general
music classroom, Steve reported that the portability of the guitar makes it quite
accessible not only to the instructor as a teaching tool, but also to the students who
may wish to learn to play the instrument themselves. He continues by explaining that
the guitar has been historically one of the most popular American folk instruments, is
easy to travel with, and relatively easy to learn to play.
Steve expressed his thoughts about my goals for learning to play the guitar as I
had described them at my first lessons. Since my goal was accompanying a group in a
72
classroom situation, he stressed skills that would provide volume in order to be easily
heard in a large area, with a bold style to provide direction through my playing.
Steve expressed his belief that folk music is an important and easily
understood genre of music, and agrees with the importance of exposure to folk music
in the elementary school. He also sees the relevance of incorporating multicultural folk
songs into the general music curriculum.
Friday, January 22, 2010
After teaching the students “We Shall Not Be Moved” in celebration of Martin
Luther King’s birthday, the students also learned to play the melody on their recorders.
I had practiced the chords on my own, and showed Steve what I had practiced this
week. He agreed that I am starting to play with more strength and confidence and feels
I am ready to start accompanying the students during music classes.
Friday, January 29, 2010
I added the Mexican folk song, “De Colores” to my repertoire with the plan to
teach the students the Spanish lyrics and accompany them on the guitar at the end of
the year concert. I play the accompaniment with a picking and strumming technique. I
plan to add choreography using multicolored scarves in the final performance.
I accompanied the students this afternoon as some played “We Shall Not Be
Moved” on their recorders and others sang the song. It was very successful, and the
students seemed pleased with their performance.
Steve and I discussed the plan to take a break for two months and start lessons
again in April or May, allowing me the time needed to complete this project without
73
the stress of regular daily practice and weekly lessons. He suggested we schedule a
lesson to design an Appendix for suggested folk guitar strumming patterns for
beginners and more advanced patterns for the player with more experience. Another
matter to discuss will be capo options, and could be included in the Appendix as well.
I am hoping to plan this lesson in February.
Friday, February 5, 2010
I accompanied the students in four classes today. It is becoming more
comfortable each time, and much more enjoyable. It is my goal to continue practicing
as many days a week as I can fit into my daily schedule in order to learn a number of
new folk songs for general classroom use and the concerts performed at the end of the
school year.
Monday-Thursday, February 8-11, 2010
The continued use of the guitar to accompany previously learned folk songs in
several classrooms proved to be a positive experience for the majority of the students.
The novelty of the guitar is diminishing, and the students are less intimidated by its
use to accompany them. As the comfort level improves for the students and for me, so
does their ability and skill level. They seem to respond to the guitar in a very positive
manner.
Friday, February 12, 2010
Strap buttons were replaced on my guitar today at Nicholson Music Company
so that I can play my guitar during music classes while standing for a better view of
the students. It may also encourage greater participation by being able to watch them
74
perform as I walk around the room and interact with the students.
A guitar lesson was scheduled at 12:30-1:00 to discuss the journal entries.
Steve clarified a few issues regarding guitar terms and provided a clearer
understanding of important terms and techniques he used during my lessons. I felt it
was important to discuss this information with him in order to present an accurate
depiction of the procedure and the progress made during the course of my study.
Monday, February 15, 2010
As I looked through several songbooks, I compiled a list of folk songs that
would be appropriate to teach my general music students. I plan to begin to practice
each of them today and continue adding more to my repertoire as I am able. Once
these selections feel comfortable, I will teach them to my students. Many of these
songs will become great warm-up activities to generate excitement and create an
atmosphere conducive to learning more about the music of our nation and its vast
cultural heritage. The songs I selected are as follows:

“America, the Beautiful”

“Camptown Races”

“Cindy”

“Follow the Drinking Gourd”

“I Love the Mountains”

“Michael, Row the Boat Ashore”

“My Bonnie Lies Over the Ocean”

“Puff the Magic Dragon”
75

“Shenandoah”

“Simple Gifts”

“Sweet Betsy From Pike”
Tuesday, February 16, 2010
Today I practiced the chord progressions for the folk songs “Michael Row the
Boat Ashore,” “Follow the Drinkin’ Gourd,” and “I Love the Mountains.” Although
my chord changes are still rather slow, they are becoming more fluid.
Thursday, February 18, 2010
I added “My Bonnie Lies Over the Ocean” today to my folk song repertoire.
To keep a moderate waltz tempo throughout, I deleted a few chords to keep it flowing.
This did not affect the accuracy of the melody or the overall sound.
Friday, February 19, 2010
Today I practiced “Camptown Races,” which used the A7 and D chords, with
only one G chord in the refrain. “Puff the Magic Dragon,” which was more
challenging since it had six chords in the accompaniment, was accomplished by
practicing very slowly with a metronome. I was able to play it eventually at the
moderate tempo suggested.
Monday-Friday, February 22-26, 2010
I continued to add other folk song selections to my repertoire this week. I
practiced “Cindy,” “Sweet Betsy From Pike,” and “Shenandoah.” Since my project is
nearing completion, my practice sessions are of shorter duration and fewer times a
76
week. If I continue to accompany the students at school, my skills should improve. I
plan to resume lessons in late spring and continue my study of the guitar.
77
Chapter 4
REFLECTION
Implementation of the Project
This project was implemented in an effort to guide students on a musical
pathway through the diverse cultural and geographical backgrounds from which they
came. By introducing folk songs from America and other countries, with the
assistance of the guitar as the main accompaniment instrument, the students in my
fourth and fifth grade general music classrooms enhanced their ability to sing with
confidence and joy. I observed that most students participated freely, and a sense of
community within the classroom developed as they learned and performed folk songs
in music class.
It was the development of a new skill, that of playing the guitar, which enabled
me to provide lesson plans which spilled over into areas of the core curriculum. By
including elements of American and multicultural folk music literature, it was my
hope that teachers seeking to implement similar folk song material into their
curriculum, with or without the skill of guitar playing, could find the suggested folk
songs in the appendices helpful in regular classrooms, as well as in general music
classes. Children in every culture sing, dance, and play instruments, so the educator
has a very important task to encourage and provide rich musical experiences of the
highest quality for all students.
I am of the opinion that the music specialist must seek out and design musical
experiences that will carry over throughout the lives of their students. For example,
78
accompanying the class with a simple acoustic guitar and playing a few basic chords
as the class sings, may not seem to be a great accomplishment, but through this type of
experience, the students may develop a love for music or the guitar, which could serve
as a life-long learning experience. Singing or playing folk songs (as students) could
have an enormous effect on later adult activity, and could provide the basic knowledge
necessary to enhance the quality of life as they encounter musical opportunities
throughout their adulthood. As teachers, we must be committed to what is being taught
and its great importance, and in the field of music, provide ways in which children can
thrive and experience musical growth. By learning relevant examples of our own
native American folk songs and folk song selections from various countries
throughout the world, and to be able to perform them by sharing in a community spirit,
we can recapture our connectedness to our historical roots through folk music.
Challenges of the Project
The initial challenge of this project was a matter of making the experience of
learning a new skill a priority in my life. Finding time to practice regularly and
maintaining a schedule, which included a weekly private guitar lesson, was difficult.
The lessons, although initially intimidating, soon became something to which I looked
forward. However, it was difficult at times to persevere with a positive attitude,
especially on those lesson days when I had little time to practice during the previous
week. Realizing my limitations and the time constraints surrounding my hectic life
were issues I had to deal with, and once I acknowledged and accepted the problems, I
became more relaxed and able to enjoy the process. I put a great deal of pressure on
79
myself to excel in guitar playing skills within a short period of time in order to satisfy
the requirements for this project. Having a patient and understanding private teacher
helped tremendously. He was very encouraging during the six-month time frame for
the completion of the project. I am looking forward to continuing guitar lessons this
summer to hone my skills and to further my guitar-playing abilities for use in the
classroom and for my own personal pleasure.
Becoming a student again and being taught a new skill forced me to realize
that perfection was not as important as the creative journey I had embarked upon. It
became clear to me that in order to appreciate the experience, I needed to celebrate
small accomplishments while learning to express my musical gifts through an avenue,
which had never been explored. Learning to discipline myself to practice allowed me
to realize the struggles all students face when learning a new skill. This realization
made me more compassionate to similar struggles my students face.
Like children, many adults thirst for continuous and valuable life-long learning
opportunities. We must never stop seeking knowledge, and as educators, we must
always provide students with multiple ways to build understanding through the
creative process. We must employ different techniques to keep students engaged, and
we must provide a variety of activities in an attempt to reach all students. The arts can
build self-confidence, which, of course, can have long-lasting positive effects in all
other areas of the curriculum.
Throughout this project I attained an increased appreciation for the guitar as an
accompaniment instrument and for folk music in general. It became dramatically clear
80
that folk music is the music of the people, and our children are the people who need to
have an understanding of our great musical heritage, as they will be the ones to carry it
on into the next generation. There are folk songs that all children and adults should
know, and this could be considered the greatest challenge and the ultimate goal of this
project.
Success of the Project
Student reaction to the use of the guitar in the classroom as an accompaniment
instrument was rewarding from a teaching perspective. As a general observation, I
assessed the overall participation as excellent. By using the guitar as a teaching tool in
the classroom, I found that vocal ability improved over time, since students could
match pitches with the help of a tuned instrument. Likewise, intonation and ear
training ability improved in most cases. It became obvious that the students were
proud of their ability to sing with confidence in the classroom, and behavior improved
as their body language and facial expressions displayed their satisfaction and
enthusiasm as they participated in their respective general music class. The success of
this project will be an on-going process involving continuous and meaningful musical
experiences focusing on folk music with the use of the guitar.
My personal success was the achievement of a proficiency level in guitar
playing which could be effectively utilized in a general music classroom for teaching
simple folk songs. Being able to select folk songs that were appropriate for the grade
level, fun to sing, and that introduced important musical concepts were of great
consideration in the project. By using a general theme, I selected folk songs that could
81
be integrated into other areas of the arts as well as other subjects in the curriculum. For
example, “We Shall Not Be Moved” was introduced during January, in celebration of
Dr. Martin Luther King’s birthday. This lesson started with learning the lyrics and
melody. After the students could successfully sing the song, instruments were added,
and the historical significance was shared leading to a short discussion of freedom,
brotherhood, peace, and civil rights. Alternate interdisciplinary experiences could
include such activities as reading books about the civil rights movement, writing
poems or short stories, creating movement to freedom songs, creating posters or
drawings, or writing a play to portray freedom and its meaning in the world today.
Next Steps of the Project
In light of the economic concerns that currently face our school districts across
the nation, arts educators must be proactive in support of their programs now more
than ever. Perhaps the time has come for music educators to think outside the box to
express the benefits of music education in new and innovative ways. Through
communication with the teaching staff and administration, a project such as this one
could result in weekly or monthly group sings whereby students, along with their
teachers, could enjoy singing the folk songs learned in music class in a group
situation, and by doing so, create a bond among students from diverse backgrounds.
Also, by encouraging parent and community involvement, valuable connections could
be strengthened and support for the program would exist as the economy rebounds.
In order for our students to grow academically, socially, and emotionally in the
world today, the arts are essential. The arts, along with the sciences and humanities,
82
are equally important parts of a well-balanced curriculum and should receive the same
priority as any other core academic subject. If children are given opportunities to learn
through creative experiences in all of their subjects, growth will occur and the creative
potential of each child will be realized.
83
APPENDIX A
Regional Folk Songs of the United States
84
REGIONAL FOLK SONGS OF THE UNITED STATES
Alan Lomax (1960) referenced folk songs according to specific sections of our
country, including the north, the southern mountains and backwoods, the west, and the
Negro south. The following selections are examples that can be used in general music
classes or in the regular classroom.
THE NORTH: Includes the Provinces of Canada, New England and the
Middle Atlantic States, the area between the Ohio River and the Great Lakes, and the
Western Canadian border regions (Lomax, 1960).

“Cape Cod Girls”

“El-a-Noy”

“I’ze the Bye”

“Johnny Has Gone for a Soldier”

“Oleana”

“Shenandoah”

“Sow Took the Measles, The”

“Springfield Mountain”

“Turkey in the Straw”

“When Johnny Comes Marching Home”
THE SOUTHERN MOUNTAINS AND THE BACKWOODS: Includes most
of the areas of marginal land and centers of ’poor white’ population in the Southern
States as far as East Texas, the Southern Appalachians being the center of the region
(Lomax, 1960).
85

“Cindy”

“Cripple Creek”

“Cumberland Gap”

“Down in the Valley”

“Jubilee”

“Shady Grove”

“Sixteen Tons”

“Uncle Joe”
THE WEST: Includes the states across the Mississippi, with the exception of
Louisiana, parts of the Midwest and the Spanish Southwest (Lomax, 1960).

“Blue”

“Doney Gal”

“Drill, Ye Terriers”

“Fiddle-i-fee”

“Night Herding Song”

“Roll On, Columbia”

“She’ll Be Comin’ Around the Mountain”

“Sweet Betsy”

“Talkin’ Blues”

“Wabash Cannon Ball, The”
THE NEGRO SOUTH: Includes the Negro ghettos of certain northern cities as
well as the areas of large Negro population in the South; however, the region is not as
86
much geographic as it is social, created by economic and racial circumstances
(Lomax, 1960).

“Bile Them Cabbage Down”

“Blue-Tail Fly, The”

“Casey Jones”

“Cotton Needs Pickin’”

“John Henry”

“Old Ark’s a-Moverin’”

“This Train”

“Wade in the Water”

“When the Saints Go Marching In”
87
APPENDIX B
American Folk Songs for Children
88
AMERICAN FOLK SONGS FOR CHILDREN
“Amazing Grace”
“America (My Country ‘Tis of Thee)”
“America, the Beautiful”
“Ballad of the Boll Weevil”
“Battle Hymn of the Republic”
“Bile Them Cabbage Down”
“Billy Boy”
“Blue Tail Fly, The”
“Camptown Races”
“Cape Cod Girls”
“Charlottetown”
“Cindy”
“Clementine”
“Columbia, Gem of the Ocean”
“Cotton-Eye Joe”
“Cotton Needs Pickin’”
“Crawdad Hole”
“Cripple Creek”
“Dixie”
“Doney Gal”
89
“Down by the Riverside”
“Down in the Valley”
“Drill, Ye Terriers, Drill”
“Dry Bones”
“Erie Canal, The”
“Every Time I Feel the Spirit”
“Fiddle-I-Fee”
“Five Hundred Miles”
“Follow the Drinkin’ Gourd”
“Frog Went A-Courtin’”
“Get On Board”
“Git Along, Little Dogies”
“Go Down, Moses”
“Go Tell Aunt Rhody”
“Go Tell it on the Mountain”
“God Bless America”
“Goober Peas”
“Goodbye, Old Paint”
“Great Granddad”
“He’s Got the Whole World in His Hands”
“Hey, Betty Martin”
“Home on the Range”
90
“Honey, You Can’t Love One”
“Hop Up, My Ladies”
“Hush, Little Baby”
“I Love the Mountains”
“If I Had a Hammer”
“I’ve Been Workin’ on the Railroad”
“Jim Along, Josie”
“John Henry”
“Johnny Has Gone for a Soldier”
“Kum Ba Yah”
“Let There Be Peace on Earth”
“Lift Ev’ry Voice and Sing”
“Li’l Liza Jane”
“Long Legged Sailor”
“Love Somebody”
“Make New Friends”
“Michael Row the Boat Ashore”
“Music Alone Shall Live”
“My Bonnie Lies Over the Ocean”
“My Home’s in Montana”
“New River Train”
“Night Herding Song”
91
“Oh! Susanna”
“Oh, Won’t You Sit Down?”
“Old Ark’s A-Moverin’”
“Old Chisholm Trail”
“Old Dan Tucker”
“Old Folks at Home”
“Old Joe Clark”
“Old MacDonald Had a Farm”
“Old Paint”
“Over the River and Through the Woods”
“Pallet on the Floor”
“Pat Works on the Railway”
“Peace Like a River”
“Pick a Bale o’ Cotton”
“Puff the Magic Dragon”
“Red River Valley, The”
“Rock-A-My-Soul”
“Rock Island Line”
“Roll On, Columbia”
“Row, Row, Row Your Boat”
“Shady Grove”
“She’ll Be Comin’ ‘Round the Mountain”
92
“Shenandoah”
“Shoo Fly”
“Shortnin’ Bread”
“Simple Gifts”
“So Long”
“Sometimes I Feel Like a Motherless Child”
“Sow Took the Measles, The”
“Springfield Mountain”
“Star Spangled Banner, The”
“Sweet Betsy From Pike”
“Swing Low, Sweet Chariot”
“Take Me Out to the Ballgame”
“Tenting on the Old Camp Ground”
“The Red River Valley”
“This Is My Country”
“This Land Is Your Land”
“This Little Light of Mine”
“This Train”
“Turkey in the Straw”
“Wabash Cannonball, The”
“Wade in the Water”
“Water Is Wide, The”
93
“Wayfaring Stranger”
“We Shall Overcome”
“When Johnny Comes Marching Home”
“When the Saints Go Marching In”
“Where Have All the Flowers Gone?”
“Yankee Doodle”
“You Are My Sunshine”
“You’re a Grand Old Flag”
94
APPENDIX C
Multicultural Folk Songs for Children
95
MULTICULTURAL FOLK SONGS FOR CHILDREN
AFRICAN:
“Banuwa” (Liberia)
“Sansa kroma” (Ghana)
AUSTRALIAN:
“Kookaburra”
AUSTRIAN:
“Silent Night”
CANADIAN:
“Chumbara”
CARIBBEAN:
“Mango Walk”
“Mary Ann”
CHINESE:
“Fung Yang Song”
CUBAN:
“Guantanamera”
DUTCH:
“Sarasponda”
ENGLISH:
“Blow the Wind Southerly”
“Derby Ram,The”
96
“May Day Carol”
“Oh, How Lovely is the Evening”
“Scarborough Fair”
FRENCH:
“Frere Jacques”
“On the Bridge at Avignon”
GAELIC:
“Morning Has Broken”
GERMAN:
“Music Alone Shall Live”
“Trout, The”
HAWAIIAN:
“Hukilau”
“Ulili E (The Sandpiper)”
IRISH:
“Danny Boy”
“Gypsy Rover, The”
“Little Beggarman, The”
“Macnamara’s Band”
ISRAELI/ HEBREW:
“Hava Nigila”
“Shalom Chaverim”
97
“Tzena, Tzena”
“Zum Gali Gali”
ITALIAN:
“Funiculi, Funicula”
“Ninna Nanna”
“Tarantella”
JAPANESE:
“Sakura”
KOREAN:
“Arirang”
LATIN:
“Dona Nobis Pacem”
MEXICAN:
“De Colores”
“La Cucaracha”
NORWEGIAN:
“Oleana”
RUSSIAN:
“Kalinka”
SCOTTISH:
“Auld Lang Syne”
“Over the Sea to Skye”
98
SOUTH AFRICAN ZULU:
“Singabahambayo”
WELSH:
“All Through the Night”
99
APPENDIX D
Historical American Folk Songs
100
HISTORICAL AMERICAN FOLK SONGS
REVOLUTIONARY WAR:
“Johnny’s Gone For a Soldier”
“Yankee Doodle”
19TH CENTURY:
“Billy Boy”
“Star Spangled Banner, The”
“War of 1812”
EARLY 1800’S TO CIVIL WAR:
“America”
“Buffalo Gals”
“Long, Long Ago”
“Simple Gifts”
“Turkey in the Straw”
CIVIL WAR:
“Battle Hymn of the Republic”
“Dixie”
“Drinkin’ Gourd, The”
“When Johnny Comes Marching Home”
POST-CIVIL WAR:
“Grandfather’s Clock”
101
GOLD RUSH AND WESTWARD JOURNEY:
“Clementine”
“I’ve Been Working on the Railroad”
“Paddy Works on the Erie”
“Sweet Betsy From Pike”
COWBOYS:
“Red River Valley”
“Streets of Laredo”
“Yellow Rose of Texas”
SONGS OF THE SEA:
“Drunken Sailor”
“Rio Grande, The”
“Shenandoah”
AFTER 1900:
“Casey Jones”
“Cripple Creek”
“Old Joe Clark”
“Sourwood Mountain”
102
APPENDIX E
Beginning Guitar Strum Patterns
103
104
STRUMMING
For music to flow smoothly, it is important to develop a relaxed strumming
action. Strumming forms the foundation of a guitarist’s technique. Strum patterns can
be used to accompany your own or someone else’s singing. Being able to play the
guitar using a variety of rhythmic strumming patterns enables the player to perform a
wide range of musical genres.
Several strum patterns are shown on the preceding page. Twenty various
patterns are arranged in order of difficulty for the beginning guitarist. The downward
arrows indicate a downstrum, while the upward arrows denote an upstrum. It is
important to remember that the strumming action comes from a relaxed wrist, without
excessive arm movement. To attain a level of fluency in rhythm playing, careful
attention must be given to mastering the technical skill of strumming. By practicing
these patterns repeatedly, skills will be developed and repertoire expanded.
105
APPENDIX F
Capo Conversion Chart
106
107
DESCRIPTION OF THE CAPO CONVERSION CHART
This capo chart can be helpful when the guitarist wishes to change the actual
sound of a chord that is being played. Frequently, the capo device is placed on a fret
that will provide a suitable key for a song to be sung comfortably. Many guitarists find
the ability to change keys helpful when accompanying vocalists. Capoed chords
accommodate different vocal ranges and allow greater versatility in performance.
For example, the guitarist moves the capo to the fifth fret and plays a D chord.
Look at the capo conversion chart and find the D chord in the far left column. Next,
look to the right and find the column labeled “5.” By placing the capo on the fifth fret
and using the same fingering shape of a D chord above the device, the result will be
the sound of a G chord.
Other chord/capo combinations can be found for the same key. For instance,
using the example above, you chose to play a D chord with a capo at the fifth fret,
which created a G chord. By looking under the different capo position columns
(1,2,3,4, etc.), you find another G under the “3” column, “E” row. That means if you
play an E chord with the capo on the third fret, the actual sound will be G.
108
REFERENCES
American Orff Schulwerk Association (AOSA). (2008). Music and movement
education. Retrieved October 2, 2009, from http://www.aosa.org
Amidon, P. (2009). The all-school sing. Retrieved October 1, 2009, from
http://www.amidonmusic.com/workshops/notes/09 allschoolsing.html
Anshel, A., & Kipper, D. A. (1988). The influence of group singing on trust and
cooperation. Journal of Music Therapy, XXV(3), 145-155.
Arnstine, D. (1967). Philosophy of education: Learning and schooling. New York:
Harper & Row.
Arnstine, D. (1995). Democracy and the arts of schooling. Albany, NY: State
University of New York Press.
Bay, W., & Christiansen, M. (1996). Mastering the guitar. Pacific, Missouri: Mel Bay
Publications, Inc.
Beckman-Collier, A. (2009). Music in a flat world: Thomas L. Friedman’s ideas and
your program. Music Educators Journal, 96(1), 27-30.
Berger, J. (1972). Ways of seeing. London: British Broadcasting Corporation and
Penguin Books, Ltd.
Blair, D. V., & Kondo, S. (2008, May). Bridging musical understanding through
multicultural music. Music Educators Journal, 50-55.
Block, D. G. (2009). Interdisciplinary teaching enhances learning across the
curriculum. Teaching Music, 17(1), 58.
109
Brookes, T. (2005) Guitar, an American life. New York: Grove Press, an imprint of
Grove/Atlantic.
California Department of Education. (2004). Visual and performing arts framework
for California Public Schools, kindergarten through grade twelve. Sacramento,
CA: Author.
Capone, L. (2005). Striking a chord. Teacher Magazine, 17(1), 25-26, 28-29.
Cline, D. (1980). Making simple folk instruments for children. Music Educators
Journal, 66(6), 15-24, 50-51.
Cutchin, R., Douse, C., Perlmutter, A., Riley, R., Ross, M., Skinner, T., et al. (2005).
The billboard illustrated complete guitar handbook. New York: Billboard
Books, an imprint of Watson-Guptill Publications.
Davis, R. L. (1982). A history of music in American life, volume I-the formative years,
1620-1865. Malabar, FL: Robert Kreiger.
Dewey, J. (1934). Art as experience. New York: The Berkley Publishing Group.
Eisner, E. (1998). The kind of schools we need: Personal essays. Portsmouth, NH:
Heinemann.
Elliott, C. A. (1990). Singing in America: Reviving a tradition. Music Educators
Journal, 76(5), 24-26.
Fojas, S. (2009). Multicultural challenges. CMEA Magazine, 63(1), 30.
Foy, P. S. (1990). A brief look at the community song movement. Music Educators
Journal, 76(5), 26-27.
110
Grice, J. M. (2005). Kodaly applications in the American music classroom. In The
National Association for Music Education (Ed.), Spotlight on general music:
Teaching toward the standards (pp. 136-137). Lanham, MD: Rowman &
Littlefield.
Hardy, D. (2005). Folk music: A practical application. In The National Association for
Music Education (Ed.), Spotlight on general music: Teaching toward the
standards (pp. 29-30). Lanham, MD: Rowman & Littlefield.
Honn, L. (2005). Orff-schulwerk: A hands-on approach. In The National Association
for Music Education (Ed.), Spotlight on general music: Teaching toward the
standards (pp. 138-139). Lanham, MD: Rowman & Littlefield.
The Imagineers. (2003). The imagineering way. New York: Disney Enterprises, Inc.
Kliebard, H. (1982). Education at the turn of the century: A crucible for educational
change. Educational Researcher, 11(1), 16-24.
Landeck, B. (1968). A happy alternative to embracing rock. Music Educators Journal,
55, 36.
Lomax, A. (1960). The folk songs of North America. Garden City, NY: Doubleday &
Company, Inc.
Lyon, A. (2005). Connecting music to other school subjects. In The National
Association for Music Education (Ed.), Spotlight on general music: Teaching
toward the standards (p. 88). Lanham, MD: Rowman & Littlefield.
Moore, P. (2009). Singing forges a link between music and language. Teaching Music,
17(2), 57.
111
Music Educators National Conference (MENC). (n.d.). MENC forums. Retrieved
October 5, 2009, from http://www.menc.org/forums/viewtopic.php?id=2939
Music Educators National Conference (MENC). (1996). Get America singing...again!:
Vol. 1. Milwaukee, WI: Hal Leonard.
Music Educators National Conference (MENC). (2000). Get America singing...again!:
Vol. 2. Milwaukee, WI: Hal Leonard.
Praver, J., & Praver, B. (1984). Barb’ra Allen, Tom Dooley, and Sweet Betsy from PS
42. Music Educators Journal, 70(5), 56-58.
Quesada, M. A. (2005). Hispanic-American music: A Puerto Rican singing game. In
The National Association for Music Education (Ed.), Spotlight on general
music: Teaching toward the standards (p. 11). Lanham, MD: Rowman &
Littlefield.
Rauscher, F. (2005). The multicultural classroom. In The National Association for
Music Education (Ed.), Spotlight on general music: Teaching toward the
standards (pp. 112-113). Lanham, MD: Rowman & Littlefield.
Richards, M. H. (1977). Aesthetic foundations for thinking rethought: Part 1:
Experience. Portola Valley, CA: Richards Institute of Music Education and
Research.
Richards, M. H. (1978). Aesthetic foundations for thinking: Part 2: Reflection.
Bozeman, MT: Richards Institute of Music Education and Research.
Richards, M. H. (1980). Aesthetic foundations for thinking: Part 3: The ETM process.
Bozeman, MT: Richards Institute of Music Education and Research.
112
Sinor, J. (1997). The ideas of Kodaly in America. Music Educators Journal, 83, 37.
Sins, N. (1990). Let the whole school sing! Music Educators Journal, 76, 5.
Tanner, L. (1997). Dewey’s laboratory school: Lessons for today. New York:
Teachers College Press.
Unwin, M. M., Kenny, D. T., & Davis, P. D. (2002). The effects of group singing on
mood. Psychology of Music, 30, 175.
Waring, D. (1990). Making wood folk instruments. New York: Sterling Publishing
Company.
Wilson-Marsh, R. (2005). Guitar studies in the public schools. In The National
Association for Music Education (Ed.), Spotlight on general music: Teaching
toward the standards (pp. 177-178). Lanham, MD: Rowman & Littlefield.