Willie J. Whipple
Here is a brief outline of suggestions of activities and educational experiences that will contribute to the development of a good Afro-American music appreciation program. Adaptations and modifications may be made according to the varying musical background of the class.
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A. Preparatory work assigned previous to scheduled day for listening lessons:
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1. Research by class in the following areas:
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a.
Composer
: Biographical materials, etc.
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(1) General education: schools attended and academic achievements.
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(2) Musical training: teachers and schools (if any).
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(3) Musical activities: positions held and professional endeavors.
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(4) Non-musical experiences: activities participated in outside the realm of music.
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(5) General information about the composer’s music.
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(6) Interesting anecdotes concerning composer.
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b.
Music
History
: History of the development of music during the time of the composer.
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c.
General History
and
Cultural
Accomplishments
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(1) Study of the most important developments in
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the history of that time, and the achievements of the prominent music figures of the period.
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B. Discussion of the above assignments on the day of listening lesson:
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1. Discussion of the composer:
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a. Biographical information about composer.
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b. Composer’s contribution to the art of music.
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c. Discussion of compositon to be played:
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(1) Musical form of composition.
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(2) Program or absolute music.
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(3) Instrumentation or voice.
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d. Discussion of the conductor and performing group of the recording to be presented.
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2. Corrolation with other subjects of the curriculum:
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a.
Social
Studies
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(1) Discussion of the historical background of the period during which the composer lived.
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(2) Report on the geograohical location of the composer’s place of birth.
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(3) Political figures and developments during this period.
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b.
Physical
Sciences
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(1) Discussion of famous schintists of the period, and their relationship, if any, to the composer.
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(2) Discuss ion of the fundamentals of acoustics.
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(3) Scientific explanation of the principles of tone production of the various musical instrumets.
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(4) Scientific inventions and discoveries that might have influenced the music of the period.
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c.
Literature
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(1) Assigned readings on famous authors and their writings that were popular during the lifetime of the composer.
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(2) Oral reports and discussion about the composer.
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(3) Written reports on the composer and his music.
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(4) Creative writing of lyrics to musical compositions.
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(5) Writing of interpretive essays on musical compositions.
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(6) Relating poetic meter to musical rhythm.
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d. Fine Arts:
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(1) Drawing pictures that the music or title suggests.
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(2) Painting or sketching a picture of the composer.
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(3) Discussion of art and architecture of the period in music
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history.
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(4) For sculpture, creating clay models of musical subjects.
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(5) Making a comparison of the art and music forms of the period.
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e.
Mathematics
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(1) Discussion of time signatures and note values in music, and their relationship to mathematics.
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(2) Research on the mathematical principles involved in equal-tempered tuning of the piano.
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(3) Selection of musical instruments and research on the mathematical dimensions of these instruments.
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g.
Phsyical
Education
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(1) Folk dances (or social dances) from the period of the composer, perfommed by students.
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(2) Calisthenics performed with a musical background.
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(3) Discussion of famous athletic events and athletes of the time of the composer.
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Black Expressiveness
Western man has always shown a great attraction for the capacity of blacks to express the entire spectrum of human emotions, ranging from the deepest gloom to the infinite heights of exhilaration. But the white man has a tendency to borrow the effective aspect of black culture, and in the past has done so with a denial of black humanity, manifested in his scathing cruelty towards blacks.
“Black expressiveness” or the reason blacks act the way they act, can be defined as the readiness or predispsition to express oneself in a manher characterized by vital emotionalism, spontaniety, and rhythm. Western society, particularly in America, is gripped by tension, strain, frustration, and other stresses that significantly lowers the quality of life.
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When the African people heard music, it was believed that the rhythmic sound synchronized the rhythms of the cells in their bodies and minds. Because music was seen as the link to the force of all things, hearing impelling rhythms placed them in harmony with the rhythms of planets, and other airy bodies, earth, waters, plants, in short, the universe. They thought that this harmony enriched life, giving one abundant health.
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Songs embody metaphor, giving shape and dimension to the evocation of the soul or spirit, or the rhythmic force. These songs and other expressive vehicles are functional, as is black art, in that their unity for conveying feeling is obvious and numerous in example. Easing the pain of damaged human spirits and expediting the attainment of joyous states are noteworthy uses.
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Some concrete suggestions follow for liberating the artist in yourself and/or in those with whom you work. These were derived from the different ways blacks in the folk culture have used them to increase their survival chances. With reference to all of the advisory suggestions, there is no order or sequence in their use. Frequency and variety are the important factors for maximum effectiveness. Do as many different ones, singularly or together, as often as you can, and be guided mostly by the way you feel.
Whistling, humming, and singing are ways of making contact with feelings and expressing them.
Cultivate your interest in and skills at playing a musical instrument, or create an instrument of your own.
“Signifyin” is particularly useful in expressing feelings of anger and disgust. This can be a monologue or a written attack. Competitive “signifying” can be a substitute for physical sparring if the two participants are of equal verbal agility and the competition is appropriately officiated.
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Braggart “rappin” is useful in bolstering feelings of self-esteem. During the 1970’s and 80’s, popular musicians used “rapping” in their recordings.
Coin your own nickname to crystallize your experience of yourself in an emotionally straining situation. The nickname helps you reduce the strain to a managable size and enhances the process of working through, even though it may initially appear derogatory, downing, or just plain uncomplimentary. Nicknames are useful, too, in interpersonal situations where personal feedback is desirable. In educational situations, particularly in literature involving stories, dramas, or poems with prominent characters, have children give nicknames to characters as a way of communicating understanding of the characters’ personalities, motives, interests, etc.
Do physical exercises to the rhythm of music. The interface of sensual rhythm with the repetitiveness of exercise movements wards off boredom and the physical discomfort often associated with the sterility of exercise. A beat gives your movements a sharper time and makes the exercise more enjoyable.
Dance along to popular recordings, moving not necessarily to vogue patterned steps but as your own rhythms steer you. Let your body sway as loosely as possible to the music, without effort to guide the movement.
Choreograph your story of emotional troubles. This can be solo movement or you may direct the movement of others to fashion a musical-drama of your being.
Promoting Educational Excellence and School Retention
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A. General Purpose
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To help school-age youth more fully appreciate the liberating value of a good education and realize that ultimate human freedom lies in knowledge.
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B. Method
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Show group members the attitude of the black folk community toward the liberating powers of education as it is reflected in numerous spirituals by having them listen to recordings or sing in unison. The often thinly veiled but profound and deep educational desire and determination for satisfaction thereof is expressed in many of the spirituals. Play recordings, if possible, while the group follows written words of the song. Then have group members share their reflections on resolves that they might with respect to their own lives as related to attaining the benefits of a good education.
Intended Learning Experiences
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1. To help group members realize that when education is defined as enlightened training for a place in society and for individual personal development, it was highly respected in Africa.
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2. To have group members come to a realization that for thousands of slaves the desire for education was intense and that this desire continues in the black community today.
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