ME Teacher Guide Program 1 and 2

Weill Music Institute
Musical
Explorers
My City, My Song
A Program of the Weill Music Institute at
Carnegie Hall for Students in Grades K–2
Teacher Guide
2017 | 2018
Musical
Explorers
My City, My Song
A Program of the Weill Music Institute at
Carnegie Hall for Students in Grades K–2
Teacher Guide
2017 | 2018
WEILL MUSIC INSTITUTE
Joanna Massey, Director, Learning & Engagement Programs
Amy Mereson, Assistant Director, Learning & Engagement Programs
Anouska Swaray, Manager, Learning & Engagement Programs
ADDITIONAL CONTRIBUTERS
Sbongiseni Duma
Shanna Lesniak-Whitney
Tshidi Manye
Emeline Michel
Martha Redbone
Sofía Rei
Sofia Tosello
Ilusha Tsinadze
Imani Uzuri
PUBLISHING AND CREATIVE SERVICES

Eric Lubarsky, Senior Editor
Raphael Davison, Senior Graphic Designer
ILLUSTRATIONS
Sophie Hogarth
AUDIO PRODUCTION
Jeff Cook
Weill Music Institute at Carnegie Hall

881 Seventh Avenue | New York, NY 10019
Phone: 212-903-9670 | Fax: 212-903-0758
musicalexplorers@carnegiehall.org
carnegiehall.org/MusicalExplorers
Musical Explorers is made available to a nationwide audience through Carnegie Hall’s Weill Music Institute.
Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern.
Lead funding for Musical Explorers has also been graciously provided by JJR Foundation, JMCMRJ Sorrell Foundation, and Joan and Sanford I. Weill
and the Weill Family Foundation.
Major funding for Musical Explorers has been provided by the E.H.A. Foundation and The Walt Disney Company.
Additional support has been provided by The Edwin Caplin Foundation, the Ella Fitzgerald Charitable Foundation, the Lanie & Ethel Foundation,
and the Vidda Foundation.
© 2017 The Carnegie Hall Corporation. All rights reserved.
2
Table of Contents
Foreword 4
Introduction to Musical Explorers 5
How to Use the Teacher and Student Guides 5
Pathways for Teachers 6
Active Listening Tips 7
Meet the Artists 8
Becoming Musical Explorers—Student Activities 10
Welcome to Our Musical Trip! 11
Explore the Sounds of Our City 12
Discover Music in Everyday Objects 13
Musical Explorers Around the World Map 14
Create a Postcard 16
Vocal and Body Warm-Ups 17
Carnegie Hall Musical Explorers Song 21
Semester 1 23
Georgian Folk with Ilusha 23
Freedom Songs with Imani 35
Haitian with Emeline 47
Concert Experience: Fall 60
Semester 2 65
Argentine Folk with Sofía R. and Sofia T. 65
Native American with Martha 81
South African Zulu with Bongi and Tshidi 95
Concert Experience: Spring 109
Additional Information 113
Glossary 113
National Core Arts Standards for Music and New York City
Department of Education Blueprint for Teaching
and Learning in Music 114
Common Core Capacities 115
Acknowledgments 115
Track List 117
3
Foreword
Welcome to Musical Explorers!
Musical Explorers is designed to connect students in grades K–2 to New York City’s rich and diverse
musical community as they build fundamental music skills through listening, singing, and moving
to songs from all over the world. During the next year, you and your students will meet New York
City–based artists who represent six different musical genres and cultural traditions; many have
reinvented these deeply rooted traditions to make them their own. Together, you will learn songs
and dances that you will perform along with the artists during culminating interactive concerts at
the end of each semester.
The Musical Explorers curriculum encompasses skills-based and creative activities that can be
integrated into both general and music classrooms. This Teacher Guide includes lesson plans,
background information about the artists and their featured musical styles, and additional
resources in New York City and beyond. Digital resources include the songs from each unit
performed by our artists, as well as supporting learning tracks and videos. Each child will
receive a Student Guide full of hands-on activities, photographs, and illustrations that will
support active learning.
We thank you for joining our expedition and hope you enjoy the journey!
4
Introduction to Musical Explorers
Exploration
How can music represent the spirit of a community?
Key Objectives
Musical Explorers are students and teachers who look for the answers to this question as they
• meet artists representing diverse musical styles and cultures from around the world
• sing and move to the artists’ songs
• make connections among the artists’ music, their cultures, and New York City’s diverse
communities
• learn fundamental musical concepts
How to Use the Teacher and Student Guides
This Teacher Guide (TG) contains six units, each devoted to one of our Musical Explorers genres.
Every unit contains two lessons, each focusing on a song; the lessons guide you through the process
of learning the songs, as well as teaching relevant musical concepts and exploring the cultural
context. There are multiple activities within each lesson; you can choose among them to best suit
the needs of your classroom. The complementary Student Guide (SG) pages are incorporated within
the Teacher Guide. Additional features that can be found within each lesson include:
• Audio Tracks:  Audio tracks can be found online on each artist’s resource page.
• Videos:  Introductory videos for the artists and their music can be found on each
artist’s resource page.
• Resources for Teachers: Each unit starts with a page of resources that provides
background information about the musical genre and culture. Some of these resources are
intended to be shared with students; others are for teachers who may want to explore further
on their own.
• Creative Extensions:  Creative extensions are designed to deepen the exploration of
repertoire, culture, and musical concepts.
• Literacy Extensions:  Each unit identifies picture books related to the artist’s music
and culture that you can read with your students.
• Musical Word Wall: We encourage you to build a word wall and add vocabulary words
as they are introduced in the lessons. A glossary of terms can be found in the back of this
Teacher Guide.
The Teacher Guide, Student Guide, artist resource pages, and additional digital resources
related to each genre are available through the Musical Explorers Resources webpage
 carnegiehall.org/MusicalExplorers.
5
Music Educators Toolbox
Carnegie Hall’s digital Music Educators Toolbox provides additional activities, worksheets, audio
and video resources, and assessments to supplement your teaching. You can browse the Toolbox by
grade level or concept, and all activities are tied to national music standards and the New York City
Blueprint. These materials are free for use at  carnegiehall.org/toolbox.
Options for Teachers of Students with Special Needs

• Students can participate in Musical Explorers in a variety of ways and may learn the songs by
singing, moving, and/or clapping. You may also want to focus on smaller sections of the songs.
Since you know your students best, allow them to participate in ways that will help them feel the
most successful.
• Encourage students to engage with the music using tangible objects, such as handmade
instruments (e.g., cups with beans for shakers), rhythm sticks, and drums.
• Allow time for students to experience the music and repeat as often as necessary. The lessons
outlined in this curriculum may take additional time and span more than one class period.
Use one-step directions and visuals as often as possible to help students understand the concepts.
• Some visual aids are provided within the curriculum and at the Musical Explorers concerts,
but you may wish to provide additional resources to help your students engage with the
material. If you have ideas for elements to include in future curricula, please send them to
musicalexplorers@carnegiehall.org.
Pathways for Teachers
There are three suggested pathways for teaching the Musical Explorers curriculum, depending on
the age and level of your students and the amount of time you can dedicate to the program. Teachers
may present the three units within each semester in any order that fits their curriculum.
Explore Enhance Discover

(Minimum requirements (If you have more time) (If you have a lot more time)
for concert participation)
Meet the artists by using Try out some of the Go deeper! If there is a
your teacher and student additional activities genre that your students
guides and the Meet the provided in each unit. There particularly love, listen to
Artist videos found at are musical activities as some of the additional music
 carnegiehall.org/
MusicalExplorers.
well as activities focused
on visual art, social studies,
suggested by the artists or go
on a related field trip; you’ll
literacy, etc. Choose the find additional resources
Listen to both of each activities that speak to you on the Introduction page
artists’ songs. and fit your classroom needs. at the beginning of each
unit. Dig into the activities
Learn the parts of the songs highlighted in Becoming
that the students will sing at Musical Explorers—Student
the concert along with any Activities (TG10, SG2–6), go
movements that accompany on sound-discovery walks,
the songs. or create an everything-but-
the-kitchen-sink orchestra
from everyday objects. Or put
together your own Musical
Explorers performance for
your school or community.
6
Active Listening Tips
One of the goals of Musical Explorers is to develop habits of active and engaged listening. You can
support your students on this journey by using the following strategies.
Make the Invisible Visible

Look for ways to make the invisible world of music visible and, whenever possible, kinesthetic.
These methods include
• counting, clapping, and tapping rhythms (body percussion)
• drawing or painting to music
• connecting the music to narrative ideas
• dancing and moving to music
• connecting cultural ideas with music
Ask Open-Ended Questions

Here are some general suggestions to inspire discussion as students encounter new songs and new
sounds. We include additional scripted prompts in blue italics throughout the Teacher Guide as a
starting point for further learning and exploration.
• What do you hear in this music?
• How would you move to this music?
• What words can you use to describe this music? For example, is it busy or calm, loud or soft,
high or low, smooth or bumpy?
• How does this music make you feel?
• What do you think the musicians are feeling? What makes you think that?
• What are the instrumentalists doing? What is the singer doing?
7
Meet the Artists
Ilusha, Georgian Folk

Ilusha Tsinadze is a singer, guitarist, composer, and arranger born in Tbilisi,
Georgia. After studying jazz in college, his passion shifted to the music of
his homeland. In 2011, Ilusha released his debut album, Deda Ena (Mother
Tongue), which featured his own distinctly personal interpretations of
Georgian folk songs along with compositions of his own. The music
video for his song “Mokhevis Kalo Tinao” went viral in Georgia and has since
won him wide acclaim and national fame in the country. He has performed
with his Brooklyn-based band around the world, allowing audiences to
experience his emotional renditions of Georgia’s beautiful and little-known
musical traditions.
Imani, Freedom Songs

Called a “postmodernist Bessie Smith” by The Village Voice, composer,
vocalist, and cultural worker Imani Uzuri has collaborated with an eclectic
array of artists including Herbie Hancock, John Legend, Vijay Iyer, Carrie
Mae Weems, and Robert Ashley. Her breakthrough album The Gypsy Diaries
was released to critical acclaim. In 2016, Imani made her Lincoln Center
American Songbook debut and was a featured performer on Black Girls
Rock! on BET. She also composed and co-wrote lyrics for a new musical
GIRL Shakes Loose, which was selected for the 2016 O’Neill National Music
Theater Conference, and is currently composing a contemporary opera, Hush
Arbor. She recently collaborated with The Public Theater on a concert tour of
community centers, shelters, and prisons, and is Founder and Artistic Director
of Revolutionary Choir.
Emeline, Haitian
Haitian songstress Emeline Michel is internationally acclaimed for fusing pop,
jazz, blues, and traditional Haitian rhythms into deeply moving, joyful music
delivered through charismatic live shows. A master entertainer, Emeline
has shared her message with audiences for more than 20 years, including
appearances at the United Nations, Montreal’s International Jazz Festival,
and MTV’s Hope for Haiti Now: A Global Benefit for Earthquake Relief. Hailed
by the New York Times as a “diplomat of music” and “the dancing ambassador
with a voice serene and warm like the breeze,” she is now based in New York
City, where she runs her own production company, Production Cheval de
Feu, and remains an important voice for social issues concerning women and
children worldwide.
8
Sofía R. and Sofia T., Argentine Folk
Sofía Rei is an Argentine vocalist, composer, producer, and educator who
combines South American folkloric styles, jazz, pop, new classical, and
electronic sounds to create her own distinctive sound. Since moving to
New York in 2005, she has released four critically acclaimed albums as a
bandleader, including two that earned Independent Music Awards for Best
Album. Her music has taken her around the world with performances at
such venues as Carnegie Hall, Lincoln Center, the Kennedy Center, Wiener
Konzerthaus, and Montreal’s International Jazz Festival.
Originally from Córdoba, Argentina, Sofia Tosello is a vocalist, composer, and
music educator. Sofia T. is regarded as a cherished voice in the vibrant scene
of New York City artists who are redefining Latin American song. Jazz Times
notes, “The next wave in Latin-American jazz may well begin with Tosello.”
Sofia T. has worked with such artists as Grammy Award–winners Thalía,
Horacio “El Negro” Hernandez, and the Pedro Giraudo Jazz Orchestra, and
has performed throughout the United States, Asia, and Latin America.
Martha, Native American

Martha Redbone is a leading singer-songwriter of American roots music,
blending elements of funk and the blues with those from her Native
American heritage. Her music is described as “a brilliant collision of
cultures” by The New Yorker and “Earth, Wind, and Fire on the rez” by
Native Peoples Magazine. Her album Skintalk is part of the permanent
collection at the Smithsonian National Museum of the American Indian
as an example of contemporary Native American music. She is currently
developing a musical theater piece commissioned by Joe’s Pub
and The Public Theater based on her ancestry and her childhood in
the Appalachian hills of Black Mountain, Kentucky.
Bongi and Tshidi, South African Zulu

Singer, songwriter, choreographer, and dancer, Sbongiseni “Bongi”
Duma has been in the cast of The Lion King on Broadway for more than
a dozen years. He was nominated for a 2014–2015 Drama Desk Award
for best music in a play (Generations). He has also worked as a composer,
musical director, and choreographer for The Mighty Zulu Nation and
Africa Africa. He performs his own music regularly with his band and
with Uzalo, a Brooklyn-based music collective.
Tshidi Manye, born in Johannesburg, South Africa, made her Broadway
debut in The Lion King in 2004 and continues to perform regularly in
the role of Rafiki. She has also starred in the European and Japanese
tours of Sarafina! and has appeared onstage with Paul Simon, David
Byrne, and Hugh Masekela.
9
Becoming Musical Explorers—Student Activities
On SG2–3, you will find two activities to use throughout the year to engage students in discovering
music in the world around them. These activities are designed to work individually—both inside the
classroom and at home—and as classroom projects (e.g., taking a sound discovery walk or making
DIY instruments out of found objects in your classroom).
• Explore the Sounds of Our City, SG2, gives your students an opportunity to act as musical
detectives outside of the classroom, listening for sounds and music in their everyday lives
and recording them in the “journal” provided.
• Discover Music in Everyday Objects, SG3, highlights common objects found at home or in
the classroom that can be used to create DIY musical instruments. For example, a cardboard
box can be strung with rubber bands of different sizes to create a string instrument; a set
of drinking glasses filled with different amounts of water can be struck with a spoon or a
chopstick to create a xylophone-like instrument; and two pot lids can be struck together
like cymbals. Encourage your students to discover other objects that can yield interesting
sounds.
The Musical Explorers Around the World Map, SG4–5, illustrates the geographic roots of the music
you will be studying this year.
Create a Postcard, SG6, gives your students an opportunity to share what’s special about their
neighborhoods as they are learning about the New York City neighborhoods associated with each of
the genres.
Literacy Extension: The Listening Walk
 In Paul Showers’s The Listening Walk, get immersed in all the

sounds around you as you join a girl walking her dog throughout the
neighborhood. You may even hear sounds you wouldn’t expect!
10
SG 1
Welcome to Our Musical Trip!

Our subway conductor, Melody,
will take us to neighborhoods all
over New York City, where we’ll
discover the music and cultures
that we will be studying.
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Subway Map © 2017 and MTA New York City subway logo ™ Metropolitan Transportation Authority. Used with permission.
Map current as of July 12, 2017.
A current subway map is available at any subway station booth and at the MTA website, www.MTA.info.
11
SG 2
Explore the Sounds of Our City

Music is everywhere! Let’s go on a sound exploration. All you need are
your ears. You can use this explorer’s journal to record what you hear,
including car horns and sirens, people singing, the chimes for the
subway doors, and even silence.
What did you hear? When and where?
12
SG 3
Discover Music in Everyday Objects

Music is waiting to be found in everyday objects!
Experiment and see what kinds of sounds you can make with
these objects.
What other objects can you find that make interesting musical sounds?
13
SG 4
NATIVE
AMERICAN
FREEDOM
SONGS
Martha
United States
Imani Southeastern
United States
HAITIAN
Haiti
ARGENTINE
FOLK
Emeline
Sofía R. and Sofia T.
Argentina
14
SG 5
GEORGIAN
FOLK
Musical Explorers
Around the World Map
We can hear music from all around
Ilusha the world in New York City. Where do
these types of music come from?
Georgia Georgian Folk
Georgia
Freedom Songs
United States
SOUTH AFRICAN
ZULU Haitian
Haiti
Argentine Folk
Argentina
Native American
Bongi and Tshidi Southeastern United States
South Africa
South African Zulu
South Africa
15
SG 6
Create a Postcard
Use the space below to draw or paste pictures of some of your favorite
things about your neighborhood. Then write a message to one of our
Musical Explorers artists describing your neighborhood.
Greetings from .. .
Dear ___________________
,
(Artist’s name)
c/o Carnegie Hall

881 Seventh Avenue
New York, NY 10019
Your friend,
______________________
__
16
Vocal and Body Warm-Ups
Teachers are encouraged to start each lesson with warm-up activities in order to establish a routine
that fosters healthy vocal technique, kinesthetic learning, and active listening.
Vocal Warm-Ups
The following warm-ups are designed to work as a sequence but can also be used as stand alone
activities, depending on time, objective, and teacher preference.
Smooth and Bouncy Breath: Breathing is the basis for all the ways we use our voice.
• Using both hands, have students create an “O” shape by touching pointer finger to pointer finger
and thumb to thumb.
• Instruct them to put the “O” around their belly button and take slow, silent, and deep breaths,
pushing the “O” out in a smooth motion as they exhale while keeping their shoulders still.
• Add a “sh” or “th” sound to the breath.
• Next, try to bounce the “O” in short motions. Add a “sh,” “th,” or “t” sound to the breath.
• What is different or the same when you add different letter sounds while you exhale?
• What is happening inside your body as you breathe?
• Is anything moving? What is moving?
Add Sound to the Breath: In the following exercises, students explore the full range of their voices,
from the lowest register to the highest. Body movements match the direction of the voice.
Sirens: Have students pretend they are police cars on a chase with their sirens on. To do this, start by
singing “ooo” on a low pitch and slide up to a high pitch, and then slide back down to a low pitch.
• How can we use our arms to show the different shapes our voices are making?
• Try out students’ ideas of how sirens can sound and look.
Yawning Kittens: Have students pretend they are sleepy kittens by stretching, yawning, and sighing.
• Model the vocal contour of the yawn and sigh (going from a high to a low pitch).
• Model a swooping contour with your hands and arms.
• Have students mimic you so that they can begin to feel and understand the difference between
high and low pitches by using their bodies and voices.
Floating Balloon: Have students imagine they are a balloon floating in the wind.
• Model the balloon’s path by moving your arm.
• Make your voice match the contour of the balloon’s path (voice starts low and finishes high).
Repeat this several times.
• Have students imitate your arm and vocal movements.
• Experiment with the size and contour of the balloon’s arc, matching the movement with
your voice.
17
Put Breath, Sound, and Imagination Together: Using the following prompts, guide students through
The Apple Tree vocal warm-up.
The Apple Tree: Have students imagine they are picking apples.
• Look up to the ceiling and imagine a big apple tree.
• Stretch your right hand up and pick the most beautiful apple you can find.
• Clean your apple on your shirt using your breath. Use short, low breaths with a “huh” sound.
• Take a huge bite, and make biting and chewing sounds—the more obnoxious the better.
• Tell me how delicious the apple is by making “mmm” sounds. The higher the sound, the more
delicious the apple is!
• Swallow the apple with a gulping sound.
• Look at the apple and exclaim, “Ewww (on a vocal siren from high to low), there’s a worm!”
• Throw the apple and shake your body out to rid yourself of the gross idea of eating a worm.
• Repeat the warm-up with the left hand.
Explore Different Voices: Lead a discussion with the class about the four different ways they can use their
voices—whispering, talking, calling, and singing.
• Where would we use our whispering voice? (e.g., library or movie theater)
• Where would we use our talking voice? (e.g., classroom, telephone, or dinner table)
• Where would we use our calling voice? (e.g., baseball game, playing sports, or leading a group)
• Where would we use our singing voice? (e.g., Musical Explorers concert, car, or shower)
• Have students explore each vocal quality by using the same sentence and pretending they are in
some of the places identified above. (e.g., “Hi, my name is …”)
Body Warm-Ups
Explore Scales and Melodic Contour

• Have students sing the notes of a major scale while touching the corresponding points on their
bodies indicated below. This scale can be sung using scale degrees, solfège, or the names of the
corresponding body part.
Scale Degree Solfège Body Part

1 do toes
2 re ankles
3 mi knees
4 fa hips
5 sol waist
6 la shoulders
7 ti head
8 do hands in the air
• Reverse the scale direction, starting from the top and going down the scale.
• You can also try this out with different scales, including minor and pentatonic scales.
18
Explore Rhythm and Feel the Beat
• Have students count to four in a repeated pattern.
• As they count, have them step in place on beats 1 and 3, maintaining a steady beat.
• As they keep the beat with their feet, have students repeat each phrase of “The Beat Is in
My Feet”Score
after you.
The Beat Is In My Feet
The Beat Is in My Feet: Lead students through different rhythms.
   
                    
Teacher
CALL:
The beat, the beat, the beat is in my feet The
               
 
Student
  
RESPONSE:
The beat, the beat, the beat is in my feet
  
Teacher
CALL:                  
beat is like my heart beat The beat ne - ver chan - ges
                 
Student
  
RESPONSE:

The beat is like my heart beat The beat ne - ver chan - ges
          
3
      
Teacher
CALL:
You can go fast or slow but the beat stays the same The
              
Student
RESPONSE:
3
You can go fast or slow but the beat stays the same
         
Teacher
CALL:
rhy - thm is in my hands, (here we go now ...)
  
Student
RESPONSE:
Begin rhythmic patterns for students to
echo back, while everyone continues to
keep the steady beat in their feet.
• While the students continue to keep the steady beat with their feet, create simple rhythmic
patterns with your hands (e.g., chest patting, clapping, snapping, etc.). Ask the students to
echo them back to you.
• Continue to explore other kinds of body percussion (e.g., hissing, clucking, etc.).
• As the students become comfortable with the warm-up, ask for volunteers to act as the
leader, creating their own rhythms for the class to ©echo back.
19
Sing the “Carnegie Hall Musical Explorers Song”
• Teach students the “Carnegie Hall Musical Explorers Song” on SG7, using  Track 1 as well as the
accompaniment,  Track 2.
• This song can become a staple in your warm-up routine.
Musical Word Wall
Add the words explorer, melodic contour, scale, solfège, and steady beat to the Musical Word Wall.
20
Carnegie Hall Musical Explorers Song
Music and lyrics by Daniel Levy

       
G A m7
          
Ev' - ry song tells a sto - ry. Ev' - ry tune
G/F 
D 7sus 4  
4
     
G Em
      
 
tells a tale. Ev' - ry rhy - thm has a rea -
 A m7   

7
 
F D 7sus 4 D7 A m7
            
 
- son. Don't you want to know? Don't you want to know what
 B m7
            
11
    
A m7 D 7sus 4 D7
       
makes the mu - sic go? Come a - long and see. Make your dis - co - ver - y. I can
E

                            
14 G G/F C/E G
sing it. I can say it. I can dance it. I can play it. I can sing it. I can
 G/F E  
                   
19
      
C/E C add9 G
say it. I can dance it. I can play it. I can go ex - plore the
C add9

  

         
23
         
G C add9 G
 
world of mu - sic at my door. My ci - ty and my neigh - bor - hood,
C add9
 
25
      
G F
            
 
sing - in' songs and feel - in' good. I can know what makes the mu - sic grow.
27
   
          
D 7sus 4 D7 A m7 A m7/D G
   
I can know what makes the mu - sic go!
Copyright © 2007 Daniel Eliot Levy ASCAP
21
SG 7
Carnegie Hall Musical Explorers Song

Every song tells a story, every tune tells a tale.
Every rhythm has a reason, don’t you want to know?
Don’t you want to know what makes the music go?
Come along and see, make your discovery.
(x2)
I can go explore the world of music at my door.

My city and my neighborhood, singing songs and feeling good.
I can know what makes the music grow.
I can know what makes the music go!
22
Georgian Folk with Ilusha Introduction
Georgian Folk with Ilusha

• x
Genre and Artist Overview
The country of Georgia, situated at the border of Asia and Europe, is home to one of the oldest known
polyphonic traditions: a style of three-part harmony, traditionally sung a capella by choirs. As Georgia’s folk
music evolved, instruments were added into the mix. Musical performance is largely a part of social activities;
for example, songs are regularly sung as toasts at large feasts, or supras. There are more than a dozen regional
styles of folk music within Georgia, each with its own musical trademarks and identity.
Ilusha has taken this Georgian tradition and transplanted it to Brooklyn. He was born in Tbilisi, Georgia,
in 1983. His family immigrated to the United States when he was eight, as the Soviet Union was collapsing,
and Georgia was slipping into civil war. He studied jazz in college but soon circled back to the music of his
homeland. A singer, guitarist, composer, and arranger, Ilusha creates music that includes both distinctly
personal interpretations of traditional Georgian folk songs and his own original songs. Ilusha’s music pushes
the boundaries of what it means for a folk song to be relevant outside of its original context and asks the
question: What happens when ancient musical traditions from a little nation on the Black Sea find refuge in
New York City?
• x
Resources for Teachers
Direct links to these resources can be found at  carnegiehall.org/MusicalExplorers.

Listening:
• Visit ilusha.com to hear more of Ilusha’s music.
• Basiani Ensemble, “Tsintskaro”
• Hamlet Gonashvili with the Rustavi Choir, “Daigvianes”
• Maro Tarkhnishvili, “Urmuli”
Readings:
• The Georgian Feast: The Vibrant Culture and Savory Food of the Republic of Georgia by Darra Goldstein
• For the Love of Wine: My Odyssey through the World’s Most Ancient Wine Culture by Alice Feiring
Videos:
• Ilusha Tsinadze featured in Brooklyn Independent Television’s Caught in the Act: Art in Brooklyn
• Geography Now! Georgia
• Georgia & The Great Caucasus
New York City Resources:
• Brighton Beach, Brooklyn has a large Georgian community.
• Oda House, Georgian Restaurant in the Lower East Side in Manhattan
• Toné Café, Georgian Restaurant in Brighton Beach, Brooklyn
23
SG 8
Meet Ilusha!
Gamarjoba!
I sing and play
My name is Ilusha, and
country where I
music from Georgia, the
to the United
was born. My family moved
years old. It was
States when I was eight
then because I
hard to be an immigrant
I had to learn
didn’t know English, and
But with time, I
how to fit in at school. Musical Explorers
om a different
realized that coming fr
ppy to share a c/o Carnegie Hall
place was cool. I’m so ha
songs with you!
couple of Georgian folk e
881 Seventh Avenu
Ketili survilebit,
New York, NY 10019 Ilusha
Ilusha
24
SG 9
We asked Ilusha …
Where did you grow up?
For my first eight years, I lived in Tbilisi, the capital of Georgia. We then moved to
Bloomfield, New Jersey, where we lived in an apartment complex with 20 or 30 other
families who came from the same part of the world as we did. I had friends there from
Ukraine, Russia, Uzbekistan, Belarus, and other countries.
What are Georgians known for?

Georgians love feasts! The word for a feast is supra, and if you ever visit a Georgian,
you might be in for one. One person will be asked to make lots of toasts at a supra,
to wish for good health, love, and most importantly, peace for all the people there.
What is some of the traditional clothing worn in Georgian culture?

For dances and concerts, men may wear the chokha and women wear the kartuli kaba.
kartuli kaba
Tbilisi, Georg
ia
chokha
Arriving at
klyn
Brighton Beach, Broo
25
Georgian Folk with Ilusha Lesson 1
Lesson 1: Learning “Shina Vorgil”

Aim: How are form, tempo, and harmony used in this traditional Georgian song?
Summary: Students will sing “Shina Vorgil” in choirs; learn about call-and-response form, harmony, and
accelerando; and experience spatial effects.
Materials: Musical Explorers digital resources, Musical Explorers Student Guide
Standards: National 1, 2, 4, 5, 7, 11; NYC 1, 2, 3, 4
Vocabulary: accelerando, call and response, choir, harmony, tempo
Although Georgia is a very small country, the regions within it have their own
distinct identities. “Shina Vorgil” comes from Svaneti, a mountainous region
with a long tradition of polyphonic music. The Svan language is only spoken
by a handful of people today. So while the music still survives, the lyrics often
cannot be translated.
•
Sing “Shina Vorgil”
choir echoing the other.


• Listen to “Shina Vorgil,” Track 3. Note that the form of the song is call and response with one group or

• Learn the lyrics using “Shina Vorgil” pronunciation, Track 4.
• As you listen to “Shina Vorgil” call and response, Track 5, sing the response together as a group.
Please note that the learning track includes each call and response only once.
• Notice how the tempo of the song gets faster and faster.
• Tempo is the speed at which music is played.
• When music gets faster and faster, it is called accelerando.
26
Score
Shina Vorgil - Melody 2
Ilusha
                 
Response begins here.
  
Repeat call and response 3 times.

Shi - na vor - gi - li vor - gi - li voi - sa O shi - na vor - ge - ge eh
 
          
Response begins here.
  

Vor - gi - li vor - gi - li vor - gi - li voi - sa O shi - na vor - ge - ge eh
               
Voi - sa re - ra voi - sa vo - re - ra voi - sa voi - sa re - ra
            
Claps
  
(x2)

Voi - sa voi - sa vo - re - ra voi - sa voi - sa re - ra
                 
(x4; first time Choir 1, then tutti x3)
          
Voi - sa re - ra voi - sa vo - re - ra Voi - sa voi - sa re - ra Huh!
27 27
“Shina Vorgil”
Choir 1 Choir 2
CALL: RESPONSE:
Shina vorgili vorgili voisa Shina vorgili vorgili voisa
O shina vorgege eh O shina vorgege eh
(x3) (x3)
Vorgili vorgili vorgili voisa Vorgili vorgili vorgili voisa
O shina vorgege eh O shina vorgege eh
(x3) (x3)
Voisa rera voisa vorera Voisa rera voisa vorera
Voisa voisa rera Voisa voisa rera
(x3) (x3)
Voisa voisa vorera Voisa voisa vorera
Voisa voisa rera Voisa voisa rera
(x2) (x2)
Voisa rera voisa vorera
Voisa voisa rera
All
Voisa rera voisa vorera
Voisa voisa rera
(x3)
Huh!
Explore Accelerando and Spatial Effects in “Shina Vorgil”
Explore the form of the song “Shina Vorgil” with your students.
• The phrases are repeated and exchanged through call and response.
• The call and response is between two groups of singers, or choirs, rather than between a single
leader and a group. Call and response between two choirs is characteristic of Georgian music.
Divide the class into two choirs. Sing “Shina Vorgil,” with one choir calling and the other responding.
Switch parts and sing the song again, this time adding the accelerando. The first choir will control how
much faster the song gets.
Experiment with what happens when the choirs are separated to achieve a spatial effect. Place the choirs in
different locations around the room and alter the distance between the two groups. You can also place some
students between the choirs as the “audience” so they can experience the effect.
• Reflect with your students on the effect of space on the sound.
• What was it like to sing in different positions?
• How did the sound change depending on where the choirs were standing?
• How did it feel to stand between the two choirs?
• Which way sounded the best?
28
Discover Harmony in “Shina Vorgil”
This activity will provide an initial introduction to the concept of harmony. Next semester, you will have
an opportunity to build upon this foundation and dive deeper into harmony in Lesson 2 of the South African
Zulu unit.
• Listen to “Shina Vorgil,”  Track 3, again.
• Can you hear the melody that you learned?
• Is everyone singing the melody? Can you guess how many different parts are being sung?
• Explain that there are three parts: the melody that the students learned and two other parts, which
complement the melody. Note that the rhythm is the same across all three voices, but the pitches are different.
• Explain that the combination of two or more pitches played or sung together is called harmony. Georgian
music is often performed with three-part harmony: One voice sings the melody; another sings notes above
the melody; and the final sings notes below the melody.
• Sing the harmony lines in “Shina Vorgil” for your students, or play them using “Shina Vorgil” harmonies,

Score Track 6.
Shina Vorgil - Melody 1
• How do each of these lines sound similar to the melody we learned?
• How are they different? Ilusha
               
   
Score
Shina Vorgil - -Melody
na vor - ge - ge 3
Shi - na vor - gi - li vor - gi - li voi - sa
O shi eh
Ilusha
& 44 œ œ œ œ œ œ œ œ œ œ ˙ j
œ. œ œ œ ˙
..
w w
Shi - na vor - gi - li vor - gi - li voi - sa o shi - na vor - ge - ge eh
• Have your students sing the melody while you accompany them with your voice with one of the other
harmony lines.
• For an added challenge, your students can sing a harmony line.
Creative Extension: Explore the Georgian Language
 • On SG10, your students will learn about the Georgian language. They will discover that the
language is unrelated to any other language in the world and has its own alphabet.
Musical Word Wall
Add the words accelerando, call and response, choir, harmony, and tempo to the Musical Word Wall.
29
SG 10
Explore the Georgian Language

Georgian is a unique language. It is not related to any other in the
world and even has its own 33-letter alphabet. In Georgian, the word
for father is “mama,” and mother is “deda”! Trace the words below
and then draw a picture of the word in each box.
dancing drum
guitar music
30
Lesson 2: Learning “Shen Genatsvale”

Aim: How are music and lyrics combined in a song to convey emotion?
Summary: Students learn the refrain of “Shen Genatsvale”; explore the differences between two versions of the
song; and explore the meaning of the lyrics.
Standards: National 1, 4, 5, 6, 7, 8, 10, 11; NYC 1, 2, 3, 4
Vocabulary: emotions, lyrics, refrain
Ilusha wrote “Shen Genatsvale” for his friends and relatives whom he only gets to see once in a while when he
visits Georgia. The refrain “shen genatsvale” does not have a direct translation; it embodies a feeling of caring
and connection between people that remains strong even when they are separated. The rest of the lyrics
underline the emotions of love, longing, and devotion expressed in the phrase.
• Genatsvale”
Sing “Shen
• Listen to “Shen Genatsvale” version 1,  Track 7.

• Learn the lyrics using “Shen Genatsvale” pronunciation,  Track 9.
• Learn to sing the refrain (“shen genatsvale”) throughout the verse and the chorus of “Shen Genatsvale”
Score
sing-along, Track 10. Notice that the words of the refrain remain the same but the melody changes.
Shen Genatsvale
• A refrain is a phrase that keeps coming back within a song. In this song, the phrase “shen genatsvale”
is repeated after every line in the verse, and repeated twice in the chorus. Ilusha
 Verse  
              
Score
Shen Genatsvale
Shen ge - nats - va - le Shen - ge - nats - va - le
Ilusha

 Chorus
    
               
   
     
Shen ge - na shen ge -nats-va - le Shen ge -nats-va - le
31
“Shen Genatsvale” Translation
Dghes aqa var khval khom ara, I’m here today, not tomorrow,
Shen genatsvale Shen genatsvale
Sanam aq var momepere, Love me while we’re still together,
Tzelitzadshi ertkhel gnakhav, It’s so rare for us to see each other,
Skhva ra mrcheba siq’varuli, What’s left but for us to cherish these moments,
Chorus: Chorus:
Shen gena, shen genatsvale Shen gena, shen genatsvale
Vimgherod da movilkhinod Let’s sing now and be joyful,
Rom icode rogor gnatrob, If you knew just how much I missed you,
Albad veghar gamishvebdi, You might not be able to let me go,
Chem tzasvlas da shen darchenas, Here’s to my parting and your staying,
Gaumarjos! Gaumarjos!*
Sadac avar ertad avart, Wherever I go, you’ll be with me in spirit,

Sheni eshkhit guli petkavs My heart beats with your love,

Sanam aq var momepere Love me while we’re still together,

Sadac avar ertad avart Wherever I go, you’ll be with me in spirit,
*“Cheers,” said after a toast in Georgia
• and Contrast Two Versions of “Shen Genatsvale”

Compare
Ilusha recorded two different versions of “Shen Genatsvale.” The original recording, made when he wrote the song
in 2011, is uptempo, with drums creating a steady, danceable beat. The new version, recorded for Musical Explorers,
is a softer, more fluid folk version, without drums.

• Listen again to “Shen Genatsvale” version 1, Track 7.
• What is the emotion expressed by the music? How does it make you feel? What about the music makes
you feel that way?
32
• Listen to “Shen Genatsvale” version 2,  Track 8.

• What is the emotion expressed by the music? How does it make you feel? What about the music makes you
feel that way?
• Compare and contrast the two versions. Some areas to explore include melody, harmony, lyrics,
instrumentation (including voices), tempo, and steady beat.
• What is the same in the two versions?
• What is different between the two versions?
• How do these differences contribute to the contrasting moods?
• Which version do you like better and why?
Creative Extension: Explore the Lyrics of “Shen Genatsvale”
 • The expression “shen genatsvale” is a very special phrase in Georgian that cannot be
fully translated in English. It loosely means, “Let me take your burden if you are ever in
need,” or “I give myself to you,” and is similar to saying “I love you” to a close friend or
family member.
• Read the lyrics to “Shen Genatsvale” aloud to your students and have them reflect on
the translation.
• What is the overall emotion or feeling in the lyrics to this song?
• Who is someone that you have not seen in a long time?
• What is one thing that you wish you could say to them?
• What phrase can we use in English that expresses the same feeling as
“shen genatsvale”?
• On SG11, your students will write verses inspired by “Shen Genatsvale.” They will have
a choice of using “shen genatsvale” as their refrain, or writing an English phrase with
the same meaning.
Literacy Extension: Am I Small? / Patara Var?
 In Am I Small? / Patara Var? by Philipp Winterberg and Nadja Wichmann,

join Tamia on a journey in which she compares herself to various animals
and elements in nature as she asks the question, “Am I small?”
Musical Word Wall
Add the words emotions, lyrics, and refrain to the Musical Word Wall.
33
SG 11
Write Your Own Version of

“Shen Genatsvale”
Ilusha wrote “Shen Genatsvale” to show his love to his friends and
relatives that he only sees once in a while when he visits Georgia.
Think about someone you may miss in your life and write your
own version of “Shen Genatsvale.” You can use the phrase “shen
genatsvale” as your refrain, or you can write your own refrain in
English that expresses the same idea.
Refrain
Refrain
Refrain
Refrain
34
Freedom Songs with Imani Introduction
Freedom Songs with Imani

• x
In the 2017–2018 season, the Weill Music Institute will be implementing a yearlong Creative Learning Project
(CLP) called A Time Like This: Music for Change that will encourage young people across the city to harness music
as a tool for social change. The project is part of a larger Carnegie Hall festival called The ’60s: The Years that
Changed America. The CLP asks, “How can a new generation draw strength from what came before? How do young
people define through music the change they want to see? What did music sound like in the 1960s, and what does
music sound like in a time like this?” With this unit of study, we are excited to include our youngest students—our
Musical Explorers—in this important, citywide quest.
Freedom songs were anthems of the Civil Rights Movement of the 1960s and a potent catalyst for change.
These were songs that were made to be sung together in groups to unify the movement and deliver strong, clear
messages of liberation. Musically, they are accessible, direct, and repetitive. They embody a range of emotions—
joy, sadness, determination, defiance, hope. Many, including “Oh Freedom,” were originally spirituals, but the
lyrics were altered to reflect a renewed purpose.
Imani Uzuri is a vocalist and composer whose role as a cultural worker and activist is central to her work. As such,
she has taught and sung freedom songs around the world. She composes music that celebrates her rural North
Carolina roots and incorporates influences from her global travels. She is currently at work on a new opera as well
as a new musical. She is the founder and artistic director of Revolutionary Choir—an organization that sponsors
community singing gatherings formed to teach both new and historical freedom songs around the country.
• x

Listening:
• The Freedom Singers, “Woke Up This Morning” • Nina Simone, “I Wish I Knew How It Would Feel
and “We Shall Not Be Moved” to Be Free”
• Pete Seeger, “We Shall Overcome” and • Fannie Lou Hamer, “This Little Light of Mine”
“If I Had a Hammer” • Odetta, “This Little Light of Mine”
• Joan Baez, “Oh Freedom” and “Ain’t Gonna Let • Staple Singers, “Freedom Highway”
Nobody Turn Me Around”
• Bob Dylan, “The Times They Are a Changin’”
• Harry Belafonte, “Oh Freedom”
• The Freedom Singers, “Ain’t Gonna Let Nobody
• Mahalia Jackson Live, “We Shall Overcome” Turn Me Around”
• Voices of the Civil Rights Movement: Black
American Freedom Songs 1960–1966, compiled
and produced by Dr. Bernice Johnson Reagon
Readings:
• Sing for Freedom: The Story of the Civil Rights • “I Wish I Knew How It Would Feel to Be Free”:
Movement through Its Songs by Candie and Nina Simone and the Redefining of the Freedom
Guy Carawan Song of the 1960s by Tammy L. Kernodle
Videos:
• “A Freedom Singer Shares the Music of the • Dr. Martin Luther King Jr., “I’ve Been to the
Movement,” Talk of the Nation, interview with Mountaintop” speech
Dr. Bernice Johnson Reagon and Toshi Reagon 35
SG 12
Meet Imani!
Hi everyone!
My name is Imani Uzuri. I was raised
in rural North Carolina in a very small
town surrounded by fields and beautiful
woods, and now I live in Harlem. I come
from a family of quilters and moonshine
makers, and I grew up singing black
American spirituals with my grandmother
and extended family in our small country
church. As I grew older, I learned that Musical Explorers
many of the spirituals I sang as a child c/o Carnegie Hall
were also used as freedom songs during
the Civil Rights Movement. It is exciting 881 Seventh Avenue
to
learn that songs travel through time to tell
a story of how the past is connected to our New York, NY 10019
future.
So looking forward to singing with all of
you very soon!
Imani
Leaving from
Brighton Beach, Brooklyn
36
SG
SG 13
We asked Imani …
Tell us about your name.
My full name, Imani Uzuri, is made up of two Swahili words from East Africa. Imani
means “faith,” which is also the last principle of Kwanzaa, and Uzuri means “beautiful.”
What are some of your favorite childhood memories growing up in rural

North Carolina?
As a child, some of my favorite things to do were to search for wild strawberries in
the woods surrounding my home and read books underneath my favorite pecan tree.
I also loved to draw, make up fantastical stories, and sing songs to anyone in my family
who would listen.
Where are some places in the world you have sung freedom songs?
I have sung freedom songs all over the world including Brooklyn, Brazil, Morocco,
and Moscow. When I travel around the world to sing, learning greetings in different
languages has helped me to communicate with many people. But music is a universal
language, and it is my most joyous way to say hello to everyone.
What is your favorite thing about singing freedom songs?

They make me feel free, happy, and strong!
Arriving at
Harlem, Manhattan
37
Freedom Songs with Imani Lesson 1
Lesson 1: Learning “Freedom Medley”

Aim: What are the defining characteristics shared by the most powerful and iconic freedom songs?
Summary: Students learn three historically significant freedom songs, and learn about their shared
characteristics by uniting them in a medley.
Standards: National 1, 2, 4, 5, 7, 8, 11; NYC 1, 2, 3, 4
Vocabulary: freedom song, medley
Imani has created a medley that fuses parts of three of iconic freedom songs: “We Shall Overcome,”
“Oh Freedom,” and “Woke Up This Morning.” Your students will learn all three of these songs and then
explore how Imani arranged them to create a medley, highlighting their shared characteristics.
•
Sing Three Freedom Songs and Imani’s “Freedom Medley”
Score
I Woke Up This Morning
• Listen and sing along to the three songs in the “Freedom Medley.” Suggested versions of “We Shall
Overcome” and “Oh Freedom” can be found under Resources for Teachers, TG35. “Woke Up This Morning”
is included in the medley in its entirety and can be heard on 
Track 12.
  
             

Woke up this mor - ning with my mind stayed on free - dom
              

woke up this mor - ning with my mind stayed on free - dom
          
     

Woke up this mor - ning with my mind stayed on free - dom free - dom free -
  
    
dom free - dom
38
What follows are some of the best-known lyrics for these songs. The common practice with freedom songs is to
change key phrases or add additional verses that speak to specific situations. So you will find different lyrics online
and in recordings, and you will have opportunities to write additional lyrics with your students.
“We Shall Overcome” “Oh Freedom” “Woke Up This Morning”
We shall overcome Oh freedom, oh freedom, oh Woke up this morning with

We shall overcome freedom over me. my mind stayed on freedom
We shall overcome someday Before I’d be enslaved (x3)
Oh, deep in my heart I’ll be buried in my grave and go Hallelu, hallelu, hallelujah
I do believe home and be free.
We shall overcome someday I’m walking and talking with
No more weeping, no more my mind stayed on freedom
We shall live in peace weeping over me. (x3)
We shall live in peace Before I’d be enslaved Hallelu, hallelu, hallelujah
We shall live in peace I’ll be buried in my grave and go
Oh, deep in my heart home and be free. There ain’t no harm in keepin’
I do believe your mind stayed on freedom
We shall overcome someday Oh freedom, oh freedom, oh (x3)
freedom over me. Hallelu, hallelu, hallelujah
Before I’d be enslaved
I’ll be buried in my grave and go Singing and praying with
home and be free. my mind stayed on freedom
*Other versions of the lyrics can be (x3)
found in recordings listed under Hallelu, hallelu, hallelujah
Resources for Teachers, TG35.

• Listen to Imani’s “Freedom Medley,”  Track 11. Note that single lines from “We Shall Overcome” and
“Oh Freedom” return as refrains.
• Which line do you hear from “We Shall Overcome”?
• Which line do you hear from “Oh Freedom”?
• Learn the two refrains from the medley using “Oh Freedom” refrain,  Track 13, and “We Shall
Overcome” refrain, Track 14.
• Divide the class in half. Play the “Freedom Medley,”  Track 11, with one group singing one refrain and the
other group singing the other refrain. Everyone sings “Woke Up This Morning.”
39
Create Your Own Medley
Your students will have an opportunity to create their own medley using the three songs in Imani’s medley.
This activity can be done as a class or in small groups.
• Listen to Imani’s “Freedom Medley,”  Track 11. Discuss how she arranged the songs to create the medley.
• What part did she use from each of the songs?
• How did she use each part?
• Discuss the similarities shared by these three songs that make them all work well together in the medley.
• The lyrics are simple: Key lines are repeated over and over, with small phrases changing.
• The music is simple: The same melodic phrases are repeated multiple times.
• The lyrics all share an important theme or message.
• What is the theme or message expressed in all three songs?
• What emotions are expressed in all three songs?
• Ask students to choose their favorite parts from each song. Like Imani, they can choose single lines
or whole verses.
• Ask students to decide how they would like to arrange the pieces that they chose.
• Which part goes first? Second? Third?
• Does any part get repeated?
• Students can then perform their medleys, dividing into groups to sing each of the different parts
or singing the whole medley together as a group.
Creative Extension: Learning about the 1960s
 Family Stories
This is an opportunity for your students to talk to older family and community members
about their personal experiences during the 1960s and with music from the 1960s.
• The 1960s happened more than 50 years ago, but continue to have an impact today. Can you
find an older family member, friend of the family, or community member who remembers
that time?
• If you can, ask them about their memories. Were they in the United States? Did they take
part in the Civil Rights Movement or in other protests that were happening? You can also
ask your parents if they know any family stories about the 1960s.
• Ask your family members what music from the 1960s they like and listen to. Listen to some
of their favorite songs with them. Which songs do you like, and why?
On SG14, students will learn about some of the great freedom singers of the 1960s.
Listen as a class to sample songs by each of these artists, which you can find under
Resources for Teachers, TG35.
Musical Word Wall
Add the words freedom song and medley to the Musical Word Wall.
40
SG 14
Great Freedom Singers of the ’60s
The 1960s were a time of great change in the United States, and music
helped to bring about that change. There were many important singers
who wrote and sang freedom songs and got everyone to sing along with
them. Here are some of the great freedom singers of the 1960s:
Odetta Pete Seeger Nina Simone
Joan Baez Bob Dylan Bernice Johnson

and the
Freedom Singers
41
Lesson 2: Learning “Ain’t Gonna Let Nobody Turn Me Around”

Aim: How can we use lyrics in a song to deliver an important message?
Summary: Students change the message of the song by altering one key word; they also have an opportunity to
write their own song delivering a message that is important to them.
Materials: Musical Explorers digital resources; Musical Explorers Student Guide; crayons, markers, or
colored pencils; poster board
Standards: National 1, 2, 4, 5, 8, 10, 11; NYC 1, 3, 4
Vocabulary: message
• Gonna Let Nobody Turn Me Around”

Sing “Ain’t
•
Score  Turn Me Around
Listen to “Ain’t Gonna Let Nobody Turn Me Around,”
Ain't Gonna Let Nobody
Track 15.
• Only one word changes in each verse. Which word is it?
• Sing along to “Ain’t Gonna Let Nobody Turn Me Around.”
             
 
Ain't go - nna let no - bo - dy turn me a - round
                

turn me a - round turn me a - round Ain't go - nna let no - bo - dy
             
turn me a - round I'm go - nna keep on walk - in'
      
         

keep on talk - in' mar - chin' up that free dom land
42
“Ain’t Gonna Let Nobody Turn Me Around”
Ain’t gonna let nobody turn me around Ain’t gonna let injustice turn me around
Turn me around, turn me around, Turn me around, turn me around,
Ain’t gonna let nobody turn me around Ain’t gonna let injustice turn me around
I’m gonna keep on walkin’, keep on talkin’, I’m gonna keep on walkin’, keep on talkin’,
Marchin’ up that freedom land. Marchin’ up that freedom land.
Ain’t gonna let no jailhouse turn me around Ain’t gonna let nobody turn me around
Turn me around, turn me around, Turn me around, turn me around,
Ain’t gonna let no jailhouse turn me around Ain’t gonna let nobody turn me around
I’m gonna keep on walkin’, keep on talkin’, I’m gonna keep on walkin’, keep on talkin’,
Marchin’ up that freedom land. Marchin’ up that freedom land.
Imani Uzuri’s Revolutionary Choir

Imani created a program called the Revolutionary Choir that works with community
groups of all ages to teach songs of unity and solidarity that they sing together and share
publicly. In that spirit, your students can bring freedom songs out into their community,
singing at school assemblies, in the playground, and in the surrounding neighborhood.
Make your own protest signs and even write your own songs. Look out for an email
during the semester that will announce our Musical Explorers sing out day.
Write New Lyrics for “Ain’t Gonna Let Nobody Turn Me Around”
• It is a tradition in freedom songs to write new lyrics about an issue or a problem that is most urgent
at a given time.
• There are many versions of “Ain’t Gonna Let Nobody Turn Me Around” where the word “nobody” is
replaced with a specific person or obstacle. Links to additional versions of this song are available on
Imani’s artist resources page,  carnegiehall.org/MusicalExplorers.
• As a class or in small groups, write a new phrase to replace the word “nobody” that reflects your students’
concerns and hopes.
• What is something that can get in your way when you are trying to reach a goal?
• How can you express that idea in a short phrase that will fit into the line of music? Say and/or sing the line
of music and experiment with different phrases.
• Each group can lead the whole class in singing its version of the song; the group calls the first line, and the
class responds with the second line. Everyone sings the final two lines of each chorus together.
• You can do this same activity with any of the three freedom songs in Lesson 1.
43
Creative Extension: Write Your Own Song
 We invite our Musical Explorers partners to join in the Weill Music Institute’s citywide
Creative Learning Project called A Time Like This: Music for Change. During the 2017–2018
season, young people throughout the city will be writing songs—speaking in their own
singular voices about their concerns, experiences, hopes, and dreams—and sharing their
songs with each other in a variety of ways. We want to include the voices of our youngest
students in this dialogue.
While we offer some suggestions below on how to approach this project, this is an open-ended
call. We hope you and your students will be inspired by the study of freedom songs to create a
song about change that speaks to you. Send your songs to musicalexplorers@carnegiehall.org.
• Discuss issues on students’ minds. They can be issues at home, at school, or in the larger
world. No issue is too small or personal. The goal is to change the world somehow, but the
world can be defined as locally or as globally as you want.
• Here are some guiding questions:
• What is a problem in our lives?
• How does it make you feel?
• What stands in our way?
• What can we do about it?
• Brainstorm lyrics as a group. You can choose an existing melody and write new lyrics, or you
can go all out and write your own melody too.
• Some tips for writing a melody:
• Start with the rhythm of the words. Have students chant the words on a
single note.
• Decide where you want the melody of each line to go up and down, and whether the
change will happen gradually (by step) or all at once (by leap).
• Draw the melodic line, illustrating its contour.
• Choose a simple chord progression, common to freedom songs and other folk songs.
One possibility is to use the chords of “Ain’t Gonna Let Nobody Turn Me Around”

instrumental, Track 16. Responding to your students’ guidance and suggestion,
shape the melody to fit the chord progression.
44
Creative Extension: Protest Signs

• On SG15, your students will have an opportunity to create their own protest sign to express
 their hopes, dreams, and demands for change to make the world a better place. You can use
the same brainstorming process outlined in the activities in Write Your Own Song, TG44. For
this activity, they’ll need to distill their message into a few words and images. Once they’ve
designed their signs in their student guides, you can adapt them to larger versions to hang up,
or to carry when they “take to the streets” during the Musical Explorers sing out day.
Literacy Extension: A Sweet Smell of Roses and
 Let Freedom Sing

Angela Johnson’s book, A Sweet Smell of Roses, offers a perspective
on the Civil Rights Movement through the eyes of two African
American girls who tell their story of marching with Dr. Martin
Luther King Jr.
Many iconic figures contributed to the Civil Rights Movement.

Explore some of the most influential moments in which those
people “let their lights shine” in Vanessa Newton’s book,
Let Freedom Sing.
Musical Word Wall
Add the word message to the Musical Word Wall.
45
SG 15
Make Your Own Protest Sign

During the 1960s, people marched together to protest and declare that
all people are equal. The marchers made and carried signs to deliver
their messages.
You can make your own protest sign to deliver a message about a
change you want to make. It could be something you want to change
at home, at school, or in the world.
46
Haitian with Emeline Introduction
Haitian with Emeline

• x
Haiti’s music reflects the different groups that have lived on the island, melding French, Spanish, and African
influences. Of the many styles of Haitian music, perhaps the most popular and culturally significant is compas,
a complex dance music combining African rhythms and European ballroom dancing within a quintessentially
Haitian aesthetic. In French, it is called “compas direct”; the music’s pivotal force is its pulsating rhythm.
Emeline Michel, known as “the Joni Mitchell of Haiti,” began singing with a gospel choir in Gonaïves, Haiti,
where she spent her childhood. After studying at the Detroit Jazz Center, she returned to Haiti where her career
blossomed. Now based in New York City, Emeline is known as a respected voice for social issues concerning women
and children worldwide. She writes her music in both English and Haitian Creole, in a style that fuses pop, jazz, the
blues, and, of course, compas.
• x

Listening:
• Visit emeline-michel.com to hear more Haitian songs from Emeline.
• Ti-Coca & Wanga-Nègès
• Martha Jean Claude
• Boukman Eksperyans
• Beethova Obas
Videos:
• Serenade for Haiti
• The Agronomist
• Flatbush, Brooklyn has a large Haitian population.
• Haitian Cultural Exchange, a non-profit in Crown Heights, Brooklyn that develops, presents, and promotes
the cultural expression of the Haitian people
• Radiosoleil.com, an internet radio station that distributes news for the Haitian community
47
SG 16
Meet Emeline!
Ahlan, Musical Explorers!

I grew up in Haiti, where music is
incorporated into every moment of our day.
The beautiful language of my country is
called Haitian Creole. When you come to
Carnegie Hall, it will be so much fun to
experience the songs, dances, and language
of my country together. I cannot wait to
meet all of you. In the meantime, kembela Musical Explorers
(keep strong)!
c/o Carnegie Hall
Your friend,
881 Seventh Avenue
Emeline
New York, NY 10019
Leaving from
Harlem, Manhattan
48
SG 17
We asked Emeline …
What was your first important musical experience?
On Christmas Eve, when I was 11 years old, I was chosen at my church to sing solo
among all the soloists of the choir!
What is your favorite story from your childhood?

My favorite story was “Ti Pye Zoranj” or “Little Orange Tree.” It is a fairy tale about
a young girl whose life changes when she plants orange seeds that magically grow when
she sings to them.
What is your favorite holiday to celebrate?

Haitian Independence Day, which is on January 1st. We have a delicious pumpkin soup
called “soupe joumou.” When the French ruled Haiti, African slaves were forbidden to
eat this soup. So Haitians eat soupe joumou to celebrate their freedom.
soupe joumou
Arriving at
Flatbush, Brooklyn
49
49
Haitian with Emeline Lesson 1
Lesson 1: Learning “A.K.I.K.O.”

Aim: How can we use melody and rhythm to create a chant?
Summary: Students learn the chorus to “A.K.I.K.O.”; explore the concept of melodic variation; and create their
own rhythmic chant.
Vocabulary: chant, variation
“A.K.I.K.O.” is one of Emeline’s signature and best-loved songs. Once, when performing in Japan, Emeline
worked with a translator named Akiko. The two built a bond, and Emeline wrote this song as a tribute to her
friend who inspired her to imagine a better world during turbulent times.
Sing “A.K.I.K.O.”

• Listen to “A.K.I.K.O.,” Track 17.
• Emeline sings in Haitian Creole, a language that is based predominantly on French but mixed with a bit
of Portuguese, Spanish, English, Taíno, and West African languages.
• Learn the pronunciation of the four Haitian Creole letters that make up the lyrics to the choral refrain.
Score
A.K.I.K.O

• Learn to sing the chorus with “A.K.I.K.O.” chorus, Track 18.
Emeline
    
        
     
A. K. I. K. O. A. K. I. K. O.
50
“A.K.I.K.O.” Translation
E si m’ t’anvi chante lajwa What if I want to sing a song of joy?

E si m’ t’anvi taye banda What if I want to dance a banda
Rakonte yon bèl istwa And tell you a beautiful story?
Nou tout t’a va mande yon lwa We all would plead for a law
Pou fè repouse tout pye bwa To make all the trees grow back,
Pou jwe lago kache lespwa, ann chante: To play hide and seek at night and sing:
Chorus: Chorus:
A.K.I.K.O., A.K.I.K.O. A.K.I.K.O., A.K.I.K.O.
Menm si se vre nou betize If this is true, we messed up.

Moun, save di nou pap sove Savant says there is no salvation for us,
Pèsonn p’ap anpeche m’ reve But no one can stop me from dreaming,
Reve yon bèl bato desann Dreaming of a beautiful boat going along
Ranmase tout moun ki t’ap tann Picking up everyone waiting
Pou nal fè yon bèl fèt ansann To make a party together.
(Chorus) (Chorus)
Bridge: Bridge:
Si tout moun, tout peyi If everyone from every country
Nan lemond t’a va rive yon jou reyini In the world was reunited
Tankou yon paradi As in paradise,
Nou t’a jwenn yon pawòl We would find
On langaj, on mizik, on melodi A language, a music, a melody
On ti mo, k’ fe maji A little magical word.
Fò n’ chante pou lavi miyò We have to sing for a better life,

Pou tout sa k’ap dòmi deyò For those sleeping in the streets,
Pou tout sa k’ap viv andeyò For all those in the countryside,
Pou yon jou kap yo ka chanje For the card to flip,
Pou tout timoun kab jwenn manje For all the children to eat,
Pou n’ krusifye tout prejuje for no more prejudice.
(Bridge) (Bridge)
(Chorus) (Chorus)
(x4) (x4)
(Bridge) (Bridge)
(Chorus) (Chorus)
(x8) (x8)
51
Create Variations of the Melody in “A.K.I.K.O.”
• Through call and response, sing the chorus of “A.K.I.K.O.” Note that it includes just five notes.
• Continue using call and response as you explore the five notes in the melody, using some or all of the
following tools:
• Body scale (refer to TG18)
• Solfège (sol, do, la, do, sol)
• Scale degree (5, 8, 6, 8, 5)
• Once the class feels comfortable with the tools above, you can use them to explore variations on the melody.
Start by changing one note (e.g. sol, do, do, do, sol) and gradually change more. You can also play with tempo.
• This can become a kind of “Simon Says” game, where you try to stump the class. Invite students to come up
and act as the leader.
Explore the Underlying Rhythms in “A.K.I.K.O.”

Score
• Listen to “A.K.I.K.O.” rhythm loop, Track 19. Note that there is a rhythm played by the percussion that
acts like a motor, keeping the song moving and making you want to dance. Learn the rhythm as a class, using
body percussion or instruments.

          
Rhythm
Score
step clap clap step clap clap
 
    
Steady Beat
pat pat pat pat
• Divide students into two groups. One group will keep the steady beat while the other group taps the rhythm.
Combine the groups to hear the layers together, and perform with “A.K.I.K.O.” rhythm loop,
Have the groups switch parts whenever you call, “Switch!”
 Track 19.
52
Creative Extension: The Name Game
 • Your students will create rhythmic chants based on the spelling of their names,
like Emeline did with Akiko’s name. You can demonstrate using you own name first.
• Chant the letters of your first name, trying out different rhythmic patterns until
you find one that you like.
• Add a simple melody to your pattern; you can choose the notes from “A.K.I.K.O.,”
or use any other notes you want.
• Teach the chant to the class through call and response.
• Ask for volunteers to follow the same process, using their own names.
• Play the name game.
• Put everyone’s names into a hat. Form a circle, and have the class keep a
steady beat.
• Ask for a volunteer to go into the circle, pick a name out of the hat, and create a
chant based on that name. Teach the chant to the class using call and response.
• The student whose name was chanted goes next. Continue until everyone’s name
is performed.
Creative Extension: Poem of Inspiration
 • On SG18, students will have an opportunity to write an acrostic poem about a friend or
family member based upon the letters in that person’s name.
Musical Word Wall
Add the words chant and variation to the Musical Word Wall.
53
SG 18
Write Your Own Poem of Inspiration

Who inspires you like Akiko inspired Emeline? It can be a friend,
someone in your family, or someone famous. Write the person’s name
by putting each letter in each box below. Then, think of a word or
phrase starting with each letter that describes the person.
54
Lesson 2: Learning “La Karidad”

Aim: What are the distinctive rhythms found in Haitian compas music?
Summary: Students will learn about the distinctive rhythm of compas through rhythmic exercises and dance.
Vocabulary: compas, tanbou drum
Emeline’s original song “La Karidad” is in the style of compas, one of the most popular styles of music in
Haiti. Compas features the tanbou drum that propels the dance.
Score
Sing “La Karidad”
La Karidad
• Listen to “La Karidad,” 
Track 20.
• Learn the chorus to “La Karidad” using  Track 21 and Track 22.
         
               
Zi - pi - ti - pi - ti - pim yon bi - sou Zi - pi - ti - pi - ti - pim men lan - mou nap chan - je
                    
   
let ra - kon - tre chak jou an kach - et a la sa te gou Zi - pi - ti - pi -
                 
   
ti - pim Yon zye dou Zi - pi - ti - pi - ti - pim de moune fou Zi - pi - ti - pi -
              
    
ti - pim men lan - mou Dim ki - les ki ka bli - ye
55
“La Karidad” Translation
Nou vini kontre bab pou bab We bumped into each other
Nou ri jis tan nou pa kapab. We laugh so hard.
Lontan nou pa kwaze It’s been so long
Epa tout zanmi nou yo bwaze. Lots of our friends have left.
Se te lontan La Karidad. Remember La Karidad.
Banm bay memwa’w on ti bourad. Let me boost you memories.
Jou pye mango vinn konn pale, The day the mango tree will talk,
Gen de koze li pwal koze. He will have a lot to say.
Chorus: Chorus:
Zipitipitipim, yon bisou. Zipitipitipim, a kiss.
Zipitipitipim, men lanmou. Zipitipitipim, here comes love.
Nap chanje let rankontre chak jou We’re exchanging letters
an kachet a la sa te gou. and meeting everyday.
Zipitipitipim, yon zye dou. Zipitipitipim, a wink.
Zipitipitipim, de moune fou. Zipitipitipim, two crazy kids.
Zipitipitipim, premye lanmou. Zipitipitipim, here comes love.
Dim kiles ki ka bliye. Tell me who can ever forget.
Pa gen yon jou nou te rate We would not miss one day of the band’s
tropicana k tap repete. rehearsal.
Pi bel renmen ki te marye nan This was the most beautiful love story in the
katye ya si’w pa blye. neighborhood.
Papa tap travay Gonaïves. Daddy was working in Gonaïves.
Lo manman buzy ap fe lesiv. Mom was busy with the laundry.
Jou pye mango vinn konn pale, The day the mango tree will talk,
A la koze li pwal koze. He will have a lot to say.
(Chorus) (Chorus)
Lala lalalala lala lala lalalalala Lala lalalala lala lala lalalalala
Jipon dore (san manniga). Golden underskirt (with no starch).
Ki fet an o (san manniga). Made of gold (with no starch).
Boutonnnen sou kote (san manniga). Buttoned on the side (with no starch).
Ki fet an o (san manniga). Made of gold (with no starch).
56
Move to• “La Karidad”
Compas is the most popular style of dance music in Haiti. It can be performed as a solo or as a partner dance.
The basic movement is simple. You step to the right and then to the left, while swishing your hips. Visit
 carnegiehall.org/MusicalExplorers to find a video demonstration.
• Learn the compas dance.
• Play “La Karidad,”  Track 20.
• During the verses, dance the basic compas movements, swishing your hips:
• For four beats: Step to the right; step together; step to the right; step together.
• For four beats: Step to the left; step together; step to the left; step together.
• During the chorus:
• For four beats: Step to the right; step together; step to the right; step together.
• For four beats: Step to the left; step together; step to the left; step together.
• For eight beats: Turn in a circle to the right.
• During the instrumental breaks, have your students improvise with their movements alone or in pairs.
• Dance the compas as you listen to “La Karidad,”  Track 20. Sing along during the chorus.
Learn about the Tanbou Drum and Compas Rhythm

Score
• Explore the tanbou drum on SG19.Zipitipitipim rhythm
• Explain that the tanbou drum plays traditional compas rhythms that propel the compas dance.
• Explain that the lyric “zipitipitipim” mimics the sound of the tanbou drum.
                
Zi - pi - ti - pi - ti - pim Zi - pi - ti - pi - ti - pim
• Have your students create their own syllables to mimic the tanbou drum rhythms and then perform them
with “La Karidad,”  Track 20.
57
Literacy Extension: Little Fanfan Sings and Dances in Haiti
 In Little Fanfan Sings and Dances in Haiti by Susan Gleason Pierre-Louis,

Little Fanfan describes Haiti for the reader, from what the island looks
like to how its people celebrate Haiti’s birthday on January 1!
Musical Word Wall
Add the words compas and tanbou drum to the Musical Word Wall.
58
SG 19
Explore the Tanbou Drum

The tanbou drum is the national instrument of Haiti. The body of the drum
is made from wood. The head of the drum is made from an animal skin,
usually from a cow or goat. The tanbou drum is played with your hands.
A variety of sounds can be produced depending on what part of the hand is
used and what part of the drum head is played.
HEAD
BODY
59
Concert Experience: Fall
Semester 1
Before the Concert
• Review the three artists and their music.

• Look at SG4–5 and have students find the countries represented on the map.
• What do you remember about the artists and their music?
• Listen to each song.
• Brainstorm with students about how to be active listeners, enthusiastic performers, and successful audience
members during the concert.
• Prepare for the surprise songs.
• At the concert, each of the artists will sing a surprise song that the students have not heard or studied.
These songs are selected to complement the two songs in the curriculum and to provide students with
an active listening experience as they encounter new music for the first time in a concert setting.
• Explain to students that they are in for some exciting surprises during the concert because there will be
three songs that they have never heard before. You can ask them to raise their hands or say, “Surprise!”
when they hear a surprise song at the concert.
• Ask students to guess what the surprise songs by each artist will be like.
• Will they be fast or slow? Quiet or loud?
• Will there be movement or dancing?
• Explain that you will be seeing how much they remember about the surprise songs after the concert.
• Get ready for your visit to Carnegie Hall using SG20–21.
After the Concert
• Discuss the overall concert experience.

• Discuss the surprise songs.
• What surprise songs do you remember?
• What do you remember about these songs? Were they slow or fast, long or short?
Was there movement to do? Was there any part that you sang along with?
• Which was your favorite surprise song and why?
• Reflect on your concert experience by completing the activities on SG22–23.
• Share your students’ reflections by emailing them to musicalexplorers@carnegiehall.org.
60
SG 20
Welcome to Carnegie Hall’s Zankel Hall!
Hi! I’m Sid, and I’m thrilled to be your host

for Musical Explorers! Getting to spend time
at Carnegie Hall is my favorite part of the
year, and I can’t wait to hear lots of great
music from all over New York City and the
world with you. I hope you’re all ready to be
Musical Explorers. See you soon!
Meet Sid!
Meet the
ushers!
61
SG 21
This is Carnegie Hall.
You’ll enter here and

go down the escalator.
Your ushers will meet

you at the bottom of the
escalator and guide you
into beautiful Zankel Hall.
Everyone will get a
great seat!
62
SG 22
What Did You See and Hear at

Carnegie Hall?
Draw pictures of your trip to Carnegie Hall below.
63
SG 23
Who Is Your Favorite Artist?

Write a letter to your favorite artist. Be sure to include your favorite part
of the concert and your favorite song from the concert.
,
Dear
Your friend,

64
Argentine Folk with Sofía R. and Sofia T. Introduction
Argentine Folk with Sofía R. and Sofia T.

• x
Sofía Rei grew up in Buenos Aires, Argentina’s capital and cosmopolitan center; Sofia Tosello grew up on a farm
in the Argentine countryside. They found each other in New York City, where each has honed her own singular
musical style, growing from deep roots in Argentine traditions and encompassing a range of influences, including
pop, classical, and particularly jazz.
Like the two performers, Argentina’s traditional music has parallel rural and urban strands. The music of the
cities is characterized by tango, a musical style and dance born in Buenos Aires in the 19th century, blending
European and African elements. A rural, folk counterpart to tango that developed at the same time is the
chacarera—the song style and dance that the students will be learning.
• x

Listening:
• Visit sofiamusic.com to hear more music by Sofía R. and sofiatosello.com to hear more music by Sofia T.
• Mercedes Sosa, “La Flor Azul”
• Maria Elena Walsh, “Chacarera de los Gatos”
• Tomás Lipán, “El Humahuaqueño”
• Merceditas, “Los Chalchaleros”
• Suna Rocha, “Punai,” and “La Sachapera”
Readings:
• Octavio Corvalan, Argentine Folk Songs
• “Chacarera” from The Dances of the World’s Peoples, Vol. 3: Caribbean and South America
• The Latin Tinge: The Impact of Latin American Music on the United States by John Storm Roberts
• Corona, Queens, has a large Argentine population.
• El Gauchito Restaurant, Argentine restaurant in Corona, Queens
• Dardo Galletto Studios, tango and folklore dance studio in Times Square, Manhattan
• Taller Latino, South American concerts and visual art exhibits in East Harlem, Manhattan
• New York South American Music Festival, annual South American music festival throughout the city
65
SG 24
Meet Sofía R. and Sofia T.!
Sofia T.
Hola!
We are Sofia R. and Sofia T. Not only
do we share the same name, we are best
friends from the same country: Argentina!
Sofia R. is from Buenos Aires, a big city
that is the capital of Argentina. Sofia T.
is from Cordoba in the countryside of
Argentina near the mountains. We both
R.
Sofía
grew up singing and dancing to music in
our homes and in our communities, and Musical Explorers
we also both play many instruments from c/o Carnegie Hall
South America. We can’t wait to share
our music with you when we see you at 881 Seventh Avenue
Carnegie Hall.
New York, NY 10019
Hasta luego!
Sofia R. and Sofia T.
Leaving from
Flatbush, Brook
lyn
66
SG 25
We asked Sofía R. and Sofia T. …

What instruments do you play?
Sofía R.: My first instrument was the flute. Now I play piano, Argentine drums,
and, my favorite, the charango, a South American guitar.
Sofia T.: My first instrument was the piano. Now I also play guitar and Latin
percussion. My favorite instruments are my voice and my body because I love
singing and dancing.
What are your favorite childhood memories?

Sofía R.: I grew up in Buenos Aires, the biggest city in Argentina, and remember
fighting with my siblings over homemade dulce de leche made by my mom.
Sofia T.: I grew up in the countryside in Argentina, and I remember riding horses
and singing while milking cows on the farm where I lived.
When did you start playing music?

Sofía R.: My grandmother took me to an audition for the children’s choir at the opera
house (Teatro Colón) in Buenos Aires, and that is how I got my first job as a singer.
Sofia T.: My first time singing onstage was at the age of eight, singing in an operetta
called La Pajara Pinta (The Spotted Bird ).
Córdoba
Buenos Aires
Arriving at
Corona, Queens
67
Argentine Folk with“La
Lesson 1: Learning Sofia R. and Sofia T.
Cocinerita” Lesson 1
Aim: How do rhythm and meter define different musical styles?

Summary: Students learn to sing the chorus to “La Cocinerita”; understand the song’s 6/8 rhythms; and create
soundscape compositions using kitchen sounds.
Materials: Musical Explorers digital resources; Musical Explorers Student Guide; kitchen items like pots and
Argentine Folk with Sofia R. and Sofia T.
pans, graters, and chopsticks
Standards: National 1, 2, 4, 5, 7, 8, 10, 11; NYC 1, 2, 3, 4
Lesson 1
Argentine Folk with Sofia R. and Sofia T.

Vocabulary: beat, meter, soundscape, strong beat, weak beat
Lesson 1
• Cocinerita”
Sing “La
• Listen to “La Cocinerita,”  Track 23. La Cocinerita

• Learn the lyrics using “La Cocinerita” pronunciation,  Track 24, and the melody of the chorus using
“La Cocinerita” chorus,  Track 25.
  
          
Plan - ta dea - jí plan - tay to - ma - te
  
     
2.
              

'on - de an - da - rámi co - ci - ne - ri - taay to - man - do ma - te. te.
“La Cocinerita” Translation
Cuchillo ’e palo, Knife and stick

Platito y loza. Saucer and dish.
Ollita de barro, Little clay pan,
Sí le he comprado, Yes, I have bought it,
A mi cocinera. For my cook.
A mi cocinera. For my cook.
68
Argentine Folk with Sofía R. and Sofia T. Lesson 1
“La Cocinerita” Translation (continued)
Y con mi caja, And with my box,

Vengo cantando I come singing
Coplas de Tilcara Couplets from Tilcara
Porque ya estamos Because we’re already,
En medio del carnaval. In the middle of the carnival season.
En medio del carnaval. In the middle of the carnival season.
Chorus: Chorus:
Planta de ají, planta y tomate Pepper plant, plant and tomato
’Onde andará mi cocinerita Where will my little cook be?
Ay, tomando mate. O, drinking mate!*
’Onde andará mi cocinerita Where will my little cook be?
Ay, tomando mate. O, drinking mate!*
Por ti suspira Everybody sighs

A mi fin de fiesta At the end of the party,
A Doña Pispira To Doña Pispira
’Onde convidan, So she invites,
Con queso de cabra. With goat cheese.
Con queso de cabra. With goat cheese.
Hojita ’e coca, Little coca leaf,

Y a mi molido And ground for me
Hojita de albahaca And little basil leaf,
A mi cocinera For my cook.
A mi cocinera For my cook.
(Chorus) (Chorus)
*Mate is a traditional South American tea.
69
Explore the Lyrics to “La Cocinerita”
• Discuss the story told in the song. Explain that song lyrics do not always tell the story directly; you might
have to be a bit of a detective to figure out the whole story.
• Who are the characters in this song?
• Who is the person singing it?
• Who is the person singing about?
• What happens in the song? Tell the story with a beginning, middle, and end.
• The singer goes grocery shopping and buys the ingredients for a dinner.
• The singer brings the ingredients home to the cook.
• The singer comes back later, and there is no dinner! Instead the cook has been drinking her mate,
a kind of tea.
Fun Fact: Sofía R. and Sofia T. both drank mate with their breakfast each
morning when they were growing up. When children drink it, it is
generally diluted with milk and sweetened with sugar or honey.
Explore the Rhythm in “La Cocinerita”
• Explain that this song, like many Argentine folks songs, has a distinctive rhythm.
• Explain that there are six counts in every measure. If your students are ready, you can introduce the concept
of meter and explain that the meter of the song is 6/8.
• Listen to “La Cocinerita,”  Track 23, and count to six together in each measure.
• Explain that there is a pattern of strong beats and weak beats.
• In the verses of this song, like in many songs in 6/8, there are two strong beats in each measure, like this:
123456
• Listen to the opening verse of the song using “La Cocinerita,”  Track 23. Have students sway back and
forth to the music with emphasis on beats 1 and 4 (1 2 3 4 5 6). In this way, they will get the feeling of the two
strong beats in each measure. Have students count to six as they sway on the strong beats.
This activity may be more appropriate for advanced students.

• You can explore the contrasting rhythm found in the chorus, where there are three strong beats
(1 2 3 4 5 6) instead of two. This shift in strong and weak beats during the chorus is a common feature
of Argentine folk songs.
• Explain that there is a different pattern of strong and weak beats in the chorus.
• Sing the first two lines of the chorus while counting to six. Clap the rhythm of the words; each syllable falls
on a strong beat.
• Explain that the strong beats in the chorus are on beats 1, 3, and 5 (1 2 3 4 5 6), and they are called accents.
This activity is appropriate for all students.

• Play “La Cocinerita,”  Track 23.
• On the verse, sway while counting the six beats aloud.
• On the chorus, sing and clap the rhythm of the lyrics on the first two lines. Sing and sway for the last two
70 lines of the chorus.
Creative Extension: Everything-But-the-Kitchen-Sink Orchestra!
 The lyrics of “La Cocinerita” mention kitchen objects, but did you know kitchen objects can
be musical too? This is an opportunity for your students to explore free-form composition by
focusing on sound textures and including elements of improvisation. They will be creating
a soundscape using objects and sounds found in the kitchen. This activity builds upon the
introductory activity found on TG13/SG3, Discover Music in Everyday Objects. You can
also share an example of a kitchen soundscape created by Sofía R. and Sofia T. using “La
Cocinerita” kitchen soundscape,  Track 26.
Building Your Everything-But-The-Kitchen-Sink Orchestra
• Brainstorm different sounds found in the kitchen. Start with objects that make
sounds, e.g. pots and pans, graters, and chopsticks. Then think about things that you
do in the kitchen, e.g. pouring water or rice, beating eggs, etc.
• Ask students to play in their kitchens at home to see what sounds they can create.
Ask them to bring in things from home to contribute to the everything-but-the-
kitchen-sink orchestra.
• Try out the different objects as a class and observe the different sounds and tone
colors produced. Have the students explore different ways their objects can be played.
Describe the sounds, developing a sound vocabulary.
• Using these raw materials, decide on the “instruments” you want to include in
your orchestra.
• Decide how you want to organize the instruments, creating families of the orchestra.
Possible criteria include material type (e.g. metal or wood); pitch (e.g. high, medium,
and low); or method of playing (e.g. strike, shape, or scrape).
Composing and Performing with Your Everything-But-the-Kitchen-Sink Orchestra
Now that your orchestra is ready to play, you can create a group composition.
• Establish a structure for your piece so that it has a beginning, a middle, and an end—
just like in the story of “La Cocinerita.” Explore different elements you can use to
shape your structure. A few examples:
• Dynamics:
• Tempo: Slow—accelerando—fast—decelerando
• Density: A few instruments play a few sounds surrounded by silences; gradually
add more instruments and more sounds to fill in the space.
• Each section of the orchestra creates a part that they will play. It could be any kind
of repeating pattern, or they could just choose to improvise.
• More advanced students can experiment by inventing forms of notation for
their pieces.
• Perform! Students take turns as the conductor, choosing which sections or individuals
play when, and when the piece starts and ends.
71
Explore Instruments from South America
• Have students look at the instruments on SG26. Read the descriptions of each instrument and discuss them
with your students.
• These instruments were originally created from found objects and can be heard in music from
Argentina and other countries in South America.
• We will see and hear some of these instruments performed by Sofía R. and Sofia T. and their band
at the concert.
Musical Word Wall
Add the words beat, meter, soundscape, strong beat, and weak beat to the Musical Word Wall.
72
SG 26
Instruments from South America
A box-like percussion instrument

Cajón originally made from crates used to
ship fruit and other goods
An Argentine drum
Bombo legüero traditionally made of
a hollowed tree trunk
and covered with cured animal skins; one of
the oldest instruments in human history, and
an essential element in Argentine folklore
A percussion instrument
Quijada traditionally made from a donkey
jawbone that is treated so that the
teeth rattle when you strike or scrape it
A string instrument shaped like a small

Charango guitar traditionally made from the shell of
an armadillo
A hand percussion
Chajchas instrument traditionally
made from dried goat
hooves or other small-hoofed animals
73
Lesson 2: Learning “Chacarera del Rancho”

Aim: What happens when you layer one rhythm on top of another?
Summary: Students learn to sing the song “Chacarera del Rancho” and dance the chacarera while exploring
rhythmic layers.
Standards: National 1, 5, 7, 11; NYC 1, 2, 3, 4
Vocabulary: chacarera, palmas, rhythmic layers
•
Sing “Chacarera del Rancho”
• Listen to “Chacarera del Rancho,” Track 27.

• Score 
Learn the lyrics using “Chacarera del Rancho” pronunciation,
Chacarera DelRancho
Track 28.
• Sing the chorus with “Chacarera del Rancho” chorus, Track 29. Note that the chorus and verse have the
same melody; the only difference is the lyrics.
Sophia R. & Sophia T.
         
          
Cuan - do cha - ca - re - ras co - mien - zo a can - tar, ¿Cuál ha de
           
    
ser, cuál ha de ser? Es - ta cha - ca - re - ra del ran - cho se -
         
 
ñor, cla - ro que sí, cla - ro si pues
74
“Chacarera del Rancho” Translation
Chorus: Chorus:
Cuando chacareras comienzo a cantar When I start singing chacareras
¿Cuál ha de ser, cuál ha de ser? Which one should it be? Which one should it be?
Esta chacarera del rancho señor, Should it be Chacarera del Rancho?
Claro que sí, claro si pues. Of course, of course.
Dentro de mi rancho colgado un horcón Inside my shack hung on a pitchfork

Tengo un violín, tengo un violín, I have a violin, I have a violin,
Es de algarrobo, también de mistol Made out of carob tree and mistol too.
Hecho por mí, hecho por mí. I made it myself, I made it myself.
Algo medio chico es mi rancho tal vez, My shack is a bit small perhaps
Para los dos, para los dos, For both of us, for both of us.
Ya me estoy haciendo cerquita al Salao Now I am building, near El Salao,
Uno mejor, uno mejor. One that is better, one that is better.
(Chorus) (Chorus)
Yo le he hecho al rancho un alero especial, I have made special eaves for my shack
Para bailar, para cantar, To dance, to sing
Para darme el gusto y allí vidalear To give me pleasure, and to party there
De navidad a carnaval. From Christmas to Carnival.
Un hornito e’ barro mortero y fogón A little clay oven, a mortar, and a fireplace
Tengo además, tengo además I have as well, I have as well,
Y a mi negra chura que sabe matear And my chura girl who knows how to serve mate,
Para que más, para que más. Why more, why more.
Si alguna guagüita pudiera tener If I could also have a baby,

Uy, que feliz! Uy, que feliz! Oh, how happy! Oh, how happy!
Pero como dicen que Dios proveerá But as they say that “God will provide,”
Ya ha de venir, ya ha de venir. It will come, soon it will come.
(Chorus) (Chorus)
75
Explore Rhythmic Layers
• Explain that the chacarera dance is based on two rhythms that are layered together: the bombo rhythm
and the palmas rhythm.
• Listen to the bombo rhythm,
Score  Track 30. It is played on a drum called the bombo legüero, one of the
oldest instruments in the world. Chacarera Rhythm
• Ask students to tap or speak along to the bombo rhythm. You can also use percussion instruments
to play along.
        
Bombo Rhythm
     
Cha - koon cha - koon Cha - koon cha - koon
Score
Chacarera

• Listen to the palmas rhythm, Palmas Rhythm
Track 31, which is usually clapped.
• Ask students to clap along to the palmas rhythm.
Sofias
       
Palmas Rhythm
      
      
• Play “Chacarera del Rancho,”

along with the song.
 Track 27 again, and have students play the chacarera or palmas rhythm
The chacarera is a dance from the state of Santiago del Estero and is celebrated as the
rural counterpart to the more cosmopolitan tango. Male dancers circle around their
respective female partners, enticing them with foot stomping (zapateo), while the
females coyly swish their skirts and twirl about (zarandeo).
Traditionally, the chacarera is accompanied by a bombo legüero, guitar, and singer.
The rhythm is characterized by the high-pitched sound of the mallet hitting the rim of
the drum (“cha”), and the low-pitched sound of hitting the head of the drum (“koon”).
76
•
Dance the Chacarera
Learn the Chacarera

• The chacarera is danced in pairs; partners face each other and maintain eye contact throughout the dance.
The music is in 6/8 time, and has two strong beats in each measure (1 2 3 4 5 6). The dance movements fall
on those two strong beats. Visit carnegiehall.org/MusicalExplorers to find a video demonstration.
• There are three movements. Movements 2 and 3 are performed back-to-back as a pair.
• Movement 1: Zapateo y zarandeo
• On each strong beat (1 2 3 4 5 6), “caballeros” (“gentlemen”) tap their feet in place with their hands
behind their back, and “damas” (“ladies”) swish their skirts.
• Movement 2: Avance y retroceso
• Arms are lifted with slightly bent elbows, thumbs tap the palmas rhythm against the fingers.
• Partners walk towards each other for two counts (one measure).
• Partners retreat from each other for two counts (one measure).
• Movement 3: Vuelta entera
• Arms are lifted with slightly bent elbows; thumbs tap the palmas rhythm against the fingers.
• Partners circle around each other for four counts (two measures).
Zapateo y zarandeo Avance y retroceso Vuelta entera

(“footwork and swishing”) (“forward and backward”) (“full circle”)
Perform the Chacarera

• Play “Chacarera del Rancho,”  Track 27.
• During the instrumental sections, students perform the zapateo y zarandeo.
• During the sung portions of the song, students perform the avance y retroceso and vuelta entera for
a total of eight counts.
• During the body percussion solo section, invite students to improvise using their own body percussion or
classroom instruments.
77
Creative Extension: Create a Dance with Rhythmic Layers
 • Your students will work with partners to create their own dance rhythms using rhythmic
layers on SG27. They can name their dance and can also create a dance movement that they
teach to the class. More advanced students can use notation in this activity.
Literacy Extension: Las Manchas Del Sapo: How the Toad Got
 His Spots
The bilingual book Las Manchas Del Sapo: How the Toad Got His Spots
by Marjorie E. Herrmann tells the tale of Luisito, a musical toad who is
trying to join the birds dancing in the sky.
•
Musical Word Wall
Add the words chacarera, palmas, and rhythmic layers to the Musical Word Wall.
78
SG 27
Compose Your Own Dance Rhythm

The chacarera layers two rhythms on top of each other to create its
special rhythm. You and a partner can create your own dance rhythm
in the same way.
First, pick a sound. Do you want to clap? Snap? Stomp? Play an
instrument?
Partner 1 sound Partner 2 sound
Now compose a rhythmic pattern that has 8 beats. Everyone will play
on beat 1. Color in the beats where you want your sounds to be. Leave the
square blank if you want silence.
For example:
1 2 3 4 5 6 7 8
Partner 1:
1 2 3 4 5 6 7 8
Partner 2:
1 2 3 4 5 6 7 8
Now pick a tempo: Is your dance slow, medium, or fast? Play your
rhythms together. Feel like dancing? Create a movement, or your
class can just dance along.
Our dance is called .
79
80
Native American with Martha Introduction
Native American with Martha

• x
Martha Redbone’s Native American roots lie in the Southeastern region of the United States, home to the Cherokee,
Choctaw, and Shawnee tribes. The traditional music of these tribes is centered upon songs that accompany dances
that continue to be performed at powwows and other social gatherings. The songs feature short sections of lyrics,
often sung in call and response, accompanied by drums, rattles, whistles, pipes, and flutes. All of these instruments
have spiritual significance and are made from natural elements: For example, gourds become rattles, and logs
become water drums. Starting in the 1700s, Native American music was altered by the arrival of British traders who
introduced the fiddle, and by African influences shared throughout the South.
Martha Redbone has continued to teach traditional Southeastern tribal music throughout most of her career, as an
expression of her deep commitment to preserving and sharing her Native American cultural heritage. At the same
time, she has developed her own singular style of American Roots music that is a direct reflection of her own roots:
her Cherokee-Choctaw-Shawnee mother and African American father; the Appalachian hills of Harlan County,
Kentucky where she spent her early childhood; and the eclectic grit of her teenage years in Brooklyn. Combining the
vocal style of her gospel-singing father with the spirit of her mother’s Native American culture, she proudly broadens
the boundaries of Native Americana.
• x

Listening:
• Visit sroartists.com/artists/martharedbone to hear more music by Martha.
• Joanne Shenandoah, Iroquois singer-songwriter
• Keith Secola, Anishinaabe-Chippewa musician
Readings:
• Indian Blues: American Indians and the Politics of Music, 1879–1934 by John W. Troutman
• Sequoyah and the Cherokee Alphabet by Robert Cwiklik
• IndiVisible: African-Native American Lives in the Americas by Gabrielle Tayac
• A Primer of Handicrafts of the Southern Appalachians by James Andrew Crutchfield
• American Indian Community House on the Lower East Side, Manhattan
• Redhawk Native American Arts Council in Sunset Park, Brooklyn
• Smithsonian National Museum of the American Indian in Bowling Green, Manhattan
81
SG 28
Meet Martha!
s!
usical Explorer
Siyo/Halito M
parents
rn in N ew York City to
I was bo y mother was
ba ckgrounds: M
from d iver se was African
m er ica n a n d my father
Native A y childhood
sp en t a lot of m
Amer ica n. I other and
C h er ok ee /S h awnee grandm
with my in,
f a th er in Black Mounta
Choctaw gran
d
town in the
hills plorers
small coa lm in in g
like any Musical Ex
Kentucky, a ou gh we were just
of Appalachia
. A lth Hall
an f a m ily, we also h
ad our own c/o Carnegie
other Am er ic moved
pra ye rs, and songs. I Avenue
881 Seventh
a ys ,
traditional w all, but we
k lyn w hen I was sm
back to Br oo monies.
often for cere 10019
went back to
K en tu ck y
lyn. I am New York, NY
in Fo rt Greene, Brook
Today I li ve e music
pla y, si n g, and share th
so excited to u!
eland with yo
from my hom
Wado/Yakoke,
Martha
Leaving from
Corona, Que
ens
8282
SG 29
We asked Martha …
When did you start playing music?
I began singing at a very young age. At my kindergarten graduation, we sang the alphabet
song in call and response style, and I was the lead singer! I was eight years old when I
began piano lessons and 11 when I started to play guitar.
What instruments do you play now?

My main instrument is my voice. I walk with it, speak with it; it’s easy to carry but very
delicate, so I am extra careful with how I use it. I also play hand and foot percussion,
shakers and rattles and tambourine!
What is your favorite thing about performing your style of music?

I love incorporating Native American traditional music into today’s music, keeping our
culture alive by mixing the past with the present.
What inspires you?

My family and my ancestors inspire me. They went through some very challenging
struggles throughout American history. Yet we are still here having survived the struggle,
and now I can share their stories.
Harlan Coun
ty, Kentuck
y
Arriving at
Fort Greene, Brooklyn
83 83
Native American with Martha Lesson 1
Lesson 1: Learning Social Dances

Aim: What elements make up Native American social dances?
Summary: Students will learn three Southeastern tribal social dances, and will perform the different roles
for each dance.
Materials: Musical Explorers digital resources; Musical Explorers Student Guide; an empty water bottle
or other container; beans or beads; two sticks; tape; paper; paint; markers; beads; feathers
Standards: National 1, 5, 11; NYC 1, 2, 3, 4
Vocabulary: rattles, social dance
Students will learn three tribal social dances from the Choctaw and Cherokee tribes including singing,
movement, and percussion. These dances are performed at various social occasions, including powwows—
gatherings that bring together members of different tribes where arts and crafts, music, and dances are
shared and celebrated. Because each tribe has its own language, the lyrics used in these dance songs are
vocables—syllables like “la la la,” or “dum de dum”—so that everyone can sing together. While the lyrics
themselves don’t have semantic meaning, the songs always have a specific purpose and cultural significance.
The singing is accompanied by percussion—generally drums and rattles—and the dance movements express
the meaning of the dance.
•
Learn Three Social Dances: Sing, Dance, and Play Percussion
• Listen to “Social Dances,”

in each social dance.
 Track 32. Then proceed to learn the different performance elements
“Choctaw Drum Dance”
• Listen to “Choctaw Drum Dance,”  Track 33.
• The drum dance generally opens a series of social dances. Explain that the Choctaw people knew that the
steady beating of the drums in the hills meant it was time to assemble. The beat of the drum is the heart of
the Choctaw people.
Score
• What is the main instrument that you hear in this dance?
Choctaw Drum Dance
• Learn the lyrics using “Choctaw Drum Dance” pronunciation,  Track 34.
• Learn to sing the response lines in “Choctaw Drum Dance,”  Track 33.
 Response
  
 
1
        
Yo a le yo ya he lay he he - ya
 Response
      
             
2
    
Hey ya he yo we hey he - ya way he ya Hey ya he yo we hey!
84
“Choctaw Drum Dance”
LEADER: GROUP:
Call 1 Response 1
Yo a le yo ya he lay ya Yo a le yo ya he lay he heya
Yo a le yo ya he lay ya (x2)
(x2)
Call 2 Response 2
Hi ya he yo we hey ya Hey ya he yo we hey heya way he ya
Hi ya he yo we hey ya Hey ya he yo we hey!
(x2) (x2)
(Call 1) (Response 2)
(Call 2) (Response 2)
• Next, learn the movements to “Choctaw Drum Dance” at  carnegiehall.org/MusicalExplorers.

Scorelearn the percussion part in “Choctaw Drum Dance.” The constant drum is the heartbeat of the
• Finally,
Choctaw Dance Rattle and Drum
dance and is accompanied by rattles.
         
Rattle
Drum
“Cherokee Bear Dance”

• Listen to “Cherokee Bear Dance,”  Track 35.
• This dance symbolizes the bear hunt, a Cherokee tradition.
• Learn the lyrics using “Cherokee Bear Dance” pronunciation,  Track 36.
• Learn to sing the response lines in “Cherokee Bear Dance,”  Track 35.
85
Native
Score American with Martha
Lesson 1
Cherokee Bear Dance
  
  rit.
  Response
           
                  
1
Hey yo he-ya ta ga ney hi yo Hey yo he-ya ta ha ney hi yo Hey yo he-ya taa! Ga ney hi yo
   
     
  Response
                     
  
2
Hi ya g - nu hi ya g - nu hey yo Hi ya g - nu hi ya g - nu hey yo Hi ya g - nu hey hi yo.
“Cherokee Bear Dance”
LEADER:
Wah hey wah hey
Wah hey wah hey
Wah hey
LEADER: GROUP:
Call 1: Response 1:
Hey yo heya ta ha ney hi yo Hey yo heya ta ga ney hi yo
(x2) Hey yo heya ta ha ney hi yo
Hey yo heya taa ga ney hi yo
(x2)
Call 2: Response 2:
Hi ya gnu hi ya gnu hey yo Hi ya gnu hi ya gnu hey yo
(x2) Hi ya gnu hi ya gnu hey yo
Hi ya gnu hi yaa gnu hi yo
(x2)
Score Bear Dance Rattle
• Next, learn the movements to “Cherokee Bear Dance” at 

carnegiehall.org/MusicalExplorers.
• Then, learn the percussion part in “Cherokee Bear Dance,” which is played with rattles.
Rattle            
©
86
“Cherokee Friendship Dance”

• Listen to “Cherokee Friendship Dance,”  Track 37.
• This is a round dance, a farewell dance that ends a series of dances at a social gathering.
• Learn the lyrics using “Cherokee Friendship Dance” pronunciation,  Track 38.
• Learn to respond to the leader in “Cherokee Friendship Dance,”  Track 37. Please note that the students’
response in this song is an exclamatory “Whoo!” You may use “Cherokee Friendship Dance” pronunciation,
 Track 38, to learn the lyrics to the leader part of the song.
87
“Cherokee Friendship Dance”
LEADER: LEADER:
Hey ya yo, hey ya yo! Yo ho he ho
Ho wee yo hi ho
Ha way ya Yo ho he ho
Ha way hey ya ne Ga li ye e li ge
ho ya ne Yo ho he ho
Ha way hey ya ne Osda da ne ho!
ho ya ne Yo ho he ho
Way ha! Wah ho!
GROUP: GROUP:
Whoo! Whoo!
LEADER: LEADER:
Ya ho ga ne wa, yo ya ney Ho we yo hi ho
Ya ho ga ne wa, ho ya ney Ho we yo ho we hi ho
Ya ho ga ne wa, ho ya ney Ga-sa-qua-lv o-tsa-(l)-s-gi
Ya ho ga ne wa, yo ya ney Ga-sa-qua-lv o-tsa-(l)-s-gi
Way ha! Ho we yo hey ho
Wah ho!
GROUP:
Whoo! GROUP:
Whoo!
Score Friendship Dance Rattle

• Next, learn the movements to “Cherokee Friendship Dance” at 
carnegiehall.org/MusicalExplorers.
• Finally, learn the percussion part in “Cherokee Friendship Dance,” which is also played with rattles.
Rattle       
88
Performing Three Social Dances

• Divide the class into three groups, assigning the roles of singers, dancers, and percussionists. Note that each
role is considered equally important.
• Begin by acting as the leader, singing the call and having the students respond. As your class becomes more
comfortable, ask for student volunteers to serve as the leader.
• Important note: In the Native American tradition, only a tribal leader can sing the call, and the group
responds. You and your students will have an opportunity to try out the role of the leader in the
classroom. At the concert, only Martha will sing the call, and everyone else will respond.
• Perform all three dances, switching the groups’ roles for each dance.
• If your students are ready, they can try performing all the parts at once, simultaneously singing, dancing,
and playing percussion.
Creative Extension: Create Your Own Social Dance
 Social dances can be about various topics, just like the “Cherokee Bear Dance.” You can create a
class dance about an animal or any other subject you choose.
• Brainstorm possible subjects for your class social dance.
• Create a chant for your dance. You can use words or vocables.
• Add percussion to your chant.
• Create a movement for your dance.
• Perform your new dance along with the other social dances you have learned.
Creative Extension: Create Your Own Rattle
 • On SG30, your students will have an opportunity to create their own rattles.
• Encourage your students to try out different noisemaking materials to put inside their
rattles, as well as different quantities, until they come up with a sound they like.
• Students can use their rattles to play the percussion part when they perform the
social dances.
Musical Word Wall
Add the words rattles and social dance to the Musical Word Wall.
89
SG 30
Create Your Own Rattle

The rattle is an important Native American percussion
instrument. Rattles are made from materials found in
nature. For example, the body can be made from
a gourd or turtle shell that is filled with pebbles.
The rattles are decorated with traditional patterns,
feathers, and beads.
You can make your own rattle and decide what sound
it will make by the materials you choose.
1. Take an empty water bottle or other

container.
2. Choose your noisemakers. Try rice, dried

beans or pasta, sand, pebbles, or anything
that makes a sound. Put in a little or a lot.
What sound do you like best?
3. Tape a stick to each side of the container to

make handles.
4. Decorate your rattle. Use paper, paint,

markers, beads, feathers, and your
imagination!
9090
Lesson 2: Learning “40 Wheels”

Aim: How can you use different musical elements to help tell a story in a song?
Summary: Students will learn to sing the original song “40 Wheels”; explore the musical elements in the song;
and learn how musical elements can help tell a story in a song.
Standards: National 1, 5, 6, 7, 8, 10, 11; NYC 1, 2, 3, 4
Vocabulary: melodic contour
Martha’s original music fuses elements of American folk and the blues with influences from Choctaw
and Cherokee traditional music. In the song “40 Wheels,” Martha tells the story of the Trail of Tears by
synthesizing the musical elements from her diverse background.
• Wheels”
Sing “40
• Listen to “40 Wheels,”  Track 39.

• What do you hear that is similar to the social dance songs you learned?
Score• What is different about this song from the social dance songs?
40 Wheels

• Learn the lyrics using “40 Wheels” pronunciation, Track 40.
• Sing along to “40 Wheels” instrumental,  Track 41. Martha

                  
Wa - ya hey ah ha wa - ya hey ah ha Wa - ya
 
          
hey ah ha ha ha ha ho
91
“40 Wheels”
40 wheels up high, on the mountainside Chorus:

Covered wagons coming and my people ride Waya hey ah ha, waya hey ah ha
Walking … walking … walking … walking … Waya hey ah ha ha ha ha ho
(x2)
It was way up high my great mama cried
When the cavalry took a thousand lives 40 wheels up high, on the mountainside
Walking … walking … walking … walking … Was the cold trucks loading up a thousand mines
Walking … walking … walking … walking …
(Chorus)
Explore the Lyrics to “40 Wheels”
• The song tells the story of the Trail of Tears, a very sad and difficult time in American history, when
Southeastern Native American tribes were forced to leave their land and journey on foot to territory
in Oklahoma.
• Try to imagine what it would be like to walk for hundreds of miles in a big group.
Trail of Tears: In 1830, Congress passed the Indian Removal Act, a law that forced Native Americans off
their land in the Southeast and onto territory in Oklahoma. Martha’s ancestors were among this group.
While some left willingly, many elected to stay and fight for their land. The United States military eventually
forced the tribes out, some without time to gather their belongings. The Native Americans had to endure
harsh elements and mountainous terrain as they walked west, and many people died along the way in what
has come to be known as the Trail of Tears.
Explore Melodic Contour in “40 Wheels”
• Listen to “40 Wheels,”  Track 39, and ask your students to listen for the refrain.
• A refrain is a phrase in a song that keeps returning. In this song, the refrain is “Walking, walking.”
• Trace the melodic contour—the shape of the melody—for the first line of the song.
up moun-
high tain
wheels on
ty
the
For- side
• Why do you think the melody makes this shape with these lyrics?
92
• Now, trace the shape of the melody for the refrain.
Walk–ing Walk–ing Walk–ing

• Why does this shape make sense with the lyrics?
• What else about the music makes you feel like you’re walking, rather than running or skipping or jumping?
• Discuss the differences in melodic contour between the two sets of lyrics.
• Listen again to “40 Wheels,”  Track 39, tracing the melodic contour.
Creative Extension: Sound Painting in “40 Wheels”
 • Brainstorm ideas of what it might have sounded like on the Trail of Tears. Think about
the surroundings: Who is on the journey and what is the weather like, etc.? Explore the
idea of sound painting—creating a picture using sound.
• What sounds can we add to the song to help paint the picture?
• How can we make these sounds?
• Add sounds to help paint a picture of the Trail of Tears when performing “40 Wheels.”
Creative Extension: Explore Traditional Native American Clothing
 • On SG31, your students will learn about different elements of Native American dress.
• There are different kinds of attire for different occasions. Traditional dress is more
elaborate and worn during ceremonies. No two outfits are exactly the same; pieces are
handmade specifically for the wearer. Materials include leather, feathers, beads, and
more. There is a deep sense of pride and honor in wearing Native American regalia, as
items are representative of the tribe and passed down within families from generation
to generation. Non-ceremonial clothing, which includes ribbon skirts or beaded jackets
and shawls, is much simpler, but still distinctive. These pieces are often decorated with
symbols or elements of nature representing the family or clan.
Literacy Extension: When Turtle Grew Feathers: A Folktale from
 the Choctaw Nation

The classic fable “The Tortoise and the Hare” gets retold by Tim Tingle,
who captures the Choctaw version of the story. In this version, we find
out the “real” reason why the turtle won the race.
Musical Word Wall
Review the word melodic contour on the Musical Word Wall.
93
SG 31
Traditional Native American Clothing

Native Americans wear different clothing for specific occasions. Look
at the two Native American outfits below. What do you notice about
each one? What is the same, and what is different?
Non-ceremonial Traditional Southern

ribbon skirt cloth dress
9494
South African Zulu with Bongi and Tshidi Introduction
South African Zulu with Bongi and Tshidi

• x
Zulu is a dominant culture in South Africa, the home of 10–11 million Zulu people. The music played by Sbongiseni
“Bongi” Duma and Tshidi Manye combines deeply rooted Zulu traditions with more contemporary Zulu styles—
all of which hinge on harmony. In many African traditions, melodies are sung in unison; in Zulu music, harmony
emerges naturally whenever people sing together.
One of the first popular South African songs to incorporate this harmonic tradition was “Mbube” (“Lion”),
recorded by Solomon Linda in 1939. Linda’s harmonic approach came to be known as mbube. His hit song,
first adapted and popularized in the United States by Pete Seeger as “Wimoweh” (a mistaken transliteration of
uyimbube, meaning, “You are a lion”), further evolved to become “The Lion Sleeps Tonight,” which students might
know from The Lion King.
Bongi and Tshidi met in the cast of The Lion King on Broadway more than a dozen years ago and continue to
perform in the show today. Both were born in South Africa and grew up singing songs from the Zulu tradition.
Tshidi has focused her career on musical theater; Bongi is also a composer and songwriter who performs his own
original music with his band.
• x

Listening:
• Solmon Linda and the Evening Bird, “Mbube” (1939)
• Pete Seeger, “Wimoweh”
• Ladysmith Black Mambazo, “Hlanganani Siyobhula” (“Ladies and Men”); and “Sisesiqhingini”
(“Everything Is So Stupid”)
• Miriam Makeba, “Qongqothwane” (“Click Song”)
• Busi Mhlongo, “Oxamu”
• Mbongeni Ngema
• Mfaz’ Omnyama
• African Music Bombers
Readings:
• Shaka: The Story of a Zulu King by Dr. Alex Coutts
Videos:
• Africa Umoja–The Spirit of Togetherness, created by Todd Twala and Thembi Nyandeni
• Madiba, a South African Restaurant in Fort Greene, Brooklyn
• South African Consulate General, a representative of the South African government in Midtown,
Manhattan that lists local events on its website, including concerts, food festivals, etc.
95
SG 32
Meet Bongi and Tshidi!
Sanibona
ni Musica
l Explorer
s!
Have you
heard of
The Lion t
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on Broad are both
wa in that
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Durban, South Africa
Leaving from
Fort Greene, Brooklyn
96 96
SG 33
We asked Bongi and Tshidi ...

What is your earliest musical memory?
Bongi: I remember singing with the school choir in middle school and with my community
group outside of school.
What are some of the foods you ate growing up?

Tshidi: Food in my culture? Where do I start! We have ujeqe, which is a dumpling;
amanqina, which is either chicken feet or cow feet; and pap, which is cornmeal. One of
my favorites is the insides of a cow or goat with isitambu, a mixture of corn and beans.
Oooooh mama!
How many languages do you speak?

Tshidi: I speak six African languages, plus English.
What inspires you?

Bongi: I’m inspired by people and their wild stories,
and by different cultures and their music and customs.
ujeqe
Arriving at
Broadway, Manhattan
97 97
South African Zulu with Bongi and Tshidi Lesson 1
Lesson 1: Learning “Thula Mntwana” / “Nampaya Omame”

Aim: How can you create a piece by putting two songs together?
Summary: Students learn to sing a piece created by joining together two traditional songs and are introduced
to the concept of musical form by exploring the form of the piece. They also explore the percussive sounds of the
Zulu language.
Vocabulary: form, lullaby
Bongi has created a two-part song by joining together two complementary songs: “Thula Mntwana,” a lullaby,
and “Nampaya Omame,” a well-known folk song sung by generations of South African children. Together the
two songs tell a story: A child goes to sleep, awaiting the mother’s return. In the morning, the mother brings
gifts in her goody basket; the child’s joy is expressed in the music.
•
Sing “Thula Mntwana” / “Nampaya Omame”
• Listen to “Thula Mntwana” / “Nampaya Omame,” 

Track 42.
• Explain that the songs are sung in call and response style, with a leader calling and the group responding,
echoing back the phrase.
• Learn the lyrics using “Thula Mntwana” pronunciation, 
Track 43.
• Sing the response to “Thula Mntwana” using “Thula Mntwana” / “Nampaya Omame,” 
Track 42.
• Learn the lyrics using “Nampaya Omame” pronunciation, 
Track 44.
• Sing the melody to “Nampaya Omame” using “Thula Mntwana” / “Nampaya Omame,”
Score
Thula Mntwana 
Track 42.
• Put the two songs together with “Thula Mntwana” / “Nampaya Omame,”
turns as the leader singing the call.

Track 42. Students can take
  
                              
1. 2.
Thu-la, thu-la mntwa-na thu-la Thu-la mntwa-na thu-la Thu-la mntwa-na thu - la. thu - la. Sam -
  
   
                         
1. 2.
tha - tha sam -be- ka e - tha - la Wa - su - ke wak - ha - la Wa - thi May - ba - bo Sam ba - bo
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“Thula Mntwana” Translation
LEADER: LEADER:
Thula, thula mntwana thula, Hush, hush, my child, hush
Thula mntwana thula, Hush, my child, hush
Thula mntwana thula Hush, my child, hush
GROUP: GROUP:
Thula, thula mntwana thula, Hush, hush, my child, hush
Thula mntwana thula, Hush, my child, hush
Thula mntwana thula Hush, my child, hush
(x2) (x2)
Samthatha,
Score sambeka ethala We take her, put her on the shoulder,
Wasuke wakhala wathi Maybabo! But she cried and said Maybabo!
(x2) Napaya Omame (x2)
 
                         
    
Nam - pa - ya o - ma - me beth - we - li - mith - wa - lo Nci - nci bo! Nci- nci bo! Nam - pa - ya o - ma - me
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“Nampaya Omame” Translation
LEADER: LEADER:
Nampaya omame bethwelimithwalo There are our mothers carrying the goody baskets.
GROUP: GROUP:
Ncinci bo! Ncinci bo! Nampaya omame Ncinci bo! Ncinci bo!* There are our mothers.
(x2) (x2)
(x2) (x2)
Ncinci bo! Ncinci bo! Nampaya omame Ncinci bo! Ncinci bo! There are our mothers.
(x2) (x2)
LEADER: LEADER:
Sabona ngoswidi, Sabona ngokhekhe We saw sweets; we saw cookies.
Sabona ngoraysi, Sabona ngonyama We saw rice; we saw meat.
GROUP: GROUP:
(x2) (x2)
LEADER: LEADER:
Sabona ngoswidi, Sabona ngokhekhe We saw sweets; we saw cookies.
Sabona ngoraysi, Sabona ngonyama We saw rice; we saw meat.
GROUP: GROUP:
(x2) (x2)
*An expression of excitement
• Discuss the lyrics of both songs.

• As a child goes to sleep, someone is singing a lullaby.
• How does the lullaby make you feel?
• How is the mood expressed in the music?
• Does anyone sing you a lullaby before you go to sleep? What is the lullaby? How does it help you sleep?
• In the morning, a mother returns with gifts for her child in her goody basket. In Zulu culture, it is customary
for parents to bring a treat to their children when they return home. Rice and meat are eaten on special
occasions, so they are considered treats just like sweets.
• How does this part of the song make you feel?
• How is the mood expressed in the music?
• How do you feel when your mom or dad comes home? What’s a special treat that you hope they will
bring you?
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Move to “Thula Mntwana” / “Nampaya Omame”
Tshidi and Bongi have created movements to illustrate the lyrics in this song. As you play “Thula Mntwana” /
“Nampaya Omame,”
video demonstration.
 Track 42, practice the movements. Visit carnegiehall.org/MusicalExplorers to find a
“Thula Mntwana”
Thula, thula mntwana thula,

Thula mntwana thula
Thula mntwana thula
Samthatha, sambeka ethala
Wasuke wakhala wathi Maybabo!
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“Nampaya Omame”
Nampaya omame bethwelimithwalo
Ncinci bo! Ncinci bo! Nampaya omame
Explore Form in “Thula Mntwana” / “Nampaya Omame”
This activity may be more appropriate for more experienced students. Bongi and Tshidi created a two-part
song (AB form) by joining together two different songs. Within the second song (B), there are also two separate
parts (ab). This activity explores the overall shape of the piece that Bongi and Tshidi created, as an introduction
to the concept of musical form.
• Listen to the full piece using “Thula Mntwana” / “Nampaya Omame,”
raise their hands when they hear the second (B) part begin.
 Track 42. Ask your students to
• How do you know that this is a new part? What is different about it?
• Now listen to just the second part (“Nampaya Omame”). Within this song, there are two parts. These may be
harder to hear. Hint: One line of music is sung twice (a), and then a second line of music is sung twice (b).
• Raise your hand when you hear Part 2 (when the melody changes).
• Explain that this structure—like a map or a plan for the piece—is called musical form.
• Explore the idea of how you might represent the form graphically. For example:
A B
a b
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Creative Extension: Zulu Language
 The Zulu people are the largest ethnic group in South Africa, numbering between 10 and
11 million people. Zulu is one of the country’s official languages and has three distinctive
percussive sounds.
Explore Percussive Sounds in the Zulu Language

• Zulu was an entirely oral language until Europeans came and started writing it down
using their alphabet. Most of the letters used in the language make the same sounds
as in English.
• What they could not notate were three unique clicking sounds, found on the letters “C,”
“Q,” and “X,” that are a form of mouth percussion.
• “C” is like the sound you make when you’re disappointed (“tsk, tsk”). You place
your tongue loosely against the roof of your mouth near your front teeth and pull it
away. Try it out with this word:
• “Iculo” means song.
• “Q” is a hard clucking sound, like a knock on the door. You place your tongue
tightly against the roof of your mouth near your front teeth and pull it away. Try it
out with this word:
• “Inqola” means a moving vehicle—wagon, cart, car, or really anything that moves.
• “X” is like the sound you make when you tell a horse to “giddy up.” You place your
tongue tightly against your side teeth and pull it away. Try it out with this word:
• “Ixoxo” means frog.
• Sound out the following words that have the three clicking sounds.
“C” “Q” “X”
“Ucingo” means wire. “Iqhude” means rooster. “Uxolo” means peace.

“Icala” means case. “Uphaqa” means flip-flop shoe. “Ingxoxo” means conversation.
Musical Word Wall
Add the words form and lullaby to the Musical Word Wall.
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Lesson 2: Learning “Inqola”

Aim: How is harmony used in South African music?
Summary: Students learn to sing an original song that incorporates Zulu music traditions and experiment
with harmony.
Standards: National 4, 5, 7, 8, 11; NYC 1, 2, 3, 4
Vocabulary: harmony
Bongi wrote this original song and offers this introduction: “I spent most of my childhood one hour south of
Durban in a town called Umthwalume on the coast of the Indian Ocean. I used to go to the beach and watch
the beauty and the complexity of nature; the full circle from sunrise to sunset was fascinating to me.
The song speaks of the relationship between humans and nature. An inqola is any vehicle that moves—
a cart, a wagon, a car. I believe life is like a moving vehicle that changes destinations throughout different
stages and experiences.”
•
Sing “Inqola”
• Listen to “Inqola,” Track 45. Note that Bongi’s lyrics combine Zulu and English.
• Learn the lyrics to the chorus using “Inqola” pronunciation,  Track 46.
• What is the song about? What is your favorite place to see and experience nature? Why do you like it?
How does it make you feel?
• Sing the chorus melody.
• If your students are ready, they can also learn the harmony line for the chorus, and sing the chorus in
two parts. Alternatively, the teacher can sing the harmony while the students sing the melody.
Score
• Harmony is an important and distinctive part of Zulu music. In many other African musical traditions,
Inqola
melodies are generally sung in unison. In the Zulu tradition, harmonies are added naturally whenever
people sing together. Bongi & Tshidi
    Melody                
            
Score
Thu - lu - lu Inqola
lu - lu Thu - lu - lu- harmony
lu - lu Thu - lu - lu lu - lu Hha - la - la Hhe Mh
Bongi/Tshidi
    Harmony
                           
  
Thu - lu - lu lu - lu Thu - lu - lu lu - lu Thu - lu - lu lu - lu Hha - la - la Hhe Mh
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“Inqola” Translation
Chorus:
Thululululu Thululululu Thululululu
Hhalala Hhe Mh*
Thululululu Thululululu Thululululu
Hhalala Hhe Mh*
Sitting in the morning, looking at the ocean

And the sun rising from the horizon
Our people never understood
The power of the nature, the meaning behind it
Ubuhle bemvelo Ma! Nature’s beauty!
(Chorus)
Shhi ye Ihh Maybabo

Shhi ye Ihh Maybabo Maybabo*
(Chorus)
Asibuyelemandulo kusadliwa Let’s go back to the old times

Nngoludala kwelakithi When we lived life the ancient ways.
Amasiko ayehlonishwa Traditions were respected.
We used to celebrate the mother nature.
Kwakumnandi kudliwa ngoludala It was nice living in the old ways.
(Chorus)
(x2)
*An upbeat chant with no translation
Create Musical Harmony
This exercise may be more appropriate for older and more experienced students. You will be exploring harmonic
intervals by creating an ostinato, or simple repeated pattern, on the first note of the scale, and then experiencing
Ostinato
the harmony created by adding different notes in the scale on the same repeated pattern. Use the body scale
exercise, TG18, in conjunction with this activity, having students tap the corresponding part of their bodies as
they sing their notes.
• Divide the class into two sections. Have one group sing a simple repeated rhythmic pattern, or ostinato.
For example:
& 44 œ œ ˙ œ œ ˙
Doo doo doo Doo doo doo
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Ostinato
• That note will be the first note of the scale, or Do; using the body scales exercise, TG18, students will touch
their toes as they sing the note.
• While half the class sings the ostinato, ask the other half to sing the same rhythm an octave above, with their
hands in the air (as in the body scale), repeating it over and over. For example:
& 44
œ œ ˙ œ œ ˙
Doo doo doo Doo doo doo
• As they sing, have the two groups switch parts, when you call out, “Switch!”
• Now try the same activity with the third step of the scale (knees) instead of the octave, repeating the pattern
multiple times until the students feel secure singing the harmony. Try this with the fifth, fourth, and second
scale degrees. If your students are ready, try three-part harmony.
• How does it feel to sing each harmony? How do the different harmonies feel the same or different?
• Guide the students to think about the space between the notes—how close together or far apart they are.
• If your students are ready, have the first group continue to sing the ostinato on the root while the second
group goes up the scale using the same rhythmic pattern, and changing pitches after two rhythmic patterns.
Accompany them on piano or pitched instrument if possible.
• Notice how the different notes sound and feel against each other. Feel the space that opens up between the
pitches as you go up the scale, and how the space closes up as you go down.
• Are some harder to sing then others? Do you have a favorite harmony, and if so, why?
Creative Extension: Zulu Culture
 • On SG34 and SG35, your students will learn about two facets of Zulu culture—Zulu beadwork
and the traditional Zulu village, or umuzi.
Literacy Extension: The African Orchestra
 The sounds heard in nature create a unique orchestra in Wendy

Hartmann’s beautifully illustrated book.
Musical Word Wall
Review the word harmony on the Musical Word Wall.
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SG 34
Zulu Beadwork
In Zulu culture, beadwork like this is an
important form of decoration. Beadwork is also
a form of communication! Different shapes
and colors have different meanings.
Shapes Colors
a girl who is a boy who is a married a married love anger happiness

not married not married woman man
So this is a happy girl. And this is a married couple who love

each other.
You can create your own beadwork message using shapes and colors.
My shapes:
means means
My colors:
means means
Now use your shapes and colors to make a message.
107107
SG 35
The Zulu Umuzi

The traditional Zulu village is called an
umuzi. It is a group of huts, each shaped
like a beehive and arranged in a giant
circle. Cows are kept in the middle of the
circle because they are at the center of
Zulu culture! If you lived in an umuzi, your
family would have its own hut, and all your
relatives would live in the other huts.
Draw a picture of an umuzi village as you
imagine it would look.
108108
Concert Experience: Spring
Semester 2
Before the Concert
• Review the three artists and their music.

• Look at SG4–5 and have students find the countries represented on the map.
• What do you remember about the artists and their music?
• Listen to each song.
• Brainstorm with students about how to be active listeners, enthusiastic performers, and successful audience
members during the concert.
• Prepare for the surprise songs.
• At the concert, each of the artists will sing a surprise song that the students have not heard or studied.
These songs are selected to complement the two songs in the curriculum and to provide students with
an active listening experience as they encounter new music for the first time in a concert setting.
• Explain to students that they are in for some exciting surprises during the concert because there will be
three songs that they have never heard before. You can ask them to raise their hands or say, “Surprise!”
when they hear a surprise song at the concert.
• Ask students to guess what the surprise songs by each artist will be like.
• Will they be fast or slow? Quiet or loud?
• Will there be movement or dancing?
• Explain that you will be seeing how much they remember about the surprise songs after the concert.
• Do the It’s Concert Time! activity on SG36.
After the Concert
• Discuss the overall concert experience.

• Discuss the surprise songs.
• What surprise songs do you remember?
• What do you remember about these songs? Were they slow or fast, long or short?
Was there movement to do? Was there any part that you sang along with?
• Which was your favorite surprise song and why?
• Reflect on your concert experience by completing the activities on SG37–38.
• Share your students’ reflections by emailing them to musicalexplorers@carnegiehall.org.
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SG 36
It’s Concert Time!

Circle things you WILL do at Carnegie Hall. Put an “X” through things
you WON’T do at Carnegie Hall.
Use all
four kin
Dance whisper
ing, tal
d s of v
oi
king, ca ces:
and sin lling,
Sleep ging
Run
Have
fun!
Get bored
Talk during
yo ur ears
the music Open
Che
er! Laugh
Move
e ctions
w dir
Follo Sing!
Liste
n
perf to the
orme ho w the
rs Watch s play
an
musici ing
and s
Eat popcorn
Clap
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SG 37
What Did You See and Hear at

Carnegie Hall?
Draw pictures of your trip to Carnegie Hall below.
111
SG 38
Who Is Your Favorite Artist?

Write a letter to your favorite artist. Be sure to include your favorite part
of the concert and your favorite song from the concert.
,
Dear
Your friend,

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Additional Information
Glossary
accelerando: a gradual increase in speed medley: a musical arrangement that combines two or
more songs
arrangement: a song that uses materials from
previously composed songs melodic contour: the direction and shape of a melody
beat: the pulse in music meter: the number of beats in a measure
bombo legüero: an Argentine drum traditionally made message: something important that a musician wants
of a hollowed tree trunk and covered with cured animal to express through song
skins
palmas: a rhythm played while dancing the chacarera
call and response: a musical form in which one by clapping palms together
person sings a musical phrase (call), and the group
follows (response) with either an echo or another quijada: a percussion instrument traditionally made
complementary phrase from a donkey jawbone that is treated so that the teeth
rattle when you strike or scrape it
cajón: a box-like percussion instrument originally
made from crates used to ship fruit and other goods rattles: shaken Native American percussion
instruments made from natural materials, such as
chacarera: a rhythm and dance from the western turtle shells and pebbles
region of Argentina
refrain: the line or lines of text that are repeated in music
chant: rhythmic speaking of sounds or words
rhythmic layers: different rhythmic parts that happen
chajchas: a hand percussion instrument traditionally simultaneously
made from dried goat hooves or other small-hoofed
animals scale: a pattern of musical notes
charango: a string instrument shaped like a small social dance: a dance in which participants follow one
guitar traditionally made from the shell of an armadillo leader, usually performed during a gathering with a
specific purpose
choir: a group of singers
solfège: the use of sol-fa syllables to name each note in
compas: a Haitian musical genre based on merengue a musical scale
with African roots
soundscape: the sounds that portray or characterize a
emotions: feelings specific environment
explorer: a person who uses his or her senses to learn steady beat: the pulse in music
something
strong beat: a beat that is emphasized or accented
form: the order of phrases or sections in music
tanbou drum: a drum made from wood and animal
freedom song: a song of the Civil Rights Movement of skin that is the national instrument of Haiti
the 1960s
tempo: the speed at which a piece of music is performed
harmony: the combination of simultaneously sounded
musical notes variation: an altered musical element in a piece of music
lullaby: a quiet, gentle song sung to put a child to sleep weak beat: a beat that is not emphasized or accented
lyrics: the words in a song

113
National Core Arts Standards for Music and New York City Department of Education Blueprint
for Teaching and Learning in Music

Unit National Standards NYC Blueprint Strands
Georgian Folk 1, 2, 4, 5, 6, 7, 8, 10, 11 1, 2, 3, 4
Freedom Songs 1, 2, 4, 5, 7, 8, 10, 11 1, 2, 3, 4
Haitian 1, 2, 3, 5, 7, 8,10, 11 1, 2, 3, 4
Argentine Folk 1, 2, 4, 5, 7, 8, 10, 11 1, 2, 3, 4
Native American 1, 5, 6, 7, 8, 10, 11 1, 2, 3, 4
South African Zulu 2, 4, 5, 7, 8, 11 1, 2, 3, 4
National Core Arts Standards for Music

Common Anchor #1 Generate and conceptualize artistic ideas and work.
Common Anchor #2 Organize and develop artistic ideas and work.
Common Anchor #3 Refine and complete artistic work.
Common Anchor #4 Analyze, interpret, and select artistic work for presentation.
Common Anchor #5 Develop and refine artistic work for presentation.
Common Anchor #6 Convey meaning through the presentation of artistic work.
Common Anchor #7 Perceive and analyze artistic work.
Common Anchor #8 Interpret intent and meaning in artistic work.
Common Anchor #9 Apply criteria to evaluate artistic work.
Common Anchor #10 Synthesize and relate knowledge and personal experiences to make art.
Common Anchor #11 Relate artistic ideas and works with societal, cultural and historical context
to deepen understanding.
New York City Department of Education Blueprint for Teaching and Learning in Music
Strand 1 usic Making: By exploring, creating, replicating, and observing music, students build their technical
M
and expressive skills, develop their artistry and a unique personal voice in music, and experience
the power of music to communicate. They understand music as a universal language and a legacy of
expression in every culture.
Strand 2 Developing Music Literacy: Students develop a working knowledge of music language and aesthetics,
and apply it to analyzing, evaluating, documenting, creating, and performing music. They recognize
their roles as articulate, literate musicians when communicating with their families, schools, and
communities through music.
Strand 3 Making Connections: By investigating historical, social, and cultural contexts, and by exploring
common themes and principles connecting music with other disciplines, students enrich their
creative work and understand the significance of music in the evolution of human thought and
expression.
Strand 4 Working with Community and Cultural Resources: Students broaden their perspective by working
with professional artists and arts organizations that represent diverse cultural and personal
approaches to music, and by seeing performances of widely varied music styles and genres.
Active partnerships that combine school and local community resources with the full range of
New York City’s music and cultural institutions create a fertile ground for students’ music
learning and creativity.
Strand 5 Exploring Careers and Lifelong Learning: Students consider the range of music and music-related
professions as they think about their goals and aspirations, and understand how the various
professions support and connect with each other. They carry physical, social, and cognitive skills
learned in music, and an ability to appreciate and enjoy participating in music throughout their lives.
114
Common Core Capacities
Through hands-on classroom activities and two culminating interactive performances, Musical Explorers helps
to address Common Core Capacities for College and Career Readiness, empowering students through learning
activities in which they
• demonstrate independence
• build strong content knowledge
• respond to the varying demands of audience, task, purpose, and discipline
• comprehend, as well as critique
• value evidence
• come to understand other perspectives and cultures
The Musical Explorers curriculum focuses on building music performance skills, content knowledge, and
creativity, while developing core capacities in English language arts and mathematics. Through active listening,
describing and analyzing repertoire, writing activities, and a focus on the perspectives of other cultures and
communities, Musical Explorers provides students with the opportunity to put these core capacities to use in
a musical domain. Visit carnegiehall.org/MusicalExplorers for more information.
Acknowledgments
Recordings
“Carnegie Hall Musical Explorers Song,” by Daniel Eliot Levy. ©2007 and ASCAP. Performed by Shanna
Lesniak-Whitney and Shane Schag.
“Shina Vorgil,” traditional Georgian folk song, arranged by Ilusha Tsinadze. Performed by Ilusha Tsinadze,
Christopher Tordini, Peter Hess, Vitor GonÇalves, and Richie Barshay.
“Shen Genatsvale,” by Ilusha Tsinadze. Version 1 performed by Ilusha Tsinadze, Jean Rohe, Rob Hecht,
Liam Robinson, Christopher Tordini, and Richie Barshay. Version 2 performed by Ilusha Tsinadze,
Christopher Tordini, Peter Hess, Vitor Gonçalves, and Richie Barshay.
“Freedom Medley,” arranged by Imani Uzuri. Performed by Imani Uzuri, Charles Burnham, and Marvin Sewell.
“We Shall Overcome,” musical and lyrical adaptation by Zilphia Horton, Frank Hamilton, Guy Carawan,
and Pete Seeger. Inspired by African American Gospel Singing, members of the Food & Tobacco Workers Union,
Charleston, SC, and the southern Civil RightsMovement. TRO-© Copyright 1960 (Renewed) and 1963 (Renewed)
Ludlow Music, Inc., New York, International Copyright Secured. Made In U.S.A. All Rights Reserved Including
Public Performance For Profit. “Woke up This Morning with My Mind on Freedom,” arrangement by Bernice
Johnson Reagon © Copyright 2000 Songtalk Publishing Co., Washington, D.C.
“Ain’t Gonna Let Nobody Turn Me Around,” Traditional Freedom Song. Performed by Imani Uzuri,
Charles Burnham, and Marvin Sewell.
“A.K.I.K.O.,” music by Mushy Widmaier and Emeline Michel, lyrics by Ralph Boncy and Emeline Michel.
Recording from The Best of Emeline Michel, courtesy of Emeline Michel.
“La Karidad,” by Emeline Michel. Recording from Rasin Kreyol, courtesy of Emeline Michel.
“La Cocinerita,” traditional Argentine folk song. Performed by Sofía Rei, Sofia Tosello, Eric Kurimski, and
Tupac Mantilla.
“Chacarera del Rancho,” by Adolfo Armando Abalos, Marcelo Raul Abalos, Napoleon Benjamin Abalos, Roberto
Wilson Abalos, and Victor Manuel Abalos. © 1963 (Renewed) Editorial Lagos (Sadaic). All rights administered by
WB Music Corporation. Used by Permission of Alfred Music. All Rights Reserved Performed by Sofía Rei,
Sofia Tosello, Eric Kurimski, and Tupac Mantilla
115
“Social Dances (Choctaw Drum Dance, Cherokee Bear Dance, Cherokee Friendship Dance),” traditional Native
American songs, arranged by Martha Redbone. Performed by Martha Redbone, Aaron Whitby, Soni Moreno, and
Charles Burnham.
“40 Wheels,” by Martha Redbone and Aaron Whitby. Performed by Martha Redbone, Aaron Whitby, Soni Moreno,
and Charles Burnham.
“Thula Mntwana” / “Nampaya Omame,” traditional South African song. Performed by Tshidi Manye, Sbongiseni
Duma, and Junior Wedderburn.
“Inqola,” by Sbongiseni Duma. Performed by Tshidi Manye, Sbongiseni Duma, and Junior Wedderburn.
Photos
Artist photos: Ilusha Tsinadze childhood photo courtesy of artist, publicity photo by fmoran; Imani Uzuri
childhood photo courtesy of artist, publicity photo by Petra Richterova; Emeline Michel childhood photo courtesy
of artist, publicity photo by Gregg Richards; Sofía Rei childhood photo courtesy of artist, publicity photo by
Sandrine Lee; Sofia Tosello childhood photo courtesy of artist, publicity photo by Dolores Esteve; Martha Redbone
childhood photo courtesy of artist, publicity photo by Christine Jean Chambers; Bongi Duma publicity photo by
Dennis J Photography; Tshidi Manye publicity photo courtesy of artist. SG 3: Children playing tube trumpets
by Stephanie Berger. Bucket drummer by Nan Palmero. Boy playing straw oboe by Stephanie Berger. SG8: NYC
Brighton Beach by Daniel Schwen. SG 9: Chocha by Karen Shimizu; Kartuli kaba by Michael Pope; Tbilisi by
Nino Ozbetelashvili. TG26: Ushgula svaneti 1822 by Ilan Molcho. SG12: Harlem River Drive by Dan DeLuca;
Imani singing photo courtesy of artist. SG13: We shall overcome painting by Thomas Hawk; Imani travel photo
courtesy of artist. SG14: Odetta photo by Winston Vargas; Pete Seeger photo by Fred Palumbo; Nina Simone
photo by Ron Kroon; Joan Baez photo by Vanguard Records; Bob Dylan photo by Carnegie Hall Archives; Bernice
Johnson Reagon photo by the United States Government. SG15 (left to right): 1963 March photo 1 by Rowland
Scherman; 1963 March photo 2 by Warren K Leffler; 1963 March photo 3 by the United States National Archives.
SG16: Flatbush photo by Beyond My Ken; Haiti Landscape by Michelle Walz Eriksson. SG17: Oranges photo by
Hans Braxmeier; Soupe joumou photo by Petit World Citizen; Haitian Flag celebration by Caribb. SG20: Sid’s
photo by Xanthe Elbrick. SG21 (top to bottom): Jeff Goldberg/Esto, Google Maps, Geff Goldberg/Esto. SG24: Boca
Juniors by Allan Patrick. SG25: Horse photo by Juan Montiel. TG70: Mate gourd photo by Derek Oyen. SG28:
Fort Greene photo by Teri Tynes. SG29: Martha traditional photo by Michael Weintrob; Black Mountain photo by
iLoveMountains.org; Ankle rattles by Uyvsdi. SG30: Cherokee art rattle by Marilyn Angel. SG31: Martha ribbon
skirt photo courtesy of artist; Martha traditional photo by Michael Weintrob. SG 32: Broadway Times Square by
pianist_215. SG33: South African sports fans photo by Celso Flores; Africa instruments photo by Paul Brennan;
Ujeque photo by The African Gourmet. SG34: Beadwork photo by the Brooklyn Museum.
Illustrations
Page 10: Literacy Extension by ALIKI. Page 33: Literacy Extension by Nadja Wichmann. Page 45: (top to bottom)
Literacy Extensions by Eric Velasquez, Vanessa Newton. Page 58: Literacy Extension by Giovanni Munari. Page 78:
Literacy Extension by Marjorie E. Herrmann. Page 93: Literacy Extension by Stacey Schuett. Page 106: Literacy
Extension by Joan Rankin. All other illustrations by Sophie Hogarth.
Special Thanks
Special thanks to Sarah Chung and Sarah Cullen.
116
Track List
1. “Carnegie Hall Musical Explorers Song” 24. “La Cocinerita” pronunciation
2. “Carnegie Hall Musical Explorers Song” 25. “La Cocinerita” chorus
accompaniment 26. “La Cocinerita” kitchen soundscape
3. “Shina Vorgil” 27. “Chacarera del Rancho”
4. “Shina Vorgil” pronunciation 28. “Chacarera del Rancho” pronunciation
5. “Shina Vorgil” call and response 29. “Chacarera del Rancho” chorus
6. “Shina Vorgil” harmonies 30. Bombo rhythm
7. “Shen Genatsvale” version 1 31. Palmas rhythm
8. “Shen Genatsvale” version 2 32. “Social Dances”
9. “Shen Genatsvale” pronunciation 33. “Choctaw Drum Dance”
10. “Shen Genatsvale” sing-along 34. “Choctaw Drum Dance” pronunciation
11. “Freedom Medley” 35. “Cherokee Bear Dance”
12. “Woke Up This Morning” 36. “Cherokee Bear Dance” pronunciation
13. “Oh Freedom” refrain 37. “Cherokee Friendship Dance”
14. “We Shall Overcome” refrain 38. “Cherokee Friendship Dance” pronunciation
15. “Ain’t Gonna Let Nobody Turn Me Around” 39. “40 Wheels”
16. “Ain’t Gonna Let Nobody Turn Me Around” 40. “40 Wheels” pronunciation
instrumental
41. “40 Wheels” instrumental
17. “A.K.I.K.O.”
42. “Thula Mntwana” / “Nampaya Omame”
18. “A.K.I.K.O.” chorus
43. “Thula Mntwana” pronunciation
19. “A.K.I.K.O.” rhythm loop
44. “Nampaya Omame” pronunciation
20. “La Karidad”
45. “Inqola”
21. “La Karidad” pronunciation
46. “Inqola” pronunciation
22. “La Karidad” chorus
23. “La Cocinerita”
117
carnegiehall.org/MusicalExplorers

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How to Use the Teacher and Student Guides

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Ilusha, Georgian Folk

Imani, Freedom Songs

Martha, Native American

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Literacy Extension: The Listening Walk

 In Paul Showers’s The Listening Walk, get immersed in all the

Welcome to Our Musical Trip!

New York connections

in English or for help in all other

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