teacher's guide country music hall of fame® and museum
TRANSCRIPT
Country MusiC Hall of faMe® and MuseuM
222 fiftH aVenue soutHnasHVille, tennessee 37203
615.416.2001
CountryMusiCHalloffaMe.orG
The educational programs of the Country Music Hall of Fame® and Museum are funded in part by grants from the Metro Nashville Arts Commission and from the Tennessee Arts Commission, through an agreement with the National Endowment for the Arts. This Teacher’s Guide was funded in part by a Tennessee Arts Commission Teacher Training Grant.
Accredited by the American Association of Museums, the Country Music Hall of Fame® and Museum is operated by the Country Music Foundation, Inc., a not-for-profit 501(c)(3) educational organization chartered by the state of Tennessee in 1964. The Foundation also operates CMF Records, the Museum’s Frist Library and Archive, the CMF Press, Historic RCA Studio B, and Hatch Show Print.
Teacher’s Guide1 to tHe 2
counTry Music hall of faMe® and MuseuM
Thisteacher’sguideincludesclassroomlessonsdesigned to assist teachers in preparing theirstudents fora visit to theCountryMusicHallofFameandMuseum.Aposter,glossary,worksheets,lyricsheets,andaCDareincludedandaccompanyspecific lessons in thisguide.The lessonsengagestudents and teachers in listening, observing,writing, and discussing the characteristics ofmuseums, the history of countrymusic, countrysongs, and the people who have contributed tothe country music story. These lessons arecomplementedbyatourofthemuseum’sexhibits.They address specific curriculum objectives inlanguage arts, music, social studies, and visualart for grades K-12. All curricular connectionsarebasedonTennesseeStateCurriculumStandards
and can be used as interdisciplinary teachingtools. All Language Arts standards apply togrades K-12, though word choice may varyslightly. Teacher Tips, included in most of thelessons, provide more detailed instructions orsuggestions for ways teachers can adapt lessonsto the particular needs and interests of theirstudents. Because museums are special placescontaining valuable and delicate objects, adiscussion about appropriate museum behaviorpriortoyourvisitmaybehelpful.
Themuseum provides workshops for teachersseveral times a year. For workshop dates andtimes and to learn more about our programsforteachersandstudents,pleasevisitourWebsite:www.CountryMusicHallofFame.org.
Teacher’s Guide to the
Country Music Hall of Fame® and Museum
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
InTroducTIon 1
Lesson one:
What’s a Museum? 3
Lesson Two:
The Country Music Hall of Fame 6
Lesson Three:
Country Music Yesterday and Today 9
Lesson Four:
Who Creates Country Music? 12
Lesson FIve:
Image of a Performer 18
Lesson sIx:
The Sources of Country Music 23
Lesson seven:
Styles of Country Music 25
Lesson eIGhT:
Post-Visit Reflection 30
GLossary 36
LyrIc sheeTs 38
heLpFuL resources 51
Teacher’s evaLuaTIon 52
table oF Contents:
Buck Owens’s guitar
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What’s a Museum?
TenneSSee STaTe CuRRICuluM STandaRdS:Language arts:
1. LanguageGLeDemonstrate knowledge of strategies and resources to determine the definition, pronunciation, and usage of words and phrases.
2. communicationGLe• Continue to develop basic listening skills
necessary for communication.
• Continuetodevelopbasicspeakingskillsnecessary for communication
checks for understanding: • Demonstratetheabilitytofolloworaldirections
up to three steps.
• Participateingroupdiscussions.
3. writingchecks for understanding: Construct graphic organizers to group ideas for writing (e.g. webs, charts, graphs, diagrams, illustrations).
5. Logicchecks for understanding: Compare and contrast two characters, ideas, or stories.
social studies:2.0 Globalization of the economy, the explosion of population growth, technological changes, and international competition compel students to understand, both personally and globally, the production, distribution, and consumption of goods and services. Students will examine and analyze economic concepts such as basic needs versus wants, using versus saving money, and policy making versus decision making: 2.1, (6-8), 2.03 (K-5)
6.0Personaldevelopmentandidentityareshapedby factors including culture, groups, and institutions. Central to this development are exploration, identifica-tion, and analysis of how individuals and groups work independently and cooperatively: 6.01 (K-8)
Learning objectives:
1. Students will compare and contrast a museumandashoppingmalltounderstandthedistinctivecharacteristicsofmuseums.
2. Students will role-play to understand variousjobsinvolvedinmuseumwork.
prep Time:None
Materials:Whiteboardoreaselpaper,Internetaccess,paper,pencil,poster,bulletinboard
vocabulary:Architecture,artifact,curator,donor,exhibitdesigner,grant,halloffame,museum
1. share the following with students.
TheCountryMusicHallofFameisbothamuseumandahalloffame.Let’sfirstlearnalittlebitaboutwhatmakesitamuseum.
2. use the following questions to engage students in a discussion about museums.
Recordstudents’answers.Theirresponseswillbeusedlaterinacomparing-and-contrastingactivity.• Haveyoueverbeentoamuseum?
Whichone(s)?• Whatdidyouseethere?• Whatdidyoudothere?• Whatdoyoulikebestaboutvisitingmuseums?• Whattypesofmuseumsarethere(art,
aquariums,botanicalgardens,history,zoos)?• Whydoyouthinktheyareallconsidered
museums?(Theyallexhibitspecificobjects,livingornon-living.)
3. create a bulletin board in your class about your study of museums.
Poststudentworkfromthislesson,museumbrochures,andphotosfromtheirfavoritemuseums.
4. discuss and share the following with students.
Whattypesofobjectshaveyouseeninmuseums?History-relatedmuseumsliketheCountryMusicHallofFameandMuseumcontainartifacts.Anartifactisanobjectmadeorusedbypeopleinthepast.Someartifactstellusabouthowpeoplelivedlongago,andothersareordinaryobjectsthatoncebelongedtoimportantpeople.Museumssuchaszoosandbotanicalgardenscollectandpreservelivingobjects(animalsandplants).
5. as a class, generate a list of common characteristics of a museum.
Thiswilldeterminestudents’initialunderstanding.Usequestionsandstudentresponsesfrom#2tohelpcreatethislist.
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6. after students have generated this list, share this definition of a museum:
Amuseumisaninstitution,opentothepublic,whichcollects,caresfor,andexhibitsobjectsforthepurposeofstudy,education,andenjoyment.(adaptedfromInternationalCouncilofMuseums)
7. ask students to compare their characteristics of a museum with the definition provided.
8. ask students to use a venn diagram to compare and contrast a museum with a shopping mall. They can do this as a class or in small groups.
Teacher TIp:
If students work in small groups, you can ask each group to compare a museum to a different venue, like an amusement park, restaurant, arena, or symphony hall.
9. use the following questions to engage students in a discussion.
• Whovisitseachplace?• Whatdopeopleseethere?• Whatdopeopledothere?• Whatdoeseachplacelooklike?Isthereanything
specialaboutthebuildingdesign?• Whatisthepurposeofeachplace?• Whatkindsofjobsdopeoplehaveateachplace?
Teacher TIp:
If students need a reminder of the concepts of comparing and contrasting, use the following questions to engage them in a discussion. You can also use terms like “alike” and “different.” What does it mean to compare and contrast? What are the advantages of comparing and contrasting two different things? What can you gain by doing this?
10. ask students to share their findings with the class.
Whatdistinguishesmuseumsfromotherplaces?Inwhatwaysaretheylikeotherpublicplaces?
11. share the following with students.
TheCountryMusicHallofFameandMuseumcollects,stores,andcaresformanyhistoricalphotographs,musicalinstruments,stagecostumes,andsoundrecordingsthattellthestoryofcountrymusic.Theyareorganizedinexhibitswithlabelsnexttothemthatexplaintheirimportancetocountrymusichistory.
12. discuss together.
Askstudentstothinkaboutthevariousjobsinvolvedinoperatingamuseum.Someofthemainjobsinvolvedinthedailyworkofamuseumareasfollows:
Directors:Museumdirectorsoverseeallaspectsofthemuseumandareresponsibleforthemuseum’soverallfinancialstatusandculturalvaluetothecommunityitserves.Directorsusuallyworkcloselywithaboardofdirectorsandreporttothatgroup.Theyoftenspeakinpublicabouttheirmuseumanditsimportancetothecommunity.
Curators:Museumcuratorsareresponsibleforcaringfortheobjectsinamuseum’scollectionoronloantoamuseum.Theyareknowledgeableabouteachobjectandensureitspreservation.Curatorsdevelopcollectionspoliciesthatstatewhattypesofobjectsthemuseumcollects,howtocareforandstoretheobjects,andhowtoreturnobjectsthatarenolongernecessaryforthecollection.
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Educators:Museumeducatorsdevelopandconducteducationalprogramsthatfocusonthemuseum’sexhibitsandthatconnecttopeople’severydaylives.
Exhibit Designers:Museumexhibitdesignersdevelopexhibitsthatpresentthemuseum’scollectiontothepublic.Theseexhibitshelppeoplebetterunderstandthemuseum’smainpurposeandthestoryoftheobjectsinitscollection.Theyworkcloselywithmuseumcurators.
Development Officers:Sincemostmuseumsarenotforprofit,amuseum’sdevelopmentstaffmembersseekfundingthroughgrants,sponsors,anddonorstosupporttheoperationsofthemuseum.
13. divide students into five small groups representing each of the five museum jobs listed.
Encouragethemtochooseamuseumfromthefollowinglistandanswerthefollowingquestionsaboutthespecificjobinthatmuseum.PotentialmuseumscouldincludetheSmithsonianNationalAirandSpaceMuseum:www.nasm.si.edu,SanDiegoZoo:www.sandiegozoo.org,NationalAquariuminBaltimore:www.aqua.org,GeorgeWashington’sMountVernonEstateandGardens:www.mountvernon.org,MuseumofModernArt:www.moma.org.
• Directors:Whatwouldyousayaboutyourmuseumtothepublicsothattheymightbetterunderstandwhyitisanimportantmuseumtohaveinyourcommunity?
• Curators:Sometimesartifactsneedabreakfromharshexhibitlighting.Howwouldyouexplaintothepublicthatyouhadtoremoveanartifactthatpeoplereallylovetosee?
• Educators:Howmightyourelateoneofyourcurrentexhibitionstothingsthatchildrenareinterestedin?Whatrelatedhands-onactivitieswouldyouusetoengagechildreninlearning?
• ExhibitDesigners:Howmightyoudisplayaparticularobjectsothatchildrenwouldbeinterestedinlearningmoreaboutit?
• DevelopmentOfficers:Howmightyouencourageapotentialfundertogivemoneytoyourmuseum?
Teacher TIp:
Many museums have a restaurant and souvenir shop. There are many jobs involved in operating these areas, too. Students may mention this.
14. each group should present their ideas to the class.
15. discuss the museum’s architecture with students.
ThedesignoftheCountryMusicHallofFameandMuseum,insideandout,relatestothestoryofcountrymusicthatistoldinthemuseum’sexhibits.Lookatthephotographofthemuseumontheaccompanyingposteranddiscusshowthebuildingdesignorarchitecturemightberelatedtomusic.Examplesincludetheblackandwhitepatternofthewindows,whichresemblespianokeys;theradiotowerontopoftheHallofFamerotunda;andthedrum-likeshapeoftherotunda.Studentsmayalsonotethelargedisksontopoftherotunda,whichrepresentchangesinrecordingtechnology:the78-rpmdisc,thevinylLP,the45-rpmdisc,andthecompactdisc.
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Hall of Fame and Museum
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the Country Music Hall of Fame
TenneSSee STaTe CuRRICuluM STandaRdS:Language arts:
4. research
GLeGather information from a variety of sources tosupportaresearchtopic.Presentresearchresultsin a simple written report.
checks for understanding:
•Organizeinformationgatheredusingasimplegraphic organizer.
•Writeasimpleresearchreportdemonstrating the research results.
5. Logic
checks for understanding: •Compareandcontrasttwocharacters,ideas,
or stories.
social studies2.0 Globalization of the economy, the explosion of population growth, technological changes, and international competition compel students to understand, both personally and globally, the production, distribution, and consumption of goods and services. Students will examine and analyze economic concepts such as basic needs versus wants, using versus saving money, and policy making versus decision making: 2.1, (6-8), 2.03 (K-5)
6.0 Personaldevelopmentandidentityareshapedby factors including culture, groups, and institutions. Central to this development are exploration, identifica-tion, and analysis of how individuals and groups work independently and cooperatively: 6.01 (K-8)
Music6.0 Students will listen to, analyze, and describe
music: 6.2 (2), 6.3 (3, 4), 6.4 (1)
9.0 Students will understand music in relation
to history and culture: 9.3 (6-8)
Learning objectives:
1. StudentswillexamineCDlinernotesandinformationonlineregardingsongsandalbums,toidentifysomeofthejobsinthemusicbusiness.
2.StudentswilldiscussotherhallsoffametounderstandmorefullytheCountryMusicHallofFame.
prep Time:FiveminutestomakecopiesofworksheetandlyricsheetforeachstudentandsetupCDplayer
Materials:Worksheet“CareersinMusic,”“ManinBlack”lyricsheet,pencil,paper,Internetaccess,CD,CDplayer,linernotes
vocabulary:Comedian,halloffame,producer,recordingengineer,songwriter
1. distribute to each student a copy of the worksheet “careers in Music,” on page 8.
2. ask students to examine closely the liner notes of their favorite album by looking at the cd or by accessing the information online.Theyshouldlookforthenamesanddetailsofmusicians,singers,producers,recordingengineers,songwriters,etc.whoarefeaturedonthatalbum.Iftheylike,theycanfocusonjustonesong.Theactivitywillintroducestudentstothevarietyofpeopleandjobsinthemusicindustry.
3. use the following questions to engage students in a discussion.• WhataresomeofthetypesofpeopleandjobsinvolvedincreatingyourfavoriteCD?
• Whattypesofmusicalinstrumentsarefeatured?Dosomeofthemusiciansplaymorethanoneinstrument?
• Howmanysingersarethere?Aretherebackingvocalists?
• WhowrotethesongorsongsontheCD?Isthesongwriteralsointhebandorwerethesongswrittenbysomeonenotintheband?
• Wherewasthealbumrecorded?Mastered?Whowastheengineer?
• Whowastheproducer?
• Doyouthinkanyofthesejobsaremoreimportantthantheothers?Explain.
4. ask students to share information they learned about the people involved in creating the cd they brought from home or information they found about it online. Thiscanbediscussedasaclassorinsmallgroups.
Teacher TIp:Students can complete #2 for homework.
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5. share the following with students: ThismuseumalsohousestheCountryMusicHallofFame,whichincludesplaquesofcountrymusicsingers,musicians,songwriters,comedians,andbusinesspeople.EachmemberoftheHallofFamewaselectedbecauseoftheirhardworkandcontributionstocountrymusic.PeoplelikeJohnnyCash,DollyParton,andElvisPresleyaremembersoftheCountryMusicHallofFame.NewmemberstotheHallofFameareelectedeachyearbytheCountryMusicAssociation.JimmieRodgers,FredRose,andHankWilliamswerethefirstinducteesintotheHallofFamein1961.
6. play “Man in Black,” track 1, by country Music hall of Fame member Johnny cash.
7. encourage students to follow along with the lyric sheet from page 39.
8. share the following with students:JohnnyCashwasacountrymusicsuperstarwhohelpedbroadencountry’saudiencethroughhissingingandsongwriting.Heisalsoknownforsongslike“FolsomPrisonBlues”and“RingofFire.”Cashoftenworeblackclothing,earninghimthenicknamethe“ManinBlack.”Inthissong,youlearnmoreaboutwhyheworeblack.Doyoulikethissong?Whyorwhynot?
Teacher TIp:Encourage students to visit the Country Music Association’s Web site: www.cmaworld.com to learn more about this organization and how people are elected to the Country Music Hall of Fame. Click on the link “Hall of Fame” on the home page. Students may also research Country Music Hall of Fame members at www.CountryMusicHallofFame.org.
9. discuss together.• Haveyoueverbeentoanotherhalloffame?Whichone(s)?
• Whatdidyouseethere?
• Whatdidyoudothere?
• Whowashonoredthere?
• Howisahalloffamedifferentfromamuseum?Howaretheysimilar?
10. Invite students to create their own hall of fame.
Usethefollowingquestionstodirectstudents.
• Whattypeofhalloffamewouldyoucreate?Whatisitspurpose?
• Wherewoulditbelocated?Explainwhy.
• Howwouldyoudecidewhomtoinduct?
• Howoftenwouldyouinductnewmembers?
• WhywouldpeoplethinkthishalloffameisimportantinAmericanorworldculture?
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worksheet
Careers in Music
Name:________________________________________________ Date:_________________________________________
LookcarefullyatafavoriteCDoraccessthelinernotesonline.Fillinthischartwithinformationyoulearnfromyourresearch.
singer(s)
Backing vocalists(s)
songwriter(s)
producer(s)
sound engineer(s)
Musician(s)
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
Country Music yesterday and today
TenneSSee STaTe CuRRICuluM STandaRdS:Language arts:
1. Language
GLeDemonstrate knowledge of strategies and resources to determine the definition, pronunciation, and usage of words and phrases.
2. communication
GLeContinue to develop basic listening skills necessary for communication.
checks for understanding: •Listenandrespondtoavarietyofmedia
(e.g., books, audio tapes, videos).
•Participateingroupdiscussions.
•Respondtoquestionsfromteachersandothergroupmembersandposefollow-upquestions for clarity.
social studies:1.0 Culture encompasses similarities and differences
among people, including their beliefs, knowledge,
changes, values, and traditions. Students will explore
these elements of society to develop an appreciation
and respect for the variety of human cultures:
1.03 (K-5,7,8), 1.04 (4-5,7,8), 1.06 (6)
3.0 Geography enables the students to see,
understand, and appreciate the web of relationships
among people, places, and environments. Students
will use the knowledge, skills, and understanding
of concepts within the six essential elements of
geography: world in spatial terms, places and regions,
physical systems, human systems, environment and
society, and the uses of geography: 3.01 (K-8) 3.02
(6,7), 3.03 (6,7)
5.0 History involves people, events, and issues.
Students will evaluate evidence to develop comparative
and causal analyses, and to interpret primary sources.
They will construct sound historical arguments
and perspectives on which informed decisions in
contemporary life can be based: 5.02 (K-8)
art:3.0 Students will choose and evaluate a range
of subject matter, symbols, and ideas: 3.1 (2-12);
3.2, 3.3 (K-1, 9-12)
4.0 Students will understand the visual arts in relation
to history and cultures: 4.1 (2-5), 4.2 (3-5), 4.3 (6-8)
Music:6.0 Students will listen to, analyze, and describe
music: 6.1 (5), 6.2 (2,3,6-12), 6.3 (1, 4, 9-12), 6.4 (1)
7.0 Students will evaluate music and music
performances: 7.1, 7.2 (1-12)
9.0 Students will understand music in relation
to history and culture: 9.1, 9.2 (1-12)
Learning objectives:
1. StudentswillexamineamapoftheworldtoidentifytheoriginsofsettlerswhocametoAmerica.
2. StudentswillexamineThomasHartBenton’spaintingThe Sources of Country Musictoidentifysomeofthemusicalinstruments,themes,andgeographicalregionsthatwerepartofearlycountrymusic.
3. Studentswilllistentocountrysongstoidentifymusicalinstrumentsandmusicalstyles,andtoevaluatecountrymusicasanartform.
prep Time:TenminutestoaccessThe Sources of Country Musicpaintingfromwww.CountryMusicHallofFame.org,setupCDplayer,andpassoutpaperandpencils
Materials:The Sources of Country Musiconlineversion,CD,CDplayer,paper,pencil,worldmap
vocabulary: Blues,BritishIsles,folksongs,gospel,nation,NewWorld,NorthAmerica,settlers,sheetmusic
1. Listen to Mark o’connor’s version of the fiddle tune “sally ann,” track 2.Askstudentswhatthesongmakesthemthinkof.Whatdoyoulikeordislikeaboutthesong?Whatinstrumentdoyouhear?
2. share the following with students.CountrymusicismusicofNorthAmerica.ItbeganwithfolksongsbroughttotheNewWorldbysettlersfromtheBritishIsles,atraditionofsongs,singing,andfiddlingthatiscenturiesold.ItgrewandchangedasthesesettlersadjustedtotheirnewlivesinAmericaandlearnedmusicbroughttoAmericafromotherpartsofEurope,Asia,LatinAmerica,andAfrica.Inmanyinstances,America’ssettlerswerenotschooledinformal,writtenmusic.Inruralareas,musiciansfrequentlyplayedbyear.Theymemorizedandpasseddownamusicthatsangoftheirlives,theirwork,andtheirloves.
Bytheearlytwentiethcentury,thisAmericanfolkmusicwasjustoneofmanytypesofmusicavailableinruralcommunities,alongwiththeblues,gospelhymns,andprofessionallywrittensongsperformed
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bytravelingmusiciansoravailableassheetmusic.Insteadofremainingdistinct,thesedifferentkindsofmusiccasuallymixedwithoneanotheraspeoplemovedthroughtheirdailylives.Likeapatchworkquilt,ruralAmericanmusicgraduallycombinedmanydifferentstylesthatformedsomethingbeautifulwhenjoinedtogether.
3. examine a map of the world to identify the continents from which american settlers came.LookforEurope,Asia,LatinAmerica,andAfrica.ThefiddlewasoriginallyaEuropeaninstrumentandthebanjoanAfricaninstrument.
Teacher TIp:Ask students to find out what countries their ancestors came from. How long ago did they come to this country? Where did they settle? What types of music traditionally come from this country? You may choose to have students do this as a homework assignment so they can ask their parents or other relatives for more information. Consider creating a class bulletin board about the heritage of class members and the traditional early music of that country.
4. examine The sources of country Music by Thomas hart Benton.In1974and1975,ThomasHartBentoncreatedthispaintingtoshowhowcountrymusicstarted.Identifysomeofthemusicalinstruments,geographicalregionsoftheUnitedStates,stylesofmusic,andthemesherepresents.Studentswilllearnmoreaboutthispaintinginalaterlessonandwillgettoseeitduringtheirmuseumvisit.
5. FolksongsWhatarefolksongs?Doyouknowanyfolksongs?Afterstudentshavehadachancetobrainstormcomponentsofafolksong,readthedefinitionbelow.Then,sharewithstudentsthatmanyfolksongsarealreadyfamiliartothem.Askiftheyhaveheard“She’llBeComing‘RoundtheMountain,”“ThisOldMan,”or“SkiptoMyLou.”Theseareallexamplesoffolksongs.
Folksong:A song belonging to the folk music of a people or area, marked chiefly by the directness and simplicity of the feelings expressed. Folksongs are not written down, but are passed from generation to generation orally. (from Webster’s)
The Sources of Country Music by Thomas Hart Benton
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6. share the following with students. Earlier,wereadapassageaboutcountrymusicanditsmanyorigins.Inthepassage,welearnedthatcountrymusicislikeapatchworkquilt,withmanysourcesandsoundsthatcometogethertocreatesomethingbeautiful.Nowwearegoingtolistentosomesongsanddiscusstheblendingofdifferentmusicalstyles.
7. Gospel and Country Music Harmonizingvoicesareonecomponentofbotholdandnewgospelmusic.Thisstyleofsinging,wheremultiplepeoplesingthesamewordsbutindifferentpitches,ispartofmanycountrysongsaswell.
8. Listen to “I saw the Light” by country Music hall of Fame member Bill Monroe, track 3, a gospel song performed in a bluegrass style.Then,listento“IFalltoPieces,”track14,byHallofFamememberPatsyCline,whichfeaturesHallofFamememberstheJordanairessingingharmonies.Whilethissongisnotagospelsong,theJordanaireshaverootsinthegospeltraditionandlendtheirtraditionalstyletothisbalad.Identifythesimilaritiesintheharmonizingvoices.Doyoulikethesoundofharmonizingvoices?Explain.
9. blues and Country MusicMusicianssuchasHallofFamememberJimmieRodgersworkedontherailroad,sidebysidewithothermusicians.Thisprovidedopportunitiestosharetheirmusic.Asaresult,differentstylesofAmericanmusicinfluencedoneanother.Forexample,thestyleandsoundofthebluesinfluencedthestyleandsoundofcountrymusicandviceversa.
10. Listen to “Match Box Blues” by blues singer Blind Lemon Jefferson, track 4, and “waiting for a Train” by hall of Fame member Jimmie rodgers, track 5.Comparethetwosongsintermsofstyle,musicalinstruments,andsound,usingaVenndiagram.
Doyoulikethesesongs?Whyorwhynot?Dothesongsremindyouofmusicyouhaveheardbefore?Explain.Howdotheysoundsimilarordifferent?
11. sound technologyIntheearly1920s,withthecomingofradioandrecords,itbecamepossibleformusicianstoearnmoneyplayingmusicinnewways.ThesenewsoundtechnologiesalsohelpedspreadthemusicofAmerica’sruralcommunitiesacrossthenation.
12. engage students in a discussion of the different ways they listen to music today, to compare how people listened to music before radio, cd players, Mp3 players, etc.Howdoyouthinktechnologyhelpedthespreadofmusic?Doyouthinktechnologycanaffectmusicnegatively?Explain.
Teacher TIp:This would make a good journal writing topic.
13. Country Music today Todaycountrymusicisthefocusofahugeentertainmentindustrythatgeneratesbillionsofdollarsayear.Alongtheway,countrymusichasundergonemanychangesinitsjourneyfromsimplefolksongsandfiddletunestomodernmusicalstoriesoftenpoweredbydrums,electricguitars,andelectrickeyboards.Throughoutallitschanges,countrymusichasneverforgottenitsrootsorlostitsdown-homeflavor.Perhapsmorethananyotherformofpopularmusic,countrydrawsstrengthfromthevocalandinstrumentaltraditionsofthepast.Atitsbest,countrymusicservesasaconnectionbetweenthestoriesoftodayandthevaluesofourancestors.
14. Listen to “welcome to the Future” by Brad paisley, recorded in 2009, track 6. Thissongdemonstratesamoreelectricsound.Describethesimilaritiesanddifferencesintheoverallsoundofthissongcomparedtowhatyouheardinearlycountrymusic.Whichsongdoyoulikebest?Explain.
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Who Creates Country Music?
TenneSSee STaTe CuRRICuluM STandaRdS:Language arts:
2. communication
GLe•Continuetodevelopthebasiclisteningskills
necessary for communication.
•Continuetodevelopbasicspeakingskillsnecessary for communication.
checks for understanding: •Listenandrespondtoavarietyofmedia
(e.g., books, audio tapes, videos).
•Participateingroupdiscussions.
•Participateincreativeandexpressiveresponsestotext (e.g., choral reading, discussion, dramatizations, oral presentations, personal experiences).
3. writing
GLeWriteforavarietyofpurposesandtoavariety of audiences.
social studies:5.0 History involves people, events, and issues.
Students will evaluate evidence to develop
comparative and causal analyses, and to interpret
primary sources. They will construct sound historical
arguments and perspectives on which informed
decisions in contemporary life can be based: 5.1 (K-3)
Music: 6.0 Students will listen to, analyze, and describe
music: 6.2 (2), 6.3 (3, 4), 6.4 (1)
7.0 Students will evaluate music and music
performances: 7.1, 7.2 (1-12)
Learning objective:StudentswilllearnmoreaboutinducteesoftheCountryMusicHallofFame,includingbiographicalinformationandknowledgeoftheircareers,toexploredifferentcareersincountrymusic.
prep Time:Tenminutestophotocopylyricsheetsandworksheets,collectordinaryobjectsaroundclassroom,andsetupCDplayer
Materials:“CoatofManyColors”lyricsheet,“BiographicalChart”worksheet,classroominstruments,orordinaryobjectslikepencils,boxes,orcupsthatstudentscanusetocreatemusic,CD,CDplayer,Internetaccess
vocabulary:Comedian,induct,plaque,producer,songwriter
share the following with students:Let’slearnaboutsomeCountryMusicHallofFamemembersandtheircontributionstocountrymusic.Whilesomeofthemostfamouspeopleincountrymusicareperformers,halloffamememberscomefromawidevarietyofcareers,includingsongwriters,musicians,singers,producers,businesspeople,andevencomedians.
1. songwritersa. share the following information about songwriting with students.Somesongsarewrittenbythesingerswhorecordthem,butmanysongsarewrittenbyprofessionalsongwriterswhonevermakerecordings.Thesesongwritersmaynotbeaswellknown,buttheirspecialtalentsgivesingersawidevarietyofsongstochoosefrom.
Agoodsongwriterisalwaysobservinglifeandlisteningtotheconversationsofothersforanideaortheme.Heorshehastheabilitytotakecommonexperiencesthatmanypeoplecanidentifywithandthencreativelycombinewords(lyrics)andmusic(melody).Theymustfittogethertocreateagoodsong.
B. share the following with students.
ManysongwritersaremembersoftheCountryMusicHallofFame,includingDollyParton.Dollyisanaccomplishedperformerandsongwriter.
ThisinformationwastakenfromherHallofFameplaque:
DollyPartonJanuary19,1946Elected1999
Reveredforherversatiletalents,DollyPartonbeganperformingasachildinEastTennessee.In1964,shemovedtoNashville,andby1967joinedthePorter Wagoner Show.SheandWagonerrecordednumerousduets.In1974,PartonbranchedoutwithherownsyndicatedTVshowandquicklybecameaninternationalsuperstar,penninghitslike“Jolene,”“CoatofManyColors,”and“9to5,”thethemesongtothehitmovieinwhichshe
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madeherscreendebut,andforwhichsheearnedanOscarnominationforbestsongin1981.Shetookhersignaturehit,“IWillAlwaysLoveYou,”tothetopofthecountrychartsthreetimes—twiceasasoloartistandlaterasaduetwithVinceGill.PopsingerWhitneyHoustonrecordedthesongforherfeaturefilm“TheBodyguard”andsalesofthesoundtracktopped20million.Inadditiontohersuccessasaperformer,Partonisalsorespectedastheproprietorofherownamusementpark,“Dollywood”inPigeonForge,Tennessee.Adoredbyfansaroundtheworld,Partonwillalwaysbelovedforherabilitytostaytruetoherrootswhileconstantlyre-inventingherselfasanentertainer.
Teacher TIp:So that your students can follow along, put this text on a PowerPoint slide or transparency.
c. discuss together.Basedontheinformationabove,whydoyouthinkDollyPartonwasinductedintotheCountryMusicHallofFame?
d. using dates and other information from dolly’s plaque, create a timeline of dolly’s career, including her date of birth and the date of her induction. Considerdoingmoreresearchsoyoucanincludeadditionalmilestonesonyourtimeline.
e. Listen to dolly sing “coat of Many colors,” track 7. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage44.
F. use the following questions to engage students in a discussion. • Doyoulikethissong?Whyorwhynot?
• Doyouthinkthissongiswellwritten?Whyorwhynot?
• WhywouldDollywriteasongabouthercoat?
• Forwhomdoyouthinkthissongwaswritten?
• Whatdoyouthinkisthesong’soverallmessage?
Teacher TIp:Ask students to find out who wrote the words to some of their favorite songs. Do any of the singers they like write their own songs?
2. instrumentalistsa. discuss together.• Doyouplayaninstrument?Ifso,whichone?
• Howdidyoulearntoplay?Howoftendoyoupractice?
• Ifyoudon’talreadyplayaninstrument,howwouldyoulearn?Whatwouldyouplay?
B. share the following with students. Fewmusicalrecordingsfeaturevocalsonly.Instrumentslikethebanjo,fiddle,andguitargivecountrysongsauniquefeelandmakelistenerswanttolistentothemagainandagain.Ittakesthetalentofdedicatedmusicianstocreatesuccessfulsongs.Whilemanymusiciansprovidemusictobackupasinger,somemusiciansperformontheirownwithjusttheirinstrument.DollyParton
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c. share the following with students. DeFordBaileywasaverysuccessfulinstrumentalistintheearlydaysofcountryradio.Heplayedharmonica.
ThisinformationwastakenfromDeFordBailey’sHallofFameplaque:
DeFordBaileyDecember14,1899-July2,1982
Elected2005
HarmonicavirtuosoDeFordBaileywascountrymusic’sfirstAfricanAmericanstar.BornintoamusicalfamilyinruralSmithCounty,Tennessee,BaileymovedtoNashvillein1918.Therehefirstperformedonradioin1925,overstationWDAD.Byearly1926hehadjoinedWSM’Sweeklyradiobarndanceandremainedoneofitsmostpopularactsforthenextfifteenyears.Hisevocativenumberssuchas“FoxChase”andthetrainsong“PanAmericanBlues”helpedgivetheprogramitsfolksy,down-to-earthcharacter.Capturingthisspirit,WSM’sGeorgeD.Haychangedtheshow’snametothe“GrandOleOpry”in1927.Baileybeganrecordingin1927andin1928participatedinthefirstcommercialrecordingsessionseverheldinNashville.Hisrecordingsandradioappearancesinspiredmanyotherstotakeupharmonica.
Teacher TIp:If students have not heard a harmonica before, locate additional recordings online or from the library. Consider sharing its history and playing styles with students.
d. Listen to “pan american Blues” by deFord Bailey, track 8, recorded in 1939.Describewhatyouhear.Doyoulikethesoundoftheharmonica?Howdoesthisbluesrecordingsounddifferentfromthemusicyouheartoday?
e. replay some of the songs from the accompanying cd and ask students to listen carefully and identify the instruments they hear. Askstudentstothinkaboutwhatthesongwouldsoundlikewithoutanyinstruments.
4. Producersa. share the following with students.Producersplayanimportantroleincreatingmusic.Theycomeupwithanideaaboutthewayasongshouldsoundanditistheirjobtomakesurethatthefinalproductturnsoutwell.Whiletheydon’tactuallysingorplayinstruments,theiropinionsandideasinfluencethefinalproduct.Theymakedecisionsandsolveproblemsinordertocreateafinalrecording.
B. share the following with students.OwenBradley,amemberoftheCountryMusicHallofFame,isawell-knownproducerwhohasworkedwithawidevarietyofartists.
ThisinformationwastakenfromOwenBradley’sHallofFameplaque.
OwenBradleyOctober21,1915-January7,1998
Elected1974
RenownedasapianistandNashvillebandleader,reveredasamusicexecutive,heachievednationalrecognitioninhisrolesasheadoftheNashvilleofficeofDecca(nowMCA)RecordsandproducerforsuchartistsasErnestTubb,RedFoley,PatsyCline,BrendaLee,LorettaLynnandConway
DeFord Bailey
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Twitty.Hishonestyandintegrityinbusinessaffairssecuredtherespectofhisassociates,andhisinfluenceencouragedtheestablishmentofNashvillerecordingstudiosandspurredthedevelopmentofthe“musicrow”area.
c. select a song that all students are familiar with. Dividethemintoseparategroupsandhaveeachgroup“produce”theirownversionofthechorus.Askthemtothinkabouthowtheywouldsingthechorusdifferently.Inadditiontosinging,studentsmayuseclassroominstrumentsoreverydayobjectslikepencils,cups,orboxestomakesound.Allowtimeforgroupstopracticebeforeperformingtheiradaptations.Aftereachgrouphashadachancetoperform,studentsshouldcompareandcontrasttheirwork.Thefollowingquestionscouldbeusedindiscussion.• Howdidyoudecidewhatyouwantedyour
finalversionofthesongtosoundlike?
• Whatstepsdidyoutaketoensurethatthefinalproductturnedoutasyouwanteditto?
• Wereyouhappywiththefinalversionyouperformed?Explain.
• Didyourclassmates’renditionsofthesongsoundthesameordifferentfromyourown?How?
• Basedonyourexperience,doyouthinkitwouldbeeasyorhardtobeaproducer?Explain.
Teacher TIp:Ask students to research the producers of some of their favorite albums. Encourage them to think about tempo, instrumentation, and vocal style for one or more of the songs. They can answer the following questions aloud or use them as journal prompts.
• Doyouthinkthesongoralbumappealstoalot of people? Explain.
• Howmightyouhaverecordedthesongdifferently?
5. Comediansa. share the following with students. NotallmembersoftheCountryMusicHallofFameareperformers,songwriters,instrumentalists,orproducers.MinniePearlisoneofthebestknowncharactersincountrymusichistory,yetshedidnoneofthosethings.
• HaveyouheardofMinniePearlbefore?Whatdoyouknowabouther?
• WhatdidMinniePearldoforaliving?
B. share the following with students. TheinformationwastakenfromMinniePearl’sHallofFameplaque.
MinniePearlOctober25,1912Elected1975
Humoristheleastrecorded,butcertainlyoneofthemostimportantaspectsoflivecountrymusic.NooneexemplifiesthevaluesofpurecountrycomedymorethanMinniePearl.BornSarahOpheliaColley,Centerville,Tennessee.EducatedatfashionableWard-BelmontCollege.JoinedtheGrandOleOpryin1940.Hertrademarks—thedimestorehatwithdanglingpricetagandshrill
Owen Bradley
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“HowDee!I’mjustsoproudtobehere”—madeherthefirstcountryhumoristtobeknownandlovedworldwide.
c. Listen to a clip of Minnie pearl performing onstage, track 9.
d. use the following questions to engage students in a discussion. • WhydoyouthinkpeoplethoughtMinniePearl
wasfunny?
• WhydoyouthinkSarahOpheliaColleyCannonchosetohaveherstagename,notherrealname,printedonherplaque?
• Whydoyouthinkcomedyissuchanimportantaspectofcountrymusic?Canyouthinkofanyothercountrycomedians?
note:Though Sarah Ophelia Colley Cannon passed away in 1996, her death date was left off of her plaque, at her request. When inducted into the Hall of Fame, Cannon asked that her stage name be printed on the plaque, and that a death date never be included because, though she would pass away, the character of Minnie Pearl would live on forever.
6. distribute to students copies of the “Biographical chart” on page 17.
7. choose a country Music hall of Fame member to learn more about. VisitourWebsite,www.CountryMusicHallofFame.orgtolearnmoreaboutmembersoftheHallofFame.Fillintheinformationonthe“BiographicalChart”tosummarizewhatyoulearned.
Teacher TIp:
You may choose to have students finish #7 after their visit to the museum.
MinniePearl
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worksheet
biographical Chart
Name:________________________________________________ Date:_________________________________________
The Life of ______________________________________________________
date of Birth: ___________________________________ date of death: ___________________________________
profession: ______________________________________ Induction date: _________________________________
Family Life Family Life (as a child) (as an adult—marriages, children, etc.)
early years public Image
Life struggles accomplishments
Interests artists Influenced by him or her
why do you think he or she was inducted into the country Music hall of Fame?
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image of a Performer
TenneSSee STaTe CuRRICuluM STandaRdS:Language arts:
2. communicationchecks for understanding: Listenandrespondtoavarietyofmedia (e.g., books, audio tapes, videos).
5. LoGIc
GLe Use learned logic skills to make inferences and draw conclusions in a variety of oral and written contexts.
checks for understanding: Compare and contrast two characters, ideas, or stories.
Learning objectives:
1. Studentswilldefinetheword“image”tounderstandhowitrelatestoperformersorartists.
2.Studentswillevaluateoneoftheirfavoriteperformerstofurtherexamineimage.
3.Studentswillcompareandcontrasttheimagesoftwocountrysingerstoexplorehowimagehasevolvedovertime.
4.Studentswillcreatetheirownfictionalperformertodemonstratetheirunderstandingoftheword“image.”
prep Time:TenminutestophotocopylyricsheetsandworksheetandsetupCDandCDplayer
Materials: “IWannaBeaCowboy’sSweetheart”and“TimMcGraw”lyricsheets,“DevelopaPerformer’sImage”worksheet,pencils,markers,crayons,Internetaccess,poster,CD,CDplayer
vocabulary:Costumes,GreatDepression,image,theWest
1. ask students to define the word “image.”Allowstudentstocomeupwiththeirowndefinitionbeforelookingoneupinthedictionary.
2. share the following with students.Youcantellalotaboutanartistorperformerbeforetheyevenbegintheirshow.Theircostumes,style,bodylanguage,andspeechtellusaboutwhotheyare,andwhattheyhavetoshare.Theseelementstogethercreateaperformer’spublicimage.Countrysongsoftenfocusontravel,family,home,andheartbreak.Performerssingaboutsomeofthesesamethemesbutcanlookandactverydifferentlyfromoneanother.Costumesandhairstyleareimportantpartsofa
performer’simage.Manysingershavesomethingthattheyalwayswear,suchasacowboyhatorapairofsunglasses.Someperformerswearfancyclothing,whileothersdressverysimply.Producersandothermusicbusinessprofessionalsoftenhelptheperformercreateaparticularimagethatwillappealtoavarietyofpeople.
Inadditiontoclothing,whataperformerchoosestodooff-stagecontributestotheirimage.Somesingers,likeTimMcGraworCountryMusicHallofFamememberKittyWells,areknownforspendingtimewiththeirfamilieswhentheyarenotperforming.Othersmayhaveahobbyorcharitythattakesuptime.Forexample,CountryMusicHallofFamememberGeorgeStraitenjoysspendingtimeonhisranchandHankWilliamsJr.hasapassionforCivilWarmemorabilia.Thesecharacteristicscreateaparticularimagethatiseasilyidentifiedbythepublic.
3. Instruct students to think about one of their favorite performers.Listseveraladjectivestodescribehimorher.Howwouldyoudescribehisorherpersonality,style,andcharacter?Aretheyknownfordressingacertainway?Whatthemesormainideasdotheysingabout?Whydoyoulikethisperformer?Doestheirpublicimagecontributetoyourenjoymentoftheirmusic?Doyouthinkhisorherimageencouragespeopletobuyhisorherrecordsorconcerttickets?
Teacher TIp:
Visit www.CountryMusicHallofFame.org to learn more about members of the Country Music Hall of Fame. Students should select a performer and research their life story to learn more about their public image.
4. share the following with students.Askstudentswhattypesofclothingtheyassociatewithcountrysingers.Studentsmaylistclothinglikecowboyboots,hats,orbuttonedshirts.Explaintostudentsthatthiswesterntraditionhasbeenapartoftheimageofcountrysingersformanyyears.
5. play “I wanna Be a cowboy’s sweetheart” by country Music hall of Fame member patsy Montana, track 10. Providesonglyricsforeachstudent,foundonpage45.Basedonthelyricsofthesong,have
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studentsdrawapictureofwhattheythinkPatsyMontanalookslike.Whatcantheytellaboutherpublicimage,basedonthesonglyricsandhervoice?Howwouldtheydescribeherpublicimage?
6. share the following with students. In1935,“IWannaBeaCowboy’sSweetheart”becamethefirstbighitbyasolofemalecountrysinger.ItslyricsaboutlifeintheWestcreatedacheerfulimageforAmericaduringtheGreatDepression.Montanasangmanysongsaboutthefreedomofbeingacowgirl,andherclothesreflectedthesubjectmatter.Sheoftenworecowboyboots,hats,fringe,andembroideredtops.
7. Listen to “Tim McGraw” by Taylor swift, track 11. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage46.
Teacher TIp:
Use a Venn diagram for the following activity.
8. discuss together. • Howisthissongsimilarto
“IWannaBeaCowboy’sSweetheart?”
• Howisitdifferent?
• HaveyouheardofTaylorSwiftbefore?Ifnot,conductresearchabouther.
• Describeherpublicimage.
• Whattypesofclothingdoesshewear?
• DoesshewearanyofthesametypesofclothingasPatsyMontana?
9. share the following with students. WhileTaylorSwiftmaynotsingaboutlifeontherange,herpublicimageiscertainlyinfluencedbysingersofthepastlikePatsyMontana.LikeSwift,manymodern-daysingerswearstageclothingthatremindsusofcowboys.KennyChesney,AlanJackson,andGeorgeStraitareallexamples.Cowboyhats,boots,andpearl-buttonshirtsarestillcommonlywornbymoderncountrysingers.Thoughtheirmusicsoundsdifferent,theirpublicimagehasmanysimilarities.
Teacher TIp:
Consider looking online and sharing the music video of “Tim McGraw” with students. Do the characters in the music video wear anything that reminds you of the West or Patsy Montana? Explain.
PatsyMontana
Taylor Swift
© E
bet R
oberts
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10. share the following with students. Clothingisn’ttheonlyelementofasinger’spublicimage.Ondisplayinthemuseumaremanyobjectsincludingamotorcycleandatypewriterthatbelongedtonoteworthyfiguresincountrymusichistory.TwocarsareondisplaythatbelongedtoCountryMusicHallofFamemembersWebbPierceandElvisPresley.First,listentothissongperformedbyElvis,andthenwewilldiscusshiscarandimageinfurtherdetail.
11. Listen to “That’s all right” by elvis presley, track 12, and discuss the following. • Doyoulikethissong?Whyorwhynot?
• HaveyouheardofElvisPresley?
• Whatdoyouknowabouthim?
• WhatdoesthissongrevealtoyouaboutElvis’simage?
• ListsomeadjectivestodescribeElvisandhispublicimage.
• Basedonthelistyougenerated,designacarforElvis.Writeadescriptionofwhatitwouldlooklike,ordrawapicture.
12. share the following with students. DisplaythephotoontheTeacher’s Guideposter.Elvis’sCadillacisnotyouraveragecar.Itwascustomizedjustforhim.The1960Cadillac75limousine,apersonalfavoriteofPresley’s,wascustomizedbyBarrisKustomCityofNorthHollywood.Theexteriorsheenisduetoits24-karatgoldplatehighlights,andfortycoatsofatranslucentmixtureofcrusheddiamondsandfishscalescalled“diamonddustpearl.”Theinteriorincludessuchtouchesasagold-platedtelevisionandarefrigerator.
13. discuss together. • WhydoyouthinkElvishadacarlikethis?
• HowwouldthiscarcontributetoElvis’spublicimage?
• WhatdoyouthinkElviswantedthepublictothinkabouthimwhentheysawhiminthiscar?
14. using what they’ve learned about the image of a performer, invite students to develop their own fictional performer. Usingtheworksheet“DevelopaPerformer’sImage”onpages21-22,theyshoulddeterminewhatheorshewillsoundlike,looklike,andsingabout.Afterstudentshavecompletedtheirworksheets,encouragethemtosharetheircreationswiththeclassorinsmallgroups.
15. Invite students to write in their journals using the following prompts. Manyperformersorotherpublicfiguresconveyaparticularimageofthemselvestothepublicbutareverydifferentintheirpersonallives.Whydoyouthinktheywoulddothis?Howmightitbenefitthem?Whatdoyouthinkaboutthis?
ElvisPresley
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worksheet
develop a Performer’s image
Name:___________________________________________________Date:______________________________________
Youcanlearnmoreaboutaperformerbylookingattheirpublicimage.Usingtheinformationyoulearnedinthislesson,createyourownperformerwithauniqueimage.
1. performer’s name: _______________________________________________________________________________
2. List some adjectives to describe your performer.
3. what does your performer’s music sound like? does he or she play an instrument?
4. what themes does the performer sing about?
5. describe the performer’s personal life. how does he or she spend his or her free time? does he or she have any hobbies, likes, or dislikes?
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worksheet
develop a Performer’s image page 2
6. use the space below to draw a picture of the performer.
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the sources of Country Music
TenneSSee STaTe CuRRICuluM STandaRdS:Language arts:
3. writing
GLeWriteinavarietyofmodesandgenres,includingnarration, literary response, personal experience, and subject matter content.
checks for understanding:
• Writeonaspecifictopictoaspecifiedaudience.
• Practicewritingtoapromptwithinaspecifiedtime.
art:3.0 Students will choose and evaluate a range of
subject matter, symbols, and ideas: 3.1 (2-12); 3.2,
3.3 (K-1, 9-12)
4.0 Students will understand the visual arts in relation
to history and cultures: 4.1 (2-5), 4.2 (3-5), 4.3 (6-8)
Learning objectives:
1. StudentswillreflectontheirlearningbyanalyzingThe Sources of Country Music,apaintingbyThomasHartBenton.
2.Studentswilldefinetheword“source”andwillbrainstormdifferentsourcesofcountrymusic,basedonpreviouslessons.
3.Studentswillusetheirimaginationtolearnmoreaboutthefiguresinthepainting.
prep Time:5minutestoaccessonlineversionofThe Sources of Country Music
Materials:Paper,pencils,onlineversionofThe Sources of Country Music,Internetaccess
vocabulary:Mural,source
1. ask students to define the word “source.” Youmaylookupthewordinthedictionary,orusethedefinitionbelow,afterstudentshavecomeupwiththeirowndefinition.
source:A beginning or origin
2. Before sharing the painting with students, ask them to create their own drawing or painting depicting how and where country music started.
3. examine the title of The sources of country Music as a class.Whatdoyouthinkthepaintingisabout,basedonthetitle?
4. share the following with students.ThelastgreatworkoftheAmericanmasterpainterThomasHartBenton,The Sources of Country Music,wascommissionedin1973bytheCountryMusicHallofFameandMuseum,andwascompletedin1975.Thesix-footbyten-footacrylic-on-canvaspaintingillustratestherootsofcountrymusicwithasweepingdepictionofthemusic’svariedsources—sacredandsecular,whiteandblack,southeasternandsouthwestern,instrumentalandvocal.ThepaintingandsomeofitsaccompanyingstudiesareondisplayattheCountryMusicHallofFameandMuseum.Itisimportanttonotethatwhiletraditionallymuralsaredonedirectlyonawallorbuilding,thispiecewascompletedoncanvas.However,becauseofitslargesizeandthefactthatBentonisknownasamuralist,itisconsideredamural.Benton’sothermuralscanbefoundonthewallsofbuildingsliketheMissouristatecapitolandtheIndianaUniversityAuditorium.
Teacher TIp:
Thomas Hart Benton has been the subject of numerous books and films. Consider exploring them with students. A film featuring Benton working on The Sources of Country Music can be found on the museum’s Web site under “Learn.” Find the page titled “For Teachers.” Students may be interested in Thomas Hart Benton, a film by Ken Burns, or Thomas Hart Benton: An American Original, a book by Henry Adams.
5. examine the painting as a class.
6. use the following questions to engage students in a discussion. • Basedonthispainting,canyouidentifyanyofthesourcesofcountrymusic?
• HowistheWestdepictedinthispainting?Whydoyouthinkit’sfeatured?
•WhydoyouthinkThomasHartBentonputdancersinthecenterofthepainting?
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• Whydoyouthinkheputachurchinthebackground?Whataboutthetrainandthesteamboat?
• Whatinstrumentsdoyouseeinthispainting?Doyouknowwhatcountriestheycomefrom?Arethereanyinstrumentsyoudon’trecognize?
• Describethevariouspeopleinthepainting.
• What,ifanything,doyouthinkismissing?
Teacher TIp:
Expand this activity by asking students to select one instrument from the painting to learn more about, using books and the Internet. They may focus on what the instrument is made of, where it comes from, its playing techniques, or what genres of music it is played in. More information can be found on our Web site: www.CountryMusicHallofFame.org.
7. Instruct students to identify one character in the painting that is of particular interest to them. Studentsshouldthenwriteaparagraphorshortstoryusingthatpersonasamaincharacter.
Usethefollowingquestionstoguidethinking.
• Whatcanyoutellaboutthispersonbasedontheinformationinthepainting?
•Whatisthischaracterdoinginthepainting?
•Whyisthispersonimportant?
• Whatdoyouthinkthisperson’sdailylifeislike?Whatclueshelpedyoucomeupwithyouranswer?
•Inwhatothersettingdoyouimaginethisperson?
Teacher TIp:
Encourage students to learn about other murals and muralists from around the world using books or the Internet as resources. Artists could include Michelangelo, Pablo Picasso, or Diego Rivera. Suggested questions for discussion are below.
• Whatdistinguishesamuralfromothervisualart?
• Whopaintedthismural?
• Whatisthismuralcalled?
• Whatdoesthetitletellyouaboutthemural?
• Whereisthismural?Howlargeisit?
• Whoisthesubjectofthemural? Describe what you see.
• Whatistheinspirationforthemural? How can you tell?
The Sources of Country Music is displayed in the Hall of Fame rotunda.
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styles of Country Music
TenneSSee STaTe CuRRICuluM STandaRdS:Language arts:
1. Language
GLeDemonstrate knowledge of strategies and resources to determine the definition, pronunciation, and usage of words and phrases.
5. Logic
checks for understanding:
Compare and contrast two characters, ideas, or stories.
social studies:2.0 Globalization of the economy, the explosion
of population growth, technological changes,
and international competition compel students
to understand, both personally and globally, the
production, distribution, and consumption of goods
and services. Students will examine and analyze
economic concepts such as basic needs versus
wants, using versus saving money, and policy making
versus decision making: 2.1, (6-8), 2.03 (K-5)
6.0 Personaldevelopmentandidentityareshaped
by factors including culture, groups, and institutions.
Central to this development are exploration,
identification, and analysis of how individuals and
groups work independently and cooperatively: 6.01 (K-8)
Music:6.0 Students will listen to, analyze, and describe
music: 6.1 (5), 6.2 (2,3,6-12), 6.3 (1, 4, 9-12), 6.4 (1)
7.0 Students will evaluate music and music
performances: 7.1, 7.2 (1-12)
9.0 Students will understand music in relation to
history and culture: 9.1, 9.2 (1-12)
Learning objectives:
1.Studentswilllistentodifferentstylesofcountrymusictoidentifysomeoftheirdistinctivecharacteristics.
2.Studentswillcreatevisualrepresentationsofthesongstheyhear,tocompareandcontrastmusicalstyles.
prep Time:Tenminutestophotocopylyricsheetsandworksheets,fiveminutestosetupCDplayer
Materials:CD,CDplayer,lyricsheets,“StylesofCountryMusic”worksheet,Internetaccess,paper,pencils,crayons,pastels
vocabulary: Acoustic,bigband,bluegrass,era,genre,harmony,NashvilleSound,rockabilly,Tejano,westernswing
1. share the following with students. Welearnedearlierthatcountrymusictodayistheresultofmanytypesofmusiccomingtogetherfromdifferentcultures.Therearemanydifferentstylesofmusicwithincountrymusic.Thereisbluegrass,honky-tonk,cowboy,andmore.Let’slistentoandexploreafewdifferentstylesofcountrymusictocompareandcontrastthewaytheysound.
2. select at least three of the styles of country music from the next few pages to read aloud to students. PlaythesuggestedsongfromtheCDtoprovidestudentswithalisteningexample.
3. distribute lyric sheets and worksheets to students. Instructthemtocompletetheworksheetonpages28-29andreadthesonglyricsastheylisten.Theyshouldidentifytheinstrumentsanddescribethestyletheyhear.
4. distribute white or colored paper, pencils, crayons, and oil pastels to students. Astheylistentoeachsong,instructthemtodrawwhattheyhear,feel,orimagine.Allowstudentstimetocompletetheirdrawings.Youmayneedtoplayeachsongseveraltimes.Askstudentstocreatedrawingsformultiplesongsandinstructthemtosharetheirworkwiththeclass.
5. discuss together. • Explainwhatyourartworkrepresents.
• Whydidyouvisuallyrepresentmusicinthisway?
• Whatdoesitshowaboutthatparticularstyleofmusic?
• Howareeachofyourdrawingsthesame?Howaretheydifferent?
6. ask students to research online some of the performers featured in the lesson.
Teacher TIp:
You may hang students’ art in the classroom as part of your study of country music. Consider having students write labels with descriptions of their work and display them next to the work.
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early CountryEarlycountrymusiccarriedonthefolktraditionsbroughttotheAmericanSouthbyimmigrantsfromtheBritishIsles.Someofcountrymusic’sfirststars(alsoCountryMusicHallofFamemembers)weretheCarterFamily,JimmieRodgers,andErnestStoneman.Fiddletuneswereabigpartofearlycountrymusicandwereoftenthecenterofentertainmentforafamilygathering.Thefiddleaccompanieddancingandsinging.
play “waiting for a Train” by Jimmie rodgers, track 5. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage42.Thissongisanexampleofearlycountrymusic.
CowboyCowboymusicnotonlycouldbeheardontheradio,butalsocouldbeseeninmoviesabouttheWildWest.Cowboysongstoldstoriesaboutlifeontherange.SomenotablecowboysingerswereGeneAutry,PatsyMontana,andRoyRogers.
play “I wanna Be a cowboy’s sweetheart” by patsy Montana, track 10. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage45.Thissongisanexampleofcowboymusic.
Western swingWesternswingbecamepopularduringtheeraofbigbandmusic.Intendedfordancing,itbecamepopularinthedancehallsofTexasandOklahoma.Itsdistinctsoundmixedcountrymusicwiththesophisticatedrhythmsofjazz.Usingsomethingclosertoabigbandlineup(oftenincludinghorns)thantoatraditionalcountryband,starslikeBobWillsbecameverypopular.
play “Take Me Back to Tulsa” by hall of Fame member Bob wills and his
Texas playboys, track 13.Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage48.Thissongisanexampleofwesternswing.
BobWills
JimmieRodgers
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Teacher’s Guide
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bluegrassJustasTennesseeiscalledtheVolunteerState,KentuckyiscalledtheBlueGrassState.Thecreatorofbluegrassmusic,BillMonroe,namedhisbandtheBlueGrassBoysafterhishomestateofKentucky.Hisfaststyleofstringmusiccaughton.Bluegrassisoftenpurelyinstrumental,featuringinstrumentslikethebanjo,themandolin,andthefiddle.Itcanalsoincludetwo-andthree-partvocalharmonies.InadditiontoMonroe,someofbluegrass’sbiggeststarsincludeFlatt&Scruggs,andmorerecently,DelMcCoury,AlisonKrauss,andRickySkaggs.
play “I saw the Light” by Bill Monroe, track 3.Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage40.ThissongisagospelsongwrittenbyHankWilliams,playedinbluegrassstyle.
rockabillyRockabillywasatransitionbetweenrock&rollandhillbillymusic,whichisanoldtermforcountrymusic.Rockabillymusicisahigh-energy,spontaneousstyleofcountrythatwaspopularinthe1950s.Thoughtherockabillystyledidn’tendure,manyofitsbiggeststars,likeJerryLeeLewis,CarlPerkins,andElvisPresleywentontohavesuccessfulcareersinothergenres.
play “That’s all right,” by elvis presley, track 12.Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage47.Thissongisanexampleofrockabillymusic.
the nashville sound TheNashvilleSoundisapop-influencedstyleofcountrymusicthatfeaturesstringedinstruments,backgroundvocals,andsometimesapiano.Itwaspopularinthe1960s.SomeoftheNashvilleSound’sbiggeststars(alsoCountryMusicHallofFamemembers)wereEddyArnold,PatsyCline,andJimReeves.
play “I Fall to pieces” by patsy cline, track 14. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage49.ThissongisanexampleoftheNashvilleSound.
tejanoBasedontraditionalMexicanmusic,Tejano(Spanishfor“Texan”)isdistinguishedbyitsupbeatlyricsandeasy-to-dance-torhythms.BecauseTejanomusicemergesfromtheHispaniccultureresidinginsouthernandcentralTexas,itshowsastronginfluencefromthecountrymusicthatissopopularamongtheworkingclassoftheregion.
play “Baila esta cumbia” by selena, track 15. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage50.ThissongisanexampleofTejano.ThelyricsarelistedinbothSpanishandEnglish.
PatsyCline
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
worksheet
styles of Country Music
Name:__________________________________________________________Date:______________________________________
acoustic Guitar Banjo Bass
drums electric Guitar Fiddle/violin
piano steel Guitar other:
acoustic Guitar Banjo Bass
drums electric Guitar Fiddle/violin
piano steel Guitar other:
Fast Flowing hard
Loud rough smooth
soft Twangy other:
Fast Flowing hard
Loud rough smooth
soft Twangy other:
song name: _____________________________________________________________________________________________
artist: _______________________________________________________ style: _____________________________________
what instruments do you hear?
song name: _____________________________________________________________________________________________
artist: _______________________________________________________ style: _____________________________________
what instruments do you hear?
how would you describe this song?
how would you describe this song?
do you like this song? why or why not? ____________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
do you like this song? why or why not? ____________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
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Teacher’s Guide
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worksheet
styles of Country Musicpage 2
acoustic Guitar Banjo Bass
drums electric Guitar Fiddle/violin
piano steel Guitar other:
Fast Flowing hard
Loud rough smooth
soft Twangy other:
song name: _____________________________________________________________________________________________
artist: _______________________________________________________ style: _____________________________________
what instruments do you hear?
how would you describe this song?
do you like this song? why or why not? ____________________________________________________________
____________________________________________________________________________________________________________
____________________________________________________________________________________________________________
1. how are these songs alike? how are they different?
2. which style of country music, represented in this lesson, do you like best? why?
3. do any of these styles of music remind you of songs you listen to at home? explain.
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Teacher’s Guide
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Post-Visit reflection
TenneSSee STaTe CuRRICuluM STandaRdS:Language arts:
3. writingchecks for understanding:
• Writeinjournals.
• Practicewritingtoapromptwithinaspecifiedtime.
2. communicationchecks for understanding:
• Participateingroupdiscussions.
• Participateincreativeandexpressiveresponses to text (e.g., choral reading, discussion, dramatizations, oral presentations, personal experiences).
4. researchchecks for understanding: Organize information gathered using a simple graphic organizer.
5. Logicchecks for understanding:
Compare and contrast two characters, ideas, or stories.
Learning objectives:
1.StudentswillreflectontheunitandontheirvisittotheCountryMusicHallofFameandMuseumtoidentifynewinformationtheylearnedornewwaysofthinking.
2.StudentswillusewhattheylearnedaboutcountrymusictoanalyzeanothergenreofmusicandtoconnectcountrymusictootherstylesofAmericanmusic.
prep Time:Fiveminutestophotocopyworksheets.
Materials:Worksheets“ObserveanArtifact”and“ExploreaGenreofMusic,”constructionpaper,markers,crayons,pens,pencils,Internetaccess
vocabulary:Artifact,genre
1. reflection activities
BelowarethreelessonsdesignedtohelpstudentsreflectonwhattheylearnedattheCountryMusicHallofFameandMuseumandinthisunit.LessonAisasimplerexercisethatallowsstudentstodescribeanartifacttheysawatthemuseum.LessonBismorecomplex,andasksstudentstoapplytheirstudyofcountrymusictoamusicalgenreoftheirchoosing.LessonCprovidesseveraljournalingprompts.Selectthelessonyouthinkismostappropriateforyourstudents.
Lesson a
1. share the following with students.
Atthebeginningofthisunit,wedefinedthewordartifact.Belowisthedefinitionweused:
History-relatedmuseumscontainartifacts.Anartifactisanobjectproducedbyhumanworkmanship,especiallyatool,weapon,orornamentofarchaeologicalorhistoricalinterest(Webster’sII).Museumssuchaszoosandbotanicalgardenscollectandpreservelivingobjects(animalsandplants).
2. discuss together.
WhattypesofartifactsdidyouseeorhearattheCountryMusicHallofFameandMuseum?(couldbeasong,costume,photo,filmclip,musicalinstrument,etc.)
3. describe an artifact.
Usingtheworksheet“ObserveanArtifact,”onpage32,studentswillreflectonamuseumartifactofparticularinteresttothem.
Lesson B
1. describe another musical genre.
Usingtheworksheet“ExploreaGenreofMusic,”onpage34,studentswillexamineanothergenreofmusic,justastheyhavebeenstudyingcountrymusicduringthisunit.
2. after students complete the worksheet, encourage them to share answers aloud as a class.
8|
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Teacher’s Guide
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Teacher Tip:
Invite students to bring in a CD with a song from the genre they chose. Students may then compare the sound of this genre to the sound of country music. Review songs before playing them for the class.
Lesson c
1. students may choose to write in their journals using the following prompts.
• WhatwereyourimpressionsofcountrymusicbeforeyourvisittotheCountryMusicHallofFameandMuseum?Howdidyouropinionschangeorstaythesameaftercompletingthisunitorvisitingthemuseum?
• Howisamuseumfocusingonvisualartsimilartoordifferentfromamuseumfocusingonmusic?
• Curatorsworkveryhardtouseartifactsinordertotellastory,orpreservehistory.WritealettertothecuratororexhibitdesigneroftheCountryMusicHallofFameandMuseumaboutwhatyoulearnedfromtheartifactsintheexhibit.Doyouhaveanyquestionsabouthowheorsheorganizedtheexhibit?Isthereanythingyouwouldhavedonedifferently,oranyartifactsyouwouldhavelikedtosee,butdidn’t?Explain.
2. Create your own museum.Createyourownmuseumasaclass.Studentsshouldeachbringinanobjectfromhomethatisimportanttothem.Astheysawduringtheirmuseumvisit,artifactsareaccompaniedbyapaneloftextthattellsvisitorssomethingabouttheobject,itshistory,anditsimportance.Studentsshouldeachprepareatextpaneloutofconstructionpaper,withinformationabouttheobject,andwhyitisincludedintheclassroommuseum.Studentsmaygluephotographstotheirpanel,ordecorateitusingcoloredpaper,ormarkersandcrayons.Asaclass,developanexhibitthemeandtitle.Youmayalsodevelopsubthemesdependingonwhatobjectsstudentschoosetoinclude.
A curator at the Country Music Hall of Fame
and Museum examining an artifact.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
worksheet
observe an artifact
Name:__________________________________________________________Date:______________________________________
1. select one artifact that you remember from your visit to the country Music hall of Fame and Museum. what artifact did you select and why? To whom did it belong?
2. what did you learn about this artifact from your tour guide or from the label in the exhibit case?
3. Below, list some adjectives to describe the artifact.
4. what was this artifact used for? how can you tell?
5. have you ever seen anything like this before? If so, where?
6. why do you think this artifact is important to the story of country music?
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
worksheet
observe an artifactpage 2
In the space below, draw a picture of the artifact.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
worksheet
explore a Genre of Music
Name:__________________________________________________________Date:______________________________________
Overthecourseofthisunit,youhavelearnedalotaboutcountrymusic,itshistory,andsomeofthepeoplewhohelpcreateit.Exploreanotherstyleofmusic(ex.blues,classical,folk,opera,pop,rap,rock)inthissameway.UsetheInternetorbooksasresources.
1. select a genre of music that is of particular interest to you.
2. what are some of the main themes or ideas of the genre that you selected?
3. describe the sound of this genre of music. what instruments are included?
4. describe the public image of performers in this genre of music. do the performers dress a certain way?
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
worksheet
explore a Genre of Musicpage 2
5. earlier, you learned about some of the people who create country music. List some
of the most influential people in the genre of music you selected. what types of jobs do
they have? are these jobs the same or different than the people you learned about in
country music?
6. using the venn diagram below, compare and contrast country music with the genre you selected. how are they similar? how are they different?
country Music __________________________music genre
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
Glossary wordsConsiderusingthetermsbelowinvocabularyorspellingtests,ordisplayingtheminyourclassroomaspartofyourstudyofcountrymusicandmuseumsingeneral.Studentsmaywishtobrainstormorresearchtheirowndefinitionsbeforeyousharethesewiththem.Formoreinformationaboutmanyoftheseterms,seeour“HelpfulResources”section,whichprovidessuggestedmaterialstoexpandyourstudy.Thedefinitionsbelowcomefromthefollowingsources:
InternationalCouncilofMuseums.Web.<http://icom.museum/>.
Merriam-Webster.Web.<http://www.merriam-webster.com/>.
Will the Circle Be Unbroken: Country Music in America.EditedbyPaulKingsburyandAlannaNash.DK,2006.
acoustic:Of,pertainingto,orbeingamusicalinstrumentwhosesoundisnotelectricallyenhancedormodified.
america:EithercontinentoftheWesternHemisphere.
artifact:Anobjectproducedbyhumanworkmanship,esp.atool,weapon,orornamentofarchaeologicalorhistoricalinterest.
Background singer:Asingerwhoprovidesvocalsupportandharmoniestoaleadsinger.
Big Band: Ajazzordancebandthatisthesizeofanorchestra.
Bluegrass:Adistinctformofstring-bandmusictypicallyinvolvingacousticstringedinstrumentssuchasthefiddle,banjo,guitar,mandolin,dobro,stringedbass,andincorporatingfreewheelingimprovisationalinstrumentalsolosandhigh-pitchedharmonyvocals.
Blues:Asongoftenoflamentationcharacterizedusuallyby12-barphrases,3-linestanzasinwhichthewordsofthesecondlineusuallyrepeatthoseofthefirst,andcontinualoccurrenceofbluenotesinmelodyandharmony.
British Isles:AnislandgroupinWesternEuropecomprisingGreatBritain,Ireland,andadjacentislands.
comedian:Someonewhosejobistomakepeoplelaugh.
compare:Toexaminecharacteristicstodiscoversimilarities.
contrast:Toexaminecharacteristicstodiscoverdifferences.
costume:Anoutfitworntocreatetheappearancecharacteristicofaparticularperiod,person,place,orthing.
curator:Museumcuratorsareresponsibleforcaringfortheobjectsinamuseum’scollection.Theyareknowledgeableabouteachobjectandensureitspreservation.Curatorsdevelopcollectionspoliciesthatstatewhattypesofobjectsthemuseumcollects,howtocarefortheobjects,andhowtoreturnobjectsthatarenolongernecessaryforthecollection.
development officer:Sincemostmuseumsarenotforprofit,amuseum’sdevelopmentstaffmembersseekfundingthroughgrants,sponsors,anddonorstosupporttheoperationsofthemuseum.
director:Museumdirectorsoverseeallaspectsofthemuseumandareresponsibleforthemuseum’soverallfinancialstatusandculturalvaluetothecommunityitserves.Directorsusuallyworkcloselywithaboardofdirectorsandreporttothatgroup.
educator:Museumeducatorsdevelopandconducteducationalprogramsfocusedonthemuseum’sexhibitsandmission.
era:Asystemofchronologicnotationreckonedfromagivendate.
exhibit designer:Museumexhibitdesignersdevelopexhibitsthatpresentthemuseum’scollectiontothepublictohelpthembetterunderstandthemuseum’smissionandthestoryoftheobjectsinitscollection.
Folksong:Atraditionalsongofunknownoriginpasseddownthroughoraltradition.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
Genre:Acategoryofartistic,musical,orliterarycompositioncharacterizedbyaparticularstyle,form,orcontent.
Gospel:Music,oftenperformedinquartets,thatiswrittenaboutChristianthemes.
Great depression:Aperiodofsevereeconomichardshipduringthe1930s,intheU.S.
hall of Fame:Aninstitutionestablishedtohonorthemostinfluentialornoteworthycontributorstoafieldorprofession.
harmonizing:Astyleofsingingwheremultiplepeoplesingthesamewordsbutindifferentpitches.
heritage:Traditionsandculturethatarepassedonwithinagroupfromonegenerationtothenext.
Image:Apopularconception(asofaperson,institution,ornation)projectedespeciallythroughthemassmedia.
Induct:Toadmitasamember.
Mural:Apaintingcreateddirectlyonawallorbuilding.
Museum:Aninstitution,opentothepublic,whichcollects,caresfor,andexhibitsobjectsforthepurposeofstudy,education,andenjoyment.
nashville sound:Astyleofcountrymusicthatemergedinthelate1950sasacommercialresponsetorock&roll.Thisstyleischaracterizedbybackgroundchoralsingersand,sometimes,orchestralstringsectionstocreateasoftersound,meanttoappealtopopandcountrylistenersalike.
nation:Acommunityofpeoplecomposedofoneormorenationalitiesandpossessingamoreorlessdefinedterritoryandgovernment.
new world:TheWesternHemisphere,morespecifically,NorthandSouthAmerica.
north america:ThenortherncontinentoftheWesternHemisphere,extendingfromCentralAmericatotheArcticOcean.
plaque:Acommemorativeoridentifyinginscribedtablet.
producer:Thepersonwhosupervisesallaspectsofarecordingsession.
recording engineer:Theassistanttotherecordproducerandthepersonwhotakescareofthetechnicalaspectsoftherecording.
rockabilly:Arhythmicalmusicalstylethatfusedelementsofcountryboogie,blues,R&B,andbluegrass,andpavedthewayforrock&rollthroughitsmostcommercialcatalyst,ElvisPresley.
settler:Onewhoestablishesaresidenceinanarea.
sheet Music:Musicprintedonlarge,unboundsheetsofpaper.
songwriter:Apersonwhocomposeswordsormusicorboth,especiallyforpopularsongs.
source:Apointoforigin.
Tejano:BasedontraditionalMexicanmusic,Tejano(Spanishfor“Texan”)isdistinguishedbyitsupbeatlyricsandeasy-to-dance-torhythms.
Theme:Asubjectortopicofdiscourseorofartisticrepresentation.
The west:ThewesternUnitedStatesinitsfrontierperiodcharacterizedbyroughnessandlawlessness.
western swing:Ahybridstyleofcountrymusiccombiningfiddletuneswithelementsofbig-bandjazz,pop,andblues,andusuallyintendedfordancing.ItemergedinthesouthwesternUnitedStatesinthe1930s,anditskeyprogenitorswereBobWillsandMiltonBrown.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
1. “Man in Black” – Johnny Cash (John R. Cash) SongofCash,Inc.(ASCAP)AdministeredbyBug
UnderlicensefromTheSonyMusicCustomMarketingGroup,adivisionofSonyMusicEntertainment
2. “Sally Ann” – Mark O’Connor (Traditional) PublicDomain
CourtesyofCountryMusicFoundationRecords
3. “I Saw the Light” – Bill Monroe (Hank Williams)
Sony/ATVAcuff-RoseMusic(BMI)
UnderlicensefromUniversalMusicEnterprises
4. “ Match Box Blues” – Blind Lemon Jefferson (Blind Lemon Jefferson) PublicDomain
5. “Waiting for a Train” – Jimmie Rodgers (Jimmie Rodgers) PeerInternationalCorp.(BMI)
UnderlicensefromTheSonyMusicCustomMarketingGroup,adivisionofSonyMusicEntertainment
6. “Welcome to the Future” – Brad Paisley (Brad Paisley / Chris DuBois) HouseofSeaGayleMusic(ASCAP)
UnderlicensefromTheSonyMusicCustomMarketingGroup,adivisionofSonyMusicEntertainment
7. “Coat of Many Colors” – Dolly Parton (Dolly Parton) VelvetAppleMusic(BMI)
UnderlicensefromTheSonyMusicCustomMarketingGroup,adivisionofSonyMusicEntertainment
8. “Pan American Blues”– DeFord Bailey (DeFord Bailey) PublicDomain
CourtesyofCountryMusicFoundation,Inc.
9. “Comin’ into Town” – Minnie Pearl (Minnie Pearl) MetricMusicCompany(BMI)
CourtesyofEMIMusicMarketing
10. “I Wanna Be a Cowboy’s Sweetheart” – Patsy Montana & the Prairie Ramblers
(Patsy Montana) UniversalMusicCorp.(ASCAP)
UnderlicensefromTheSonyMusicCustomMarketingGroup,adivisionofSonyMusicEntertainment
11. “Tim McGraw” – Taylor Swift (Taylor Swift / Liz Rose) Sony/ATVTreePublishing/TaylorSwiftMusic(BMI)/Sony/ATV
TimberPublishing/HillsboroValleySongs(SESAC)
CourtesyofBigMachineRecords
12. “That’s All Right” – Elvis Presley (Arthur Crudup) UnichappellMusicInc./CrudupMusic(BMI)
UnderlicensefromTheSonyMusicCustomMarketingGroup,adivisionofSonyMusicEntertainment
13. “Take Me Back to Tulsa” – Bob Wills & His Texas Playboys
(Bob Wills / Tommy Duncan) PeerInternationalCorp./RedRiverSongs,Inc.(BMI)
UnderlicensefromTheSonyMusicCustomMarketingGroup,adivisionofSonyMusicEntertainment
14. “I Fall to Pieces” – Patsy Cline (Harlan Howard / Hank Cochran) Sony/ATVTreePublishing(BMI)
UnderlicensefromUniversalMusicEnterprises
15. “Baila Esta Cumbia” – Selena (A.B. Quintanilla III / Pete Astudillo) A.Q.3Music/EMIBlackwoodInc.(BMI)/PeaceRockMusic
(ASCAP)
AllrightsonbehalfofA.Q.3Music/EMIBlackwoodMusicInc.ControlledandAdministeredbyEMIBlackwoodInc.(BMI)
CourtesyofEMIMusicMarketing
songs on the Companion Cd
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
Man in Black
(JoHn R. CaSH)
Well,youwonderwhyIalwaysdressinblack,Whyyouneverseebrightcolorsonmyback,
Andwhydoesmyappearanceseemtohaveasombertone.Well,there’sareasonforthethingsthatIhaveon.
Iweartheblackforthepoorandthebeatendown,Livin’inthehopeless,hungrysideoftown,
Iwearitfortheprisonerwhohaslongpaidforhiscrime,Butistherebecausehe’savictimofthetimes.
Iweartheblackforthosewhoneverread,OrlistenedtothewordsthatJesussaid,
Abouttheroadtohappinessthroughloveandcharity,Why,you’dthinkHe’stalkingstraighttoyouandme.
Well,we’redoin’mightyfine,Idosuppose,Inourstreakoflightnin’carsandfancyclothes,
Butjustsowe’reremindedoftheoneswhoareheldback,Upfrontthereought‘abeaManinBlack.
Iwearitforthesickandlonelyold,Fortherecklessoneswhosebadtripleftthemcold,
Iweartheblackinmournin’forthelivesthatcouldhavebeen,Eachweekweloseahundredfineyoungmen.
And,Iwearitforthethousandswhohavedied,Believin’thattheLordwasontheirside,
Iwearitforanotherhundredthousandwhohavedied,Believin’thatweallwereontheirside.
Well,there’sthingsthatneverwillberightIknow,Andthingsneedchangin’everywhereyougo,
But’tilwestarttomakeamovetomakeafewthingsright,You’llneverseemewearasuitofwhite.
Ah,I’dlovetoweararainboweveryday,Andtelltheworldthateverything’sOK,
ButI’lltrytocarryoffalittledarknessonmyback,Tillthingsarebrighter,I’mtheManinBlack.
© 1971, 1998 Song oF CaSH, InC. (aSCaP) adMInISTeRed bY bug.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
I saw the Light
(Hank WIllIaMS)
Chorus:Isawthelight,Isawthelight
Nomoredarkness,nomorenightNowI’msohappy,nosorrowinsight
PraisetheLord,Isawthelight
Iwanderedsoaimless,myheartfilledwithsinIwouldn’tletmydearSaviorin
ThenJesuscamelikeastrangerinthenightPraisetheLord,Isawthelight
Chorus
JustlikeablindmanIwanderedaloneWorriesandfear,Iclaimedformyown
ThenliketheblindmanthatGodgavebackhissightPraisetheLord,Isawthelight
Chorus
IwasafooltowanderandstrayStraightisthegateandnarrowtheway
NowIhavetradedthewrongfortherightPraisetheLord,Isawthelight
Chorus
© 1948 SonY/aTV MuSIC PublISHIng llC. all RIgHTS adMInISTeRed bY SonY/aTV MuSIC PublISHIng llC,8 MuSIC SquaRe WeST, naSHVIlle, Tn 37203. all RIgHTS ReSeRVed. uSed bY PeRMISSIon.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
Match Box Blues
(blInd leMon JeFFeRSon)
I’msittin’herewonderin’wouldamatchboxholdmyclothesI’msittin’herewonderin’wouldamatchboxholdmyclothes
Iain’tgotsomanymatchesbutIgotsofartogo
IsaidMama,whomayyourmanagerbeOh,Mama,whomayyourmanagerbe
ReasonIasksomanyquestionscan’tyoumake’rangementsforme
Igotagirlacrosstown,shecrochetsallthetimeIgotagirlacrosstown,shecrochetsallthetime
Mama,ifyoudon’tquitcrocheting,you’regonnaloseyourmind
Ican’tcountthetimesIstoleawayandcriedIcan’tcountthetimesIstoleawayandcried
Sugar,thebluesain’tonme,butthingsain’tgoin’onright
Ifyouwantyourlover,youbetterpinhertoyoursideIsay,ifyouwantyourbaby,pinhertoyourside
Ifsheflagmytrain,PapaLemon’sgonnaletherride
Ain’tseenmygoodgalinthreelongweekstodayAin’tseenmygoodgalinthreelongweekstoday
Girl,it’sbeensolong,seemslikemyheartgoin’break
Excuseme,Mama,forknockingonyourdoorWellexcuseme,Mama,forknockingonyourdoor
Mymind’sgonnachange,Iain’tlovin’mygalnomore
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
waiting for a Train
(JIMMIe RodgeRS)
AllaroundthewatertankwaitingforatrainAthousandmilesawayfromhomesleepingintherain.Iwalkeduptoabrakemantogivehimalineoftalk,
Hesaysifyou’vegotthemoney,I’llseethatyoudon’twalk.
Ihaven’tgotanickelnotapennycanIshow;HesaidgetoffyourailroadbumAndslammedtheboxcardoor.
HeputmeoffinTexasaplaceIsurelylove,Wideopenspaces’roundme,Themoonandstarsabove,
NobodyseemstowantmeorlendmeahelpinghandI’monmywayfromFrisco,Goin’backtoDixieland,Mypocketbookisempty,
Andmyheartisfilledwithpain,I’mathousandmilesawayfromhomejustwaitingforatrain.
PeeR InTeRnaTIonal CoRP. (bMI)all RIgHTS ReSeRVed. uSed bY PeRMISSIon.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
welcome to the Future
(bRad PaISleY/CHRIS duboIS)
WhenIwastenyearsoldIrememberthinkin’howcoolitwouldbeWhenweweregoin’onaneighthourdrive
IfIcouldjustwatchTVAndI’dhavegivenanything
TohavemyownPacMangameathomeIusedtohavetogetaridedowntothearcade
NowI’vegotitonmyphone
Hey,glory,glory,hallelujahWelcometothefuture
MygrandpawasinWorldWarIIHefoughtagainsttheJapanese
HewroteahundredletterstomygrandmaAndmailed’emfromhisbaseinthePhilippines
IwishtheycouldseethisnowTheworldtheysavedhaschangedyouknow
IwasonavideochatthismorningWithacompanyinTokyo
Hey,everyday’sarevolutionWelcometothefuture
(Hey)Lookaroundit’sallsoclear(Hey)Whereverweweregoin’
Wellwe’rehereSomanythingsIneverthoughtI’dseeArehappeningrightinfrontofme
IhadafriendinschoolTherunningbackonthefootballteamTheyburnedacrossinhisfrontyardForaskin’outthehomecomingqueen
IthoughtabouthimtodayAndeverybodywho’sseenwhathe’sseen
FromawomanonabusToamanwithadream
Hey,wakeupMartinLutherWelcometothefuture
Hey,glory,glory,hallelujahWelcometothefuture
© 2009 HouSe oF Sea gaYle MuSIC (aSCaP)all RIgHTS ReSeRVed. uSed bY PeRMISSIon. InTeRnaTIonal CoPYRIgHT SeCuRed.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
BackthroughtheyearsIgowanderingonceagain,
Backtotheseasonsofmyyouth.Irecallaboxofragsthatsomeonegaveus,Andhowmymamaputtheragstouse.
Therewereragsofmanycolors,Buteverypiecewassmall,AndIdidn’thaveacoat
Anditwaswaydowninthefall.Mamasewedtheragstogether,Sewingeverypiecewithlove,
ShemademycoatofmanycolorsThatIwassoproudof.
AsshesewedshetoldastoryFromtheBibleshehadread,Aboutacoatofmanycolors
Josephwore,andthenshesaid,“PerhapsthiscoatwillbringyouGoodluckandhappiness.”
AndIjustcouldn’twaittowearitAndmamablesseditwithakiss.
MycoatofmanycolorsThatmymamamadeforme,
Madeonlyfromrags.ButIworeitsoproudly.
Althoughwehadnomoney,IwasrichasIcouldbe,
InmycoatofmanycolorsMymamamadeforme.
SowithpatchesonmybritchesAndholesinbothmyshoes,AndmycoatofmanycolorsIhurriedofftoschool,
JusttofindtheotherslaughingAndmakingfunofme
InmycoatofmanycolorsMymamamadeforme.
AndIcouldn’tunderstanditForIfeltIwasrich.
AndItoldthemoftheloveMymamasewedineverystitch.AndItoldthemallthestory
Mamatoldmewhileshesewed.Andhowmycoatofmanycolors
Wasworthmorethanalltheirclothes.
Buttheydidn’tunderstanditAndItriedtomakethemsee
ThatoneisonlypoorOnlyiftheychoosetobe.
AndthoughwehadnomoneyIwasrichasIcouldbe
InmycoatofmanycolorsThatmamamadeforme.
coat of Many colors
(dollY PaRTon)
VelVeT aPPle MuSIC (bMI)
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
I wanna Be a cowboy’s sweetheart
(PaTSY MonTana)
Iwannabeacowboy’ssweetheartIwannalearntoropeandtoride
IwannaridethroughtheplainsandthedesertOutwestoftheGreatDivide
Iwannahearthecoyoteshowlin’Asthesunsetsinthewest
Iwannabeacowboy’ssweetheartThat’sthelifethatIlovebest
IwannarideoldPaint,goin’atarunIwannafeelthewindinmyface
AthousandmilesfromthecitylifeGoin’acowhand’space
IwannapillowmyheadnearthesleepingherdWhilethemoonshinesdownfromabove
Iwannastrummyguitarandyodel-le-hee-hooThat’sthelifethatIlove
© 1935 unIVeRSal MuSIC CoRP. CoPYRIgHT ReneWed. all RIgHTS ReSeRVed.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
YousaidthewaymyblueeyesshinedPutthoseGeorgiastarstoshamethatnight
Isaid,“That’salie”
JustaboyinaChevytruckThathadatendencyofgettin’stuck
Onbackroadsatnight
AndIwasrighttherebesidehimAllsummerlong
AndthenthetimewewokeuptofindThatsummer’dgone
ChorusButwhenyouthinkTimMcGrawIhopeyouthinkmyfavoritesongTheonewedancedtoallnightlongThemoonlikeaspotlightonthelake
WhenyouthinkhappinessIhopeyouthinkthatlittleblackdress
ThinkofmyheadonyourchestAndmyoldfadedbluejeansWhenyouthinkTimMcGraw
Ihopeyouthinkofme
SeptembersawamonthoftearsAndthankingGodthatyouweren’there
ToseemelikethatButinaboxbeneathmybedIsaletterthatyouneverreadFromthreesummer’sback
It’shardnottofinditallalittlebittersweetAndlookingbackonallofthatit’snicetobelieve
Chorus
AndI’mbackforthefirsttimesincethenI’mstandin’onyourstreet
Andthere’saletterleftonyourdoorstepAndthefirstthingthatyou’llread
IswhenyouthinkTimMcGrawIhopeyouthinkmyfavoritesongSomeday,you’llturnyourradioonIhopeittakesyoubacktothatplace
WhenyouthinkhappinessIhopeyouthinkthatlittleblackdress
ThinkofmyheadonyourchestAndmyoldfadedbluejeansWhenyouthinkTimMcGraw
Ihopeyouthinkofme
Tim McGraw
(TaYloR SWIFT / lIz RoSe)
© 2006 SonY/aTV MuSIC PublISHIng llC, TaYloR SWIFT MuSIC and HIllSboRo ValleY SongS. all RIgHTS adMInISTeRed bY SonY/aTV MuSIC PublISHIng llC, 8 MuSIC SquaRe WeST, naSHVIlle, Tn 37203.
all RIgHTS ReSeRVed. uSed bY PeRMISSIon.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
That’s all right
(aRTHuR CRuduP)
Well,that’sallright,mamaThat’sallrightforyou
That’sallrightmama,justanywayyoudoWell,that’sallright,that’sallright.
That’sallrightnowmama,anywayyoudo
Mamashedonetoldme,Papadonetoldmetoo
Son,thatgalyou’refoolin’with,Sheain’tnogoodforyou
But,that’sallright,that’sallright.That’sallrightnowmama,anywayyoudo
I’mleavingtown,babyI’mleavingtownforsure
Well,thenyouwon’tbebotheredwithMehanging’roundyourdoor
Well,that’sallright,that’sallright.That’sallrightnowmama,anywayyoudo
© 1947 (ReneWed) unICHaPPell MuSIC InC. / CRuduP MuSIC (bMI)all RIgHTS adMInISTeRed bY unICHaPPell MuSIC InC. all RIgHTS ReSeRVed. uSed bY PeRMISSIon.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
Take Me Back to Tulsa
(bob WIllS / ToMMY dunCan)
Where’sthegalwiththereddressonSomefolkscallherDinah
StolemyheartawayfrommeWaydowninLouisiana
TakemebacktoTulsaI’mtooyoungtomarryTakemebacktoTulsaI’mtooyoungtomarry
PeeR InTeRnaTIonal CoRP. / Red RIVeR SongS, InC. (bMI)
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
I Fall to pieces
(HaRlan HoWaRd/ Hank CoCHRan)
IfalltopieceseachtimeIseeyouagainIfalltopieces,howcanIbejustyourfriend
Youwantmetoactlikewe’veneverkissedYouwantmetoforget,pretendwe’venevermetAndI’vetriedandI’vetriedbutIhaven’tyet
YouwalkbyandIfalltopieces
Ifalltopieces,eachtimesomeonespeaksyournameIfalltopieces,timeonlyaddstotheflame
YoutellmetofindsomeoneelsetoloveSomeonewho’llloveme,too,thewayyouusedtodo
ButeachtimeIgooutwithsomeonenewYouwalkbyandIfalltopiecesYouwalkbyandIfalltopieces
© 1960 SonY/aTV MuSIC PublISHIng llC. all RIgHTS adMInISTeRed bY SonY/aTV MuSIC PublISHIng llC,8 MuSIC SquaRe WeST, naSHVIlle, Tn 37203. all RIgHTS ReSeRVed. uSed bY PeRMISSIon.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
IfeelsomethingthatmovesmeArhythmthatmakesmedance
TakeyourpartnersWe’llallenjoy
Dance,dancetothiscumbiaMove,moveyourwaistEveryone,handsup
Andshout,shoutwithmadness
Dance,dancetothiscumbiaArhythm,arhythmwithoutequal
NobodystayseatedWe’reallgoingtodance
(RepeatAll)
Dance,dancetothiscumbiaArhythm,arhythmwithoutequal
NobodystayseatedWe’reallgoingtodance
SientoalgoquememueveUnritmoquemehacebailar
TomentodossuparejasTodosvamosagozar
Baila,bailaestacumbiaMueve,muevelacinturaTodos,lasmanosenaltoYgriten,gritenconlocura
Baila,bailaestacumbiaUnritmo,ritmosinigualNadiesequedesentadoTodosvamosabailar
(Repitetodo)
Baila,bailaestacumbiaUnritmo,ritmosinigualNadiesequedesentadoTodosvamosabailar
Baila esta cumbia
(a.b. quInTanIlla III / PeTe aSTudIllo)
© 1990 a.q.3 MuSIC / eMI blaCkWood InC. (bMI) / PeaCe RoCk MuSIC (aSCaP)all RIgHTS on beHalF oF a.q.3 MuSIC / eMI blaCkWood MuSIC InC. ConTRolled and adMInISTeRed bY
eMI blaCkWood InC. (bMI) all RIgHTS ReSeRVed. InTeRnaTIonal CoPYRIgHT SeCuRed. uSed bY PeRMISSIon.
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
Grace Guill WhiteHouseHeritageSchool
Stephen Henry CreswellArtsMagnetMiddleSchool
Beverly Roberts EnsworthSchool
Beth Stepelton H.B.WilliamsElementarySchool
The staff of the country Music hall of Fame and Museum thanks the following local teachers who gave their time and valuable input during the development of this resource:
Books:
Encyclopedia of Country Music.EditedbyPaulKingsbury.OxfordUniversityPress,2004.
George-Warren,Holly.Honky-Tonk Heroes and Hillbilly Angels: The Pioneers of Country and Western Music.HoughtonMifflinBooksforChildren,2006.
Kingfisher Young People’s Book of Music.EditedbyCliveWilson.LarousseKingfisherChambersInc.,1999.
Malone,BillC.Country Music U.S.A., 2d Ed.UniversityofTexasPress,2002.
Sadie,StanleyandJohnTyrell.Grove’s Dictionary of Music and Musicians, 2d. ed.OxfordUniversityPress,2003.
Will the Circle Be Unbroken: Country Music in America.EditedbyPaulKingsburyandAlannaNash.DK,2006.
web sites:
FormoreinformationaboutcountrymusicandtheCountryMusicHallofFameandMuseum,visit:
www.CountryMusicHallofFame.org
www.CMAworld.com
Formoreinformationaboutmuseumsandmuseumcareers,visittheAmericanAssociationofMuseum’sWebsite:
www.aam-us.org/
FormoreinformationaboutThomasHartBentonandKenBurns’sdocumentary,visit:
www.pbs.org/kenburns/benton/
Helpful resources:
please submit student writings, questions, and the
Teacher’s Guide evaluation to:
SchoolProgramsCoordinatorCountryMusicHallofFameandMuseum
222FifthAvenueSouthNashville,TN37203
Phonenumber:615-416-2088
Faxnumber:615-255-2245
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Teacher’s Guide
Country MusiC Hall oF FaMe® and MuseuM
Teacher’s Guide to the Museum
teacher’s evaluationThankyoufortakingafewminutestoprovidefeedbackandsuggestions.Weappreciateyourhelpinmakingourprogramsandresourcesasmeaningfulaspossible.
DateofYourVisit: NameofSchool:
SubjectYouTeach: Grade(s)YouTeach:
DidyouuseanyactivitiesintheTeacher’s Guide to the Museum? Yes No
Ifyes,whatactivitiesdidyouuse?
PleaseratetheTeacher’s Guide to the Museumonthefollowing:
NotValuable 1 2 3 4 5 Valuable NotEnjoyable 1 2 3 4 5 Enjoyable NotInteractive 1 2 3 4 5 Interactive NotInformative 1 2 3 4 5 Informative Unorganized 1 2 3 4 5 Organized
PleaseusethisspaceforanycommentsorsuggestionsyoumayhaverelatingtotheTeacher’s Guide to the Museum.
Whichlessonsdidyoufindmostuseful?
Whichlessonsdidyourstudentsmostenjoy?
Werethereanylessonsyouwouldliketoseechanged?Pleaseexplain.
Country MusiC Hall of faMe® and MuseuM
222 fiftH aVenue soutHnasHVille, tennessee 37203
615.416.2001
CountryMusiCHalloffaMe.orG
The educational programs of the Country Music Hall of Fame® and Museum are funded in part by grants from the Metro Nashville Arts Commission and from the Tennessee Arts Commission, through an agreement with the National Endowment for the Arts. This Teacher’s Guide was funded in part by a Tennessee Arts Commission Teacher Training Grant.
Accredited by the American Association of Museums, the Country Music Hall of Fame® and Museum is operated by the Country Music Foundation, Inc., a not-for-profit 501(c)(3) educational organization chartered by the state of Tennessee in 1964. The Foundation also operates CMF Records, the Museum’s Frist Library and Archive, the CMF Press, Historic RCA Studio B, and Hatch Show Print.
Teacher’s Guide1 to tHe 2
counTry Music hall of faMe® and MuseuM