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Teaching the national anthem

Identifieur interne : 000491 ( Istex/Corpus ); précédent : 000490; suivant : 000492

Teaching the national anthem

Auteurs : Diana Mittler Battipaglia

Source :

RBID : ISTEX:5A73FF5551AAA332D9FEC9633A2298EBBE82C88A

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Url:
DOI: 10.2307/3394916

Links to Exploration step

ISTEX:5A73FF5551AAA332D9FEC9633A2298EBBE82C88A

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<meta-value> Teaching the national anthem I have found that a mini-unit on The Star-Spangled Banner is a particularly effective starting point for my required music survey courses at Flush- ing High School in New York City. Although the students in these classes are extremely heterogeneous, ranging from grades nine through twelve and representing diverse academic abilities and cultural backgrounds, all are very familiar with the song through years of singing it at assemblies and public events. It is often the only song students have learned to perform at an acceptable level. Therefore, it provides a good basis for introducing many fundamental skills and concepts, out of which the rest of the curriculum can evolve. Music textbooks containing the national anthem are distributed to each member of the class. In an almost natural introduction to score reading, students learn to recognize the meter signature, measures, staffs for treble and bass clef played by the right and left hands of the pianist, melody and harmony parts intended for the four-part chorus, phrases, cadences, and form, as well as melodic range and contour. I also teach the students how to conduct the song in a basic \ meter pattern as I play it on the piano in a variety of tempos. Sometimes we play a type of “Where Were You When the Music Stopped” game in which I ask students to identify the measure being played when the music is interrupted. I have found this device very useful in motivating students to follow the full score of a far more complex example later in the term. Tracing the history of The Star-Spangled Banner provides a golden Keut- JUBILOSO—Panerio. $30.00 Winner of the 1 975 ABA-Ostwald Award. Very playable by groups at the high school level, as well as college. SUITE ROYALE— Lully/Schaefer25.00 Originally written for displays by the horsemen of the King of France. A brilliant and interesting addition to the band repertoire. FESTIVAL MUSIC FOR A CROWN PRINCE— Tohno[in preparation] Original band music, written for the wedding of Crown Prince Akihito of Japan. Rehearsal record included. CAPRICCIO CONCERTANT— McBeth.[in preparation] TO BE FED BY RAVENS— McBeth40.00 Written for the 50th Anniversary of the Texas Music Educators Association. Complete recording included. TERTIAN SUITE—Weiner.25.00 Acontemporaryhomo-phonic work, usable by school groups at levels from junior high school up. Free miniature scores avail-jt able on request. \b -fr -fr & -fr -fr -fr & -fr -fr -M 9mptoUml- Publications of A. LEDUC (Paris) have just been reduced in price and are in good supply. Write for new price list. SOUTHERN MUSIC COMPANY P.O. BOX 329 SAN ANTONIO, TEXAS 78292 mej/dec 75 Lokfast Hardware It won't slip. It won't shake. It won't slide. Period. Your Premier dealer can prove it. Make him. Make Colonial history come alive with this Bicentennial celebration. LIBERTY LIVES! A ChAJLdtKLn11 Musical boied on HlitioLLcal ViqnzJUa oi the. 7 3 Colonies BY JEAN LUTTERMAN Historical incidents are the basisfor 17 delightful songs -Captain John Smith; Why Don't You Speak for Yourself, John?; Charter Oak; Smugglers' Woods;peg Leg Pete;An Independent Woman; Indigo; Boston Tea Party;and many more Expandable., QjotVUvacAablo. A simple show for your school a basis for several programs about the colonies; a grand production involving classroom teachers,specialists in MUSIC. ART. VANCE. VUMAorder a set- Teacher's copy, 30 student copies and performance rights for only $24.95. . JKL Music Jft J11601 Milbern Drive Rockville, Md 20854. opportunity to correlate American history with music. In performing its forerunner, To Anacreon in Heav'n, I can demonstrate a clear example of contrafactum (different words for the same melody) while tracing the evolution of the song. The lessons on the national anthem are also a logical introduction to the concept of textual variants that comes up in the unit on folk music that follows. I draw parallels to the Reformation practice of providing sacred vernacular texts to secular melodies or preexisting Latin plainsong, as well as contemporary parodies found in television commercials and the high school “sings” in which students are involved. Variations of The Star-Spangled Banner can be found in recordings by Jose Feliciano and Jimi Hendrix. The Feliciano version, which retains the text while changing the melody, is a soul-folk variant in \ meter. It was released in 1968 as a 45 rpm disc by RCA shortly after his controversial performance preceding a World Series game between the Detroit Tigers and St. Louis Cardinals. Creating a type of ear-training game, I ask students to identify which words Feliciano sings melismatically over his almost metronomic accompaniment on the acoustic guitar. Since his rendition differs significantly from the usual syllabic setting of most patriotic songs and traditional Western European folk material, the exercise is good preparation for later discussions of the melismatic nature of Indian, Near Eastern, and much improvised black music. Jimi Hendrix’ amplified guitar improvisation on The Star-Spangled Banner found in the three-disc Woocfstoc/c album (Cotillion, 500-T85NN) is a dramatic antiwar commentary on the words of the song. It vividly recalls the social protest, the anti-Vietnam War demonstrations, and the mystique surrounding rock festivals that occupied the attention of so many young people just a few years ago. Hendrix exploits the artistic possibilities of the electric guitar and its accessories, transcending the world of rock to emerge with the innovations of electronic music and musique concrete. This topic can be explored in depth later in a unit on avant-garde music. While band and orchestral recordings of the national anthem and paraphrases of the song found in works by Gottschalk, Ives, Verdi, Puccini, and Cole Porter also make interesting topics for discussion, I have left these out of the mini-unit since other activities are more valuable in preparing my students for the rest of the music sur- vey course. Diana Mittler Battipaglia Flushing High School New York City </meta-value>
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