A Lesson Plan from the Chrysler Museum of Art

17th Century Music and Dance

Send questions and comments concerning this lesson to T. Patrick Brennan or Anna Holloway, Chrysler Museum of Art & Historic Houses, Norfolk, VA.

Grade Levels:

3 - 5
(Can be modified for any grade level)

Objectives:

       To teach students American history through hands-on use and demonstration of musical material culture representing early colonial America. This classroom demonstration is interactive and allows the students to observe as well as participate as they learn about the musical history of early Americans. This program teaches critical thinking skills such as observation/inference and comparing/contrasting. The program also requires the student to focus on listening skills. This program dovetails with the third, fourth and fifth grade music and social studies curriculums although it can be modified to meet the needs of any age level. Through this program students will learn skills which will enable them to draw meaning from their 20th century communities through an appreciation of our rich American past.

Standards of Learning:

.
Music
3.12 The student will sing and listen to music from non-Western as well as a variety of Western cultures.
3.14 The student will identify selected orchestral and folk instruments by sight and sound.
3.15 The student will perform simple traditional dances.
4.1 The student will recognize music as an important part of life.
4.14 The student will perform traditional folk and square dances.
5.13 The student will place musical instruments into broad categories of style.
History & Social Science
3.3 The student will describe the settlement of Jamestown and the Virginia colony, with emphasis on economic and other reasons that brought settlers to Virginia, the establishment of representative government, settlers' interactions with American Indians, and the introduction of slavery into Virginia.
4.3 The student will explain the economic, social and political life of the Virginia colony.
4.7 The student will develop historical analysis skills including identifying, analyzing, and making generalizations about the life in Virginia history using primary sources including artifacts, diaries, letters, photographs, art, documents, and newspapers; distinguishing fact from fiction by comparing documentary sources on historical figures and events with fictionalized characters and events.
5.3 The student will describe colonial America, with emphasis on life in the colonies in the 18th century from the perspective of large landowners, farmers, artisans, women and slaves.
5.9 The student will develop skills for historical analysis, including the ability to identify, analyze, and interpret primary sources (artifacts, diaries, letters, photographs, art, documents, and newspapers) and contemporary media (television, movies, and computer information systems) to better understand events and life in United States history to 1877, the trade in slave, tobacco, rum, furs, and gold economic and cultural transformations.

Planning Suggestions:

      This classroom visit will serve as an introduction to a visit to the Thoroughgood house. This program can function as a pre-visit or as a stand-alone program if a field trip is not possible. While the program is primarily interactive and intended for an ideal audience of 25-30 students, it can also function as a performance and take place in an auditorium for a larger number of students. Be aware that the interactive element is diminished significantly in larger groups. However, both versions of this program adhere closely to the S.O.L.'s identified in this lesson plan.

Format:
1) Introduction(2 minutes)
2) How do we learn about historical music? (10 minutes)
3) Demonstration of dance and instruments   (30 minutes)
4) Review Concepts (3 minutes)
Total Time: 45 minutes

Background:

Preliminary Information:

      A costumed historical outreach tutor will enter the school with instruments and the outreach/tour confirmation letter. The tutor will proceed directly to the office and tell the secretary that they are from the Chrysler Museum's Department of Historic Houses and ask for the teacher whose name is on the confirmation letter. The tutor should remember to sign the volunteer/visitor log and fill out a name tag (if available).

      The tutor will then proceed to the classroom. He or she will greet the teacher and ask him/her where they should set up, and ask what the students are currently studying in social studies or music. The tutor should recheck the tunings on instruments before beginning, and await the teacher's signal to begin.



Procedure:

Introduction:

      The tutor will begin by introducing him/herself and let the students know that he/she is there on behalf of the Chrysler Museum's Department of Historic Houses. The tutor may then ask if any of the students have visited theThoroughgood house (or any of the other historic houses maintained by the museum). If the class is scheduled for a trip to one of the historic houses, the tutor will remind them of their upcoming visit. The tutor may want to briefly review program rules (raise hands, no talking unless asked, etc.) if it seems necessary.

How Do We Learn About Historical Music?

      The tutor will begin by asking the students "How do we learn about people of the past? How do we know what they looked like, what they ate, wore, or listened to? What things do we use to find out this information?" Through inquiry, try to lead the students to the following answers (especially *):

      The tutor will acknowledge all answers and begin the discussion by talking about archaeology (make sure that the students know what an archaeologist does - ask if one of them can explain). The tutor then tells the students about recent archaeological finds at Jamestown that help us know what kinds of instruments were here in colonial Virginia.

Instrument #1: The Jew's Harp

      Dozens of these instruments have been unearthed at Jamestown Island (as well as other sites). The tutor should briefly demonstrate the instrument. Ask the students if they can explain why so many of these small percussion/rhythm instruments were brought across the Atlantic during the 17th century. Through inquiry, try to lead the students to some of the following answers:

      Explain that music and musical instruments were trade items used by Europeans to gain favor with native peoples in North and South America as well as Africa. Jew's harps have been found in many Indian and African sites from this period. Jew's harps have been found in many Indian and African sites from this period. One native leader from South America told the explorer Robert Dudley in 1594 that if Dudley and his men came "by force they should have nothing but blowes, yet if they would bring him hatchets, knives and Jewes-harps, he bid them assure me, he had a Mine of gold, and could refine it, & would trade with me" (from Hakluyt's Voyages, Everyman Edition, vol. 7, p. 168.)

      If anyone inquires about the origin of the name, explain that we don't know exactly where it comes from, but it probably had nothing to do with Jewish people. It either comes from English mispronunciation of the French name for the instrument "Jeu trompe" or from the English word "gewgaw" which means "trifle."

Instrument #2: The Tambourine

      Archaeologists at Jamestown have also unearthed tambourine jingles. Show the students a tambourine and ask them to describe it - what is it made of? (Answer: wood, metal and animal skin.) What part would be easiest for the archaeologists to find after nearly 400 years in the ground? (Answer: the jingles, because the wood and skin would rot away). Why would the early colonists have brought tambourines (or jingles)? Same reasons as the Jew's harp. The tutor may want to ask if the students know what kind of animal skin the English used for their tambourines and drums. Explain that the tambourines and drums would have been made out of goat skin (usually) or cat skin (occasionally). (Students enjoy a good gross-out periodically!)

Instrument#3: Tabor and Pipe

      From archaeology, the tutor then turns to journals, diaries and books. Explain that one of the first Jamestown colonists, William Strachey, kept a record of his adventures in the Virginia colony and published it. From this source (as well as others) we know that early explorers and colonists brought tabors (small drums) and pipes (three-holed fipple flutes) with them. First show the students the pipe and ask if they know what kind of instrument it is? (Answer: a kind of flute - occasionally a student will know the actual name, however. If students answer "recorder," show them a recorder and have them tell you the visual differences between the two.) Explain that with only three holes, the player need only use one hand to play the pipe, leaving the other hand free to play another instrument - usually the tabor. Demonstrate the instruments. Sample tunes include:

      Explain that the pipe and tabor were the traditional accompaniment to a type of English dance called the morris dance. Explain that Sir Humfrey Gilbert, who searched for the North-west passage in 1583, brought a small orchestra anda group of morris dancers with him across the Atlantic "for the solace of our people" and "to win by any faire means possible" the Indians whom he expected to meet. Explain that dance was a form of communication and that it was fairly common for explorers and Indians to entertain one another with dance. Ask the students if they would like to learn an easy morris dance (explain that they do not have to hold hands - ew! Gross!) Explain that these are the only steps left of the dance because no one wrote any other steps down.

      In his 1588 work, Orchesography, Frenchman Thoinot Arbeau relates "at supper time in good society, I have seen a daubed and blackened little boy, his forehead bound with a white or yellow scarf, who, with bells on his legs, danced the Morisques and, walking the length of the room, made a kind of passage." Arbeau goes on to caution his readers that "experience has shown that sooner or later you acquire the gout and similar illnesses from dancing the morris too much." The steps are as follows: Left Right Left Right HOP (both feet together). Once the students have mastered this, accompany them with the tabor and pipe - Les Bouffons. Afterwards, explain that there were many other types of dances that the English settlers would have enjoyed, but this is one of the earliest dances brought to North America. The tutor may wish to describe a typical morris dancer - bells on his legs, ribbons, rings, and scarves hanging from his sleeves.

      At this point, the tutor should ask the children how he or she knew what tunes to play. How do we know what music was being played in the 17th century? Typical answers are:

      Explain to the children that people published music books or sheet music a long time ago just as we do today. We can look in these old collections to find out what notes were played. But how do we know how old the song is? There were no copyright laws back then, so anyone could publish the notes to any song. Just because a tune was published in a particular year does not mean that it first appeared in that year. Tell the students that music historians have to be detectives to figure out what songs were popular at any given time in history. Ask them what sources they might use (this is a tough question - don't expect them to get it):

Instrument #4: Pennywhistle/Recorder

      Whistles and recorders were also mentioned in narratives of early America. Most students will be familiar with these instruments. Use one of them to play the tune Greensleeves, but do not tell the students the name of the song before you play it. After playing the song, ask if anyone has heard it before. Then inquire further if anyone knows the name of the song. If no students can answer the question, feel free to ask the grownups in the room. Explain that this was one of the most popular tunes of the 16th, 17th, 18th, and 19th centuries and that it was "recycled" many times with many different sets of lyrics. The tutor should explain that copyright laws did not exist during colonial times.

      While the legend behind the song attributes its authorship to Henry VIII, it did not appear in print until 1580. Here are a few of the titles the song had during the 16th and 17th centuries. It went through dozens more in the 18th century before becoming the well-known Christmas Carol "What Child is This?" in the 19th century.

      Ask if the students know of any famous playwrights who lived in the 17th century. Without exception someone will answer "Shakespeare." Explain that Shakespeare liked to mention popular songs in his plays. In the play The Merry Wives of Windsor (V.v.), the character Falstaff says "Let the sky rain potatoes; let it thunder to the tune of Green Sleeves..."

      From "Greensleeves," move on to a less well known tune - but one that was just as popular in its day - Fortune My Foe. This was a sad, melancholy song that was played for executions, funerals and farewells, and like "Greensleeves," was recycled again and again over the course of three centuries. Play this tune on the next instrument.

Instrument # 5 - The Harp

      Another popular instrument of early modern times was the harp. Harps date back to ancient times and drawings of them have been found from as far back as 3000 B.C. in Egypt and Mesopotamia! Harps were widely played in the British Isles as well as in America during the 17th century by all levels of society ( in Ireland many harpists were blind and this was a way that they could make a living despite their disability). Point out that Harps became a very popular instrument for young ladies in America to play and mention the harp at the Moses Myers house.

Instrument # 6 - The Bones

      Point out to the students that people from England were not the only ones to come across the Atlantic to America in the 17th century. Ask them if they can name another group of people who came here. Lead them to the notion of forced African migration. Ask them if the people from Africa brought their culture with them. Were they able to pack bags before they were taken away from their homes? How did they bring music and musical instruments with them? Answer - in their memories, and from these memories they were able to reconstruct instruments from materials they found here. One instrument that was popular in Africa (as well as in England) was the Bones. Made from animal rib bones or similarly curved pieces of wood, the bones were a complex percussion instrument made out of very simple materials. Ask the students to guess how they would be played. After they have guessed, demonstrate the bones.

Instrument # 7 - The Kalimba

      Another instrument that was played by African slaves was the Kalimba (also known as a thumb piano or mbira). Again, this could have been constructed out of materials found here in America. Some had wooden bodies, others had gourd bodies. Offer to play the kalimba - but point out that there are no 17th century African or slaves songs in existence any more. Ask the students if they know why. Answer - most West African cultures were oral cultures, not written ones, so songs and stories were passed down from the old to the young. Offer to play a simple tune that they all know (for example Twinkle, Twinkle Little Star, Mary Had a Little Lamb, etc.) So they can hear what the instrument sounds like.

      Following these demonstrations, the program can progress in a number of directions, at the discretion of the tutor. Here are a few suggestions for interactive elements of the program based on class interest and class size.

Interactive Element A - Hands-on Instruments

- class size up to 30 students

      Following the demonstrations, the tutor may wish to have the students try their hands at some of the instruments. The easiest way to do this is to pass out a variety of percussion instruments (tambourines, finger cymbals, bones, etc.) and play a tune while the children play along. Once one group of students has played, have them pass along the instruments to the next group. If the group is small enough, the tutor may allow the students to try the harp one at a time.

Interactive Element B - Dancing

- class size up to 30 students

      With the help of a tape player, the tutor may engage the students in a more elaborate dance. First the tutor should explain the steps and have the students try them. When the students feel comfortable, the tutor may begin the tape and lead the students through the dance. An easy dance for them to learn is Gathering Peascods. (A circle Dance for as many as will). The students will need to be divided into Ones and Twos, but otherwise, this does not have to be a couples dance. The first part of the dance will be sufficient to give them an idea of what colonial dancing was like. This also gives the tutor the opportunity to teach the students their courtesies (bows for the men, curtseys for the women).

First Verse

Chorus

Interactive Element C - Singing

- class of any size

      For larger groups, the tutor may wish to teach the students a song - preferably one with an easy-to-remember chorus. "The Rattlin' Bog" is an appropriate song for this section. It is a cumulative song (much like "The Twelve Days of Christmas") and illustrates the use of song to develop good memories.

The Rattlin' Bog
Chorus:
Hi-ho the rattlin' bog and the bog down in the valley-o
Hi-ho the rattlin' bog and the bog down in the valley-o!

Verse

And in that bog there was a tree
A rare tree, and a rattlin' tree
And the tree in the bog and the bog down in the valley-o

Chorus

(repeat after every verse)

Verse

And on that tree there was a limb
A rare limb, and a rattlin' limb
And the limb on the tree
And the tree in the bog
And the bog down in the valley-o!

And on that limb there was a bough...
And on that bough there was a branch...
And on that branch there was a twig...
And on that twig there was a nest...
And in that nest there was an egg...
And in that egg there was a bird...
And on that bird there was a wing...
And on that wing there was a flea...
Etc....

(See The Revels: A Garland of Song for music or other song ideas)
      Any song of this nature would be appropriate. If possible, have the students clap or snap their fingers along in time.

REVIEW CONCEPTS

      Review the instruments briefly by holding them up and asking the students to name them. Remind them that they have heard a small sampling of the popular music or the "rock and roll" music of the 17th century. If time permits, allow the students to ask questions. Thank the class again for inviting you. The tutor should always remember to sign out at the office.

Extensions:

1) Additional illustration could be provided through various recordings of music of the period.
2) Students could learn how to play simple period instruments such as the pennywhistle, recorder, or jawharp.
3) Students could research period instruments/songs/dances for in-class oral presentations.
4) Students could attend area cultural events featuring period entertainments.
5) Students could volunteer at area historical sites and present period entertainments to the public.


Assessment:

      There should be a review session at the end of the program to help students retain this material. For elementary school students this could simply be a review of the instruments by name. The tutor could hold up the instrument and have the students identify it by sight, or play a few notes on it without the students being able to see it and have them identify it by its sound. For middle school and high school students, the review should be more abstract. Students could be tested on their historical knowledge of the instruments based on the information given to them in the program. Again, the tutor can test the students orally, or this can take the form of a written review.

Web Sites:

Society for Seventeenth Century Music: http://www.sscm.harvard.edu/sscm/welcome.html
Renaissance Consort: http://www.hike.te.chiba-u.ac.jp/cons1
American Musicological Society:
http://musdra.ucdavis.edu/Documents/AMS/musicology_www.html
Revels, Inc.: http://www.revels.org/index.html



Contact persons:
T. Patrick Brennan, Director of Historic Houses;
Anna Gibson Holloway, Education Specialist
The Chrysler Museum of Art
Department of Education and Public Programs
245 West Olney Road
Norfolk, VA 23510-1587
(757) 664- 6239
E-MAIL: tpbrenna@whro.org or aholloway@widomaker.com

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