Educación con Música, teaching classroom subjects with musical methods Vol7

Cantos Para Todos Volume VII

Educación con Música

EDUCACIONCON MUSICAteaching classroom subjectswith musical methods

FAVORITES FROM CANTOS PARA TODOS

LANGUAGE ARTSSPEAKINGLISTENINGWRITINGREADINGTHE ARTSDANCEARTMUSICSCIENCES

SOCIAL STUDIESMATHSCIENCEHEALTH

Original songs in Spanishfor bilingual education

CANTOS PARA TODOS VOLUME SEVEN2nd printing, January, 1996

©1996 CANTOS PARA TODOS, SILVER CITY, NEW MEXICOMariana Murguía-Ferrer, Dan Gómez, Roy E. Howard



EDUCACION CON MUSICAteaching classroom subjects with musical methods

©1996 CANTOS PARA TODOS, SILVER CITY, NEW MEXICOMariana Murguía-Ferrer, Dan Gómez, Roy E. Howard

LANGUAGE ARTSSPEAKING

OYE PRIMO PANCHO CLOS"Pancho Clos"Holiday TraditionsTROUBLE

LISTENINGMOLE, MOLECORRIDO DE DOS MUJERES

WRITINGCADA LETRADía de la Raza"Cristóbal Colón"MOCCASIN SQUAW DANCE SONG

READINGEL CORRIDO DE PUEBLALA CHINA POBLANA

THE ARTSDANCE

BAILE CHINA POBLANAARTESANIA POBLANA

ARTMADERA DE MICHOACANEL VIDRIO SOPLADO

MUSIC"How Music Was Made"FLORECITAS DE CALENDULASEPTIEMBRE

SCIENCESHISTORY

EL CANON DE GONZALESCORRIDO AL CURAIndependencia“El Maestro Viejo”

SOCIAL STUDIESVIVA EL NORTELA YUNTA

MATHLOS ORDINALESCONTAR DE DIEZ EN DIEZ

SCIENCELA COSECHAXOCHIMILCO CELEBRAThe Cycle of Life“El Hombre, el Muchacho, y el Burro”

HEALTH¿QUIEN ERES?DIVERSION FAMILIAR



LANGUAGEWITH MUSIC

teaching classroom subjectswith musical methods

Notes for the Teacher

by Roy E. HowardM.A. Multicultural Education, M.A. Music Education,

Ph.D. Bilingual Education

Acquisition of receptive and productivelanguage is essential for every student. Eachshould have every opportunity to grow everyyear in school in one or more languages, bothoral and written. Since every student has adifferent learning style, a variety of strategiesshould be available to the teacher for teachingthe art of language. One of the most viable,versatile strategies involves teaching with music.This particular book also advocates the develop-ment of a student's first language and culture as ameans of encouraging enthusiastic participationand academic empowerment. The Spanish ideascan also be used for learners of Spanish as aforeign or second language, as well as thosestudying Spanish as a foundation of their ownheritage. The musical ideas can be used in anysubject and any language.

Musicians sometimes cringe when thevalue of the arts is justified by saying theysupport some other area. There is no doubt thatmusic should be taught for its own sake. How-ever, given children's natural abilities and inter-ests in music, it also can be a natural springboardfrom which other areas may be pursued, that is,teaching classroom subjects with musical meth-ods. Students fortunate to be in a school thatprovides special music instruction will also belikely to do better in many subjects.

Researchers and practitioners find thatstudents can adapt skills and attitudes frommusic and fine arts instruction to the benefit ofother school subjects, especially the languagearts. The study of music and the arts develops a

part of the brain and the soul that contributes tothe whole man. Classroom teachers can usemusical methods to support virtually everycontent area in the curriculum.

The examples are our original songs,written especially for the purposes mentioned.The styles of composition and performance areintended to model those of Mexican and Mexi-can American music. Teachers are encouragedto select music, art, drama, and all the arts andlanguages that may be accessible to them. Stu-dents should have the opportunity to learn withaesthetic approaches such as these, and with themost authentic cultural styles possible.

The ideas in this little booklet are pre-sented to encourage teachers to use music,languages, and all the arts to support virtuallyevery conceivable strand and objective in thecurriculum and to expand each student's abilityto appreciate the greater world.

STANDARDS FORMUSIC EDUCATION

Many teachers today are required toteach music in addition to many other subjects,without the assistance of a curriculum specialist.Standards extracted from National Standards forMusic Education (draft, Music Educators Na-tional Conference MENC), "Soundpost", Vol. 9.No. 3, January 1993, pp. 20-29) are given toguide teachers in selecting musical goals for theenclosed activities.

RATIONALE FOR SPANISHIN SECOND LANGUAGEEDUCATION

Skills learned in one language form afoundational "common underlying proficiency"that enables student to be more successful insubsequent languages. Time spent in firstlanguage development for minority studentsserves to empower them academically andcontributes to increased success in the schoollanguage. The integrated, interdisciplinaryapproach to education implied in this volume ishighly recommended for second language


Educación con Músicalearners because it allows students to connectnew knowledge to those constructs alreadyestablished within them.

RATIONALE FOR MUSIC AND THEARTS IN BILINGUAL EDUCATION

"The United States is a culturally diversenation, and its arts education should reflect ourculturally diverse society. Children should befamiliar with their own ethnic heritage and withthe arts of the many ethnic groups represented inour culture. The teaching materials selected foruse in the classroom should consistently andsystematically include a balance of diverseperiods, styles, forms and cultures. The visualand performing arts allow us insight into thethoughts and feelings of those who have pre-ceded us, providing invaluable windows throughwhich to understand the many cultures that haveand do exist in our own nation and throughoutthe world." (MENC, 1993)

A WORD ABOUT THE ILLUSTRATIONSProfesora Mariana Murguía de Ferrer, of

the Universidad Nacional Autónoma de Méxicohas assembled at team of artesanos who producea variety of decoratives under the companyname, Adornos Mariana. These materials in-clude banners, garlands and strings of cut paper(papel picado). Orders may be placed in theU.S. through Cantos Para Todos, Inc. ProfesoraMurguía-Ferrer, an anthropologist with expertisein Mexican and Mexican American cultures,gives dynamic workshops to teachers on theintegration on culture, history, and the arts.

A WORD ABOUT THE RECORDINGSDaniel P. Gómez, Ph.D. of Texas, who

supervised most of the recordings, also hasdegrees in music and counseling. An expert indrug education, he also has performed Mexicanand other styles of music for many years. Aretired Air Force officer, he is an inspiringpresenter able to integrate accurate informationon important social issues in an entertainingmusical style.

COPLAS, POESIA, Y REFRANESPOPULARES Y TRADICIONALES

We have included in this volume a fewtraditional Mexican verses for your use in lan-guage development activities. We encourageyou to search out other similar examples of highquality, motivational stories, songs, and poetry tosupport all areas of your curriculum. We con-gratulate you on your interest in Mexico, andrecommend that you involve your students instudies about many cultures.

Cuentos EncadenadosChained Bilingual Stories

Story telling may be one of the mostancient of arts. However, since the invention ofthe printing press, the art has been generally lostas a common activity of every family and group.Now it seems to hove been relegated, along withmusic, and the visual and kinesthetic arts, to therealms of the elite. Now we pay to hear storytellers in theaters and on the television, but rarelyteach it in the schools or model it in the homes.The story teller must become released from theprison of the print and make the tale come alivethrough the most natural of speech, as well asappropriate vocal inflections, and even facilaexpressions. The story teller must adapt everytelling to the listeners. Be aware of what theyknow about the subject, and the language of thetale. Use props and physical enactments toenhance the meaning. meaning is personal toevery listerner, so the story teller mustaccomodate every different understanding.

The cuentos encadenandos that follow donot represent the exact way that these storiesshould be told to every audience, or to everybilingual audience. They are presented asexamples of what can be done to communicatewith a group containing monolinguals of bothlanguages.

That said, I must add the disclaimerbefore continuing the explanation. The researchon bilingual pedagogy suggests that if you wantthe students to learn Spanish, you speak Spanishin comprehensible context. If you want them to



learn English, couch the English in situationsthat are meaningful. If you say everything inboth languages, they will listen for the one theyknow, and not learn the other. CuentosEncadenados is a special story telling techniquefor one time presentations in which the content,not language development, is the purpose.A concept is presented in one language, andwithout repeating the whole story over, theconcept is picked up by the next language, andthe story continues. Before telling I say, "listento this story, but don’t worry if you do notunderstand every word. I promise, you will beable to follow the story line."

LANGUAGE ARTSAll knowledge about a piece (whether a

song, a work of art, literature, or expository text)and its setting prepare a student to comprehendand appreciate it at deeper levels. All literacy isenhanced by attention to developing a schemathat includes appropriate experiences, knowledgeand attitudes. Each word and concept in a textcarries for each person a unique semantic scriptbased on personal experiential, cognitive, andaffective components. Each effort by the teacherto prepare students with the skills, knowledgeand attitudes prerequisite to understanding, willbe greatly rewarded by increased interest andcomprehension by the students. Skills of listen-ing and analyzing music do transfer to listeningand analyzing literature and the other arts andsciences.

Perception and Analysis (MENC)Grades K-4. Skills in listening to and

analyzing music are essential to enhancechildren's musical knowledge and to increasetheir personal enjoyment of music.

Grades 5-8. The ability of music to playa major role in students' lives depends largely onthe level of listening skills they have achieved,on the analytical skills they have developed, andon their ability to use musical notation to recordand communicate musical ideas.

Grades 9-12. The ability to listen tomusic and to perceive what is heard is essentialto participate in one's musical culture. A knowl-edge of music notation is necessary to learn newmusic independently. Students can understandmusic better if they are able to analyze it.

SPEAKING

Singing and discussing, the studentspractice the oral arts in a musical environment.Inviting the students to speak about commonexperiences is also the first step to a "languageexperience" approach to reading. Their languagecan also be put into a rhythmic setting that lendto choral speaking, rapping, or dramatic reading.Rhythmic, choral, and dramatic language canhelp produce results in oral language develop-ment. Language expression, language, styles ofspeaking, speaking for communication, speakingfor enjoyment of listening:

discuss differences, plays andmusicals, discuss affective aspects, stimulatespeech, rhythm and speech, coordinate verbaland non-verbal aspects of communication,flexibility, fluency, sound poems, responsorialsinging, creative songs, question and answersongs, dialogue songs, role playing, reading thelyrics, etc.

OYE PRIMO PANCHO CLOS

This rap style song celebratesvalues of self sacrifice and compassion in thecontext of a fun concept: the South Pole cousinof Santa Claus: Pancho Clos. The code-switch-ing represented here is common to the speech ofmany Mexican Americans and those that livewith them. Although most of our efforts ineducation promote standard English or standardSpanish, we build from what they know andenjoy by demonstrating that we value and appre-ciate regional variety.

Oye Primo Pancho ClosRoy Howard


Educación con MúsicaOye primo Pancho Clos,

Oyeme because:Hay un niño who's so poor,

can't shop in a store.Little thing I ask you Pancho,nothing alto, nothing ancho.

Oye primo Pancho Clos,Oyeme because:

El merece Christmas joy,como cualquier boy.

Pero él no tiene father.Pués, si no es una bother;For me nothing yo te pido,

bring him this que he tenido.Oye primo Pancho Clos,Oye primo Pancho Clos.

Oye primo Pancho Clos,Oyeme because:

He'll be happy si yo doyeven just a toy.

So I looked for a poquitoand I picked mi favorito.

Though I'll miss it, I'm not sad,si tiene gozo, I'll be glad.Oye primo Pancho Clos,Oye primo Pancho Clos.

Holday TraditionsPeople all over the world celebrate the winterseason with special events to remember ourtraditions, our families and community, and togive gratitude for another good year of life.

ThanksgivingAdventSt. Andrew’s Day (Nov. 30)St. Nicholas’ Day (Dec. 6)Human Rights Day (Dec. 10)Hanukah - November or DecembeerBill of Rights Day (Dec. 15)ChristmasNew Year

La Piñata

The clay pot decorated with 7 points representsthe seven cardinal sins. The blindfolded childwith the stick represents mankind’s efforts toovercome evil. the breaking of the pot representsvictory. The gathering of the candy, fruit, andgifts that fall from the pot represent the celebra-tion of good over evil.

Baile de Piñata

Tanto bailé con la moza del curatanto bailé que me dió calentura.

Tanto bailé con lamoza del juez

Tanto bailé queme duelen los ___

Tanto bailé conesa Angelina

tanto bailé que____ ____ ______

En DiciembreRoy Howard

En diciembre yo me siento muy especial.

Estación de mucha fiestasensacional.

Los amigos, y familia,dicen, “¿qué tal?”

En diciembre, yo me sientomuy especial.

Cuento Encadenado

Pancho ClosAs an alternative to the commercialism

of Santa Claus, Pancho Clos has evolved in somecommunities as a black bearded man wearing asarape, riding a cart pulled by burros. The South



Pole cousin of Santa Claus, he does not bringgifts other than candy, instead he helps thechildren do things for others.

Of course, you know how the first SantaClaus died in that chimney accident; and theyburied him on Christmas Island...that’s over byEaster Island, where they buried the first EasterBunny.

Pues, no importa que se murió, porquédejó dos hijos, Santa Claus Number One, andSanta Claus Number Two. What a terrible thingto call your sons, Number One and NumberTwo. Imagínese como se portaba el NúmeroUno con el Número Dos: “Hey, Number Two!It snowed last night. Get a shovel and clean itup! Hey, Number Two! Look what thosereindeer did. Get a shovel and clean it up! Hey,Number Two! It’s almost Christmas. Wrapthose packages!

Te gusta que le hablen así? No, ¿verdad?You don’t like it when someone talks to you likethat, and neither did Number Two, so one day hegot mad and headed South. Pues, si vives en elPolo del Norte, se tiene que ir al sur.

He just kept going and going until heended up in the South Pole. ¡Qué dificultad! Nihablaba español. Do you know why he stayed atthe South Pole long enough to learn Spanish?He met Blanca Nieves. So Santa Claus NumberTwo and Snow White got married and livedhappily ever after...except for one thing. Elsiempre se quejaba de su hermano, y ella leregañaba para visitarlo. How would you like it ifyour spouse told you every day: "y ése, ¿porquéno te vayas a hablar con tu hermano?" Youwouldn’t like that, would you?So, one day, no aguantó más, y se fué para elnorte. But, what he did not know, was that sameday, he brother was headed south to see him. Ely su hermano se encontraron el el aire arriba deSan Franciso. But what they did not know, wasthat it was the very day that Apollo lucky num-ber 13 was returning from outer space...y, ¡zas!Por supuesto, usted nunca oyó de esto. I mean,what is NASA going to say: “Today we wouldlike to announce that we have killed Santa

Claus”. No, no, no, you never heard anythinglike that, ¿verdad? NASA no va a decir esto.Pues no le hace, porque los dos dejaron hijos.The son of Santa Claus Number One still lives atthe North Pole and wears a red furry cap, and bigblack boots, and travels around the world in asleigh pulled by reindeer. Usted le ha oído decir,"ho, ho, ho."

But do you know what Blanca Nievescalled her son? Panchito. Even today, PanchoClos visits children around the world. PeroPancho Clos es diferente que Santa Claus. Youknow how Santa Claus makes the childrenwonder what they are going to get for Christ-mas? Pancho Clos no les da sueños de recibirregalos, sino de dar regalos. Pancho says, “whatdid you give for Christmas?”

So this year, listen to Pancho Clos and benice. Hay que pensar en otros más que en simismo.For more information about Pancho Clos and other Decembertraditions around the world, see Cantos Para Todos, Vol. IX,Diciembre Mundial.

TROUBLEThis rap song teaches strategies

for overcoming temptation. Ask: "What is that,and why for me"? If the answer is that it will getyou into trouble, then find something better todo. The style of this song models speech, in-cluding the use of contractions and regionalisms.Both the English and the code switching versionsare given. You are encouraged to develop yourown versions as may be appropriate to what youare studying.

Tr oubleRoy Howard

A man came up to me and said,"See what I have here.

This will help you solve your problems,make your path more clear.

All you have to do, my friend,is try it just one time.

Ain't no harm in doing this,my friend, it's not a crime."



I listened to the man and thena thought occurred to me:

What is this, and why for me?That's trouble, cant' you see?If I do that, I won't be happy,

not for very long.I can find another way

that does not seem so wrong.

What, what, what?Why, why, why?

Trouble, trouble, trouble, trouble,If I do it, if I do it,

There's another way,there's another way.

I asked him, what is that?and he said, "you don't want to know"

I asked him why for me?and he said, "Hey, I've got to go".

Questions only caused him trouble,so with that I knew

Nothing that he said to mewas ever even true!

I listened to the manand then a thought occurred to me:

What is this, and why for me?That's trouble, can't you see?If I do that, I won't be happy

not for very long.I can find another way

that does not seem so wrong.


Trouble, trouble, trouble, trouble:If I do it, if I do it.

There's another way, there's another way.

Tr oubleRoy E. Howard

(Code switching version)

Me dijo un hombre en la calle,"See what I have here.

Esto le resuelve todo,makes your path more clear.All you have to do amigo:

try it una vez.Ain't no harm in doing this,

amigo, it's the best!"

Y escuché al hombre,then a thought se me occurrió:What is this, and why for me?That's trouble, can't you see?

Si yo lo hago, no estoy happy,not for very long.

I can find otro caminoque no es so wrong.


Trouble, trouble, trouble, trouble,If I do it, if I do it,

There's another way,there's another way.

I asked him, what is that?me dijo, "no quieres saber"I asked him why for me?

me dijo, "Oye, ya me voy".Questions only caused him trouble,

por eso yo vi¡Nada de lo que me dijo

era la verdad!

Yo escuché al hombre,then a thought se me ocurrió:What is this, and why for me?That's trouble, can't you see?Si yo lo hago, no estoy happy

not for very long.I can find otro caminoque no es so wrong.


Trouble, trouble, trouble, trouble:If I do it, if I do it.

There's another way, there's another way.



COPLAS POPULARES

Paloma blanca, piquito de oroQue con tus alas volando vas,

Pasas los montes, pasas los rios,Pasas las olas del ancho mar.***********************

Voy a casar mi gallinaCon un gallo copetón

Para que salgan los pollosCon chaqueta y pantalón.*******************

Si buscas al tecolote,En el monte lo has de hallar,

Al peso de media nocheEmpieza a cucuruquear.

******************El piojo y la pulga se van a casar,

no se hacen las bodas por falta de pan.responde una hormiga desde su hormigal:

Que se hagan las bodas, que yo daré el pan.¡Albricias, albricias, ya el pan lo tenemos!

Pero ahora el vino, ¿dónde lo tenemos?Respondió un mosquito de lo alto de un pino:Que se hagan las bodas, que yo daré el vino.

¡Albricias, albricias, ya vino tenemos!Pero ahora quien toque, ¿dónde lo hallaremos?

Respondió la araña desde su arañal:Que se hagan las bodas, que yo iré a tocar.

LISTENINGListening to lyrics and the various as-

pects of the music and its performance, studentspractice the many skills of listening, includingauditory perception (detect minor changes involume and pitch of musical sounds or speechsounds), auditory discrimination (notice differ-ences between musical sounds or betweenphonemes), auditory memory (recognize andrecall musical notes/phrases or verbal phonemes/phoneme sequences such as rhyming words,alliteration, etc.), auditory association (of soundsto what produced them in music or sounds with

letters in reading), auditory blending (sequencesof notes create musical phrases, sequences ofphonemes create words and sentences), listeningfor understanding and action, listening forcritical analysis and discussion:

listen for main idea or detail,distinguish opera from operetta, listen formelody, rhythm, harmony, voices, instruments,read poems to musical background, play musicto set mood, create imagery, listen for interpreta-tion, high-low, same-different, fast-slow, up-down, etc.

MOLE, MOLE

Students can use songs such as this oneto practice listening for details: what foods didyou hear mentioned? Teachers may sing thisand substitute other items, or recipes for othertypes of foods. The style of the music isranchera norteña.

MOLE, MOLE

Dan Gómez© 1990, Cantos Para Todos

Mole, mole, mole con chileEnchiladas que saben ricas

Chiles anchos, cebolla grandeSi no te cuidas, sí que te picas.

Mole, mole, mole poblanoQue aromas, pavo, gallina.Cocinero, tráigame prontoMole poblano, comida fina.

CORRIDO DE DOSMUJERES

This song raises issues about patriotism,choices, consequences, women as heroines, andrefers to historical facts that are significant tomany of the current states of the U.S. By way ofthe revolution that began on September 16, 1810,many of the states that are now part of the U.S,


Educación con Músicafirst started their progress towards independencefrom european control. Students who learn tolisten and ponder the ideas presented in songslike this, will have fertile ground for manydiscussions.

CORRIDO DE DOS MUJERES


Este corrido que voy a cantares homenaje a dos mujeres

Al lado de insurgentestambién al lado de la gente.Canto a Leona y a Josefa.¡Ay, que valientes seres!

Leona Vicario a ls causa ayudócon su dinero y su vida.Aunque fue encarcelada,detenerla no pudieron.

Les daba auxilio a rebeldes,aunque fue perseguida.

Otra mujer que mostró su valor:Josefa Ortiz de Domínguez.Criolla de padres españoles,

su vida fue mexicana.Protegía al movimiento

y combatía las desigualdades.

Esta bravura no se ha de encontrarcomo de Leona y Josefa.Este mes de septiembrey por la independencia.Heroínas mexicanas,

¡qué vivan para siempre!

REFRANES POPULARES

En casa del jaboneroel que no cae resbala.

¡Qué más quiere el sapoque lo echen al agua!

Algún día será veranoy amanecerá más temprano.

El que tiene tienda que la atienda;y si no, que la venda.

Con el tiempo maduran las uvas.

WRITINGWhether writing music or writing about

music, students will enjoy writing in the musicalenvironment. Musical experiences promote eye-motor coordination, form constancy, figureground:

write to or about musicians, writesongs, change words or verses to songs, writestories about songs, write stories in response tomusic listening, write musical drama, TV shows,commercials, handwriting exercises related tomusic such as title or lyric copying, spelling,alphabet, etc.

CADA LETRA

Whether teaching children initial literacy,or teaching youth or adults Spanish as a foreignlanguage, this song is useful. Those who canwrite enjoy learning the song, and then practic-ing listening and writing letters called out by theteacher that spell words they know. Those whoare first learning the alphabet may point to theletters as they listen to the song. They will beginto sing as they gain confidence in what theyhear. As they point and sing, they associate thesound with the symbol. As they use the letters toform known words, the association becomes apart of their accessible language. Since Spanishis more of a phonetic language than English,many didactics recommend emphasizing atten-tion to the sounds of the letters (in words, morethan in isolation) as part of the total approach toinitial literacy. Notice that the syllabic represen-tation of each letter is also given in the textwritten under the music. This is of help to



students of Spanish as a foreign language,because the pronunciation of the alphabet ismore readily apparent. It is also useful to theinitial reader, because the letters can be placedinto syllables and words quickly: Oye, Pepe,vente para aca; which places simple combina-tions of vowels and consonants into strings ofphonemes that are quickly readable and easilyunderstood. The more context, the quicker theunderstanding, and the sooner the reading task ismastered.

In 1994 the standard for Spanishchanged. The letters ch and ll have been re-placed by c, h, and l, l. Check with the stan-dards in your community as to the options for theletters ch, and ll.

CADA LETRA

Roy Howard© 1990, Cantos Para Todos

A, B, C, Ch, D,E, F, G, H, I,J, K, L, Ll,

M, N, Ñ, O, P,Q, R, Rr, S,

T, U, V,W, X, Y, Z

Yo conozco cada letra.

a, be, ce, che, de,e, efe, ge, hache, i,jota, ka, ele, elle,

eme, ene, eñe, o, pe,qu, ere, erre, ese,

te, u, ve,doble u, equis, y griega, zeta,

Yo conozco cada letra.

CRISTOBAL COLONThe song suggested a story to our minds.

We have attached an example of how we elabo-rate a song by writing a narrative to go with it.Clearly, your class could recite, sing, act out ordramatize a song that has a theme or content thatmeets your needs. Encourage creative writingaround the subject of a song! Use theonomatopoetic approach to learning the vowelson the theme of this song too:

Capitán Cristóbal Colón por fin sentía que seacercaba a tierra por lo que vió y oyó. Primero,vió volar unos pájaros negros , que cantaban:¡ca, ca!

"Ah, yo oigo 'ca'".El exclamó: ¡eh, eh! ese es señal que nosacercamos a la tierra, ¿eh?

"¿Eh? yo ya llegué".Y en ese momento los grillos y otros insectoscomenzaban a decir: "¡ih, ih".

"¡Iih, todo yo lo vi"!Todos los hombres en el barco de repentegritaron: ¡oh, oh, oh, nuestro viaje ya se terminó!

"Oh, ya se terminó".Usted no supo como buscaban por ese lugar. ¡Uh, uh, uh, fue un octubre, ya los sabes tú!Ahora cuando yo quiero escribir, es fácil, porqueyo conozco los vocales.

Si es "ah, yo oigo 'ca'"!¿Eh? ¡yo ya llegué"!"¡Iih, todo lo vi"!"¡Oh, se terminó!""Uh, lo sabes tú!"

Día de la Raza12 October 1492The Carib people discover Columbus lost andhungry. They offer him food and water, andinvite him to return. He returns with priests whochange their ideas, merchants who enslave them,and soldiers who impose an alien culture andbegin a new race.

Cristofori ColomboThe son of weavers in Genoa, Cristofori Co-lombo never learned to read, write or speak


Educación con MúsicaItaliano until he was 18 years old. He alwayswould rather travel than weave, so when hebecam educated, he began to sail the Mediterra-nean Sea. He believed there was a better route tothe East, but the Italianos would not help him.He lived in Portugal, but the Portugueses wouldnot help him. Finally, he fell in love in España,learned Español, changed his name to CristóbalColón, got the support of the Queen, and sailedWest to get to the East. The journey was longerthan he expected, and there was another conti-nent in the way. Listen to the CuentoEncadenado, and sing along: “La Pinta, LaNiña, La Santa María...”

Cristobal Colónas told by Roy Howard and Dan Gómez

There was this italiano, y el vato sellamaba Cristofori Colombo. He lived in a townon the coast, trabajando en el negocio de suspadres en Genoa. He was so busy, he nevereven learned to read, write, or speak italianountil he was eighteen years old. ¿Cuántos deustedes ya saben hablar, leer, y escribir italiano?His parents were weaver, pero a él no le gustabatejer. His family were merchants, pero a él no legustaba vender. Quería al mar. He reallywanted to sail!

When he finally learned his secondlanguage, fué a hablar con los italianos, and hetold them in his best italiano: "I think I can get tothe East by sailing to the West" . They were soshocked, que no podían creerlo. Al pensarlobien, they answered him like this: "Whats'amatter you, Cristofori Colombo, you gotespaghetti between your earbones or some-thing?"

Well, Cristofori had to leave town, asíque se fué para el oeste. He sailed and sailedwest until he arrived in Portugal, where helearned his third language, portugués: Bon día,¿cómo vais? Bem, obrigado. Eu nau faloportugués. La razón porque se quedó enportugal long enough to learn portugués, was

because he met a beautiful portuguesa. Leyómuchos libros, and talked to many people, andhe sailed to the north para inglaterra, and hesailed to the south para áfrica, and se fué para elnorte to Greenland, and he sailed and sailed,until something very sad happened: se le murióla señora. Estaba tan triste que se fué para otropaís, españa. Do you know why he stayed inSpain long enough to learn his fourth language?because he met a beautiful española. Ahícambiaron su nombre a Cristóbal Colón.

When he became proficient in his fourthlanguage, he wen to the Reina de España andsaid in his bes español: "O bendita reina detodas la tierras, soberana divina de todos losmares, Ithink I can get to the east by sailing tothe west." She was so shocked at the idea thatshe said: "Qué tiene este señor? ¡Cómo que nosabe de donde viene! ¡Cómo que no sabe adonde va! ¡Cómo que no sabe nada!

Well, since this was his fourth language,y no comprendía español muy bien, he thoughtshe said, ¡Cómo no! and that is how he ended upwith tres caraveles: La Pinta, La Niña, La SantaMaría.

So, they sailed for a long time. It hap-pened something like this:

El navegante, Cristóbal Colónbuscaba, deseaba la ruta del mar.

El navegante, Cristóbal Colónpensaba el mundo, "España" nombrar.

La Pinta, La Niña, La Santa MaríaLa Pinta, La Niña, La Santa MaríaLa Pinta, La Niña, La Santa María

Bella, bella américadoce de octubre, américa.


Well, it was quite an adventure, following in thetradition of Marco Polo:

El aventurero, Cristóbal Colóna Marco Polo trataba seguir.

El aventurero, Cristóbal Colón,



riquezas, marquezas, el buen porvenir.La Pinta, La Niña, La Santa MaríaLa Pinta, La Niña, La Santa MaríaLa Pinta, La Niña, La Santa María



Well, it was quite a dangerous trip, but he was agreat hero:

El héroe grande, Cristóbal Colón,La Pinta, La Niña, La Santa María;El héroe grande, Cristóbal Colón,naves valientes, una noche fría.




They sailed so long, y tardaban tanto enllegar, que no tenía comida, and not having anyfood they were hungry. They had traveled somany days, that there was no more water, yfaltando de agua tenía sed. They were so disori-ented, they did not know where they were, yandando errantes estaban perdidos.

El navegante, Cristóbal Colón,creía, decía que asia veía.

El navegante, Cristóbal Colón,Islas Caribes, América seguía


Tierra, tierra, grito felizdesde la Pinta un grito feliz:

Tierra, tierra, grito felizdesde la Pinta un grito feliz.

Finally when things were at their worst,the Carib people discovered Columbus. Loscaribes le dieron comida, because not having

food, he was hungry. Los caribes le dieron agua,because not having water, he was thirsty. Loscaribes le dieron amistad, because not knowingwhere he was andaba perdido.

Pero cuando se despidieron de él,cometieron un error que cambió para siempre lavida de ellos. Who knows what they said whenhe left that changed their lives forever, so nowthere are hardly any Carib people left? Theysaid, "Ya'll come back, now". Who knows whythat changed their lives forever? Cambió parasiempre su vida porque sí regresaron, and whenthey came back they brought merchants whoenslaved them, y sufrieron de la esclavitud de losmercaderes. They brought preachers whochanged them, y los ministros no permitían lastradiciones indígenas. And they brought soldierswho killed them if they did not conform, y lossoldados no tuvieron misericordia.

Even today, you must be careful aboutwho you choose for your friends. Si sus"amigos" le invitan a hacer algo que le meterá enproblemas, sugiera otra actividad. You won't getin trouble if you work to do good things withgood friends.

We go on from this start to tell other stories thatare appropriate for the concept. For example, other storiesabout friends, trouble, stranger danger, drugs, geography,agriculture, or any other topic that can be tied to the themeof Cristóbal Colón. We wish you the best in helping yourstudents understand the good and bad that can result fromcross cultural encounters and pray that your students canmake their encounters more positive than what happenedin the 16th Century in the Americas. When the Caribpeople discovered Columbus wandering in the open sea,they rescued him in good faith, but maybe they shouldhave been more alert to the potential dangers by learningmore about him and his people.

La RazaThose who followed him during the next 500years came either to escape the oppresion andpersecution of their homeland, or to further it.Throughout the Americas, the european pilgrimsand pioneers flocked to escape personal povertyand dictatorial governments. Those govern-


Educación con Músicaments followed them, imposing long distancecolonial rule. The people finally rejectedeuropean rule in favor of a national identity ascitizens of one of the several American States.Most liberation movements took place during the19th Century, beginning with the 13 colonies in1776.

FreedomThe quest for freedom takes many forms besides

political•Freedom from Addictions - the new people in

our land had to learn what substances to useor not use.

•Freedom of Worship - there has been a constantstruggle for recognition and tolerance ofdifferences.

•Freedom to pursue happiness - be nice to others

Mocassin Squaw Dance Song(Navajo)

Ya hei ya hei yo ii yaYa hei ya hei yo ii yaYa hei ya hei yo ii ya

Ya hei ya hei yo ii yaanghahei yei yaangha.

Dii la sha’astiin at’énei ya haagha,

Nizhónigo shikee’ sha’iil inigoBee na shahiya

Ya hei ya hei yo ii yaanghaHei yei, yaangha.

yá’át’ééh greeting: it is wellaoo’, yá’át’ééh response: yes, it iswell

READINGMuch of the literature mentions the direct

support that music gives to reading readiness andspecific reading skills. Visual reception, eye

coordination, left to right orientation, discrimina-tion between graphemes, letter recognition,visual memory (recognize, recall, and producegraphemic sequences (sight words), association,sequence, building schema, vocabulary (recallmeanng and function of words and morphemes),semantics, syntax (understand common sentencepatterns, alterations and expansions), predicting,special uses of words, critical analysis, contex-tual analysis, styles of reading, pre-readingstrategies:

bulletin board, newspaper read-ing, research in library, vocabulary in context,recall, effective vocabulary, songwriting to teachliterature concepts, sing or listen to songs fromthe period or subject of the literature, etc.

EL CORRIDO DE PUEBLAThis story song is in short verses that can

be easily absorbed or discussed before going onto the next when reading aloud. The corridostyle is very structured, with a salutation invitingthe people to pay attention, a series of shortverses, and a conclusion, that in this case is awarning to avoid the same mistakes in the futureby being vigilant for the sake of freedom. Sincefreedom is an issue for all times and places, theCinco de Mayo celebration is as relevant to us inthe U.S. as the freedom fights in Kuwait, Soma-lia, Panamá, Bosnia, Chechnia, or Philadelphiaon the Fourth of July.

EL CORRIDO DE PUEBLA


1. Al público y auditorio que mi canto escucha,Hay que tener en cuenta que sucedió en Puebla:

2. México tenía déudas, debía a tres países.Dos de ellos dieron la prórroga, Francia quería la

guerra.

3. Francia quería imperio, mas inglaterra que no,Y la España sufría que México quedara solo.



4. Pronto la Francia venía mandado porLorences;

Pero encontraron desgracia a manos deZaragosa.

5. México veía la victoria pero a costo profundo.Murieron muchos hombres, héroes de gloria y

progreso.

6. El cinco de mayo probaba que el mexicanoquería

Mas a la patria bendita que a su propia vida.

7. El General Zaragoza mandaba a los soldadosPero también lucharon ciudadanos de Puebla.

8. Nadie quería luchar nadie quería morir;Pero mejor sacrificio que el vivir bajo yugo.

9. Este aviso les dejo ya para despedirme:No hay que creer que la historia no puede volver

a ser.

LA CHINA POBLANAThis song features repetition of phrases

and rhyming which facilitate fluency in readingand the development of sight words. La ChinaPoblana represents the traditional costume of thestate of Puebla. To take full advantage of thelearning potential of this type of song for readingreadiness, also have students repeat the phrasesin a variety of different syntactical forms: LaChina Poblana es una muchacha y una mexicana.Ella es muchacha mexicana. Se viste de faldaprimorosa y vive en una tierra lejana. Ella es elorgullo de Puebla. Su falda tiene adornos comograndes rosas. Ella es joven y hermosa. Es unajoven hermosa. You may also predict otherthings about her life, her dress, her daily habits,based on the students' experience and back-ground. Students may expand into higher think-ing skills by making inferences about Puebla,and creating new poems, songs, dances, cos-tumes, skits or prose based on the ideas stimu-lated by participating in this song.

LA CHINA POBLANA


La China Poblana es una muchachaLa China Poblana toda mexicana

La China Poblana bella con rebozoLa China Poblana de tierra lejana.

La China Poblana orgullo de PueblaLa China Poblana con sus grandes rosas

La China Poblana falda primorosaLa China Poblana jóven tan hermosa.

COPLAS POPULARES

Dicen que no se sienten las despedidasArbol de la esperanza, mantente firme,

Dile al que te lo dijo, cielito lindo,Que no lloren tus ojos, cielito lindo,Que se despida de bien que adora,

Al despedirme, porque si miroY verá si se siente, cielito lindo,

Lágrimas en tus ojos, cielito lindo,Que hasta se llora.No me despido.

THE ARTSThe Nature and Value of the Arts

(MENC)The majority of this volume is designed

to help teachers promote language and contentdevelopment with an aesthetic approach. Thesuccess of this method may be enhanced bygiving attention regularly to specific arts instruc-tion. Each skill developed in the arts will con-tribute to the total development of the student,and through transfer of skills, will also contrib-ute to the other content areas.

Grades K-4. Music is pervasive inAmerican culture, and many of the attitudes andvalues children form about music are acquired inthe early years. A broad variety of musicalexperiences are necessary to give young people


Educación con Músicathe ability to make informed choices and judg-ments concerning the role music will play intheir lives.

Grades 5-8. Students learn to recognizeand pursue quality in their musical experiencesso that those experiences will enrich their lives.The value systems established in the early yearschange relatively little later in life. Judging andvaluing are byproducts of quality music experi-ences rather than outcomes that are taughtdirectly.

Grades 9-12. Not all of the music thatpermeates contemporary life is of equal value.Being a well-educated adult requires the abilityto be a discriminating listener and the ability tomake informed musical judgements.

DANCEMusic always supports dance. Students

should be given the opportunity to dance tomusics of many lands and times as well as beinstructed in the styles of their own time:

creativity, movement, response,coordination, rhythm, balance, ballet, opera,musicals, eurythmics, pantomime, folk dance,modern dance, muscular control, mood interpre-tation, fast movement to drum patterns, etc.

BAILE CHINA POBLANA

The style of music selected, huapango,suggests an enthusiastic, fast moving tropicaldance and costume of the state of Puebla. thecostume today is extremely glamorous withgathered skirt, satin petticoat lining, a red em-broidered baize with gold and silver floralbeading. The blouse is white muslin with crossstitch embroidery or glass beading as decoration.Also worn is a silk belt and satin slippers thatcome to a point. The dancer is further adornedwith coral necklaces, gold earrings, and a shawl.

BAILE CHINA POBLANA

Dan Gómez

© 1990, Cantos Para Todos

Lentejuelas en su falda, diamantitos de colorComo brillantes chispitas, remolino con vigor.Lentejuelas en su falda pies ligeros al bailarEs la Chinita Poblana, señorita luz de cara.

Baile China Poblana, muy mexicana, dueña deamores.

Baile con vuelo viendo de poco celos hasta lasflores.

Y la blusa con sus flores, bellas rosas parabordar

Su rebozo al cintura, yo suspiro sin pensar.A bailar este huapango giro, giro con calor

En el pueblo Huachinango que viva el mejorfandango.

Baile China Poblana, muy mexicana, dueña deamores.

Baile con vuelo viendo da poco celos hasta lasflores.

ARTESANIA POBLANA

This song lends well to active handmotions, or acting out of the dialogue, or a totalphysical response. This type of physical in-volvement while singing promotes understand-ing of the words by the singers and listeners, aswell as an emotional attachment, or lowering ofthe affective filter, that assists language learners.

•María compra lana:reach down as if gathering wool

•la lava en la mañana:move both hands up and down as with a

washboard•y la carda:

scrape the fingers of one hand (the brush)across the palm of the other (the wool card)•y la hila:

rub palms together as if spinning thespindle•y la pinta de colores:



stir the wool with a long stick into a bigpot of boiling dye•con el hilo hace telas de colores que le gustan:

hold up the sarape first on one side, thenthe other•con la lana:

reach down as if gathering wool•que la carda:

scrape the palm•y la hila:

rub palms together•y la pinta:

stir the pot.•Verse with names of clothing items:

hold up drawings or realia•Verse with color names:

hold up something that shows each color.•The colors are named in rainbow order (also ascience concept).

ARTESANIA POBLANA


IntroMaría compra lana y la lava en la mañanay la carda y la hila y la pinta de colores.

Con el hilo hace telas de colores que le gustancon la lana que la carda y la hila y la pinta.

1. Textiles, cesteriía, madera, herreríason artesanías de artesanos poblanosTalabartería, alfarería, pirotécnica

son artesanías poblanas.

Blusas, camisas, fajas, faldas,enredos, bolsitas, rebozos, chales,

Huipiles, quechquémitlcon hilos de colores.

Serapes, cotones, cotorinas,cobijas, pantalones,

y mantas de algodón, lana y cuadrilléLa artesanía poblana.

2. María compra lana y la lava en la mañanay la carda y la hila y la pinta de colores.

Con el hilo hace telas de colores que le gustancon la lana que la carda y la hila y la pinta.

Rojo, anaranjado, amarillo, verde, azulmorado, negro y blanco

con hilos de colores.Rojo, anaranjado, amarillo, verde, azul

morado, negro y blancoLa artesanía poblana.

REFRANES POPULARES

UN JUEGO DIVERTIDO¡Martinejo!Señor viejo.

¿Y las mulas?En el campo.

¿Quién las cuida?El gavilán.

Porque no me diste pan.¿Y el pan que yo te di?

Me lo comí.Más te diera.Más comiera.¿Y el huevito?En su hoyito.

¿Y la sal?

UNA MARCHA AL SALIR LOS FRANCES

En su misimisimo lugar.Ante el fuego ya corren los traidores

Ni vergüenza tuvieron ni fudorTocan ya clarines y tambores

y la gloria y la patria que triunfó.

Ante el fuego ya corren los traidoresque vinieron a darnos la lecciónCoronemos a México de flores

Muera Francia y muera Napoleón.

ARTThe infinite variety of art media and

styles can support music, and music can supportthe learning of art concepts. Consistent with the



styles of music in this volume, the illustrationsare produced by artesanos mexicanos. withpapel picado:

draw (or other media) to music,draw musician or composer being studied, makeposters to announce events, create scrapbooks ofexperiences in the musical theme, etc.

MADERA DE MICHOACAN

This song features a particular art me-dium (wood) and the many items that can bemade from it. Students may desire to experiencecreating with wood, or enjoying wood craftsmade by others.

LA MADERA DE MICHOACAN


Con madera de Michoacán los músicoscantarán.

En Paracho hay guitarras, instrumentos musi-cales

Y juguetes para niños y los marcos para espejos.Con madera de Michoacán son de lujo todos los

muebles.

Con madera de Michoacán los cocineroscocerán.

Eng Guanajuato hay productos pa' cocina, soncucharas

Y hay cajas pa'rebozos y los marcos pa'pinturas.Con madera de Michoacán también se hacen ahí

las máscaras.

EL VIDRIO SOPLADO

This bit of blown glass in the form of agoat is romanticized by the notion than it was agift from a loved one. The various mediums ofart can be taught by reference to songs, as wellas the role of art in our society.

EL VIDRIO SOPLADO

Roy E. Howard, ©1990, Cantos Para Todos

Transparente, ligero, un chivo duradero.Rosado, estirado, el vidrio soplado.

Es mi chivo rosadoEs un chivo amado.Elegante miniaturaBrillante, no oscura.

Es mi chivo amado, no hay otro, es solteroMi amor me lo ha regalado, es un vaso bien

formado.

Es mi chivo rosadoEs un chivo amado.Elegante miniaturaBrillante, no oscura.

REFRANES POPULARES

Naranjas y limas, limas y limonesMás linda es la Virgen que todas las flores.

Salgan para afuera, miren que primores,Verán a la rama cubierta de flores.

Denme aguinaldo si me lo han de dar,Que la noche es larga, tenemos que andar.

Salgan para afuera, miren que bonito;Verán a la rama con sus farolitos.

Ya se va la rama muy agradecidPorque en esta casa fue bien recibida.

Ya se va la rama muy desconsolada,Porque en esta casa no le dieron nada.

MUSICClassroom teachers can conduct many

activities in support of school music objectives.Remember, due to the transfer of skills, timespent in musical and other arts activities is time



well spent in support of the entire curriculum:play instruments, sing, guest

artists, compose, clap rhythms, ethnic styles,listen, read and write musical notation, trace thecontour of the melody, contour a melody fororiginal lyrics, etc.

Creation and Performance (MENC)The songs in this volume are all original

creations, designed around themes for specialpurposes, with styles of the culture being repre-sented. For students to compose in a similar wayis exciting and rewarding for them. To preparethem for creative experiences, they must listen tomany songs in the target style, and be alert to theforms and mediums of performance. Students ofall ages should have opportunities to performvarious styles of music, and to create originalexpressions.

Grades K-4. Children, particularly ingrades K-4, learn by doing. Singing, playinginstruments, moving to music, and composingand improvising music provide them withmusical skills and knowledge obtainable in noother way.

Grades 5-8. Singing and playing instru-ments provides students with satisfying musicalexperiences and important insights into music.The music they perform often becomes animportant part of their personal musical reper-toire. Composing and improvising are funda-mental ways to exercise musical creativity, andthey provide unique insights into the structureand form of music.

Grades 9-12. Through singing andplaying instruments, much of the world's finestmusic is directly accessible for students toexperience. Performance provides a specialunderstanding of music and the culture it repre-sents. Composing and improvising music notonly offer a powerful means of von-verbalexperession, but are extraordinarily challenging,enriching, and self-fulfilling experiences.Althought the advanced level of performaceskills may tend to be achieved only by studentwho elect performance instruction or ensembles,all students are expected to achieve at the profi-

cient level.

“How Music wasMade”

Tezcatlipoca, god of heaven and of thefour quarters of the heavens, came to earth andwas sad. Triste por la quietud de la tierra,Tezcatlipoca, dios de los cielos y las cuatropartes de los cielos llamó por el viento:

“Come, O wind!”“Come, O wind!”“¡Vente, O viento!”“¡Vento, O viento!”

The wind gathered its strength,recorriendo las cuatro partes de la tierra pararecobrar sus fuerzas para subir al cielo. Thewind rose and rose, higher than all things made,y por fin llegó a la casa alta de Tezcatlipoca, diosde los cielos y las cuatro partes de los cielos.There at the feet of Tezcaltlipoca, god of theheaven and the four quarters of the heavens, thewind rested from his endless complaining, yecsuchó a Tezcaltlipoca.

"Wind, the earth is sick from silence.Though we have light, and color and fruit, yetwe have no music. No es suficiente tener luz,color y fruta, el mundo es triste sin la música.Life should be all music! Go to the High Houseof the Sun where the musicians are surroundedby bands of light. Ask them to return to theearth. Mientras el viento recobraba fuerza parasubir al cielo, Padre Sol habló a los músicos.

"Vengan músicos", and the musicians ofthe cradle songs came dressed in white.Mientras esperaban los arrullos vestidos deblanco, el Padre Sol llamó:

"Vengan músicos!" and the musicians ofthe ballads of love and war came dressed in red..Mientras eperaban los corridos vestidos de rojo,



el Padre Sol llamó:

"Vengan músicos!" and the musicans ofdance came dressed in sky blue. Mientraseperaban los bailes vestidos de azul, el Padre Solllamó:

"Vengan músicos!" and the flute playerscame dressed yellow, enjoying gold milled bythe Sun from the peaks of the world. ¡Qué lindoel oro de los flautistas! There were no musiciansthe color of darkness. All shone translucent andhappy, their gaze turned forward.

When the Sun saw the wind approachinghe told his musicians: "When the wind comes,don't say a word, or you will have to go down tothe darkness of the cold, quiet earth!" Losmúsicos dijeron que no dirían nada, porque noquerían volver con el viento al mundo oscuro yquieto.

When the wind arrived, he called themusicians, y el viento dijo así: "¡Vengan,músicos! pero no oyó nada. It was quiet, and hebegan to be angry. "¡Vengan músicos, les llamóel dios de las cuatro partes de la tierra, pero nodijeron nada.

The wind rose in great anger, billowingand blowing, raging and storming, subiendo ensu furiosa ira con nubes que cubrían la faz delsol. La oscuridad y tinieblas solo fue quebradopor espantosos relámpagos y fuertes truenos. Inall that darkness and loud thunder, the musiciansscurried for shelter, right into the arms of thewind.

Bearing all that joy so gently, the windturned toward the earth, careful not to harm thetender melodies. Seguros en los brazos fuertesdel viento, todo ese gozo bajó a la tierra. ¡Ay,qué dicha para la tierra, esperando con brazosabiertos!

The earth reached up her arms to receivethe happy group, who spread out to the four

quarters of the earth.

Así vino la música a la tierra. Life wasall music from that time on.

REFRANES POPULARES

LA DEL SOMBRERO ANCHO(Traditional New Mexico)

Ya no quiero sembrar,ya no quiero sembrar

Ni quiero vivir, ni quiero vivir,ni quiero vivir en rancho

Me quiero civilizar,me quiero civilizar

Con una del som- con una del som-con una del sombrero ancho.

A mi me gusta el pan y quesoQue lo venden en, que lo venden en,

que lo venden en el ranchoPero mas me gusta un beso,pero mas me gusta un beso

Con una del som- con una del som-con una del sombrero ancho.

Toquilla de terciopelo,toquilla de terciopelo

Con los amores, con los amores,con los amores de plata

Cuando yo te pida un beso,cuando yo te pido un beso

No me lo niegues, no me lo niegues,no me lo niegues ingrata.

CORO:¡Ay, qué sonecito! ¡Ay, que por el me muero!¡Ay, y me decía, de aquel sombrero, sombrero!

FLORECITASDE CALENDULA

This especially beautiful romantic balladis characterized by a complex harmonic pattern.The liberal dose of diminished chords, modula-



tions, and suspensions, add to the interest Themelody is mostly scalar in motion, but addsvariety with upward and downward skips ofthirds, fourths and sixths. The introduction(phrase A) is followed by the verse (phrase A').The chorus is a true phrase B, which repeats dasigno to the second verse, A'. The chorus isrepeated to conclude the piece. The sung har-mony in the chorus is characteristically mexican.The aesthetic value of the piece is enhanced bythe beautiful lyrics. Caléndula is a spanish wordfor the Náhuatl word, cempazúchitl or marigold,the brilliant fall flowers used in celebrations ofdía de los muertos. The fragrant petals arescattered on the ground to mark the path for thesouls of the remembered ancestors, so they mayreturn and celebrate with the family.

FLORECITAS DE CALENDULA


Florecitas de caléndula que se ven tan chulasParece que me escuchas, mira que son muchas.

1.Florecitas de caléndula que se ven tan chulas

y aroma tan preciosa, como tu no hay otra cosa.

COROCaléndula, caléndula, flor de maravilla

Caléndula, caléndula, como el sol que brilla.

2.Florecitas de caléndula que se ven tan chulasHonran a familiares, flores muy especiales.

CORO

SEPTIEMBRE

Set to traditional words celebrating theMexican Revolution against Spain, this mariachiarrangement has a simple chord progression.

Excitement is generated by leaps in the melodyand a powerful V7 - I cadence with ascendingmelody to the upper tonic. The phrases areshort, with the verses being phrase A, and thechorus being phrase B. Performance is charac-terized by a moving bass line, a staccato off beatby the vigüela, and a strong, outdoor style ofsinging voice. The trumpets play in duet as inthe central mexican traditional mariachi.

SEPTIEMBRE


COROSeptiembre, septiembre, el mes de la libertad.Septiembre, septiembre, el mes de la libertad.

Ondea feliz y ufana, la enseña tricolorEn este mes dichoso del grande y patrio amor.

CORO

Se honra a nuestra patria con gran solemnidadAl recordar el grito de nuestra libertad.

CORO

COPLAS POPULARES

Ya me voy a despedir del violín y la guitarra;

Si ustedes quieren seguir,aquí dejo mi jarana,

Yo ya me voy a dormir,señores, hasta mañana.

Con esta otra despedidalos voy a desengañar;

¿Qué más quieren que les diga?¿Todavía quieren cantar?

Traigo versos de a montones,como arenas trae el mar.

Todos echan despedida,pero como yo, ninguna:



Una, dos, tres, cuatro, cinco; cinco, cuatro, tres, dos, una;Cuatro por siete veintiocho,tres por siete son veintiuna.

SCIENCESCultural and Historical Context (MENC)Participants in a musical or other artistic

experience may intensify the aesthetic quality ofthe experience the more they know about it;therfore, the arts objectives are enhanced byknowledge of the sciences. The sciences may beenhanced by an aesthetic approach, as an alterna-tive learning style. Just as the producers oftraining films in biology or history will enhancethe presentation with stunning photographs andappropriate background music, the teacher mayuse various media to improve instruction. Sing-ing may sometimes be just the right variationneeded to improve a lesson, especially if thesong covers the topic and is performed in thestyle most representative of the cultural andhistorical context of the concept being taught.

Grades K-4. In our increasingly diverse class-rooms children should learn to know and respect their owncultural heritage and that of others. Such an educationcan build self-esteem, develop positive personal relation-ships with others, and prepare children to live and work incommunities including a variety of cultures. The morechildren learn aobut the music of their heritage and ofother heritages, the more they can share in the culturalriches music provides, and the more they can experiencethe personal satisfaction available through music.

Grades 5-8. The study of music proves a uniqueand valuable insight into the culture or period from whichit has come. As students become familiar with the musicof various cultures and periods, they gain an intimate andvivid acquaintance with those cultures and periods in waysthat cannot be achieved by other means.

Grades 9-12. Every musical work is a product ofits time and place, although those works that continue toappeal to human beings transcend their original settings.Any music can be more fully understood and appreciatedif the student is familiar with the historical, cultural, andaesthetic context in which the work was created.

HISTORY

EL CANON DE GONZALES

This song recounts an episode in Texashistory when the small town of Gonzales wasattacked by Mexican troops in 1863. The resi-dents of Gonzales defended their families andtheir land with a small cannon munted on theback of a cart. As the troops advanced to capturethe TExas town, the brave people of Gonzalesraised their flag and shouted ¡Vengan aagarrarlo¡ (come and get it) as they pointed tothe small cannon.

El Cañón de Gonzales¡Ven a Agarrarlo!

Dan GómezUn día se hizo famoso:soldados, sin generales,

Cerquita de San Antonio,El pueblo de Gonzales.

Un día cien años pasadosTejanos sin libertades

Causada por MexicanosPor todas las ciudades.

Los soldados MexicanosCon armas y con sus riflesConquista no encontraron

El Cañón de Gonzales.

Mujeres y hombres tejanosCon fuerzas y almas reales

Rechazaban mexicanosEl Cañón de Gonzales.

Decían, "¡Ven a agarrarlo!"La bandera de Gonzales.

La gente lo defendíaEl Cañón de Gonzales.

Corrido al Cura DonMiguel Hidalgo y Castilla



The priest Miguel Hidalgo became the"Father of the Country" (Padre de la Patria) bycalling for a fight for independence from Spain.This song honors him for his contributions. Itshould be noted that 1/3 of the states that joinedhim in the revolution are now part of the UnitedStates. Their independence began on the 16th ofSeptember 1810 in Dolores.

Corrido al CuraDon Miguel Hidalgo y Castilla

Roy Howard

Les canto, o pueblo de mi almacon guitarra en la rodilla,

de una madrugada, y del curaDon Miguel Hidalgo y Costilla.

Cuando el señor cura Hidalgocon energía y lealtad

en el pueblo de Doloresproclamó la libertad.

En la parroquía cercanase cernía la oscuridad

pero había luz en las almaspara hacer la libertad.

Reunió allí a los campesinos,le habló de la maldad'de la esclavitud odiosopor falta de libertad.

Los Indios muy pronto vieronla grande necesidad

de pelear contra Castillapor falta de libertad.

Desde entonces se iniciócon toda solemnidad

la lucha que conquistónuestra amada libertad.

O Palomita llevaalabanza y loor

a Miguel Hidalgo y Castillaun hombre de honor.

IndependenciaJuly 4, 1776

Thomas Jefferson and others of the 13 coloniessign the Declaration of Independence, setting a

precedence for the continent.

September 17, 1787The Constitutional Convention presided over byGeorge Washington in Philadelphia concluded

its work on what is now the oldest federal consti-tution in existence.

Sep. 17 is U.S. Citizenship Day. This week isU.S. Constitution Week

September 1810The native born people of our region (Criollos)meet to discuss freedom from Spain. The meet-

ing in the home of Doña Josefa Ortiz deDomínguez by the Españoles (Gachupines).

Doña Josefa sends word to Padre Hidalgo. Herings the bell of the church September 15th.

September 16, 1810The Grito de Dolores sets in motion a revolutionfor freedom of the huge region from Oregón toYucatán. the land where we live now becomes

free so our predecessors can seek their owndestiny. The war ends in 1821. The Constitu-

tion of 1823 forms Mexico.

September 14, 1814The Star Spangled Banner is composed by

Francis Scott Key.

September Independence Dates7 - Brazil, 1822

15 - Costa Rica, 1821; Guatemala, 1821; Hondu-ras, 1838

16 - México, 181018 - Chile, 1818

19 - St. Christopher-Nevis, 198321 - El Salvador, 1821; Belize, 1981

28 - Nicaragua, 1821



July Independence Dates4 - United States, 1776

5 - Venezuela, 18219 - Argentina, 181610 - Bahamas, 197320 - Colombia, 1810

28 - Perú, 1821

May Independence Dates14 - Paraguay

20 - Cuba, 190224 - Ecuador, 182226 - Guyana, 1966

For more on “Independencia”, see Cantos ParaTodos Volume VIII, Mexican Culture.

Cuentos EncadenadosChained Bilingual Stories

“El Maestro Viejo”There was an old man who made his

desires known with just sounds. Cuando elanciano quería expresarse, todos entendían sus

expresiones simples.Cuando él sentía el aire fresco en su cara en un

día muy caliente, él decía, “a”. Can you feel thefresh air? Everyone say, “a”.

Al tomar un vasao de agua cuando tenía sed,decía, “e”. Can you taste the cold water? Every-

one say, “e”.Si un ratón lo asustaba, decía, “i”. That mouse is

scaring you! Everyone say, “i”.Si se pegaba de dolor decía, “o”. Oh, I hurt my

toe! Everyone say, “o”.Si vió algo lindo, decía, “u”. Uuu, that is beauti-

ful. Everyone say, “u”.Así es que fue muy fácil cuando sus nietecitosempezaron la escuela y la maestra les enseñabalos vocales, porque eran los mismos sonidos quesu abuelito ya les había enseñado. And that is

the story of the old man, and how his grandchil-dren were prepared for school, because they

could say all the vowels:a, e, i, o u.

SOCIAL STUDIESThis is one of the largest categories.

Music can support the many facets of socialstudies because it is the study of people andplaces and that is what music describes:

geography, sociology, publicaffairs, other languages, history analysis, opin-ion, culture style, songs about careers in general,music careers, economics, cultural atmosphere,political climate, contemporary issues, commonthemes, etc.

VIVA EL NORTE

This song in the norteña ranchera stylefeatures states of northern Mexico that partici-pated in the Revolution against Spain. Theaccordion, bass, and bajo sexto are specialfeatures of this style. States, cities, and even thetypical dance styles are mentioned in the song.

¡VIVA EL NORTE!

Dan Gómez, ©1990, Cantos Para Todos

1. Viva Coahuila, ¡Viva!Viva Chihuahua, ¡Viva!

Viva Sonora, ¡Viva!Frontera rumbo al norte

Bellas ciudades son las capitalesDe la revolución.

Viva, viva, viva el NorteViva la Independencia

De Saltillo a HermosilloEl espíritu tan fuerte.

2. El Río Grande, ¡Viva!Estados mas grandes, ¡Viva!

Bailes alegres, ¡Viva!Llenos de industria

Baila la polka, el Chotis se tocaMontañas con agua fría.



Viva, viva, viva el NorteViva la Independencia

De Saltillo a HermosilloEl espíritu tan fuerte.

LA YUNTA

This type of song can be used to intro-duce concepts of agricultural careers in particu-lar times or places, and to teach specializedvocabulary.

MATHMusical rhymes and jingles can be used

effectively as mnemonic devises for math facts.Math can be used to support music relatedprojects such as instrument making. The litera-ture supports music listening as a reward forcompletion of math or reading assignments.Music listening does not affect math perfor-mance whether done during lessons or tests:

jingles and rhymes, countingsongs, contingent reward for completion, instru-ment making, etc.

LOS ORDINALES CONTAR DE DIEZ EN DIEZ

These short pieces can be easily learned,and sung again and again to reinforce the con-cepts.

LOS ORDINALES


Los ordinales ponen todo en orden.Aprenderemos los ordinales.

Uno es primero, dos es segundo,tres es tercero, cuatro es cuarto.

Cinco es quinto, seis is sexto,Siete es séptimo, ocho es octavo.

Nueve es noveno, diez es décimo.Ya conocemos a los ordinales.

CONTAR DE DIEZ EN DIEZ


Diez, veinte, treinta, cuarenta,Cincuenta, sesenta, setenta ochenta,

Noventa, y Cien.

SOCIAL STUDIESThis is one of the largest categories.

Music can support the many facets of socialstudies because it is the study of people andplaces and that is what music describes:

geography, sociology, publicaffairs, other languages, history analysis, opin-ion, culture style, songs about careers in general,music careers, economics, cultural atmosphere,political, contemporary issues, common themes,etc.

VIVA EL NORTE

This song in the norteña ranchera stylefeatures states of northern mexico that partici-pated in the Mexican Revolution. The accor-dion, bass, and bajo sexto are special features ofthis style. States, cities, and even the typicaldance styles are mentioned in the song.

LA YUNTA

This type of song can be used to intro-duce concepts of agricultural careers in particu-lar times or places, and to teach specializedvocabulary.



LA YUNTA


CORO¡Dale vita! ¡Orale mi Juana! Mi trabajadora

junta.¡Arre, arre, vita! ¡Andale mi Juana! Ya no me

discutan juntas.

En mi granja tengo dos bueyes y se llaman Vitay Juana

Las quiero mucho y trabajan duro, se levantanmuy de mañana.

CORO

Vita y Juana formaron la yunta, y sus cuernos sítienen punta.

Todo el día siguen arando, al granjero lo vanjalando.

CORO

SCIENCEMusic, its production, its instruments and

voices can be studied from a scientific view.Much literature has appeared in the medicaljournals in the last few years about the physiol-ogy of musicians. Many songs and symphoniesdeal with plants, animals, geology, space andwater:

weather, plants, animals, water,ecology, anatomy, physics, acoustics, communi-cation, instrument manufacture, research tech-niques, instrument design (invite a piano tuner totake apart and explain the pianos), instrumentcare (including special chemicals), physiology ofmusicans, etc.

LA COSECHA

This seasonal song not only teaches

concepts about the harvest, but emphasizestraditions of people in many parts of Mexicoduring November First and Second, (Día de losMuertos). The first verse reminds us that notonly can we expect a fall harvest, but we can begrateful for it. The second verse mentions thetraditions of some people, to compare the cycleof the planting and harvest to the cycle of ourown lives, and the importance of honoring thosewho have gone before us. The third verse speaksof the beautiful ways that the fruits of the harvestcan be prepared, and the wonderful traditionsthat remind us of who we are.

LA COSECHA


En el mes de octubre se dan las muchas graciasEn el mes de octubre se dan las muchas graciasel tiempo para ofrendas, el tiempo de cosechas.

En el mes de octubre celebran vida y muerte.En el mes de octubre celebran vida y muerte.Honrar antepasados honrar lo queha pasado.

Cosecha, cosecha, cosecha está repletaCosecha, cosecha, la vida está completa.

Las ollas con comida, las joyas sin medidaLas ollas con comida, las joyas sin medidaLa mesa de la ofrenda antigua la leyenda.Cosecha, cosecha, cosecha está repleta

Cosecha, cosecha, la vida está completa.

XOCHIMILCO CELEBRA

This song provides the teacher with theopportunity to discuss many examples of thesenses. The town of Xochimilco, near MexicoCity, specializes in preparing items used incelebrating the Día de los Muertos. Each versementions items that can be seen or drunk oreaten or smelled. Students may think of manyother things that can fit these categories.

XOCHIMILCO CELEBRA




Xochimilco celebra el día de los muertosPreparando para México la compra total:

1. Los plátanos, limones, naranjas, manzanas,Pan de muertos, los dulces, los platos de arroz,

Las velas, el agua, comida y flores:Para ver, y beber, y comer y oler.

Xochimilco celebra el día de los muertosPreparando para México la compra total:

2. Juguetes, candeleros, esqueletos, veladoras,vanderitas, manteles, las flores de papel,

El vidrio, chocolate, mole verde, cempazúchitlPara ver, y beber, y comer y oler.

The Cycle of LifeCultures all over the world celebrate the harvestseason with special events. Halloween and Díade los Muertos are days for remembering ourtraditions, our ancestors, and for giving gratitudefor another good year of life.

Prehispanic TraditionThere is evidence of a tradition of honoring thedead as far back as 1800 B.C., including offer-ings with clay pots for food, gold jewelry, jade,etc. The Nahua people believed that this hardlife was only part of the existence of a person.Dying is really waking up from a dream aboutmortality. The corps were a model for the cycleof life.

Spanish TraditionIn Spain, November has long been the “month ofthe spirits”, for remembering those who havedied.

Northern EuropeIn the ancient British Isles, they built a grandcommunity bonfire with brands from each home,with which they lit a new home fire to start the

new year. The people wore costumes anddecorated with fall leaves, wheat cobs, squash,etc. The Romans introduced apples, whichbecame part of the festival. In the VIIth Cen-tury, the Pope declared the 1st of November as acelebration for all of the saints and martyrs, andthe 2nd to remember the rest of those who haddied. In the XIVth to the XVIth Centuries,Death was a common theme for poetry, theaterand paintings.

HalloweenThe Celtic festival of the lights used a carvedturnip, which became our Jack-O--Lantern. Weuse the pumpkin, our tradition, representingharvest. The ancient Romans bobbed for applesto insure good luck for the coming year. TheEuropeans gave food to beggars, left lights on allnight, and decorated with food. We trick ortreat, light the jack-o-lantern, and decorate withcorn stalks to represent our gratitude for theharvest.

El Ciclo de la VidaRoy Howard

En la primavera siembrogranos de maíz

Con tiempo, sol, y aguabrotan plantas, muy feliz.

Mazorcas en otoñosecan, mueren las plantas.

De la harina...tortillas,pero granos guardarás.

Muere el maízy la vida nos dará.

La siembra, la cosecha,así continuará.

“El Hombre, elMuchacho, y el Burro”



Aesop fable

A man and his son were on their way to marketwith their burro. As they were walking along, aneighbor called out to them, y el hombre les dijoal señor y a su hijo: “You fools, what is a burrofor but to ride upon?”¡Ay el pobre hombre, que le llaman insensatopor caminar al lado de su burro. No sabía quehacer. So they thought, and thought. Finally,the man put the boy on the burro, y siguieron elviaje con el muchacho montado.Until they passed a group of men, y uno de loshombres gritó: “Look at that lazy kid, letting hisfather walk while he rides!”¡Ay, el pobre muchacho, que la llamaranperezoso por montar al burro! No sabían quehacer, so they thought and thought. Finally, theman changed places with the boy, y siguieron elviaje con el hombre montado, until they passedtwo women. One turned to the other and said:“Shame on that lazy lout, riding, while his poorlittle son has to trudge along!¡Ay, el pobre hombre, que le regañaran por dejarcaminar a su hijo! No sabían que hacer, so theythought and thought. Finally the man put theboy on the burro with him, y siguieron el viaje,los dos montados. By this time they had come tothe town, and the people were pointing, andlaughing, hasta que el hombre no aguantó más.“Now what is the matter?”, he demanded. Thepeople said, “Aren’t you ashamed of overloadingthat poor little donkey, you and that hulking sonof yours?¡Ay, el pobre burro!. ¿Porqué no pensaron de lacarga que le impusieron? No sabían que hacer,so they thought and thought. Finally, they cut along pole. They then tied the burro’s legs to thepole, and raised the pole to their shoulders, ysiguieron el viaje con el burro colgado del palocon las patas atadas.They walked along, with the people laughing,and the burro kicking, until they crossed MarketBridge, when the burro got one foot loose,kicked out, and caused the boy to drop the pole.In the struggle, the burro fell off the bridge anddrowned. ¡Ay, el pobre burro! Ahogado por

tener las patas atadas.“That will teach you, said a man who hadfollowed them. Complacer a todos, y nadie secomplacerá. Please all, and you please none.For more information about Halloween, Día de los Muertos andthe ancient traditions of Mexico, see Cantos Para Todos, Vol.VIII, Mexican Culture.

HEALTHA great deal of the literature reports the

therapeutic value of music and musical participa-tion. Children should be trained to enjoy everyaspect of music activity including appreciationas well as participation:

use of leisure, music appreciation,participate with others, exercise (dancing,marching, show choir), sense of community,sense of accomplishment, control emotions,express anxiety, sensitivity, drug education,disease control, hygiene, diet, appropriate recre-ation, etc.

¿QUIEN ERES?

Self esteem is a key determiner of mentalhealth as well as performance in school. Whoam I? I am good, pure, and full of pride. I havefreinds, I like my past, my future fascinates me,dominates my present, and lights my way in thedarkness.

¿QUIEN ERES?


¿Quién soy? ¿Quién soy? Ahora yo te digo.¿Quién eres?, ¿Quién eres? ahora voy contigo.

Soy bueno, soy puro y lleno de orgullo.Amigo, testigo hermanos somos tuyos.

Y me gusta mi pasado, y fascina mi futuro.Dominar a mi presente, luminar a mi oscuro.



¿Quién soy? ¿Quién soy? Ahora yo te digo.El sol, el sol, la vida es una playa.

¿Quién eres?, ¿Quién eres? a reir con alegría.La luz, la luz, a todos da buen día.

Y me gusta mi pasado, y fascina mi futuro.Dominar a mi presente, luminar a mi oscuro.

DIVERSION FAMILIAR

This song encourages family fun: verseone: play ball with papá. Verse two: play dollswith mamá. Verse three: play in the yard withbrother. Verse four: read a book with grandpa.Verse five: wash up to eat with grandma. Versesix: sing and break the piñata with sister. Thechorus describes the family together, and thehealthy, fun things they can do: sit, converse,dance, eat, sleep, just be together. The style ofperformance is ranchera norteña.

DIVERSION FAMILIAR


1. Levántate, ¡Divertamos ya!Con la pelota, ahí viene mi papá.

Paraditos aquí, paraditos allá,conversando o bailando, o comiendo, o

durmiendoCon tal de que estemos juntos, estoy feliz.

2. Siéntate, ¡Divertamos ya!Con la muñeca, ahí viene mi mamá.



3. Córrele, ¡Divertamos ya!En la yarda, ahí viene mi hermano.



4. Acércate, ¡Divertamos ya!Con un libro bueno, ahí viene mi abuelo.



5. Lávate, ¡Divertamos ya!Con la comida, ahí viene mi abuela.



6. Cántale, ¡Divertamos ya!Con la piñata, ahí viene mi hermana.



Documents

Educación con Música, teaching classroom subjects with musical methods Vol7