Topic: Pedagogy - Vocal Harmony
Elementary school vocal music books in the 1960s were moving away from teaching the singing on key and sight-reading that dominated my fourth-grade classes in 1954, and were attempting to teach music instead. Series like that of Eunice Boardman and Beth Landis [1] may have assumed specially trained teachers saw students more often than the once a week of my childhood. They certainly set forth a curriculum analogous to arithmetic, rather than anthologies used to teach reading.
Lorrain Watter’s fourth-grade book was organized into three sections: rhythm, melody, and harmony. It told students the last occurred when two notes sounded at the same time, but that three were needed for a chord. It then introduced the two main triads in western music, the tonic and dominant seventh. [2]
After teaching nine-year olds the basics of western harmony, Watters used "Kumbaya" to begin a section of two-part songs. Each line began in unison, and split into parallel thirds on the second syllable of kumbaya. The "oh Lord" in the final line, which used two notes for one syllable was sung in unison, while the following "kum" and "ba" were in thirds. The last note, "ya" was in unison.
The Magic of Music used "Kumbaya" as an opportunity to discuss the concept of intervals, the "distance from one note to another." After showing all the ones possible in a seven-note scale, it asked students to name intervals used in "Kumbaya."
Watters’ team assumed nine-year olds had access to bells, autoharps or a piano and could use them to hear the sounds he was describing. In 1955, he had teamed with the National Autoharp Sales Company of Des Moines to inform primary school teachers they could use the strummed instruments [3] to accompany their students when they sang. He had written:
"in the intermediate grades the pupils themselves learn to play it for class singing in two- and three-part harmony." They also can "learn the relationship of the tonic, sub-dominant and dominant chords —and their uses in harmonization and in musical accompaniment." [4]
While elementary schools in the 1950s and 1960s used hard-bound text books, junior high schools had specific class periods for choirs or glee clubs who worked from sheet music. [5] At that point, the focus shifted back to tonal accuracy and the ability to read music.
Madison Short began teaching vocal music in secondary schools around Atlanta, Georgia, in the 1960s. [6] As mentioned in the post for 4 July 2018, he was adamant his students become proficient in sight reading. What his choristers didn’t remember, but what was obvious from a concert recording of "Kumbaya" in 1973, was he also drilled them on tone.
The girls’ beginning choral group [7] sang pure tones with no obvious vibrato. During the first two verses, they sang parallel thirds. On the last two the sopranos sang a parallel line that was much higher. The piano introduction was limited to playing the last lines in chords. Thereafter, it was subdued, primarily playing chords at the beginnings of measures.
The harmonic style was influenced by Saint Olaf Choir in Northfield, Minnesota. Its founder, Melius Christiansen, had trained in Leipzig where church choirs still used young boys for the alto and soprano parts. [8] To imitate the sound of undeveloped voices, he discouraged the use of tremolo, especially among his sopranos. [9]
When Short was studying in New York, Melius’ son Olaf was the Saint Olaf conductor. The a capella choir continued to sound the way it had under Melius, but the effect was achieved through "pure unison," rather than the elimination of tremolo. Like his father, Olaf still believed "the extent and pitch deviation of the vibrato must be controlled so as not to create a sound that was ‘too earthy and sensuous for religious music." [10]
Performers
Magic of Music
Vocal Soloist: none
Vocal Group: two parts
Instrumental Accompaniment: autoharp
Rhythm Accompaniment: none
Columbia High School
Vocal Soloist: none
Vocal Group: Columbia High School Intermediate Girls’ Chorus
Vocal Director: Madison Short
Instrumental Accompaniment: piano
Rhythm Accompaniment: none
Credits
Magic of Music
African Song
From Chansons de Notre Chalet, copyright 1957, 1959, 1962 by Cooperative Recreation Service, Inc.
Notes on Lyrics
Magic of Music
Language: English
Pronunciation: no comment
Verses: kumbaya, singing, praying
Vocabulary
Pronoun: someone
Term for Deity: Lord
Special Terms: none
Basic Form: three-verse song
Verse Repetition Pattern: none
Ending: none
Unique Features: none
Columbia High School
Language: English
Pronunciation: koom BAA yah
Verses: kumbaya, crying, praying, singing
Vocabulary
Pronoun: someone
Term for Deity: Lord
Special Terms: none
Basic Form: four-verse song
Verse Repetition Pattern: none
Ending: none
Unique Features: none
Notes on Music
Magic of Music
Opening Phrase: 1-3-5
Time Signature: 3/4
Tempo: slowly
Key Signature: no sharps or flats
Autoharp Chords: C F G G7
Dynamics: pianissimo
Basic Structure: strophic repetition
Singing Style: one syllable to one note except for final "Lord;" strict parallel thirds
Columbia High School
Opening Phrase: 1-3-5
Tempo: moderate
Basic Structure: theme and variation, with changes in parallel harmony in third and fourth repetitions
Singing Style: one syllable to one note; voices merged into clear chords
Vocal-Accompaniment Dynamics: piano played chords at the beginnings of measures
Notes on Performance
Columbia High School
Occasion: Spring Concert, 24 May 1973
Location: Columbia High School, Decatur, Georgia
Clothing: the photograph of the group uploaded to YouTube showed the girls wearing short-skirted dresses. Most wore their hair straight like Mary Travis of Peter, Paul and Mary. The one Black girl had a full Afro.
Audience Perceptions
Joseph Valles started a Facebook page for former choir members at Columbia to exchange memories. [11] He discovered another Facbook group had been formed by alumni of Hapeville High School. One woman who majored in music said:
"As a music major at UGA, I learned absolutely nothing new in music theory for the first two years. Mr. Short had already taught us these concepts through his site singing method, but more importantly he inspired us, taught us to believe in our abilities and that music was so much more than math and sound." [12]
Another woman said:
"Today, at 63 years old. I am still influensed by what he taught. I have continued to be involved in music at church throughout my adult life and credit Mr. Short for my firm foundation in music. At the present time I am in our church’s Chancel Choir, a ladies ensemble and the Praise Band." [13]
Notes on Performers
Watters was the music director for public schools in Des Moines, where he also conducted the town band. [14] During World War II, "he developed a plan for teaching wounded and bed-ridden war veterans in hospitals to accompany their own singing with the Autoharp." [15] As mentioned in the post for 24 June 2018, he helped Lilla Belle Pitts edit her school music series.
Short’s father was a Baptist minister who assumed his son would follow him. [16] Instead, he studied piano at Juilliard. [17] After teaching at Columbia for sixteen years, [18] Short moved to a small town near Athens where he was teaching when he died at age 61. [19]
Availability
Magic of Music
Book: "Kum Ba Yah." 123 in The Magic of Music, Book 4. Edited by Lorrain E. Watters and five others. Boston: Ginn and Company, 1967. 123. 1971 edition was the same. There also was an accompanying record album.
Intermediate Girls’ Chorus, Columbia High School, Decatur, Georgia
YouTube: uploaded by jevalles on 26 February 2013.
End Notes
1. For more on the series edited by Boardman and Landis, see the post for 24 June 2018.
2. Watters. 115.
3. The autoharp was a zither with buttons associated with chords that controlled which steel strings sounded when they were strummed. It began to be mass produced in this country in the 1890s, and was sold by mail order catalogs. Sara Carter made the most influential early country music recordings with the Carter Family in the 1930s. (A. Doyle Moore. "The Autoharp: Its Origins and Development from a Popular to a Folk Instrument." New York Folklore Quarterly 19:261-174:1963.)
4. Lorrain E. Watters. A Teacher’s Guide for the Golden Autoharp. Des Moines: National Autoharp Sales Company, 1955. 4.
5. I don’t know where the transition occurs in middle schools that combine some grades from the older elementary schools and some from junior highs. The lowers grade can vary from fourth to sixth and the upper level is usually eighth grade.
6. Joseph Valles. Introduction to "Madison ‘Reb’ Short Was My Choral Director." Facebook group. 23 February 2013.
7. Joseph Valles. YouTube notes. "This was the beginning class to introduce girls around age 13-14 to the women’s glee club repertoire. It is probably the first time they had sung in parts and stood up on a stage in formal attire to perform together."
8. Alan Zabriskie. "Evolution of Choral Sound of the St. Olaf Choir and the Westminster Choir." PhD. The Florida State University, spring 2010. 7.
9. Zabriskie. 10. Melius was influenced by "the German mode of choral singing." [page 7] This was the same style that led John Wesley to promote "one clear melodious sound" among Methodists. [original quotation in post for 1 July 2018]
10. Zabriskie. 28. He was quoting Olaf C. Christiansen. "Solo and Ensemble Singing." Bulletin of the National Association of Teachers of Singing. 21(3):17:1965. Unlike his father, Olaf did not require his choir members be able to sight read. He wanted individuals who would blend with their sections, and they "mainly learned the notes in sectional rehearsals." (Zabriskie. 19.)
11. Valles, Facebook, Columbia.
12. Jan Brown Abernathy. "Hapeville High School Varsity &/or Large Chorus." Facebook group. Comment posted 30 January 2011. UGA was the University of Georgia.
13. Julie Judy Buchanan Jackson. Facebook, Hapeville. Comment posted 25 January 2011.
14. Item. The Des Moines Register, 3 July 1950. 16.
15. Watters, Autoharp. 2.
16. Patty Jean Cooley. Facebook, Columbia. Comment posted 12 April 2016. She was Short’s daughter.
17. Valles, YouTube.
18. Valles, Facebook, Columbia. Comment posted 20 February 2013.
19. James McRaney. Letter published by Valles, Facebook, Columbia, on 21 January 2011.
Sunday, August 12, 2018
Thursday, August 9, 2018
Beginning Band Concerts - Kumbaya
Topic: Pedagogy - Instrumental Parts
Band method books introduced part playing very soon after students had learned a few notes. It would have been obvious to even the least musically astute that if an assemblage of flutes, clarinets, trumpets, and trombones were playing together, they were not in unison. Young musicians needed to develop selective listening skills before they could concentrate on what was on the page in front of them.
Most contemporary editors began by having sections take turns playing a measure alone, then introduced parallel thirds as a simplified form of chordal harmony. [1] Jim Evans included the standard parallel third version of "Kumbaya" in section 17 of his Band Folio. Instead of different instruments playing separate lines, each section played both parts. [2]
Essential Elements 2000 began with one group sustaining a note while the others played, then had an exercise where each section played the same motif sequentially. [3] On the next page, Tim Lautzenheiser’s team used "London Bridge" to alternate measures of parallel thirds with measures of rests while others played. The other books introduced this form of homophony, without using that term, several pages later. [4]
Few [5] introduced the melodic complexity of rounds until youngsters had mastered playing one line while others were playing another. Then, most editors used the best known, "Are You Sleeping." [6]
Donna Metler felt the ability to play parts was so important, she required students in Memphis play Evans’ version of "Kumbaya" before they could move "from the beginner’s class to the full band class." [7] George Southwell warned men directing town bands in 1897 that, until adult novices had reached that level, it was best if
"The band-room should be located at some distance from the main part of the town, if possible. By so doing you will avoid hearing a great many uncomplimentary remarks, especially if the band be a new one and many, if not all, of the players are beginners; very few people will hear you, and when you do come out on the streets to play for the first time, the people will be astonished and nothing but good words will be heard." [8]
Elementary-school band directors rarely were allowed the luxury of waiting until they charges were ready to perform in public. Parents wanted to see progress, and concerts typically were scheduled at the ends of semester. As a result, most beginning band versions of "Kumbaya" uploaded to YouTube were dissonant: either some reed player used the wrong fingering, or a brass player didn’t quite hit or maintain a note, or someone began or ended a tone after the others. Since these problems were compounded when groups tried to play parts, most bands used unison arrangements.
A few teachers found more innovative ways to display their students. In Bemus Point, New York, Kasey Way had the full group play four pieces. Between each band song, she scheduled two solos by sections. This not only meant her fifth grade students didn’t have to prepare an entire concert, but also allowed her to select works within the skills of each of her sections. The clarinets played "Kumbaya" through twice, once in unison, and once in simple harmony.
The woman directing the Llewellyn Elementary School band in Portland, Oregon, had one section at a time play the melody: first the flutes, then the clarinets, then the brass. They ended playing it through once in unison.
Another woman went further with the Jefferson sixth-grade band in Madison, Wisconsin. She divided the band into groups of three, and each trio played "Kumbaya" through once in harmony. This had the effect of using peer pressure to motivate each trio to practice its parts. They weren’t fully in the spot light, but they also weren’t completely anonymous.
The use of small groups or sections had another advantage. Beginning bands don’t just vary from year to year in the skills of their members, but also in the instruments they choose to play. Queenwood told directors its arrangements, including one of "Kum Ba Yah" by Anne McGinty, [9] required only one flute, two clarinets, one alto saxophone, two cornets or trumpets, and percussion to produce a "full complete sound, even without bass clef instruments" [10] like trombones and tubas that played parallel octaves.
Performers
Bemus Point Elementary School
Vocal Soloist: none
Vocal Group: none
Instrumental Soloists: B-flat clarinet section
Instrumental Accompaniment: none
Rhythm Accompaniment: none
Conductor: Kasey Way
Llewellyn Elementary School
Vocal Soloist: none
Vocal Group: none
Instrumental Soloists: flutes, B-flat clarinets, brass
Instrumental Group: flutes, B-flat clarinets, brass
Rhythm Accompaniment: none
Conductor: unidentified woman
Thomas Jefferson Middle School
Vocal Soloist: none
Vocal Group: none
Instrumental Soloists: trios (3 clarinets, 2 saxophones and 1 trumpet;1 trumpet and 2 clarinets; 1 trombone, 1 saxophone, and 1 French horn; 2 trumpets and 1 trombone; 1 trombone, 1 saxophone, and 1 bassoon; 2 clarinets and 1 trombone; 2 flutes and 1 clarinet; 2 saxophones and something not seen; 3 flutes; 3 flutes)
Instrumental Group: tubas and all the trio instruments
Rhythm Accompaniment: bass drum, snare drum
Conductor: unidentified woman
Credits
None given
Notes on Lyrics
There were none
Notes on Music
Opening Phrase: 1-3-5
Tempo: Bemus Point and Llewellyn Elementary schools tempos were slow; Jefferson sixth grade was moderate.
Notes on Performance
Bemus Point Elementary School
Occasion: concert, May 2014
Location: gymnasium floor, with a temporary curtain behind the players
Microphones: none
Clothing: school clothes
Llewellyn Elementary School
Occasion: annual talent show, 7 March 2014
Location: stage in the cafetorium
Microphones: none
Clothing: school clothes
Thomas Jefferson Middle School
Occasion: concert
Location: gymnasium floor
Microphones: none
Clothing: black slacks and white tops
Notes on Movement
Bemus Point Elementary School
Band members were seated on folding metal chairs with music stands. After the flautists played their solo, they walked away so the clarinet players could be seen. The director was off to the side while they played.
Llewellyn Elementary School
Members of the band huddled on stage, with the flutes to stage right, the clarinets in the middle, and the brass players in back. The director stood on the floor below the stage and used her arms to direct. They did not have music stands, so must have memorized the music.
Thomas Jefferson Middle School
Band members stood in a line, with each trio grouped around a music stand. The director stood behind the group, and directed the other musicians with her hands. The audience was seated on folding metal chairs.
Notes on Audience
The audiences for all three school concerts applauded at the end. They did not applaud individual groups.
Notes on Performers
Kasey Way had taught at Bemus Point for eight years when the video of "Kumbaya" was uploaded. She played bassoon with a woodwind quintet, Quintessential, composed of women who taught music in public schools in Cattaraugus and Chautauqua counties in southwestern New York. [11]
I could not confirm the identifies of the women in the videos for Llewellyn elementary and Jefferson middle schools.
Availability
Bemus Point Elementary School, Bemus Point, New York
YouTube: "Kumbaya." Uploaded by BemusPointElementaryMusic on 17 June 2014.
Llewellyn Elementary School, Portland, Oregon
You Tube: "Kumbaya." Uploaded by John Hill on 7 March 2014.
Thomas Jefferson Middle School, Madison, Wisconsin
YouTube: "Kum Bah Yah." Uploaded by Carol Roan on 26 May 2011.
End Notes
1. Essential Elements, Accents on Achievement, and Yamaha Advantage had "listen to the sections" exercises on page 7, and parallel harmony on either page 7 or 8. Standard of Excellence began with chordal harmony on page 7. Publishing details for band books containing "Kumbaya" were provided in the post for 27 June 2018.
2. "Kum Bah Yah." 17-4 to 17-5 in Band Folio. Band Method. Book 1. Edited and published by Jim Evans, 2000.
3. Essential Elements. 7.
4. Yamaha introduced homophony on page 8, Accent on page 10 as an exercise in tied notes, Standard on page 10, and Elements on page 11.
5. More recent books have introduced rounds sooner, perhaps influenced by trends in vocal music education. In older books they didn’t usually appear until after the half-way point.
6. "Are You Sleeping" or "Frère Jacques" was the first round in eight band books, "Oh, How Lovely Is the Evening" in three, and "Kookaburra," "Row Your Book," and "Sweetly Sings the Donkey" in two books. Some editors included rounds like "Donkey" and "Kookaburra" as simple songs.
7. Donna Metler. "Band Karate - Color Challenge Levels." Musick8 website. 17 July 2002. She taught music at Lester Elementary School in Memphis. (Michele M. Melendez. "It’s Not Just Students in Uniforms." Newhouse News Service. 10 November 2002.)
8. George Southwell. Guiding Star. Kansas City, Missouri: Geo. Southwell, 1897. 44. Quoted by Merry Elizabeth Texter. "A Historical and Analytical Investigation of the Beginning Band Method Book." PhD dissertation. The Ohio State University, 1975. 65.
9. Anne McGinty. "Kum Ba Yah." 8 in Beginning Band Book No. 6. 1st Bb Cornet/Trumpet . Edited by John Edmonson and Anne McGinty. San Diego: Queenwood/Kjos, 2005.
10. Edmonson. Back cover.
11. "Wind Quintet To Perform ‘Night of Dances’ at Marilyn Horne Museum." University of Pittsburgh at Bradford website. 3 January 2018.
Band method books introduced part playing very soon after students had learned a few notes. It would have been obvious to even the least musically astute that if an assemblage of flutes, clarinets, trumpets, and trombones were playing together, they were not in unison. Young musicians needed to develop selective listening skills before they could concentrate on what was on the page in front of them.
Most contemporary editors began by having sections take turns playing a measure alone, then introduced parallel thirds as a simplified form of chordal harmony. [1] Jim Evans included the standard parallel third version of "Kumbaya" in section 17 of his Band Folio. Instead of different instruments playing separate lines, each section played both parts. [2]
Essential Elements 2000 began with one group sustaining a note while the others played, then had an exercise where each section played the same motif sequentially. [3] On the next page, Tim Lautzenheiser’s team used "London Bridge" to alternate measures of parallel thirds with measures of rests while others played. The other books introduced this form of homophony, without using that term, several pages later. [4]
Few [5] introduced the melodic complexity of rounds until youngsters had mastered playing one line while others were playing another. Then, most editors used the best known, "Are You Sleeping." [6]
Donna Metler felt the ability to play parts was so important, she required students in Memphis play Evans’ version of "Kumbaya" before they could move "from the beginner’s class to the full band class." [7] George Southwell warned men directing town bands in 1897 that, until adult novices had reached that level, it was best if
"The band-room should be located at some distance from the main part of the town, if possible. By so doing you will avoid hearing a great many uncomplimentary remarks, especially if the band be a new one and many, if not all, of the players are beginners; very few people will hear you, and when you do come out on the streets to play for the first time, the people will be astonished and nothing but good words will be heard." [8]
Elementary-school band directors rarely were allowed the luxury of waiting until they charges were ready to perform in public. Parents wanted to see progress, and concerts typically were scheduled at the ends of semester. As a result, most beginning band versions of "Kumbaya" uploaded to YouTube were dissonant: either some reed player used the wrong fingering, or a brass player didn’t quite hit or maintain a note, or someone began or ended a tone after the others. Since these problems were compounded when groups tried to play parts, most bands used unison arrangements.
A few teachers found more innovative ways to display their students. In Bemus Point, New York, Kasey Way had the full group play four pieces. Between each band song, she scheduled two solos by sections. This not only meant her fifth grade students didn’t have to prepare an entire concert, but also allowed her to select works within the skills of each of her sections. The clarinets played "Kumbaya" through twice, once in unison, and once in simple harmony.
The woman directing the Llewellyn Elementary School band in Portland, Oregon, had one section at a time play the melody: first the flutes, then the clarinets, then the brass. They ended playing it through once in unison.
Another woman went further with the Jefferson sixth-grade band in Madison, Wisconsin. She divided the band into groups of three, and each trio played "Kumbaya" through once in harmony. This had the effect of using peer pressure to motivate each trio to practice its parts. They weren’t fully in the spot light, but they also weren’t completely anonymous.
The use of small groups or sections had another advantage. Beginning bands don’t just vary from year to year in the skills of their members, but also in the instruments they choose to play. Queenwood told directors its arrangements, including one of "Kum Ba Yah" by Anne McGinty, [9] required only one flute, two clarinets, one alto saxophone, two cornets or trumpets, and percussion to produce a "full complete sound, even without bass clef instruments" [10] like trombones and tubas that played parallel octaves.
Performers
Bemus Point Elementary School
Vocal Soloist: none
Vocal Group: none
Instrumental Soloists: B-flat clarinet section
Instrumental Accompaniment: none
Rhythm Accompaniment: none
Conductor: Kasey Way
Llewellyn Elementary School
Vocal Soloist: none
Vocal Group: none
Instrumental Soloists: flutes, B-flat clarinets, brass
Instrumental Group: flutes, B-flat clarinets, brass
Rhythm Accompaniment: none
Conductor: unidentified woman
Thomas Jefferson Middle School
Vocal Soloist: none
Vocal Group: none
Instrumental Soloists: trios (3 clarinets, 2 saxophones and 1 trumpet;1 trumpet and 2 clarinets; 1 trombone, 1 saxophone, and 1 French horn; 2 trumpets and 1 trombone; 1 trombone, 1 saxophone, and 1 bassoon; 2 clarinets and 1 trombone; 2 flutes and 1 clarinet; 2 saxophones and something not seen; 3 flutes; 3 flutes)
Instrumental Group: tubas and all the trio instruments
Rhythm Accompaniment: bass drum, snare drum
Conductor: unidentified woman
Credits
None given
Notes on Lyrics
There were none
Notes on Music
Opening Phrase: 1-3-5
Tempo: Bemus Point and Llewellyn Elementary schools tempos were slow; Jefferson sixth grade was moderate.
Notes on Performance
Bemus Point Elementary School
Occasion: concert, May 2014
Location: gymnasium floor, with a temporary curtain behind the players
Microphones: none
Clothing: school clothes
Llewellyn Elementary School
Occasion: annual talent show, 7 March 2014
Location: stage in the cafetorium
Microphones: none
Clothing: school clothes
Thomas Jefferson Middle School
Occasion: concert
Location: gymnasium floor
Microphones: none
Clothing: black slacks and white tops
Notes on Movement
Bemus Point Elementary School
Band members were seated on folding metal chairs with music stands. After the flautists played their solo, they walked away so the clarinet players could be seen. The director was off to the side while they played.
Llewellyn Elementary School
Members of the band huddled on stage, with the flutes to stage right, the clarinets in the middle, and the brass players in back. The director stood on the floor below the stage and used her arms to direct. They did not have music stands, so must have memorized the music.
Thomas Jefferson Middle School
Band members stood in a line, with each trio grouped around a music stand. The director stood behind the group, and directed the other musicians with her hands. The audience was seated on folding metal chairs.
Notes on Audience
The audiences for all three school concerts applauded at the end. They did not applaud individual groups.
Notes on Performers
Kasey Way had taught at Bemus Point for eight years when the video of "Kumbaya" was uploaded. She played bassoon with a woodwind quintet, Quintessential, composed of women who taught music in public schools in Cattaraugus and Chautauqua counties in southwestern New York. [11]
I could not confirm the identifies of the women in the videos for Llewellyn elementary and Jefferson middle schools.
Availability
Bemus Point Elementary School, Bemus Point, New York
YouTube: "Kumbaya." Uploaded by BemusPointElementaryMusic on 17 June 2014.
Llewellyn Elementary School, Portland, Oregon
You Tube: "Kumbaya." Uploaded by John Hill on 7 March 2014.
Thomas Jefferson Middle School, Madison, Wisconsin
YouTube: "Kum Bah Yah." Uploaded by Carol Roan on 26 May 2011.
End Notes
1. Essential Elements, Accents on Achievement, and Yamaha Advantage had "listen to the sections" exercises on page 7, and parallel harmony on either page 7 or 8. Standard of Excellence began with chordal harmony on page 7. Publishing details for band books containing "Kumbaya" were provided in the post for 27 June 2018.
2. "Kum Bah Yah." 17-4 to 17-5 in Band Folio. Band Method. Book 1. Edited and published by Jim Evans, 2000.
3. Essential Elements. 7.
4. Yamaha introduced homophony on page 8, Accent on page 10 as an exercise in tied notes, Standard on page 10, and Elements on page 11.
5. More recent books have introduced rounds sooner, perhaps influenced by trends in vocal music education. In older books they didn’t usually appear until after the half-way point.
6. "Are You Sleeping" or "Frère Jacques" was the first round in eight band books, "Oh, How Lovely Is the Evening" in three, and "Kookaburra," "Row Your Book," and "Sweetly Sings the Donkey" in two books. Some editors included rounds like "Donkey" and "Kookaburra" as simple songs.
7. Donna Metler. "Band Karate - Color Challenge Levels." Musick8 website. 17 July 2002. She taught music at Lester Elementary School in Memphis. (Michele M. Melendez. "It’s Not Just Students in Uniforms." Newhouse News Service. 10 November 2002.)
8. George Southwell. Guiding Star. Kansas City, Missouri: Geo. Southwell, 1897. 44. Quoted by Merry Elizabeth Texter. "A Historical and Analytical Investigation of the Beginning Band Method Book." PhD dissertation. The Ohio State University, 1975. 65.
9. Anne McGinty. "Kum Ba Yah." 8 in Beginning Band Book No. 6. 1st Bb Cornet/Trumpet . Edited by John Edmonson and Anne McGinty. San Diego: Queenwood/Kjos, 2005.
10. Edmonson. Back cover.
11. "Wind Quintet To Perform ‘Night of Dances’ at Marilyn Horne Museum." University of Pittsburgh at Bradford website. 3 January 2018.
Tuesday, August 7, 2018
Peace Like a River
Topic: Pedagogy
"Peace like a River" first appeared in print in a 1963 Assembly of God songbook [1] with a note its origins were unknown. [2] The editor, Eddy Anderson, was born into a Swedish Pentecostal family in Rhode Island in 1914. He served pastorates in Tulsa, Oklahoma, and New England. In the 1950s he was active in Youth for Christ and had his own radio programs. [3] He could have heard the song anywhere in his travels.
Carl Daw noted the song shared an opening line with a nineteen-century hymn, [4] and originally had a pentatonic melody. [5] Those details, and the fact it had an AAAB line-repetition format, suggested it developed in Pentecostal camp meetings like those sponsored by the generally white Assembly of God where older songs were milled into simpler forms.
An arrangement was copyrighted by Mosie Lister in 1970 [6] for the Church of the Nazarene’s publishing house. [7] He was raised in a rail town [8] on Georgia’s Atlantic coastal plain. [9] After World War II, he sang baritone in southern gospel quartets, [10] but turned to song writing rather than touring. [11] He remained close to members of the Statesmen and other professional quartets, and, like Anderson, could have heard the song from anyone in that musical world.
The song most likely entered the repertoires of summer residential camps when Campus Crusade for Christ included a copy of Lister’s arrangement as a "spiritual" in its Pass It On songbook in 1972. [12] A friend told me he sang "Peace" at a Texas Presbyterian camp in 1973 when he was a counselor in college.
In 1975, the Southern Baptist Convention published an arrangement by William J. Reynolds. [13] It gained more exposure when an arrangement by Dale Scott appeared in a Singspiration songbook in 1979. [14]
During the 1980s, hymnals and songsters that included "Peace" identified it as traditional, meaning public domain. [15] It wasn’t until the Presbyterians included it in a hymn book in 1990 that it was described as an "African-American spiritual." [16] The Baptists followed suit in 1991, although they preferred the term "Negro." [17] Both probably were much more comfortable singing a song from Black tradition than they were from Pentecostal.
Jean Anne Shafferman identified the arrangement described in the post for 5 August 2018 as "a general anthem that combines two beloved traditional spirituals. It may be appropriate for peace observances, baptisms, and funerals." There were a great many other versions of her arrangement available on YouTube.
End Notes
1. "I’ve Got Peace like a River." Melody Choruses. Compiled by Edwin P. Anderson. Springfield, Missouri: Gospel Publishing House, 1963. Cited by Carl P. Daw, Junior. Glory to God. Louisville: Westminster John Knox Press, 2016. 591.
2. Wordcat entry for Melody Choruses.
3. Obituary for Edwin Eddy Anderson. [Springfield, Missouri] News-Leader. 31 March 2010.
4. Daw. 591.
5. Daw. 592.
6. "I’ve Got Peace Like a River." Pass It On. San Bernardino, California: Campus Crusade for Christ International, 1972. 124.
7. Wikipedia. "Nazarene Publishing House." The specific publisher within the group was Lillianas.
8. Wikipedia. "Cochran, Georgia."
9. "Native American History of Bleckley County, Georgia." Access Genealogy website. Last updated 1 July 2012.
10. "Melody Masters Quartet." David Bruce Murray’s Southern Gospel History website. Last updated 30 April 2018.
11. James R. Goff, Junior. Close Harmony. Chapel Hill: The University of North Carolina Press, 2002. 170.
12. Campus Crusade.
13. Baptist Hymnal. Nashville: [Southern Baptist] Convention Press, 1975. 203. Cited by Daw, 591, and by Hymnary website entry for "I’ve Got Peace Like a River."
14. Praise! Our Songs and Hymns. Edited by Norman Johnson. Grand Rapids: Singspiration Music, 1979. 345. Cited by Hymnary.
15. Hymnary.
16. Presbyterian Hymnal. Louisville: Westminster/John Knox Press, 1990. 368. Cited by Hymnary.
17. Baptist Hymnal. Nashville: [Southern Baptist] Convention Press, 1991. 418. Cited by Hymnary.
"Peace like a River" first appeared in print in a 1963 Assembly of God songbook [1] with a note its origins were unknown. [2] The editor, Eddy Anderson, was born into a Swedish Pentecostal family in Rhode Island in 1914. He served pastorates in Tulsa, Oklahoma, and New England. In the 1950s he was active in Youth for Christ and had his own radio programs. [3] He could have heard the song anywhere in his travels.
Carl Daw noted the song shared an opening line with a nineteen-century hymn, [4] and originally had a pentatonic melody. [5] Those details, and the fact it had an AAAB line-repetition format, suggested it developed in Pentecostal camp meetings like those sponsored by the generally white Assembly of God where older songs were milled into simpler forms.
An arrangement was copyrighted by Mosie Lister in 1970 [6] for the Church of the Nazarene’s publishing house. [7] He was raised in a rail town [8] on Georgia’s Atlantic coastal plain. [9] After World War II, he sang baritone in southern gospel quartets, [10] but turned to song writing rather than touring. [11] He remained close to members of the Statesmen and other professional quartets, and, like Anderson, could have heard the song from anyone in that musical world.
The song most likely entered the repertoires of summer residential camps when Campus Crusade for Christ included a copy of Lister’s arrangement as a "spiritual" in its Pass It On songbook in 1972. [12] A friend told me he sang "Peace" at a Texas Presbyterian camp in 1973 when he was a counselor in college.
In 1975, the Southern Baptist Convention published an arrangement by William J. Reynolds. [13] It gained more exposure when an arrangement by Dale Scott appeared in a Singspiration songbook in 1979. [14]
During the 1980s, hymnals and songsters that included "Peace" identified it as traditional, meaning public domain. [15] It wasn’t until the Presbyterians included it in a hymn book in 1990 that it was described as an "African-American spiritual." [16] The Baptists followed suit in 1991, although they preferred the term "Negro." [17] Both probably were much more comfortable singing a song from Black tradition than they were from Pentecostal.
Jean Anne Shafferman identified the arrangement described in the post for 5 August 2018 as "a general anthem that combines two beloved traditional spirituals. It may be appropriate for peace observances, baptisms, and funerals." There were a great many other versions of her arrangement available on YouTube.
End Notes
1. "I’ve Got Peace like a River." Melody Choruses. Compiled by Edwin P. Anderson. Springfield, Missouri: Gospel Publishing House, 1963. Cited by Carl P. Daw, Junior. Glory to God. Louisville: Westminster John Knox Press, 2016. 591.
2. Wordcat entry for Melody Choruses.
3. Obituary for Edwin Eddy Anderson. [Springfield, Missouri] News-Leader. 31 March 2010.
4. Daw. 591.
5. Daw. 592.
6. "I’ve Got Peace Like a River." Pass It On. San Bernardino, California: Campus Crusade for Christ International, 1972. 124.
7. Wikipedia. "Nazarene Publishing House." The specific publisher within the group was Lillianas.
8. Wikipedia. "Cochran, Georgia."
9. "Native American History of Bleckley County, Georgia." Access Genealogy website. Last updated 1 July 2012.
10. "Melody Masters Quartet." David Bruce Murray’s Southern Gospel History website. Last updated 30 April 2018.
11. James R. Goff, Junior. Close Harmony. Chapel Hill: The University of North Carolina Press, 2002. 170.
12. Campus Crusade.
13. Baptist Hymnal. Nashville: [Southern Baptist] Convention Press, 1975. 203. Cited by Daw, 591, and by Hymnary website entry for "I’ve Got Peace Like a River."
14. Praise! Our Songs and Hymns. Edited by Norman Johnson. Grand Rapids: Singspiration Music, 1979. 345. Cited by Hymnary.
15. Hymnary.
16. Presbyterian Hymnal. Louisville: Westminster/John Knox Press, 1990. 368. Cited by Hymnary.
17. Baptist Hymnal. Nashville: [Southern Baptist] Convention Press, 1991. 418. Cited by Hymnary.
Sunday, August 5, 2018
Topic: Pedagogy - Vocal Parts
Topic: Pedagogy - Vocal Parts
Older children can sing two parts and simple harmony as demonstrated by the concert performance of the Pleasant Hill Christian Elementary School described in the post for 18 July 2018. The belief they cannot may go back to Lowell Mason. In 1864 he published the first graded series of music books in this country for use in public schools. The second volume, for the "more advanced grade," used rounds to instill "the habit of part singing" so "the ear will be trained thereby to chords and their progressions." [1]
At the time choral singing in church was moribund, and he was seeking to reintroduce it. It had been eliminated in two phases by the Anglo-Scots Reformation. As most know, the mass disappeared during the reign of Henry VIII. Less well known was the fact motets and other forms of a capella part song replaced the mass. They were banished during the English Commonwealth of Oliver Cromwell.
One consequence of the emphasis on singing psalms to the simplest melodies was mentioned in the entry for 1 July 2018, the difficulty children had learning to perform in groups because they hadn’t been exposed to complex music when they were younger. The idea persisted part singing was so challenging, children needed to be introduced to it through stages. The only change since Mason was the quodlibet replaced the round as a medium for middle schools.
In quodlibets, groups sing two different songs at the same time. We sang "Row, Row Your Boat" against "Are You Sleeping" when I was in sixth grade at school camp in 1956.
One of the more popular contemporary combinations was one by Jean Anne Shafferman that began with "someone’s praying" from "Kumbaya" followed by the first verse of "I’ve Got Peace Like a River." The two were combined in the third section with the higher voices singing "Kumbaya."
Middle school and early high school choir directors had particular problems finding appropriate concert material because voices of young adolescents were undergoing biological changes. Girls’ vocal cords were becoming thicker and their voices fuller and richer in tone. Boys’ vocal cords were lengthening, so their voices were becoming deeper. [2] During the period when muscles associated with the larynx membranes were acclimating, a choral group’s sound could vary day by day.
Schafferman’s arrangement used two parts. The upper part spanned more than an octave from middle C to high D, a stretch for many girls. For this reason, Schafferman suggested the opening "Kumbaya" section could be a solo. Pekin High School in Packwood, Iowa, assigned the role to one tenor.
The lower part in the second and third segments, which ranged from C to B, was within the abilities of most singers. This allowed a musical director to assign parts unequally. As a result, the "Kumbaya" part of the quodlibet sounded like a descant when sung by the Freeport, Illinois, High School Treble Choir.
The descant sound was partly inherent in the arrangement. "Peace" had actual words, while "Kumbaya" was a series of open syllables that could just as easily have been la la’s.
Performers
Jean Anne Shafferman
Vocal Soloist: an option
Vocal Group: two parts
Instrumental Accompaniment: piano
Rhythm Accompaniment: none
Pekin High School
Vocal Soloist: boy
Vocal Group: 14 girls and 7 boys
Vocal Director: Kay Evans
Instrumental Accompaniment: Sue Hadley, piano
Rhythm Accompaniment: none
Freeport High School Treble Choir
Vocal Soloist: none
Vocal Group: at least 30 girls [3]
Vocal Director: Dan Wessler [4]
Instrumental Accompaniment: unidentified woman, grand piano
Rhythm Accompaniment: none
Credits
Jean Anne Shafferman
Traditional spirituals arranged by Jean Anne Shafferman
Copyright © MCMXCV by Alfred Publishing Co., Inc.
Notes on Lyrics
Jean Anne Shafferman
Language: English
Pronunciation: koom bay yah
Verses: praying, singing
Vocabulary
Pronoun: someone
Term for Deity: Lord
Special Terms: none
Basic Form: three-verse song
Verse Repetition Pattern: none
Ending: repeated last line, then concluded with an "amen"
Unique Features: combined with "Peace like a River"
Notes on Music
Jean Anne Shafferman
Opening Phrase: 1-3-5
Time Signature: 4/4
Tempo: quarter note = 92-96 beats per minute
Rhythm: "The near-constant eight notes of the accompaniment create a steady flow that demands precise rhythms from the singers." [5]
Key Signature: 1 flat, then 1 sharp
Basic Structure: quodlibet with each song sung alone to begin
Singing Style: one syllable to one note, except for final "Lord." She noted that when the two melodies were combined, some unusual intervals occurred between voices. She told directors the seconds and sevenths required "a vocal tone that is relatively free of vibrato." [6]
Vocal-Accompaniment Dynamics: because the quodlibet required precision marked by the piano, Shafferman told the accompanist to "pedal carefully." [7]
The piano part was in the tradition of those that featured arpeggios. During the "Kumbaya" section, the left hand played a series of quarter-note broken chords and the right played eighth notes, with a hold between the fourth and fifth that made the left hand dominant on the third beat.
The "Peace" section changed to two-tone quarter-note arpeggios in the right hand with the left hand playing half-note chords. In the combined section, the right hand continued the parallel chords while the left played four eighth notes followed by two quarters.
Notes on Performance
Pekin High School
Occasion: WACO Invitational Vocal Festival, Wayland, Iowa, 20 October 2009 [8]
Location: WACO High School stage; risers were surrounded by an acoustic shell
Microphones: none
Clothing: school clothes
Freeport High School Treble Choir
Occasion: concert, 10 October 2012
Location: Jeannette Lloyd Theatre at Freeport Middle School; risers were surrounded by an acoustic shell
Microphones: none
Clothing: dark gray robes with white piping on the yoke hem and a white treble clef symbol on the left side in the yoke
Notes on Movement
Pekin High School
The choir stood in two rows on risers with their arms at their sides. The soloist stood in front while he sang, then returned to his place. He held a music binder and looked down while he sang. The director sat in front, and used her arms to direct.
Freeport High School Treble Choir
The girls stood in three rows on risers with their arms at their sides. The grand piano was in front of the choir, and the male director used the piano as a music stand. He used his arms to direct.
Notes on Audience
The audience for the Pekin choir applauded at the end. The video of the Freeport choir cut off when they sang their last "amen."
Notes on Performers
Shafferman was raised in Owensboro, Kentucky. [9] She studied voice and piano at the University of Kentucky. In 1983, she joined the Bach Choir of Bethlehem, Pennsylvania. She also directed the Youth Music Ministry of College Hill Presbyterian Church in Easton, Pennsylvania. [10]
After she earned her masters in music theory, Shafferman worked for Shawnee Press. Alfred Publishing hired her as part of the expansion effort mentioned in the post for 18 July 2018. She used the company’s "‘educational series’ approach to its piano publications" to create "four levels of octavos for choirs." [11] She told an interviewer:
"Especially dear to my heart was the Level II Series, for the ‘developing church choir,’ whether young singers, struggling volunteer choirs, or senior choirs. For this series, I simply returned to the historic musical formats of canons and quodlibets [. . .]. These structures proved to be perfect for their targeted choirs, helping them to learn to sing, and to sing well – because, really, in order to inspire worship, we should offer our very best sound to God and our congregations!" [12]
Pekin was a small rural settlement in Jefferson County, Iowa, that was home to the area’s combined primary and secondary school. [13] The high school had around 225 students in four grades. [14] The music director, Kay Evan, earned her music degree from Upper Iowa University, and taught music in all grades in the school. [15]
Freeport, Illinois, was settled in the 1850s by Germans from Pennsylvania and Europe. In 2010 it had grown to 25,638 people [16] with 1,187 students in the four high-school classes. [17] While it was larger than Pekin, where kindergartners shared the music program with seniors, Freeport’s choral concerts provided similar opportunities because they included 200 "students from the sixth-grade chorus, middle school concert choir, and high school treble choir, varsity choir and concert choir." [18]
The high school choir director sang bass in a professional barbershop quartet. Dan Wessler earned his bachelor’s degree in music education from Bradley University, and his master’s in choral conducting from Western Illinois University. [19]
Availability
Jean Anne Shafferman
Sheet Music: "Peace Like a River, Kum Ba Yah." Van Nuys, California: Alfred Publishing Company, 1995.
Pekin High School
YouTube: "Peace Like a River/Kum Ba Ya." Uploaded by Jewel Schultz on 20 October 2009.
Freeport High School Treble Choir
YouTube: "Peace Like a River, Kum-Ba-Yah." Uploaded by Kortni Wong on 10 October 2012.
End Notes
1. Lowell Mason. The Song-Garden. Boston: Oliver Ditson, 1864. 2:3.
2. Louise Kifer Myers. Teaching Children Music in the Elementary School. Englewood Cliffs: Prentice-Hall, 1956 edition. 31.
3. The video was shot from a distance and I couldn’t get an exact count.
4. Cindy Scott Day. "Freeport School District Choral Students Present Annual Spring Concert." The [Freeport, Illinois] Journal-Standard website. 13 May 2015. Day indicated Wessler was completing "his third year as choral director at Freeport High School."
5. Jean Anne Shafferman. Notes with score.
6. Shafferman, Notes.
7. Shafferman, score.
8. WACO was a consolidated school for the Iowa communities of Wayland, Ainsworth, Crawfordsville, and Olds. (Wikipedia. "Wayland, Iowa.")
9. "About Jean Anne Shafferman." Facebook.
10. "Jean Anne Shafferman." Jubilate website.
11. "A Chat with Jean Anne Shafferman." Jubilate Music website. 20 July 2016.
12. Shafferman, Chat.
13. Wikipedia. "Pekin, Iowa."
14. "Pekin Community High School." US News website.
15. "About Kay Evans." Facebook.
16. Wikipedia. "Freeport, Illinois."
17. "Freeport High School." Great Schools website.
18. "Concert: Multiple Choirs from Freeport Schools Perform." The [Freeport, Illinois] Journal-Standard website. 14 October 2014.
19. "About NT." New Tradition website.
Older children can sing two parts and simple harmony as demonstrated by the concert performance of the Pleasant Hill Christian Elementary School described in the post for 18 July 2018. The belief they cannot may go back to Lowell Mason. In 1864 he published the first graded series of music books in this country for use in public schools. The second volume, for the "more advanced grade," used rounds to instill "the habit of part singing" so "the ear will be trained thereby to chords and their progressions." [1]
At the time choral singing in church was moribund, and he was seeking to reintroduce it. It had been eliminated in two phases by the Anglo-Scots Reformation. As most know, the mass disappeared during the reign of Henry VIII. Less well known was the fact motets and other forms of a capella part song replaced the mass. They were banished during the English Commonwealth of Oliver Cromwell.
One consequence of the emphasis on singing psalms to the simplest melodies was mentioned in the entry for 1 July 2018, the difficulty children had learning to perform in groups because they hadn’t been exposed to complex music when they were younger. The idea persisted part singing was so challenging, children needed to be introduced to it through stages. The only change since Mason was the quodlibet replaced the round as a medium for middle schools.
In quodlibets, groups sing two different songs at the same time. We sang "Row, Row Your Boat" against "Are You Sleeping" when I was in sixth grade at school camp in 1956.
One of the more popular contemporary combinations was one by Jean Anne Shafferman that began with "someone’s praying" from "Kumbaya" followed by the first verse of "I’ve Got Peace Like a River." The two were combined in the third section with the higher voices singing "Kumbaya."
Middle school and early high school choir directors had particular problems finding appropriate concert material because voices of young adolescents were undergoing biological changes. Girls’ vocal cords were becoming thicker and their voices fuller and richer in tone. Boys’ vocal cords were lengthening, so their voices were becoming deeper. [2] During the period when muscles associated with the larynx membranes were acclimating, a choral group’s sound could vary day by day.
Schafferman’s arrangement used two parts. The upper part spanned more than an octave from middle C to high D, a stretch for many girls. For this reason, Schafferman suggested the opening "Kumbaya" section could be a solo. Pekin High School in Packwood, Iowa, assigned the role to one tenor.
The lower part in the second and third segments, which ranged from C to B, was within the abilities of most singers. This allowed a musical director to assign parts unequally. As a result, the "Kumbaya" part of the quodlibet sounded like a descant when sung by the Freeport, Illinois, High School Treble Choir.
The descant sound was partly inherent in the arrangement. "Peace" had actual words, while "Kumbaya" was a series of open syllables that could just as easily have been la la’s.
Performers
Jean Anne Shafferman
Vocal Soloist: an option
Vocal Group: two parts
Instrumental Accompaniment: piano
Rhythm Accompaniment: none
Pekin High School
Vocal Soloist: boy
Vocal Group: 14 girls and 7 boys
Vocal Director: Kay Evans
Instrumental Accompaniment: Sue Hadley, piano
Rhythm Accompaniment: none
Freeport High School Treble Choir
Vocal Soloist: none
Vocal Group: at least 30 girls [3]
Vocal Director: Dan Wessler [4]
Instrumental Accompaniment: unidentified woman, grand piano
Rhythm Accompaniment: none
Credits
Jean Anne Shafferman
Traditional spirituals arranged by Jean Anne Shafferman
Copyright © MCMXCV by Alfred Publishing Co., Inc.
Notes on Lyrics
Jean Anne Shafferman
Language: English
Pronunciation: koom bay yah
Verses: praying, singing
Vocabulary
Pronoun: someone
Term for Deity: Lord
Special Terms: none
Basic Form: three-verse song
Verse Repetition Pattern: none
Ending: repeated last line, then concluded with an "amen"
Unique Features: combined with "Peace like a River"
Notes on Music
Jean Anne Shafferman
Opening Phrase: 1-3-5
Time Signature: 4/4
Tempo: quarter note = 92-96 beats per minute
Rhythm: "The near-constant eight notes of the accompaniment create a steady flow that demands precise rhythms from the singers." [5]
Key Signature: 1 flat, then 1 sharp
Basic Structure: quodlibet with each song sung alone to begin
Singing Style: one syllable to one note, except for final "Lord." She noted that when the two melodies were combined, some unusual intervals occurred between voices. She told directors the seconds and sevenths required "a vocal tone that is relatively free of vibrato." [6]
Vocal-Accompaniment Dynamics: because the quodlibet required precision marked by the piano, Shafferman told the accompanist to "pedal carefully." [7]
The piano part was in the tradition of those that featured arpeggios. During the "Kumbaya" section, the left hand played a series of quarter-note broken chords and the right played eighth notes, with a hold between the fourth and fifth that made the left hand dominant on the third beat.
The "Peace" section changed to two-tone quarter-note arpeggios in the right hand with the left hand playing half-note chords. In the combined section, the right hand continued the parallel chords while the left played four eighth notes followed by two quarters.
Notes on Performance
Pekin High School
Occasion: WACO Invitational Vocal Festival, Wayland, Iowa, 20 October 2009 [8]
Location: WACO High School stage; risers were surrounded by an acoustic shell
Microphones: none
Clothing: school clothes
Freeport High School Treble Choir
Occasion: concert, 10 October 2012
Location: Jeannette Lloyd Theatre at Freeport Middle School; risers were surrounded by an acoustic shell
Microphones: none
Clothing: dark gray robes with white piping on the yoke hem and a white treble clef symbol on the left side in the yoke
Notes on Movement
Pekin High School
The choir stood in two rows on risers with their arms at their sides. The soloist stood in front while he sang, then returned to his place. He held a music binder and looked down while he sang. The director sat in front, and used her arms to direct.
Freeport High School Treble Choir
The girls stood in three rows on risers with their arms at their sides. The grand piano was in front of the choir, and the male director used the piano as a music stand. He used his arms to direct.
Notes on Audience
The audience for the Pekin choir applauded at the end. The video of the Freeport choir cut off when they sang their last "amen."
Notes on Performers
Shafferman was raised in Owensboro, Kentucky. [9] She studied voice and piano at the University of Kentucky. In 1983, she joined the Bach Choir of Bethlehem, Pennsylvania. She also directed the Youth Music Ministry of College Hill Presbyterian Church in Easton, Pennsylvania. [10]
After she earned her masters in music theory, Shafferman worked for Shawnee Press. Alfred Publishing hired her as part of the expansion effort mentioned in the post for 18 July 2018. She used the company’s "‘educational series’ approach to its piano publications" to create "four levels of octavos for choirs." [11] She told an interviewer:
"Especially dear to my heart was the Level II Series, for the ‘developing church choir,’ whether young singers, struggling volunteer choirs, or senior choirs. For this series, I simply returned to the historic musical formats of canons and quodlibets [. . .]. These structures proved to be perfect for their targeted choirs, helping them to learn to sing, and to sing well – because, really, in order to inspire worship, we should offer our very best sound to God and our congregations!" [12]
Pekin was a small rural settlement in Jefferson County, Iowa, that was home to the area’s combined primary and secondary school. [13] The high school had around 225 students in four grades. [14] The music director, Kay Evan, earned her music degree from Upper Iowa University, and taught music in all grades in the school. [15]
Freeport, Illinois, was settled in the 1850s by Germans from Pennsylvania and Europe. In 2010 it had grown to 25,638 people [16] with 1,187 students in the four high-school classes. [17] While it was larger than Pekin, where kindergartners shared the music program with seniors, Freeport’s choral concerts provided similar opportunities because they included 200 "students from the sixth-grade chorus, middle school concert choir, and high school treble choir, varsity choir and concert choir." [18]
The high school choir director sang bass in a professional barbershop quartet. Dan Wessler earned his bachelor’s degree in music education from Bradley University, and his master’s in choral conducting from Western Illinois University. [19]
Availability
Jean Anne Shafferman
Sheet Music: "Peace Like a River, Kum Ba Yah." Van Nuys, California: Alfred Publishing Company, 1995.
Pekin High School
YouTube: "Peace Like a River/Kum Ba Ya." Uploaded by Jewel Schultz on 20 October 2009.
Freeport High School Treble Choir
YouTube: "Peace Like a River, Kum-Ba-Yah." Uploaded by Kortni Wong on 10 October 2012.
End Notes
1. Lowell Mason. The Song-Garden. Boston: Oliver Ditson, 1864. 2:3.
2. Louise Kifer Myers. Teaching Children Music in the Elementary School. Englewood Cliffs: Prentice-Hall, 1956 edition. 31.
3. The video was shot from a distance and I couldn’t get an exact count.
4. Cindy Scott Day. "Freeport School District Choral Students Present Annual Spring Concert." The [Freeport, Illinois] Journal-Standard website. 13 May 2015. Day indicated Wessler was completing "his third year as choral director at Freeport High School."
5. Jean Anne Shafferman. Notes with score.
6. Shafferman, Notes.
7. Shafferman, score.
8. WACO was a consolidated school for the Iowa communities of Wayland, Ainsworth, Crawfordsville, and Olds. (Wikipedia. "Wayland, Iowa.")
9. "About Jean Anne Shafferman." Facebook.
10. "Jean Anne Shafferman." Jubilate website.
11. "A Chat with Jean Anne Shafferman." Jubilate Music website. 20 July 2016.
12. Shafferman, Chat.
13. Wikipedia. "Pekin, Iowa."
14. "Pekin Community High School." US News website.
15. "About Kay Evans." Facebook.
16. Wikipedia. "Freeport, Illinois."
17. "Freeport High School." Great Schools website.
18. "Concert: Multiple Choirs from Freeport Schools Perform." The [Freeport, Illinois] Journal-Standard website. 14 October 2014.
19. "About NT." New Tradition website.
Wednesday, August 1, 2018
Gabe Sheets - kumbaya
Topic: Pedagogy - Instrumental Tempo
Modern band method books didn’t mention anything faster than allegro because most young musicians didn’t yet have the necessary tonguing abilities and coordination needed to play quickly.
Arnold Gesell and Frances Ilg found "most of the organization" of a child’s neuromuscular system "takes place in the first ten years of life, and proceeds with an orderly sequence." [1] It wasn’t until they were about nine-years-old that their "eyes and hands are now well differentiated. The two hands can generally be used quite independently. Their fingers also show new differentiation." [2]
The comments on Amazon for Bruce Pearson’s Standard of Excellence suggested it was used in fifth grade, just a year after children had acquired the necessary coordination. One woman believed it still "was a little too advanced" for her ten-year-old grandson, [3] while another said it was "easy for my 10 year old to follow." [4]
Up until the early 1980s, some band books introduced the relativity of tempo with discussions of cut time. Four-four with a quarter note getting the count was often indicated with a large "C." When a slash was drawn across that "C" like a cent symbol (¢), it became two-two with a half note getting the count, and thus twice as fast.
Alle breve was essentially a convention used by march composers to show successions of quick notes on the small, 6.75" x 5.25" scores used by bands. Several book editors used the "Army March" as their example. [5] Harry Haines told students:
"A really great way to review fundamentals and practice playing cut time (at the same time) is to go back through this book playing all of the 4/4 lines (that do not include 8th notes) twice as fast." [6]
Don Schaeffer used "Kumbaya" to introduce cut time and marked the score 4/4 or 2/2 in an arrangement for a young band. He also indicated it should be played allegretto. [7]
In addition to limitations imposed by the age of would-be music students, band books may have eliminated 2/2 time in response to the growing view, mentioned in the post for 24 June 2018, that music programs needed to justify their budgets by teaching music with a capital "M." Charles Leonhard, who edited a series of singing texts for public schools, [8] told Florida teachers in 1981 that concerts and other performances, especially those by marching bands, confused means and ends:
"The solution, he said, was for ‘band, orchestral, and choral rehearsals [to] become music laboratories in which students study and understand the music they play.’ The music program should include such experiences for children, but only as a part of the total music curriculum, ‘sequentially organized from grade to grade and level to level, moving inexorably toward the attainment of valid musical objectives’." [9]
Fast tempi weren’t the only problem for grade school musicians. As mentioned in the post for 25 July 2018, they also had problems with speeds of 60 beats per minute. That was the upper range of largo, which was the prescribed pace for "Kumbaya" in Accent of Achievement, Standard of Excellence, and Yamaha Advantage. The two Essential Elements editions used moderato, while Band Folio specified andante. [10]
Several individuals posted videos of young boys playing "Kumbaya" that attracted comments from other young musicians who probably were being drilled on timing. One person wrote: "umm ur going to fast at the eigth notes." [11] On another video, someone commented on Gabe Sheets’ playing:
"I like playing this on the trumpet too! Just saying, either you or I have the tempo wrong. Because the sheet music I have, and the potentially wrong way I’m reading it, says you are going slightly too fast." [12]
Problems with the slow pace of largo may have been the reason Alfred Publishing dropped the tempo and "Kumbaya" when it reissued Bruce Pearson Standard of Excellence [13] in 2010. Instead, Tradition of Excellence introduced "maestoso," which it defined as "majestically" for Jeremiah Clarke’s "Trumpet Voluntary" [14] and Handel’s "See, the Conquering Hero Comes" from Judas Maccabaeus. [15] When a fuller arrangement of the "Voluntary" appeared at the end as the final concert arrangement, it was marked moderato. [16]
Beside each selection, Pearson and his co-editor, Ryan Nowlin, provided cultural history. They said Handel’s "piece commemorated the title character’s victorious return from battle," [17] without mentioning his importance to the celebration Hanukkah. [18] They noted Clarke’s work was known as Prince of Denmark’s March and was originally composed for harpsichord" [19] during the Baroque period. [20]
Alfred also issued supplements to Pearson’s Standard of Excellence that diluted Pearson’s original emphasis on performance with the national standards mentioned in the post for 24 June 2018. Chuck Elledge led a team that added a Music Theory & History Workbook [21] to the series. The conductor’s version contained
"objectives for every line of music, director tips, extended reference articles, duplicable worksheets and quizzes, and theory, listening, composing, improvisation, geography, foreign language, history, and other interdisciplinary Activities for Excellence." [22]
Performers
Gabe Sheets and unidentified trumpet player
Vocal Soloist: none
Vocal Group: none
Instrumental Soloist: B-flat trumpet
Instrumental Accompaniment: none
Rhythm Accompaniment: none
Credits
None given
Notes on Lyrics
There were none
Gabe Sheets
Pronunciation: When he introduced the song he said KUM by yah, with more emphasis on yah than by.
Notes on Music
Gabe Sheets
Opening Phrase: 1-3-5
Tempo: slow
Basic Structure: played melody through one time; at the end, played one note an octave higher
Unidentified trumpet player
Opening Phrase: 1-3-5
Tempo: moderate
Basic Structure: played melody through once
Notes on Performance
Gabe Sheets
Location: in his home
Microphones: none
Clothing: light blue, short-sleeved polo shirt
Unidentified trumpet player
Location: in his bedroom
Microphones: none
Clothing: plain white, short-sleeved tee shirt
Notes on Movement
Gabe Sheets
He looked like he was seated, looked straight ahead, and held his trumpet more or less horizontal with his left hand.
Unidentified trumpet player
He was standing, looked down, and held the trumpet at about 45-degrees with his left hand.
Notes on Performers
Sheets was in the Augusta County, Virginia, Middle School Honor Band in 2014 where in played French Horn. [23] Last year, 2017, he was working on the Eagle Scout rank. One of his projects was building a "building a bass xylophone cabinet" for a nearby elementary school in the Shenandoah Valley. [24] He said:
"I have been involved in the music programs in elementary, middle, and high schools. Choir and band always make my school day better and make me want to go to school every day. Music is such a big part of my life that I am choosing to make it my career." [25]
Karen Reeves’ video only showed the unidentified trumpet player from the shoulders to the hips. Since the walls of the bedroom and the bedspread were blue, one assumes the player was a boy.
Availability
Gabe Sheets
YouTube: "kumbaya solo on the trumpet." Uploaded by Gabe Sheets on 28 January 2015.
Unidentified trumpet player
YouTube: "Kum Ba Yah for trumpet." Uploaded by karenreeeves on 22 May 2010.
End Notes
1. Arnold Gesell and Frances L. Ilg. The Child from Five to Ten. New York: Harper and Row, 1946. 225.
2. Gesell. 197-198.
3. Dee. Comment posted to Amazon website for Standard of Excellence, Book 1. Trumpet on 7 November 2015.
4. Amazon Customer. Comment posted to Amazon website for Standard of Excellence, Book 1. Trumpet on 9 September 2014.
5. John Kinyon. Basic Training Course. Book 1, Cornet. New York: Alfred Music Company, 1970. 21.
Arthur C. Jenson. Learning Unlimited. Level 1. Trumpet/Cornet. Milwaukee: Hal Leonard Publishing Corporation, 1973. 44.
6. Harry H. Haines and J. R. McEntyre. Division of Beat. Book 1, Cornet/Trumpet, Baritone TC. San Antonio: Southern Music Company, 1980. This appeared on page 26 of 32. Eight notes were excluded because they became sixteenth-notes in 2/2.
7. Don Schaeffer. "Kum Ba Yah." Oskaloosa, Iowa: C. L. Barnhouse Company, 1987. I found no versions of this on YouTube or Amazon. Allegretto was very similar to moderato, 112-120 beats per minute versus 108-120 bpm. (Wikipedia. "Tempo.")
8. Leonhard’s series was discussed in the post for 8 July 2018.
9. Charles Leonhard. "Music and Ends in Music Education." Florida Band Director 35:10-11:December 1981. Quotation from George N. Heller. Charles Leonhard. Metuchen, New Jersey: The Scarecrow Press, 1995. 145-146. Elision in Heller.
10. Publishing details for band books containing "Kumbaya" were provided in the post for 27 June 2018.
11. hannah0782. YouTube video posted by Karen Reeves. Comment added 2013.
12. Angel Dove1. YouTube video of Gabe Sheets. Comment added July 2017. They may not have had the same band books.
13. Pearson’s Standard of Excellence was discussed in the post 29 July 2018.
14. Bruce Pearson and Ryan Nowlin. Tradition of Excellence. Book 1. Bb Trumpet/Cornet. San Diego: Neil A. Kjos Music Company, 2919. 27.
15. Pearson. 34.
16. Pearson. 36.
17. Pearson. 34. According to Wikipedia, "The Jewish holiday of Hanukkah (‘Dedication’) commemorates the restoration of Jewish worship at the temple in Jerusalem in 164 BC, after Judah Maccabeus removed all of the statues depicting Greek gods and goddesses." ("Judas Maccabeus.")
18. The Book of Maccabees appeared in the Roman Catholic, but not the Protestant Bible. Such cultural differences were beyond the scope of music texts, which had enough problems respecting the conflicting religious sensitivities of the many groups who purchased their books. (Wikipedia. "1 Maccabees.")
19. Pearson. 27.
20. Pearson. 36.
21. Chuck Elledge, Jane Yarbrough, and Bruce Pearson. Music Theory & History Workbook. San Diego: Neil A. Kjos Music, 1993.
22. "Standard of Excellence Comprehensive Band Method." Bruce Pearson Music website.
23. Notes for "2014 Augusta County Middle School Honor Band." Uploaded to YouTube by FDHSFineArts on 19 January 2014.
24. "Gabe’s Eagle Scout Project." Go Fund Me website. 6 June 2017.
25. Go Fund Me.
Modern band method books didn’t mention anything faster than allegro because most young musicians didn’t yet have the necessary tonguing abilities and coordination needed to play quickly.
Arnold Gesell and Frances Ilg found "most of the organization" of a child’s neuromuscular system "takes place in the first ten years of life, and proceeds with an orderly sequence." [1] It wasn’t until they were about nine-years-old that their "eyes and hands are now well differentiated. The two hands can generally be used quite independently. Their fingers also show new differentiation." [2]
The comments on Amazon for Bruce Pearson’s Standard of Excellence suggested it was used in fifth grade, just a year after children had acquired the necessary coordination. One woman believed it still "was a little too advanced" for her ten-year-old grandson, [3] while another said it was "easy for my 10 year old to follow." [4]
Up until the early 1980s, some band books introduced the relativity of tempo with discussions of cut time. Four-four with a quarter note getting the count was often indicated with a large "C." When a slash was drawn across that "C" like a cent symbol (¢), it became two-two with a half note getting the count, and thus twice as fast.
Alle breve was essentially a convention used by march composers to show successions of quick notes on the small, 6.75" x 5.25" scores used by bands. Several book editors used the "Army March" as their example. [5] Harry Haines told students:
"A really great way to review fundamentals and practice playing cut time (at the same time) is to go back through this book playing all of the 4/4 lines (that do not include 8th notes) twice as fast." [6]
Don Schaeffer used "Kumbaya" to introduce cut time and marked the score 4/4 or 2/2 in an arrangement for a young band. He also indicated it should be played allegretto. [7]
In addition to limitations imposed by the age of would-be music students, band books may have eliminated 2/2 time in response to the growing view, mentioned in the post for 24 June 2018, that music programs needed to justify their budgets by teaching music with a capital "M." Charles Leonhard, who edited a series of singing texts for public schools, [8] told Florida teachers in 1981 that concerts and other performances, especially those by marching bands, confused means and ends:
"The solution, he said, was for ‘band, orchestral, and choral rehearsals [to] become music laboratories in which students study and understand the music they play.’ The music program should include such experiences for children, but only as a part of the total music curriculum, ‘sequentially organized from grade to grade and level to level, moving inexorably toward the attainment of valid musical objectives’." [9]
Fast tempi weren’t the only problem for grade school musicians. As mentioned in the post for 25 July 2018, they also had problems with speeds of 60 beats per minute. That was the upper range of largo, which was the prescribed pace for "Kumbaya" in Accent of Achievement, Standard of Excellence, and Yamaha Advantage. The two Essential Elements editions used moderato, while Band Folio specified andante. [10]
Several individuals posted videos of young boys playing "Kumbaya" that attracted comments from other young musicians who probably were being drilled on timing. One person wrote: "umm ur going to fast at the eigth notes." [11] On another video, someone commented on Gabe Sheets’ playing:
"I like playing this on the trumpet too! Just saying, either you or I have the tempo wrong. Because the sheet music I have, and the potentially wrong way I’m reading it, says you are going slightly too fast." [12]
Problems with the slow pace of largo may have been the reason Alfred Publishing dropped the tempo and "Kumbaya" when it reissued Bruce Pearson Standard of Excellence [13] in 2010. Instead, Tradition of Excellence introduced "maestoso," which it defined as "majestically" for Jeremiah Clarke’s "Trumpet Voluntary" [14] and Handel’s "See, the Conquering Hero Comes" from Judas Maccabaeus. [15] When a fuller arrangement of the "Voluntary" appeared at the end as the final concert arrangement, it was marked moderato. [16]
Beside each selection, Pearson and his co-editor, Ryan Nowlin, provided cultural history. They said Handel’s "piece commemorated the title character’s victorious return from battle," [17] without mentioning his importance to the celebration Hanukkah. [18] They noted Clarke’s work was known as Prince of Denmark’s March and was originally composed for harpsichord" [19] during the Baroque period. [20]
Alfred also issued supplements to Pearson’s Standard of Excellence that diluted Pearson’s original emphasis on performance with the national standards mentioned in the post for 24 June 2018. Chuck Elledge led a team that added a Music Theory & History Workbook [21] to the series. The conductor’s version contained
"objectives for every line of music, director tips, extended reference articles, duplicable worksheets and quizzes, and theory, listening, composing, improvisation, geography, foreign language, history, and other interdisciplinary Activities for Excellence." [22]
Performers
Gabe Sheets and unidentified trumpet player
Vocal Soloist: none
Vocal Group: none
Instrumental Soloist: B-flat trumpet
Instrumental Accompaniment: none
Rhythm Accompaniment: none
Credits
None given
Notes on Lyrics
There were none
Gabe Sheets
Pronunciation: When he introduced the song he said KUM by yah, with more emphasis on yah than by.
Notes on Music
Gabe Sheets
Opening Phrase: 1-3-5
Tempo: slow
Basic Structure: played melody through one time; at the end, played one note an octave higher
Unidentified trumpet player
Opening Phrase: 1-3-5
Tempo: moderate
Basic Structure: played melody through once
Notes on Performance
Gabe Sheets
Location: in his home
Microphones: none
Clothing: light blue, short-sleeved polo shirt
Unidentified trumpet player
Location: in his bedroom
Microphones: none
Clothing: plain white, short-sleeved tee shirt
Notes on Movement
Gabe Sheets
He looked like he was seated, looked straight ahead, and held his trumpet more or less horizontal with his left hand.
Unidentified trumpet player
He was standing, looked down, and held the trumpet at about 45-degrees with his left hand.
Notes on Performers
Sheets was in the Augusta County, Virginia, Middle School Honor Band in 2014 where in played French Horn. [23] Last year, 2017, he was working on the Eagle Scout rank. One of his projects was building a "building a bass xylophone cabinet" for a nearby elementary school in the Shenandoah Valley. [24] He said:
"I have been involved in the music programs in elementary, middle, and high schools. Choir and band always make my school day better and make me want to go to school every day. Music is such a big part of my life that I am choosing to make it my career." [25]
Karen Reeves’ video only showed the unidentified trumpet player from the shoulders to the hips. Since the walls of the bedroom and the bedspread were blue, one assumes the player was a boy.
Availability
Gabe Sheets
YouTube: "kumbaya solo on the trumpet." Uploaded by Gabe Sheets on 28 January 2015.
Unidentified trumpet player
YouTube: "Kum Ba Yah for trumpet." Uploaded by karenreeeves on 22 May 2010.
End Notes
1. Arnold Gesell and Frances L. Ilg. The Child from Five to Ten. New York: Harper and Row, 1946. 225.
2. Gesell. 197-198.
3. Dee. Comment posted to Amazon website for Standard of Excellence, Book 1. Trumpet on 7 November 2015.
4. Amazon Customer. Comment posted to Amazon website for Standard of Excellence, Book 1. Trumpet on 9 September 2014.
5. John Kinyon. Basic Training Course. Book 1, Cornet. New York: Alfred Music Company, 1970. 21.
Arthur C. Jenson. Learning Unlimited. Level 1. Trumpet/Cornet. Milwaukee: Hal Leonard Publishing Corporation, 1973. 44.
6. Harry H. Haines and J. R. McEntyre. Division of Beat. Book 1, Cornet/Trumpet, Baritone TC. San Antonio: Southern Music Company, 1980. This appeared on page 26 of 32. Eight notes were excluded because they became sixteenth-notes in 2/2.
7. Don Schaeffer. "Kum Ba Yah." Oskaloosa, Iowa: C. L. Barnhouse Company, 1987. I found no versions of this on YouTube or Amazon. Allegretto was very similar to moderato, 112-120 beats per minute versus 108-120 bpm. (Wikipedia. "Tempo.")
8. Leonhard’s series was discussed in the post for 8 July 2018.
9. Charles Leonhard. "Music and Ends in Music Education." Florida Band Director 35:10-11:December 1981. Quotation from George N. Heller. Charles Leonhard. Metuchen, New Jersey: The Scarecrow Press, 1995. 145-146. Elision in Heller.
10. Publishing details for band books containing "Kumbaya" were provided in the post for 27 June 2018.
11. hannah0782. YouTube video posted by Karen Reeves. Comment added 2013.
12. Angel Dove1. YouTube video of Gabe Sheets. Comment added July 2017. They may not have had the same band books.
13. Pearson’s Standard of Excellence was discussed in the post 29 July 2018.
14. Bruce Pearson and Ryan Nowlin. Tradition of Excellence. Book 1. Bb Trumpet/Cornet. San Diego: Neil A. Kjos Music Company, 2919. 27.
15. Pearson. 34.
16. Pearson. 36.
17. Pearson. 34. According to Wikipedia, "The Jewish holiday of Hanukkah (‘Dedication’) commemorates the restoration of Jewish worship at the temple in Jerusalem in 164 BC, after Judah Maccabeus removed all of the statues depicting Greek gods and goddesses." ("Judas Maccabeus.")
18. The Book of Maccabees appeared in the Roman Catholic, but not the Protestant Bible. Such cultural differences were beyond the scope of music texts, which had enough problems respecting the conflicting religious sensitivities of the many groups who purchased their books. (Wikipedia. "1 Maccabees.")
19. Pearson. 27.
20. Pearson. 36.
21. Chuck Elledge, Jane Yarbrough, and Bruce Pearson. Music Theory & History Workbook. San Diego: Neil A. Kjos Music, 1993.
22. "Standard of Excellence Comprehensive Band Method." Bruce Pearson Music website.
23. Notes for "2014 Augusta County Middle School Honor Band." Uploaded to YouTube by FDHSFineArts on 19 January 2014.
24. "Gabe’s Eagle Scout Project." Go Fund Me website. 6 June 2017.
25. Go Fund Me.
Sunday, July 29, 2018
Bruce Pearson - Kum BaYah
Topic: Pedagogy - Instrumental Tempo
Band members learn the tempo of a piece of music is set by the conductor, and that, regardless of what’s written on their sheet music, they must follow his baton and play with the group. This was why Isaih Boone, mentioned in the post for 4 July 2017, counted out the beat when he was teaching clarinet players to sight read. They were supposed to get the notes and durations from the music, and the pacing from him.
Band method books typically mentioned three speeds: moderato, andante which was slower than moderato, and allegro which was faster. Although some theorists tried to specify ranges of speed measured by a metronome in beats per minute for each Italian term, band book editors used relative definitions. For instance, Bruce Pearson defined moderato as "moderate speed" and andante as "moderately slow" in Standard of Excellence. [1]
Pearson’s explanation of allegro as "quick and lively" [2] introduced a different element, that tempo markings in fact signified the style of attacking notes. Taking a recording and altering the speed didn’t transform a moderato piece into an allegro; it just became a faster version of itself.
Students intuited the meanings of the terms from the examples they played. Pearson’s first moderato pieces were Mozart’s arrangement of "Twinkle, Twinkle Little Star" and Beethoven’s "Ode to Joy" theme. "Ach! Du Lieber Augustine" was the first allegro work, and "Sakura" the first marked andante.
Only one modern book took a different approach to tempo, Band Expressions. Robert and Susan Smith’s team introduced rock as a musical style on page 21, and began using stylistic adjectives in the upper left corner of the staff where tempo comments appeared. On page 24, they used the words "Joyous!" and "Moderately bright." Even then, they got no faster than "Lively!" on page 39 of the 51 pages of lessons. [3]
A number of band books introduced the much slower "largo" after the basic tempos had been learned. The "Largo" theme from Dvorak’s From the New World symphony was often the first example. Pearson followed it with a "Chorale" by Lowell Mason and "Kumbaya," which was to be played softly.
Maintaining a slow tempo was difficult because it exposed problems with tone control. Timothy Broege warned conductors who were considering using his level-two [4] version of "Kumbaya" that the "slow and sustained" opening required "well-supported tone from all players." [5]
Most of his "Performance Notes" dealt with tempo. He told band teachers, "as the music builds toward the key change at m. 42, care should be taken to avoid playing at a faster tempo that the opening quarter-note = 80," [6] which fell into andante range. He made the additional suggestion that "singing the tune in unison is good preparation for rehearsing the music." [7]
Performers
Standard of Excellence for trumpet/cornet
Vocal Soloist: none
Vocal Group: none
Instrumental Soloist: none
Instrumental Group: trumpets and cornets
Instrumental Accompaniment: none
Rhythm Accompaniment: none
Timothy Broege
Vocal Soloist: none
Vocal Group: none
Instrumental Soloists: none
Instrumental Group: flute, oboe, various clarinets, various saxophones, bassoon, trumpets, French horn, trombone, baritone horn, tuba, marimba, bells, chimes
Rhythm Accompaniment: floor tom-tom, bass drum, snare drum, timpani, suspended and ride cymbals, tambourine, triangle
Credits
Standard of Excellence for trumpet/cornet
African Folk Song
Timothy Broege
Traditional Spiritual. Arranged by Timothy Broege
© 2004 Music Works
"Among African-American spirituals, Kum Ba Yah is one of the most widely known and loved, included in many church hymnals. The tune was also an anthem of the American civil rights movement in the 1950s and 1960s. Its simple diatontic eloquence - the tune is nothing but a six-pitch hexachord - and prayfulness have been inspiration to millions the world over." [8]
Notes on Lyrics
There were none
Notes on Music
Standard of Excellence for trumpet/cornet
Opening Phrase: 1-3-5
Time Signature: 4/4
Tempo: largo
Key Signature: no flats or sharps for B-flat trumpet
Dynamics: marked "p"
Basic Structure: one verse, with no variations for B-flat trumpet
Timothy Broege
Open Phrase: 1-3-5
Time Signature: 4/4
Tempo: slow and sustained, quarter note = 80 beats per minute
Basic Structure: "repeated statements of the tune with varied accompaniments for each statement. The tune is heard in both major and minor modes, and moves from an initial pitch-center of Bb major, through D major, culminating in a rapturous and triumphant Eb major" [9]
Audience Perceptions
Standard of Excellence ranked after the Essential Elements books in the number of comments made on Amazon’s retail website. One person, who identified himself as a kid who "taught myself to play!," wrote:
"I was so eager to get this book! [. . .] I would recommend this book for anybody who would like to learn the trumpet by themselves from the very beginning. The first day I got this book, I was playing many songs and now I can play scales and much longer songs." [10]
Another young musician remembered:
"I was required to study out of this book when I first started playing the trumpet. I got really good really fast because of it. It’s got pictures and shows a kind of step by step guide to learning the trumpet. You only get new notes when you’re ready to learn new notes with this book. It taught me everything I know about music theory and because of that I can pick up almost any instrument and start playing." [11]
The book’s use of familiar tunes was appreciated by parents, who could use them to gauge their children’s progress. One remarked:
"Great book for beginners! My child can now play hot cross buns till the cows come home. Clear and easy to read/learn." [12]
Another echoed Joseph Maddy’s comments quoted in the post for 27 June 2017:
"Had to purchase for my son’s band at school. [. . .] There are a few tunes in there he loves to play so to me, if he is interested in playing the music in here - it’s a big plus!" [13]
I couldn’t find any versions of Broege’s arrangement on YouTube or Amazon.
Notes on Performers
Pearson began playing clarinet in a Minnesota small city [14] some 35 miles northwest of Minneapolis. [15] After graduating from Saint Cloud State University in 1964, [16] he taught in public schools. His book, which he described as "performance-centered," [17] drew upon notes he kept about "what students at each level could and couldn’t do." [18]
Broege studied composition at Northwestern University and taught music in both Chicago and his native New Jersey until 1980. He was the organist at First Presbyterian Church in Belmar, New Jersey, and at Elberon Memorial Church, in Elberon, New Jersey. He later taught privately in Bradley Beach, New Jersey. [18]
Availability
Standard of Excellence for trumpet/cornet
Book: "Kum Ba Yah." 35 in Standard of Excellence. Book 1. Bb Trumpet/Cornet. Edited by Bruce Pearson. San Diego: Neil A. Kjos Music Company, 1993. It came with a CD. Books also were available for oboe, flute, various clarinets, various saxophones, bassoon, trumpet, French horn, trombone, baritone horn, tuba, piano, guitar, electric bass, drums and mallet percussion, and timpani and auxiliary percussion.
Timothy Broege
Sheet Music: "Kum Ba Yah." Milwaukee: Music Works, 2004. Distributed by Hal Leonard Corporation, Milwaukee. Score came with a CD.
End Notes
1. Pearson. 28.
2. Pearson. 28.
3. Robert W. Smith and Susan L. Smith. Band Expressions. Book 1. Trumpet. Van Nuys, California: Alfred Publishing Company, 2003.
4. The Safe Music website defined Level 2 as easy, "arranged for 2nd-3rd year players with semi-fluent technique, these pieces have intermediate rhythms with some syncopation, duplet and triplet rhythms. The ranges are less restricted, and some changing meter work is introduced." ("Band Difficulty Gradings")
5. Timothy Broege. "Performance Notes."
6. Broege, Notes.
7. Broege, Notes.
8. Broege, Notes.
9. Broege, Notes.
10. A Kid’s Review. Comment posted to Amazon on 9 July 2010.
11. B. L. Schneider. Comment posted to Amazon on 19 September 2011.
12. Amazon Customer. Comment posted to Amazon on 6 November 2013.
13. ashct04. Comment posted to Amazon on 9 September 2016.
14. Dutch Wikipedia. "Bruce Pearson."
15. Wikipedia. "Elk River, Minnesota."
16. "Outstanding Alumni: Bruce Pearson." Saint Cloud State University’s Department of Music website.
17. "Standard of Excellence Comprehensive Band Method." Bruce Pearson Music website.
18. "Bruce Pearson." National Association of Music Merchants website
19. "Timothy Broege - Biography." His website.
Band members learn the tempo of a piece of music is set by the conductor, and that, regardless of what’s written on their sheet music, they must follow his baton and play with the group. This was why Isaih Boone, mentioned in the post for 4 July 2017, counted out the beat when he was teaching clarinet players to sight read. They were supposed to get the notes and durations from the music, and the pacing from him.
Band method books typically mentioned three speeds: moderato, andante which was slower than moderato, and allegro which was faster. Although some theorists tried to specify ranges of speed measured by a metronome in beats per minute for each Italian term, band book editors used relative definitions. For instance, Bruce Pearson defined moderato as "moderate speed" and andante as "moderately slow" in Standard of Excellence. [1]
Pearson’s explanation of allegro as "quick and lively" [2] introduced a different element, that tempo markings in fact signified the style of attacking notes. Taking a recording and altering the speed didn’t transform a moderato piece into an allegro; it just became a faster version of itself.
Students intuited the meanings of the terms from the examples they played. Pearson’s first moderato pieces were Mozart’s arrangement of "Twinkle, Twinkle Little Star" and Beethoven’s "Ode to Joy" theme. "Ach! Du Lieber Augustine" was the first allegro work, and "Sakura" the first marked andante.
Only one modern book took a different approach to tempo, Band Expressions. Robert and Susan Smith’s team introduced rock as a musical style on page 21, and began using stylistic adjectives in the upper left corner of the staff where tempo comments appeared. On page 24, they used the words "Joyous!" and "Moderately bright." Even then, they got no faster than "Lively!" on page 39 of the 51 pages of lessons. [3]
A number of band books introduced the much slower "largo" after the basic tempos had been learned. The "Largo" theme from Dvorak’s From the New World symphony was often the first example. Pearson followed it with a "Chorale" by Lowell Mason and "Kumbaya," which was to be played softly.
Maintaining a slow tempo was difficult because it exposed problems with tone control. Timothy Broege warned conductors who were considering using his level-two [4] version of "Kumbaya" that the "slow and sustained" opening required "well-supported tone from all players." [5]
Most of his "Performance Notes" dealt with tempo. He told band teachers, "as the music builds toward the key change at m. 42, care should be taken to avoid playing at a faster tempo that the opening quarter-note = 80," [6] which fell into andante range. He made the additional suggestion that "singing the tune in unison is good preparation for rehearsing the music." [7]
Performers
Standard of Excellence for trumpet/cornet
Vocal Soloist: none
Vocal Group: none
Instrumental Soloist: none
Instrumental Group: trumpets and cornets
Instrumental Accompaniment: none
Rhythm Accompaniment: none
Timothy Broege
Vocal Soloist: none
Vocal Group: none
Instrumental Soloists: none
Instrumental Group: flute, oboe, various clarinets, various saxophones, bassoon, trumpets, French horn, trombone, baritone horn, tuba, marimba, bells, chimes
Rhythm Accompaniment: floor tom-tom, bass drum, snare drum, timpani, suspended and ride cymbals, tambourine, triangle
Credits
Standard of Excellence for trumpet/cornet
African Folk Song
Timothy Broege
Traditional Spiritual. Arranged by Timothy Broege
© 2004 Music Works
"Among African-American spirituals, Kum Ba Yah is one of the most widely known and loved, included in many church hymnals. The tune was also an anthem of the American civil rights movement in the 1950s and 1960s. Its simple diatontic eloquence - the tune is nothing but a six-pitch hexachord - and prayfulness have been inspiration to millions the world over." [8]
Notes on Lyrics
There were none
Notes on Music
Standard of Excellence for trumpet/cornet
Opening Phrase: 1-3-5
Time Signature: 4/4
Tempo: largo
Key Signature: no flats or sharps for B-flat trumpet
Dynamics: marked "p"
Basic Structure: one verse, with no variations for B-flat trumpet
Timothy Broege
Open Phrase: 1-3-5
Time Signature: 4/4
Tempo: slow and sustained, quarter note = 80 beats per minute
Basic Structure: "repeated statements of the tune with varied accompaniments for each statement. The tune is heard in both major and minor modes, and moves from an initial pitch-center of Bb major, through D major, culminating in a rapturous and triumphant Eb major" [9]
Audience Perceptions
Standard of Excellence ranked after the Essential Elements books in the number of comments made on Amazon’s retail website. One person, who identified himself as a kid who "taught myself to play!," wrote:
"I was so eager to get this book! [. . .] I would recommend this book for anybody who would like to learn the trumpet by themselves from the very beginning. The first day I got this book, I was playing many songs and now I can play scales and much longer songs." [10]
Another young musician remembered:
"I was required to study out of this book when I first started playing the trumpet. I got really good really fast because of it. It’s got pictures and shows a kind of step by step guide to learning the trumpet. You only get new notes when you’re ready to learn new notes with this book. It taught me everything I know about music theory and because of that I can pick up almost any instrument and start playing." [11]
The book’s use of familiar tunes was appreciated by parents, who could use them to gauge their children’s progress. One remarked:
"Great book for beginners! My child can now play hot cross buns till the cows come home. Clear and easy to read/learn." [12]
Another echoed Joseph Maddy’s comments quoted in the post for 27 June 2017:
"Had to purchase for my son’s band at school. [. . .] There are a few tunes in there he loves to play so to me, if he is interested in playing the music in here - it’s a big plus!" [13]
I couldn’t find any versions of Broege’s arrangement on YouTube or Amazon.
Notes on Performers
Pearson began playing clarinet in a Minnesota small city [14] some 35 miles northwest of Minneapolis. [15] After graduating from Saint Cloud State University in 1964, [16] he taught in public schools. His book, which he described as "performance-centered," [17] drew upon notes he kept about "what students at each level could and couldn’t do." [18]
Broege studied composition at Northwestern University and taught music in both Chicago and his native New Jersey until 1980. He was the organist at First Presbyterian Church in Belmar, New Jersey, and at Elberon Memorial Church, in Elberon, New Jersey. He later taught privately in Bradley Beach, New Jersey. [18]
Availability
Standard of Excellence for trumpet/cornet
Book: "Kum Ba Yah." 35 in Standard of Excellence. Book 1. Bb Trumpet/Cornet. Edited by Bruce Pearson. San Diego: Neil A. Kjos Music Company, 1993. It came with a CD. Books also were available for oboe, flute, various clarinets, various saxophones, bassoon, trumpet, French horn, trombone, baritone horn, tuba, piano, guitar, electric bass, drums and mallet percussion, and timpani and auxiliary percussion.
Timothy Broege
Sheet Music: "Kum Ba Yah." Milwaukee: Music Works, 2004. Distributed by Hal Leonard Corporation, Milwaukee. Score came with a CD.
End Notes
1. Pearson. 28.
2. Pearson. 28.
3. Robert W. Smith and Susan L. Smith. Band Expressions. Book 1. Trumpet. Van Nuys, California: Alfred Publishing Company, 2003.
4. The Safe Music website defined Level 2 as easy, "arranged for 2nd-3rd year players with semi-fluent technique, these pieces have intermediate rhythms with some syncopation, duplet and triplet rhythms. The ranges are less restricted, and some changing meter work is introduced." ("Band Difficulty Gradings")
5. Timothy Broege. "Performance Notes."
6. Broege, Notes.
7. Broege, Notes.
8. Broege, Notes.
9. Broege, Notes.
10. A Kid’s Review. Comment posted to Amazon on 9 July 2010.
11. B. L. Schneider. Comment posted to Amazon on 19 September 2011.
12. Amazon Customer. Comment posted to Amazon on 6 November 2013.
13. ashct04. Comment posted to Amazon on 9 September 2016.
14. Dutch Wikipedia. "Bruce Pearson."
15. Wikipedia. "Elk River, Minnesota."
16. "Outstanding Alumni: Bruce Pearson." Saint Cloud State University’s Department of Music website.
17. "Standard of Excellence Comprehensive Band Method." Bruce Pearson Music website.
18. "Bruce Pearson." National Association of Music Merchants website
19. "Timothy Broege - Biography." His website.
Wednesday, July 25, 2018
Frank Churchley - Kum Ba Yah
Topic: Pedagogy - Vocal Tempo
Metabolism is the scientific term for the processes an organism needs to function, be it the photosynthesis of plants or the conversion of food by humans. [1] Basal metabolism rates are highest when children are about one year old. At the time boys enter elementary school at age five their rate is 50, and the rate for girls is slightly lower. When they reach fifth grade, a boy’s rate has fallen to about 44. During junior high, the boy’s rate drops to about 41 and a girl’s to about 38. Rates continue to drop until they reach age twenty, though not so dramatically, then level off. [2]
I don’t know exactly how basal metabolism rates correlate with energy expenditures by children, but I’m guessing the high levels for 30-month-old toddlers explains why they ran, galloped or swung to music in the 1930s. Six months later, at age three, Arnold Gesell and Frances Ilg found they could "gallop, jump, walk and run in fairly good time to music." [3] Walking suggested they had added an ability to handle a slightly slower pace.
Marilyn Pflederer Zimmerman observed that children, in general, were "better able to keep time with fast tempi than with slow tempi." She added
"Nursery school children in particular are more successful in synchronizing their movements
with fast tempi than with slow ones. Kindergarten and primary school children adapt to both, although maintaining a steady beat at slower tempi is still more difficult than at faster tempi." [4]
Robert Petzold’s experiments with children in Madison, Wisconsin, showed all children experienced significantly more difficulty in maintaining a steady beat at the slower tempos of 92 and 60 beats per minute and that children in Grades 1 and 2 found the tempo of 60 especially difficult, responding with larger deviations than those noted for the other two grades. [5]
Tempo or the speed of music would then seem to be one element teachers would consider when selecting songs for their elementary school classes. "Kumbaya" can be sung at any speed, but all the public school music books published in the United States in the 1960s and early 1970s specified it be sung slowly. In some cases that was because the word "slowly" appeared in the version they were reprinting. [6]
The only school text to suggest a faster time for "Kumbaya" was one published in Canada, where Frank Churchley specified 2/4 time. One reason for a willingness to sing quickly may have been Canada was essentially an Anglican country. Methodists, who amplified the strictures of Puritans against musicality in the United States, were less powerful. Indeed, they had merged with the Presbyterians in 1925 into the United Church of Canada.
More important may have been the editorial evolution of the Basic Goals in Music Series. Texts for the primary grades were released first by Lloyd Slind and Churchley. When McGraw Hill decided to add a kindergarten book, Churchley asked Joan Haines to help because she was an expert in "early childhood music." [7]
Sound Beginnings was divided into two units that each covered the four seasons. "Kumbaya" was included in the section of winter songs in the second unit or year.
Teachers, of course, were free to do as they chose. Indeed, Churchley found many ignored the organization of his series, and converted books into song collections. [8] Those who used the slow tempo risked boring their students, and, in fact, none of the versions uploaded to YouTube were slow. The version used by Grant Elementary School was advertized as "lively." [9]
Performers
Vocal Soloist: none
Vocal Group: group
Instrumental Accompaniment: piano
Rhythm Accompaniment: none
Credits
African folk song
From Spirituals. Cooperative Recreation Service.
Notes on Lyrics
Language: English
Pronunciation: koom bay yah
Verses: calling, sighing, praying, singing
Vocabulary
Pronoun: someone
Term for Deity: Lord
Special Terms: calling, sighing
Basic Form: four-verse song
Verse Repetition Pattern: none
Ending: none
Notes on Music
Opening Phrase: 1-3-5
Time Signature: 2/4
Tempo: nothing specified
Key Signature: no sharps or flats
Autoharp Chords: C F G7
Singing style: unison
Vocal-Accompaniment Dynamics: right hand of piano played melody; left had played a chord at the beginning of every measure and on the last syllable of kumbaya.
Notes on Performers
Churchley grew up in a small Ontario town where he studied piano. [10] After his family moved when he was 13, he was able to play trumpet in the town band. [11] He began studying music education at the University of Toronto after World War II when most of the students "were service men who had been in the army band or air force band coming back. There was a growing interest in instrumental music." [12] While he was in college, he spent his summers as music director of Taylor Statten’s Camp Ahmek. [13]
After receiving his certification Churchley taught vocal and instrumental music for two years in Niagara Falls, Ontario, [14] and returned there for two years after he’d earned his masters from Columbia. [15] "Harry Robert Wilson conducted the choir; he was sort of a bombastic type. I sang in his choir." [16]
Once he had his PhD, he taught music education in universities. He retired in 1994, [17] and turned his attention to water color painting. [18]
Beatrice Joan Elizabeth Haines was born in Lancashire, England, where her father was a clergyman. [19] She earned her bachelor’s degree from Carlton University in 1959, [20] and was on the education faculty at McGill University. Her obituary described her as a "much loved, admired and respected educator," but provided no biographical details. [21]
Availability
Book: "Kum Ba Yah." 148-149 in Sound Beginnings. Edited by Frank Churchley and Joan Haines. Toronto: McGraw-Hill Company of Canada, 1967.
End Notes
1. Wikipedia. "Metabolism."
2. J. V. G. A. Durnin. "Basal Metabolic Rate in Man." Joint FAO/WHO/UNU Expert Consultation on Energy and Protein Requirements Rome, 5 to 17 October 1981. FAO website. Female rates were consistently lower than male ones.
3. Arnold Gesell and Frances L. Ilg. The Child from Five to Ten. New York: Harper and Row, 1946. 232.
4. Marilyn Pflederer Zimmerman. Musical Characteristics of Children. Washington: Music Educators National Conference, 1971. 25. She was discussing the work of Helen Christianson and Robert Petzold (below). Christianson wrote Bodily Rhythmic Movements of Young Children in Relation to Rhythm in Music. New York: Columbia University Teachers College, 1938.
5. Robert G. Petzold. Auditory Perception of Musical Sounds by Children in the First Six Grades. Madison: The University of Wisconsin, 1966. 257.
6. Cooperative Recreation Service publications said "slowly."
7. Frank E. Churchley. Interviewed by Betty Hanley. "Frank E. Churchley: Gentleman, Scholar, Teacher." March 2005. 56.
8. Churchley. 63-64.
9. For more on Grant Elementary School, see the post for 25 September 2017.
10. Churchley. 3.
11. Churchley. 10.
12. Churchley. 11.
13. Churchley. 21.
14. Churchley. 4.
15. Churchley. 37.
16. Churchley. 32. Wilson was mentioned in the post for 15 July 2018.
17. Churchley. vi.
18. Churchley. vii.
19. "Baptisms at St Eadmer." Lancashire OnLine Parish Clerks website.
20. Carlton University graduation program. 22 May 1959.
21. Joan Haines obituary published by Montreal Gazette on 14 December 2002.
Metabolism is the scientific term for the processes an organism needs to function, be it the photosynthesis of plants or the conversion of food by humans. [1] Basal metabolism rates are highest when children are about one year old. At the time boys enter elementary school at age five their rate is 50, and the rate for girls is slightly lower. When they reach fifth grade, a boy’s rate has fallen to about 44. During junior high, the boy’s rate drops to about 41 and a girl’s to about 38. Rates continue to drop until they reach age twenty, though not so dramatically, then level off. [2]
I don’t know exactly how basal metabolism rates correlate with energy expenditures by children, but I’m guessing the high levels for 30-month-old toddlers explains why they ran, galloped or swung to music in the 1930s. Six months later, at age three, Arnold Gesell and Frances Ilg found they could "gallop, jump, walk and run in fairly good time to music." [3] Walking suggested they had added an ability to handle a slightly slower pace.
Marilyn Pflederer Zimmerman observed that children, in general, were "better able to keep time with fast tempi than with slow tempi." She added
"Nursery school children in particular are more successful in synchronizing their movements
with fast tempi than with slow ones. Kindergarten and primary school children adapt to both, although maintaining a steady beat at slower tempi is still more difficult than at faster tempi." [4]
Robert Petzold’s experiments with children in Madison, Wisconsin, showed all children experienced significantly more difficulty in maintaining a steady beat at the slower tempos of 92 and 60 beats per minute and that children in Grades 1 and 2 found the tempo of 60 especially difficult, responding with larger deviations than those noted for the other two grades. [5]
Tempo or the speed of music would then seem to be one element teachers would consider when selecting songs for their elementary school classes. "Kumbaya" can be sung at any speed, but all the public school music books published in the United States in the 1960s and early 1970s specified it be sung slowly. In some cases that was because the word "slowly" appeared in the version they were reprinting. [6]
The only school text to suggest a faster time for "Kumbaya" was one published in Canada, where Frank Churchley specified 2/4 time. One reason for a willingness to sing quickly may have been Canada was essentially an Anglican country. Methodists, who amplified the strictures of Puritans against musicality in the United States, were less powerful. Indeed, they had merged with the Presbyterians in 1925 into the United Church of Canada.
More important may have been the editorial evolution of the Basic Goals in Music Series. Texts for the primary grades were released first by Lloyd Slind and Churchley. When McGraw Hill decided to add a kindergarten book, Churchley asked Joan Haines to help because she was an expert in "early childhood music." [7]
Sound Beginnings was divided into two units that each covered the four seasons. "Kumbaya" was included in the section of winter songs in the second unit or year.
Teachers, of course, were free to do as they chose. Indeed, Churchley found many ignored the organization of his series, and converted books into song collections. [8] Those who used the slow tempo risked boring their students, and, in fact, none of the versions uploaded to YouTube were slow. The version used by Grant Elementary School was advertized as "lively." [9]
Performers
Vocal Soloist: none
Vocal Group: group
Instrumental Accompaniment: piano
Rhythm Accompaniment: none
Credits
African folk song
From Spirituals. Cooperative Recreation Service.
Notes on Lyrics
Language: English
Pronunciation: koom bay yah
Verses: calling, sighing, praying, singing
Vocabulary
Pronoun: someone
Term for Deity: Lord
Special Terms: calling, sighing
Basic Form: four-verse song
Verse Repetition Pattern: none
Ending: none
Notes on Music
Opening Phrase: 1-3-5
Time Signature: 2/4
Tempo: nothing specified
Key Signature: no sharps or flats
Autoharp Chords: C F G7
Singing style: unison
Vocal-Accompaniment Dynamics: right hand of piano played melody; left had played a chord at the beginning of every measure and on the last syllable of kumbaya.
Notes on Performers
Churchley grew up in a small Ontario town where he studied piano. [10] After his family moved when he was 13, he was able to play trumpet in the town band. [11] He began studying music education at the University of Toronto after World War II when most of the students "were service men who had been in the army band or air force band coming back. There was a growing interest in instrumental music." [12] While he was in college, he spent his summers as music director of Taylor Statten’s Camp Ahmek. [13]
After receiving his certification Churchley taught vocal and instrumental music for two years in Niagara Falls, Ontario, [14] and returned there for two years after he’d earned his masters from Columbia. [15] "Harry Robert Wilson conducted the choir; he was sort of a bombastic type. I sang in his choir." [16]
Once he had his PhD, he taught music education in universities. He retired in 1994, [17] and turned his attention to water color painting. [18]
Beatrice Joan Elizabeth Haines was born in Lancashire, England, where her father was a clergyman. [19] She earned her bachelor’s degree from Carlton University in 1959, [20] and was on the education faculty at McGill University. Her obituary described her as a "much loved, admired and respected educator," but provided no biographical details. [21]
Availability
Book: "Kum Ba Yah." 148-149 in Sound Beginnings. Edited by Frank Churchley and Joan Haines. Toronto: McGraw-Hill Company of Canada, 1967.
End Notes
1. Wikipedia. "Metabolism."
2. J. V. G. A. Durnin. "Basal Metabolic Rate in Man." Joint FAO/WHO/UNU Expert Consultation on Energy and Protein Requirements Rome, 5 to 17 October 1981. FAO website. Female rates were consistently lower than male ones.
3. Arnold Gesell and Frances L. Ilg. The Child from Five to Ten. New York: Harper and Row, 1946. 232.
4. Marilyn Pflederer Zimmerman. Musical Characteristics of Children. Washington: Music Educators National Conference, 1971. 25. She was discussing the work of Helen Christianson and Robert Petzold (below). Christianson wrote Bodily Rhythmic Movements of Young Children in Relation to Rhythm in Music. New York: Columbia University Teachers College, 1938.
5. Robert G. Petzold. Auditory Perception of Musical Sounds by Children in the First Six Grades. Madison: The University of Wisconsin, 1966. 257.
6. Cooperative Recreation Service publications said "slowly."
7. Frank E. Churchley. Interviewed by Betty Hanley. "Frank E. Churchley: Gentleman, Scholar, Teacher." March 2005. 56.
8. Churchley. 63-64.
9. For more on Grant Elementary School, see the post for 25 September 2017.
10. Churchley. 3.
11. Churchley. 10.
12. Churchley. 11.
13. Churchley. 21.
14. Churchley. 4.
15. Churchley. 37.
16. Churchley. 32. Wilson was mentioned in the post for 15 July 2018.
17. Churchley. vi.
18. Churchley. vii.
19. "Baptisms at St Eadmer." Lancashire OnLine Parish Clerks website.
20. Carlton University graduation program. 22 May 1959.
21. Joan Haines obituary published by Montreal Gazette on 14 December 2002.
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