Educación con Música, teaching classroom subjects with musical methods Vol7

Educación con Música

EDUCACION CONMUSICA teachingclassroomsubjects withmusicalmethods FAVORITES FROM CANTOS PARA TODOS

LANGUAGE ARTS SPEAKING LISTENING WRITING READING THE ARTS DANCE ART MUSIC SCIENCES SOCIALSTUDIES MATH SCIENCE HEALTH

Original songs in Spanish for bilingual education

CANTOS PARA TODOS VOLUME SEVEN 2nd printing, January, 1996 ©1996 CANTOS PARA TODOS, SILVER CITY, NEW MEXICO Mariana Murguía-Ferrer, Dan Gómez, Roy E. Howard Cantos Para Todos Volume VII

Educación con Música

EDUCACIONCONMUSICA teachingclassroomsubjectswithmusicalmethods ©1996 CANTOS PARA TODOS, SILVER CITY, NEW MEXICO Mariana Murguía-Ferrer, Dan Gómez, Roy E. Howard

LANGUAGE ARTS SPEAKING OYE PRIMO PANCHO CLOS "Pancho Clos" Holiday Traditions TROUBLE LISTENING MOLE, MOLE CORRIDO DE DOS MUJERES WRITING CADA LETRA Día de la Raza "Cristóbal Colón" MOCCASIN SQUAW DANCE SONG READING EL CORRIDO DE PUEBLA LA CHINA POBLANA

THE ARTS DANCE BAILE CHINA POBLANA ARTESANIA POBLANA ART MADERA DE MICHOACAN EL VIDRIO SOPLADO MUSIC "How Music Was Made" FLORECITAS DE CALENDULA SEPTIEMBRE

SCIENCES HISTORY EL CANON DE GONZALES CORRIDO AL CURA Independencia “El Maestro Viejo” SOCIAL STUDIES VIVA EL NORTE LA YUNTA MATH LOS ORDINALES CONTAR DE DIEZ EN DIEZ SCIENCE LA COSECHA XOCHIMILCO CELEBRA The Cycle of Life “El Hombre, el Muchacho, y el Burro” HEALTH ¿QUIEN ERES? DIVERSION FAMILIAR

Cantos Para Todos Volume VII

Educaci贸n con M煤sica

LANGUAGE WITH MUSIC teaching classroom subjects with musical methods Notes for the Teacher

by Roy E. Howard M.A. Multicultural Education, M.A. Music Education, Ph.D. Bilingual Education

Acquisition of receptive and productive language is essential for every student. Each should have every opportunity to grow every year in school in one or more languages, both oral and written. Since every student has a different learning style, a variety of strategies should be available to the teacher for teaching the art of language. One of the most viable, versatile strategies involves teaching with music.

This particular book also advocates the development of a student's first language and culture as a means of encouraging enthusiastic participation and academic empowerment. The Spanish ideas can also be used for learners of Spanish as a foreign or second language, as well as those studying Spanish as a foundation of their own heritage. The musical ideas can be used in any subject and any language.

Musicians sometimes cringe when the value of the arts is justified by saying they support some other area. There is no doubt that music should be taught for its own sake. However, given children's natural abilities and interests in music, it also can be a natural springboard from which other areas may be pursued, that is, teaching classroom subjects with musical methods. Students fortunate to be in a school that provides special music instruction will also be likely to do better in many subjects.

Researchers and practitioners find that students can adapt skills and attitudes from music and fine arts instruction to the benefit of other school subjects, especially the language arts. The study of music and the arts develops a Cantos Para Todos Volume VII

part of the brain and the soul that contributes to the whole man. Classroom teachers can use musical methods to support virtually every content area in the curriculum.

The examples are our original songs, written especially for the purposes mentioned.

The styles of composition and performance are intended to model those of Mexican and Mexican American music. Teachers are encouraged to select music, art, drama, and all the arts and languages that may be accessible to them. Students should have the opportunity to learn with aesthetic approaches such as these, and with the most authentic cultural styles possible.

The ideas in this little booklet are presented to encourage teachers to use music, languages, and all the arts to support virtually every conceivable strand and objective in the curriculum and to expand each student's ability to appreciate the greater world.

STANDARDS FOR MUSIC EDUCATION Many teachers today are required to teach music in addition to many other subjects, without the assistance of a curriculum specialist.

Standards extracted from National Standards for Music Education (draft, Music Educators National Conference MENC), "Soundpost", Vol. 9.

No. 3, January 1993, pp. 20-29) are given to guide teachers in selecting musical goals for the enclosed activities.

RATIONALE FOR SPANISH IN SECOND LANGUAGE EDUCATION Skills learned in one language form a foundational "common underlying proficiency" that enables student to be more successful in subsequent languages. Time spent in first language development for minority students serves to empower them academically and contributes to increased success in the school language. The integrated, interdisciplinary approach to education implied in this volume is highly recommended for second language

Educación con Música

learners because it allows students to connect new knowledge to those constructs already established within them.

RATIONALE FOR MUSIC AND THE ARTS IN BILINGUAL EDUCATION "The United States is a culturally diverse nation, and its arts education should reflect our culturally diverse society. Children should be familiar with their own ethnic heritage and with the arts of the many ethnic groups represented in our culture. The teaching materials selected for use in the classroom should consistently and systematically include a balance of diverse periods, styles, forms and cultures. The visual and performing arts allow us insight into the thoughts and feelings of those who have preceded us, providing invaluable windows through which to understand the many cultures that have and do exist in our own nation and throughout the world." (MENC, 1993) A WORD ABOUT THE ILLUSTRATIONS Profesora Mariana Murguía de Ferrer, of the Universidad Nacional Autónoma de México has assembled at team of artesanos who produce a variety of decoratives under the company name, Adornos Mariana. These materials include banners, garlands and strings of cut paper (papel picado). Orders may be placed in the U.S. through Cantos Para Todos, Inc. Profesora Murguía-Ferrer, an anthropologist with expertise in Mexican and Mexican American cultures, gives dynamic workshops to teachers on the integration on culture, history, and the arts.

A WORD ABOUT THE RECORDINGS Daniel P. Gómez, Ph.D. of Texas, who supervised most of the recordings, also has degrees in music and counseling. An expert in drug education, he also has performed Mexican and other styles of music for many years. A retired Air Force officer, he is an inspiring presenter able to integrate accurate information on important social issues in an entertaining musical style.

COPLAS, POESIA, Y REFRANES POPULARES Y TRADICIONALES We have included in this volume a few traditional Mexican verses for your use in language development activities. We encourage you to search out other similar examples of high quality, motivational stories, songs, and poetry to support all areas of your curriculum. We congratulate you on your interest in Mexico, and recommend that you involve your students in studies about many cultures.

Cuentos Encadenados Chained Bilingual Stories Story telling may be one of the most ancient of arts. However, since the invention of the printing press, the art has been generally lost as a common activity of every family and group.

Now it seems to hove been relegated, along with music, and the visual and kinesthetic arts, to the realms of the elite. Now we pay to hear story tellers in theaters and on the television, but rarely teach it in the schools or model it in the homes.

The story teller must become released from the prison of the print and make the tale come alive through the most natural of speech, as well as appropriate vocal inflections, and even facila expressions. The story teller must adapt every telling to the listeners. Be aware of what they know about the subject, and the language of the tale. Use props and physical enactments to enhance the meaning. meaning is personal to every listerner, so the story teller must accomodate every different understanding.

The cuentos encadenandos that follow do not represent the exact way that these stories should be told to every audience, or to every bilingual audience. They are presented as examples of what can be done to communicate with a group containing monolinguals of both languages.

That said, I must add the disclaimer before continuing the explanation. The research on bilingual pedagogy suggests that if you want the students to learn Spanish, you speak Spanish in comprehensible context. If you want them to Cantos Para Todos Volume VII

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learn English, couch the English in situations that are meaningful. If you say everything in both languages, they will listen for the one they know, and not learn the other. Cuentos Encadenados is a special story telling technique for one time presentations in which the content, not language development, is the purpose.

A concept is presented in one language, and without repeating the whole story over, the concept is picked up by the next language, and the story continues. Before telling I say, "listen to this story, but don’t worry if you do not understand every word. I promise, you will be able to follow the story line."

LANGUAGE ARTS All knowledge about a piece (whether a song, a work of art, literature, or expository text) and its setting prepare a student to comprehend and appreciate it at deeper levels. All literacy is enhanced by attention to developing a schema that includes appropriate experiences, knowledge and attitudes. Each word and concept in a text carries for each person a unique semantic script based on personal experiential, cognitive, and affective components. Each effort by the teacher to prepare students with the skills, knowledge and attitudes prerequisite to understanding, will be greatly rewarded by increased interest and comprehension by the students. Skills of listening and analyzing music do transfer to listening and analyzing literature and the other arts and sciences.

Perception and Analysis (MENC) Grades K-4. Skills in listening to and analyzing music are essential to enhance children's musical knowledge and to increase their personal enjoyment of music.

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

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Grades 9-12. The ability to listen to music and to perceive what is heard is essential to participate in one's musical culture. A knowledge of music notation is necessary to learn new music independently. Students can understand music better if they are able to analyze it.

SPEAKING Singing and discussing, the students practice the oral arts in a musical environment.

Inviting the students to speak about common experiences is also the first step to a "language experience" approach to reading. Their language can also be put into a rhythmic setting that lend to choral speaking, rapping, or dramatic reading.

Rhythmic, choral, and dramatic language can help produce results in oral language development. Language expression, language, styles of speaking, speaking for communication, speaking for enjoyment of listening: discuss differences, plays and musicals, discuss affective aspects, stimulate speech, rhythm and speech, coordinate verbal and non-verbal aspects of communication, flexibility, fluency, sound poems, responsorial singing, creative songs, question and answer songs, dialogue songs, role playing, reading the lyrics, etc.

OYE PRIMO PANCHO CLOS This rap style song celebrates values of self sacrifice and compassion in the context of a fun concept: the South Pole cousin of Santa Claus: Pancho Clos. The code-switching represented here is common to the speech of many Mexican Americans and those that live with them. Although most of our efforts in education promote standard English or standard Spanish, we build from what they know and enjoy by demonstrating that we value and appreciate regional variety.

Oye Primo Pancho Clos Roy Howard

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Oye primo Pancho Clos, Oyeme because: Hay un niño who's so poor, can't shop in a store.

Little thing I ask you Pancho, nothing alto, nothing ancho.

Oye primo Pancho Clos, Oyeme because: El merece Christmas joy, como cualquier boy.

Pero él no tiene father.

Pués, si no es una bother; For me nothing yo te pido, bring him this que he tenido.

Oye primo Pancho Clos, Oye primo Pancho Clos.

Oye primo Pancho Clos, Oyeme because: He'll be happy si yo doy even just a toy.

So I looked for a poquito and I picked mi favorito.

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

Oye primo Pancho Clos, Oye primo Pancho Clos.

Holday Traditions People all over the world celebrate the winter season with special events to remember our traditions, our families and community, and to give gratitude for another good year of life.

Thanksgiving Advent St. Andrew’s Day (Nov. 30) St. Nicholas’ Day (Dec. 6) Human Rights Day (Dec. 10) Hanukah - November or Decembeer Bill of Rights Day (Dec. 15) Christmas New Year

La Piñata

The clay pot decorated with 7 points represents the seven cardinal sins. The blindfolded child with the stick represents mankind’s efforts to overcome evil. the breaking of the pot represents victory. The gathering of the candy, fruit, and gifts that fall from the pot represent the celebration of good over evil.

Baile de Piñata Tanto bailé con la moza del cura tanto bailé que me dió calentura.

Tanto bailé con la moza del juez Tanto bailé que me duelen los ___ Tanto bailé con esa Angelina tanto bailé que ____ ____ ______

En Diciembre Roy Howard

En diciembre yo me siento muy especial.

Estación de mucha fiesta sensacional.

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

En diciembre, yo me siento muy especial.

Cuento Encadenado

Pancho Clos As an alternative to the commercialism of Santa Claus, Pancho Clos has evolved in some communities as a black bearded man wearing a sarape, riding a cart pulled by burros. The South Cantos Para Todos Volume VII

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Pole cousin of Santa Claus, he does not bring gifts other than candy, instead he helps the children do things for others.

Of course, you know how the first Santa Claus died in that chimney accident; and they buried him on Christmas Island...that’s over by Easter Island, where they buried the first Easter Bunny.

Pues, no importa que se murió, porqué dejó dos hijos, Santa Claus Number One, and Santa Claus Number Two. What a terrible thing to call your sons, Number One and Number Two. Imagínese como se portaba el Número Uno con el Número Dos: “Hey, Number Two! It snowed last night. Get a shovel and clean it up! Hey, Number Two! Look what those reindeer did. Get a shovel and clean it up! Hey, Number Two! It’s almost Christmas. Wrap those packages!

Te gusta que le hablen así? No, ¿verdad?

You don’t like it when someone talks to you like that, and neither did Number Two, so one day he got mad and headed South. Pues, si vives en el Polo del Norte, se tiene que ir al sur.

He just kept going and going until he ended up in the South Pole. ¡Qué dificultad! Ni hablaba español. Do you know why he stayed at the South Pole long enough to learn Spanish?

He met Blanca Nieves. So Santa Claus Number Two and Snow White got married and lived happily ever after...except for one thing. El siempre se quejaba de su hermano, y ella le regañaba para visitarlo. How would you like it if your spouse told you every day: "y ése, ¿porqué no te vayas a hablar con tu hermano?" You wouldn’t like that, would you?

So, one day, no aguantó más, y se fué para el norte. But, what he did not know, was that same day, he brother was headed south to see him. El y su hermano se encontraron el el aire arriba de San Franciso. But what they did not know, was that it was the very day that Apollo lucky number 13 was returning from outer space...y, ¡zas!

Por supuesto, usted nunca oyó de esto. I mean, what is NASA going to say: “Today we would like to announce that we have killed Santa Cantos Para Todos Volume VII

Claus”. No, no, no, you never heard anything like that, ¿verdad? NASA no va a decir esto.

Pues no le hace, porque los dos dejaron hijos.

The son of Santa Claus Number One still lives at the North Pole and wears a red furry cap, and big black boots, and travels around the world in a sleigh pulled by reindeer. Usted le ha oído decir, "ho, ho, ho."

But do you know what Blanca Nieves called her son? Panchito. Even today, Pancho Clos visits children around the world. Pero Pancho Clos es diferente que Santa Claus. You know how Santa Claus makes the children wonder what they are going to get for Christmas? Pancho Clos no les da sueños de recibir regalos, sino de dar regalos. Pancho says, “what did you give for Christmas?”

So this year, listen to Pancho Clos and be nice. Hay que pensar en otros más que en si mismo.

For more information about Pancho Clos and other December traditions around the world, see Cantos Para Todos, Vol. IX, Diciembre Mundial.

TROUBLE This rap song teaches strategies for overcoming temptation. Ask: "What is that, and why for me"? If the answer is that it will get you into trouble, then find something better to do. The style of this song models speech, including the use of contractions and regionalisms.

Both the English and the code switching versions are given. You are encouraged to develop your own versions as may be appropriate to what you are studying.

Trouble Roy Howard

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

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

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

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

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I listened to the man and then a thought occurred to me: What is this, and why for me?

That's trouble, cant' you see?

If I do that, I won't be happy, not for very long.

I can find another way that does not seem so wrong.

What, what, what?

Why, why, why?

Trouble, trouble, trouble, trouble, If I do it, if I do it, There's another way, there's another way.

I asked him, what is that? and he said, "you don't want to know" I asked him why for me? and he said, "Hey, I've got to go".

Questions only caused him trouble, so with that I knew Nothing that he said to me was ever even true!

I listened to the man and then a thought occurred to me: What is this, and why for me?

That's trouble, can't you see?

If I do that, I won't be happy not for very long.

I can find another way that does not seem so wrong.

What, what, what?

Why, why, why?

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

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

Trouble Roy E. Howard (Code switching version)

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

Esto le resuelve todo, makes your path more clear.

All you have to do amigo: try it una vez.

Ain't no harm in doing this, amigo, it's the best!"

Y escuché al hombre, then a thought se me occurrió: What is this, and why for me?

That's trouble, can't you see?

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

I can find otro camino que no es so wrong.

What, what, what?

Why, why, why?

Trouble, trouble, trouble, trouble, If I do it, if I do it, There's another way, there's another way.

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

Questions only caused him trouble, por eso yo vi ¡Nada de lo que me dijo era la verdad!

Yo escuché al hombre, then a thought se me ocurrió: What is this, and why for me?

That's trouble, can't you see?

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

I can find otro camino que no es so wrong.

What, what, what?

Why, why, why?

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

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

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COPLAS POPULARES Paloma blanca, piquito de oro Que con tus alas volando vas, Pasas los montes, pasas los rios, Pasas las olas del ancho mar. *********************** Voy a casar mi gallina Con un gallo copetón Para que salgan los pollos Con chaqueta y pantalón. ******************* Si buscas al tecolote, En el monte lo has de hallar, Al peso de media noche Empieza a cucuruquear. ****************** El piojo y la pulga se van a casar, no se hacen las bodas por falta de pan. responde una hormiga desde su hormigal: Que se hagan las bodas, que yo daré el pan. ¡Albricias, albricias, ya el pan lo tenemos!

Pero ahora el vino, ¿dónde lo tenemos?

Respondió un mosquito de lo alto de un pino: Que se hagan las bodas, que yo daré el vino. ¡Albricias, albricias, ya vino tenemos!

Pero ahora quien toque, ¿dónde lo hallaremos?

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

LISTENING Listening to lyrics and the various aspects of the music and its performance, students practice the many skills of listening, including auditory perception (detect minor changes in volume and pitch of musical sounds or speech sounds), auditory discrimination (notice differences between musical sounds or between phonemes), auditory memory (recognize and recall musical notes/phrases or verbal phonemes/ phoneme sequences such as rhyming words, alliteration, etc.), auditory association (of sounds to what produced them in music or sounds with Cantos Para Todos Volume VII

letters in reading), auditory blending (sequences of notes create musical phrases, sequences of phonemes create words and sentences), listening for understanding and action, listening for critical analysis and discussion: listen for main idea or detail, distinguish opera from operetta, listen for melody, rhythm, harmony, voices, instruments, read poems to musical background, play music to set mood, create imagery, listen for interpretation, high-low, same-different, fast-slow, updown, etc.

MOLE, MOLE Students can use songs such as this one to practice listening for details: what foods did you hear mentioned? Teachers may sing this and substitute other items, or recipes for other types of foods. The style of the music is ranchera norteña.

MOLE, MOLE Dan Gómez © 1990, Cantos Para Todos

Mole, mole, mole con chile Enchiladas que saben ricas Chiles anchos, cebolla grande Si no te cuidas, sí que te picas.

Mole, mole, mole poblano Que aromas, pavo, gallina.

Cocinero, tráigame pronto Mole poblano, comida fina.

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

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Algún día será verano y amanecerá más temprano.

first started their progress towards independence from european control. Students who learn to listen and ponder the ideas presented in songs like this, will have fertile ground for many discussions.

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

CORRIDO DE DOS MUJERES

Con el tiempo maduran las uvas.

Dan Gómez © 1990, Cantos Para Todos

Este corrido que voy a cantar es homenaje a dos mujeres Al lado de insurgentes también al lado de la gente.

Canto a Leona y a Josefa. ¡Ay, que valientes seres!

Leona Vicario a ls causa ayudó con su dinero y su vida.

Aunque fue encarcelada, detenerla no pudieron.

Les daba auxilio a rebeldes, aunque fue perseguida.

Otra mujer que mostró su valor: Josefa Ortiz de Domínguez.

Criolla de padres españoles, su vida fue mexicana.

Protegía al movimiento y combatía las desigualdades.

Esta bravura no se ha de encontrar como de Leona y Josefa.

Este mes de septiembre y por la independencia.

Heroínas mexicanas, ¡qué vivan para siempre!

REFRANES POPULARES En casa del jabonero el que no cae resbala. ¡Qué más quiere el sapo que lo echen al agua!

WRITING Whether writing music or writing about music, students will enjoy writing in the musical environment. Musical experiences promote eyemotor coordination, form constancy, figure ground: write to or about musicians, write songs, change words or verses to songs, write stories about songs, write stories in response to music listening, write musical drama, TV shows, commercials, handwriting exercises related to music such as title or lyric copying, spelling, alphabet, etc.

CADA LETRA Whether teaching children initial literacy, or teaching youth or adults Spanish as a foreign language, this song is useful. Those who can write enjoy learning the song, and then practicing listening and writing letters called out by the teacher that spell words they know. Those who are first learning the alphabet may point to the letters as they listen to the song. They will begin to sing as they gain confidence in what they hear. As they point and sing, they associate the sound with the symbol. As they use the letters to form known words, the association becomes a part of their accessible language. Since Spanish is more of a phonetic language than English, many didactics recommend emphasizing attention to the sounds of the letters (in words, more than in isolation) as part of the total approach to initial literacy. Notice that the syllabic representation of each letter is also given in the text written under the music. This is of help to Cantos Para Todos Volume VII

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students of Spanish as a foreign language, because the pronunciation of the alphabet is more readily apparent. It is also useful to the initial reader, because the letters can be placed into syllables and words quickly: Oye, Pepe, vente para aca; which places simple combinations of vowels and consonants into strings of phonemes that are quickly readable and easily understood. The more context, the quicker the understanding, and the sooner the reading task is mastered.

In 1994 the standard for Spanish changed. The letters ch and ll have been replaced by c, h, and l, l. Check with the standards in your community as to the options for the letters ch, and ll.

CADA LETRA Roy Howard © 1990, Cantos Para Todos

A, B, C, Ch, D, E, F, G, H, I, J, K, L, Ll, M, N, Ñ, O, P, Q, R, Rr, S, T, U, V, W, X, Y, Z Yo conozco cada letra.

a, be, ce, che, de, e, efe, ge, hache, i, jota, ka, ele, elle, eme, ene, eñe, o, pe, qu, ere, erre, ese, te, u, ve, doble u, equis, y griega, zeta, Yo conozco cada letra.

CRISTOBAL COLON The song suggested a story to our minds.

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We have attached an example of how we elaborate a song by writing a narrative to go with it.

Clearly, your class could recite, sing, act out or dramatize a song that has a theme or content that meets your needs. Encourage creative writing around the subject of a song! Use the onomatopoetic approach to learning the vowels on the theme of this song too: Capitán Cristóbal Colón por fin sentía que se acercaba a tierra por lo que vió y oyó. Primero, vió volar unos pájaros negros , que cantaban: ¡ca, ca!

"Ah, yo oigo 'ca'".

El exclamó: ¡eh, eh! ese es señal que nos acercamos a la tierra, ¿eh? "¿Eh? yo ya llegué".

Y en ese momento los grillos y otros insectos comenzaban a decir: "¡ih, ih". "¡Iih, todo yo lo vi"!

Todos los hombres en el barco de repente gritaron: ¡oh, oh, oh, nuestro viaje ya se terminó!

"Oh, ya se terminó".

Usted no supo como buscaban por ese lugar. ¡Uh, uh, uh, fue un octubre, ya los sabes tú!

Ahora cuando yo quiero escribir, es fácil, porque yo conozco los vocales.

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

"Uh, lo sabes tú!"

Día de la Raza 12 October 1492 The Carib people discover Columbus lost and hungry. They offer him food and water, and invite him to return. He returns with priests who change their ideas, merchants who enslave them, and soldiers who impose an alien culture and begin a new race.

Cristofori Colombo The son of weavers in Genoa, Cristofori Colombo never learned to read, write or speak

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Italiano until he was 18 years old. He always would rather travel than weave, so when he becam educated, he began to sail the Mediterranean Sea. He believed there was a better route to the East, but the Italianos would not help him.

He lived in Portugal, but the Portugueses would not help him. Finally, he fell in love in España, learned Español, changed his name to Cristóbal Colón, got the support of the Queen, and sailed West to get to the East. The journey was longer than he expected, and there was another continent in the way. Listen to the Cuento Encadenado, and sing along: “La Pinta, La Niña, La Santa María...”

Cristobal Colón as told by Roy Howard and Dan Gómez

There was this italiano, y el vato se llamaba Cristofori Colombo. He lived in a town on the coast, trabajando en el negocio de sus padres en Genoa. He was so busy, he never even learned to read, write, or speak italiano until he was eighteen years old. ¿Cuántos de ustedes ya saben hablar, leer, y escribir italiano?

His parents were weaver, pero a él no le gustaba tejer. His family were merchants, pero a él no le gustaba vender. Quería al mar. He really wanted to sail!

When he finally learned his second language, fué a hablar con los italianos, and he told them in his best italiano: "I think I can get to the East by sailing to the West" . They were so shocked, que no podían creerlo. Al pensarlo bien, they answered him like this: "Whats'a matter you, Cristofori Colombo, you got espaghetti between your earbones or something?"

Well, Cristofori had to leave town, así que se fué para el oeste. He sailed and sailed west until he arrived in Portugal, where he learned his third language, portugués: Bon día, ¿cómo vais? Bem, obrigado. Eu nau falo portugués. La razón porque se quedó en portugal long enough to learn portugués, was

because he met a beautiful portuguesa. Leyó muchos libros, and talked to many people, and he sailed to the north para inglaterra, and he sailed to the south para áfrica, and se fué para el norte to Greenland, and he sailed and sailed, until something very sad happened: se le murió la señora. Estaba tan triste que se fué para otro país, españa. Do you know why he stayed in Spain long enough to learn his fourth language? because he met a beautiful española. Ahí cambiaron su nombre a Cristóbal Colón.

When he became proficient in his fourth language, he wen to the Reina de España and said in his bes español: "O bendita reina de todas la tierras, soberana divina de todos los mares, Ithink I can get to the east by sailing to the west." She was so shocked at the idea that she said: "Qué tiene este señor? ¡Cómo que no sabe de donde viene! ¡Cómo que no sabe a donde va! ¡Cómo que no sabe nada!

Well, since this was his fourth language, y no comprendía español muy bien, he thought she said, ¡Cómo no! and that is how he ended up with tres caraveles: La Pinta, La Niña, La Santa María.

So, they sailed for a long time. It happened something like this: El navegante, Cristóbal Colón buscaba, deseaba la ruta del mar.

El navegante, Cristóbal Colón pensaba el mundo, "España" nombrar.

La Pinta, La Niña, La Santa María La Pinta, La Niña, La Santa María La Pinta, La Niña, La Santa María Bella, bella américa doce de octubre, américa.

Bella, bella américa doce de octubre, américa.

Well, it was quite an adventure, following in the tradition of Marco Polo: El aventurero, Cristóbal Colón a Marco Polo trataba seguir.

El aventurero, Cristóbal Colón, Cantos Para Todos Volume VII

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riquezas, marquezas, el buen porvenir.

La Pinta, La Niña, La Santa María La Pinta, La Niña, La Santa María La Pinta, La Niña, La Santa María Bella, bella américa doce de octubre, américa.

Bella, bella américa doce de octubre, américa.

Well, it was quite a dangerous trip, but he was a great hero: El héroe grande, Cristóbal Colón, La Pinta, La Niña, La Santa María; El héroe grande, Cristóbal Colón, naves valientes, una noche fría.

La Pinta, La Niña, La Santa María La Pinta, La Niña, La Santa María La Pinta, La Niña, La Santa María Bella, bella américa doce de octubre, américa.

Bella, bella américa doce de octubre, américa.

They sailed so long, y tardaban tanto en llegar, que no tenía comida, and not having any food they were hungry. They had traveled so many days, that there was no more water, y faltando de agua tenía sed. They were so disoriented, they did not know where they were, y andando errantes estaban perdidos.

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

El navegante, Cristóbal Colón, Islas Caribes, América seguía La Pinta, La Niña, La Santa María La Pinta, La Niña, La Santa María La Pinta, La Niña, La Santa María Tierra, tierra, grito feliz desde la Pinta un grito feliz: Tierra, tierra, grito feliz desde la Pinta un grito feliz.

Finally when things were at their worst, the Carib people discovered Columbus. Los caribes le dieron comida, because not having Cantos Para Todos Volume VII

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

Pero cuando se despidieron de él, cometieron un error que cambió para siempre la vida de ellos. Who knows what they said when he left that changed their lives forever, so now there are hardly any Carib people left? They said, "Ya'll come back, now". Who knows why that changed their lives forever? Cambió para siempre su vida porque sí regresaron, and when they came back they brought merchants who enslaved them, y sufrieron de la esclavitud de los mercaderes. They brought preachers who changed them, y los ministros no permitían las tradiciones indígenas. And they brought soldiers who killed them if they did not conform, y los soldados no tuvieron misericordia.

Even today, you must be careful about who you choose for your friends. Si sus "amigos" le invitan a hacer algo que le meterá en problemas, sugiera otra actividad. You won't get in trouble if you work to do good things with good friends.

We go on from this start to tell other stories that are appropriate for the concept. For example, other stories about friends, trouble, stranger danger, drugs, geography, agriculture, or any other topic that can be tied to the theme of Cristóbal Colón. We wish you the best in helping your students understand the good and bad that can result from cross cultural encounters and pray that your students can make their encounters more positive than what happened in the 16th Century in the Americas. When the Carib people discovered Columbus wandering in the open sea, they rescued him in good faith, but maybe they should have been more alert to the potential dangers by learning more about him and his people.

La Raza Those who followed him during the next 500 years came either to escape the oppresion and persecution of their homeland, or to further it.

Throughout the Americas, the european pilgrims and pioneers flocked to escape personal poverty and dictatorial governments. Those govern-

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ments followed them, imposing long distance colonial rule. The people finally rejected european rule in favor of a national identity as citizens of one of the several American States.

Most liberation movements took place during the 19th Century, beginning with the 13 colonies in 1776.

Freedom The quest for freedom takes many forms besides political •Freedom from Addictions - the new people in our land had to learn what substances to use or not use.

•Freedom of Worship - there has been a constant struggle for recognition and tolerance of differences.

•Freedom to pursue happiness - be nice to others

Mocassin Squaw Dance Song (Navajo) Ya hei ya hei yo ii ya Ya hei ya hei yo ii ya Ya hei ya hei yo ii ya Ya hei ya hei yo ii yaangha hei yei yaangha.

Dii la sha’astiin at’é nei ya haagha, Nizhónigo shikee’ sha’iil inigo Bee na shahiya Ya hei ya hei yo ii yaangha Hei yei, yaangha. yá’át’ééh aoo’, yá’át’ééh well

greeting: it is well response: yes, it is

READING Much of the literature mentions the direct support that music gives to reading readiness and specific reading skills. Visual reception, eye

coordination, left to right orientation, discrimination between graphemes, letter recognition, visual memory (recognize, recall, and produce graphemic sequences (sight words), association, sequence, building schema, vocabulary (recall meanng and function of words and morphemes), semantics, syntax (understand common sentence patterns, alterations and expansions), predicting, special uses of words, critical analysis, contextual analysis, styles of reading, pre-reading strategies: bulletin board, newspaper reading, research in library, vocabulary in context, recall, effective vocabulary, songwriting to teach literature concepts, sing or listen to songs from the period or subject of the literature, etc.

EL CORRIDO DE PUEBLA This story song is in short verses that can be easily absorbed or discussed before going on to the next when reading aloud. The corrido style is very structured, with a salutation inviting the people to pay attention, a series of short verses, and a conclusion, that in this case is a warning to avoid the same mistakes in the future by being vigilant for the sake of freedom. Since freedom is an issue for all times and places, the Cinco de Mayo celebration is as relevant to us in the U.S. as the freedom fights in Kuwait, Somalia, Panamá, Bosnia, Chechnia, or Philadelphia on the Fourth of July.

EL CORRIDO DE PUEBLA Roy Howard © 1990, Cantos Para Todos

1. Al público y auditorio que mi canto escucha, Hay que tener en cuenta que sucedió en Puebla: 2. México tenía déudas, debía a tres países.

Dos de ellos dieron la prórroga, Francia quería la guerra.

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

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4. Pronto la Francia venía mandado por Lorences; Pero encontraron desgracia a manos de Zaragosa.

LA CHINA POBLANA

5. México veía la victoria pero a costo profundo.

Murieron muchos hombres, héroes de gloria y progreso.

La China Poblana es una muchacha La China Poblana toda mexicana La China Poblana bella con rebozo La China Poblana de tierra lejana.

6. El cinco de mayo probaba que el mexicano quería Mas a la patria bendita que a su propia vida.

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

Dan Gómez © 1990, Cantos Para Todos

La China Poblana orgullo de Puebla La China Poblana con sus grandes rosas La China Poblana falda primorosa La China Poblana jóven tan hermosa.

COPLAS POPULARES

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

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

LA CHINA POBLANA This song features repetition of phrases and rhyming which facilitate fluency in reading and the development of sight words. La China Poblana represents the traditional costume of the state of Puebla. To take full advantage of the learning potential of this type of song for reading readiness, also have students repeat the phrases in a variety of different syntactical forms: La China Poblana es una muchacha y una mexicana.

Ella es muchacha mexicana. Se viste de falda primorosa y vive en una tierra lejana. Ella es el orgullo de Puebla. Su falda tiene adornos como grandes rosas. Ella es joven y hermosa. Es una joven hermosa. You may also predict other things about her life, her dress, her daily habits, based on the students' experience and background. Students may expand into higher thinking skills by making inferences about Puebla, and creating new poems, songs, dances, costumes, skits or prose based on the ideas stimulated by participating in this song.

Cantos Para Todos Volume VII

Dicen que no se sienten las despedidas Arbol de la esperanza, mantente firme, Dile al que te lo dijo, cielito lindo, Que no lloren tus ojos, cielito lindo, Que se despida de bien que adora, Al despedirme, porque si miro Y verá si se siente, cielito lindo, Lágrimas en tus ojos, cielito lindo, Que hasta se llora.

No me despido.

THE ARTS The Nature and Value of the Arts (MENC) The majority of this volume is designed to help teachers promote language and content development with an aesthetic approach. The success of this method may be enhanced by giving attention regularly to specific arts instruction. Each skill developed in the arts will contribute to the total development of the student, and through transfer of skills, will also contribute to the other content areas.

Grades K-4. Music is pervasive in American culture, and many of the attitudes and values children form about music are acquired in the early years. A broad variety of musical experiences are necessary to give young people

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the ability to make informed choices and judgments concerning the role music will play in their lives.

Grades 5-8. Students learn to recognize and pursue quality in their musical experiences so that those experiences will enrich their lives.

The value systems established in the early years change relatively little later in life. Judging and valuing are byproducts of quality music experiences rather than outcomes that are taught directly.

Grades 9-12. Not all of the music that permeates contemporary life is of equal value.

Being a well-educated adult requires the ability to be a discriminating listener and the ability to make informed musical judgements.

DANCE Music always supports dance. Students should be given the opportunity to dance to musics of many lands and times as well as be instructed in the styles of their own time: creativity, movement, response, coordination, rhythm, balance, ballet, opera, musicals, eurythmics, pantomime, folk dance, modern dance, muscular control, mood interpretation, fast movement to drum patterns, etc.

BAILE CHINA POBLANA The style of music selected, huapango, suggests an enthusiastic, fast moving tropical dance and costume of the state of Puebla. the costume today is extremely glamorous with gathered skirt, satin petticoat lining, a red embroidered baize with gold and silver floral beading. The blouse is white muslin with cross stitch embroidery or glass beading as decoration.

Also worn is a silk belt and satin slippers that come to a point. The dancer is further adorned with coral necklaces, gold earrings, and a shawl.

BAILE CHINA POBLANA Dan Gómez

© 1990, Cantos Para Todos

Lentejuelas en su falda, diamantitos de color Como brillantes chispitas, remolino con vigor.

Lentejuelas en su falda pies ligeros al bailar Es la Chinita Poblana, señorita luz de cara.

Baile China Poblana, muy mexicana, dueña de amores.

Baile con vuelo viendo de poco celos hasta las flores.

Y la blusa con sus flores, bellas rosas para bordar Su rebozo al cintura, yo suspiro sin pensar.

A bailar este huapango giro, giro con calor En el pueblo Huachinango que viva el mejor fandango.

Baile China Poblana, muy mexicana, dueña de amores.

Baile con vuelo viendo da poco celos hasta las flores.

ARTESANIA POBLANA This song lends well to active hand motions, or acting out of the dialogue, or a total physical response. This type of physical involvement while singing promotes understanding of the words by the singers and listeners, as well as an emotional attachment, or lowering of the affective filter, that assists language learners.

•María compra lana: reach down as if gathering wool •la lava en la mañana: move both hands up and down as with a washboard •y la carda: scrape the fingers of one hand (the brush) across the palm of the other (the wool card) •y la hila: rub palms together as if spinning the spindle •y la pinta de colores: Cantos Para Todos Volume VII

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stir the wool with a long stick into a big pot of boiling dye •con el hilo hace telas de colores que le gustan: hold up the sarape first on one side, then the other •con la lana: reach down as if gathering wool •que la carda: scrape the palm •y la hila: rub palms together •y la pinta: stir the pot.

•Verse with names of clothing items: hold up drawings or realia •Verse with color names: hold up something that shows each color.

•The colors are named in rainbow order (also a science concept).

ARTESANIA POBLANA Roy Howard © 1990, Cantos Para Todos

Intro María compra lana y la lava en la mañana y la carda y la hila y la pinta de colores.

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

1. Textiles, cesteriía, madera, herrería son artesanías de artesanos poblanos Talabartería, alfarería, pirotécnica son artesanías poblanas.

Blusas, camisas, fajas, faldas, enredos, bolsitas, rebozos, chales, Huipiles, quechquémitl con hilos de colores.

Serapes, cotones, cotorinas, cobijas, pantalones, y mantas de algodón, lana y cuadrillé La artesanía poblana.

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

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

Rojo, anaranjado, amarillo, verde, azul morado, negro y blanco con hilos de colores.

Rojo, anaranjado, amarillo, verde, azul morado, negro y blanco La artesanía poblana.

REFRANES POPULARES UN JUEGO DIVERTIDO ¡Martinejo!

Señor viejo. ¿Y las mulas?

En el campo. ¿Quién las cuida?

El gavilán.

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

Me lo comí.

Más te diera.

Más comiera. ¿Y el huevito?

En su hoyito. ¿Y la sal?

UNA MARCHA AL SALIR LOS FRANCES En su misimisimo lugar.

Ante el fuego ya corren los traidores Ni vergüenza tuvieron ni fudor Tocan ya clarines y tambores y la gloria y la patria que triunfó.

Ante el fuego ya corren los traidores que vinieron a darnos la lección Coronemos a México de flores Muera Francia y muera Napoleón.

ART The infinite variety of art media and styles can support music, and music can support the learning of art concepts. Consistent with the

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styles of music in this volume, the illustrations are produced by artesanos mexicanos. with papel picado: draw (or other media) to music, draw musician or composer being studied, make posters to announce events, create scrapbooks of experiences in the musical theme, etc.

MADERA DE MICHOACAN This song features a particular art medium (wood) and the many items that can be made from it. Students may desire to experience creating with wood, or enjoying wood crafts made by others.

LA MADERA DE MICHOACAN Dan Gómez © 1990, Cantos Para Todos

Con madera de Michoacán los músicos cantarán.

En Paracho hay guitarras, instrumentos musicales Y juguetes para niños y los marcos para espejos.

Con madera de Michoacán son de lujo todos los muebles.

Con madera de Michoacán los cocineros cocerán.

Eng Guanajuato hay productos pa' cocina, son cucharas Y hay cajas pa'rebozos y los marcos pa'pinturas.

Con madera de Michoacán también se hacen ahí las máscaras.

EL VIDRIO SOPLADO This bit of blown glass in the form of a goat is romanticized by the notion than it was a gift from a loved one. The various mediums of art can be taught by reference to songs, as well as the role of art in our society.

EL VIDRIO SOPLADO

Roy E. Howard, ©1990, Cantos Para Todos

Transparente, ligero, un chivo duradero.

Rosado, estirado, el vidrio soplado.

Es mi chivo rosado Es un chivo amado.

Elegante miniatura Brillante, no oscura.

Es mi chivo amado, no hay otro, es soltero Mi amor me lo ha regalado, es un vaso bien formado.

Es mi chivo rosado Es un chivo amado.

Elegante miniatura Brillante, no oscura.

REFRANES POPULARES Naranjas y limas, limas y limones Más linda es la Virgen que todas las flores.

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

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

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

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

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

MUSIC Classroom teachers can conduct many activities in support of school music objectives.

Remember, due to the transfer of skills, time spent in musical and other arts activities is time Cantos Para Todos Volume VII

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well spent in support of the entire curriculum: play instruments, sing, guest artists, compose, clap rhythms, ethnic styles, listen, read and write musical notation, trace the contour of the melody, contour a melody for original lyrics, etc.

cient level.

Creation and Performance (MENC) The songs in this volume are all original creations, designed around themes for special purposes, with styles of the culture being represented. For students to compose in a similar way is exciting and rewarding for them. To prepare them for creative experiences, they must listen to many songs in the target style, and be alert to the forms and mediums of performance. Students of all ages should have opportunities to perform various styles of music, and to create original expressions.

Grades K-4. Children, particularly in grades K-4, learn by doing. Singing, playing instruments, moving to music, and composing and improvising music provide them with musical skills and knowledge obtainable in no other way.

Grades 5-8. Singing and playing instruments provides students with satisfying musical experiences and important insights into music.

The music they perform often becomes an important part of their personal musical repertoire. Composing and improvising are fundamental ways to exercise musical creativity, and they provide unique insights into the structure and form of music.

Grades 9-12. Through singing and playing instruments, much of the world's finest music is directly accessible for students to experience. Performance provides a special understanding of music and the culture it represents. Composing and improvising music not only offer a powerful means of von-verbal experession, but are extraordinarily challenging, enriching, and self-fulfilling experiences.

Althought the advanced level of performace skills may tend to be achieved only by student who elect performance instruction or ensembles, all students are expected to achieve at the profi-

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

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“How Music was Made”

“Come, O wind!”

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

The wind gathered its strength, recorriendo las cuatro partes de la tierra para recobrar sus fuerzas para subir al cielo. The wind rose and rose, higher than all things made, y por fin llegó a la casa alta de Tezcatlipoca, dios de los cielos y las cuatro partes de los cielos.

There at the feet of Tezcaltlipoca, god of the heaven and the four quarters of the heavens, the wind rested from his endless complaining, y ecsuchó a Tezcaltlipoca.

"Wind, the earth is sick from silence.

Though we have light, and color and fruit, yet we have no music. No es suficiente tener luz, color y fruta, el mundo es triste sin la música.

Life should be all music! Go to the High House of the Sun where the musicians are surrounded by bands of light. Ask them to return to the earth. Mientras el viento recobraba fuerza para subir al cielo, Padre Sol habló a los músicos.

"Vengan músicos", and the musicians of the cradle songs came dressed in white.

Mientras esperaban los arrullos vestidos de blanco, el Padre Sol llamó: "Vengan músicos!" and the musicians of the ballads of love and war came dressed in red..

Mientras eperaban los corridos vestidos de rojo,

Educación con Música

el Padre Sol llamó:

quarters of the earth.

"Vengan músicos!" and the musicans of dance came dressed in sky blue. Mientras eperaban los bailes vestidos de azul, el Padre Sol llamó:

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

"Vengan músicos!" and the flute players came dressed yellow, enjoying gold milled by the Sun from the peaks of the world. ¡Qué lindo el oro de los flautistas! There were no musicians the color of darkness. All shone translucent and happy, their gaze turned forward.

When the Sun saw the wind approaching he told his musicians: "When the wind comes, don't say a word, or you will have to go down to the darkness of the cold, quiet earth!" Los músicos dijeron que no dirían nada, porque no querían volver con el viento al mundo oscuro y quieto.

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

The wind rose in great anger, billowing and blowing, raging and storming, subiendo en su furiosa ira con nubes que cubrían la faz del sol. La oscuridad y tinieblas solo fue quebrado por espantosos relámpagos y fuertes truenos. In all that darkness and loud thunder, the musicians scurried for shelter, right into the arms of the wind.

Bearing all that joy so gently, the wind turned toward the earth, careful not to harm the tender melodies. Seguros en los brazos fuertes del viento, todo ese gozo bajó a la tierra. ¡Ay, qué dicha para la tierra, esperando con brazos abiertos!

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

REFRANES POPULARES LA DEL SOMBRERO ANCHO (Traditional New Mexico) Ya no quiero sembrar, ya no quiero sembrar Ni quiero vivir, ni quiero vivir, ni quiero vivir en rancho Me quiero civilizar, me quiero civilizar Con una del som- con una del somcon una del sombrero ancho.

A mi me gusta el pan y queso Que lo venden en, que lo venden en, que lo venden en el rancho Pero mas me gusta un beso, pero mas me gusta un beso Con una del som- con una del somcon una del sombrero ancho.

Toquilla de terciopelo, toquilla de terciopelo Con los amores, con los amores, con los amores de plata Cuando yo te pida un beso, cuando yo te pido un beso No me lo niegues, no me lo niegues, no me lo niegues ingrata.

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

FLORECITAS DE CALENDULA This especially beautiful romantic ballad is characterized by a complex harmonic pattern.

The liberal dose of diminished chords, modulaCantos Para Todos Volume VII

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tions, and suspensions, add to the interest The melody is mostly scalar in motion, but adds variety with upward and downward skips of thirds, fourths and sixths. The introduction (phrase A) is followed by the verse (phrase A').

The chorus is a true phrase B, which repeats da signo to the second verse, A'. The chorus is repeated to conclude the piece. The sung harmony in the chorus is characteristically mexican.

The aesthetic value of the piece is enhanced by the beautiful lyrics. Caléndula is a spanish word for the Náhuatl word, cempazúchitl or marigold, the brilliant fall flowers used in celebrations of día de los muertos. The fragrant petals are scattered on the ground to mark the path for the souls of the remembered ancestors, so they may return and celebrate with the family.

Excitement is generated by leaps in the melody and a powerful V7 - I cadence with ascending melody to the upper tonic. The phrases are short, with the verses being phrase A, and the chorus being phrase B. Performance is characterized by a moving bass line, a staccato off beat by the vigüela, and a strong, outdoor style of singing voice. The trumpets play in duet as in the central mexican traditional mariachi.

FLORECITAS DE CALENDULA

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

Dan Gómez © 1990, Cantos Para Todos

SEPTIEMBRE Roy E. Howard, ©1990, Cantos Para Todos

CORO Septiembre, septiembre, el mes de la libertad.

Septiembre, septiembre, el mes de la libertad.

CORO

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

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

1.

Florecitas de caléndula que se ven tan chulas y aroma tan preciosa, como tu no hay otra cosa.

CORO

CORO Caléndula, caléndula, flor de maravilla Caléndula, caléndula, como el sol que brilla.

2.

Florecitas de caléndula que se ven tan chulas Honran a familiares, flores muy especiales.

CORO

SEPTIEMBRE Set to traditional words celebrating the Mexican Revolution against Spain, this mariachi arrangement has a simple chord progression.

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COPLAS POPULARES Ya me voy a despedir del violín y la guitarra; Si ustedes quieren seguir, aquí dejo mi jarana, Yo ya me voy a dormir, señores, hasta mañana.

Con esta otra despedida los voy a desengañar; ¿Qué más quieren que les diga? ¿Todavía quieren cantar?

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

Todos echan despedida, pero como yo, ninguna:

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

SCIENCES Cultural and Historical Context (MENC) Participants in a musical or other artistic experience may intensify the aesthetic quality of the experience the more they know about it; therfore, the arts objectives are enhanced by knowledge of the sciences. The sciences may be enhanced by an aesthetic approach, as an alternative learning style. Just as the producers of training films in biology or history will enhance the presentation with stunning photographs and appropriate background music, the teacher may use various media to improve instruction. Singing may sometimes be just the right variation needed to improve a lesson, especially if the song covers the topic and is performed in the style most representative of the cultural and historical context of the concept being taught.

Grades K-4. In our increasingly diverse classrooms children should learn to know and respect their own cultural heritage and that of others. Such an education can build self-esteem, develop positive personal relationships with others, and prepare children to live and work in communities including a variety of cultures. The more children learn aobut the music of their heritage and of other heritages, the more they can share in the cultural riches music provides, and the more they can experience the personal satisfaction available through music.

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

Grades 9-12. Every musical work is a product of its time and place, although those works that continue to appeal to human beings transcend their original settings.

Any music can be more fully understood and appreciated if the student is familiar with the historical, cultural, and aesthetic context in which the work was created.

HISTORY

EL CANON DE GONZALES This song recounts an episode in Texas history when the small town of Gonzales was attacked by Mexican troops in 1863. The residents of Gonzales defended their families and their land with a small cannon munted on the back of a cart. As the troops advanced to capture the TExas town, the brave people of Gonzales raised their flag and shouted ¡Vengan a agarrarlo¡ (come and get it) as they pointed to the small cannon.

El Cañón de Gonzales ¡Ven a Agarrarlo!

Dan Gómez

Un día se hizo famoso: soldados, sin generales, Cerquita de San Antonio, El pueblo de Gonzales.

Un día cien años pasados Tejanos sin libertades Causada por Mexicanos Por todas las ciudades.

Los soldados Mexicanos Con armas y con sus rifles Conquista no encontraron El Cañón de Gonzales.

Mujeres y hombres tejanos Con fuerzas y almas reales Rechazaban mexicanos El Cañón de Gonzales.

Decían, "¡Ven a agarrarlo!"

La bandera de Gonzales.

La gente lo defendía El Cañón de Gonzales.

Corrido al Cura Don Miguel Hidalgo y Castilla Cantos Para Todos Volume VII

Educación con Música

The priest Miguel Hidalgo became the "Father of the Country" (Padre de la Patria) by calling for a fight for independence from Spain.

This song honors him for his contributions. It should be noted that 1/3 of the states that joined him in the revolution are now part of the United States. Their independence began on the 16th of September 1810 in Dolores.

Corrido al Cura Don Miguel Hidalgo y Castilla Roy Howard

Les canto, o pueblo de mi alma con guitarra en la rodilla, de una madrugada, y del cura Don Miguel Hidalgo y Costilla.

Cuando el señor cura Hidalgo con energía y lealtad en el pueblo de Dolores proclamó la libertad.

En la parroquía cercana se cernía la oscuridad pero había luz en las almas para hacer la libertad.

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

Los Indios muy pronto vieron la grande necesidad de pelear contra Castilla por falta de libertad.

Desde entonces se inició con toda solemnidad la lucha que conquistó nuestra amada libertad.

O Palomita lleva alabanza y loor

Cantos Para Todos Volume VII

a Miguel Hidalgo y Castilla un hombre de honor.

Independencia July 4, 1776 Thomas Jefferson and others of the 13 colonies sign the Declaration of Independence, setting a precedence for the continent.

September 17, 1787 The Constitutional Convention presided over by George Washington in Philadelphia concluded its work on what is now the oldest federal constitution in existence.

Sep. 17 is U.S. Citizenship Day. This week is U.S. Constitution Week September 1810 The native born people of our region (Criollos) meet to discuss freedom from Spain. The meeting in the home of Doña Josefa Ortiz de Domínguez by the Españoles (Gachupines).

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

September 16, 1810 The Grito de Dolores sets in motion a revolution for freedom of the huge region from Oregón to Yucatán. the land where we live now becomes free so our predecessors can seek their own destiny. The war ends in 1821. The Constitution of 1823 forms Mexico.

September 14, 1814 The Star Spangled Banner is composed by Francis Scott Key. September Independence Dates 7 - Brazil, 1822 15 - Costa Rica, 1821; Guatemala, 1821; Honduras, 1838 16 - México, 1810 18 - Chile, 1818 19 - St. Christopher-Nevis, 1983 21 - El Salvador, 1821; Belize, 1981 28 - Nicaragua, 1821

Educación con Música

July Independence Dates 4 - United States, 1776 5 - Venezuela, 1821 9 - Argentina, 1816 10 - Bahamas, 1973 20 - Colombia, 1810 28 - Perú, 1821 May Independence Dates 14 - Paraguay 20 - Cuba, 1902 24 - Ecuador, 1822 26 - Guyana, 1966 For more on “Independencia”, see Cantos Para Todos Volume VIII, Mexican Culture.

Cuentos Encadenados Chained Bilingual Stories

“El Maestro Viejo” There was an old man who made his desires known with just sounds. Cuando el anciano quería expresarse, todos entendían sus expresiones simples.

Cuando él sentía el aire fresco en su cara en un día muy caliente, él decía, “a”. Can you feel the fresh air? Everyone say, “a”.

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

Si un ratón lo asustaba, decía, “i”. That mouse is scaring you! Everyone say, “i”.

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

Si vió algo lindo, decía, “u”. Uuu, that is beautiful. Everyone say, “u”.

Así es que fue muy fácil cuando sus nietecitos empezaron la escuela y la maestra les enseñaba los vocales, porque eran los mismos sonidos que su abuelito ya les había enseñado. And that is the story of the old man, and how his grandchildren were prepared for school, because they could say all the vowels: a, e, i, o u.

SOCIAL STUDIES This is one of the largest categories.

Music can support the many facets of social studies because it is the study of people and places and that is what music describes: geography, sociology, public affairs, other languages, history analysis, opinion, culture style, songs about careers in general, music careers, economics, cultural atmosphere, political climate, contemporary issues, common themes, etc.

VIVA EL NORTE This song in the norteña ranchera style features states of northern Mexico that participated in the Revolution against Spain. The accordion, bass, and bajo sexto are special features of this style. States, cities, and even the typical dance styles are mentioned in the song.

¡VIVA EL NORTE! Dan Gómez, ©1990, Cantos Para Todos

1. Viva Coahuila, ¡Viva!

Viva Chihuahua, ¡Viva!

Viva Sonora, ¡Viva!

Frontera rumbo al norte Bellas ciudades son las capitales De la revolución.

Viva, viva, viva el Norte Viva la Independencia De Saltillo a Hermosillo El espíritu tan fuerte.

2. El Río Grande, ¡Viva!

Estados mas grandes, ¡Viva!

Bailes alegres, ¡Viva!

Llenos de industria Baila la polka, el Chotis se toca Montañas con agua fría.

Cantos Para Todos Volume VII

Educación con Música

Viva, viva, viva el Norte Viva la Independencia De Saltillo a Hermosillo El espíritu tan fuerte.

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

Nueve es noveno, diez es décimo.

Ya conocemos a los ordinales.

LA YUNTA CONTAR DE DIEZ EN DIEZ This type of song can be used to introduce concepts of agricultural careers in particular times or places, and to teach specialized vocabulary.

MATH Musical rhymes and jingles can be used effectively as mnemonic devises for math facts.

Math can be used to support music related projects such as instrument making. The literature supports music listening as a reward for completion of math or reading assignments.

Music listening does not affect math performance whether done during lessons or tests: jingles and rhymes, counting songs, contingent reward for completion, instrument making, etc.

LOS ORDINALES CONTAR DE DIEZ EN DIEZ These short pieces can be easily learned, and sung again and again to reinforce the concepts.

LOS ORDINALES Roy E. Howard, ©1990, Cantos Para Todos

Los ordinales ponen todo en orden.

Aprenderemos los ordinales.

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

Cantos Para Todos Volume VII

Roy E. Howard, ©1990, Cantos Para Todos

Diez, veinte, treinta, cuarenta, Cincuenta, sesenta, setenta ochenta, Noventa, y Cien.

SOCIAL STUDIES This is one of the largest categories.

Music can support the many facets of social studies because it is the study of people and places and that is what music describes: geography, sociology, public affairs, other languages, history analysis, opinion, culture style, songs about careers in general, music careers, economics, cultural atmosphere, political, contemporary issues, common themes, etc.

VIVA EL NORTE This song in the norteña ranchera style features states of northern mexico that participated in the Mexican Revolution. The accordion, bass, and bajo sexto are special features of this style. States, cities, and even the typical dance styles are mentioned in the song.

LA YUNTA This type of song can be used to introduce concepts of agricultural careers in particular times or places, and to teach specialized vocabulary.

Educación con Música

LA YUNTA Dan Gómez, ©1990, Cantos Para Todos

CORO ¡Dale vita! ¡Orale mi Juana! Mi trabajadora junta. ¡Arre, arre, vita! ¡Andale mi Juana! Ya no me discutan juntas.

En mi granja tengo dos bueyes y se llaman Vita y Juana Las quiero mucho y trabajan duro, se levantan muy de mañana.

concepts about the harvest, but emphasizes traditions of people in many parts of Mexico during November First and Second, (Día de los Muertos). The first verse reminds us that not only can we expect a fall harvest, but we can be grateful for it. The second verse mentions the traditions of some people, to compare the cycle of the planting and harvest to the cycle of our own lives, and the importance of honoring those who have gone before us. The third verse speaks of the beautiful ways that the fruits of the harvest can be prepared, and the wonderful traditions that remind us of who we are.

LA COSECHA CORO Dan Gómez, ©1990, Cantos Para Todos

Vita y Juana formaron la yunta, y sus cuernos sí tienen punta.

Todo el día siguen arando, al granjero lo van jalando.

CORO

SCIENCE Music, its production, its instruments and voices can be studied from a scientific view.

Much literature has appeared in the medical journals in the last few years about the physiology of musicians. Many songs and symphonies deal with plants, animals, geology, space and water: weather, plants, animals, water, ecology, anatomy, physics, acoustics, communication, instrument manufacture, research techniques, instrument design (invite a piano tuner to take apart and explain the pianos), instrument care (including special chemicals), physiology of musicans, etc.

LA COSECHA This seasonal song not only teaches

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

En el mes de octubre celebran vida y muerte.

En el mes de octubre celebran vida y muerte.

Honrar antepasados honrar lo queha pasado.

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

Las ollas con comida, las joyas sin medida Las ollas con comida, las joyas sin medida La mesa de la ofrenda antigua la leyenda.

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

XOCHIMILCO CELEBRA This song provides the teacher with the opportunity to discuss many examples of the senses. The town of Xochimilco, near Mexico City, specializes in preparing items used in celebrating the Día de los Muertos. Each verse mentions items that can be seen or drunk or eaten or smelled. Students may think of many other things that can fit these categories.

XOCHIMILCO CELEBRA Cantos Para Todos Volume VII

Educación con Música Roy E. Howard, ©1990, Cantos Para Todos

Xochimilco celebra el día de los muertos Preparando para México la compra total: 1. Los plátanos, limones, naranjas, manzanas, Pan de muertos, los dulces, los platos de arroz, Las velas, el agua, comida y flores: Para ver, y beber, y comer y oler.

Xochimilco celebra el día de los muertos Preparando para México la compra total: 2. Juguetes, candeleros, esqueletos, veladoras, vanderitas, manteles, las flores de papel, El vidrio, chocolate, mole verde, cempazúchitl Para ver, y beber, y comer y oler.

The Cycle of Life Cultures all over the world celebrate the harvest season with special events. Halloween and Día de los Muertos are days for remembering our traditions, our ancestors, and for giving gratitude for another good year of life.

Prehispanic Tradition There is evidence of a tradition of honoring the dead as far back as 1800 B.C., including offerings with clay pots for food, gold jewelry, jade, etc. The Nahua people believed that this hard life was only part of the existence of a person.

Dying is really waking up from a dream about mortality. The corps were a model for the cycle of life.

Spanish Tradition In Spain, November has long been the “month of the spirits”, for remembering those who have died.

Northern Europe In the ancient British Isles, they built a grand community bonfire with brands from each home, with which they lit a new home fire to start the Cantos Para Todos Volume VII

new year. The people wore costumes and decorated with fall leaves, wheat cobs, squash, etc. The Romans introduced apples, which became part of the festival. In the VIIth Century, the Pope declared the 1st of November as a celebration for all of the saints and martyrs, and the 2nd to remember the rest of those who had died. In the XIVth to the XVIth Centuries, Death was a common theme for poetry, theater and paintings.

Halloween The Celtic festival of the lights used a carved turnip, which became our Jack-O--Lantern. We use the pumpkin, our tradition, representing harvest. The ancient Romans bobbed for apples to insure good luck for the coming year. The Europeans gave food to beggars, left lights on all night, and decorated with food. We trick or treat, light the jack-o-lantern, and decorate with corn stalks to represent our gratitude for the harvest.

El Ciclo de la Vida Roy Howard

En la primavera siembro granos de maíz Con tiempo, sol, y agua brotan plantas, muy feliz.

Mazorcas en otoño secan, mueren las plantas.

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

Muere el maíz y la vida nos dará.

La siembra, la cosecha, así continuará.

“El Hombre, el Muchacho, y el Burro”

Educación con Música

Aesop fable A man and his son were on their way to market with their burro. As they were walking along, a neighbor called out to them, y el hombre les dijo al señor y a su hijo: “You fools, what is a burro for but to ride upon?” ¡Ay el pobre hombre, que le llaman insensato por caminar al lado de su burro. No sabía que hacer. So they thought, and thought. Finally, the man put the boy on the burro, y siguieron el viaje con el muchacho montado.

Until they passed a group of men, y uno de los hombres gritó: “Look at that lazy kid, letting his father walk while he rides!” ¡Ay, el pobre muchacho, que la llamaran perezoso por montar al burro! No sabían que hacer, so they thought and thought. Finally, the man changed places with the boy, y siguieron el viaje con el hombre montado, until they passed two women. One turned to the other and said: “Shame on that lazy lout, riding, while his poor little son has to trudge along! ¡Ay, el pobre hombre, que le regañaran por dejar caminar a su hijo! No sabían que hacer, so they thought and thought. Finally the man put the boy on the burro with him, y siguieron el viaje, los dos montados. By this time they had come to the town, and the people were pointing, and laughing, hasta que el hombre no aguantó más.

“Now what is the matter?”, he demanded. The people said, “Aren’t you ashamed of overloading that poor little donkey, you and that hulking son of yours? ¡Ay, el pobre burro!. ¿Porqué no pensaron de la carga que le impusieron? No sabían que hacer, so they thought and thought. Finally, they cut a long pole. They then tied the burro’s legs to the pole, and raised the pole to their shoulders, y siguieron el viaje con el burro colgado del palo con las patas atadas.

They walked along, with the people laughing, and the burro kicking, until they crossed Market Bridge, when the burro got one foot loose, kicked out, and caused the boy to drop the pole.

In the struggle, the burro fell off the bridge and drowned. ¡Ay, el pobre burro! Ahogado por

tener las patas atadas.

“That will teach you, said a man who had followed them. Complacer a todos, y nadie se complacerá. Please all, and you please none.

For more information about Halloween, Día de los Muertos and the ancient traditions of Mexico, see Cantos Para Todos, Vol. VIII, Mexican Culture.

HEALTH A great deal of the literature reports the therapeutic value of music and musical participation. Children should be trained to enjoy every aspect of music activity including appreciation as well as participation: use of leisure, music appreciation, participate with others, exercise (dancing, marching, show choir), sense of community, sense of accomplishment, control emotions, express anxiety, sensitivity, drug education, disease control, hygiene, diet, appropriate recreation, etc.

¿QUIEN ERES? Self esteem is a key determiner of mental health as well as performance in school. Who am I? I am good, pure, and full of pride. I have freinds, I like my past, my future fascinates me, dominates my present, and lights my way in the darkness.

¿QUIEN ERES? Dan Gómez, ©1990, Cantos Para Todos

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

Soy bueno, soy puro y lleno de orgullo.

Amigo, testigo hermanos somos tuyos.

Y me gusta mi pasado, y fascina mi futuro.

Dominar a mi presente, luminar a mi oscuro.

Cantos Para Todos Volume VII

Educación con Música

¿Quién soy? ¿Quién soy? Ahora yo te digo.

El sol, el sol, la vida es una playa. ¿Quién eres?, ¿Quién eres? a reir con alegría.

La luz, la luz, a todos da buen día.

Y me gusta mi pasado, y fascina mi futuro.

Dominar a mi presente, luminar a mi oscuro.

DIVERSION FAMILIAR This song encourages family fun: verse one: play ball with papá. Verse two: play dolls with mamá. Verse three: play in the yard with brother. Verse four: read a book with grandpa.

Verse five: wash up to eat with grandma. Verse six: sing and break the piñata with sister. The chorus describes the family together, and the healthy, fun things they can do: sit, converse, dance, eat, sleep, just be together. The style of performance is ranchera norteña.

DIVERSION FAMILIAR Roy E. Howard, ©1990, Cantos Para Todos

1. Levántate, ¡Divertamos ya!

Con la pelota, ahí viene mi papá.

Paraditos aquí, paraditos allá, conversando o bailando, o comiendo, o durmiendo Con tal de que estemos juntos, estoy feliz.

2. Siéntate, ¡Divertamos ya!

Con la muñeca, ahí viene mi mamá.

Paraditos aquí, paraditos allá, conversando o bailando, o comiendo, o durmiendo Con tal de que estemos juntos, estoy feliz.

3. Córrele, ¡Divertamos ya!

En la yarda, ahí viene mi hermano.

Paraditos aquí, paraditos allá, conversando o bailando, o comiendo, o durmiendo Con tal de que estemos juntos, estoy feliz.

Cantos Para Todos Volume VII

4. Acércate, ¡Divertamos ya!

Con un libro bueno, ahí viene mi abuelo.

Paraditos aquí, paraditos allá, conversando o bailando, o comiendo, o durmiendo Con tal de que estemos juntos, estoy feliz.

5. Lávate, ¡Divertamos ya!

Con la comida, ahí viene mi abuela.

Paraditos aquí, paraditos allá, conversando o bailando, o comiendo, o durmiendo Con tal de que estemos juntos, estoy feliz.

6. Cántale, ¡Divertamos ya!

Con la piñata, ahí viene mi hermana.

Paraditos aquí, paraditos allá, conversando o bailando, o comiendo, o durmiendo Con tal de que estemos juntos, estoy feliz.