Overview The teacher resource guide has been created to support the Artist in Residence program with Lyz Jaakola. You will find a variety of information and media that will help prepare your students for the upcoming event. Feel free to use whatever material you feel will best engage and excite your students. Each school or setting has differing formats for instruction and time available for student contact. You may want to use the word document as a teacher guide, and the PowerPoint or Smart Notebook files for student engagement. I will appreciate your feedback following the appearance to hear what content was most helpful, and how we might improve this experience for schools in the years to come. Table of Contents:

Correlation of Minnesota State Music Standards ........................................................................................... 2

About Ojibwe Anishinaabe People ................................................................................................................. 5

The Music of the Ojibwe ................................................................................................................................ 6

Songs to be Performed: ................................................................................................................................. 7

References: ................................................................................................................................................. 12

Glossary ...................................................................................................................................................... 13

YouTube and other videos relating to the above curriculum: ....................................................................... 14

Using YouTube Videos when Blocked at School ............................................................................................ 15

Quiz ............................................................................................................................................................. 16

Quiz Key ...................................................................................................................................................... 17

Correlation of Minnesota State Music Standards Below you will find the revised Minnesota Music Standards. Those standards that most readily apply to this resource guide are in bold. 2008 Revised Minnesota Academic Standards in the Arts Perpich Center for the Arts document adapted from MDE Minnesota Academic Standards in the Arts 2008 4-5

Music 4.1.1.3.1 1. Artistic Foundations

1. Demonstrate knowledge of the foundations of the arts area.

1. Describe the elements of music including melody, rhythm, harmony, dynamics, tone color, texture, form and their related concepts.

4.1.1.3.2 2. Describe how the elements and their related concepts such as pitch, tempo, canon, and ABA are used in the performance, creation or response to music.

4.1.1.3.3 3. Identify the characteristics of a variety of genres and musical styles such as march, taiko, mariachi and classical.

Music 4.1.2.3.1 2. Demonstrate knowledge and use of the technical skills of the art form, integrating technology when applicable.

1. Read and notate music using standard notation such as quarter, half and eighth notes and rests, the lines and spaces of the treble clef, and time signatures.

4.1.2.3.2 2. Sing and play alone and in a group demonstrating proper posture, breathing, technique, age-appropriate tone quality and expressive intent.

Music 4.1.3.3.1 3. Demonstrate understanding of the personal, social, cultural and historical contexts that influence the arts areas.

1. Describe the cultural and historical traditions of music including the contributions of Minnesota American Indian tribes and communities.

4.1.3.3.2 2. Describe how music communicates meaning.

4-5

Music 4.2.1.3.1 2. Artistic Process: Create or Make

1. Create or make in a variety of contexts in the arts area using the artistic foundations.

1. Improvise and compose rhythms, melodies, and accompaniments using voice or instruments to express a specific musical idea.

4.2.1.3.2 2. Revise creative work based on the feedback of others and self-reflection.

4-5

Music 4.3.1.3.2 3. Artistic Process: Perform or Present

1. Perform or present in a variety of contexts in the arts area using the artistic foundations.

1. Sing alone and in groups such as rounds and part songs or play instruments alone and in a group.

4.3.1.3.2 2. Revise performance based on the feedback of others and self-reflection.

4-5

Music 4.4.1.3.1 4. Artistic Process: Respond or Critique

1. Respond to or critique a variety of creations and performances using the artistic foundations.

1. Justify personal interpretations and reactions to a variety of musical works or performances.

Elizabeth Jaakola (Anishinaabe, enrolled member of Fond du Lac band of Lake Superior Ojibwe) has had a varied musical background, preparing her for a career in music education and American Indian studies at Fond du Lac Tribal and Community College. Earning her Bachelor of music degree (1992) in vocal performance, Elizabeth chose teaching at a tribal school as a music specialist before embarking on a performance journey. Performing and writing in many styles/genres, shes difficult to pigeonhole, but these chameleon-like traits are only natural for a Native woman who readily embraces her mixed heritage. Elizabeths past includes performances in the Rome Operafestival (Mezzo Soprano), Choral music at Carnegie Hall, Traditional ceremony singer, Jazz scat singer, Blues siren and Regional soloist in many venues of Northern Minnesota. Her Native-based compositions have been heard on radio stations, television, video, and many stages near to her home on the Fond du Lac reservation in Minnesota. After earning a Masters in Music from the University of Minnesota-Duluth, Lyz embraced teaching full-time Music and Indian Studies at Fond du Lac Tribal & Community College.

Shes currently compiling her Native-based choral pieces, striving to promote Anishinaabe music performances and education, occasionally gigging around town in her Blues band (Lyz Jaakola & the Smokin Chimokes), recording various projects such as the Native women's hand drum group, Oshkii Giizhik Singers' sweetheart CD and Anishinaabe Youth Chorus' sophomore recording, in between teaching and parenting 3 fabulous children.

About Ojibwe Anishinaabe People ? The Ojibwe people radiate out from the shores of Lake Superior. See map below in pink:

? Tradition indicates that the Ojibwe people settle on and around Madeleine Island near Bayfield

Wisconsin on the 1400s. ? Ojibwe are also called the Chippewa, a slang name for the Ojibwe used in government documents. ? Ojibwe people call themselves Anishinaabe ? Each reservation has its own government, courts, police and economic structure. ? There are seven Ojibwe reservations in Minnesota: Red Lake, White Earth, Grand Portage, Fond du Lac,

Leech Lake, Bois Forte and Mille Lacs. Adapted from http://www.sos.state.mn.us/index.aspx?page=855 Source: U.S. Department of the Interior, Office of American Indian Trust Indian Affairs - State of Minnesota :: Tribal Nations http://www.indianaffairs.state.mn.us/tribes.html

Anishinaabe Reservations

The Music of the Ojibwe ? There are 560 federally recognized tribes in the United States, each with its own musical practices,

styles, and culture. ? Repetition is common in vocal melodies ? Most accompaniment is percussion ? The melodic scales used notes that do not fall on a piano keyboard, but may fall in-between these

notes. ? Harmonic structures of major or minor chords are not used with most singing close to unison. ? Much of the traditional music is of a spiritual nature. ? Singing includes stories and vocables non-word syllables (such as: wey ya hey ya hey hey) ? Contemporary Ojibwe music represents a wide range of musical styles.

Traditional Native Music Western Music ? Composed but not written written and composed ? 4 instrument families: drums, voice, blown, shaken variety of instruments ? Songs are melody centered songs are harmonic lyric centered ? Songs are functional songs are functional and non-functional ? Mostly descending melodies melodies may be any contour ? No harmony simple to complex harmony: triadic

Songs to be Performed: Lyz Jaakolas performance will include the following pieces from the CD that you will receive when she visits: Titles Composer/Arranger Water Walk Song; Theme Dorene Day and Mashkoonce Water Walk Song: Arrangement (chorus) Dorene Day and Mashkoonce/ Lyz Jaakola

Wenaboozhoo and the Ducks (story song) Lyrics: Niib Aubid, Music: Traditional Anishinaabe

Woman's Love Song (traditional) Traditional Anishinaabe/Lyz Jaakola Sweetheart Song Contemporary Traditional/Lyz Jaakola Mary's Meme Mary Moose/Lyz Jaakola Ma'iingan Oshkii Giizhik Singers Lyz Jaakola wrote some notes with background information on each of these pieces. A synopsis of that writing is below. Waterwalk Song: From www.motherearthwaterwalk.com The story of the Nibi (Water) Song told by Beatrice Menase Kwe Jackson, Migizi Clan. This song was written by Doreen Day at the request of her grandson. She attended a conference about the water at which the internationally known speaker, Dr. Masaru Emoto said, the very least we should do every day, is to speak to the water: Water, we love you. We thank you. We respect you. So she did this. Every day on their drive to drop Mashkoonce (Little Elk) to school, they passed a body of water. And every day they said these words to the water as they drove by. They made games by saying it in different voices and then would say it as fast as they could. Then one day Mashkoonce, said, Nokomis why cant we say this in our language? So, Dorene asked her daughters language teacher to write it in Ojibwemowin. Dorene had the words taped to the car visor as they learned the words. One day this grandson Mashkoonce said, Nokomis why dont we sing the words, dont you think the water would like it to be sung? So she thought about it and came up with the tune. They sang this song to the water every morning on their drive to school.

It is sung like a lullaby and we dont use shakers or drums. Doreen and her grandson, Mashkoonce, give permission for everyone to share this song sing it to the water every day. (Phonetic spelling) (Double-vowel spelling) Ne-be Gee Zah- gay- e- goo Niibii gizaageigoo Gee Me-gwetch -wayn ne- me goo Gii-miigwechiweniimiigoo Gee Zah Wayn ne- me- goo Gii-zhaawenimiigoo The Waterwalk Song, CHORAL ARRANGEMENT: This recording was taken at the Arrowhead Chorales Spring 2012 concert From the Land. Oshkii Giizhik Singers joined them to perform some of my compositions. Though Anishinaabe music culture doesnt often utilize the US copyright system, we always make great effort to obtain permission to even just sing other peoples songs. I was certain to ask Dorene permission to sing this song, teach it to others, and to arrange it for chorus. Dorene was happy to hear others would be singing it to and for the water. Water is universal. We all need and want clean water, each of us. One of the ways we can show our appreciation for the water is by singing songs such as this water song. In Anishinaabe culture, women take care of the water and men take care of the fire. There are specific ceremonies and protocol for taking care of these things. The songs we sing in those ceremonies are different songs than this and are not sung out of context. Depending on which ceremony is happening, singing may be a cappella or accompanied by shakers made of natural materials, or drums. This grandmother requested this song be sung a cappella so I chose to arrange it for 4-part chorus. Story Song, Wenaboozhoo and the Ducks There are many types of oral teachings in Native American cultures. Some types are only maintained within the natural context of sharing such stories. Others are shared freely, as a sometimes entertaining method of passing on cultural knowledge, norms, and values. This story song is one that has been recorded a number of times by different individuals. I heard our college language instructor tell the story and asked him for the words to the song and asked him if it was ok that I share it with Minnesota educators. I drew upon all the versions and include this narrative to make a point. Oral tradition is expected to change with each rendition. It is considered a healthy oral tradition to add ones own flair or for each specific audience. In contrast, our sacred teachings are rigorously maintained to be told verbatim, but stories such as this one are freely retold. One must undertake cultural training to even be allowed to hear certain sacred storiesand others are heard or told by many. This one is allowed to be shared.

The lyrics are: G e g o i n a a b i k e g o n ! G e g o i n a a b i k e g o n ! G i g a - m a m i s k o s h k i i n z h i g w e m ! G i g a - m a m i s k o s h k i i n z h i g w e m ! M i n i k w e w i i n i n o y e g ! M i n i k w e w i i n i n o y e g ! G a g w e - w a w i i k w a w i s h i m o k ! G a g w e - w a w i i k w a w i s h i m o k ! Translated as: Do not look. Or your eyes will turn red! Womans Love Song This song begins with a flute song. When flutes began, I dont know. I do know that there are at least three different renditions of where our flutes come from. This would be a good research project for any classroomto find at least three differing versions of the origin of Native flute. Then of Lakota and Ojibwe flutes then within Ojibwe culture, finding three origin stories and respectfully learning them as our truth. I have heard the flute was given to a woman, and given to a man by a woman, and finally, shown to a man in a tree limb In any case, flutes in Ojibwe culture are played solo, not in any ensemble. They were intended to be used for personal entertainment and for a man to communicate to his sweetheart from afar (like the other side of the camp) A girl would recognize her beau by his flute timbre and song. The song he would play would be improvisational in nature, but a girl would have listened so intently that she could know him by his tune. Standard tuning for flutes is a relatively new development. Flutes were usually made to scale based on the length of a mans arm and the spread of his fingers, giving each flute a unique scale and timbre. I placed this flute song here to tell a little storyHe calls out to her with an almost mournful yearning. Next is a traditional womans melody. Each person may have their own songeach family might have a song, or each community or village. Songs are considered to have a place, an owner, to use that term. It is not thought that one person sings another persons song without asking permission. Often, that permission is sought by offering tobacco (a pinch of loose tobacco, offered earnestly, is sufficient) or sometimes an appropriate gift, depending on the song. That person whose song it is may choose to grant permission or to not grant permission. Some songs are freely shared by many. We see today with the schizophonic [music that is separated from its source] nature of recordings that it is very challenging to maintain our cultural protocol when it comes to songsbut we try the best that we can to make our offerings so that we can know and sing songs that are considered traditional in a good way.

I chose to arrange this song in a theme and variations treatment mainly because its important that the integrity of our traditional aesthetic is what is heard first. Traditionally this song, being a womans love song, would be sung solo a cappella. I find it very interesting that the melody has a form that is almost pop song form reminiscent of Tin Pan Alley Id like to do more research on song forms in our culture, to see if that was a common form or if it was a borrowed form. Anyway, it is an interesting melody to me. So, I sang it as is first and then added the hand drum (deweigan) and then started to layer in various vocal parts. Id like to see this as a choral piece and encourage the singers to approximate the Anishinaabe vocal timbre. It is an acquired skill that I think allows people to understand Native music from another perspective when they try to sing it our way. Especially for those trained in European American voice methods to try to sing like the Ojibwe boys and men who sing full voice in a comparatively high range. Later, I add a descant and the flute returns while it borders on cacophony. After that variation, I decided to coast out of it with some more traditional treatment of the song, with upper octaves replicating what we call Zhaabowe singing (when the women sing an octave higher than the men at certain parts of a pow-wow song) and doubling the parts the last variation I brought the flute in to compliment the melody, as if the two are now coexisting, separate yet parallel in harmony. Sweetheart Song, The One That Got Away This song is in the style of what we call Sweetheart Songs. They have a standard vocabulary of elements that identify them as such: a double beat (a consistent dotted rhythm on drum), a generally descending melody, a repetitive form utilizing vocables for 1 push-ups then English lyrics for the majority of the last half of the 2nd and 4th repetitions. Often the lyrics of sweetheart songs are about love or just snagging (an Indian term for the act of seeking and finding a companion with romantic intent) in all its forms, good love, bad love, sweet love or love gone sour. Most often these songs are sung by boys or men with hand drums (one-sided frame drums) and they can sometimes verge on the risqu with extra appreciation if delivered in double entendre or something equally clever. They are our culture of todays pop songs, I guess. There is a trend gaining momentum in Indigenous communities around the globe called, Idle No More, which often results in something called a Round Dance. The sweetheart song is a genre found in the repertoire of songs being performed at Round Dances. They are intended as songs for a good time, songs for everybody, Indian or non-Indian, to relate to and appreciate or even dance to. The Round Dance step is a clockwise side-step motion with knees relaxed and bodies gently moving up and down to the beat. Sometimes the dancers are in pairs but most often the Idle No More round dancers are single file, holding hands. You can now find many of these types of songs on YouTube, just search Idle No More Round Dance

Marys Meme (Lullaby) This song is called a Meme. Its a lullaby. One of the elders I trust and call upon taught us this song. Her name is Mary Moose, she and her husband are very active in language revitalization and recently published two books in Anishinaabemowin with English translation, Where the First People Came From and Child of the Evening Star. When I asked Mary if I could record her Meme song, she warmly said yesI hope she likes what I did here. A meme is a song genre and a baby swing made of a blanket wrapped between two ropes. In traditional homes, a meme swing is often found moving in the corner and everyone keeps an eye on the babymaking sure the swing rarely loses momentum. Songs like this are sung to calm our babies and to teach them our most frequently heard interval, the minor third. I arranged it with two things in mind. I wanted to make sure we first heard it as isI tried to remember how Mary sounded as I sung it. The second thing was I wanted to add was some very pretty and calm harmonies so teachers might feel comfortable in having students sing this, if they so desire. It was a challenge for me to sing so quietly throughout the whole piece. My daughter, Jagger, provided a little vocal help early on in the songshe seemed to really enjoy it. Maiingan Song This song is another song made recently in a traditional style. My singing group hosts an annual womens singing gathering on my reservation. At this years gathering an elder taught us how to make shakers of Elk or Buffalo hide with wood handles. We wanted to make a song to celebrate these new gifts. (Songs are sometimes made to commemorate events of importance) So, I was reminded that elders in many Indigenous territories look at the contour of the horizon to make melodies for their territorial songs. I looked at the shape of a melodic line that those shakers made as they hung drying on a wall in our meeting room. I asked the women if they thought that could be our song and we went from there. The words to this song are vocables: Wey ya hey ya hey heyetc and a short lyric, Maiingan nishiime gi-bimibaatoo Akiing meaning Wolf, my sibling, you run around the Earth. Part of our creation epic tells of a time when the Creator answers Original Mans request for a companion, which turns out to be Wolf. Original Man and Wolf walk the Earth together. Women at our gathering wanted to make this song to honor Maiingan the Wolf. I sang four repetitions of this song. It is standard for singers to sing songs four times to acknowledge the spirits of the four directions, a tradition also related to our belief system.

References: http://www.lyzjaakola.com/ Documents from Perpich Center https://sites.google.com/a/pcae.k12.mn.us/professional-development-in-music-education/curriculum/american-indian-resources/american-indian-music-resources Ojibwe language and traditional song site www.umich.edu/~ojibwe/lessons

Glossary ? Vocable a style of singing with non-word syllables, like fa la la la la, or wey ya hey ya hey hey.

? Anishinaabemowin/Ojibwemowin the natural language spoken by Ojibwe-Anishinaabe tribal

peoples ? call and response a common form used in traditional Native North American music where one singer

calls and a group of singers respond ? double beat any variation of a drum beat in groups of two (short-long, long-short, strong-weak,

weak-strong, etc) ? Incomplete repetition- Common description of pow-wow song form where the first statement

(lead)is sung by a solo male who is answered by the group which then adds more musical phrases on to the response. After all the new musical material is sung, the group will repeat the later portions of the song, eliminating the lead in the repetition.

? Ojibwe/Anishinabe (Chippewa) an Indigenous peoples of the Great Lakes region

? powwow a Native North American celebration of music and dance characterized by use of a Dance

Drum and male groups singing while they strike the Drum ? push ups a common term to denote form in pow-wow music

? single beat a steady regularly occurring repeating drum beat

? tail a closing phrase on a pow-wow song, similar to a coda in Western music

YouTube and other videos relating to the above curriculum: The following are a list of some YouTube clips that you can show to your students. They tie into the music Lyz Jaakola will performing, and give your students a reference for the upcoming performance. Lyz Jaakola http://www.youtube.com/watch?v=_uKp0I290K0 Lyz Jaakola - Anishinaabe - Musical Tribute To A Great Nation - 031110.3gp http://www.youtube.com/watch?v=jP4YaHSMnUU I Am Anishinaabe http://www.youtube.com/watch?v=pg8CB8T04KM In The Beginning -Ojibwe-Chippewa.wmv http://www.youtube.com/watch?v=O6vN_LUkplo Idle No More Round Dance - Ottawa J28 http://www.youtube.com/watch?v=xEo-XYBuT4Q Pow Wow http://www.youtube.com/watch?v=3s9z3IOpH1g Mens Fancy Dancing 1996 Champion of Champions contestant 2 http://www.youtube.com/watch?v=woxf8tBIV9E&feature=related 2007 Gathering of Nations Womens Jingle http://www.youtube.com/watch?v=9yPAwU6M0AU&feature=related Native American Indian women's fancy shawl Pow wow dancers http://www.youtube.com/watch?v=YxE7TQGXAjQ Navajo Nation pow wow 2007 grass dance special http://www.youtube.com/watch?v=MF_BA8e14Bw White Owl Song Native American http://www.youtube.com/watch?v=PIOXQ0uEbYg&feature=related

Using YouTube Videos when Blocked at School Many school districts block YouTube for security reasons making it difficult to show students this resource. There is a simple and free way to side step this hurdle so that you can access this resource. Items Needed: Computer at home and at school Memory key, thumb drive, or USB Drive A means to project video clip at school: computer screen, LCD Projector, or interactive white board.

How to Transfer files from home: On your home and school computer download the free video software: FLV Player or a similar

program, in order to run video files on each machine. Go to the Keepvid site or similar site to capture, format and save the videos. Choose FLV when saving

the file. Use a USB memory key or thumb drive or flash

drive to transfer saved files from home to school.

Free software for You Tube conversion: Keepvid keepvid.com/ Save Vid www.savevid.com/ Youtube Grabber www.freeyoutubegrabber.com/ Free software to play those files: FLV Player www.flvplayer.com/ Zamzar www.zamzar.com

Quiz

1. What do the Ojibwe people call themselves?

2. Which of the Great Lakes to the Anishinaabe People surround?

3. What instrument family is most common accompanying traditional Ojibwe music?

4. What are vocables?

5. Lyz Jaakoa teaches at what college?

6. What wind instrument does Lyz Jaakola play?

7. What musical styles are used in contemporary Ojibwe music?

Quiz Key

1. What do the Ojibwe people call themselves? Anishinaabe

2. Which of the Great Lakes to the Anishinaabe People surround? Lake Superior

3. What instrument family is most common accompanying traditional Ojibwe music? Percussion

4. What are vocables? Non-word syllables

5. Lyz Jaakoa teaches at what college? Fond du Lac Tribal Community College

6. What wind instrument does Lyz Jaakola play? Flute

7. What musical styles are used in contemporary Ojibwe music? All styles

Minnesota Public Radio thanks The Sunup Foundation for generous support of this

music education initiative.