teacher's guide country music hall of fame® and museum

Country MusiC Hall of faMe® and MuseuM

222 fiftH aVenue soutHnasHVille, tennessee 37203

615.416.2001

CountryMusiCHalloffaMe.orG

The educational programs of the Country Music Hall of Fame® and Museum are funded in part by grants from the Metro Nashville Arts Commission and from the Tennessee Arts Commission, through an agreement with the National Endowment for the Arts. This Teacher’s Guide was funded in part by a Tennessee Arts Commission Teacher Training Grant.

Accredited by the American Association of Museums, the Country Music Hall of Fame® and Museum is operated by the Country Music Foundation, Inc., a not-for-profit 501(c)(3) educational organization chartered by the state of Tennessee in 1964. The Foundation also operates CMF Records, the Museum’s Frist Library and Archive, the CMF Press, Historic RCA Studio B, and Hatch Show Print.

Teacher’s Guide1 to tHe 2

counTry Music hall of faMe® and MuseuM

Thisteacher’sguideincludesclassroomlessonsdesigned to assist teachers in preparing theirstudents fora visit to theCountryMusicHallofFameandMuseum.Aposter,glossary,worksheets,lyricsheets,andaCDareincludedandaccompanyspecific lessons in thisguide.The lessonsengagestudents and teachers in listening, observing,writing, and discussing the characteristics ofmuseums, the history of countrymusic, countrysongs, and the people who have contributed tothe country music story. These lessons arecomplementedbyatourofthemuseum’sexhibits.They address specific curriculum objectives inlanguage arts, music, social studies, and visualart for grades K-12. All curricular connectionsarebasedonTennesseeStateCurriculumStandards

and can be used as interdisciplinary teachingtools. All Language Arts standards apply togrades K-12, though word choice may varyslightly. Teacher Tips, included in most of thelessons, provide more detailed instructions orsuggestions for ways teachers can adapt lessonsto the particular needs and interests of theirstudents. Because museums are special placescontaining valuable and delicate objects, adiscussion about appropriate museum behaviorpriortoyourvisitmaybehelpful.

Themuseum provides workshops for teachersseveral times a year. For workshop dates andtimes and to learn more about our programsforteachersandstudents,pleasevisitourWebsite:www.CountryMusicHallofFame.org.

Teacher’s Guide to the

Country Music Hall of Fame® and Museum

1

2

Teacher’s Guide

Country MusiC Hall oF FaMe® and MuseuM

InTroducTIon 1

Lesson one:

What’s a Museum? 3

Lesson Two:

The Country Music Hall of Fame 6

Lesson Three:

Country Music Yesterday and Today 9

Lesson Four:

Who Creates Country Music? 12

Lesson FIve:

Image of a Performer 18

Lesson sIx:

The Sources of Country Music 23

Lesson seven:

Styles of Country Music 25

Lesson eIGhT:

Post-Visit Reflection 30

GLossary 36

LyrIc sheeTs 38

heLpFuL resources 51

Teacher’s evaLuaTIon 52

table oF Contents:

Buck Owens’s guitar

3

Teacher’s Guide


What’s a Museum?

TenneSSee STaTe CuRRICuluM STandaRdS:Language arts:

1. LanguageGLeDemonstrate knowledge of strategies and resources to determine the definition, pronunciation, and usage of words and phrases.

2. communicationGLe• Continue to develop basic listening skills

necessary for communication.

• Continuetodevelopbasicspeakingskillsnecessary for communication

checks for understanding: • Demonstratetheabilitytofolloworaldirections

up to three steps.

• Participateingroupdiscussions.

3. writingchecks for understanding: Construct graphic organizers to group ideas for writing (e.g. webs, charts, graphs, diagrams, illustrations).

5. Logicchecks for understanding: Compare and contrast two characters, ideas, or stories.

social studies:2.0 Globalization of the economy, the explosion of population growth, technological changes, and international competition compel students to understand, both personally and globally, the production, distribution, and consumption of goods and services. Students will examine and analyze economic concepts such as basic needs versus wants, using versus saving money, and policy making versus decision making: 2.1, (6-8), 2.03 (K-5)

6.0Personaldevelopmentandidentityareshapedby factors including culture, groups, and institutions. Central to this development are exploration, identifica-tion, and analysis of how individuals and groups work independently and cooperatively: 6.01 (K-8)

Learning objectives:

1. Students will compare and contrast a museumandashoppingmalltounderstandthedistinctivecharacteristicsofmuseums.

2. Students will role-play to understand variousjobsinvolvedinmuseumwork.

prep Time:None

Materials:Whiteboardoreaselpaper,Internetaccess,paper,pencil,poster,bulletinboard

vocabulary:Architecture,artifact,curator,donor,exhibitdesigner,grant,halloffame,museum

1. share the following with students.

TheCountryMusicHallofFameisbothamuseumandahalloffame.Let’sfirstlearnalittlebitaboutwhatmakesitamuseum.

2. use the following questions to engage students in a discussion about museums.

Recordstudents’answers.Theirresponseswillbeusedlaterinacomparing-and-contrastingactivity.• Haveyoueverbeentoamuseum?

Whichone(s)?• Whatdidyouseethere?• Whatdidyoudothere?• Whatdoyoulikebestaboutvisitingmuseums?• Whattypesofmuseumsarethere(art,

aquariums,botanicalgardens,history,zoos)?• Whydoyouthinktheyareallconsidered

museums?(Theyallexhibitspecificobjects,livingornon-living.)

3. create a bulletin board in your class about your study of museums.

Poststudentworkfromthislesson,museumbrochures,andphotosfromtheirfavoritemuseums.

4. discuss and share the following with students.

Whattypesofobjectshaveyouseeninmuseums?History-relatedmuseumsliketheCountryMusicHallofFameandMuseumcontainartifacts.Anartifactisanobjectmadeorusedbypeopleinthepast.Someartifactstellusabouthowpeoplelivedlongago,andothersareordinaryobjectsthatoncebelongedtoimportantpeople.Museumssuchaszoosandbotanicalgardenscollectandpreservelivingobjects(animalsandplants).

5. as a class, generate a list of common characteristics of a museum.

Thiswilldeterminestudents’initialunderstanding.Usequestionsandstudentresponsesfrom#2tohelpcreatethislist.

1|

4

Teacher’s Guide


6. after students have generated this list, share this definition of a museum:

Amuseumisaninstitution,opentothepublic,whichcollects,caresfor,andexhibitsobjectsforthepurposeofstudy,education,andenjoyment.(adaptedfromInternationalCouncilofMuseums)

7. ask students to compare their characteristics of a museum with the definition provided.

8. ask students to use a venn diagram to compare and contrast a museum with a shopping mall. They can do this as a class or in small groups.

Teacher TIp:

If students work in small groups, you can ask each group to compare a museum to a different venue, like an amusement park, restaurant, arena, or symphony hall.

9. use the following questions to engage students in a discussion.

• Whovisitseachplace?• Whatdopeopleseethere?• Whatdopeopledothere?• Whatdoeseachplacelooklike?Isthereanything

specialaboutthebuildingdesign?• Whatisthepurposeofeachplace?• Whatkindsofjobsdopeoplehaveateachplace?

Teacher TIp:

If students need a reminder of the concepts of comparing and contrasting, use the following questions to engage them in a discussion. You can also use terms like “alike” and “different.” What does it mean to compare and contrast? What are the advantages of comparing and contrasting two different things? What can you gain by doing this?

10. ask students to share their findings with the class.

Whatdistinguishesmuseumsfromotherplaces?Inwhatwaysaretheylikeotherpublicplaces?


TheCountryMusicHallofFameandMuseumcollects,stores,andcaresformanyhistoricalphotographs,musicalinstruments,stagecostumes,andsoundrecordingsthattellthestoryofcountrymusic.Theyareorganizedinexhibitswithlabelsnexttothemthatexplaintheirimportancetocountrymusichistory.

12. discuss together.

Askstudentstothinkaboutthevariousjobsinvolvedinoperatingamuseum.Someofthemainjobsinvolvedinthedailyworkofamuseumareasfollows:

Directors:Museumdirectorsoverseeallaspectsofthemuseumandareresponsibleforthemuseum’soverallfinancialstatusandculturalvaluetothecommunityitserves.Directorsusuallyworkcloselywithaboardofdirectorsandreporttothatgroup.Theyoftenspeakinpublicabouttheirmuseumanditsimportancetothecommunity.

Curators:Museumcuratorsareresponsibleforcaringfortheobjectsinamuseum’scollectionoronloantoamuseum.Theyareknowledgeableabouteachobjectandensureitspreservation.Curatorsdevelopcollectionspoliciesthatstatewhattypesofobjectsthemuseumcollects,howtocareforandstoretheobjects,andhowtoreturnobjectsthatarenolongernecessaryforthecollection.

5

Teacher’s Guide


Educators:Museumeducatorsdevelopandconducteducationalprogramsthatfocusonthemuseum’sexhibitsandthatconnecttopeople’severydaylives.

Exhibit Designers:Museumexhibitdesignersdevelopexhibitsthatpresentthemuseum’scollectiontothepublic.Theseexhibitshelppeoplebetterunderstandthemuseum’smainpurposeandthestoryoftheobjectsinitscollection.Theyworkcloselywithmuseumcurators.

Development Officers:Sincemostmuseumsarenotforprofit,amuseum’sdevelopmentstaffmembersseekfundingthroughgrants,sponsors,anddonorstosupporttheoperationsofthemuseum.

13. divide students into five small groups representing each of the five museum jobs listed.

Encouragethemtochooseamuseumfromthefollowinglistandanswerthefollowingquestionsaboutthespecificjobinthatmuseum.PotentialmuseumscouldincludetheSmithsonianNationalAirandSpaceMuseum:www.nasm.si.edu,SanDiegoZoo:www.sandiegozoo.org,NationalAquariuminBaltimore:www.aqua.org,GeorgeWashington’sMountVernonEstateandGardens:www.mountvernon.org,MuseumofModernArt:www.moma.org.

• Directors:Whatwouldyousayaboutyourmuseumtothepublicsothattheymightbetterunderstandwhyitisanimportantmuseumtohaveinyourcommunity?

• Curators:Sometimesartifactsneedabreakfromharshexhibitlighting.Howwouldyouexplaintothepublicthatyouhadtoremoveanartifactthatpeoplereallylovetosee?

• Educators:Howmightyourelateoneofyourcurrentexhibitionstothingsthatchildrenareinterestedin?Whatrelatedhands-onactivitieswouldyouusetoengagechildreninlearning?

• ExhibitDesigners:Howmightyoudisplayaparticularobjectsothatchildrenwouldbeinterestedinlearningmoreaboutit?

• DevelopmentOfficers:Howmightyouencourageapotentialfundertogivemoneytoyourmuseum?

Teacher TIp:

Many museums have a restaurant and souvenir shop. There are many jobs involved in operating these areas, too. Students may mention this.

14. each group should present their ideas to the class.

15. discuss the museum’s architecture with students.

ThedesignoftheCountryMusicHallofFameandMuseum,insideandout,relatestothestoryofcountrymusicthatistoldinthemuseum’sexhibits.Lookatthephotographofthemuseumontheaccompanyingposteranddiscusshowthebuildingdesignorarchitecturemightberelatedtomusic.Examplesincludetheblackandwhitepatternofthewindows,whichresemblespianokeys;theradiotowerontopoftheHallofFamerotunda;andthedrum-likeshapeoftherotunda.Studentsmayalsonotethelargedisksontopoftherotunda,whichrepresentchangesinrecordingtechnology:the78-rpmdisc,thevinylLP,the45-rpmdisc,andthecompactdisc.

The Country Music

Hall of Fame and Museum

6

Teacher’s Guide


the Country Music Hall of Fame


4. research

GLeGather information from a variety of sources tosupportaresearchtopic.Presentresearchresultsin a simple written report.

checks for understanding:

•Organizeinformationgatheredusingasimplegraphic organizer.

•Writeasimpleresearchreportdemonstrating the research results.

5. Logic

checks for understanding: •Compareandcontrasttwocharacters,ideas,

or stories.

social studies2.0 Globalization of the economy, the explosion of population growth, technological changes, and international competition compel students to understand, both personally and globally, the production, distribution, and consumption of goods and services. Students will examine and analyze economic concepts such as basic needs versus wants, using versus saving money, and policy making versus decision making: 2.1, (6-8), 2.03 (K-5)

6.0 Personaldevelopmentandidentityareshapedby factors including culture, groups, and institutions. Central to this development are exploration, identifica-tion, and analysis of how individuals and groups work independently and cooperatively: 6.01 (K-8)

Music6.0 Students will listen to, analyze, and describe

music: 6.2 (2), 6.3 (3, 4), 6.4 (1)

9.0 Students will understand music in relation

to history and culture: 9.3 (6-8)


1. StudentswillexamineCDlinernotesandinformationonlineregardingsongsandalbums,toidentifysomeofthejobsinthemusicbusiness.

2.StudentswilldiscussotherhallsoffametounderstandmorefullytheCountryMusicHallofFame.

prep Time:FiveminutestomakecopiesofworksheetandlyricsheetforeachstudentandsetupCDplayer

Materials:Worksheet“CareersinMusic,”“ManinBlack”lyricsheet,pencil,paper,Internetaccess,CD,CDplayer,linernotes

vocabulary:Comedian,halloffame,producer,recordingengineer,songwriter

1. distribute to each student a copy of the worksheet “careers in Music,” on page 8.

2. ask students to examine closely the liner notes of their favorite album by looking at the cd or by accessing the information online.Theyshouldlookforthenamesanddetailsofmusicians,singers,producers,recordingengineers,songwriters,etc.whoarefeaturedonthatalbum.Iftheylike,theycanfocusonjustonesong.Theactivitywillintroducestudentstothevarietyofpeopleandjobsinthemusicindustry.

3. use the following questions to engage students in a discussion.• WhataresomeofthetypesofpeopleandjobsinvolvedincreatingyourfavoriteCD?

• Whattypesofmusicalinstrumentsarefeatured?Dosomeofthemusiciansplaymorethanoneinstrument?

• Howmanysingersarethere?Aretherebackingvocalists?

• WhowrotethesongorsongsontheCD?Isthesongwriteralsointhebandorwerethesongswrittenbysomeonenotintheband?

• Wherewasthealbumrecorded?Mastered?Whowastheengineer?

• Whowastheproducer?

• Doyouthinkanyofthesejobsaremoreimportantthantheothers?Explain.

4. ask students to share information they learned about the people involved in creating the cd they brought from home or information they found about it online. Thiscanbediscussedasaclassorinsmallgroups.

Teacher TIp:Students can complete #2 for homework.

2|

7

Teacher’s Guide


5. share the following with students: ThismuseumalsohousestheCountryMusicHallofFame,whichincludesplaquesofcountrymusicsingers,musicians,songwriters,comedians,andbusinesspeople.EachmemberoftheHallofFamewaselectedbecauseoftheirhardworkandcontributionstocountrymusic.PeoplelikeJohnnyCash,DollyParton,andElvisPresleyaremembersoftheCountryMusicHallofFame.NewmemberstotheHallofFameareelectedeachyearbytheCountryMusicAssociation.JimmieRodgers,FredRose,andHankWilliamswerethefirstinducteesintotheHallofFamein1961.

6. play “Man in Black,” track 1, by country Music hall of Fame member Johnny cash.

7. encourage students to follow along with the lyric sheet from page 39.

8. share the following with students:JohnnyCashwasacountrymusicsuperstarwhohelpedbroadencountry’saudiencethroughhissingingandsongwriting.Heisalsoknownforsongslike“FolsomPrisonBlues”and“RingofFire.”Cashoftenworeblackclothing,earninghimthenicknamethe“ManinBlack.”Inthissong,youlearnmoreaboutwhyheworeblack.Doyoulikethissong?Whyorwhynot?

Teacher TIp:Encourage students to visit the Country Music Association’s Web site: www.cmaworld.com to learn more about this organization and how people are elected to the Country Music Hall of Fame. Click on the link “Hall of Fame” on the home page. Students may also research Country Music Hall of Fame members at www.CountryMusicHallofFame.org.

9. discuss together.• Haveyoueverbeentoanotherhalloffame?Whichone(s)?

• Whatdidyouseethere?

• Whatdidyoudothere?

• Whowashonoredthere?

• Howisahalloffamedifferentfromamuseum?Howaretheysimilar?

10. Invite students to create their own hall of fame.

Usethefollowingquestionstodirectstudents.

• Whattypeofhalloffamewouldyoucreate?Whatisitspurpose?

• Wherewoulditbelocated?Explainwhy.

• Howwouldyoudecidewhomtoinduct?

• Howoftenwouldyouinductnewmembers?

• WhywouldpeoplethinkthishalloffameisimportantinAmericanorworldculture?

The Country Music Hall of Fame

8

Teacher’s Guide


worksheet

Careers in Music

Name:________________________________________________ Date:_________________________________________

LookcarefullyatafavoriteCDoraccessthelinernotesonline.Fillinthischartwithinformationyoulearnfromyourresearch.

singer(s)

Backing vocalists(s)

songwriter(s)

producer(s)

sound engineer(s)

Musician(s)

9

Teacher’s Guide


Country Music yesterday and today


1. Language

GLeDemonstrate knowledge of strategies and resources to determine the definition, pronunciation, and usage of words and phrases.

2. communication

GLeContinue to develop basic listening skills necessary for communication.

checks for understanding: •Listenandrespondtoavarietyofmedia

(e.g., books, audio tapes, videos).

•Participateingroupdiscussions.

•Respondtoquestionsfromteachersandothergroupmembersandposefollow-upquestions for clarity.

social studies:1.0 Culture encompasses similarities and differences

among people, including their beliefs, knowledge,

changes, values, and traditions. Students will explore

these elements of society to develop an appreciation

and respect for the variety of human cultures:

1.03 (K-5,7,8), 1.04 (4-5,7,8), 1.06 (6)

3.0 Geography enables the students to see,

understand, and appreciate the web of relationships

among people, places, and environments. Students

will use the knowledge, skills, and understanding

of concepts within the six essential elements of

geography: world in spatial terms, places and regions,

physical systems, human systems, environment and

society, and the uses of geography: 3.01 (K-8) 3.02

(6,7), 3.03 (6,7)

5.0 History involves people, events, and issues.

Students will evaluate evidence to develop comparative

and causal analyses, and to interpret primary sources.

They will construct sound historical arguments

and perspectives on which informed decisions in

contemporary life can be based: 5.02 (K-8)

art:3.0 Students will choose and evaluate a range

of subject matter, symbols, and ideas: 3.1 (2-12);

3.2, 3.3 (K-1, 9-12)

4.0 Students will understand the visual arts in relation

to history and cultures: 4.1 (2-5), 4.2 (3-5), 4.3 (6-8)

Music:6.0 Students will listen to, analyze, and describe

music: 6.1 (5), 6.2 (2,3,6-12), 6.3 (1, 4, 9-12), 6.4 (1)

7.0 Students will evaluate music and music

performances: 7.1, 7.2 (1-12)

9.0 Students will understand music in relation

to history and culture: 9.1, 9.2 (1-12)


1. StudentswillexamineamapoftheworldtoidentifytheoriginsofsettlerswhocametoAmerica.

2. StudentswillexamineThomasHartBenton’spaintingThe Sources of Country Musictoidentifysomeofthemusicalinstruments,themes,andgeographicalregionsthatwerepartofearlycountrymusic.

3. Studentswilllistentocountrysongstoidentifymusicalinstrumentsandmusicalstyles,andtoevaluatecountrymusicasanartform.

prep Time:TenminutestoaccessThe Sources of Country Musicpaintingfromwww.CountryMusicHallofFame.org,setupCDplayer,andpassoutpaperandpencils

Materials:The Sources of Country Musiconlineversion,CD,CDplayer,paper,pencil,worldmap

vocabulary: Blues,BritishIsles,folksongs,gospel,nation,NewWorld,NorthAmerica,settlers,sheetmusic

1. Listen to Mark o’connor’s version of the fiddle tune “sally ann,” track 2.Askstudentswhatthesongmakesthemthinkof.Whatdoyoulikeordislikeaboutthesong?Whatinstrumentdoyouhear?

2. share the following with students.CountrymusicismusicofNorthAmerica.ItbeganwithfolksongsbroughttotheNewWorldbysettlersfromtheBritishIsles,atraditionofsongs,singing,andfiddlingthatiscenturiesold.ItgrewandchangedasthesesettlersadjustedtotheirnewlivesinAmericaandlearnedmusicbroughttoAmericafromotherpartsofEurope,Asia,LatinAmerica,andAfrica.Inmanyinstances,America’ssettlerswerenotschooledinformal,writtenmusic.Inruralareas,musiciansfrequentlyplayedbyear.Theymemorizedandpasseddownamusicthatsangoftheirlives,theirwork,andtheirloves.

Bytheearlytwentiethcentury,thisAmericanfolkmusicwasjustoneofmanytypesofmusicavailableinruralcommunities,alongwiththeblues,gospelhymns,andprofessionallywrittensongsperformed

3|

10

Teacher’s Guide


bytravelingmusiciansoravailableassheetmusic.Insteadofremainingdistinct,thesedifferentkindsofmusiccasuallymixedwithoneanotheraspeoplemovedthroughtheirdailylives.Likeapatchworkquilt,ruralAmericanmusicgraduallycombinedmanydifferentstylesthatformedsomethingbeautifulwhenjoinedtogether.

3. examine a map of the world to identify the continents from which american settlers came.LookforEurope,Asia,LatinAmerica,andAfrica.ThefiddlewasoriginallyaEuropeaninstrumentandthebanjoanAfricaninstrument.

Teacher TIp:Ask students to find out what countries their ancestors came from. How long ago did they come to this country? Where did they settle? What types of music traditionally come from this country? You may choose to have students do this as a homework assignment so they can ask their parents or other relatives for more information. Consider creating a class bulletin board about the heritage of class members and the traditional early music of that country.

4. examine The sources of country Music by Thomas hart Benton.In1974and1975,ThomasHartBentoncreatedthispaintingtoshowhowcountrymusicstarted.Identifysomeofthemusicalinstruments,geographicalregionsoftheUnitedStates,stylesofmusic,andthemesherepresents.Studentswilllearnmoreaboutthispaintinginalaterlessonandwillgettoseeitduringtheirmuseumvisit.

5. FolksongsWhatarefolksongs?Doyouknowanyfolksongs?Afterstudentshavehadachancetobrainstormcomponentsofafolksong,readthedefinitionbelow.Then,sharewithstudentsthatmanyfolksongsarealreadyfamiliartothem.Askiftheyhaveheard“She’llBeComing‘RoundtheMountain,”“ThisOldMan,”or“SkiptoMyLou.”Theseareallexamplesoffolksongs.

Folksong:A song belonging to the folk music of a people or area, marked chiefly by the directness and simplicity of the feelings expressed. Folksongs are not written down, but are passed from generation to generation orally. (from Webster’s)

The Sources of Country Music by Thomas Hart Benton

11

Teacher’s Guide


6. share the following with students. Earlier,wereadapassageaboutcountrymusicanditsmanyorigins.Inthepassage,welearnedthatcountrymusicislikeapatchworkquilt,withmanysourcesandsoundsthatcometogethertocreatesomethingbeautiful.Nowwearegoingtolistentosomesongsanddiscusstheblendingofdifferentmusicalstyles.

7. Gospel and Country Music Harmonizingvoicesareonecomponentofbotholdandnewgospelmusic.Thisstyleofsinging,wheremultiplepeoplesingthesamewordsbutindifferentpitches,ispartofmanycountrysongsaswell.

8. Listen to “I saw the Light” by country Music hall of Fame member Bill Monroe, track 3, a gospel song performed in a bluegrass style.Then,listento“IFalltoPieces,”track14,byHallofFamememberPatsyCline,whichfeaturesHallofFamememberstheJordanairessingingharmonies.Whilethissongisnotagospelsong,theJordanaireshaverootsinthegospeltraditionandlendtheirtraditionalstyletothisbalad.Identifythesimilaritiesintheharmonizingvoices.Doyoulikethesoundofharmonizingvoices?Explain.

9. blues and Country MusicMusicianssuchasHallofFamememberJimmieRodgersworkedontherailroad,sidebysidewithothermusicians.Thisprovidedopportunitiestosharetheirmusic.Asaresult,differentstylesofAmericanmusicinfluencedoneanother.Forexample,thestyleandsoundofthebluesinfluencedthestyleandsoundofcountrymusicandviceversa.

10. Listen to “Match Box Blues” by blues singer Blind Lemon Jefferson, track 4, and “waiting for a Train” by hall of Fame member Jimmie rodgers, track 5.Comparethetwosongsintermsofstyle,musicalinstruments,andsound,usingaVenndiagram.

Doyoulikethesesongs?Whyorwhynot?Dothesongsremindyouofmusicyouhaveheardbefore?Explain.Howdotheysoundsimilarordifferent?

11. sound technologyIntheearly1920s,withthecomingofradioandrecords,itbecamepossibleformusicianstoearnmoneyplayingmusicinnewways.ThesenewsoundtechnologiesalsohelpedspreadthemusicofAmerica’sruralcommunitiesacrossthenation.

12. engage students in a discussion of the different ways they listen to music today, to compare how people listened to music before radio, cd players, Mp3 players, etc.Howdoyouthinktechnologyhelpedthespreadofmusic?Doyouthinktechnologycanaffectmusicnegatively?Explain.

Teacher TIp:This would make a good journal writing topic.

13. Country Music today Todaycountrymusicisthefocusofahugeentertainmentindustrythatgeneratesbillionsofdollarsayear.Alongtheway,countrymusichasundergonemanychangesinitsjourneyfromsimplefolksongsandfiddletunestomodernmusicalstoriesoftenpoweredbydrums,electricguitars,andelectrickeyboards.Throughoutallitschanges,countrymusichasneverforgottenitsrootsorlostitsdown-homeflavor.Perhapsmorethananyotherformofpopularmusic,countrydrawsstrengthfromthevocalandinstrumentaltraditionsofthepast.Atitsbest,countrymusicservesasaconnectionbetweenthestoriesoftodayandthevaluesofourancestors.

14. Listen to “welcome to the Future” by Brad paisley, recorded in 2009, track 6. Thissongdemonstratesamoreelectricsound.Describethesimilaritiesanddifferencesintheoverallsoundofthissongcomparedtowhatyouheardinearlycountrymusic.Whichsongdoyoulikebest?Explain.

12

Teacher’s Guide


Who Creates Country Music?


2. communication

GLe•Continuetodevelopthebasiclisteningskills

necessary for communication.

•Continuetodevelopbasicspeakingskillsnecessary for communication.

checks for understanding: •Listenandrespondtoavarietyofmedia

(e.g., books, audio tapes, videos).

•Participateingroupdiscussions.

•Participateincreativeandexpressiveresponsestotext (e.g., choral reading, discussion, dramatizations, oral presentations, personal experiences).

3. writing

GLeWriteforavarietyofpurposesandtoavariety of audiences.

social studies:5.0 History involves people, events, and issues.

Students will evaluate evidence to develop

comparative and causal analyses, and to interpret

primary sources. They will construct sound historical

arguments and perspectives on which informed

decisions in contemporary life can be based: 5.1 (K-3)

Music: 6.0 Students will listen to, analyze, and describe

music: 6.2 (2), 6.3 (3, 4), 6.4 (1)



Learning objective:StudentswilllearnmoreaboutinducteesoftheCountryMusicHallofFame,includingbiographicalinformationandknowledgeoftheircareers,toexploredifferentcareersincountrymusic.

prep Time:Tenminutestophotocopylyricsheetsandworksheets,collectordinaryobjectsaroundclassroom,andsetupCDplayer

Materials:“CoatofManyColors”lyricsheet,“BiographicalChart”worksheet,classroominstruments,orordinaryobjectslikepencils,boxes,orcupsthatstudentscanusetocreatemusic,CD,CDplayer,Internetaccess

vocabulary:Comedian,induct,plaque,producer,songwriter

share the following with students:Let’slearnaboutsomeCountryMusicHallofFamemembersandtheircontributionstocountrymusic.Whilesomeofthemostfamouspeopleincountrymusicareperformers,halloffamememberscomefromawidevarietyofcareers,includingsongwriters,musicians,singers,producers,businesspeople,andevencomedians.

1. songwritersa. share the following information about songwriting with students.Somesongsarewrittenbythesingerswhorecordthem,butmanysongsarewrittenbyprofessionalsongwriterswhonevermakerecordings.Thesesongwritersmaynotbeaswellknown,buttheirspecialtalentsgivesingersawidevarietyofsongstochoosefrom.

Agoodsongwriterisalwaysobservinglifeandlisteningtotheconversationsofothersforanideaortheme.Heorshehastheabilitytotakecommonexperiencesthatmanypeoplecanidentifywithandthencreativelycombinewords(lyrics)andmusic(melody).Theymustfittogethertocreateagoodsong.

B. share the following with students.

ManysongwritersaremembersoftheCountryMusicHallofFame,includingDollyParton.Dollyisanaccomplishedperformerandsongwriter.

ThisinformationwastakenfromherHallofFameplaque:

DollyPartonJanuary19,1946Elected1999

Reveredforherversatiletalents,DollyPartonbeganperformingasachildinEastTennessee.In1964,shemovedtoNashville,andby1967joinedthePorter Wagoner Show.SheandWagonerrecordednumerousduets.In1974,PartonbranchedoutwithherownsyndicatedTVshowandquicklybecameaninternationalsuperstar,penninghitslike“Jolene,”“CoatofManyColors,”and“9to5,”thethemesongtothehitmovieinwhichshe

4|

13

Teacher’s Guide


madeherscreendebut,andforwhichsheearnedanOscarnominationforbestsongin1981.Shetookhersignaturehit,“IWillAlwaysLoveYou,”tothetopofthecountrychartsthreetimes—twiceasasoloartistandlaterasaduetwithVinceGill.PopsingerWhitneyHoustonrecordedthesongforherfeaturefilm“TheBodyguard”andsalesofthesoundtracktopped20million.Inadditiontohersuccessasaperformer,Partonisalsorespectedastheproprietorofherownamusementpark,“Dollywood”inPigeonForge,Tennessee.Adoredbyfansaroundtheworld,Partonwillalwaysbelovedforherabilitytostaytruetoherrootswhileconstantlyre-inventingherselfasanentertainer.

Teacher TIp:So that your students can follow along, put this text on a PowerPoint slide or transparency.

c. discuss together.Basedontheinformationabove,whydoyouthinkDollyPartonwasinductedintotheCountryMusicHallofFame?

d. using dates and other information from dolly’s plaque, create a timeline of dolly’s career, including her date of birth and the date of her induction. Considerdoingmoreresearchsoyoucanincludeadditionalmilestonesonyourtimeline.

e. Listen to dolly sing “coat of Many colors,” track 7. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage44.

F. use the following questions to engage students in a discussion. • Doyoulikethissong?Whyorwhynot?

• Doyouthinkthissongiswellwritten?Whyorwhynot?

• WhywouldDollywriteasongabouthercoat?

• Forwhomdoyouthinkthissongwaswritten?

• Whatdoyouthinkisthesong’soverallmessage?

Teacher TIp:Ask students to find out who wrote the words to some of their favorite songs. Do any of the singers they like write their own songs?

2. instrumentalistsa. discuss together.• Doyouplayaninstrument?Ifso,whichone?

• Howdidyoulearntoplay?Howoftendoyoupractice?

• Ifyoudon’talreadyplayaninstrument,howwouldyoulearn?Whatwouldyouplay?

B. share the following with students. Fewmusicalrecordingsfeaturevocalsonly.Instrumentslikethebanjo,fiddle,andguitargivecountrysongsauniquefeelandmakelistenerswanttolistentothemagainandagain.Ittakesthetalentofdedicatedmusicianstocreatesuccessfulsongs.Whilemanymusiciansprovidemusictobackupasinger,somemusiciansperformontheirownwithjusttheirinstrument.DollyParton

14

Teacher’s Guide


c. share the following with students. DeFordBaileywasaverysuccessfulinstrumentalistintheearlydaysofcountryradio.Heplayedharmonica.

ThisinformationwastakenfromDeFordBailey’sHallofFameplaque:

DeFordBaileyDecember14,1899-July2,1982

Elected2005

HarmonicavirtuosoDeFordBaileywascountrymusic’sfirstAfricanAmericanstar.BornintoamusicalfamilyinruralSmithCounty,Tennessee,BaileymovedtoNashvillein1918.Therehefirstperformedonradioin1925,overstationWDAD.Byearly1926hehadjoinedWSM’Sweeklyradiobarndanceandremainedoneofitsmostpopularactsforthenextfifteenyears.Hisevocativenumberssuchas“FoxChase”andthetrainsong“PanAmericanBlues”helpedgivetheprogramitsfolksy,down-to-earthcharacter.Capturingthisspirit,WSM’sGeorgeD.Haychangedtheshow’snametothe“GrandOleOpry”in1927.Baileybeganrecordingin1927andin1928participatedinthefirstcommercialrecordingsessionseverheldinNashville.Hisrecordingsandradioappearancesinspiredmanyotherstotakeupharmonica.

Teacher TIp:If students have not heard a harmonica before, locate additional recordings online or from the library. Consider sharing its history and playing styles with students.

d. Listen to “pan american Blues” by deFord Bailey, track 8, recorded in 1939.Describewhatyouhear.Doyoulikethesoundoftheharmonica?Howdoesthisbluesrecordingsounddifferentfromthemusicyouheartoday?

e. replay some of the songs from the accompanying cd and ask students to listen carefully and identify the instruments they hear. Askstudentstothinkaboutwhatthesongwouldsoundlikewithoutanyinstruments.

4. Producersa. share the following with students.Producersplayanimportantroleincreatingmusic.Theycomeupwithanideaaboutthewayasongshouldsoundanditistheirjobtomakesurethatthefinalproductturnsoutwell.Whiletheydon’tactuallysingorplayinstruments,theiropinionsandideasinfluencethefinalproduct.Theymakedecisionsandsolveproblemsinordertocreateafinalrecording.

B. share the following with students.OwenBradley,amemberoftheCountryMusicHallofFame,isawell-knownproducerwhohasworkedwithawidevarietyofartists.

ThisinformationwastakenfromOwenBradley’sHallofFameplaque.

OwenBradleyOctober21,1915-January7,1998

Elected1974

RenownedasapianistandNashvillebandleader,reveredasamusicexecutive,heachievednationalrecognitioninhisrolesasheadoftheNashvilleofficeofDecca(nowMCA)RecordsandproducerforsuchartistsasErnestTubb,RedFoley,PatsyCline,BrendaLee,LorettaLynnandConway

DeFord Bailey

15

Teacher’s Guide


Twitty.Hishonestyandintegrityinbusinessaffairssecuredtherespectofhisassociates,andhisinfluenceencouragedtheestablishmentofNashvillerecordingstudiosandspurredthedevelopmentofthe“musicrow”area.

c. select a song that all students are familiar with. Dividethemintoseparategroupsandhaveeachgroup“produce”theirownversionofthechorus.Askthemtothinkabouthowtheywouldsingthechorusdifferently.Inadditiontosinging,studentsmayuseclassroominstrumentsoreverydayobjectslikepencils,cups,orboxestomakesound.Allowtimeforgroupstopracticebeforeperformingtheiradaptations.Aftereachgrouphashadachancetoperform,studentsshouldcompareandcontrasttheirwork.Thefollowingquestionscouldbeusedindiscussion.• Howdidyoudecidewhatyouwantedyour

finalversionofthesongtosoundlike?

• Whatstepsdidyoutaketoensurethatthefinalproductturnedoutasyouwanteditto?

• Wereyouhappywiththefinalversionyouperformed?Explain.

• Didyourclassmates’renditionsofthesongsoundthesameordifferentfromyourown?How?

• Basedonyourexperience,doyouthinkitwouldbeeasyorhardtobeaproducer?Explain.

Teacher TIp:Ask students to research the producers of some of their favorite albums. Encourage them to think about tempo, instrumentation, and vocal style for one or more of the songs. They can answer the following questions aloud or use them as journal prompts.

• Doyouthinkthesongoralbumappealstoalot of people? Explain.

• Howmightyouhaverecordedthesongdifferently?

5. Comediansa. share the following with students. NotallmembersoftheCountryMusicHallofFameareperformers,songwriters,instrumentalists,orproducers.MinniePearlisoneofthebestknowncharactersincountrymusichistory,yetshedidnoneofthosethings.

• HaveyouheardofMinniePearlbefore?Whatdoyouknowabouther?

• WhatdidMinniePearldoforaliving?

B. share the following with students. TheinformationwastakenfromMinniePearl’sHallofFameplaque.

MinniePearlOctober25,1912Elected1975

Humoristheleastrecorded,butcertainlyoneofthemostimportantaspectsoflivecountrymusic.NooneexemplifiesthevaluesofpurecountrycomedymorethanMinniePearl.BornSarahOpheliaColley,Centerville,Tennessee.EducatedatfashionableWard-BelmontCollege.JoinedtheGrandOleOpryin1940.Hertrademarks—thedimestorehatwithdanglingpricetagandshrill

Owen Bradley

16

Teacher’s Guide


“HowDee!I’mjustsoproudtobehere”—madeherthefirstcountryhumoristtobeknownandlovedworldwide.

c. Listen to a clip of Minnie pearl performing onstage, track 9.

d. use the following questions to engage students in a discussion. • WhydoyouthinkpeoplethoughtMinniePearl

wasfunny?

• WhydoyouthinkSarahOpheliaColleyCannonchosetohaveherstagename,notherrealname,printedonherplaque?

• Whydoyouthinkcomedyissuchanimportantaspectofcountrymusic?Canyouthinkofanyothercountrycomedians?

note:Though Sarah Ophelia Colley Cannon passed away in 1996, her death date was left off of her plaque, at her request. When inducted into the Hall of Fame, Cannon asked that her stage name be printed on the plaque, and that a death date never be included because, though she would pass away, the character of Minnie Pearl would live on forever.

6. distribute to students copies of the “Biographical chart” on page 17.

7. choose a country Music hall of Fame member to learn more about. VisitourWebsite,www.CountryMusicHallofFame.orgtolearnmoreaboutmembersoftheHallofFame.Fillintheinformationonthe“BiographicalChart”tosummarizewhatyoulearned.

Teacher TIp:

You may choose to have students finish #7 after their visit to the museum.

MinniePearl

17

Teacher’s Guide


worksheet

biographical Chart

Name:________________________________________________ Date:_________________________________________

The Life of ______________________________________________________

date of Birth: ___________________________________ date of death: ___________________________________

profession: ______________________________________ Induction date: _________________________________

Family Life Family Life (as a child) (as an adult—marriages, children, etc.)

early years public Image

Life struggles accomplishments

Interests artists Influenced by him or her

why do you think he or she was inducted into the country Music hall of Fame?

18

Teacher’s Guide


image of a Performer


2. communicationchecks for understanding: Listenandrespondtoavarietyofmedia (e.g., books, audio tapes, videos).

5. LoGIc

GLe Use learned logic skills to make inferences and draw conclusions in a variety of oral and written contexts.

checks for understanding: Compare and contrast two characters, ideas, or stories.


1. Studentswilldefinetheword“image”tounderstandhowitrelatestoperformersorartists.

2.Studentswillevaluateoneoftheirfavoriteperformerstofurtherexamineimage.

3.Studentswillcompareandcontrasttheimagesoftwocountrysingerstoexplorehowimagehasevolvedovertime.

4.Studentswillcreatetheirownfictionalperformertodemonstratetheirunderstandingoftheword“image.”

prep Time:TenminutestophotocopylyricsheetsandworksheetandsetupCDandCDplayer

Materials: “IWannaBeaCowboy’sSweetheart”and“TimMcGraw”lyricsheets,“DevelopaPerformer’sImage”worksheet,pencils,markers,crayons,Internetaccess,poster,CD,CDplayer

vocabulary:Costumes,GreatDepression,image,theWest

1. ask students to define the word “image.”Allowstudentstocomeupwiththeirowndefinitionbeforelookingoneupinthedictionary.

2. share the following with students.Youcantellalotaboutanartistorperformerbeforetheyevenbegintheirshow.Theircostumes,style,bodylanguage,andspeechtellusaboutwhotheyare,andwhattheyhavetoshare.Theseelementstogethercreateaperformer’spublicimage.Countrysongsoftenfocusontravel,family,home,andheartbreak.Performerssingaboutsomeofthesesamethemesbutcanlookandactverydifferentlyfromoneanother.Costumesandhairstyleareimportantpartsofa

performer’simage.Manysingershavesomethingthattheyalwayswear,suchasacowboyhatorapairofsunglasses.Someperformerswearfancyclothing,whileothersdressverysimply.Producersandothermusicbusinessprofessionalsoftenhelptheperformercreateaparticularimagethatwillappealtoavarietyofpeople.

Inadditiontoclothing,whataperformerchoosestodooff-stagecontributestotheirimage.Somesingers,likeTimMcGraworCountryMusicHallofFamememberKittyWells,areknownforspendingtimewiththeirfamilieswhentheyarenotperforming.Othersmayhaveahobbyorcharitythattakesuptime.Forexample,CountryMusicHallofFamememberGeorgeStraitenjoysspendingtimeonhisranchandHankWilliamsJr.hasapassionforCivilWarmemorabilia.Thesecharacteristicscreateaparticularimagethatiseasilyidentifiedbythepublic.

3. Instruct students to think about one of their favorite performers.Listseveraladjectivestodescribehimorher.Howwouldyoudescribehisorherpersonality,style,andcharacter?Aretheyknownfordressingacertainway?Whatthemesormainideasdotheysingabout?Whydoyoulikethisperformer?Doestheirpublicimagecontributetoyourenjoymentoftheirmusic?Doyouthinkhisorherimageencouragespeopletobuyhisorherrecordsorconcerttickets?

Teacher TIp:

Visit www.CountryMusicHallofFame.org to learn more about members of the Country Music Hall of Fame. Students should select a performer and research their life story to learn more about their public image.

4. share the following with students.Askstudentswhattypesofclothingtheyassociatewithcountrysingers.Studentsmaylistclothinglikecowboyboots,hats,orbuttonedshirts.Explaintostudentsthatthiswesterntraditionhasbeenapartoftheimageofcountrysingersformanyyears.

5. play “I wanna Be a cowboy’s sweetheart” by country Music hall of Fame member patsy Montana, track 10. Providesonglyricsforeachstudent,foundonpage45.Basedonthelyricsofthesong,have

5|

19

Teacher’s Guide


studentsdrawapictureofwhattheythinkPatsyMontanalookslike.Whatcantheytellaboutherpublicimage,basedonthesonglyricsandhervoice?Howwouldtheydescribeherpublicimage?

6. share the following with students. In1935,“IWannaBeaCowboy’sSweetheart”becamethefirstbighitbyasolofemalecountrysinger.ItslyricsaboutlifeintheWestcreatedacheerfulimageforAmericaduringtheGreatDepression.Montanasangmanysongsaboutthefreedomofbeingacowgirl,andherclothesreflectedthesubjectmatter.Sheoftenworecowboyboots,hats,fringe,andembroideredtops.

7. Listen to “Tim McGraw” by Taylor swift, track 11. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage46.

Teacher TIp:

Use a Venn diagram for the following activity.

8. discuss together. • Howisthissongsimilarto

“IWannaBeaCowboy’sSweetheart?”

• Howisitdifferent?

• HaveyouheardofTaylorSwiftbefore?Ifnot,conductresearchabouther.

• Describeherpublicimage.

• Whattypesofclothingdoesshewear?

• DoesshewearanyofthesametypesofclothingasPatsyMontana?

9. share the following with students. WhileTaylorSwiftmaynotsingaboutlifeontherange,herpublicimageiscertainlyinfluencedbysingersofthepastlikePatsyMontana.LikeSwift,manymodern-daysingerswearstageclothingthatremindsusofcowboys.KennyChesney,AlanJackson,andGeorgeStraitareallexamples.Cowboyhats,boots,andpearl-buttonshirtsarestillcommonlywornbymoderncountrysingers.Thoughtheirmusicsoundsdifferent,theirpublicimagehasmanysimilarities.

Teacher TIp:

Consider looking online and sharing the music video of “Tim McGraw” with students. Do the characters in the music video wear anything that reminds you of the West or Patsy Montana? Explain.

PatsyMontana

Taylor Swift

© E

bet R

oberts

20

Teacher’s Guide


10. share the following with students. Clothingisn’ttheonlyelementofasinger’spublicimage.Ondisplayinthemuseumaremanyobjectsincludingamotorcycleandatypewriterthatbelongedtonoteworthyfiguresincountrymusichistory.TwocarsareondisplaythatbelongedtoCountryMusicHallofFamemembersWebbPierceandElvisPresley.First,listentothissongperformedbyElvis,andthenwewilldiscusshiscarandimageinfurtherdetail.

11. Listen to “That’s all right” by elvis presley, track 12, and discuss the following. • Doyoulikethissong?Whyorwhynot?

• HaveyouheardofElvisPresley?

• Whatdoyouknowabouthim?

• WhatdoesthissongrevealtoyouaboutElvis’simage?

• ListsomeadjectivestodescribeElvisandhispublicimage.

• Basedonthelistyougenerated,designacarforElvis.Writeadescriptionofwhatitwouldlooklike,ordrawapicture.

12. share the following with students. DisplaythephotoontheTeacher’s Guideposter.Elvis’sCadillacisnotyouraveragecar.Itwascustomizedjustforhim.The1960Cadillac75limousine,apersonalfavoriteofPresley’s,wascustomizedbyBarrisKustomCityofNorthHollywood.Theexteriorsheenisduetoits24-karatgoldplatehighlights,andfortycoatsofatranslucentmixtureofcrusheddiamondsandfishscalescalled“diamonddustpearl.”Theinteriorincludessuchtouchesasagold-platedtelevisionandarefrigerator.

13. discuss together. • WhydoyouthinkElvishadacarlikethis?

• HowwouldthiscarcontributetoElvis’spublicimage?

• WhatdoyouthinkElviswantedthepublictothinkabouthimwhentheysawhiminthiscar?

14. using what they’ve learned about the image of a performer, invite students to develop their own fictional performer. Usingtheworksheet“DevelopaPerformer’sImage”onpages21-22,theyshoulddeterminewhatheorshewillsoundlike,looklike,andsingabout.Afterstudentshavecompletedtheirworksheets,encouragethemtosharetheircreationswiththeclassorinsmallgroups.

15. Invite students to write in their journals using the following prompts. Manyperformersorotherpublicfiguresconveyaparticularimageofthemselvestothepublicbutareverydifferentintheirpersonallives.Whydoyouthinktheywoulddothis?Howmightitbenefitthem?Whatdoyouthinkaboutthis?

ElvisPresley

21

Teacher’s Guide


worksheet

develop a Performer’s image

Name:___________________________________________________Date:______________________________________

Youcanlearnmoreaboutaperformerbylookingattheirpublicimage.Usingtheinformationyoulearnedinthislesson,createyourownperformerwithauniqueimage.

1. performer’s name: _______________________________________________________________________________

2. List some adjectives to describe your performer.

3. what does your performer’s music sound like? does he or she play an instrument?

4. what themes does the performer sing about?

5. describe the performer’s personal life. how does he or she spend his or her free time? does he or she have any hobbies, likes, or dislikes?

22

Teacher’s Guide


worksheet

develop a Performer’s image page 2

6. use the space below to draw a picture of the performer.

23

Teacher’s Guide


the sources of Country Music


3. writing

GLeWriteinavarietyofmodesandgenres,includingnarration, literary response, personal experience, and subject matter content.


• Writeonaspecifictopictoaspecifiedaudience.

• Practicewritingtoapromptwithinaspecifiedtime.

art:3.0 Students will choose and evaluate a range of

subject matter, symbols, and ideas: 3.1 (2-12); 3.2,

3.3 (K-1, 9-12)

4.0 Students will understand the visual arts in relation

to history and cultures: 4.1 (2-5), 4.2 (3-5), 4.3 (6-8)


1. StudentswillreflectontheirlearningbyanalyzingThe Sources of Country Music,apaintingbyThomasHartBenton.

2.Studentswilldefinetheword“source”andwillbrainstormdifferentsourcesofcountrymusic,basedonpreviouslessons.

3.Studentswillusetheirimaginationtolearnmoreaboutthefiguresinthepainting.

prep Time:5minutestoaccessonlineversionofThe Sources of Country Music

Materials:Paper,pencils,onlineversionofThe Sources of Country Music,Internetaccess

vocabulary:Mural,source

1. ask students to define the word “source.” Youmaylookupthewordinthedictionary,orusethedefinitionbelow,afterstudentshavecomeupwiththeirowndefinition.

source:A beginning or origin

2. Before sharing the painting with students, ask them to create their own drawing or painting depicting how and where country music started.

3. examine the title of The sources of country Music as a class.Whatdoyouthinkthepaintingisabout,basedonthetitle?

4. share the following with students.ThelastgreatworkoftheAmericanmasterpainterThomasHartBenton,The Sources of Country Music,wascommissionedin1973bytheCountryMusicHallofFameandMuseum,andwascompletedin1975.Thesix-footbyten-footacrylic-on-canvaspaintingillustratestherootsofcountrymusicwithasweepingdepictionofthemusic’svariedsources—sacredandsecular,whiteandblack,southeasternandsouthwestern,instrumentalandvocal.ThepaintingandsomeofitsaccompanyingstudiesareondisplayattheCountryMusicHallofFameandMuseum.Itisimportanttonotethatwhiletraditionallymuralsaredonedirectlyonawallorbuilding,thispiecewascompletedoncanvas.However,becauseofitslargesizeandthefactthatBentonisknownasamuralist,itisconsideredamural.Benton’sothermuralscanbefoundonthewallsofbuildingsliketheMissouristatecapitolandtheIndianaUniversityAuditorium.

Teacher TIp:

Thomas Hart Benton has been the subject of numerous books and films. Consider exploring them with students. A film featuring Benton working on The Sources of Country Music can be found on the museum’s Web site under “Learn.” Find the page titled “For Teachers.” Students may be interested in Thomas Hart Benton, a film by Ken Burns, or Thomas Hart Benton: An American Original, a book by Henry Adams.

5. examine the painting as a class.

6. use the following questions to engage students in a discussion. • Basedonthispainting,canyouidentifyanyofthesourcesofcountrymusic?

• HowistheWestdepictedinthispainting?Whydoyouthinkit’sfeatured?

•WhydoyouthinkThomasHartBentonputdancersinthecenterofthepainting?

6|

24

Teacher’s Guide


• Whydoyouthinkheputachurchinthebackground?Whataboutthetrainandthesteamboat?

• Whatinstrumentsdoyouseeinthispainting?Doyouknowwhatcountriestheycomefrom?Arethereanyinstrumentsyoudon’trecognize?

• Describethevariouspeopleinthepainting.

• What,ifanything,doyouthinkismissing?

Teacher TIp:

Expand this activity by asking students to select one instrument from the painting to learn more about, using books and the Internet. They may focus on what the instrument is made of, where it comes from, its playing techniques, or what genres of music it is played in. More information can be found on our Web site: www.CountryMusicHallofFame.org.

7. Instruct students to identify one character in the painting that is of particular interest to them. Studentsshouldthenwriteaparagraphorshortstoryusingthatpersonasamaincharacter.

Usethefollowingquestionstoguidethinking.

• Whatcanyoutellaboutthispersonbasedontheinformationinthepainting?

•Whatisthischaracterdoinginthepainting?

•Whyisthispersonimportant?

• Whatdoyouthinkthisperson’sdailylifeislike?Whatclueshelpedyoucomeupwithyouranswer?

•Inwhatothersettingdoyouimaginethisperson?

Teacher TIp:

Encourage students to learn about other murals and muralists from around the world using books or the Internet as resources. Artists could include Michelangelo, Pablo Picasso, or Diego Rivera. Suggested questions for discussion are below.

• Whatdistinguishesamuralfromothervisualart?

• Whopaintedthismural?

• Whatisthismuralcalled?

• Whatdoesthetitletellyouaboutthemural?

• Whereisthismural?Howlargeisit?

• Whoisthesubjectofthemural? Describe what you see.

• Whatistheinspirationforthemural? How can you tell?

The Sources of Country Music is displayed in the Hall of Fame rotunda.

25

Teacher’s Guide


styles of Country Music


1. Language

GLeDemonstrate knowledge of strategies and resources to determine the definition, pronunciation, and usage of words and phrases.

5. Logic


Compare and contrast two characters, ideas, or stories.

social studies:2.0 Globalization of the economy, the explosion

of population growth, technological changes,

and international competition compel students

to understand, both personally and globally, the

production, distribution, and consumption of goods

and services. Students will examine and analyze

economic concepts such as basic needs versus

wants, using versus saving money, and policy making

versus decision making: 2.1, (6-8), 2.03 (K-5)

6.0 Personaldevelopmentandidentityareshaped

by factors including culture, groups, and institutions.

Central to this development are exploration,

identification, and analysis of how individuals and

groups work independently and cooperatively: 6.01 (K-8)

Music:6.0 Students will listen to, analyze, and describe

music: 6.1 (5), 6.2 (2,3,6-12), 6.3 (1, 4, 9-12), 6.4 (1)



9.0 Students will understand music in relation to

history and culture: 9.1, 9.2 (1-12)


1.Studentswilllistentodifferentstylesofcountrymusictoidentifysomeoftheirdistinctivecharacteristics.

2.Studentswillcreatevisualrepresentationsofthesongstheyhear,tocompareandcontrastmusicalstyles.

prep Time:Tenminutestophotocopylyricsheetsandworksheets,fiveminutestosetupCDplayer

Materials:CD,CDplayer,lyricsheets,“StylesofCountryMusic”worksheet,Internetaccess,paper,pencils,crayons,pastels

vocabulary: Acoustic,bigband,bluegrass,era,genre,harmony,NashvilleSound,rockabilly,Tejano,westernswing

1. share the following with students. Welearnedearlierthatcountrymusictodayistheresultofmanytypesofmusiccomingtogetherfromdifferentcultures.Therearemanydifferentstylesofmusicwithincountrymusic.Thereisbluegrass,honky-tonk,cowboy,andmore.Let’slistentoandexploreafewdifferentstylesofcountrymusictocompareandcontrastthewaytheysound.

2. select at least three of the styles of country music from the next few pages to read aloud to students. PlaythesuggestedsongfromtheCDtoprovidestudentswithalisteningexample.

3. distribute lyric sheets and worksheets to students. Instructthemtocompletetheworksheetonpages28-29andreadthesonglyricsastheylisten.Theyshouldidentifytheinstrumentsanddescribethestyletheyhear.

4. distribute white or colored paper, pencils, crayons, and oil pastels to students. Astheylistentoeachsong,instructthemtodrawwhattheyhear,feel,orimagine.Allowstudentstimetocompletetheirdrawings.Youmayneedtoplayeachsongseveraltimes.Askstudentstocreatedrawingsformultiplesongsandinstructthemtosharetheirworkwiththeclass.

5. discuss together. • Explainwhatyourartworkrepresents.

• Whydidyouvisuallyrepresentmusicinthisway?

• Whatdoesitshowaboutthatparticularstyleofmusic?

• Howareeachofyourdrawingsthesame?Howaretheydifferent?

6. ask students to research online some of the performers featured in the lesson.

Teacher TIp:

You may hang students’ art in the classroom as part of your study of country music. Consider having students write labels with descriptions of their work and display them next to the work.

7|

26

Teacher’s Guide


early CountryEarlycountrymusiccarriedonthefolktraditionsbroughttotheAmericanSouthbyimmigrantsfromtheBritishIsles.Someofcountrymusic’sfirststars(alsoCountryMusicHallofFamemembers)weretheCarterFamily,JimmieRodgers,andErnestStoneman.Fiddletuneswereabigpartofearlycountrymusicandwereoftenthecenterofentertainmentforafamilygathering.Thefiddleaccompanieddancingandsinging.

play “waiting for a Train” by Jimmie rodgers, track 5. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage42.Thissongisanexampleofearlycountrymusic.

CowboyCowboymusicnotonlycouldbeheardontheradio,butalsocouldbeseeninmoviesabouttheWildWest.Cowboysongstoldstoriesaboutlifeontherange.SomenotablecowboysingerswereGeneAutry,PatsyMontana,andRoyRogers.

play “I wanna Be a cowboy’s sweetheart” by patsy Montana, track 10. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage45.Thissongisanexampleofcowboymusic.

Western swingWesternswingbecamepopularduringtheeraofbigbandmusic.Intendedfordancing,itbecamepopularinthedancehallsofTexasandOklahoma.Itsdistinctsoundmixedcountrymusicwiththesophisticatedrhythmsofjazz.Usingsomethingclosertoabigbandlineup(oftenincludinghorns)thantoatraditionalcountryband,starslikeBobWillsbecameverypopular.

play “Take Me Back to Tulsa” by hall of Fame member Bob wills and his

Texas playboys, track 13.Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage48.Thissongisanexampleofwesternswing.

BobWills

JimmieRodgers

27

Teacher’s Guide


bluegrassJustasTennesseeiscalledtheVolunteerState,KentuckyiscalledtheBlueGrassState.Thecreatorofbluegrassmusic,BillMonroe,namedhisbandtheBlueGrassBoysafterhishomestateofKentucky.Hisfaststyleofstringmusiccaughton.Bluegrassisoftenpurelyinstrumental,featuringinstrumentslikethebanjo,themandolin,andthefiddle.Itcanalsoincludetwo-andthree-partvocalharmonies.InadditiontoMonroe,someofbluegrass’sbiggeststarsincludeFlatt&Scruggs,andmorerecently,DelMcCoury,AlisonKrauss,andRickySkaggs.

play “I saw the Light” by Bill Monroe, track 3.Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage40.ThissongisagospelsongwrittenbyHankWilliams,playedinbluegrassstyle.

rockabillyRockabillywasatransitionbetweenrock&rollandhillbillymusic,whichisanoldtermforcountrymusic.Rockabillymusicisahigh-energy,spontaneousstyleofcountrythatwaspopularinthe1950s.Thoughtherockabillystyledidn’tendure,manyofitsbiggeststars,likeJerryLeeLewis,CarlPerkins,andElvisPresleywentontohavesuccessfulcareersinothergenres.

play “That’s all right,” by elvis presley, track 12.Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage47.Thissongisanexampleofrockabillymusic.

the nashville sound TheNashvilleSoundisapop-influencedstyleofcountrymusicthatfeaturesstringedinstruments,backgroundvocals,andsometimesapiano.Itwaspopularinthe1960s.SomeoftheNashvilleSound’sbiggeststars(alsoCountryMusicHallofFamemembers)wereEddyArnold,PatsyCline,andJimReeves.

play “I Fall to pieces” by patsy cline, track 14. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage49.ThissongisanexampleoftheNashvilleSound.

tejanoBasedontraditionalMexicanmusic,Tejano(Spanishfor“Texan”)isdistinguishedbyitsupbeatlyricsandeasy-to-dance-torhythms.BecauseTejanomusicemergesfromtheHispaniccultureresidinginsouthernandcentralTexas,itshowsastronginfluencefromthecountrymusicthatissopopularamongtheworkingclassoftheregion.

play “Baila esta cumbia” by selena, track 15. Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage50.ThissongisanexampleofTejano.ThelyricsarelistedinbothSpanishandEnglish.

PatsyCline

28

Teacher’s Guide


worksheet

styles of Country Music

Name:__________________________________________________________Date:______________________________________

acoustic Guitar Banjo Bass

drums electric Guitar Fiddle/violin

piano steel Guitar other:




Fast Flowing hard

Loud rough smooth

soft Twangy other:

Fast Flowing hard

Loud rough smooth

soft Twangy other:

song name: _____________________________________________________________________________________________

artist: _______________________________________________________ style: _____________________________________

what instruments do you hear?

song name: _____________________________________________________________________________________________

artist: _______________________________________________________ style: _____________________________________


how would you describe this song?


do you like this song? why or why not? ____________________________________________________________

____________________________________________________________________________________________________________

____________________________________________________________________________________________________________


____________________________________________________________________________________________________________

____________________________________________________________________________________________________________

29

Teacher’s Guide


worksheet

styles of Country Musicpage 2




Fast Flowing hard

Loud rough smooth

soft Twangy other:

song name: _____________________________________________________________________________________________

artist: _______________________________________________________ style: _____________________________________




____________________________________________________________________________________________________________

____________________________________________________________________________________________________________

1. how are these songs alike? how are they different?

2. which style of country music, represented in this lesson, do you like best? why?

3. do any of these styles of music remind you of songs you listen to at home? explain.

30

Teacher’s Guide


Post-Visit reflection


3. writingchecks for understanding:

• Writeinjournals.

• Practicewritingtoapromptwithinaspecifiedtime.

2. communicationchecks for understanding:

• Participateingroupdiscussions.

• Participateincreativeandexpressiveresponses to text (e.g., choral reading, discussion, dramatizations, oral presentations, personal experiences).

4. researchchecks for understanding: Organize information gathered using a simple graphic organizer.

5. Logicchecks for understanding:

Compare and contrast two characters, ideas, or stories.


1.StudentswillreflectontheunitandontheirvisittotheCountryMusicHallofFameandMuseumtoidentifynewinformationtheylearnedornewwaysofthinking.

2.StudentswillusewhattheylearnedaboutcountrymusictoanalyzeanothergenreofmusicandtoconnectcountrymusictootherstylesofAmericanmusic.

prep Time:Fiveminutestophotocopyworksheets.

Materials:Worksheets“ObserveanArtifact”and“ExploreaGenreofMusic,”constructionpaper,markers,crayons,pens,pencils,Internetaccess

vocabulary:Artifact,genre

1. reflection activities

BelowarethreelessonsdesignedtohelpstudentsreflectonwhattheylearnedattheCountryMusicHallofFameandMuseumandinthisunit.LessonAisasimplerexercisethatallowsstudentstodescribeanartifacttheysawatthemuseum.LessonBismorecomplex,andasksstudentstoapplytheirstudyofcountrymusictoamusicalgenreoftheirchoosing.LessonCprovidesseveraljournalingprompts.Selectthelessonyouthinkismostappropriateforyourstudents.

Lesson a


Atthebeginningofthisunit,wedefinedthewordartifact.Belowisthedefinitionweused:

History-relatedmuseumscontainartifacts.Anartifactisanobjectproducedbyhumanworkmanship,especiallyatool,weapon,orornamentofarchaeologicalorhistoricalinterest(Webster’sII).Museumssuchaszoosandbotanicalgardenscollectandpreservelivingobjects(animalsandplants).

2. discuss together.

WhattypesofartifactsdidyouseeorhearattheCountryMusicHallofFameandMuseum?(couldbeasong,costume,photo,filmclip,musicalinstrument,etc.)

3. describe an artifact.

Usingtheworksheet“ObserveanArtifact,”onpage32,studentswillreflectonamuseumartifactofparticularinteresttothem.

Lesson B

1. describe another musical genre.

Usingtheworksheet“ExploreaGenreofMusic,”onpage34,studentswillexamineanothergenreofmusic,justastheyhavebeenstudyingcountrymusicduringthisunit.

2. after students complete the worksheet, encourage them to share answers aloud as a class.

8|

31

Teacher’s Guide


Teacher Tip:

Invite students to bring in a CD with a song from the genre they chose. Students may then compare the sound of this genre to the sound of country music. Review songs before playing them for the class.

Lesson c

1. students may choose to write in their journals using the following prompts.

• WhatwereyourimpressionsofcountrymusicbeforeyourvisittotheCountryMusicHallofFameandMuseum?Howdidyouropinionschangeorstaythesameaftercompletingthisunitorvisitingthemuseum?

• Howisamuseumfocusingonvisualartsimilartoordifferentfromamuseumfocusingonmusic?

• Curatorsworkveryhardtouseartifactsinordertotellastory,orpreservehistory.WritealettertothecuratororexhibitdesigneroftheCountryMusicHallofFameandMuseumaboutwhatyoulearnedfromtheartifactsintheexhibit.Doyouhaveanyquestionsabouthowheorsheorganizedtheexhibit?Isthereanythingyouwouldhavedonedifferently,oranyartifactsyouwouldhavelikedtosee,butdidn’t?Explain.

2. Create your own museum.Createyourownmuseumasaclass.Studentsshouldeachbringinanobjectfromhomethatisimportanttothem.Astheysawduringtheirmuseumvisit,artifactsareaccompaniedbyapaneloftextthattellsvisitorssomethingabouttheobject,itshistory,anditsimportance.Studentsshouldeachprepareatextpaneloutofconstructionpaper,withinformationabouttheobject,andwhyitisincludedintheclassroommuseum.Studentsmaygluephotographstotheirpanel,ordecorateitusingcoloredpaper,ormarkersandcrayons.Asaclass,developanexhibitthemeandtitle.Youmayalsodevelopsubthemesdependingonwhatobjectsstudentschoosetoinclude.

A curator at the Country Music Hall of Fame

and Museum examining an artifact.

32

Teacher’s Guide


worksheet

observe an artifact

Name:__________________________________________________________Date:______________________________________

1. select one artifact that you remember from your visit to the country Music hall of Fame and Museum. what artifact did you select and why? To whom did it belong?

2. what did you learn about this artifact from your tour guide or from the label in the exhibit case?

3. Below, list some adjectives to describe the artifact.

4. what was this artifact used for? how can you tell?

5. have you ever seen anything like this before? If so, where?

6. why do you think this artifact is important to the story of country music?

33

Teacher’s Guide


worksheet

observe an artifactpage 2

In the space below, draw a picture of the artifact.

34

Teacher’s Guide


worksheet

explore a Genre of Music

Name:__________________________________________________________Date:______________________________________

Overthecourseofthisunit,youhavelearnedalotaboutcountrymusic,itshistory,andsomeofthepeoplewhohelpcreateit.Exploreanotherstyleofmusic(ex.blues,classical,folk,opera,pop,rap,rock)inthissameway.UsetheInternetorbooksasresources.

1. select a genre of music that is of particular interest to you.

2. what are some of the main themes or ideas of the genre that you selected?

3. describe the sound of this genre of music. what instruments are included?

4. describe the public image of performers in this genre of music. do the performers dress a certain way?

35

Teacher’s Guide


worksheet

explore a Genre of Musicpage 2

5. earlier, you learned about some of the people who create country music. List some

of the most influential people in the genre of music you selected. what types of jobs do

they have? are these jobs the same or different than the people you learned about in

country music?

6. using the venn diagram below, compare and contrast country music with the genre you selected. how are they similar? how are they different?

country Music __________________________music genre

36

Teacher’s Guide


Glossary wordsConsiderusingthetermsbelowinvocabularyorspellingtests,ordisplayingtheminyourclassroomaspartofyourstudyofcountrymusicandmuseumsingeneral.Studentsmaywishtobrainstormorresearchtheirowndefinitionsbeforeyousharethesewiththem.Formoreinformationaboutmanyoftheseterms,seeour“HelpfulResources”section,whichprovidessuggestedmaterialstoexpandyourstudy.Thedefinitionsbelowcomefromthefollowingsources:

InternationalCouncilofMuseums.Web.<http://icom.museum/>.

Merriam-Webster.Web.<http://www.merriam-webster.com/>.

Will the Circle Be Unbroken: Country Music in America.EditedbyPaulKingsburyandAlannaNash.DK,2006.

acoustic:Of,pertainingto,orbeingamusicalinstrumentwhosesoundisnotelectricallyenhancedormodified.

america:EithercontinentoftheWesternHemisphere.

artifact:Anobjectproducedbyhumanworkmanship,esp.atool,weapon,orornamentofarchaeologicalorhistoricalinterest.

Background singer:Asingerwhoprovidesvocalsupportandharmoniestoaleadsinger.

Big Band: Ajazzordancebandthatisthesizeofanorchestra.

Bluegrass:Adistinctformofstring-bandmusictypicallyinvolvingacousticstringedinstrumentssuchasthefiddle,banjo,guitar,mandolin,dobro,stringedbass,andincorporatingfreewheelingimprovisationalinstrumentalsolosandhigh-pitchedharmonyvocals.

Blues:Asongoftenoflamentationcharacterizedusuallyby12-barphrases,3-linestanzasinwhichthewordsofthesecondlineusuallyrepeatthoseofthefirst,andcontinualoccurrenceofbluenotesinmelodyandharmony.

British Isles:AnislandgroupinWesternEuropecomprisingGreatBritain,Ireland,andadjacentislands.

comedian:Someonewhosejobistomakepeoplelaugh.

compare:Toexaminecharacteristicstodiscoversimilarities.

contrast:Toexaminecharacteristicstodiscoverdifferences.

costume:Anoutfitworntocreatetheappearancecharacteristicofaparticularperiod,person,place,orthing.

curator:Museumcuratorsareresponsibleforcaringfortheobjectsinamuseum’scollection.Theyareknowledgeableabouteachobjectandensureitspreservation.Curatorsdevelopcollectionspoliciesthatstatewhattypesofobjectsthemuseumcollects,howtocarefortheobjects,andhowtoreturnobjectsthatarenolongernecessaryforthecollection.

development officer:Sincemostmuseumsarenotforprofit,amuseum’sdevelopmentstaffmembersseekfundingthroughgrants,sponsors,anddonorstosupporttheoperationsofthemuseum.

director:Museumdirectorsoverseeallaspectsofthemuseumandareresponsibleforthemuseum’soverallfinancialstatusandculturalvaluetothecommunityitserves.Directorsusuallyworkcloselywithaboardofdirectorsandreporttothatgroup.

educator:Museumeducatorsdevelopandconducteducationalprogramsfocusedonthemuseum’sexhibitsandmission.

era:Asystemofchronologicnotationreckonedfromagivendate.

exhibit designer:Museumexhibitdesignersdevelopexhibitsthatpresentthemuseum’scollectiontothepublictohelpthembetterunderstandthemuseum’smissionandthestoryoftheobjectsinitscollection.

Folksong:Atraditionalsongofunknownoriginpasseddownthroughoraltradition.

37

Teacher’s Guide


Genre:Acategoryofartistic,musical,orliterarycompositioncharacterizedbyaparticularstyle,form,orcontent.

Gospel:Music,oftenperformedinquartets,thatiswrittenaboutChristianthemes.

Great depression:Aperiodofsevereeconomichardshipduringthe1930s,intheU.S.

hall of Fame:Aninstitutionestablishedtohonorthemostinfluentialornoteworthycontributorstoafieldorprofession.

harmonizing:Astyleofsingingwheremultiplepeoplesingthesamewordsbutindifferentpitches.

heritage:Traditionsandculturethatarepassedonwithinagroupfromonegenerationtothenext.

Image:Apopularconception(asofaperson,institution,ornation)projectedespeciallythroughthemassmedia.

Induct:Toadmitasamember.

Mural:Apaintingcreateddirectlyonawallorbuilding.

Museum:Aninstitution,opentothepublic,whichcollects,caresfor,andexhibitsobjectsforthepurposeofstudy,education,andenjoyment.

nashville sound:Astyleofcountrymusicthatemergedinthelate1950sasacommercialresponsetorock&roll.Thisstyleischaracterizedbybackgroundchoralsingersand,sometimes,orchestralstringsectionstocreateasoftersound,meanttoappealtopopandcountrylistenersalike.

nation:Acommunityofpeoplecomposedofoneormorenationalitiesandpossessingamoreorlessdefinedterritoryandgovernment.

new world:TheWesternHemisphere,morespecifically,NorthandSouthAmerica.

north america:ThenortherncontinentoftheWesternHemisphere,extendingfromCentralAmericatotheArcticOcean.

plaque:Acommemorativeoridentifyinginscribedtablet.

producer:Thepersonwhosupervisesallaspectsofarecordingsession.

recording engineer:Theassistanttotherecordproducerandthepersonwhotakescareofthetechnicalaspectsoftherecording.

rockabilly:Arhythmicalmusicalstylethatfusedelementsofcountryboogie,blues,R&B,andbluegrass,andpavedthewayforrock&rollthroughitsmostcommercialcatalyst,ElvisPresley.

settler:Onewhoestablishesaresidenceinanarea.

sheet Music:Musicprintedonlarge,unboundsheetsofpaper.

songwriter:Apersonwhocomposeswordsormusicorboth,especiallyforpopularsongs.

source:Apointoforigin.

Tejano:BasedontraditionalMexicanmusic,Tejano(Spanishfor“Texan”)isdistinguishedbyitsupbeatlyricsandeasy-to-dance-torhythms.

Theme:Asubjectortopicofdiscourseorofartisticrepresentation.

The west:ThewesternUnitedStatesinitsfrontierperiodcharacterizedbyroughnessandlawlessness.

western swing:Ahybridstyleofcountrymusiccombiningfiddletuneswithelementsofbig-bandjazz,pop,andblues,andusuallyintendedfordancing.ItemergedinthesouthwesternUnitedStatesinthe1930s,anditskeyprogenitorswereBobWillsandMiltonBrown.

38

Teacher’s Guide


1. “Man in Black” – Johnny Cash (John R. Cash) SongofCash,Inc.(ASCAP)AdministeredbyBug

UnderlicensefromTheSonyMusicCustomMarketingGroup,adivisionofSonyMusicEntertainment

2. “Sally Ann” – Mark O’Connor (Traditional) PublicDomain

CourtesyofCountryMusicFoundationRecords

3. “I Saw the Light” – Bill Monroe (Hank Williams)

Sony/ATVAcuff-RoseMusic(BMI)

UnderlicensefromUniversalMusicEnterprises

4. “ Match Box Blues” – Blind Lemon Jefferson (Blind Lemon Jefferson) PublicDomain

5. “Waiting for a Train” – Jimmie Rodgers (Jimmie Rodgers) PeerInternationalCorp.(BMI)


6. “Welcome to the Future” – Brad Paisley (Brad Paisley / Chris DuBois) HouseofSeaGayleMusic(ASCAP)


7. “Coat of Many Colors” – Dolly Parton (Dolly Parton) VelvetAppleMusic(BMI)


8. “Pan American Blues”– DeFord Bailey (DeFord Bailey) PublicDomain

CourtesyofCountryMusicFoundation,Inc.

9. “Comin’ into Town” – Minnie Pearl (Minnie Pearl) MetricMusicCompany(BMI)

CourtesyofEMIMusicMarketing

10. “I Wanna Be a Cowboy’s Sweetheart” – Patsy Montana & the Prairie Ramblers

(Patsy Montana) UniversalMusicCorp.(ASCAP)


11. “Tim McGraw” – Taylor Swift (Taylor Swift / Liz Rose) Sony/ATVTreePublishing/TaylorSwiftMusic(BMI)/Sony/ATV

TimberPublishing/HillsboroValleySongs(SESAC)

CourtesyofBigMachineRecords

12. “That’s All Right” – Elvis Presley (Arthur Crudup) UnichappellMusicInc./CrudupMusic(BMI)


13. “Take Me Back to Tulsa” – Bob Wills & His Texas Playboys

(Bob Wills / Tommy Duncan) PeerInternationalCorp./RedRiverSongs,Inc.(BMI)


14. “I Fall to Pieces” – Patsy Cline (Harlan Howard / Hank Cochran) Sony/ATVTreePublishing(BMI)

UnderlicensefromUniversalMusicEnterprises

15. “Baila Esta Cumbia” – Selena (A.B. Quintanilla III / Pete Astudillo) A.Q.3Music/EMIBlackwoodInc.(BMI)/PeaceRockMusic

(ASCAP)

AllrightsonbehalfofA.Q.3Music/EMIBlackwoodMusicInc.ControlledandAdministeredbyEMIBlackwoodInc.(BMI)

CourtesyofEMIMusicMarketing

songs on the Companion Cd

39

Teacher’s Guide


Man in Black

(JoHn R. CaSH)

Well,youwonderwhyIalwaysdressinblack,Whyyouneverseebrightcolorsonmyback,

Andwhydoesmyappearanceseemtohaveasombertone.Well,there’sareasonforthethingsthatIhaveon.

Iweartheblackforthepoorandthebeatendown,Livin’inthehopeless,hungrysideoftown,

Iwearitfortheprisonerwhohaslongpaidforhiscrime,Butistherebecausehe’savictimofthetimes.

Iweartheblackforthosewhoneverread,OrlistenedtothewordsthatJesussaid,

Abouttheroadtohappinessthroughloveandcharity,Why,you’dthinkHe’stalkingstraighttoyouandme.

Well,we’redoin’mightyfine,Idosuppose,Inourstreakoflightnin’carsandfancyclothes,

Butjustsowe’reremindedoftheoneswhoareheldback,Upfrontthereought‘abeaManinBlack.

Iwearitforthesickandlonelyold,Fortherecklessoneswhosebadtripleftthemcold,

Iweartheblackinmournin’forthelivesthatcouldhavebeen,Eachweekweloseahundredfineyoungmen.

And,Iwearitforthethousandswhohavedied,Believin’thattheLordwasontheirside,

Iwearitforanotherhundredthousandwhohavedied,Believin’thatweallwereontheirside.

Well,there’sthingsthatneverwillberightIknow,Andthingsneedchangin’everywhereyougo,

But’tilwestarttomakeamovetomakeafewthingsright,You’llneverseemewearasuitofwhite.

Ah,I’dlovetoweararainboweveryday,Andtelltheworldthateverything’sOK,

ButI’lltrytocarryoffalittledarknessonmyback,Tillthingsarebrighter,I’mtheManinBlack.

© 1971, 1998 Song oF CaSH, InC. (aSCaP) adMInISTeRed bY bug.

40

Teacher’s Guide


I saw the Light

(Hank WIllIaMS)

Chorus:Isawthelight,Isawthelight

Nomoredarkness,nomorenightNowI’msohappy,nosorrowinsight

PraisetheLord,Isawthelight

Iwanderedsoaimless,myheartfilledwithsinIwouldn’tletmydearSaviorin

ThenJesuscamelikeastrangerinthenightPraisetheLord,Isawthelight

Chorus

JustlikeablindmanIwanderedaloneWorriesandfear,Iclaimedformyown

ThenliketheblindmanthatGodgavebackhissightPraisetheLord,Isawthelight

Chorus

IwasafooltowanderandstrayStraightisthegateandnarrowtheway

NowIhavetradedthewrongfortherightPraisetheLord,Isawthelight

Chorus

© 1948 SonY/aTV MuSIC PublISHIng llC. all RIgHTS adMInISTeRed bY SonY/aTV MuSIC PublISHIng llC,8 MuSIC SquaRe WeST, naSHVIlle, Tn 37203. all RIgHTS ReSeRVed. uSed bY PeRMISSIon.

41

Teacher’s Guide


Match Box Blues

(blInd leMon JeFFeRSon)

I’msittin’herewonderin’wouldamatchboxholdmyclothesI’msittin’herewonderin’wouldamatchboxholdmyclothes

Iain’tgotsomanymatchesbutIgotsofartogo

IsaidMama,whomayyourmanagerbeOh,Mama,whomayyourmanagerbe

ReasonIasksomanyquestionscan’tyoumake’rangementsforme

Igotagirlacrosstown,shecrochetsallthetimeIgotagirlacrosstown,shecrochetsallthetime

Mama,ifyoudon’tquitcrocheting,you’regonnaloseyourmind

Ican’tcountthetimesIstoleawayandcriedIcan’tcountthetimesIstoleawayandcried

Sugar,thebluesain’tonme,butthingsain’tgoin’onright

Ifyouwantyourlover,youbetterpinhertoyoursideIsay,ifyouwantyourbaby,pinhertoyourside

Ifsheflagmytrain,PapaLemon’sgonnaletherride

Ain’tseenmygoodgalinthreelongweekstodayAin’tseenmygoodgalinthreelongweekstoday

Girl,it’sbeensolong,seemslikemyheartgoin’break

Excuseme,Mama,forknockingonyourdoorWellexcuseme,Mama,forknockingonyourdoor

Mymind’sgonnachange,Iain’tlovin’mygalnomore

42

Teacher’s Guide


waiting for a Train

(JIMMIe RodgeRS)

AllaroundthewatertankwaitingforatrainAthousandmilesawayfromhomesleepingintherain.Iwalkeduptoabrakemantogivehimalineoftalk,

Hesaysifyou’vegotthemoney,I’llseethatyoudon’twalk.

Ihaven’tgotanickelnotapennycanIshow;HesaidgetoffyourailroadbumAndslammedtheboxcardoor.

HeputmeoffinTexasaplaceIsurelylove,Wideopenspaces’roundme,Themoonandstarsabove,

NobodyseemstowantmeorlendmeahelpinghandI’monmywayfromFrisco,Goin’backtoDixieland,Mypocketbookisempty,

Andmyheartisfilledwithpain,I’mathousandmilesawayfromhomejustwaitingforatrain.

PeeR InTeRnaTIonal CoRP. (bMI)all RIgHTS ReSeRVed. uSed bY PeRMISSIon.

43

Teacher’s Guide


welcome to the Future

(bRad PaISleY/CHRIS duboIS)

WhenIwastenyearsoldIrememberthinkin’howcoolitwouldbeWhenweweregoin’onaneighthourdrive

IfIcouldjustwatchTVAndI’dhavegivenanything

TohavemyownPacMangameathomeIusedtohavetogetaridedowntothearcade

NowI’vegotitonmyphone

Hey,glory,glory,hallelujahWelcometothefuture

MygrandpawasinWorldWarIIHefoughtagainsttheJapanese

HewroteahundredletterstomygrandmaAndmailed’emfromhisbaseinthePhilippines

IwishtheycouldseethisnowTheworldtheysavedhaschangedyouknow

IwasonavideochatthismorningWithacompanyinTokyo

Hey,everyday’sarevolutionWelcometothefuture

(Hey)Lookaroundit’sallsoclear(Hey)Whereverweweregoin’

Wellwe’rehereSomanythingsIneverthoughtI’dseeArehappeningrightinfrontofme

IhadafriendinschoolTherunningbackonthefootballteamTheyburnedacrossinhisfrontyardForaskin’outthehomecomingqueen

IthoughtabouthimtodayAndeverybodywho’sseenwhathe’sseen

FromawomanonabusToamanwithadream

Hey,wakeupMartinLutherWelcometothefuture

Hey,glory,glory,hallelujahWelcometothefuture

© 2009 HouSe oF Sea gaYle MuSIC (aSCaP)all RIgHTS ReSeRVed. uSed bY PeRMISSIon. InTeRnaTIonal CoPYRIgHT SeCuRed.

44

Teacher’s Guide


BackthroughtheyearsIgowanderingonceagain,

Backtotheseasonsofmyyouth.Irecallaboxofragsthatsomeonegaveus,Andhowmymamaputtheragstouse.

Therewereragsofmanycolors,Buteverypiecewassmall,AndIdidn’thaveacoat

Anditwaswaydowninthefall.Mamasewedtheragstogether,Sewingeverypiecewithlove,

ShemademycoatofmanycolorsThatIwassoproudof.

AsshesewedshetoldastoryFromtheBibleshehadread,Aboutacoatofmanycolors

Josephwore,andthenshesaid,“PerhapsthiscoatwillbringyouGoodluckandhappiness.”

AndIjustcouldn’twaittowearitAndmamablesseditwithakiss.

MycoatofmanycolorsThatmymamamadeforme,

Madeonlyfromrags.ButIworeitsoproudly.

Althoughwehadnomoney,IwasrichasIcouldbe,

InmycoatofmanycolorsMymamamadeforme.

SowithpatchesonmybritchesAndholesinbothmyshoes,AndmycoatofmanycolorsIhurriedofftoschool,

JusttofindtheotherslaughingAndmakingfunofme

InmycoatofmanycolorsMymamamadeforme.

AndIcouldn’tunderstanditForIfeltIwasrich.

AndItoldthemoftheloveMymamasewedineverystitch.AndItoldthemallthestory

Mamatoldmewhileshesewed.Andhowmycoatofmanycolors

Wasworthmorethanalltheirclothes.

Buttheydidn’tunderstanditAndItriedtomakethemsee

ThatoneisonlypoorOnlyiftheychoosetobe.

AndthoughwehadnomoneyIwasrichasIcouldbe

InmycoatofmanycolorsThatmamamadeforme.

coat of Many colors

(dollY PaRTon)

VelVeT aPPle MuSIC (bMI)

45

Teacher’s Guide


I wanna Be a cowboy’s sweetheart

(PaTSY MonTana)

Iwannabeacowboy’ssweetheartIwannalearntoropeandtoride

IwannaridethroughtheplainsandthedesertOutwestoftheGreatDivide

Iwannahearthecoyoteshowlin’Asthesunsetsinthewest

Iwannabeacowboy’ssweetheartThat’sthelifethatIlovebest

IwannarideoldPaint,goin’atarunIwannafeelthewindinmyface

AthousandmilesfromthecitylifeGoin’acowhand’space

IwannapillowmyheadnearthesleepingherdWhilethemoonshinesdownfromabove

Iwannastrummyguitarandyodel-le-hee-hooThat’sthelifethatIlove

© 1935 unIVeRSal MuSIC CoRP. CoPYRIgHT ReneWed. all RIgHTS ReSeRVed.

46

Teacher’s Guide


YousaidthewaymyblueeyesshinedPutthoseGeorgiastarstoshamethatnight

Isaid,“That’salie”

JustaboyinaChevytruckThathadatendencyofgettin’stuck

Onbackroadsatnight

AndIwasrighttherebesidehimAllsummerlong

AndthenthetimewewokeuptofindThatsummer’dgone

ChorusButwhenyouthinkTimMcGrawIhopeyouthinkmyfavoritesongTheonewedancedtoallnightlongThemoonlikeaspotlightonthelake

WhenyouthinkhappinessIhopeyouthinkthatlittleblackdress

ThinkofmyheadonyourchestAndmyoldfadedbluejeansWhenyouthinkTimMcGraw

Ihopeyouthinkofme

SeptembersawamonthoftearsAndthankingGodthatyouweren’there

ToseemelikethatButinaboxbeneathmybedIsaletterthatyouneverreadFromthreesummer’sback

It’shardnottofinditallalittlebittersweetAndlookingbackonallofthatit’snicetobelieve

Chorus

AndI’mbackforthefirsttimesincethenI’mstandin’onyourstreet

Andthere’saletterleftonyourdoorstepAndthefirstthingthatyou’llread

IswhenyouthinkTimMcGrawIhopeyouthinkmyfavoritesongSomeday,you’llturnyourradioonIhopeittakesyoubacktothatplace

WhenyouthinkhappinessIhopeyouthinkthatlittleblackdress

ThinkofmyheadonyourchestAndmyoldfadedbluejeansWhenyouthinkTimMcGraw

Ihopeyouthinkofme

Tim McGraw

(TaYloR SWIFT / lIz RoSe)

© 2006 SonY/aTV MuSIC PublISHIng llC, TaYloR SWIFT MuSIC and HIllSboRo ValleY SongS. all RIgHTS adMInISTeRed bY SonY/aTV MuSIC PublISHIng llC, 8 MuSIC SquaRe WeST, naSHVIlle, Tn 37203.

all RIgHTS ReSeRVed. uSed bY PeRMISSIon.

47

Teacher’s Guide


That’s all right

(aRTHuR CRuduP)

Well,that’sallright,mamaThat’sallrightforyou

That’sallrightmama,justanywayyoudoWell,that’sallright,that’sallright.

That’sallrightnowmama,anywayyoudo

Mamashedonetoldme,Papadonetoldmetoo

Son,thatgalyou’refoolin’with,Sheain’tnogoodforyou

But,that’sallright,that’sallright.That’sallrightnowmama,anywayyoudo

I’mleavingtown,babyI’mleavingtownforsure

Well,thenyouwon’tbebotheredwithMehanging’roundyourdoor

Well,that’sallright,that’sallright.That’sallrightnowmama,anywayyoudo

© 1947 (ReneWed) unICHaPPell MuSIC InC. / CRuduP MuSIC (bMI)all RIgHTS adMInISTeRed bY unICHaPPell MuSIC InC. all RIgHTS ReSeRVed. uSed bY PeRMISSIon.

48

Teacher’s Guide


Take Me Back to Tulsa

(bob WIllS / ToMMY dunCan)

Where’sthegalwiththereddressonSomefolkscallherDinah

StolemyheartawayfrommeWaydowninLouisiana

TakemebacktoTulsaI’mtooyoungtomarryTakemebacktoTulsaI’mtooyoungtomarry

PeeR InTeRnaTIonal CoRP. / Red RIVeR SongS, InC. (bMI)

49

Teacher’s Guide


I Fall to pieces

(HaRlan HoWaRd/ Hank CoCHRan)

IfalltopieceseachtimeIseeyouagainIfalltopieces,howcanIbejustyourfriend

Youwantmetoactlikewe’veneverkissedYouwantmetoforget,pretendwe’venevermetAndI’vetriedandI’vetriedbutIhaven’tyet

YouwalkbyandIfalltopieces

Ifalltopieces,eachtimesomeonespeaksyournameIfalltopieces,timeonlyaddstotheflame

YoutellmetofindsomeoneelsetoloveSomeonewho’llloveme,too,thewayyouusedtodo

ButeachtimeIgooutwithsomeonenewYouwalkbyandIfalltopiecesYouwalkbyandIfalltopieces

© 1960 SonY/aTV MuSIC PublISHIng llC. all RIgHTS adMInISTeRed bY SonY/aTV MuSIC PublISHIng llC,8 MuSIC SquaRe WeST, naSHVIlle, Tn 37203. all RIgHTS ReSeRVed. uSed bY PeRMISSIon.

50

Teacher’s Guide


IfeelsomethingthatmovesmeArhythmthatmakesmedance

TakeyourpartnersWe’llallenjoy

Dance,dancetothiscumbiaMove,moveyourwaistEveryone,handsup

Andshout,shoutwithmadness

Dance,dancetothiscumbiaArhythm,arhythmwithoutequal

NobodystayseatedWe’reallgoingtodance

(RepeatAll)

Dance,dancetothiscumbiaArhythm,arhythmwithoutequal

NobodystayseatedWe’reallgoingtodance

SientoalgoquememueveUnritmoquemehacebailar

TomentodossuparejasTodosvamosagozar

Baila,bailaestacumbiaMueve,muevelacinturaTodos,lasmanosenaltoYgriten,gritenconlocura

Baila,bailaestacumbiaUnritmo,ritmosinigualNadiesequedesentadoTodosvamosabailar

(Repitetodo)

Baila,bailaestacumbiaUnritmo,ritmosinigualNadiesequedesentadoTodosvamosabailar

Baila esta cumbia

(a.b. quInTanIlla III / PeTe aSTudIllo)

© 1990 a.q.3 MuSIC / eMI blaCkWood InC. (bMI) / PeaCe RoCk MuSIC (aSCaP)all RIgHTS on beHalF oF a.q.3 MuSIC / eMI blaCkWood MuSIC InC. ConTRolled and adMInISTeRed bY

eMI blaCkWood InC. (bMI) all RIgHTS ReSeRVed. InTeRnaTIonal CoPYRIgHT SeCuRed. uSed bY PeRMISSIon.

51

Teacher’s Guide


Grace Guill WhiteHouseHeritageSchool

Stephen Henry CreswellArtsMagnetMiddleSchool

Beverly Roberts EnsworthSchool

Beth Stepelton H.B.WilliamsElementarySchool

The staff of the country Music hall of Fame and Museum thanks the following local teachers who gave their time and valuable input during the development of this resource:

Books:

Encyclopedia of Country Music.EditedbyPaulKingsbury.OxfordUniversityPress,2004.

George-Warren,Holly.Honky-Tonk Heroes and Hillbilly Angels: The Pioneers of Country and Western Music.HoughtonMifflinBooksforChildren,2006.

Kingfisher Young People’s Book of Music.EditedbyCliveWilson.LarousseKingfisherChambersInc.,1999.

Malone,BillC.Country Music U.S.A., 2d Ed.UniversityofTexasPress,2002.

Sadie,StanleyandJohnTyrell.Grove’s Dictionary of Music and Musicians, 2d. ed.OxfordUniversityPress,2003.

Will the Circle Be Unbroken: Country Music in America.EditedbyPaulKingsburyandAlannaNash.DK,2006.

web sites:

FormoreinformationaboutcountrymusicandtheCountryMusicHallofFameandMuseum,visit:

www.CountryMusicHallofFame.org

www.CMAworld.com

Formoreinformationaboutmuseumsandmuseumcareers,visittheAmericanAssociationofMuseum’sWebsite:

www.aam-us.org/

FormoreinformationaboutThomasHartBentonandKenBurns’sdocumentary,visit:

www.pbs.org/kenburns/benton/

Helpful resources:

please submit student writings, questions, and the

Teacher’s Guide evaluation to:

SchoolProgramsCoordinatorCountryMusicHallofFameandMuseum

222FifthAvenueSouthNashville,TN37203

Phonenumber:615-416-2088

Faxnumber:615-255-2245

52

Teacher’s Guide


Teacher’s Guide to the Museum

teacher’s evaluationThankyoufortakingafewminutestoprovidefeedbackandsuggestions.Weappreciateyourhelpinmakingourprogramsandresourcesasmeaningfulaspossible.

DateofYourVisit: NameofSchool:

SubjectYouTeach: Grade(s)YouTeach:

DidyouuseanyactivitiesintheTeacher’s Guide to the Museum? Yes No

Ifyes,whatactivitiesdidyouuse?

PleaseratetheTeacher’s Guide to the Museumonthefollowing:

NotValuable 1 2 3 4 5 Valuable NotEnjoyable 1 2 3 4 5 Enjoyable NotInteractive 1 2 3 4 5 Interactive NotInformative 1 2 3 4 5 Informative Unorganized 1 2 3 4 5 Organized

PleaseusethisspaceforanycommentsorsuggestionsyoumayhaverelatingtotheTeacher’s Guide to the Museum.

Whichlessonsdidyoufindmostuseful?

Whichlessonsdidyourstudentsmostenjoy?

Werethereanylessonsyouwouldliketoseechanged?Pleaseexplain.

Country MusiC Hall of faMe® and MuseuM

222 fiftH aVenue soutHnasHVille, tennessee 37203

615.416.2001

CountryMusiCHalloffaMe.orG

The educational programs of the Country Music Hall of Fame® and Museum are funded in part by grants from the Metro Nashville Arts Commission and from the Tennessee Arts Commission, through an agreement with the National Endowment for the Arts. This Teacher’s Guide was funded in part by a Tennessee Arts Commission Teacher Training Grant.

Accredited by the American Association of Museums, the Country Music Hall of Fame® and Museum is operated by the Country Music Foundation, Inc., a not-for-profit 501(c)(3) educational organization chartered by the state of Tennessee in 1964. The Foundation also operates CMF Records, the Museum’s Frist Library and Archive, the CMF Press, Historic RCA Studio B, and Hatch Show Print.

Teacher’s Guide1 to tHe 2

counTry Music hall of faMe® and MuseuM

teacher's guide country music hall of fame® and museum

Documents

Transcript of teacher's guide country music hall of fame® and museum