THE WORLD 
OF MUSIC 
 
with Lynda Moore 
 
 STATE BOARD OF EDUCATION 
 
James s. Peters, Chairman 
 
Robert Wright, Vice-Chairman 
 
Claude Purcell, Secretary 
 
-M -E -M -B -E -R -S 
FIRST CONGRESSIONAL DISTRICT  J . Brantley Johnson SECOND CONGRESSIONAL DISTRICT  Robert Byrd Wright THIRD CONGRESSIONAL DISTRICT  Thornas Nesbitt, Jr. FOURTH CONGRESSIONAL DISTRICT  James S. Peters FIFTH CONGRESSIONAL DISTRICT  David Rice SIXTH CONGRESSIONAL DISTRICT  Francis Shurling SEVENTH CONGRESSIONAL DISTRICT  Henry Stewart EIGHTH CONGRESSIONAL DISTRICT  Lonnie E. Sweat NINTH CONGRESSIONAL DISTRICT Mrs. Bruce Schaffer* TENTH CONGRESSIONAL DISTRICT  zack Daniel 
 
*Resigned, but not replaced as yet. 
 
 FOREWORD 
We are now providing more televised instruction that we hope will be of help to you in your classroom. YOU are the best authority on HOW it will help you, and in what ways you wish to use it. 
We are providing teacher guides like this one with suggestions that may be of service to you as you plan the best use of these lessons and fit them into the program that you have planned. These guides were written by our television teachers. We think of the television teacher and the classroom teacher as being partners in the best creative teaching for the children. 
Television's dynamic power--long used in communicating other information--is now being made use of in education. It is making this a better educated world. None of us knows as much as we would like to know about it. It is a new medium and we are all learning together. We need your help and your suggestions as we seek to make the best use of our television facilities. our aim is to make the school program more meaningful in Georgia. 
Our competent television teachers are well prepared to help you and the members of your class with lessons in science, mathematics, modern foreign languages, music, and Georgia history. They have time to gather up visuals that may not be readily available to you or that you may not have time to collect. This relieves you of much planning and preparation and leaves you with more time to devote to the actual teaching of the child in the classroom, and your personal teaching-and-learning contact with him. 
I hope you will find this teacher guide useful in your classroom work. We would be happy to have your suggestions about how our television teaching can be made more effective. If you have found some especially good ways to adapt these lessons to your pupils, let us know about it. Perhaps it would help other teachers. This is a cooperative venture: it is important that we all work together to make the best use of this new power that has come into our hands in this technological age, so that we may make learning more effective in Georgia schools. 
Claude Purcell State Superintendent of Schools 
 
 LESSON 1 
 
UPPER ELEMENTARY MUSIC lNewJ 
 
TITLE 
 
New York 
 
PURPOSE CONTENT 
 
We begin our musical journey around the world. 'l!e listen to the music of New York. Song in 3 '4 time. Half note followed by quarter; quarter note followed by half. Difference between slurs and ties. 
Understanding people through their music. Taking a musical tour of New York, Radio City, Carnegie Hall, Metropolitan Opera House. With hand movements we feel a fast waltz in two different ways. 
 
SOME POSSIBLE F 0 L L 0 '"' - U P A C T I V I T I E S 
 
Add SIDEWALKS OF NEW YORK to children s repertory as they will enjoy singing it. Discuss background music heard on lesson and listen for background music to see how it enhances movies and tele- 
vision shows. 
 
RES'JU><CE INFORMC..TION 
 
~0 N G 
 
SIDE'NALKS OF ~~E'I' YORK-S. Burdett, Book 5, p. 1 58 
 
PECOR DINGS 
 
f~H:\PSODY IN BL!JE- RCA (Boston Pops), LM2367 
 
CARO NOME (from RIGOLFTTO, Verdi, 0 p e r a 'IV i t h o u t S i n g i n g ) V i c t o r , L M 1 9 0 6 
M A ~-' H A T T A i'' - 0 r g a n M o o d s a t M i d n i g h t , Grand Prix Series 
 
BACKGROUND MUSIC SIDEWALKS OF NEW YORK 
 
L 1.1 L L t.. B Y 0 F B R 0 " D W A Y - 
Echoes of Broadway, George Feyer, Volu!T'e 25350 
 
 LESSON 2: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: PURPOSE: 
 
Canada 
Study of the tonic chord. Song has skips of the tonic chord. Song gives opportunity for drum accompaniment (have drum ready). Song has a repetitious part below the melody that boys will en joy singing. 
 
CONTENT: 
 
A short, panoramic view of Canada with the National Anthem, 0 CANADA, in the background. Eskimo music. Indian Music. Indian study song is native to Canada. We learn French words to refrain of French-Canadian song. EVANGELINE of Nova Scotia, Canada, and St. Martinville, Louisiana, U.S.A. We learn refrain to QUEBEC. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
Work on the tonic chord while it is fresh in the minds of the students. It will be of great help in reading music to be able to recognize the tonic when it appears in songs (135 or do-miso 1). Find this in other keys in songs in your book. 
 
RESOURCE INFORMATION: 
 
SONGS: I TRAVEL ON- "Voices of America,'' Follett, p. 81 EN ROULANTE MA BOULE- "Bowman Recordings of Canada" QUEBEC- Bowman (This is also known as "Donke Riding" and appears in some of the music series.) ESKIMO LAND-S. Burdett, Book 4, p. 89 
RECORDINGS: TOTEN CHANT- "International Songs," Epic, LN3320 
 
PANORAMIC VIEW OF CANADA: Courtesy df Canadian Consulate 
 
2 
 
 LESSON 3: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Ire land 
 
PURPOSE: 
 
Ear-training sang. Our study song in 6/8 time. Verse in unison; refrain in two parts. 
 
CONTENT: 
 
We sing with John McCormack. A character doll from Ireland with shillelagh. Study song from Ireland Listening lesson. Music of Thomas Moore. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
You will wont to sing other Irish songs from your books. I hope you can add some of Thomas Moore's songs to your repertory as they have been favorites of people for so long. Compare note values in 6/8 time to 4/4 time. 
 
RESOURCE INFORMATION: 
 
SONGS: TIS IRISH I AM- "Voices of the World," Follett, p. 34 WHEN IRISH EYES ARE SMILING- (you are familiar with the melody. The wards are on the music page.) 
RECORDINGS: COCKLES AND MUSSELS- Norman Luboff Choir, Columbia, 2Ll3 JOHN McCORMACK SINGS IRISH SONGSRCA, Camden, 407 
 
3 
 
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LESSON 4: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Eng land 
 
PURPOSE: 
 
Song in minor key. Note values in 2/2 time; natural sign. Listening lesson. 
 
CONTENT: 
 
England's National Anthem. Dances of England. Picture views of England Our song is an old ballad. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
Compare note values in 4/4 time, 6/8, and 2/2 time. The stories and music of the Gilbert and Sullivan light operas are suitable for boys and girls of this age, and will interest them very much. Good record--Gilbert & Sullivan Golden Record Al98:ll. 
 
RESOURCE INFORMATION: 
 
SONG: ROBIN HOOD- "Voices of the World," Follett, p. 25. RECORDINGS: POMP AND CIRCUMSTANCE- Sir Edward 
Elgar, "Listener's Library" (Music Sound Library) SHEPHERD'S DANCE (from Henry VIII)German, RCA, Vol. 5 Rhythms. PIANO: GREENSLEEVES MORRIS DANCE- German BACKGROUND MUSIC: MUSETTA'S WALTZ FROM LaBOHEME 
- Puccini, "Opera Without Singing,"' Victor, LM1906. 
 
4 
 
 LESSON 5: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Scotland 
 
PURPOSE: 
 
Understanding markings that tell us how a song should be sung. Feeling the movement of the phrases. Rhythmic pattern typical of Scottish folk music. 
 
CONTENT: 
 
A short stop in Wales. Dance music of Scotland. Knowing the story of a song tells us how it should be interpreted. The bagpipe and mouth music. Political significance of our study song. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
Every school should have a music dictionary so that words indicating haw music should be sung or played could be found before song is taught. Listen to your songs on the recordings and see how singer interprets these markings. Discuss how a song should be interpreted before singing it. 
 
RESOURCE INFORMATION: 
 
SONG: SKYE BOAT SONG- "Voices of the World," Follett, p. 32, ABC, Book 5, p. 162 
RECORDINGS: ALL THROUGH THE NIGHT- Norman Luboff Choir, Columbia 2L13 DASHING WHITE SERGEANT- RCA, 1619 
MOUTH MUSIC: THE DOCTAIRE'S MAIRI- Traditional PIANO: HIGHLAND FLING- Traditional 
COMIN' THROUGH THE RYE- Traditional LOCH LOMAND- Traditional 
 
5 
 
 LESSON 6: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Norway 
 
PURPOSE: 
 
A listening lesson; PEER GYNT SUITE- Grieg 
 
CONTENT: 
 
Opening Scene: Grieg's little music house below his home, "Troldhaugen." The story of each number in the suite is told before the music is heard. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
Television time does not permit us to play every number in its entirety. This suite should be in the school library, the numbers presented in their entirety one at a time, and the children will remember and enjoy them. 
 
Since the majority of our students will be listeners, we can 
do much to help them be good listeners and to appreciate 
good music. 
 
RESOURCE INFORMATION: 
 
WEDDING DAY AT TROLDHAUGEN- Grieg (not from Peer Gynt Suite) 
NUMBERS FROM THE SUITE: MORNING ABDUCTION OF THE BRIDE IN THE HALL OF THE MOUNTAIN KING ANITRA'S DANCE SOLVEIG'S SONG THE STORM 
 
(Any good recording. I used the record GRIEG- Decca DL9869.) 
 
6 
 
 LESSON 7: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Sweden and Denmark 
 
PURPOSE: 
 
Listening. Study song- two parts. Tonic chord. Two different rhythmic groupings. 
 
CONTENT: 
 
Sweden in posters sent from Swedish Embassy. Listening- 0 VERMELAND; song singing of Sweden's love for homeland. Sweden's composer, Hugo Alfven, and his music. Jenny Lind, THE SWEDISH NITINGALE. To Denmark and Hans Christian Anderson. Study song from Denmark. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
Identify the tonic chord of each song you sing. This will not only help music reading, but will set the feeling for the key. PEER NILSON is in the key of Eb. Tonic chord: 1-3-5, EbG-Bb. 
I hope you will wont to hear all of SWEDISH RHAPSODY. 
 
RESOURCE INFORMATION: 
 
0 VERMELAND- Roger Wagner Chorale, Capitol P8388 
SWEDISH RHAPSODY- Columbia, ML5596 KING CHRISTIAN STOOD BY LOFTY MAST- International Songs and Anthems, LN3320 PEER NILSON- Follett, "Music Across Our Country," p. 12 THERE IS A LOVELY LAND- patriotic Song of Denmark, Pia no 
 
7 
 
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LESSON 8: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: PURPOSE: 
CONTENT: 
 
Finland 
Two-part song. Song moves in thirds. Sibelius is a national composer of Finland. We will hear some o.f his music. 
The singer of the KALEVALA. Finlandia- Sibelius A Laplander doll from Finland. Our study song- a Finnish rune. Festivals in Finland. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
I do hope it will be possible for you to hear all of FINLANDIA since our listening today will be confined to the vocal part. I think students would enjoy knowing more about Sibelius and other important composers whose music we will be hearing 
this year. 
 
RESOURCE INFORMATION: 
 
VAINAMOINEN'S GIFT- Follett, "Voices of the World," p. 61 FINLANDIA- Columbia, ML5596 SUMMER EVENING- Follett, "Voices of the World," p. 58 SECOND SYMPHONY- Sibelius, RCA, LM2342 
 
8 
 
 F 
 
l_ESSON 9: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Germany 
 
PURPOSE: CONTENT: 
 
Listening to music of great composers. Guests will demonstrate old instruments of Baroque period. 
Music of Bach. An introduction to music of Baroque period. Guests play music and instruments from this period. Short segments of music from some of world's greatest 
composers. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
Are you interested in experimenting with these instruments? They ore nat difficult to play. Some schools have introduced a few of these. You might tell the students that they will hear music from some of the world's greatest composers and ask them to listen for the ones they like best. I hope you can get recordings by same of these for your library; not necessarily the particular numbers I use today. 
 
RESOURCE INFORMATION: TOCCATO AND FUGUE IN D MINOR- "Virgil Fox Plays Bach," RCA, 1963 
EROICA SYMPHO"lY- Beethoven (any good recording) E MINOR SYMPHOI'JY NO.4- Brahms (any good recording) BOUREE FROM WATER MUSIC- Handel (any good recording) DANCE OF THE CLOWNS (from MIDSUMMER NIGHT'S DREAM) Mendelssohn (any goad recording) THE HAPPY FARMER- Schumann (any goad recording) RIDE OF THE VALKYRIE$- Wagner, "The Sound of Wagner," C a p i to I, P 8 4 l l 
 
9 
 
 LESSON 10: 
 
UPPER ELEMENTARY MUSIC (New) 
 
GUESTS: TITLE: PURPOSE: 
CONTENT: 
 
Mr. and Mrs. George Kelischek 
Belgium and The Netherlands 
Listening to music of great composers. Listening to folk music. Study song with open fifths in boys' ports. Melody changes from one port to other. Tonic chord- C- E- G. 
Belgium Notional Anthem with scenes of the country. Listening to Cesar Fronek. Scenes from Holland. Art in porcelain and paintings. Study sang- please divide boys in two parts. Costumes of the country. Listening to Netherlands' famous folk song. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
Some symphonies ore easier to listen to and enjoy than others. I think you would like Cesar Franck's SYMPHONY IN D MINOR. If the boys' voices need help in carrying their part in our study song, add a few girls to sing with them. This is a good subject for art appreciation. 
 
RESOURCE INFORMATION: 
 
SYMPHONIC VARIATIONS FOR PIANO AND ORCHESTRACeasar Fronek (any good recording) DEAR FATHERLAND, FAREWELL- Norman Luboff Choir, Columbia, C2L13 BELGIUM NATIONAL ANTHEM- "International Songs and Anthems," L 1 L3320 SONG: SARASPONDA- Follett, "Voices of the World," p. 63. Art: THE FORBIDDEN BOOK- Ooms (Belgian artist) 
NIGHT WATCH - Rembrandt THE OLD FISHERMAN- Brueghol DELFT COW CREAMER 
 
10 
 
 LESSON 11: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Fro n c e 
 
PURPOSE: 
 
To present o listening lesson on the music of France. Study song with refrain in French. 
 
CONTENT: 
 
We sing our song refrain in French. (Please put the French words where they con be seen during lesson.) We go to a concert and hear music of the French composers; Debussy, Ravel, and Boulanger. We go to the ballet and hear music of Delibes. 
 
SUGGESTED ACTIVITIES: 
 
In an opera, a story is sung; in a ballet, a story is danced. Some of the loveliest music we have is from ballets. I hope the children will hove an opportunity to hear the COPPELIA in its entirety and become familiar with such well-known music as the "Waltz" from this ballet. 
 
This is a good time to talk of concert manners, for it is hoped that the children will have opportunities for attending concerts. Certainly they should be encouraged to attend high school orchestra and choral concerts. 
 
Do you have any Debussy or Ravel recordings? You might like to get Ravel's MOTHER GOOSE SUITE or RHAPSODY ESPANOL. You might like to get Debussy's CHILDREN CORNER SUITE. 
 
RESOURCE INFORMATION: AUPRES DE MA BLONDE- Norman Luboff Choir, Columbia C2L13 LA FILLE AUX CHEVEUX DE LIN (Girl with the Flaxen Hair) HABANERO Ravel NOCTURNE Boulanger 
Above three numbers played by: 
Dr. Frank Crockett, Violinist Mrs. Frank Crockett, Accompanist 
COPPELIA BALLET- Leo Delibes, London CM9406 
 
OTHER SUGGESTED MATERIALS: 
 
SONGS CHILDREN SING- (France) Riverside 1412 FRENCH GAME SONGS- DeCesare (Book -$1.00) Mills Publishing Company, 1619 Broadway, New York 19, New York. Bowmer Recordings to go with this book available. 
11 
 
 LESSON 12: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Spain 
 
PURPOSE: 
 
Listening to Spanish music. Song in two ports. S o n g i n e v e n r11 y t h m ; p Ia y i n g i n s t r u m en t s i n u n e v e n r h y t h m i c accompaniment with song. Holding note values at phrase endings. 
 
CONTENT: 
 
Operas with Spanish settings. Music of Spain Manuel De Folio's music. Music of the bullfight. Gypsy music. Doli and his jewels. Rhythm study Two-port song (will use tambourines) Segovia, world's greatest guitarist. 
 
SUGGESTED ACTIVITIES: 
 
Let students select instruments for sound effects in songs you sing other than Spanish music. They will wont more of the exciting Spanish music, but should know the folk songs we hove loved for so long, such as LA PALOMA and LA GOLINDRINA. I hope port singing is becoming easier by now. 
 
RESOURCE INFORMATION: RITUAL FIRE DANCE- Manuel De Falla, "Hi FiALa Espanola," MG50144 AMPARITO ROCO- (Some recording as above) SEVILLANO (Gypsy music)- Somerset, SF15600 SPANISH DANCE NO. 10 (GRANADA)- Decco-DL10034 (played by Segovia) PLEASE SENORITA- ABC. Book 6, p. 54. 
 
12 
 
 ,. 
 
LESSON 13: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Ita Iy 
 
PURPOSE: 
 
Italy's greatest contribution to the music of the world is in the field of opera. We listen to familiar numbers from operas. Folk song in two ports. Slurs- singing smoothly. Understanding Occidentals. 
 
CONTENT: 
 
We open with gay folk song. Places of interest in Italy. Italy's artists. Our study song. Verdi and his operas. 
 
SUGGESTED ACTIVITIES: 
 
I cannot begin to touch upon all the music material children should hove from Italy. You will wont to teach the songs everyone should know, such as: 
 
FUNICULI FUNICULA (A Merry Life)- Ginn, Book 6, p. 28; S. Burdett, Book 6, p. 44; ABC, Book 6, p. 12. SANTA LUCIA- S. Burdett, Book 5, p. 164; ABC, Book 6, p. 22; Ginn, Book 6, p. 79. 
BELLA BIMBA (sometimes called MADDALENA)- Follett, ' ' V o i c e s o f t h e Wo r Id , ' ' p. 1 0 3 ; S . B u r d e t t, B o o k 4 , p . 1 6 4 ; "Songs Children Sing," Riverside (Italy) 
 
RESOURCE INFORMATION: VERDI- Anvil Chorus from II Trovotore Miserere from II Trovotore Q uortet from R igo letto Cora Noma from Rigoletto Grand March from Aida Record: "Opera Without Singing," RCA, LM1906 Santo Lucio- Robert Wagner Chorale, Col. C2L 13 
 
13 
 
 LESSON 14: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Switzerland 
 
PURPOSE: CONTENT: 
 
Music of Switzerland. Listening to music of Honegger, A guest artis.t plays the accordion. Study song in 6/8 time (two swings to measure). Pick-up note before each quarter note. 
Music of Switzerland. Alpine horn- yodeling. Modern composer, Honneger. Guest accordion artist from Switzerland. Woodcarvings from Switzerland, Choral number for listening. 
 
SUGGESTED .<\CTIVITIES: 
 
What is the reaction of the children to Honegger's music? (This is an example of the "new music,") Do they miss a definite melody, or do they think the music best expresses the composer's desire to imitate the sound of a locomotive? Teach a yodeling song such as SWISS WALKING SONG (in almost all series). Even though this is not a true yodel, boys and girls will enjoy singing it. 
 
The boys will like our study song, for it is a conversation 
in which they seem to get the best of the girls! It gives 
them an opportunity to sing alone and they like the idea of 
not always being led by girls! 
 
RESOURCE INFORMATION: SONG: 
 
FARMER BOY- Follett, "Music Across the Country," p. 8'2. 
 
FARMER BOY (same song)- "Songs and Dances of Switzerland,'' Folkways, 6807 
CUCKOO- "Mountain Songs and Yodeling of the Alps," Folkways, 8807 
MOUNTAIN CALL- "Songs and Dances of Switzerland,'' Folkways, 6807 
 
PACIFIC 231- Honegger, Westminister, XWN18486 
BEYOND THE MOUNTAIN- Norman Luboff, C243 GUEST: Mr. Fritz Egger, Accordionist 
 
14 
 
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LESSON 15: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Au stria 
 
PURPOSE: 
 
To hear o guest artist- cellist. Strauss Waltzes of Vienna. 
Our song by the Austrian, Schubert- WANDERING. Playing echo port on bells or piano. Solo on echo port. Singing slurred notes smoothly. 
 
CONTENT: 
 
We open with Mozart and talk of other great Austrian composers; Haydn and Schubert. 
Cello solo, AUSTRIAN FANTASY. Our song by Schubert. Waltzes of Johann Strauss, Jr. 
 
SUGGESTED ACTIVITIES: 
 
Children should know how to waltz. If they do not, now is o good time to teach them. 
Prepare for quiet listening to our guest playing the cello. You may like to discuss the instrument, its tone quality, how it is held while being played, etc. The song om sending will be one of the loveliest in your repertory. It is good to hove o unison song of this type that each child con sing for himself. This kind of song prepares children for listening to better choral group singing. The echo port in the song con be played on melody instruments foro nice effect. Another good effect is to hove one nice, high voice echo from bock of room. 
 
RESOURCE INFORMATION: GUEST ARTISTS: Professor Rudolph Krotino, Cellist 
Mr. Joy Fuller, Piano Accompanist GUEST: Austrian Consul Robert M. Bunzl SONG: WANDERING- Schubert, S. Burdett, Book 6, p. 164. 
STRAUSS WALTZES- Hi Fi Vienna, Capitol TB10049. NATIONAL ANTHEM OF AUSTRIA- "International Anthems and Songs," Epic LN3320. 
 
15 
 
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1 
 
LESSON 16: TITLE: PURPOSE: 
 
UPPER ELEMENTARY MUSIC (New) 
Poland and Czechoslovakia To hear music of the great composers of these countries. Syncopation in first half of each measure of study song: 
 
Two parts. 
 
CONTENT: 
 
The polkas, Polonnaise and Mazurka of Poland. Chopin's use of these dance forms in his music. Composers of Poland. Our song from Czechoslavakia. Dvorak, the Czech composer, in America. 
 
SUGGESTED ACTIVITIES: 
 
The polka is an easy step to learn. You might like to get a polka folk dance recording. Easy directions will accompany the record. 
 
The students will like our study song because of the syncopation. You might like to discuss syncopation in popu lor music as well as its use by serious composers for interesting rhythmic effects. Selected rhythm instruments can be used effectively. 
 
RESOURCE INFORMATION: 
 
SONGS: 
 
AH, LOVELY MEADOWS- S. Burdett, Book 5, p. 70. THE MEADOWLANDS- "Voice of America," Follett, p. 20. THE MEADOWS- Ginn, Book 6, p. 230. 
 
OTHER SONGS YOU WILL LIKE: MOUNTAIN TOWERING HIGH- Ginn, "Singing Juniors," p. 7. CZECH DANCE SONG- "Voice of the World," 
SONG OF THE GYPi ;y KING- S. Burdett, Book 5, 
p. 166. RECORDS: THE MOLDAU Smetana, Toscanini conducts, 
RCA, LM2056 SLAVONIC DANCE NO.1- Dvorak (any good recording) 
 
THEME FROM SECOND MOVEMENT OF NEW W0 R L D S YMPH 0 NY - Dvorak POLONNAISE IN Ab- Chopin (any good recording) 
 
16 
 
 LESSON 17: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: PURPOSE: 
 
Russia 
To hear the great music of this country. 0 ur song 1. n C m1.11ur, re I at1 ve to E b ma1 or. Two parts; accidentals throughout song. A lingering plaintiveness at beginning of each measure by means of the dotted quarter followed by eighth note. 
 
CONTENT: 
 
Listening to great music. Prokofiev and Rachmaninoff played by guest artist. Listening to study song. 
 
SUGGESTED ACTIVITIES: 
 
There is sa much interesting music from Russia that I will give you a small list of numbers you will like in RESOURCE INFORMATION. Do you have performing artists in your community available to you? 
 
RESOURCE INFORMATION: GUEST PIANIST: Mr. Jay Fuller SONG: DARK EYES- ABC, Book 8, p. 139 RECORDINGS: YOUNG PRINCE AND PRINCESS from Scheherczade, Rimsky Korsakov GAVOTTE- Prokofiev POLEVETSJAN DANCES- Borodin THE COMEDIANS- Kabalevsky PIANO CONCERTO IN BbMJNOR- Tschaikowsky SWAN LAKE BALLET- Tschaikowsky 
 
17 
 
 LESSON 18: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: PURPOSE: 
 
Greece Fee Iin g u nu-s u a I meter of 7 I 8 ( 1  2  3 I 1  2 I 1  2). 
 
CONTENT: 
 
National Anthem af Greece. Feeling 718 meter in song. Music in Greece. T h e E v z o n e a n d d an c i n g . Study Song- SPONGE DIVER. Listening- THE YOUTH OF HERCULES. 
 
SUGGESTED ACTIVITIES: 
 
We observe that we know of no outstanding Greek composers. In spite of this fact, our music is built upon the music of the early Greeks. Also, many composers have used Greek myths as subject matter for their compositions, as have many artists used them in paintings. It will be interesting to find out about the contribution of Greece to the music of the world. 
 
RESOURCE INFORMATION: WHITE RIBBONS- "The Greek Way," UAL3148 THE SPONGE DIVER-S. Burdett, Book 5, p. 170 NATIONAL ANTHEM- International Songs and Anthems THE YOUTH OF HERCULES- RCA, Listening Vol. 6 YOU WANT TO DANCE- "The Greek Way," UAL3148 TA MATAKIA- "Songs of Greece," TLP1037 
 
18 
 
 r 
LESSON 19: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Africa 
 
PURPOSE: 
 
Expression marks tell us how a song should be sung. Comparing an African spiritual with one of ours. Song with descant for high voices. 
 
CONTENT: 
 
Africa and music. Josef Marais ot Africa. Study song. Listening. Drums from Africa. 
 
SUGGESTED ACTIVITIES: 
 
Discuss Africa's effect upon our music. This is a good time to study and sing spirituals; there are so many we take for granted that the children know, and they do not. American jazz had its roots in African music. These rhythms have also been incorporated into the works of serious composers. 
 
RESOURCE INFORMATION: RECORDS: INTRODUCTION TO AMERICAN JAZZ- Follett, "Proudly We Sing," p. 203 
 
1. BOAT SONG 2. HOLLER 3. TRAMPIN' 4. A KIMBA Cl 5. EVERY NIGHT WHEN THE SUN GOES DOWN 6. RAGTIME RHYTHMS 7. DIXIELAND RHYTHMS 8. SWING RHYTHMS 
 
MANGWANI- Mpulele, Norman Luboff Choir SONG: K 0 0  B A - YAH - ABC, Book 8, p. 1 16 
 
19 
 
 ~I 
 
1 
 
LESSON 20: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: PURPOSE: 
 
Egypt 
Our song in minor to be played on autohorp. Chords used are G minor and D minor. Playing drums and bells. Quarter note followed by eighth gives feeling of the movement of camels. 
 
CONTENT: 
 
An Arabian folk song. The wonders of ancient Egypt. Story and musical excerpts from Verdi's opera, Aida. 
Our study song. 
 
SUGGESTED ACTIVITIES: 
 
It is not my intention to have you make a study of o II the countries we visit. We approach our music this year by way of places, however, Egypt is so interesting that you may discover individual interests following the lesson. I hope you have on autoharp to use with our study song. 
 
RESOURCE INFORMATION: STUDY SONG: ROCKING CAMEL CARAVAN-S. Burdett, Boak4,p.6l 
AIDA: OPERA BY VERDI CELESTE AIDA- "Highlights from Aida," LM2046 RITORNA VINCITOR- "Highlights from Aida," LM2046 GRAND MARCH- "Opera Without Singing," LM1906 0 PATRIA MIA- "Highlights from Aida," LM2046 LA FATAL PIETRA- "Highlights from Aida," LM2046 
 
20 
 
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LESSO~ 21: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Is rae I 
 
PURPOSE: 
 
To show demonstration of Hora dance. Playing autaharp using minor chords. Playing instruments. A new rhythm game. Two-part song. 
 
CONTENT: 
 
We play tambourines and drums. (Please have these ready.) Boys and girls dance a Hora. We listen to another Horo. Autohorp chords will be used with our study song. We will learn the refrain in two parts. 1\ lovely recording of our study sang. Lummi-stick demonstration. 
 
SOME POSSIBLE FOLLOW-UP ACTIVITIES: 
 
I am introducing the refrain of our study sang. You will want to teach the unison melody to the verses. 
 
The Hora steps: circle positic.n; arms across shoulders; move to right; step forward with right foot; back (and behind) with left foot; forward again with right foot; hoi:) on right foot, kicking left in front; stomp three times- left, right, left. 
 
Your rhythms con be mode more interesting by using lummisticks. These con be mode or purchased. If purchased, they may be ordered from Lyon Bond Instrument Company, 223 West Lake Street, Chicago 6, illinois. If you wish to make them, use 3/4 dowel (from lumber company) and hove them cut in 12" lengths. 
 
RESOURCE INFORMATION: PLAYING INSTRUMENTS: BOOM DALI DA- Follett, '"Music Across Our Country," p. 122; ABC, Book 8, p. 186 
HORA DANCE MUSIC: ZUM GALl GALl-S. Burdett, Book 5, p. 169; ABC, Book 6, p. 57 Follett, "Voices of the World," 132 
HORA DANCE LISTENING: HAVAH NAGILAH- ABC, Book 6, P. :SO 
STUDY SONG: TUM BALALYKA- ABC, Book 8, p. 92 S. Burdett, Book 6, p. 64 
LISTENING: SHALOM ALEICHEM- "Hi Neighbor," UN Recording 
GUESTS: Mrs. Evelyn Phillips and 7th grade students from Oakhurst School, Decatur, Georgia. 
21 
 
 LESSON 22: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Indio and Ceylon 
 
PURPOSE: 
 
Listening lesson. Study song with outohorp accompaniment. Song in three ports- soprano, alto, and descant. Holding notes full value in descant port. Smooth, steady eighth notes for weaving sound. 
 
CONTENT: 
 
The music of Indio (song, donee, and instrumental music combined). Significance of hand movements in donee. Study song. Listening lesson. Composed music in instrumental style. 
 
SUGGESTED ACTIVITIES: 
 
Autohorp chords ore written above the staff. Use one long stroke each time chord is given. Chords used ore F, C7, B b. There is a tendency to always give the descant port to girls with high voices. This particular descant is not high and, since everyone longs to sing the descant port, give another group the opportunity with this song. Students may enjoy creating on Indian donee using hand 
movements. 
 
RESOURCE INFORMATION: STUDY SONG: SHA'NL WEAVER'S SONG-S. Burdett, Book 6, p. 163 
LISTENING: PAG MALA- Indio Centinory Choir, Protestant Radio and Television Recording 
COMPOSED MUSIC IN INDIAN STYLE: Song of Indio from opera, SADKO- Rimsky Light Classics, Korsokov, RCA, LM2547 IN A PERSIAN MARKET - Ketelbey, (some recording) KASHMIR! LOVE SONG - John Gort at Organ, BEYOND THE SEAKopp 1221 
 
22 
 
 LESSON 23: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
China 
 
PURPOSE: 
 
Pentatonic scale. Second measure played throughout song on piano or melody bells for an accompaniment. Using triangles and bells. Typical skips in melody of pentatonic scale which produce the oriental sound of Chinese music. 
 
CONTENT: 
 
We hear some authentic Chinese instrumental music. Chinese art objects. Our study song {triangles, finger cymbals) Chinese songs 
 
RESOURCE INFORMATION: {For music of China, Japan, and Korea) 
 
Singing songs built on pentatonic scale is not too easy at first, for the sounds of the skips are unfamiliar to our ears. This will take a little practice. 
 
One good way of letting this sound become familiar to students is to let them experiment with making melodies on the black notes only, for these are the notes used in the pentatonic scale. I have demonstrated finger cymbals several times. This is the kind of music particularly suited to the use of these for the sound is light and delicate. hope you can get some. Of course, the triangle, struck lightly, gives a nice sound. 
 
The big cymbals, in proper places, can give a nice effect. This is a good time for creative work in dancing, also. Be sure to sing the songs relative to these three countries in your own books. 
 
STUDY SONG: LOTUS BLOSSOMS- "Music Across Our Country," Follett, p. 22 
LISTENING: BAMBOO FLUTE Norman Luboff Choir, Columbia C2Ll3 FENG YANG SONG-S. Burdett, Bk. 6, p. 172 CHINESE CLASSICS- Folkways Recording 
 
23 
 
 LESSON 24: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: PURPOSE: 
 
Japan 
Our study sonog can be played in its entirety on the black notes af the piano or melody bells. It is in the key of Gb. Tonic chord is in evidence throughout the song. To hear Japanese music being performed by Japanese children. To listen to an excerpt from opera, MADAM BUTTERFLY, by Puccini. 
 
CONTENT: 
 
National Anthem- KIMIGAYO Music in Japan. Listening to choral number. The Kabuki Theater. Art objects from Japan. Study song. Renata Tebaldi songs aria from opera. 
 
RESOURCE INFORMATION: STUDY SONG: HATO POPO- S. Burdett, Book 4, p. 141 LISTENING: KIMIGAYO- National Anthem, "International Songs and Anthems," Epic LN3320 UN BEL Dl, VEDREMO- from MADAM BUTTERFLY 
HIGHLIGHTS, London 5522 JAP.t>.NESE CHILDREN- Film excerpt. JAPAN REVISITED- Capitol T1095. 
 
24 
 
 LESSON 25: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: PURPOSE: 
 
Korea 
To learn one of the loveliest of all National Anthems. Refrain in two parts. The most popular of all Korean folk songs. To hear some folk songs from this musical country. 
 
CONTENT: 
 
Korean instrumental music. Ancient art objects from Korea. Our study song- National Anthem. Korean customs. Our folk song. Native songs. 
 
RESOURCE INFORMATION: STUDY SONGS: 
 
ARIRANG- from Korean Research & Information 1828 Jefferson Place, N.W. Washington (6) D.C. 
KOREAN NATIONAL ANTHEM- Same source. KOREAN SONGS- SONGS OF KOREASound Studios 306 6th Street, N .W. Washington (6) D. C. ANCIENT CLASSICAL MUSIC OF KOREA- Folkways 
 
25 
 
 LESSON 26: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Phillipines and Australia 
 
PURPOSE: 
 
Sang in minor. F-minor chord on I (la-do-mi) (6-1-3). Natural signs cancel sharps and flats. In our song, use of the natural sing changes minor key to major. Playing instruments. Hand movements. Listening. 
 
CONTENT: 
 
Music of the Phillipines. Dolls of the Phillipines. Study song- instruments needed (moroccos, tambourines). National Anthem of Australia. Ear-training round. Listening. 
 
SUGGESTED ACTIVITIES: 
 
Our song is in the key ofF-minor, related to A b major. Let children see F-minor and Ab major scale in notation. Build the A b major and F-minor chords on I in notation: 
(AbCEb) (F-Ab-C) Children will enjoy the round KOOKABURRA after they have learned it as a song. Another song boys and girls like from Australia is WALTZING MATILDA. See if you have it in your series. 
 
RESOURCE INFORMATION: STUDY SONG: FIESTA DAYS- S. Burdett, Bk. 6, p. 196. ROUND: KOOKABURRA- ABC, Bk. 6, p. 131. S. Burdett, Bk. 4, p. 49. Voices of the World, Follett, p. 155. OTHER SONGS TO USE: PLANTING RICE IS NEVER FUNABC, Bk. 8, p. 120 PLANTING RICE- Ginn, Bk. 6, p. 83. THE PAPAYA TREE- Ginn, Bk. 6, p. 176. LERON, LERON- New Music Horizons, S. Burdett, p. 72. WALTZING MATILDA- World Music Horizons S. Burdett, p. 76 S. Burdett, Bk. 4, p. 48 LISTENING: TINKLING- "Special Folk Dances," RCA 1619 CARIMOSA- "Special Folk Dances," RCA 1619 CLICK GO THE SHEARS- Norman Luboff,Coi.C2L13. NATIONAL ANTHEM OF AUSTRALIA- "International Songs" PLANTING RICE- Bawmar VILLAGE FESTIVAL- Bowmar 
 
26 
 
 LESSON 27 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE 
 
How a i i 
 
PURDOSIO: 
 
Our study song in parts. 
 
CONTENT 
 
Native Hawaiian mus1c. 
 
Pooulor music 
 
Howe 10n manner. 
 
Study song. 
 
Listening. 
 
SUGGESTED 1\CTI\/ITIES 
 
It should not be difficult to lind some of the popular music of Hawaii and in the Hawaiian manner to s1ng for pleasure. Such songs as ALOHA OE. LITTLE GPASS SHACK. and BLUE HAWAII S1nce l!awaii is our newest state, we should learn something about the states music. 
 
Perhaps sor>1e of your student' have ukeleles. EncouragP them to play them with your son3s. Use the autoharp as a substilute 
 
RESOURCE INFORMII.TION 
 
SONG<; Hawai1an Night, 1\BC, Bk. 5, p. 170 
 
RECIJRDS 
 
H A W A I I />. N L U A U - B o w "' a r 
 
BLUE HAI"/l\11  Kapp 1221 (John Gart at organ) 
 
~~ Y I ') L ~ 0 F S 0 L I) E N [) R !::: I> M S - K a p p 1 2 2 1 
 
LITTLI:: GRl1SS SHACK- Hawai1 Call1ng, csT223 
 
TA.~<CA TA HIIR' 
 
:ST223 
 
2 7 
 
 LESSON 28: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Argentina and Chile 
 
PURPOSE: 
 
Doing motions with song and learning Spanish words to refrain. Dancing the Argentina Guacho way. Study sang- new way of playing drum. Voices entering on second beat of three-beat measure. 
 
CONTENT: 
 
Music of Argentina. Motions with sang-learning refrain in Spanish. Dance song. Listening. Study song- drums and cloves needed. 
 
SUGGESTED ACTIVITIES: 
 
Try foot patterns to other songs with interesting Spanish rhythms. These make interesting dances. Work out arm and hand movements with other songs. Instruments and action enhance the songs for children. 
 
RESOURCE INFORMATION: SONGS: TORTILLAS- S. Burdett, Bk. 6, p. 165 THE GUACHO- S. Burdett, Bk. 4, p. 50 
LISTENING: RIO, RIO-U.N. Singers TANGO DEL. AMOUR- Rio Carnival Orchestra LA CUMPARSITA- Rio Carnival Orchestra 
 
28 
 
 LESSON 29: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
B raz i I 
 
PURPOSE: 
 
Listening to music of two noted composers. Studl' song - syncopation. Playing instruments. Dancing. 
 
CONTENT: 
 
Authentic music of Brazil. Listening- Villa Lobus. Study song- instruments needed (maraccas and drums). Dances - Samba and the Congo. Listening- Guorniere. 
 
SUGGESTED ACTIVITIES: Your class would enjoy more of Hector Villa Lobos' music. 
Dancing the Samba-S. Burdett, p. 127, TEACHER'S BOOK. 
VERSE: The basic count is 1/2/1/2, two counts per measure, The basic step is: 
Step, step, together, with two steps forward on 1 and feet together on 2. Lead first with right foot, then with left, alternately. Boys donee step moving cl oc.kwise around circle; girls dance step moving counter-clockwise around circle. 
REFRAIN: Boy claims opposite girl as partner. Partners jain inside hands, hold them high, and circle in place. Basic step is step forward on right foot and hold; point left foot on count 2. Next measure, step forward on left foot and hold, and point with right. Continue, alternating. 
When basic step is learned, try quarter-turning of the boll of the held foot, turning away from the foot that is pointing. This will bring the partners alternately back to bock almost facing. This movement adds style. 
Dancing La Conga- ABC, Bk. 5, p. 91, TEACHER'S BOOK. 
The dance step consists of one pattern, begun with the left foot and repeated starting on the right foot. 
Formation: A single line of dancers. The line fol.lows a leader who moves in any direction he pleases. Each dancer places his hands on the shoulders or waist of the person in front of him. 
M E A S U R E 1 : Step on Ie f.t foot on first beat. Step on right foot on second beat. 
29 
 
 l 
 
LESSON 29: 
 
(Continued) 
 
MEASURE 2: 
MEASURES 3 & 4: 
 
Step on left foot on first beat. Kick right foot slightly forward on second beat. Repeat the above step (1-2-3-kick), starting on right foot. 
 
RESOURCE INFORMATION: SONGS: SAMBALELE- S. Burdett, Bk. 5, p. 156. Follett, "Voices of the World," p. 169. 
LA CONGA- ABC, Bk. 5, p. 96 LISTENING: Brazilian recordings from Brazilian Embassy. 
DANCE BRASILEIRI- Guarniere, Bowmar Dances II. LITTLE TRAIN OF THE CAIPIRA- VillaLobos, 
Adventures in Music, V<'l. I AQUARELA DU BRASIL- Rhythms of Brazil, Courtesy of Brazilian Embassy. CRISTO DO MONTE (Marines)- Brazilian Embassy. QUE COCO E ESSE - (Marines)- Brazilian Embassy. 
 
30 
 
 LESSON 30: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: PURPOSE: 
 
West Indies 
The use of West Indies rhythm instruments. Improvising rhythm patterns. Syncopated versus straight rhythms. 
 
CONTENT: 
 
How music plays an important role in the West Indies. New ways of creating rhythmic patterns. Listening. Study son g. Playing instruments (cloves, drums, cow bell, guiro, moroccos, morocco sticks, tambourines). 
 
SUGGESTED ACTIVITIES: 
 
Try our new way of creating rhythmic patterns by using the names of your students. Let each child find the rhythm of his name. What ordinary objects can make these rhythms? It's fun to tap them out with keys, shoe on floor, pencil on a book, a spoon and pan from lunchroom, snapping fingers, clicking tongue, etc. Children in upper grades are so interested in West Indies instruments that I hope you can manage to get some of the inexpensive ones such as moroccos and cloves. 
 
RESOURCE INFORMATION: SONGS: PANAMA TOMBE- S. Burdett, Bk. 6, p. 172. BASAY DOWN-S. Burdett, Bk. 5, p. 153. TINGA LAYO- S. Burdett, Bk. 4, p. 126 
LISTENING: COCONUT AND BANANAS- Norman Luboff, Coi.C2L13. 
 
31 
 
 1 
 
LESSON 31. 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 0 URPOSE 
 
Jamaica and Haiti 
Contrasts in patterns. More complicated syncopation. -Ne clap and stamp and play instruments. Listening. Contrasting songs. Ear-training song. 
 
CONTENT 
 
Music in Jamaica. Listening lesson. Study song (instruments needed: Music in Haiti. Listening to songs from Haiti. 
 
drums, cleves, or sticks). 
 
SUGGESTED ACTIVITIES 
 
You will want to dramatize our study song. Boys will like to load the bananas aboard ship. Appoint one to be the Tallyman and all together yell, Bunch!'' Discuss how parts of the world are recognized by their music just as Calypso indicates the West Indies. Is all music of West Indies syncopated? Contrast ERZULIE with the other songs they have learned. 
 
RESOURCE INFORM.A.TION SONGS: BANANA BOAT LOADERS- S. Burdett, Bk. 6, p. 111. 
 
LISTENING: WHEEL-A-MATILDA- Bob Gibson, Sing, Riverside 1421 
 
Everybody 
 
CALYPSO DRUMMING 
 
Calypso for Children," 
 
Col. 995 
 
JAMAICAN RUMBA- Benjamin, Bowmer Dances II 
 
32 
 
 LESSON 32: 
 
UPPER ELEMENTARY MUSIC (New) 
 
TITLE: 
 
Mexico 
 
PURPOSE: 
 
Two songs; one a gay song with Spanish and English words, and the other a beautiful melodic song. We learn a new waltz step. 
 
CONTENT: 
 
Listening to music of Mexico. A doll with an unusual headdress. Our study song. We clap and play tambourines. Listening. Our Spanish song. 
 
SUGGESTED ACTIVITIES: 
 
It should not take children long to learn LA BURRITA and it will be a favorite in their repertory. 
 
Dance directions to the Mexican waltz you do to your study song: 
 
Mexican Waltz- S. Burdett, Bk. 5, p. 119, TEACHER'S BOOK 
 
BASIC STEPS: "Waltz Balance:" On count 1, step forward with right foot as you bring up left foot to tiptoe position. On count 3, lower right heel; left foot is now free to step back on the next 1. On second count of 2, bring right foot back to left, rise tiptoe on both feet. On 3, lower left heel, leaving right foot free for the next step. (Complete step takes two measures.) 
 
Waltz Turn: Beginning with right foot, repeat this step, but turn right, half around (1 measure) and again back to position (2nd measure). 
 
Step-hop: On 1, step forward on right foot. On 2, swing left foot, hopping on right. On 3, finish hop. Left foot is poised ready for next step. (1 measure) 
 
Formation: Girls' line faces boys' line; space between. 
 
Dance: Waltz balance toward, then away from partner and waltz turn. In turning, move in toward center, ending close to partner. (Repeat 4 times.) At the "refrain," two lines should have changed sides (girl passes in front of boy); end foe ing center. REFRAIN: repeat above. Lines end in original position. VERSE 2: Boys step-hop across room to girls' line (8 measures); taking partner by right hand, boys return ta place, taking girls a long. Boys step-hop backwards; girls forward. (8 measures) 
 
33 
 
 LESSON 32: 
 
(Continued) 
 
REFRAIN: Couples break line formation, waltzing together over the floor. 
RESOURCE INFORMATION: SONGS: LA SANDUNGA- S. Burdett, Bk. 5, p. 146 LA BUR RITA- Bowmer, "Mexican Songs for Children" 
RECORDINGS: GUADALAJARA- "Mariachis from Mexico" J A R A B E T A PAT I0 - ''Mariachis from Mexico  CARMEN CARMELA- Norman Luboff Choir 
PIANO: LA PALOMA ESTRELLITA 
 
34 
 
 LESSON 33: 
TITLE: PURPOSE: CONTENT: PROGRAM NOTES: 
GUESTS: 
 
UPPER ELEMENTARY MUSIC (New) 
Home Again 
A patriotic listening lesson. 
We sing patriotic songs. Civic Chorus performs a cantata- BALLAD FOR AMERICANS. Text by John Latouche. Music by Earl Robinson. 
(from Cantata) 
All America applauded the stirring first performance of BALLAD FOR AMERICANS, sung on the CBS PURSUIT OF HAPPINESS program, November 5, 1939. 
Time Magazine, reporting on the event, noted that the studio audience of six hundred "bravoed" for 15 minutes at its conclusion; that switchboards in the New York and Hollywood studios were unable to handle telephone calls regarding this rousing cam position; and that an unprecedented amount af mail requested a repeat performance. 
This modern cantata, a distinguished addition to the Robbins Catalog of Modern American Music, is based on four high spots in our national history; the Revolution, the growth of the Union, the Civil War, and the Machine Age. 
The figure of the soloist is an epic one in the sense that Abraham Lincoln, Paul Bunyan, and John Henry were epic figures. Towering above the people, he embodies their yearnings, their knowledge of this history, their endless furiosity about each other, and their basic hope in the future. And, like the people, he can sing an idea better than he can talk it. 
BALLAD FOR AMERICANS will be heard again and again, because no composition interprets so vividly, so truly the character, philosophy, and spirit of the American people, the human pattern for universal happiness, and freedom. 
Decatur Civic Chorus Baritone Soloist- Mr. Edward Scarborough Accompanist- Mrs. Renfroe Grizzard Directed by Mrs. Dale Clark 
 
35 
 
 Upper Music 
Sidewalks of New York East side, west side, all around the town, The tats sand "Ring-a-Rosie," ''London Bridge is falling down." Boys and girls together, Me and Mamie O'Rorke, Tripped the light fantastic On the sidewalks of New York. 
God Save the Queen God save our gracious Queen, Long live our noble Queen, God save the Queen. Send her victorious, Happy and glorious, Long to reign over us, God save the Queen. 
When Irish Eyes are Smiling When Irish eyes are smiling, Sure it's like a morn in spring. In the I i It of Irish Iaug h te r You can hear the angels sing. When Irish hearts are happy, A II the world seems bright and gay,. And when Irish eyes are smiling Sure they steal your heart away. 
36 
 
 Upper M. 
 
I Travel On 
 
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through, 
 
;. 
 
The riv-er path is wet with dew. I trav-el on the whole night through, 
$!bl J Jl;. l\; = -; )JIJ1J ;. I'Il /'; . 
I trav-el on and think of you. Wa- ha-lo-loo, \Ia- hn-lo-loo, 
f* J-!Ji:f Glr; G atl r)rJ'jJ t J I; IJ 
 
, 
 
\Ia- ha-lo-loo, A- lon,~ th: nv-er go-ing, I hear its son~, Dark wa-ter 
 
= Jl it- J. )'I i' J> J .li.P J J, 11 J 
 
$~'$ ; .J'I 1 ;);. ; IJ I' ; . Jl i t  I !':ear its song the w!"Jole night :ld long, the whole night long, I 'f 
son,;s; 'Ja- ha- lo- loo, the whole nieht through, I think of you, 
~~f'~ llit J 
 
hear ii 
 
\va- ha-lo- 1oo. 
 
En Roulant Ma Boule 
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f ili)JlJJ?I c ~vV#IcGeg Gl 
 
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He ranged with his men in the for----est clades And dwelt in the groen- 
 
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_...., woods free--, And dwelt in the [Teen--woods free-. 
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out---law bold, An out--law bold-------- was he------. 
 
he 
 
Has an 
 
 PEER NILSON, THE FISHERMAN -Follett- 11 Mus ic Across Our Countryl 
 
12 
 
'"ll:;;~iit.t:tiJ: ~~~ Nil-son~ ifJ'jf pull-ing his boat to the shore, 
 
~ 
 
boat is so full it can't hold an-y more, 
 
~~ 
l7 
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 n 
 
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' reer Nil-son hn-Yst 
 
1 
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J\ 
 
..... 
. . ., r v \ .e .~ ..... 
 
fish-er-men! 
 
- ~Di-ne-lum, di-de-lum 
 
d-ay~. 
 
2. Whenever the wind and the weather is right, Di-de~lum, di-de-lum day. The rest of the fishermen keep him in sight, 
Di-de-lum, di-de-lum day. For Peer knows where to catch the fish, "He'll be lucky again." Peer Nilson, finest of fishermen! Di-de-lum, di-de-lum day. 
 
 .PEER NILSON, THE FISHERMAN -Follett- "Music Across Our Countr.YJ 
 
12 
 
?, s II;;; 1' J' J? l' I.r .t ;j' J 7 
 
...~, 
 
.P~er Nil-son~ pull-ing his boat to the shore, 
 
!/i; *>J -' boat is so full it can't hold an-y more, 
 
~J' Jl PJ' 11 t 
 
.. 
 
.. 
 
 
 
I 
 
~11--t~--?--~- - - - = = == 
 
Di-de-lum, di-de-lum day. His day. 
 
~'~ 1 r t3 ii4l ;~ 1~..1 ;r J :J ~:1 Di-de-lum, di-de-lum day. 
 
The day. 
;;rJ 
 
~ 
rr.  : 
 
His neigh-bors see his catch and say,"He's been luck-y a-gain." 
 
Di-de-lum, di-de-lum 
 
-"-..../ 
day. ____ 
 
2. Whenever the wind and the weather is right, 
Di-de-lum, di-de-lum day. The rest of the fishermen keep him in sight, 
Di-de-lum, di-de-lum day. For Peer knows where to catch the fish, "He'll be lucky again." Peer Nilson, finest of fish~rmen! Di-de~luw, di-de-lum day. 
 
SUMMER C:VENING Follett- "Voices of the World" 58 
 
... 
 
That song I'll al-ways cherish And in my heart hold dear; 
 
I me e love-ly mai- en The memry 1 nThat song I'll always cherish And in my hear 
 
 SARASPONDA 
Follett, "Voices of the World" - 63 
 
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do-ra boom-day oh! 
 
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Het-set, ret~set, set-set-set, aw-say paw-se.y oh! oh! 
 
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Aw-say paw-say oh! 
 
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 AUPRES DE MA BLONDF 
 
)1 J t=~ J? J r I J.=j 
 
J7:5 j 
 
--h--...-.. ~--+-1 
 
J J SJ"2 rl  3 J . j J. J - Au-pres~ de rna blon-de Qu'il fait bon, fait bon, fait bon, J 
 
l 
 
Au-pres se rna blon-de Qu'il fait bon dor-mir. We'll 
 
r=r 1 ~~~p---4---i. ~ -GJ ! 
 
E r 
 
tell you of a wo-man +he fair-est one we know, Her 
 
J 
 
c E 
 
eyes are brown as chest-nuts, Her skin is white as snow, Her 
 
1 
cheeks are red as ap-ples, the rip-est on the tree-- 
~ 
 
l' 
Au-pres de ma blon-de Qu'il fait bon dor-mir. 
 
PLEASE, SENORITA 
ABC Bk.6 
~ ~ d ~I d j\ f I'~ 9 il 
Come with me, please, Se- no- ri- ta! _ __ 
~ ( Ef j 10 5i Ii :C!i ~ I 
, d :\:11:1 iFirr$Sff~ r 
Come with me, please, Se-no- ri-ta! _ __ 
~ l fjiO ddi&JdW =it You'll be the Queen ot' the Ball. _ _ _ _ _ _ _ __ 
 
 SANTA LUCIA 
 
S.Burdett 
 
Now neath the sil-ver moon O-cean is ~low- ing, 
 
oer the calm bil-low Soft winds are ~low-ing; 
~ j J. sIt r- e I;1 J. ipiJ 011 
 
Here balm-y breez-es blow, Pure joys in- vite_ us, 
 
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And as ,Ne 
 
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- All thingB de 
 
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light us. 
 
~ f f ~ !~ udIf ri ltiJ ~ ~ 
 
Y'l 
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Hark, how the sail-ors cry Joy-ous-ly 
 
........ ~ 
 
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ech-oes nigh; 
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- San-ta Lu- ci- a! San-ta Lu- ci- a! 
 
po-e-sy, 
 
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San ta Lu ci a! San- ta Lu- ci- a! 
 
 ' 
 
THE FARMER BOY - Swiss Pc ..ksong 
 
--- -- 
 
- - - -- - .... ----- - - lo.lf-.... 
 
Ill I I-1VO 
 
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J 
 
I 
 
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. 
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think that 
 
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like 
 
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some 
 
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day ~To wed 
 
roo. 
 
-,.. '_l_ 
 
.L 
 
_L_ 
 
a farm-er boy, 
 
..... 
ju-he! 
 
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A hand-some cou-ple we'd sure-ly be, You know by look-ing at mel 
 
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Fi-di- 
 
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ri, fi-di-ra, fi-di- 
 
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t-l N 
 
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.Ps. al ..f.. Lite. 
 
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. 
 
ra-la-la, Fi-di- r&-la-la,-Fi-di-ra-la-la. 
 
2. I think that I should like some day To wed a pretty girl, ju-he! A handsome couple we'd surely be, You knew by looking at me! 
3. A lu;t;le work, a lot of play, Would suit me fine on a farm, ju-he! A farmer's wife I could surely be, You know by looking at me. 
4. A little work, a lot of play, Would suit her fine on a farm, ju-he! A farmer's wife she could never be, You know by looking at me! 
 
WANDERING - Schubert 
 
- siJJ? ~ ~~;j )~~ I-)lfCrt j? 
 
.E'c~e> 
ttl ;fj ~ ~iJ( 
 
To wan-der is the mil-ler's-- joy, To wan-der, To wan-der. 
!zm flilr::r .r:Jifi J'~l J.J J?3 fi? 
 
, 
 
A sor-ry mil-ler he-- must-- be Who-- nev-er wished to wan-der-- free, 
r J'l r - Er\ r .r J?~ r c&lr EH 
 
To wan-der, to-- wan-der, To wan-der, to-- wan-der. 
 
2. The rushing water wanders far, The water, the water. (repeat) By day or ni~ht no rest it knows, But onwat'd, ever onward goes, The water, the water, The water, the water. 
3. The busy millwheels ever turn, The millwheels, the millwheels,(repeat) They like not to be standing still But turn all night with right good will, The millwheels, the millwheels, the millwheels, the millwheels. 
4. To wander is my only joy, To wander, to wander, (repeat). 0 master mine, and mistress dear, Let me no lon~er tarry here, But wander and wander, And wander and wande~- 
 
 AH, LOVELY MEADOWS 
 
[t, 
~-y~-~ -J i I ~ ~ I-~2i~~llf-lB 
 
 
 
ah, love- ly mead-ows 
 
green and wide, Grass-en are 
 
91 -~lj:-~3$-~$td I 
 
~-- 
gi_j_j --$db:@_;- 
 
,grow-Ing 
 
grass-es are grow----ing, Grow- ing so high on 
 
- 
 
Re.i-r.:J l n 
 
~~~~Hi!---~ t l~t==J j4d :i-4-----~ 
 
ev - 'ry side. HEY! 
 
Wat-ter from moun- tain flows 
 
~h~=~~t-1-;t@a:J~~--'~ 
 
ff,lt- -::d. from win- ter snows, Turn-1~~, it 
 
gai- ly _go~~ ____ 
 
-=~-~!:~fF----~-~~-3-~-~d+- ~;t---:4~t=:+= 
 
3 
j 
 
::;~ 
 
:II 
 
J J 
 
d J 
 
-~;t===t+~i-t;=--~_h~= 
 
Ci7'-cl1ng the ma-ple 
 
tree,- 
 
Call- ing to me. HEYl 
 
 iiii> 
KOOM BA YAH 
 
~-J---J11 t :-r r t4 e r I~~~r-n_:_ 
yah, Koom ba yah,mah Lawd, koom ba yah, Oh, Sav-iour,- koom ba 
~~~~~- !IP!.!fit-JJ- IJ { Ib~ fii3=t~f;a-z~::_ 
 
yah. 
 
Ah 
 
ah 
 
~jf I Lt G11' J=3IJ 
 
Ah- - - 
 
- 
 
--- 
 
-- ----- 
 
---- - 
------ 
 
- 
 
A.h ------------------------- 
2. Someone 1 s prayin', Lawd, koom ba yah, etc. 3. Someone's cryin', Lawd, koom ba yah, etc. 4. Someone 1 s singin', Lawd, koom ba yah, etc. 
 
DARK EYES 
 
Hear that mel-o-dy, haunt-ing mel-o-dy, played by 
hJ!=!:-~: $ 318 ~ fdd tf' ~1i ~ ~F call the daY,'" sad :nd lone-ly daY";'" Oh my _. 
 
vi - o - lins, ___ sweet-ly sing-ing strings, From a dim ca-fe___ 
 
da k-eyed girl, _ 
 
as I sailed- a way. 
 
-Now this~m;:::e::...:l::..--=o;_-~d~--- 
 
lit by can-dle-li~ht comes this sad re-frain tlirough 
 
~i :I J 0I~:5 ~-1>Jf ----=====-------==~ 11.' _ - n'brings you1!lb.W ~me!--- 
 
s the sweet re-frain- 
 
- I re- 
 
- you once sang. 
 
 , 
 
~ ~-==-~j..._..jf__.j~J-+-:[J_,_J_':l~J~J+- ~o-~ -'d-1"'----=\-e\-+-~4J]-+-+I 
 
From Kal-ym-nos sai~ed a fish-ing boat Out, out to 
 
sea, 
 
Ir er rl rr rJ~ 
 
Sailed a-way to wa-ters where the spong-es grow, 
 
Sailed a-way to dive for them way down be-low, Sailed a-way and 
 
all the wom-en watched them go Out to the sea, the ev-er-last-ing 
 
- - - - - - - o-cean, Out, out to sea. 
 
2. Then the divers from the fishing boats dove down in the sea. 
 
Dove down iu the sea. Dove for sponges all along the ocean floor 
 
Db.,ing divetl of fifty yards and maybe more 
 
1 
 
1 
 
Diving deepr than they ever dove before 
 
Down in the ,'3ea1 the everlasting ocean1 down1 down in the sea. 
 
3. 
 
Back Home 
 
to wi 
 
t 
 
th h 
 
e sp 
 
harbor onges 
 
s 
 
sailed trung a 
 
the f long 
 
ishin atop 
 
g th 
 
b e 
 
oat1 mas 
 
home t1 
 
1 
 
home 
 
from 
 
the 
 
sea. 
 
Home again1 the terrors of the sea are past1 
 
Home again1 the weary men are safe at last. 
 
Home from the sea1 the everlasting ocean1 home safely from the sea. 
 
, . ROCKING ~AMEL CARAVAN 
 
-1~ 
 
c:r mt'\ 
 
- - .D L 
 
I k 
Ill 1!. 
 
Q a 
 
....1.. 
 
n. 
.-1 
 
Ill:, 1/ 
 
.f)_ 
 
d Iii"" 
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~ 
 
I 
 
~, 
 
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- - ---- _.n. 
 
I \ 
 
- - ~ 
 
I 
 
\ 
 
I 
 
I 
 
~ 
 
' 
 
\ I 
 
Roc k-ing cam-el car- a- van, Rock -ing o-ver des -ert land, 
 
Bed-ou-ins with things to buy, Bed-ou-ins with things to sell, 
 
__ -J _.lo:j~t-_J 
 
:!'_;_~--~n ~;1=-----;J_.~I J_7--='J~\ ~1 !__;::;__J 
 
_;l.__. . . . . 
 
 _;;..r---1) ........-J1--+-'L-?-=.+-=,-l 
 
R1d-in2 o-ver bar-ren land. Paus-ing at some des-ert well. 
 
 ~-~~--------- 
 
ARIRANG 
 
Korean Folk Song 
 
~ ~ Jli-91 J.JJ] IJ !iltJ I;: J;= I 
 
f, 
 
A-ri-rang, a-ri-ranp;, A-ra - ri - 0 - - - - 
 
~~, 
 
( 
 
 
IJ. i' 
 
my tears are countless as they ceaseless - ly flow! 
Jl J $JjiJ,} 
 
You, so faith-less are leav-ing me a- lone and pale 
 
May your feet 1)a:tn you at the end of the trail! 
 
Yun Chi-Ho 
 
___,.. ;m~ IF~ -.:'\ .ll .. 1 
 
- r 
...-l 
 
--.-., -. '- 
 
I - 
.l 
 
. ,\ 
 
KOREAN NATIONAL Al~~l'HEM 
 
I 
 
\ 
 
... - _, 
 
I' \ \ 
 
- __.,:.. 
 
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,... 
 
\ J 
 
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~ 
 
v 
 
I 
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v 
 
Eaktai Ahn 
 
-- L' 
 
rI 
 
- 
 
/ I 
 
Till Pak-doo Moun-tain wears a-way, or East-ern Sea has dried 
 
""" 
 
-~ r 
 
-. 
 
I 
 
- 
 
1/ . ~ 
 
I 
 
.. - 
 
\ 
 
\ \ 
 
l 
 
I 
 
t 
 
r ~ 
 
1 
 
.... ~,. 
 
/ 
~ 
 
~~~3d~I~#~F-f~~@~IJ~?~~~;~!~& _ ~Jr May Ko-re-a pros-per for-ev-er, God be at our side 
 
~owr-in~ Moo Koong, this our sym-bol O'er three thous-and Ri 
 
'r~- i 
 
....... 
 
We'll pre-serve our beau-ti-ful home-land, Thru e-ter- ni- ty. 
 
2. As armoured, stand the Namsan Pines, changless thru winds and dew Strong and dauntless, Karea1s spirit is unchanging teot 
 
 1 
 
HATO POPO 
 
japanese 
 
'vj;~-wra 41 IJ I:tl ::1 IJ IJ-:rl J =e~ f J rzl [c;~ I Ha-to po- po, Ha-to po- po. Po-po, po-po, come play as you sing. 
 
From the tem-ple roof tops, Fly___ down to me. Mah-may I'll 
 
give to you, so fly__ down to me. Po-po,po-po,come play as you sing. 
 
- - - Here I bring- you sweet scent-ed flow 1 rs, Sweet are 
~ JJ]J 
 
- they 
 
- from 
 
dew-y bowrs; Per-fume light as__ sum-mer__ air, Fra-grant 
 
flowrs of our friend-ship__ true. These I bring to you From my 
 
ij}J 
 
J 
 
bowr, bloom-ing fair, Fra-grant_ flow 1rs of our friend-ship_ true. 
 
 TUM 'BAtALYKA 
 
.Tewish Folk Song 
 
1 ......... :7 _) 
 
---- ' .... 
 
r1 
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\ KY 
rJ 
 
1 
 
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l 
. t:.."J 
 
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\ 
 
T \ 
 
......1 
 
\ 
 
A lad. stood think-ing all the night 
 
. 1 
-- . .. 1'\Y 
- 
 
A" 
 
~\"1\i"' 
 
- --_,I 
 
I 
 
\ \ 
 
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I 
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I 
 
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l 
 
( 
 
,..., I 
l 
 
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-- 
 
. - . what to do? Whose heart to take?Whose heart not to break? Who1 
 
9. t"'\ II-\ . 
 
,., , 
 
d. M;l\ .R*~~.~ 
 
- 
 
. . . . . l - - . ~~r~-rL --------''-'---~'~(--~--...~J' .~~=r--' ~.....' l~--+-.-...-.1\ --~~~t,. -~-' -~~~', -h~.~,-(~41~~~"~_1_-~-I 
 
..._, 
 
- 
 
CJ' 
 
l 
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1.) 
 
heart to take?Whose heart not to break? Tum-ba-la, tum-ba-la, 
 
-.h. .~======~d~~~,~~=--====i'=A,.=~--~~L~1~----r--------+~~~~-----+~""d'.._~.~--__J 
 
111-o' 
 
...., -- ~.. ~..:.J -.-...J- -- -- - 
 
--:r ~ - ... - 
 
.-_... .-t.-~.,.-....~.-l+--:c=J.-::tl--:-:::;;.}\--___... 
 
tum-ba-la- ly-ka, Tum-ba-la, tum-ba-la, tum-ba-la- ly-ka, 
 
' ._ 
l1 ~, 
1..1 
 
Tum-ba-la- ly _ ka, 
 
' - - \ ' I I ................ 
 
\ 
-'- 
 
~tu:tm-ba-la~ ~ .- 
 
ly - ka, Tum-ba-la- ly- ka, 
 
J~;~. 
 
"m:"'. 
 
A-'~ 
 
I 
 
l' \ 
 
J 
 
..  - - ' '  l 
 
y 
l 
 
 - . \--J- - - ,- Thm.-~a-la-tum, 
 
II 0 ""' r .- IT r.:...-. 
 
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~ 
 
tum-ba- a-tum. 
 
Tum-ba-la, 
 
~ 
 
'* . tum-ba-1Jl- ly. "',~ 
 
l 
IV 
 
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( --1\ ... 
 
ll . I 
 
\ 
 
~ 
 
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r,..-..l 
 
0l-<:JI 
 
tum-ba-la- ly. 
 
BOYS: 
 
Maiden., maiden, tell me true. What can grow without the dew? What can burn for years and years1 What can cry and shed no tears? 
 
GIR13: 
 
Silly lad_, the answer true; Love can burn for years and 
 
a stone years. 
 
can grow witht)ut the dew. A heart can cry and shed no 
 
tears  
 
 t 
1/ .~,.. 
l'"l' ~ 
 
--1!':.~ 
 
SHA1fiL WEAVER'S SO'NG 
 
Cas~mere Folk Song 
 
. r--,_. 
 
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----- 
 
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r"" 
 
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L" ./ 
 
t 
 
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- --- - - .. .-. ... ...... .- ..... .. Weave, 
Weave, 
~ .... 
?ejft-1-+y- , 
 
\ 
_~, 
dfr-t-{y , 
 
__, 
...... 
-r 
nim-ble 
 
..---f 
-.\ -. 
fin-gers , 
 
Weave gold and az-ure strands. Fly, firm and fa-cile hands. 
 
- 
 
----. 
 
- 
 
.... l 
_411111_ 
 
I I 
 
I 
 
( 
 
+- ~ 
 
Weave gold and az-ure strands. 
 
- 
 
\' 
/ k. 1/'[\Y l'-'1 
P' 
 
nu.s-ten ' has-ten, he who lin-gers, Fly, firm and fac-ile hands. 
 
_.-r 
 
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r T 
 
T I 
 
l .. 
 
\ 
 
I 
 
,.... 
 
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-- - Weave, 
 
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fOI' 
 
the 
 
la-dy's 
 
s 
 
\ 
h 
 
o 
 
u 
 
l 
 
-de 
 
r, 
 
Sh\awls 
 
_l 
gay 
 
with 
 
glint 
 
of 
 
gold. 
 
When win-ter winds grow bolder, Warm wool a-gainst the cold. 
 
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- - - ITt.- , Weave for the lr~dy 's shoul-d~er, awls p-;':y ;!th g:M:nt ~f 
 
When win-ter winds grow bolder, Warm wool a-gainst the cole~ 
 
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The palm trees sway -.,,ri t:--" lan-~lid grace, A sweet en-chant-ment i 
 
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, - -- ev-'ry place. The 
 
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streets 
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are wear-ing a 
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fes-tive air, And crowds 
 
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dane-in~ in the square. 
 
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days, when hearts are li_R:ht 
 
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t:;ll, 
 
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cou-ples dance throu..,.h-out the ni_(!ht. The best of days to pass wit 
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friends, Un-til the mag-ic mu-sic ends. 
 
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Hear how the mu-sic is play-ing, Dance to its liFht-heart-ed 
 
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meas-ures, Clap-ning and stamp-ing and sway-ing, Join in the car- 
 
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pleas-ures. Sam-ba, sam-ba, sam-ba-la-le-le While we are dan-cing 
 
,~ _ t"r"_".1, =;.J11--F~ J73 II 
 
sinp;ing so gai-ly, sing-ing so gai-ly. 
 
 HAWAIIAN NICET 
 
~-~~~ f31 ~  d~ a: ! fllld :t shorr-inr- o'er the sea. 
 
The stars are beam-ing! the moon is gleam-ing, 
j 
 
. 
 
from nur-ple sky their li~ht somes stream-ing: Soft mu-sic, fall-ing, 
a E-a:~- a-B--a-~--i3t~-F--:rr:t 131 
 
weaves spell en- thrall-inr:, Ha-wai-ian nir.tht is call-ing me. 
 
 TORTILLAS 
{ -___- 
s - 
Hot tor- ti-llas! Hot tor- ti-llasf Buy my nan-cakes crisp and 
 3.1 ~i ~ Ii i ~1j gI I i~I*J i I~  
 
song to- night.------ Loud- ly I'm call-ip~,----- Loud- ly I'm 
f' d <5id 1a3 1 ilt:t~ ;laiJ:U~j 
;j , cjtjg'J-;r;l :id buu crisp-y at-tle pan-cakes?---- 
 
Tor- 
 
~~ 0 
 
# 
 
ti-llas bue - nas. ---- 
 
PANAMAM TOMBE 
 
frfflEIJWJJio:IIJ1:RJJio ._] ~ 
 
Pan-a-mam- tom- be, 
 
Pan-a-mam-tom- be, 
 
Pan-a-mam-tom- 
 
~~ 
 
be, My Pan-a-ma, Pan-a- mam- tom-be Pan-a- mam- tom- be. 
~ H t r r Ir tffIJJJ a OJ Ie Ir rr r--~ - 
 
Please pick up my Pan-a-ma,- Pan-a-mam- tom- be, When I left the 
--_-_1,,1I 
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car-ni-val,- Pan-a- mam- tom- be. Pan-a-mam- tom-be.- Oh!-- 
 
 BANANA BOAT LOADERS 
 
~ 
 
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rTL' 
1/ 
 
- 
 
' - ' ' ' - ... Ill1\41:: Jl 
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~ ....... 
 
- - Day oh! 
 
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Day~ ~~! 
 
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Dav 
 
is 
 
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break-ing, 
 
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home. 
 
1. 2 . 
 
Come Came 
 
, 
 
Mis here 
 
-ter for 
 
Tal-lv work 
 
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!JL man, come. tal-lv my ba-nan-!'s. I didn't come here for to idle. 
 
D~y 
 
is 
 
break-ing,- 
 
fP 
I 
 
wan~o 
 
home. 
 
ft r r r cIr t E:jj:J:JU~JIJ J4l~ j 
 
3 
 
Three han, six han, 
 
four seven 
 
han', five han',eiC!:ht 
 
han' Bunch! han,Bunch!Day 
 
is 
 
break-ing, 
 
I 
 
wan'go home. 
 
~l!:c Ir v r n I 31 -m=2.~ ~.::.._4. che~k :J :J So check them,qnd 
 
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them but check with cau-tion. 
 
""' 
 
\&5. My back 
 
is a-break-ing 
 
with 
 
bare 
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ex 
a\ 
 
-~ 
 
haus 
,"e 
 
-tion 
 
 
 
Day is break-ing 
 
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I wan' go home.-- wan ' go home.-- 
 
I 
I, 
 
 , 
 
LA SANDUNGA 
 
e rlr J;.y ; 1r r r~rl r [f2 ; l:ll ~ t.. 2 i 
 
Jg j I li * Ir r riC r r I t 1 l The vel-low corn's--- in the corn-field ----- The si-sal green-- 
 
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' 
 
!fA l rTr*tl r ciB>QJ ---in the val-ley: 
 
--- The rush-es read - y for weav-ing, 
 
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Thank you, our La-dy San -dun-ga. 
 
Ay, 
 
San- dun-ga,-----Ban- 
 
......___.., 
aun-ga,------ San- dun-ga, you bless our soil.-- 
 
 LA BURRITA 
 
Ar-re, ar-re, ar-re, mi bur - rit-a, A-q'li me chu, A-aui me chu. 
 
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- 
 
~---.--------~  
---- 
 
Ar-re, ar-re, ar-re, mi bur - rit-a, A-qui me chu, A-qui me chu. 
 
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Now I get on my lit-tle donk-ey e-ven though she is for-lorn,Be-cause 
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did not ~ive her al-fal-fa, I did not ~ive her corn. Po-bre-ci-ta, 
 
 
 
J 
mi bur-rit-a! She will show me she can balk, One step for-ward she wil 
 
trlrr If- ~r 
 
take and one step back-ward she will walk. Po-bre-ci-ta, mi bur-rit-a! 
~ Don't be cross or be for-lorn, We will get there ver-y soon and I am 
 
gG1ng to ~ive you corn.