Holly M. Stasi's CU

New Mexico Music Now and Then

Holly M. Stasi

Academic Setting

What are the musical traditions of New Mexico? Where did these traditions originate? How do these musical traditions influence culture in New Mexico? Such questions will be explored in this curriculum unit designed to link New Mexico study and symbols to music. Students will be able to identify and compare various types of music using research on Native American and New Mexican folk music.

            This unit is designed for second grade students at Petroglyph Elementary. The school is located in Paradise Hills, a middle class neighborhood on the West Side of Albuquerque. Student population is ethnically diverse. Languages encompassed within the community include English, Spanish, Russian, German, Czech, Tamil, Gutar, Hindi, and Pashto. The school values diversity and multicultural awareness, beginning with the principal and trickling to the teachers and students.

            Many community members are working professionals. These parents generally emphasize and assist with their child’s education. There is a high gifted population of students. It is important to these families that a high standard of curriculum is offered to their children and taught creatively, presenting the greatest challenges possible to broaden their minds. My wish is to broaden their acceptance of cultures including their own and others through music.

Context and Background

“Every culture closely intertwines music which enables us to understand people better by knowing their music and appreciate the music better if we understand the people,” states Frances Densmore, author of The American Indians and Their Music (Densmore 62).   In small villages across New Mexico, a rich culture is easy to let go unknown to passing tourists. However, music is all around, and villagers who tell stories to honor local heroes communicate it. For many people that value music, it is known to be the window to the soul. New Mexico is hardly lacking in soul because an eclectic base of music and dance reflects a valuable component of this wonderful state. New Mexico contains every possible type of music one could imagine. Everything from country dancers to salsa nightclubs to elegantly performed ballet to traditional modern jazz can be enjoyed (NMDT). Hispanic and Native American traditions heavily influence much of the music in New Mexico, which will be the focus of this research.

What are the musical traditions of New Mexico, and where did they originate? This will be discussed using New Mexico music that will include Native American influences, leading to the Matachines dances that link to Spanish music. Folk songs will follow Spanish music, which will lead to discussion of modern music and festivals celebrated.

Native American influences have been and continue to be prominent in the state of New Mexico. Just why do the Indians sing in ceremonies and what motivates them? The same as any inspired musician, Indians sing about what they are feeling. These topics include treating the sick, finding victory in war and the hunt, harvest songs, subjects pertaining to weather and seasons, and other various events (Densmore 62). Perhaps having an understanding of the daily lives of American Indians will provide an understanding for their music.

In early years, life for the American Indians was primarily happy with four generations living together, children playing house, and husband and wife cooperating on responsibilities. Language is diverse among the tribes, with over 50 languages circulating (Densmore 17-19). One universal language throughout American Indians was sign talking which carved the way for drawing universal pictures upon bard, stone, or skin. Some tribes utilized pictures to make record of the their songs, called a “song-drawing.” The song-drawings are usually in sets of ten, drawn on strips of birch bark (Densmore 21).

To persons outside of the tribe, women may have appeared to be no more valued than a slave. They carry backpacks and children while their husbands walk ahead freely. This was actually for a purpose; he could not protect her in the case of an ambush if he was carrying a full load. Men had great respect for the women, but their lives were influenced by the fear of the enemy (Densmore 13). When their husbands had to leave for extended periods of time due to war or hunting, the women were left to maintain life at home. Therefore, women were independent by necessity with tasks that included fishing, tanning hides for clothing, weaving baskets, and making pottery. Girls married young, and courting began with the song of the “courting flute,” played by a young man. It was up to the mother’s discretion to allow her daughter to respond to the music, but mothers generally did not recognize the courting until the young man brought results of the hunt to the family as a contribution (Densmore 15).

If a man could financially support more than one wife, polygamy was common. There was a desire to have several children in order to build the tribe’s population. The family seemed content in polygamy situations, with women controlling the marriage. Some tribes, such as the Iroquois made women their chiefs (Densmore 14). Pueblo tribes did not generally practice polygamy. The men did not have to leave for war or hunting; thus, the responsibilities were more shared at home. Women controlled these relationships as well, and divorce was taken lightly and at the woman’s discretion. The woman would toss her shoe out of the door, symbolizing that she was done with her husband (Densmore 15).

Pueblo Indians were known for ceramics and jewelry making. Pueblo arts are highly developed using graphic art (which is religiously symbolic for private use), folk tales, mythology, poetry, and dance (Densmore 3). Of course American Indians as a whole are well known for their arts and crafts. They make baskets, clothing, weapons, pottery, and blankets. New Mexico natives are distinguished for the art of mosaics. They also make jewelry (earrings and necklaces) using primarily turquoise (Whiteford 63).

Pueblo people of New Mexico and Arizona hold ceremonies that center around the agricultural cycle of planting and harvesting on an inducing rain to ensure successful growth of crops. Today, hunting is not an integral part of Pueblo society. They still hold deer, elk, and buffalo dances to encourage the overall abundance of game and peace between people and the wild creatures of the desert and forested mountains. Gardening is prominent since they live near rivers to irrigate their fields. They grow corn, beans, squash, chili peppers, melons, and others (Lascelles 1).

Various tribes sing songs to encourage the growth of tribes’ crops. A comparison of corn growing songs will be explored concerning four Indians of New Mexico: Isleta, Zuni, Acoma, and Cochiti. Isleta is located twelve miles south of Albuquerque. The women of Isleta grind corn for household use. They sing as they work, and some of the men join in if they are nearby. Their songs focus on the coming of a new day as they watch the sun rising. An interpreter reported the words on one song to be “The sun brings human lives to the earth and also takes them away. The Great Spirit tells him what to do” (Densmore 60). Located in Valencia County, Zuni are generally good tempered, quiet, and industrious (Densmore 3). They separate household and ceremonial corn grinding. In both instances, flutes play during the grinding of the corn and while waiting to grind corns (Densmore 103). Acoma live on a rock mesa 357 feet in elevation, 60 miles west of the Rio Grande in Valencia County. They are named for where they live; Acoma means “people of the white rock.” It is the oldest settlement still inhabited in the United States, acknowledged as long ago as 1539. The Acoma sing corn grinding songs, as they are agriculturists that additionally grow wheat, calabashes, raise sheep, goats, cattle, and horses. Cochiti live 27 miles southwest of Santa Fe (Densmore 1-2). Rather than a daily corn grinding ritual, they do a corn dance on July 14, Saint Bonaventure’s Day. This is a festivity that each kiva group rehearses for several weeks to bring their own songs and dances to perform. The words to the songs mention several colors of the corn they grow (Densmore 90).

Come, let us go,
            Yellow and blue, as you come to meet one another,
            We go right on, we go right up and out into the open spaces.
             My dears, my dears, you yellow corn maidens…..(Densmore 92).

Outsiders who pass while Native American music is being performed will likely say it somewhat pleasant due to the following characteristics. Some think it to be chiefly rhythmic, with one tune sung over and over (Densmore 59). Usually, observers comment that Indian songs begin high, end low, and have more rhythm than melody (Densmore 128). The descending line is a common characteristic. At times, the melody descends steadily from beginning to end; other times, it ascends in the middle of the song and then resumes downward (Densmore 59). The voice of the singer is said to be forced out by the muscles in the throat. The lips appear motionless with the teeth barely separated. An Indian said, “Something seems to go up and down in my throat when I sing.” This forcing sound of the tone of voice provides astounding carrying power (Densmore 130). Indians sing solo or in groups. Indian solos are not recognized as they are in white culture. In white culture, we often choose the soloist because (s)he is a good singer. When an Indian sings alone, it is because it is his own song or he dreamed it. A woman will do the same thing, occasionally singing a song in honor of a relative (Densmore 129).

The song does not have to be together with the music; one may be faster than the other and still sound satisfactory (Densmore 60). Indian music is recognized for “two-against-three” rhythm, referring to a combination of two drumbeats simultaneously with three melody tones or vice versa, known as double rhythms. That is called horizontal music, while harmonized music (rhythm that matches the melody) is called perpendicular music (Densmore2 103). Most Indian songs are members of the class of “non-harmonized music” because it cannot be harmonized to an acceptable manner (Densmore2 128).

There are three general types of Indian songs: songs received in dreams (“vision songs”), songs bought from their owners, and songs praising a man’s success or generosity. The first two types of songs are believed to have magic power, and the third is said to honor (Densmore 76). Of the characters in the songs, some are mythical in nature and some are animals with symbolic meaning (Densmore 64). American Indian poetry is contained in many of their songs, but not all songs have lyrics (Densmore 69). Indian women rock their children to sleep singing lullabies consisting of few words or some do not have any words. One Mandan mother sang, “I want to keep you, little fox” (Densmore 72). Some mothers act out their songs, moving and dancing as she sings (Densmore 75). These songs from mother to child were as close as most Indians came to love songs. Most Indians will tell you that old, traditional Indians did not sing love songs. One Indian music researcher, Frances Densmore, found herself apologizing for merely inquiring about love songs! The closest to love songs found from the American Indians were songs that mourned the death of a spouse.    Songs were used to “call upon the spirits for help” or “summoning supernatural aid” (Densmore 85-86). Specific tribes sing medicine songs in a mystery language, “dream language,” received supernaturally. This is similar to speaking in tongues in many modern religions (Densmore 20). Traditional Native American music of all types is observed, and new music continues to be added each year (Bass 1).

Song is an important element of a true ceremony which “expresses religious feeling.” Ceremony formality varies, with tribes in permanent homes being more elaborate. Ceremonies include a secret and public portion. During the public portion, there are rituals to perform, songs to sing, and a certain reason for existence. Dance is one of the most important parts of the ceremony. For example, the Snake Dance is one of the most important dances to the Hopi, including as part of their ceremony celebrating prayer for rain (Densmore 29-32). Dances may require men or women, individually or together (Densmore 35). As soon as they can stand, children are also encouraged to dance. Mandan parents sing, “Chop your feet, little fox,” which means to “move your feet sharply up and down as though you were chopping something” (Densmore 74).   Specific motions, songs, and symbolism guide every dance. They are usually accompanied with singing and playing instruments. The singers were mostly men, and their voices acted as the higher melody-playing instruments of a band or orchestra would. Women sometimes sang with the men providing an octave higher (Densmore 36).

The instruments used by American Indians belonged to two instrument families: wind and percussion. Flutes and whistles belong to the wind family, and drums and rattles belong to the percussion family. New Mexico Natives used drums, flutes, rattles, and notched stick rattles (Burton 6).

The wind instruments of Native Americans include whistles and flutes. Whistles varied in length from small (courting whistles) to double whistles (Densmore 96). Native peoples developed the flute as a musical instrument. There are many stories about the development of the flute. One story tells of a young boy that heard wind sounds coming through a hollow branch. He noticed that the branch had holes in it from a woodpecker. Thus, the first flute was established. This story supports the native peoples’ belief that music comes from nature, which ensures its good melody (Burton 4). Native American flutes are mad of natural materials such as bones, metal, clay, but most commonly made of cane and wood (Burton 6). When one learns to play the Native American flute, notation is not usually a method used because the written notes often sound out of tune. It is best learned by ear, as many young men did during their courting years (Burton 9). The flute was used for courtship among many tribes such as the Cherokee. The young men would carve the flute, compose songs, and play these songs outside the home of the young woman he desired. If she were interested in the man, with her mother’s permission, she would join him outside. If not, she would have her mother send him away. If the couple became married, the woman would modify their “courtship song” into a lullaby for their children (Burton 5).

Percussion instruments include drums and rattles. There were three types of drums: hand drum, large drum around which several men sit, and “water drum.” The water drum resembles a keg partly filled with water when it is being used. The water increases the resonance in order for the drum to be heard from far distances. Drums may contain decorative or symbolic paint, just as the drumsticks (Densmore 97). Drumsticks were symbolic of the leader of the men playing the drums. If your drumstick was decorated, you were considered the leader. There were also three types of rattles commonly used. Receptacles (such as a gourd) containing small objects (such as clay or small stones) emit sound by hitting together. These could be hand held or attached to the dancer’s leg just below the knee. “Tinklers” were rattle instruments that contained instruments hanging (such as birds’ beaks, elk teeth, pods, or shells). They hung so they could clasp together, and they could also be held or fastened to the body. A notched stick rattle or “rasping stick” is frequently used in the Southwest. Running another stick up and down the notches to make a rattling or vibrating sound plays it. This instrument has been made in other cultures such as China (a tiger with notches on his back), Japan, Mexico (using human teeth), West Indies, and Africa (Densmore 104-107).

The wind and percussion instruments are the primary instruments used to accompany Native American song and dance; one reason for using these instruments is because the other keyed instruments just cannot produce the sound. A. H. Fox Stangways says:

One caution with regard to these tunes. It would be mistake to play them on a keyed instrument; they should be played on a violin, or sung, or whistled, or merely though. Not only because there is then a hope of their being rendered in natural intonation and of getting the sharp edges of the tones rounded by some sort of portamento, but also because the temperament of a keyed instrument…. has a unique power of making an unharmonized melody sound invincibly common place (Strangways 18).

Perhaps the most well-known flute player in the Southwest is Kokopelli, “The Humpbacked Flute Player.” The old Indian legend of Kokopelli dates back as long as AD 200. He was a “well traveled, footloose figure” who was revered as a god to some and annoying to others. He was thought to bring good luck and good health to those he came in contact with. He is well known for his “gift of fertility.” Many wives without children pleaded for his company (PurpleHawk). The petroglyphs (rock art) show him to have a hunchback and play the flute. His hunchback has been explained as a backpack full of traded goods, as Kokopelli was a trader. He brought exotic goods such as parrot feathers, seashells, coral, etc to the Four Corners area of the Southwest. When Kokopelli arrived, he played his flute to advertise his arrival similar to our Ice Cream Man of modern times (Kokopelli Flutes 1)!

            Matachines are dances of ancient origin still alive today in Hispanic and Native American families. The dances and tunes are Spanish and Mexican, with a combination of Indian and Hispanic traits. They were brought by the Spaniards to christianize the Indians, and they are still performed today at Christmas, festivals, and to honor the village’s saint. They have been around long enough to evolve to become a distinct New Mexico style. The evolution of the New Mexico style includes a fiddle and guitar rather than a fiddle and drums. The Indian version includes more music with drums, chorus, and costuming (Robb 6-8).

Indians mostly perform Matachines dances at Indian Pueblos, and they are also performed in Spanish villages across the Southwest (Robb 742). They are normally performed in the bright outdoor sunlight, containing mesmerizing melodies, colorful costumes, and dance steps with formation dancers to interest the any audience. The village’s religious rituals, comedy, and drama (triumph of good over evil) are incorporated (Robb 741).

The Matachines dances are becoming less common, still surviving in San Antonio, Bernalillo County, New Mexico and Bernalillo, New Mexico. In Tome, New Mexico singers have composed over 140 songs (Robb 741). They are also active in Tortugas, New Mexico and Jemez, New Mexico where the Spanish and Indian versions are both performed (Robb 6-8). In the remaining places, all that is left of the dances “are the melodies lingering in the memories of old fiddlers, guitarists, or singers.” Many of the Matachines musicians are now dead. Hispanic, Mexican, and mestizo people inherit the job of deciding the fate of these dances, if they will live or die. The pattern tends to follow a period of being alive, dying, and then resuscitating them (Robb 741).

            A few current accounts of Matachines dances follow with locations ranging from the Midwest to the South. In Wichita, Kansas, St. Mary’s Catholic Church honors Virgin Mary by performing Matachines dances with twenty adults and ten children during December. In Bernalillo, New Mexico, Matachines dances are held every August 9th, 10th, and 11th. They are called “Fiestas” to honor the town’s saint, San Lorenzo (Saint Lawrence). The Statue of San Lorenzo is passed to a different person’s home each year, and the dances take place at that home. Families in Las Vegas, Nevada began dancing and performing Matachines ten years ago. At Our Lady of Guadeloupe Catholic Church in Mission, Texas, 3rd through 6th graders have recently begun performing small Matachines dances at Christmas time (SAAM).

            New Mexico is known for folk songs, songs that have been adopted by folk culture and passed down by ear rather than written. They are well known in many versions. The challenging portions of the songs that contain unique style are eventually weeded out, leaving simple songs (Robb 4). A folk musician cannot help but change the song subtly to suit his or her style (Robb 8). Origins of folk music can be dated by when the original Spanish poems were published in newspapers. For example, La Voz del Pueblo and El Independiente of Las Vegas, New Mexico are folksongs in newspaper editions dating as far back as 1894 and they still exist as folk music today. Another El Nuevo Mexicano of Santa Fe also exists in edition dating as far back as 1892. The poems eventually were transferred to music that became well known as folk music by reason of popularity, their nature, and long usage. The styles of music include waltz, polka, and others (Robb 7).

Most of the songs can be traced back to the geographical area where they originated. The first European colonizers of the American Southwest were Spaniards who came from Mexico and many folk songs that cannot be traced to Spain or to local origins came from Old Mexico, whose influence is very strong in New Mexico folk music. It was first believed that no real Hispanic folk music was of American origin and that it all came from Mexico or Spain. Upon further research, undeniably many songs are of New Mexican origin, as well as other states! For example, Corrido do la Muerte de Antonio Maestas was the first New Mexican originated song known to the author, Robb (Robb 7).

Many folk songs center on topics of patriotism, history, and politics (Robb 547). Numerous songs deal with adoration of the places of settled people (their native hills and valleys). They sing of places familiar to them. For example, “Albuquerque” and “Santa Fe” written by Vicente Saucedeo of New Mexico (Mexico native) glorify the streets, beautiful women, the monuments, the scenery, and the history of these two cities (Robb 13). Folk music of the Southwest includes songs full of tenderness and respect for family members. Some songs unveil a strong feeling of retaliation towards a family member for breach of family duty (Robb 13). Other topics include wealth and poverty of differing views. One poor man may dream of attaining wealth and power, while another man may not find value in worldly possessions. The latter viewpoint is expressed optimistically in a song from Tome, New Mexico, called “Tengo, Tengo, Tengo,” which presents a humorous view to poverty (Robb 13).

            Various kinds of folk songs will be discussed emphasizing some examples. Folklorists distinguish between “popular songs,” songs that are written and performed commercially, and folk music, songs created spontaneously to express one’s thoughts or feelings. Some folk songs as we know them today began as popular songs long ago, but they have been personalized by folk singers. This changes the song from the style of its origin to the style of Hispanic folk music (Robb 588).

            There are romantic folk songs, which happened to be one of the earliest types of Hispanic shared songs. They are the simplest songs to trace back to Spain, revealing their age to be centuries old (Robb 24). A Cancion folk song also focuses around the emotion of love. An Indita is a softly, emotionally sung folk song, with a very distinctive melody. It combines the components of Indian and Spanish music (normally Spanish lyrics with an Indian melody) (Robb 418).

            Many folk songs focus on religion; generally speaking, we call those songs Rogativas (Spanish for prayer). An Alabanza is a more specific religious song to praise a holy personage such as Virgin Mary (Robb 644). Similarly, Alabados commemorate the Passion of Christ (Robb 612). On a more familiar note, folk songs are also found in hymns, called Himnos. Himnos are the folk songs that could be heard echoing from the walls of many village churches (Robb 690).

            Sometimes folk songs are performed in the form of a Trovo, which means two or more persons sing alternating verses (Robb 462). This adds style and entertainment to the performance. A humorous narrative song might provide entertainment as well with its light tone. They are called Relacions, and they also include children’s games (Robb 314). Another type of folk song popular in the Southwest is a Decima folk song. The name stems from the number of versus or stanzas it has (ten). There is a familiar tune that begins high and slowly sinks an octave lower as they song comes to an end, similar to the Indian melodies (Robb 376).

            Perhaps one of the more commonly known folk songs is a Corrido. These narrative ballads tell a very detailed story about everyday people and their adventures. The idea of a Corrido possibly began in Mexico long ago, but most Corridos have been written in the last century and a half. We know their origin because that information is included in the lyrics of the song. They begin with the exact date and year of the events being told, and they end with the composer’s name (Robb 89). Below is an example of the beginning copla and ending copla to a song from Silver City, New Mexico written in 1895. Observe how the Corrido tells the listener when and where:

            In the unlucky year of 1895
            They took me prisoner
            In Mexico, Silver City.

The song goes on to tell of his death by hanging and gunshot. It ends traditionally, giving the composer’s name:

            Friend Carlos Contreras
            Where are you embarking?
            Look, your friend Luis
            Is going to be embalmed.

These corridos are long enough to relay a complete story of the past (Robb 102). They are enjoyable to read, and certainly to hear performed.

            Folk songs, matachines, and Natives American music is alive and happening today in New Mexico culture and society. In Pueblo towns such as Taos, San Antonio, Jemez, and Laguna Indian dances and events are customary and all year round. Festivals are held throughout the state to celebrate folk music and more modern music such as jazz, bluegrass, and mariachi. New Mexico offers an eclectic choice of music to be enjoyed by us all.

Implementation

Title:                  Guided Imagery Through Native American Music
Grade:             Designed for 2nd grade
Objective:         The students will write in response to music using guided imagery directed by the teacher.
Materials:             Native American Traditions compact disc, paper, crayons, and markers
Time:                2 days, 1 hour each day (perhaps during writer’s workshop time)
Standards:             Language arts A-1, B-1, D-1, Music D-1

Procedure:

Day 1

Introduce the cd gradually by playing it during class time while the students are working independently. Today, you will actually discuss the music they have become familiar with using key questions. Play a few songs for the students. Discuss the key questions after listening to a few of the songs.

Key Questions:
Who created the music that you’re listening to?
Can you imagine what life was like for these musicians?
What do you suppose they’re singing about?
Do you think music is important to them?
What do the various songs have in common?
What instruments do you hear?

Consider allowing students to journal write in response to chosen key questions. After the discussion, play the music again. This time give the students paper, crayons, and markers to illustrate the “picture in their mind” that the music portrays for them. Allow ample time for this to encourage students to add detail. Share pictures in small groups. Allow time for students to go back and add details. Collect the pictures to save for tomorrow’s lesson.

Day 2

Hand back the students’ pictures. Review key points in the discussion from the previous day. Ask students to relax and close their eyes. Begin a guided imagery, first instructing students to get a mental image of the picture they illustrated in their mind. Walk them through the mood of the music as it plays. Ask them where they are, who is with them, how long ago was it, what action is taking place, what instruments are being utilized, etc. When students open their eyes, let them begin writing their stories based upon the pictures and images they experienced. Allow time and encouragement to let the details flourish. When stories are complete, allow sharing time of stories and pictures.

Assessment: Assess students on their participation during discussion of key questions, verbally and in journal writing. Follow an idea development rubric (such as that of the Six Traits) to assess their story and picture.    Assess students’ presentation of stories based upon the following expectations:

Speak clearly.
Read with expression!
Display illustration to match the story.
Held paper below face, so listeners can see the speaker’s face.
Answer questions students may ask about the story.

Title:                 Native American Musical Patterns
Grade:             Designed for 2nd grade
Objective:       The students will identify patterns in pulses/beats using Native American music.                         The students will compare Native American music based upon the patterns they                            observe.
Materials:           Native American Traditions compact disc, sentence strips
Time:                approximately 30 minutes

Standards:             Math H-1, Music A-4

Procedure:
Music is comparable to several disciplinaries, including math. Begin the lesson by counting to 20. Practice counting at different speeds. Adapt rhythms to go with the counting. Let students create the rhythms after you have guided a few examples. Musicians count when they play music. A song is divided into phrases made up of pulses or beats. See the following website for examples of how to count pulses and identify the melody and harmony:

Listen to the first track on the cd. Replay it encouraging children to tap or clap with the pulses they hear. On the third time you play it, begin counting the pulses out loud, encouraging the children to join in. Consider that there are small phrases (perhaps 4 counts) and they exist within larger phrases (perhaps 17 counts, 19 counts, 19 counts, 17 counts, etc). Ask the class what patterns they notice as they are counting. Discuss the counts in each phrase and ask the students to predict how many pulses they will count in the next phrase. Once the students feel comfortable with counting the pulses in the first track, play the second track through. Place the students in small groups, and replay the second track. Let each group count the pulses and decide what they hear. Give each group a sentence strip to record the patterns. Replay the song to determine what the patterns are as a class. In small groups, guide students to create their own song with at least 4 phrases. They will perform the “song” by clapping or tapping the pulses (no words).

Assessment:    Can the students identify the pulses in a song?
                  Can the students recognize differences and similarities in Native American songs?

Title:                  Instrument Creation
Grade:             Designed for 2nd grade
Objective:         The students will identify various instruments in Native American music by sound                           and visual features.
                        The students will create their own instruments using common materials.
Materials:        Paper towel or toilet paper rings for each student, scissors, writing journals,                            miscellaneous classroom materials that can be used to make noise
Time:                1 hour 30 minutes
Standards:          Music D-2, Social Studies A-1-c
Procedure:

Part 1
Play Native American Traditions cd for the class asking the students to listen to the instruments.

Key Questions:
What sounds do you hear?
What instruments do you suppose make those sounds?
Native Americans primarily used drums, flutes, and rattles to make music. If available, show the students a drum, a flute, and a rattle. If not, see the following websites for pictures of them.

.                      http://www.southwesthomeandgarden.com/drums.html drums
              http://www.nativeamericandrums.homestead.com/          drums
                      http://www.loomisflute.com/flutes                                   flutes
                      http://www.pawnee.com/flutes/                                       flutes
                      http://www.echoespast.com/                                           flutes
                      http://www.geocities.com/Vienna/Strasse/7353/            rattles and other instruments                                                                                                              made with gourds
                     http://www.americantrails.com/s.php3?wc=21&s=4        rattles

How do you think these instruments produce these sounds? (Journal their thoughts and discuss as a class.)

Can you find things in this classroom that may produce music?

Let students look around the classroom, and pick up 1-2 things each (or more) that could make music. These things may be as simple as a pile of note cards to flap together, a ring of keys, pencils to tap, school boxes to rattle, computer keyboard to tap, etc. Allow time for the students to experiment with their “instrument.” Put students in collaborative groups of 4-5. Each group will become an “orchestra.” How can your orchestra organize the instruments to make music? Allow time for each orchestra to create a song. Share the songs with the class.

Part 2

            Replay the cd, pointing out the flute this time. Show the students what the flute looks like while they’re listening. In journals, describe what the flute looks like, and what makes the music come from the flute. This is to get their minds focused on the function of the parts of the instrument. Distribute paper towel rings or toilet paper rings to each student. Show students how to use their pencil or scissors to make 3-5 small holes in the “flute.” Decorate their flutes. Distribute small pieces of foil and rubber bands to attach over one end of the tube. The foil will produce a slight vibration sound when in use. Allow students to experiment playing their flutes, practicing putting their fingers over different holes.

Assessment: Observe for creativity in inventing instruments from classroom materials. Observation of teamwork will also be crucial.

Title:                  Matachines and Family Traditions
Grade:             Designed for 2nd grade
Objective:          The students will become familiar with matachines as a form of ceremonial dance.                          The students will value their own family traditions.
Materials:           Internet access, scanner, printer, scissors, glue, sentence strips, chart paper, photos                            from home
Time:                 1 hour for main lesson; project will take approximately another hour after students                            supply materials
Standards:             Social Studies A-1-c, Visual Arts C-1
Procedures:

Introduce matachines as dances that the Spaniard and Indian cultures have in common together. These dances are performed in honor of something sacred or important to the people participating. There are differences in the styles among Spanish and Indian. The New Mexico villages’ styles generally include the use of fiddle and guitar. The Indian style includes more music with drums, chorus, and costuming (Robb 6-8).

            There are several websites that illustrate the rituals, including the costuming during the matachines.    Many of these websites will portray children. This may be of interest to the students. Ask the students what roles they see the children playing in the matachines. Allow the students to visit the following websites for examples:

            http://www.douglaskenthall.com/      Photographs of the costumes
     http://www.ojinaga.com/                 Illustrations and examples of a village still existing                                                                      today, performing matachines
             http://www.doloreschurch.org/      Examples of matachines in a New Mexico                                                                    church.
            http://www.nmaa.si.edu/webzine/    Read stories of how matachines are alive                                                                      in various communities and even schools!

Give each student a sentence strip to record one observation that stood out in their mind as they learned about matachines from the websites. Come together as a class to share observations and collaborate sentence strips onto one chart. Emphasize the value in this cultural dance to the people performing it.

Key Questions (to discuss and/or journal write):
Do the people performing matachines seem to value their beliefs?
What beliefs do they celebrate from your observations?
Do you celebrate any of your beliefs?
What kind of things do you do ritually that are important to you? (Consider holidays or family traditions that may be very simple.)

Project:
To help the students celebrate their own culture and traditions, ask them to bring in pictures from their own family gatherings. In computer lab, scan the pictures in and print them out. Let the students construct a collage, labeling each picture. At the bottom of the collage, the students should write a brief summary of what is being celebrated, honored, and what this tradition means to him or her.

Assessment: Assess journal responses based on thoughtfulness given to the key questions. For project assessment, critique students’ skill level in scanning documents, saving, and printing on color printer. Overall, look for creativity, organization, and thoughtful summary contents.

Title:                New Mexico Folk Songs
Grade:               Designed for 2nd grade
Objective:         The students will perform New Mexican folk songs.
The students will compare New Mexican folk songs to nursery rhymes they are familiar with.Materials:          Chart paper, words to the songs, small pebble
Time:                 1 hour, 30 minutes
Standards:        Social Studies A-1-c, Language Arts C-1-d-3, Music B-1
Procedure:
During shared reading, display the following two songs and sing with the class. The sheet music is provided in the Spanish-American Song and Game Book if you have access to a guitar or fiddle to play along, but usually they are performed without instruments. New Mexican children in some small villages have grown up in the past knowing these songs as our children today know nursery rhymes. Discuss what songs the children are familiar with today.

            Once the verses are familiar, follow the directions to play both games:

The Big Flower

In our hands a flower is hiding,
And it can be found some way;
You must guess the one who has it
Or you’ll be the goose all day

Any number of children can play this guessing game. One person will be it, and the other person will place the flower in a child’s hands. All but these two sit in a straight row with their hands behind them. The child who is it sits in front of the row with his/her back to the row. The children sing the chorus while the person chosen to place the flower gives it to one child to hide in his/her hand (which is really a small pebble or something that can be hidden). When the singing stops, the child who is it makes a guess as to who has the flower. If he/she guesses correctly, the two children trade places. If not, the game repeats until the guess is correct (Spanish-American Song and Game Book 17)

The Clucking Hen

The clucking hen passed by
Inviting her children
But not me,
Spoons…saltcellars…
Hide your finger!

This is a good indoor game played by two or more players. One child is chosen as the clucking hen. The other children sit with their hands on the table (palms down, fingers spread). The clucking hen puts only his/her left hand on the table. With the first finger of his/her right hand (s) he touches all the fingers on the table, starting with the thumb of his/her own left hand reciting the verse (one word per finger). When the verse says the word “finger,” that finger gets hidden. Continue the game until all by one person has all his/her fingers “out,” and that person will be it next time (Spanish-American Song and Game Book 9).

During shared reading, have the words on chart paper or the overhead for the class to practice singing the song. The song continues following the same pattern of buying things that will produce money. Discuss this pattern with the class. Put the kids in groups, and have each group write the last verse (adding something that follows the money making pattern). Let the group write their verse on chart paper, and display the words so the class can see. Sing the whole song using all the verses from the original song in addition to what the class has composed.

This folk song is from 1950 by Henry Fountain of Mesilla Park, New Mexico. It is titled “Two Dollars and the Hen” (“Dos Reales y La Polla”). The first few verses go as follows:

If I have a couple of dollars
I’m buying a hen:
Then I have my hen
Who lays her egg,
And I still have
The same money

If I have another couple of dollars
I’m buying a cow:
Then I have my cow
Who has a calf,
And I have my hen
Who lays her egg,
And I still have
The same money.

If I have another couple of dollars
I’m buying a garden:
Then I have my garden
(Robb 353-354)

For further information on New Mexico folk life resources contact:

New Mexico Arts Division
224 E. Palace Ave
Santa Fe, NM 87501
(505) 827-6490

New Mexico Heritage Center
Box 3X
New Mexico State University
Las Cruces, NM 88003
(505) 523-7261

Assessment: Team work and cooperation during games. Pattern recognition in folk song creation.

Documentation

Book References

Burton, Bryan. Voices of the Wind, Native American Flute Songs. Danbury: World Music                Press.

            A fascinating book about the creation of the Native American flute and its music.

Densmore, Frances. Music of Acoma, Isleta, Cochiti, and Zuni Pueblos. 1972. New York: Da                Capo Press, 1972.

            Compiles Native American songs with background information on their culture.

Densmore, Frances. The American Indians and Their Music. New York: The Woman’s Press,                1926.

            This insightful text on the daily life of the American Indians demonstrates how lives are               closely intertwined with music.

Minton, Charles Ethrige. The Spanish-American Song and Game Book. New York: A.S.               Barnes and Company, 1942.

Pages of traditional Spanish-American children’s songs and games, similar to the American               games children grow up playing such as “Ring Around the Rosy.”

Robb, John Donald. Hispanic Folk Music of New Mexico and the Southwest. Oklahoma City:             University of Oklahoma Press, Publishing Division of the University.

            A valuable, thorough resource in understanding New Mexico music that walks the reader               through historical and cultural perspectives.

Studwell, William E. and Schueneman, Bruce R. State Songs of the United States. Binghampton:              The Hawthorn Press.

            Provides a history and examples of songs that each state is known for.

Whiteford, Andrew Hunter. I Am Here. Santa Fe: Museum of New Mexico Press, 1989.

            A beautifully illustrated book describing Southwest arts and culture. Many detailed                   photographs included.

Compact Disc or Video Media

Dance Styles. Videotape. Full Circle Communications. 1995. 60 minutes.

Taped at the Crow Fair, Denver March Powwow, and Powwows in Oklahoma, this is a video of Native American men and women dancing (watch and learn).

Native American Traditions. Howard Bass. Compact disc. Music of the World. 1992.

            Enjoy broad variety of Native American music that will fascinate the listeners.

Talking Spirits. James Lascelles, Tribal Music International, David P. McAllester. Compact Disc.            Music of the World. 1976.

            Native American traditional music.

Voices of the Wind, Native American Flute Songs. Compact Disc. Danbury: World Music Press.

            Listen to the eloquent music of the Native American flute.

Internet Web Sites

“Dancing in Your Community.” Smithsonian American Art Museum. Del Corazon!
            www.nmaa.si.edu/webzine/gdance.htm

            This provides an updated calendar of events coming up in New Mexico related to dance.

“Kokopelli, the Humpbacked Flute Player.” The Indigneous Peoples of New Mexico. February 28,                2000. PurpleHawk. www.cybergata.com/native.htm.

            This website has vivid photographs of New Mexico and provide the Kokopelli story.

“Listen To My Native American Flutes.” Kokopelli Flutes. April 20, 2000. Sunny’s Rainbow.             www.kokopelliflutes.com/flutemusic.html.

            To view Native American flutes, purchase, and hear the sounds they make.

“Yearly Calendar of Indian Dances and Events at the Pueblos.” Pueblo Cultural Center in
            Albuquerque. Karen M. Storm.
            www.stlcc.cc.mo.us/fp/users/cmittler/Faces/dancecal.html.

            This provides an updated annual calendar of events taking place within the Pueblo
            communities.