Lesson Overview:
In this lesson, students are introduced to the spiritual, an African American musical form that originated during the time of slavery. After listening to and singing spirituals, students identify characteristics of spirituals such as religious meaning and syncopated rhythm.
Length of Lesson:
Two 45-minute periods
Notes:
This lesson is particularly suitable for grades 3-4.
Instructional Objectives:
Students will:
- listen to examples of spirituals and identify them by by genre or style.
- identify code words used in some spirituals.
- respond through purposeful movement (clapping) to select prominent musical characteristics while listening to the spirituals.
Supplies:
- Projector
- Sound System
- Notebook paper
- Pencils or pens
Instructional Plan:
Warm Up
Ask students to consider what life was like for Harriet Tubman and other slaves. Have students share research findings (from the previous lessons in the unit) related to the slave experience.
Introductory and Developmental Activities
Relate events in Harriet Tubman's life to the time of slavery in the United States. Introduce the term "spiritual" and explain that this music originated during the time of slavery. Spirituals are characterized by their religious meaning and expressions of freedom. Sometimes the words became a code for sending messages, especially about activities related to the Underground Railroad. Examples of code words include "Moses" for Harriet Tubman, "Pharaoh" for slave owner, and "train" for the Underground Railroad. Additional examples can be found in The Underground Railroad in Action: Communication and Codes from the National Park Service. Ask students to guess the meaning of each Underground Railroad code word/phrase. Invite students to share their responses, then clarify any misinterpretations.
Have students visit the following site to listen to sample spirituals. Instruct them to listen carefully for recurring words or phrases that may have represented coded messages:
Note that spirituals are also characterized by musical innovations such as syncopated
rhythm and "call and response." Play "This Train." Have students clap as they listen to the music. Instruct them to clap first on counts 1 and 3, then on counts 2 and 4.
"Go Down, Moses" and other spirituals can be played with the same rhythmic audiation exercises. (A version of "Go Down, Moses", made famous by Paul Robeson in 1965, can be found at the Authentic History site.) Have students clap the beat or a rhythmic pattern as they listen to the music. Again, have students identify words and phrases that might have been coded messages for the slaves.
Another focus for the study of spirituals is the "call and response" form that is often used. In this form, words that change are sung by a "leader" and repeated words are sung by the "congregation" in response. Examples of call and response songs include "Follow the Drinkin' Gourd," which can be sung so that the group joins in for the title words only and an individual sings the rest. "Swing Low, Sweet Chariot" also uses call and response - all join in on "Comin' for to carry me home..." in each verse. (One version of "Swing Low, Sweet Chariot", performed by Isadore Oglesby, is available at the Authentic History site.)
Guided Practice
Distribute the lyrics to "Wade in the Water." Teach students the song. Have students clap the beat or a rhythmic pattern as they listen to the music. Have students identify the call and response form used in the song, and practice singing it.
Independent Practice
Divide students into groups of three or four. Assign each group a different phrase from the song "Wade in the Water." Give the groups five minutes to write an interpretation of the assigned phrase. (It is okay if more than one group has the same phrase, depending on the size of your class.)
Closure
Allow groups to share their interpretations of the assigned phrases with the entire class. Record each interpretation on the board as it is articulated. When all groups have shared their findings, read the entire interpretation of the song and perform it once more.
Assessment:
Use the Assessment Rubric provided to assess student understanding.
Extensions:
Proceed to Harriet Tubman Integrated Unit: Lesson 4, in which students explore movement related to spirituals.
Have students listen to songs from the Underground Railroad, performed by Kim And Reggie Harris on the Kennedy Center Millennium Stage.
Sources:
Print:
- Music and You, Grades 3 and 4 (pub. by Macmillan, 1988)
- Share the Music, Grade 5 (pub. by Macmillan/McGraw-Hill School Publishing Co.)
- Songs of the Underground Railroad by Kim and Reggie Harris (avail. from Chatham Hill Games, 800-554-3039)
Web:
Authors:
-
Gladys Van Der Woude, Library Media Specialist
Catherine T. Reed Elementary School
Lanham, MD
