MENC: The National Association for Music Education

Learning across Disciplines: An Approach to West African Music

Author(s): Francine Morin
Source: Music Educators Journal, Vol. 89, No. 4 (Mar., 2003), pp. 27-34
Published by: MENC: The National Association for Music Education
Stable URL: http://www.jstor.org/stable/3399901
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Learningacross Disciplines:
AnApproachto West AfricanMusic
B y F r a n c i n e M o rin

Help studentsbetter
understandboth
eople today are recognizing that diversity, rather than musicand the world
homogeneity, characterizesour culture. Accessible trav-
el and developments in media, including the Internet,
have allowed greater opportunities to connect with by givingthem an
other cultures. Consequently, the concept of cross-cul-
tural understanding will continue to dominate the educational opportunityto
landscape.1
Music and the arts are important sources of knowledge about explorethe musicof
world cultures and historical periods. "By studying the subject
matter of the arts, we can connect culture to culture and see and a particularculture,
feel the joys and sorrows of our ancestors."2 Music has always
been a viable vehicle for communicating life experiences. Most such as WestAfrica.
educators realize that they can facilitate understanding of diverse
cultures by introducing students to various types of musical and
artistic expression. Not surprisingly then, current literature in
music education encourages teachers to teach from a multicultur-
al perspective.3
Recent statements on developmentally appropriate practice
for children emphasize the importance of an inquiry-driven,
learner-centered curriculum.4 Music teachers might wonder how
to use this kind of instructional design, which emphasizes stu-

Ir

FrancineMorinis associatepro-
' fessor and acting head of the
Department of Curriculum,
, ~l m
_s Teaching, and Learning at the
University of Manitoba in
IWinnipeg,
M^I Canada.

MARC H 2003
dents' musical questions and inter- music, language, art, mathematics,
ests instead of the typical music-cur- movement). Characteristics of inter-
riculum outcomes. This article disciplinary inquiry include integra-
describes an example of nontradi- tion and connection through broad
tional instruction that music teachers themes, use of disciplines as learning
can use to plan a study of world tools, authentic and collaborative
music, specifically the music of West learning experiences, expanded use of
Africa.5 sign systems for making and sharing
meaning, and emphasis on social
Defining Interdisciplinary learning.
Inquiry
The music of other peoples is best Planning the Music Dimension
understood within a holistic curricu- of a World Study
lum; therefore, an interdisciplinary An interdisciplinary-inquiry ap-
approach can offer the most powerful proach to planning demands that the
educational encounters for students. music specialist, other specialists, and
Interdisciplinary inquiry, a relatively classroom teachers in a school work
new instructional phenomenon, is together. A cross-disciplinaryteaching
one way to organize holistic curricu- team would begin by selecting an
lum studies.6 Interdisciplinaryinquiry engaging focus for study. The focus
is based on the belief that "we learn may emerge from the cultural makeup
best that which intrigues and puzzles of the school, student or teacher inter-
us."7 Curriculum is conceived as est, local social studies curricula, or
"conversations between disciplines, any other relevant context. Once the
sign systems, and personalized know- team has chosen a theme, such as
ing."8 West Africanculture, teachers connect
Interdisciplinary inquiry involves it to the various disciplines. The aim is
integrating ideas about how the world to develop ideas from all curriculum
works (content disciplines-e.g., areas that stem from the main theme
social studies, science) with ways to (see figure 1). The music branch, nat-
represent how we see and make sense urally, becomes the focus of study
of the world (sign systems-e.g., within the music classroom.
Figure I. Interdisciplinaryplanning web
LanguageArts
28 MUSIC
Brainstormingsessions are valuable
for exploring the potential content
and experiences related to the world
study Begin facilitating this process by
reflecting on the purposes of the
music curriculum, as well as the mul-
ticultural practices of colleagues.9
Work in music classrooms typically
helps students to develop musical lit-
eracy, experience music aesthetically
by participating in musical processes,
present ideas in musical form, relate
music to other knowledge domains,
develop preferences and critical abili-
ties, and appreciate their musical her-
itage and the role music plays in other
cultures. Through singing, moving,
listening, playing instruments, creat-
ing, and re-creating, children can gain
a deeper understanding of West
African culture. In a reciprocal way,
children can gain musical knowledge
by exploring the unique sounds and
musical idioms of West Africa. The
web in figure 2, a possible product of
a brainstorming session, illustrates
some aspects of music that students
might explore when learning about
West Africa.
To preparefor a world music study,
gather a range of age-appropriate
music-related resources (print and
nonprint) to support this work with
students. Maintain an accessible
resource center within the classroom
throughout the study. Fortunately,the
availability of authentic teaching and
referencematerials for studying multi-
cultural music has increased signifi-
cantly in recent years.10It is possible
to find a wealth of traditional songs,
instrumental works, and dances that
carry important ideas related to life in
West Africa, such as rain forest con-
servation or interdependence.ll The
contemporary music world also pro-
vides songs addressing social and cul-
tural issues, like endangered species
or hunger, that relate to West Africa.12
To plan an inquiry involving music
of West Africa, collect some resources
that go beyond recordings, videos,
computer software, music artifacts,
and books. Invite authentic bearers of
West African musical traditions who
live in the community into the music
classroom. The community might
offer other relevant resources, like an
African cultural center or a simulated
rain forest at a local zoo. The Internet
EDUCATORS JOURNAL
contains a wide array of interesting
sites, but these need to be reviewed Figure2. Exploringmusic through
before students use them. Also, geo- webbing and brainstorming
graphically distant people are often
Notation
willing to communicate with you and invented
your students via e-mail. nonconventional
conventional
Genres
Generating and Categorizing lullabies
Music Questions folk songs
An interdisciplinary-inquiry appr- game songs
oach to any music study begins not work songs
with identifying curriculum objec- festive songs
tives, but ratherwith generating ques-
tions that interest students and teach-
ers. Using music as the specific lens ing
through which to view the theme, stu-
dents, along with their music teach-
ers, need to consider what a musician
would want them to learn about West CulturalBridges
Africa. Since this process can be diffi- spirituals
gospel
cult for children, music teachers ragtime
should allow ample time for the ques- blues
tion-generating phase.13 Students jazz
thematic
might need to explore West African
culture and music so that they gain
Pitched
enough knowledge and interest to ask marimba
thoughtful musical questions. Oppor- mbira
tunities to browse through books and :flute/recorder
visuals, share what they know, manip-
ulate instruments, view videos, or lis- Percussion
ten to tapes and CDs can help stu- hand clapping
dents develop good questions. drumming
rattles Homemade
Because the initial question-gener- Genres
bells Anaalysis
novelty
ating stage will likely result in a body folk
ideintify
of diverse questions, it is important to popular
categorize and cluster similar ques-
tions and connect them to the musical
concepts that the questions address. MusicalFeatures
The Real Questions Asked by Students rhythm
sidebar illustrates a range of real ques- melody
tions posed by teacher candidates and West African . harmony
children who were studying West form
Culture timbre
Africa.
I expression

Designing Learning
Experiences
Once you have defined and catego-
rized student questions, you can con-
struct a series of learning experiences
that will help students answer those
questions. These experiences need to
allow students to discover that music is
a unique sign system that provides a
particular perspective for considering
the world culture they are studying.
There should be opportunities for stu-
dents with similar interests to collabo-
rate on researching a music question
(or set of questions) on their own and
presenting their findings to classmates.
MARCH 2003
Make provisions throughout the study
for students to engage in authentic,
active musical learning through
singing, listening, moving, and playing
within the traditions they are investi-
gating. To give readers a sense of a
world music study in action in a class-
room, the remainder of this article
offers examples of shared learning
experiences for the grade-fourlevel.
RainForestSounds.Studentscan dis-
cover the natural sounds of the West
Africanrain forest by taking a field trip
to a nearby zoo. To gather sound
images, students walk through the
greenhouse or tropical animal section
as quietly as possible, concentratingon
minute sounds that are presentbut that
we often do not hear. Total awareness
of all the sounds is important, as are
the densities and weights of the
sounds. Students can capture these
sounds through making sound maps,
charts, or audio or video recordings.
They can createsymbols for the sounds
they hear, experimenting with how to
29
 visually depict variations.If you cannot
Real Questions Asked by Students visit a zoo with a rain forestexhibit, use
a "special listening candle" and dim
lighting in the music room to encour-
Musical Style age students to open their "earlids" as
What humangroups live inWest Africa?What kind of music do they listen they identify and represent sounds
to and perform?What are some of the instrumentsplayedbyWest Africanpeo- while listening to a recording of
ples?What resources are availablein the area for instrumentmaking?How are authentic rain forest sounds.14
the musical instruments constructed? How can we make our own African Rain forest sounds can become the
instruments?How can our classroom instrumentsbe used to simulateAfrican stimulus for small-group composi-
instrumentalsounds?What songs do African people sing?What messages do tions based on vocal explorations.
songs convey?What languagesare used for singing?What role does music play Students select three or four of their
in the lives of African people? What are the various musicalgenres found in favorite sounds from those they have
African music? How is the music of the African rain forest differentfrom the collected. Begin with a period of vocal
music of the Pacificrainforest in Canada? improvisation during which all group
members imitate rain forest sounds as
Tone Color accurately as possible. Encourage stu-
dents to choose a meter for their
What sounds are associated with the rain forest? Who or what makes
those sounds?What animalscan be found in the African rain forest and what piece, as well as one sound and
sounds do they make (e.g., birds,insects, mammals,reptiles)?What effect does rhythm that can function as the foun-
dation upon which all other sounds
wind or rain have on the sounds?What sounds are most dominant or subtle?
will build. Individual group members
How does the wind sound as it moves through the trees?What distinct water
work together to create vocal ostinato
sounds can be heard (e.g.,rain,brooks,streams,ponds,rivers)?What time of day
can the most diverse sounds be heard-dawn, daytime,night,or evening?What lines that complement each other and
are layered to produce a polyrhythmic
seasons or weather conditions would produce the most sounds (e.g., storm)?
What sounds are made when developers destroy the rain forest? How does effect. Tell students to try to use dif-
this change the sound of the rainforest? How do recordingsof authentic rain ferent durations of sounds and com-
bine them with periods of silence.
forest sounds compare with movie sound tracks?
Record the compositions and then
share them.
Melody/Texture
Music of Our Culture.Students can
What are the melodic features of West African songs?What scales are also listen to musical works that "live"
used in African melodies?What kinds of animalsand birds make high-pitched in our culture but were inspired by the
sounds? Low-pitched sounds? What instruments best match these pitches? rain forest or West Africanmusic. One
What types of bird songs can be heard in the rainforest? How can we identify
example of how African ideas have
the particularsongs of unique birdspecies? How manydifferentsounds can we served as the subject matter for con-
hear at one time? How are naturalsounds layeredin the Africanrainforest? In
temporarycomposers in our culture is
what way is part-singingused in Africangroup music? Sean Delaney and The Nylons' version
of "TheLion Sleeps Tonight."15In this
Rhythm/Form
recording, rain forest sounds are
What are the rhythmic characteristics of West African music? What reflected in the improvisations of the
rhythmscan be heard in the naturalenvironment?What rhythmscan be heard vocalists. Students can also success-
in work music?What rhythmsdo the various drummersand percussionistsplay fully sing and play this piece, which
in a typicalensemble?What is syncopation?What is the role of a master drum- presents the challenge of performing
mer?What meters are used inAfricanmusic? harmonic ostinato patterns vocally
and accompanying on harmonizing
Composing/Exploring instruments using a I-IV-Vchord pro-
How can we create a symphonyof sounds from the naturalenvironment? gression.
Can bird songs be recorded or notated? How can naturalsounds be re-creat- Since characteristics of traditional
ed? What instruments could be used to best represent naturalsounds? How West African music are retained in
can our voices be used to imitate naturalsounds?What kindsof symbols could African-Americanmusic, experiences
be used to make a soundscape and pictorialscore of the rainforest? How can with spirituals, gospel, ragtime, blues,
vocal and instrumentalsounds be used to tell an Africanstory or accompany or jazz make excellent points of
an Africanpoem?What composers have been inspired by West Africa?Which departure into the music of the less
of these works "live"in North American culture?How can West Africa be an familiar African culture. Scott Joplin,
inspirationfor personal composition?What originalmovements could be cre- king of ragtime composers, would be
ated for an Africanmusic work? How is music shared and preserved in Africa? an interesting musical figure to study.
Children could do research to discov-
er more about early African-American
Continued on page 31 instrumental music and how Joplin
30 MUSIC EDUCATORS JOURNAL
influenced the development of jazz.
Joplin's "The Entertainer"offers many
possibilities for active listening and
learning. For instance, students could
listen to a recording of the piece and
list the instrumentation; study synco-
pation through the opening phrase;
identify the sequential form; discuss
the tempo, dynamics, and style; exam-
ine the musical score; or learn a nov-
elty dance choreographed for this
piece.16You can glean additional ideas
for studying African-Americanmusic
from resources such as TeachingMusic
with a MulticulturalApproach.17
Additional Resources. There are
many ways to give students the oppor-
tunity to examine music and culture
beyond their immediate community
One way to maintain an authentic ori-
entation would be to host an expert in
African music in the classroom. I have
had the good fortune of working with
the leader of a local West African
drumming ensemble who had just
returned from two years of graduate
studies in African music at the
University of Ghana. Collaboratively,
we set up a museum of authentic
African instruments for exploration
and introduced students to a West
African style of drumming. We
demonstrated traditional drumming
rhythms and pieces and led work-
shops focused on hand clapping, sim-
ple drumming, and non-pitched-per-
cussion techniques. In addition, we
shared resources like World Music
Drummingand taught accessible West
African percussion pieces such as
"Anansi"and "Asaadua."18
Video recordings, books with visu-
als, and electronic resources should be
available in the classroom resource
center so that students can independ-
ently extend their study of African
instruments. The CD-ROMMultimedia
Musical Instrumentsgives students the
opportunity to see, hear, and learn
about instruments from other cultures
and traditions.19They can view full-
screen images of instrumentsand video
demonstrationsof correctplaying tech-
niques. Students will be intrigued by
Internet sites such as "The Drums and
Percussion Page," which contains a
link to learn about and listen to West
African drum language, as well as an
easy-to-read encyclopedia of informa-
tion and images of percussion instru-
MARCH 2003
Continuedfrom page 30
Listening/Expression
How isWest Africanmusic organized?What is antiphonalform?Whatdynam-
ic and tempo devices can be identified in instrumental and song excerpts of
African music?What moods are expressed in various recordings and how does
mood relate to the expressive tools used? How are the elements of music used
in Africanmusic examples?
Movingto Music
How do West African people move to their music?What dance steps are
used? How do dancers interactwith the drummers?What do the dances convey?
What celebrationsor special life events are associated with dance?What are some
of the unique performancepractices in Africandance?
ments.20 Alternatively, books like Students will also need opportuni-
Musical Instrumentsof the World:An ties to learn that, from birth to death,
IllustratedEncyclopediaor videos such music is part of almost every aspect of
as the JVC Video Anthology of World life in West Africa. Age-appropriate
MusicandDanceare accessible to learn- African music for children can be
ers of all ages.21 found in basal music series, Orff-
Musical Examples.Through guided Schulwerk materials, African music
experiences in listening, singing, play- workshop experiences, and books by
ing, and dancing, students can become Amoaku, Anderson and Campbell,
actively involved in answering ques- Dunbar-Hall and Hodge, Kwami, and
tions about West Africanmusic. Invite Serwadda.25Students will enjoy trying
students to listen to an excerpt of to identify the kind of work music
"AshantiKete Drumming," supported being performed in "Postal Workers
by a teacher-preparedlistening chart Canceling Stamps at the University of
that identifies the instruments heard, Ghana Post Office."26 The Akan
as well as the sequence in which they stone-passing game "Sansa Kroma"
enter the performance.22A follow-up and the Ewe cradle song "Tu! Tu!
discussion could help students recog- Gbovi" teach children about the
nize that African rhythms are often importance of family and community
infectious, layered, syncopated, inter- while embodying notions of coopera-
woven, and highly related. tion and interdependence.27
The call-and-response form used West African Dance. Give children
extensively in West African music the opportunity to view videotapes of
could be illustrated by having stu- West African dancing and discuss the
dents participate in an Akan game dance style.28 Explain how West
song such as "Kye,Kye, Kule."23They African dancers use the body as an
could also listen to "Kasena Jongo: instrument. Invite students to imagine
Sara Muru Gwa Ba Na."24Pose ques- that the earth is a large drum that is
tions to focus the listening: What is played by stamping the feet and per-
the overall mood of this music? What forming other rhythmic motions. In
instrument is playing the melody? In West Africa, most drummers are also
what instruments are accompanying dancers, and the two groups work
the melody? In terms of pulses, how together during performances. The
long is the tune? How is the tune emphasis is usually on body move-
divided up? What is this form called? ments that angle towards the earth,
In what order do the instruments symbolizing a closeness to the earth
enter into the performance? What and forest. Teach children a simple
drum patterns can be identified? movement game like "Na doe de Dzi"
31
to get them oriented to the kinesthet-
ic style.29 Progress to teaching the
national dance of Ghana, "The
Highlife," originally an Ashanti funer-
al dance.30Perform this dance to any
traditional or contemporary West
African music, encouraging students
to keep the body very flexible and the
movements percussive.31
Invitestudentsto imagine
that the earthis a large
drumthat is playedby
stampingthe feet and
performingotherrhythmic
motions.
InstrumentalMusic. The xylophone
traditions of West Africa embody a
range of music that children can per-
form using Orff instruments. Select
beginning experiences from resources
such as Hampton's Hot Marimba!
which contains a set of progressively
more challenging African-style musi-
cal pieces arranged specially for the
Orff ensemble.32 A preliminary piece
such as "Balafon"gives students the
opportunity to play multilayered
music that uses diverse, but simple,
melodic rhythms on pitched percus-
sion instruments. Teach the melody
and mallet pattern first through mir-
roring, and then target the correct
rhythm of each part. Use medium-
hard or hard mallets and encourage
children to strive for the vigorous
playing style of African percussion-
ists shown on the video excerpt
"Contemporary African Xylophone
Ensemble."33When performed with
nonpitched instruments like the
axatse (rattle), gankoqui(double bell),
and djembe(drum), the piece sounds
very effective and authentic. Listening
excerpts of African xylophone playing
can be drawn from recordings such as
AfricanRhythmsand Instrumentsor the
African audio examples that accompa-
32
ny the Garland Encyclopediaof World
Music.34
Composition. Once children have
had ample experiences listening,
singing, playing, and moving in
authentic ways, they are ready to
develop their own creative ideas.
Using a la pentatonic scale, have chil-
dren compose a melody for a simple
sixteen-beat vocal rhythm that will
become the theme for a "Rain Forest
Rondo." Guide children in devising an
African-style accompaniment using
log drum, bell sounds, marimba, and
various drums to imitate the sounds of
the forest. In small groups, children
can develop sections that alternate
with the theme by creating sixteen-
beat rhythmic "word pictures" of the
rain forest using poetic devices like
onomatopoeia or alliteration. Each
contrasting section should convey a
different aspect of the rain forest,
which is further enhanced by one or
more nonpitched instrument sounds.
Using music, movement, and
drama in stylistically appropriate
ways, work with children to recast
poetry, folktales, legends, and other
children'sliteratureabout West Africa.
Consult your colleagues in language
arts for advice on materials that might
work well. Books like Yolen'sWelcome
to the GreenHouse and Bogart'sSarah
Saw a Blue Macaw work very well
because the texts are rhythmically
appealing and full of sonorous
images.35 Similarly, "The Lion on the
Path," "Why Chickens and Hawks are
Enemies," and "The Singing Monster"
are African stories that also have
much potential.36A theatrical record-
ing, like "Rain Forest," could also
serve as the stimulus for children's
own story creation.37 This piece
encourages students to physically re-
create the rain forest, with some chil-
dren becoming the forest itself and
others acting out a story that takes
place in the forest.
Trackingand Sharing Music
Learning
Assessment of music learning with-
in interdisciplinary inquiry needs to
be open-ended, student-directed, and
multifaceted. A cross-disciplinary
team could have students gather and
display in a portfolio what they have
learned about all aspects of West
MUSIC
African culture. The music section
could include answers to questions
about African music (researchreports,
journal entries, concept maps, webs);
reactions to and reflections on learn-
ing experiences (field trips, guest
experts, music classroom experiences,
self-evaluations); responses and reac-
tions to print and nonprint resources
(book reports, computer software, lis-
tening log entries, video reports);
recordings or a log of African music
performed (songs, dances, instrumen-
tal pieces); and in-process and fin-
ished creative works (soundscapes,
melodies, accompaniments, songs,
speech pieces, movement sequences).
For grading, teachers and students
could collaboratively create a rubric
that identifies specific criteria stu-
dents need to meet.
Use a "speciallistening
candle"and dimlightingin
the musicroomto
encouragestudentsto open
their"earlids."
A celebration-of-learningevent can
take place at the end of the West
African world study. A gallery around
the perimeters of a large open space in
the school could display visual materi-
als connected to the study Handmade
simulations of African instruments or
student-created posters and displays
of African music projects might make
up the music part of that gallery.
Students could present a program of
songs, dances, instrumental works, or
musical dramas to other students,
teachers, families, and friends. An
afternoon of culminating activities
could end with refreshmentsrepresen-
tative of West African culture, such as
groundnut stew or jollof rice.38
More and more educators are com-
ing to appreciate the extent to which
EDUCATORS JOURNAL
music can lend insight, power, and per- Approach,3rd ed. (Boston: Allyn & Bacon, Worth, TX: Ken Harris Music Co., 1975);
spective to learning. Interdisciplinary 1999), 123. and Lynne Jessup, All Hands On! An
inquiry acknowledges that learners of 8. Jerome Harste, "Inquiry-Based Introduction to West African Percussion
all ages use multiple forms of literacy Instruction," Primary VoicesK-6 1, no. 1 Ensembles (Danbury, CT: World Music
(e.g., language, music, art) as they (1993): 5. Press, 1997). The text and a recording of
develop global awareness. The model 9. EdwardJ. P O'Conner,"Africacomes "Assadua"are available in W K. Amoaku,
highlighted in this article allows the to Northwest ElementarySchool," General African Songs and Rhythmsfor Children:A
music specialist to collaborate with a MusicToday10, no. 2 (1997): 4-6. Selection from Ghana (Mainz, Germany:
teaching team to plan and implement a 10. Ruth M. Stone, ed., Africa,vol. 1 of Schott Music Corporation,1971).
world study in order to provide a cul- The Garland Encyclopediaof WorldMusic 19. Multimedia Musical Instruments,
tural context for all dimensions of chil- (New York:Garland Publishing, 1998). A (Yonkers,NY:VoyetraTechnologies, 1996).
dren's learning. Though the model dis- compact disc is included with this volume. 20. "TheDrums and PercussionPage"is
cussed in this article is specifically 11. For suggestions, see J. BryanBurton located at www.cse.ogi.edu/Drum.
designed for the teaching of West and Rosella DiLiberto, "Resources for 21. Diagram Group, Musical Instru-
African music, it can be adapted to the Teaching Music of Africa," General Music ments of the World:An IllustratedEncyclo-
study of any world culture. Today12, no. 3 (1999): 24-30; and James pedia (New York:Paddington Press, 1976);
A. Standifer and Barbara Reeder, Source and The JVC Video Anthology of World
Notes Bookof AfricanandAfro-American Materials Music and Dance (Cambridge, MA:
1. David A. Jacobson, Paul Eggen, and for Music Educators (Washington, DC: Smithsonian/Folkways, 1985).
Don Kauchak, Methods for Teaching: ContemporaryMusic Project, 1972). 22. A recording of "Ashanti Kete
PromotingStudentLearning,5th ed. (Upper 12. Two examples are Michael Jackson Drumming" is available with Jeff Todd
Saddle River, NJ: Merrill/Prentice Hall, and Lionel Richie, We Are the World, Titon, ed., Worldsof Music:An Introduction
1999). (United States:Mijac Music and Brockman to the Music of the World'sPeoples (New
2. Claudia E. Corett and KatherineL. Music, 1985); and Northern Lights, Tears York:Schirmer,1984/1992).
Smithrim, The Arts as Meaning Makers Are Not Enough,(Canada:Northern Lights 23. "Kye, Kye, Kule" is available in
(Toronto, ON: Prentice Hall), 4. for African Society [PROCAN]and Foster AbrahamAdzinyah,Dumisani Maraire,and
3. William M. Anderson and Joy E. Music, Inc. [BMI]/IrvingMusic Inc., 1985). Judith Cook Tucker, Let Your Voice Be
Lawrence, Integrating Music into the 13. Cathy Tower, "Questions that Heard! Songs from Ghana and Zimbabwe
Elementary Classroom, 5th ed. (Belmont, Matter: PreparingElementaryStudents for (Danbury, CT: World Music Press, 1986/
CA: Wadsworth, 2001); and Patricia the Inquiry Process," The ReadingTeacher 1997). A cassette or compact disc is avail-
Shehan Campbell and Carol Scott-Kassner, 53, no. 7 (2000): 550-57. able with this book.
Music in Childhood:FromPreschoolthrough 14. One recordingthat includes rain for- 24. A recording of "KasenaJongo" is
the Elementary Grades (New York: est sounds is The Special Music Company, availablewith Titon, ed., Worldsof Music.
Schirmer,1995). "Sounds of the TropicalRainforest,"Gentle 25. Amoaku,AfricanSongsandRhythms;
4. Sue Bredekamp and Carol Copple, Persuasion: The Sounds of Nature, SMC William M. Anderson and PatriciaShehan
eds., DevelopmentallyAppropriatePractice 4586. This recordingis availablefrom Essex Campbell,eds., MulticulturalPerspectivesin
in Early ChildhoodPrograms(Washington, EntertainmentInc., 560 SylvanAve., Engle- Music Education (Reston, VA: MENC,
DC: National Association for the Education wood Cliffs, NJ 07632. 1989); Peter Dunbar-Hall and Glenda
of Young Children, 1997). 15. The Nylons, "The Lion Sleeps Hodge, A Guide to Music aroundthe World
5. This article is based, in part, on Tonight,"TheBest of theNylons, ADC 1426. (Marrickville, NSW, Australia: Science
Francine Morin, "InterdisciplinaryInquiry: 16. A performance/accompanimentcas- Press, 1991); Robert Mawuena Kwami,
ExploringNew Paradigmsfor World Music sette and teaching helps are available in AfricanSongsfor School and Community:A
Education"(presentationmade at Music of TeresaJennings, "ScottJoplin Reproducible Selection from Ghana (Mainz, Germany:
the Spheres,the 24th World Conference of Biography, Teaching Suggestions, and Schott Music Corporation, 1998); and W.
the International Society for Music Listening Map Kit for The Entertainer," Moses Serwadda, Songs and Stories from
Education, Edmonton, Alberta, Canada, MusicK-8 3, no. 2 (1992): 34-36. The cho- Uganda (Danbury,CT:World Music Press,
July 17-22, 2000). reographyof a novelty dance and teaching 1987). SongsandStoriesfromUgandacomes
6. James A. Beane, CurriculumIntegra- suggestions are available in Phyllis S. with a music recording.
tion: Designing the Core of Democratic Weikert, Teaching Movement and Dance 26. A recording of "Postal Workers
Education (New York: Teachers College (Ypsilanti, MI: High Scope Press, 1982), Canceling Stamps at the University of
Press, 1997); Mark Robin Campbell, 147-49. Ghana Post Office"is availablewith Titon,
"Interdisciplinary Projects in Music," 17. William M. Anderson, Teaching ed., Worldsof Music.
Music EducatorsJournal 82, no. 2 (1995): Music with a MulticulturalApproach(Res- 27. A recording of "Sansa Kroma" is
37-44; and Marian L. Martinello and ton, VA: MENC, 1991). Includes a book available with Adzinyah, Maraire, and
Gillian E. Cook, InterdisciplinaryInquiryin and four videocassettes. Tucker,Let YourVoiceBe Heard! "Tu! Tu!
Teaching and Learning, 2nd ed. (Upper 18. Will Schmid, WorldMusicDrumming Gbovi" is available in Amoaku, African
Saddle River, NJ: Merrill/Prentice Hall, (Milwaukee,WI: Hal LeonardCorporation, Songsand Rhythms.
2000). 1998). This book comes with a videocas- 28. See examples of West African
7. MaryAlice Gunter,Thomas H. Estes, sette. "Anansi"is availablein LynneJessup, dancing in TheJVC/SmithsonianFolkways
and Jan Schwab, Instruction: A Models Afro-Ensemble:A Beginning Book (Fort Video Anthology of Music and Dance of

MARCH 2003 33
Africa, vol. 2 (Washington, DC: Smithson-
ian/Folkways, 1996).
29. "Na doe de Dzi" is available in
I ij
Kwami, African Songs for School and
Community.
30. A video, CD, and guide for teaching
the "Highlife" are included with Christy
Lane and Susan Langhout, Multicultural
Folk Dance Video, vol. 1 (Champaign, IL:
Human Kinetics, 1998).
31. Recordings of the music for several
popular dances are available on Saka
Acquaye, Voices of Africa: High-Life and
OtherPopularMusic, H-72026. This album
has been re-released as part of the
Nonesuch Records Explorer Series under
the title Ghana:High-Lifeand OtherPopular
Music,Nonesuch Records79701.
32. Walt Hampton, Hot Marimba!
Zimbabwean-Style Musicfor OrffInstruments
(Danbury, CT: World Music Press, 1995).
33. "ContemporaryAfrican Xylophone
Ensemble," TheJVC/SmithsonianFolkways
Video Anthology of Music and Dance of
Africa, vol. 3 (Washington, DC: Smithson-
ian/Folkways, 1995).
34. Roberto Leydi, AfricanRhythmsand
Instruments,vol. 1, Lyrichord 7328; and
Stone, ed., Africa, vol. 1 of Garland
Encyclopedia.
35. Jane Yolen, Welcome to the
Greenhouse(New York: G. P Putman &
Sons, 1993); and Jo Ellen Bogartand Sylvie
Daigneault, Sarah Saw a Blue Macaw
(Richmond Hill, ON: Scholastic Canada
Ltd., 1991).
36. Hugh Tracy,TheLionon the Pathand
Other Stories (New York: Praeger, 1967);
"Why Chickens and Hawks are Enemies"
and "TheSinging Monster"are availablein
Tara McCarthy, Multicultural Fables and
Fairy Tales (New York: Scholastic
ProfessionalBooks, 1993).
37. Soundtrack Performance Group,
"RainForest,"Elements:Libraryof Dramatic
Music, vol. 6. Available from Soundtrack
Performance Group, PO Box 22005,
Glenridge Plaza, 224 Glexridge Ave., St.
Catharines,ON, L2T 4C1.
38. The Life in Africa Foundation has a
Web site located at www.lifeinafrica.
com/fun/recipes that offers traditional
recipes with ingredients that are readily
available.?
34
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