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TEACHER’S GUIDE

1 TO THE 2COUNTRY MUSIC HALL OF FAME®

AND MUSEUM

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

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

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

Teacher’s Guide to the

Country Music

Hall of Fame® and Museum

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Teacher’s Guide

COUNTRY MUSIC HALL OF FAME® AND MUSEUM

INTRODUCTION 1

LESSON ONE:

What’s a Museum? 3

LESSON TWO:

The Country Music Hall of Fame 6

LESSON THREE:

Country Music Yesterday and Today 9

LESSON FOUR:

Who Creates Country Music? 12

LESSON FIVE:

Image of a Performer 18

LESSON SIX:

The Sources of Country Music 23

LESSON SEVEN:

Styles of Country Music 25

LESSON EIGHT:

Post-Visit Reflection 30

GLOSSARY 36

LYRIC SHEETS 38

HELPFUL RESOURCES 51

TEACHER’S EVALUATION 52

TABLE OF CONTENTS:

Buck Owens’s guitar

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Teacher’s Guide


What’s a Museum?

TENNESSEE STATE CURRICULUM STANDARDS:

Language Arts:

1. LanguageGLEDemonstrate knowledge of strategies and

resources to determine the definition, pronunciation,

and usage of words and phrases.

2. CommunicationGLE• Continue to develop basic listening skills

necessary for communication.

• Continuetodevelopbasicspeakingskillsnecessary for communication

Checks for Understanding:

• Demonstratetheabilitytofolloworaldirections

up to three steps.

• Participateingroupdiscussions.

3. WritingChecks for Understanding:

Construct graphic organizers to group ideas for writing

(e.g. webs, charts, graphs, diagrams, illustrations).

5. LogicChecks for Understanding:

Compare and contrast two characters, ideas,

or stories.

Social Studies:2.0 Globalization of the economy, the explosion

of population growth, technological changes,

and international competition compel students

to understand, both personally and globally, the

production, distribution, and consumption of goods

and services. Students will examine and analyze

economic concepts such as basic needs versus

wants, using versus saving money, and policy

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

6.0Personaldevelopmentandidentityareshapedby factors including culture, groups, and institutions.

Central to this development are exploration, identifica-

tion, and analysis of how individuals and groups work

independently and cooperatively: 6.01 (K-8)

Learning Objectives:

1. Students will compare and contrast a museumandashoppingmalltounderstandthedistinctivecharacteristicsofmuseums.

2. Students will role-play to understand variousjobsinvolvedinmuseumwork.

Prep Time:None

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

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

1. Share the following with students.

TheCountryMusicHallofFameisbothamuseumandahalloffame.Let’sfirstlearnalittlebitaboutwhatmakesitamuseum.

2. Use the following questions to

engage students in a discussion

about museums.

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

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

aquariums,botanicalgardens,history,zoos)?• Whydoyouthinktheyareallconsidered

museums?(Theyallexhibitspecificobjects,livingornon-living.)

3. Create a bulletin board in your

class about your study of museums.

Poststudentworkfromthislesson,museumbrochures,andphotosfromtheirfavoritemuseums.

4. Discuss and share the following

with students.

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

5. As a class, generate a list

of common characteristics of

a museum.

Thiswilldeterminestudents’initialunderstanding.Usequestionsandstudentresponsesfrom#2tohelpcreatethislist.

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Teacher’s Guide


6. After students have generated

this list, share this definition of a

museum:

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

7. Ask students to compare their

characteristics of a museum with

the definition provided.

8. Ask students to use a Venn

diagram to compare and contrast

a museum with a shopping mall.

They can do this as a class or in

small groups.

TEACHER TIP:

If students work in small groups, you can ask

each group to compare a museum to a different

venue, like an amusement park, restaurant, arena,

or symphony hall.


engage students in a discussion.

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

specialaboutthebuildingdesign?• Whatisthepurposeofeachplace?• Whatkindsofjobsdopeoplehaveateachplace?

TEACHER TIP:

If students need a reminder of the concepts of

comparing and contrasting, use the following questions

to engage them in a discussion. You can also use

terms like “alike” and “different.” What does it mean

to compare and contrast? What are the advantages of

comparing and contrasting two different things? What

can you gain by doing this?

10. Ask students to share their

findings with the class.

Whatdistinguishesmuseumsfromotherplaces?Inwhatwaysaretheylikeotherpublicplaces?

11. Share the following with

students.

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

12. Discuss together.

Askstudentstothinkaboutthevariousjobsinvolvedinoperatingamuseum.Someofthemainjobsinvolvedinthedailyworkofamuseumareasfollows:

Directors:Museumdirectorsoverseeallaspectsofthemuseumandareresponsibleforthemuseum’soverallfinancialstatusandculturalvaluetothecommunityitserves.Directorsusuallyworkcloselywithaboardofdirectorsandreporttothatgroup.Theyoftenspeakinpublicabouttheirmuseumanditsimportancetothecommunity.

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

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Teacher’s Guide


Educators:Museumeducatorsdevelopandconducteducationalprogramsthatfocusonthemuseum’sexhibitsandthatconnecttopeople’severydaylives.

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

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

13. Divide students into five small

groups representing each of the five

museum jobs listed.

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

• Directors:Whatwouldyousayaboutyourmuseumtothepublicsothattheymightbetterunderstandwhyitisanimportantmuseumtohaveinyourcommunity?

• Curators:Sometimesartifactsneedabreakfromharshexhibitlighting.Howwouldyouexplaintothepublicthatyouhadtoremoveanartifactthatpeoplereallylovetosee?

• Educators:Howmightyourelateoneofyourcurrentexhibitionstothingsthatchildrenareinterestedin?Whatrelatedhands-onactivitieswouldyouusetoengagechildreninlearning?

• ExhibitDesigners:Howmightyoudisplayaparticularobjectsothatchildrenwouldbeinterestedinlearningmoreaboutit?

• DevelopmentOfficers:Howmightyouencourageapotentialfundertogivemoneytoyourmuseum?

TEACHER TIP:

Many museums have a restaurant and souvenir shop.

There are many jobs involved in operating these areas,

too. Students may mention this.

14. Each group should present their

ideas to the class.

15. Discuss the museum’s

architecture with students.

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

The Country Music

Hall of Fame and Museum

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Teacher’s Guide


The Country Music

Hall of Fame


Language Arts:

4. Research

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


•Organizeinformationgatheredusingasimplegraphic organizer.

•Writeasimpleresearchreportdemonstrating the research results.

5. Logic

Checks for Understanding: •Compareandcontrasttwocharacters,ideas,

or stories.

Social Studies2.0 Globalization of the economy, the explosion







wants, using versus saving money, and policy

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

6.0 Personaldevelopmentandidentityareshapedby factors including culture, groups, and institutions.

Central to this development are exploration, identifica-

tion, and analysis of how individuals and groups work

independently and cooperatively: 6.01 (K-8)

Music

6.0 Students will listen to, analyze, and describe

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

9.0 Students will understand music in relation

to history and culture: 9.3 (6-8)


1. StudentswillexamineCDlinernotesandinformationonlineregardingsongsandalbums,toidentifysomeofthejobsinthemusicbusiness.

2.StudentswilldiscussotherhallsoffametounderstandmorefullytheCountryMusicHallofFame.

Prep Time:FiveminutestomakecopiesofworksheetandlyricsheetforeachstudentandsetupCDplayer

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

Vocabulary:Comedian,halloffame,producer,recordingengineer,songwriter

1. Distribute to each student

a copy of the worksheet “Careers

in Music,” on page 8.

2. Ask students to examine closely

the liner notes of their favorite

album by looking at the CD or by

accessing the information online.

Theyshouldlookforthenamesanddetailsofmusicians,singers,producers,recordingengineers,songwriters,etc.whoarefeaturedonthatalbum.Iftheylike,theycanfocusonjustonesong.Theactivitywillintroducestudentstothevarietyofpeopleandjobsinthemusicindustry.



• WhataresomeofthetypesofpeopleandjobsinvolvedincreatingyourfavoriteCD?

• Whattypesofmusicalinstrumentsarefeatured?Dosomeofthemusiciansplaymorethanoneinstrument?

• Howmanysingersarethere?Aretherebackingvocalists?

• WhowrotethesongorsongsontheCD?Isthesongwriteralsointhebandorwerethesongswrittenbysomeonenotintheband?

• Wherewasthealbumrecorded?Mastered?Whowastheengineer?

• Whowastheproducer?

• Doyouthinkanyofthesejobsaremoreimportantthantheothers?Explain.

4. Ask students to share

information they learned about

the people involved in creating

the CD they brought from home

or information they found about it

online.

Thiscanbediscussedasaclassorinsmallgroups.

TEACHER TIP:Students can complete #2 for homework.

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Teacher’s Guide


5. Share the following with students:

ThismuseumalsohousestheCountryMusicHallofFame,whichincludesplaquesofcountrymusicsingers,musicians,songwriters,comedians,andbusinesspeople.EachmemberoftheHallofFamewaselectedbecauseoftheirhardworkandcontributionstocountrymusic.PeoplelikeJohnnyCash,DollyParton,andElvisPresleyaremembersoftheCountryMusicHallofFame.NewmemberstotheHallofFameareelectedeachyearbytheCountryMusicAssociation.JimmieRodgers,FredRose,andHankWilliamswerethefirstinducteesintotheHallofFamein1961.

6. Play “Man in Black,” track 1, by

Country Music Hall of Fame member

Johnny Cash.

7. Encourage students to

follow along with the lyric sheet

from page 39.

8. Share the following with students:

JohnnyCashwasacountrymusicsuperstarwhohelpedbroadencountry’saudiencethroughhissingingandsongwriting.Heisalsoknownforsongslike“FolsomPrisonBlues”and“RingofFire.”Cashoftenworeblackclothing,earninghimthenicknamethe“ManinBlack.”Inthissong,youlearnmoreaboutwhyheworeblack.Doyoulikethissong?Whyorwhynot?

TEACHER TIP:Encourage students to visit the Country Music

Association’s Web site: www.cmaworld.com to

learn more about this organization and how people

are elected to the Country Music Hall of Fame.

Click on the link “Hall of Fame” on the home page.

Students may also research Country Music Hall of

Fame members at www.CountryMusicHallofFame.org.


• Haveyoueverbeentoanotherhalloffame?Whichone(s)?

• Whatdidyouseethere?

• Whatdidyoudothere?

• Whowashonoredthere?

• Howisahalloffamedifferentfromamuseum?Howaretheysimilar?

10. Invite students to create their

own hall of fame.

Usethefollowingquestionstodirectstudents.

• Whattypeofhalloffamewouldyoucreate?Whatisitspurpose?

• Wherewoulditbelocated?Explainwhy.

• Howwouldyoudecidewhomtoinduct?

• Howoftenwouldyouinductnewmembers?

• WhywouldpeoplethinkthishalloffameisimportantinAmericanorworldculture?

The Country Music Hall of Fame

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Teacher’s Guide


Worksheet

Careers in Music

Name:________________________________________________ Date:_________________________________________

LookcarefullyatafavoriteCDoraccessthelinernotesonline.Fillinthischartwithinformationyoulearnfromyourresearch.

Singer(s)

Backing Vocalists(s)

Songwriter(s)

Producer(s)

Sound Engineer(s)

Musician(s)

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Teacher’s Guide


Country Music

Yesterday and Today


Language Arts:

1. Language

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

2. Communication

GLEContinue to develop basic listening skills necessary for communication.

Checks for Understanding: •Listenandrespondtoavarietyofmedia

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

•Participateingroupdiscussions.

•Respondtoquestionsfromteachersandothergroupmembersandposefollow-upquestions for clarity.

Social Studies:

1.0 Culture encompasses similarities and differences

among people, including their beliefs, knowledge,

changes, values, and traditions. Students will explore

these elements of society to develop an appreciation

and respect for the variety of human cultures:

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

3.0 Geography enables the students to see,

understand, and appreciate the web of relationships

among people, places, and environments. Students

will use the knowledge, skills, and understanding

of concepts within the six essential elements of

geography: world in spatial terms, places and regions,

physical systems, human systems, environment and

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

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

5.0 History involves people, events, and issues.

Students will evaluate evidence to develop comparative

and causal analyses, and to interpret primary sources.

They will construct sound historical arguments

and perspectives on which informed decisions in

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

Art:

3.0 Students will choose and evaluate a range

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

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

4.0 Students will understand the visual arts in relation

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

Music:


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

7.0 Students will evaluate music and music

performances: 7.1, 7.2 (1-12)

9.0 Students will understand music in relation

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


1. StudentswillexamineamapoftheworldtoidentifytheoriginsofsettlerswhocametoAmerica.

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

3. Studentswilllistentocountrysongstoidentifymusicalinstrumentsandmusicalstyles,andtoevaluatecountrymusicasanartform.

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

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

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

1. Listen to Mark O’Connor’s version

of the fiddle tune “Sally Ann,” track 2.

Askstudentswhatthesongmakesthemthinkof.Whatdoyoulikeordislikeaboutthesong?Whatinstrumentdoyouhear?


CountrymusicismusicofNorthAmerica.ItbeganwithfolksongsbroughttotheNewWorldbysettlersfromtheBritishIsles,atraditionofsongs,singing,andfiddlingthatiscenturiesold.ItgrewandchangedasthesesettlersadjustedtotheirnewlivesinAmericaandlearnedmusicbroughttoAmericafromotherpartsofEurope,Asia,LatinAmerica,andAfrica.Inmanyinstances,America’ssettlerswerenotschooledinformal,writtenmusic.Inruralareas,musiciansfrequentlyplayedbyear.Theymemorizedandpasseddownamusicthatsangoftheirlives,theirwork,andtheirloves.

Bytheearlytwentiethcentury,thisAmericanfolkmusicwasjustoneofmanytypesofmusicavailableinruralcommunities,alongwiththeblues,gospelhymns,andprofessionallywrittensongsperformed

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Teacher’s Guide


bytravelingmusiciansoravailableassheetmusic.Insteadofremainingdistinct,thesedifferentkindsofmusiccasuallymixedwithoneanotheraspeoplemovedthroughtheirdailylives.Likeapatchworkquilt,ruralAmericanmusicgraduallycombinedmanydifferentstylesthatformedsomethingbeautifulwhenjoinedtogether.

3. Examine a map of the world

to identify the continents from

which American settlers came.

LookforEurope,Asia,LatinAmerica,andAfrica.ThefiddlewasoriginallyaEuropeaninstrumentandthebanjoanAfricaninstrument.

TEACHER TIP:Ask students to find out what countries their

ancestors came from. How long ago did they come

to this country? Where did they settle? What types

of music traditionally come from this country? You

may choose to have students do this as a homework

assignment so they can ask their parents or other

relatives for more information. Consider creating a class

bulletin board about the heritage of class members and

the traditional early music of that country.

4. Examine The Sources of Country Music by Thomas Hart Benton.

In1974and1975,ThomasHartBentoncreatedthispaintingtoshowhowcountrymusicstarted.Identifysomeofthemusicalinstruments,geographicalregionsoftheUnitedStates,stylesofmusic,andthemesherepresents.Studentswilllearnmoreaboutthispaintinginalaterlessonandwillgettoseeitduringtheirmuseumvisit.

5. Folksongs

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

Folksong:A song belonging to the folk music of a people or area,

marked chiefly by the directness and simplicity of the

feelings expressed. Folksongs are not written down, but

are passed from generation to generation orally.

(from Webster’s)

The Sources of Country Music by Thomas Hart Benton

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Teacher’s Guide



Earlier,wereadapassageaboutcountrymusicanditsmanyorigins.Inthepassage,welearnedthatcountrymusicislikeapatchworkquilt,withmanysourcesandsoundsthatcometogethertocreatesomethingbeautiful.Nowwearegoingtolistentosomesongsanddiscusstheblendingofdifferentmusicalstyles.

7. Gospel and Country Music

Harmonizingvoicesareonecomponentofbotholdandnewgospelmusic.Thisstyleofsinging,wheremultiplepeoplesingthesamewordsbutindifferentpitches,ispartofmanycountrysongsaswell.

8. Listen to “I Saw the Light” by

Country Music Hall of Fame member

Bill Monroe, track 3, a gospel song

performed in a bluegrass style.

Then,listento“IFalltoPieces,”track14,byHallofFamememberPatsyCline,whichfeaturesHallofFamememberstheJordanairessingingharmonies.Whilethissongisnotagospelsong,theJordanaireshaverootsinthegospeltraditionandlendtheirtraditionalstyletothisbalad.Identifythesimilaritiesintheharmonizingvoices.Doyoulikethesoundofharmonizingvoices?Explain.

9. Blues and Country Music

MusicianssuchasHallofFamememberJimmieRodgersworkedontherailroad,sidebysidewithothermusicians.Thisprovidedopportunitiestosharetheirmusic.Asaresult,differentstylesofAmericanmusicinfluencedoneanother.Forexample,thestyleandsoundofthebluesinfluencedthestyleandsoundofcountrymusicandviceversa.

10. Listen to “Match Box Blues” by

blues singer Blind Lemon Jefferson,

track 4, and “Waiting for a Train”

by Hall of Fame member Jimmie

Rodgers, track 5.

Comparethetwosongsintermsofstyle,musicalinstruments,andsound,usingaVenndiagram.

Doyoulikethesesongs?Whyorwhynot?Dothesongsremindyouofmusicyouhaveheardbefore?Explain.Howdotheysoundsimilarordifferent?

11. Sound Technology

Intheearly1920s,withthecomingofradioandrecords,itbecamepossibleformusicianstoearnmoneyplayingmusicinnewways.ThesenewsoundtechnologiesalsohelpedspreadthemusicofAmerica’sruralcommunitiesacrossthenation.

12. Engage students in a discussion

of the different ways they listen to

music today, to compare how people

listened to music before radio, CD

players, MP3 players, etc.

Howdoyouthinktechnologyhelpedthespreadofmusic?Doyouthinktechnologycanaffectmusicnegatively?Explain.

TEACHER TIP:This would make a good journal writing topic.

13. Country Music Today

Todaycountrymusicisthefocusofahugeentertainmentindustrythatgeneratesbillionsofdollarsayear.Alongtheway,countrymusichasundergonemanychangesinitsjourneyfromsimplefolksongsandfiddletunestomodernmusicalstoriesoftenpoweredbydrums,electricguitars,andelectrickeyboards.Throughoutallitschanges,countrymusichasneverforgottenitsrootsorlostitsdown-homeflavor.Perhapsmorethananyotherformofpopularmusic,countrydrawsstrengthfromthevocalandinstrumentaltraditionsofthepast.Atitsbest,countrymusicservesasaconnectionbetweenthestoriesoftodayandthevaluesofourancestors.

14. Listen to “Welcome to the Future”

by Brad Paisley, recorded in 2009,

track 6.

Thissongdemonstratesamoreelectricsound.Describethesimilaritiesanddifferencesintheoverallsoundofthissongcomparedtowhatyouheardinearlycountrymusic.Whichsongdoyoulikebest?Explain.

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Teacher’s Guide


Who Creates

Country Music?


Language Arts:

2. Communication

GLE•Continuetodevelopthebasiclisteningskills

necessary for communication.

•Continuetodevelopbasicspeakingskillsnecessary for communication.

Checks for Understanding: •Listenandrespondtoavarietyofmedia

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

•Participateingroupdiscussions.

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

3. Writing

GLEWriteforavarietyofpurposesandtoavariety of audiences.

Social Studies:

5.0 History involves people, events, and issues.

Students will evaluate evidence to develop

comparative and causal analyses, and to interpret

primary sources. They will construct sound historical

arguments and perspectives on which informed

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

Music:


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



Learning Objective:StudentswilllearnmoreaboutinducteesoftheCountryMusicHallofFame,includingbiographicalinformationandknowledgeoftheircareers,toexploredifferentcareersincountrymusic.

Prep Time:Tenminutestophotocopylyricsheetsandworksheets,collectordinaryobjectsaroundclassroom,andsetupCDplayer

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

Vocabulary:Comedian,induct,plaque,producer,songwriter

Share the following with students:

Let’slearnaboutsomeCountryMusicHallofFamemembersandtheircontributionstocountrymusic.Whilesomeofthemostfamouspeopleincountrymusicareperformers,halloffamememberscomefromawidevarietyofcareers,includingsongwriters,musicians,singers,producers,businesspeople,andevencomedians.

1. Songwriters

A. Share the following information

about songwriting with students.

Somesongsarewrittenbythesingerswhorecordthem,butmanysongsarewrittenbyprofessionalsongwriterswhonevermakerecordings.Thesesongwritersmaynotbeaswellknown,buttheirspecialtalentsgivesingersawidevarietyofsongstochoosefrom.

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

B. Share the following with students.

ManysongwritersaremembersoftheCountryMusicHallofFame,includingDollyParton.Dollyisanaccomplishedperformerandsongwriter.

ThisinformationwastakenfromherHallofFameplaque:

DollyPartonJanuary19,1946Elected1999

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

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Teacher’s Guide


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

TEACHER TIP:So that your students can follow along, put this text

on a PowerPoint slide or transparency.

C. Discuss together.

Basedontheinformationabove,whydoyouthinkDollyPartonwasinductedintotheCountryMusicHallofFame?

D. Using dates and other information

from Dolly’s plaque, create a timeline

of Dolly’s career, including her date

of birth and the date of her induction.

Considerdoingmoreresearchsoyoucanincludeadditionalmilestonesonyourtimeline.

E. Listen to Dolly sing

“Coat of Many Colors,” track 7.

Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage44.

F. Use the following questions to


• Doyoulikethissong?Whyorwhynot?

• Doyouthinkthissongiswellwritten?Whyorwhynot?

• WhywouldDollywriteasongabouthercoat?

• Forwhomdoyouthinkthissongwaswritten?

• Whatdoyouthinkisthesong’soverallmessage?

TEACHER TIP:Ask students to find out who wrote the words to some

of their favorite songs. Do any of the singers they like

write their own songs?

2. Instrumentalists

A. Discuss together.

• Doyouplayaninstrument?Ifso,whichone?

• Howdidyoulearntoplay?Howoftendoyoupractice?

• Ifyoudon’talreadyplayaninstrument,howwouldyoulearn?Whatwouldyouplay?


Fewmusicalrecordingsfeaturevocalsonly.Instrumentslikethebanjo,fiddle,andguitargivecountrysongsauniquefeelandmakelistenerswanttolistentothemagainandagain.Ittakesthetalentofdedicatedmusicianstocreatesuccessfulsongs.Whilemanymusiciansprovidemusictobackupasinger,somemusiciansperformontheirownwithjusttheirinstrument.DollyParton

14

Teacher’s Guide


C. Share the following with students.

DeFordBaileywasaverysuccessfulinstrumentalistintheearlydaysofcountryradio.Heplayedharmonica.

ThisinformationwastakenfromDeFordBailey’sHallofFameplaque:

DeFordBaileyDecember14,1899-July2,1982

Elected2005

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

TEACHER TIP:If students have not heard a harmonica before, locate

additional recordings online or from the library. Consider

sharing its history and playing styles with students.

D. Listen to “Pan American Blues”

by DeFord Bailey, track 8, recorded

in 1939.

Describewhatyouhear.Doyoulikethesoundoftheharmonica?Howdoesthisbluesrecordingsounddifferentfromthemusicyouheartoday?

E. Replay some of the songs from

the accompanying CD and ask

students to listen carefully and

identify the instruments they hear.

Askstudentstothinkaboutwhatthesongwouldsoundlikewithoutanyinstruments.

4. Producers

A. Share the following with students.

Producersplayanimportantroleincreatingmusic.Theycomeupwithanideaaboutthewayasongshouldsoundanditistheirjobtomakesurethatthefinalproductturnsoutwell.Whiletheydon’tactuallysingorplayinstruments,theiropinionsandideasinfluencethefinalproduct.Theymakedecisionsandsolveproblemsinordertocreateafinalrecording.


OwenBradley,amemberoftheCountryMusicHallofFame,isawell-knownproducerwhohasworkedwithawidevarietyofartists.

ThisinformationwastakenfromOwenBradley’sHallofFameplaque.

OwenBradleyOctober21,1915-January7,1998

Elected1974

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

DeFord Bailey

15

Teacher’s Guide


Twitty.Hishonestyandintegrityinbusinessaffairssecuredtherespectofhisassociates,andhisinfluenceencouragedtheestablishmentofNashvillerecordingstudiosandspurredthedevelopmentofthe“musicrow”area.

C. Select a song that all students

are familiar with.

Dividethemintoseparategroupsandhaveeachgroup“produce”theirownversionofthechorus.Askthemtothinkabouthowtheywouldsingthechorusdifferently.Inadditiontosinging,studentsmayuseclassroominstrumentsoreverydayobjectslikepencils,cups,orboxestomakesound.Allowtimeforgroupstopracticebeforeperformingtheiradaptations.Aftereachgrouphashadachancetoperform,studentsshouldcompareandcontrasttheirwork.Thefollowingquestionscouldbeusedindiscussion.• Howdidyoudecidewhatyouwantedyour

finalversionofthesongtosoundlike?

• Whatstepsdidyoutaketoensurethatthefinalproductturnedoutasyouwanteditto?

• Wereyouhappywiththefinalversionyouperformed?Explain.

• Didyourclassmates’renditionsofthesongsoundthesameordifferentfromyourown?How?

• Basedonyourexperience,doyouthinkitwouldbeeasyorhardtobeaproducer?Explain.

TEACHER TIP:Ask students to research the producers of some of their

favorite albums. Encourage them to think about tempo,

instrumentation, and vocal style for one or more of the

songs. They can answer the following questions aloud

or use them as journal prompts.

• Doyouthinkthesongoralbumappealstoalot of people? Explain.

• Howmightyouhaverecordedthesongdifferently?

5. Comedians

A. Share the following with students.

NotallmembersoftheCountryMusicHallofFameareperformers,songwriters,instrumentalists,orproducers.MinniePearlisoneofthebestknowncharactersincountrymusichistory,yetshedidnoneofthosethings.

• HaveyouheardofMinniePearlbefore?Whatdoyouknowabouther?

• WhatdidMinniePearldoforaliving?


TheinformationwastakenfromMinniePearl’sHallofFameplaque.

MinniePearlOctober25,1912Elected1975

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

Owen Bradley

16

Teacher’s Guide


“HowDee!I’mjustsoproudtobehere”—madeherthefirstcountryhumoristtobeknownandlovedworldwide.

C. Listen to a clip of Minnie Pearl

performing onstage, track 9.

D. Use the following questions to


• WhydoyouthinkpeoplethoughtMinniePearlwasfunny?

• WhydoyouthinkSarahOpheliaColleyCannonchosetohaveherstagename,notherrealname,printedonherplaque?

• Whydoyouthinkcomedyissuchanimportantaspectofcountrymusic?Canyouthinkofanyothercountrycomedians?

Note:Though Sarah Ophelia Colley Cannon passed away in

1996, her death date was left off of her plaque, at her

request. When inducted into the Hall of Fame, Cannon

asked that her stage name be printed on the plaque,

and that a death date never be included because,

though she would pass away, the character of Minnie

Pearl would live on forever.

6. Distribute to students copies of

the “Biographical Chart” on page 17.

7. Choose a Country Music Hall of

Fame member to learn more about.

VisitourWebsite,www.CountryMusicHallofFame.orgtolearnmoreaboutmembersoftheHallofFame.Fillintheinformationonthe“BiographicalChart”tosummarizewhatyoulearned.

TEACHER TIP:

You may choose to have students finish #7 after their

visit to the museum.

MinniePearl

17

Teacher’s Guide


Worksheet

Biographical Chart

Name:________________________________________________ Date:_________________________________________

The Life of ______________________________________________________

Date of Birth: ___________________________________ Date of Death: ___________________________________

Profession: ______________________________________ Induction Date: _________________________________

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

Early Years Public Image

Life Struggles Accomplishments

Interests Artists Influenced by Him or Her

Why do you think he or she was inducted into the Country Music Hall of Fame?

18

Teacher’s Guide


Image of a Performer


Language Arts:

2. Communication

Checks for Understanding: Listenandrespondtoavarietyofmedia (e.g., books, audio tapes, videos).

5. LOGIC

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

Checks for Understanding: Compare and contrast two characters, ideas, or stories.


1. Studentswilldefinetheword“image”tounderstandhowitrelatestoperformersorartists.

2.Studentswillevaluateoneoftheirfavoriteperformerstofurtherexamineimage.

3.Studentswillcompareandcontrasttheimagesoftwocountrysingerstoexplorehowimagehasevolvedovertime.

4.Studentswillcreatetheirownfictionalperformertodemonstratetheirunderstandingoftheword“image.”

Prep Time:TenminutestophotocopylyricsheetsandworksheetandsetupCDandCDplayer

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

Vocabulary:Costumes,GreatDepression,image,theWest

1. Ask students to define the

word “image.”

Allowstudentstocomeupwiththeirowndefinitionbeforelookingoneupinthedictionary.


Youcantellalotaboutanartistorperformerbeforetheyevenbegintheirshow.Theircostumes,style,bodylanguage,andspeechtellusaboutwhotheyare,andwhattheyhavetoshare.Theseelementstogethercreateaperformer’spublicimage.Countrysongsoftenfocusontravel,family,home,andheartbreak.Performerssingaboutsomeofthesesamethemesbutcanlookandactverydifferentlyfromoneanother.Costumesandhairstyleareimportantpartsofa

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

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

3. Instruct students to think about

one of their favorite performers.

Listseveraladjectivestodescribehimorher.Howwouldyoudescribehisorherpersonality,style,andcharacter?Aretheyknownfordressingacertainway?Whatthemesormainideasdotheysingabout?Whydoyoulikethisperformer?Doestheirpublicimagecontributetoyourenjoymentoftheirmusic?Doyouthinkhisorherimageencouragespeopletobuyhisorherrecordsorconcerttickets?

TEACHER TIP:

Visit www.CountryMusicHallofFame.org to learn more

about members of the Country Music Hall of Fame.

Students should select a performer and research their

life story to learn more about their public image.


Askstudentswhattypesofclothingtheyassociatewithcountrysingers.Studentsmaylistclothinglikecowboyboots,hats,orbuttonedshirts.Explaintostudentsthatthiswesterntraditionhasbeenapartoftheimageofcountrysingersformanyyears.

5. Play “I Wanna Be a Cowboy’s

Sweetheart” by Country Music Hall

of Fame member Patsy Montana,

track 10.

Providesonglyricsforeachstudent,foundonpage45.Basedonthelyricsofthesong,have

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19

Teacher’s Guide


studentsdrawapictureofwhattheythinkPatsyMontanalookslike.Whatcantheytellaboutherpublicimage,basedonthesonglyricsandhervoice?Howwouldtheydescribeherpublicimage?


In1935,“IWannaBeaCowboy’sSweetheart”becamethefirstbighitbyasolofemalecountrysinger.ItslyricsaboutlifeintheWestcreatedacheerfulimageforAmericaduringtheGreatDepression.Montanasangmanysongsaboutthefreedomofbeingacowgirl,andherclothesreflectedthesubjectmatter.Sheoftenworecowboyboots,hats,fringe,andembroideredtops.

7. Listen to “Tim McGraw” by

Taylor Swift, track 11.

Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage46.

TEACHER TIP:

Use a Venn diagram for the following activity.


• Howisthissongsimilarto“IWannaBeaCowboy’sSweetheart?”

• Howisitdifferent?

• HaveyouheardofTaylorSwiftbefore?Ifnot,conductresearchabouther.

• Describeherpublicimage.

• Whattypesofclothingdoesshewear?

• DoesshewearanyofthesametypesofclothingasPatsyMontana?


WhileTaylorSwiftmaynotsingaboutlifeontherange,herpublicimageiscertainlyinfluencedbysingersofthepastlikePatsyMontana.LikeSwift,manymodern-daysingerswearstageclothingthatremindsusofcowboys.KennyChesney,AlanJackson,andGeorgeStraitareallexamples.Cowboyhats,boots,andpearl-buttonshirtsarestillcommonlywornbymoderncountrysingers.Thoughtheirmusicsoundsdifferent,theirpublicimagehasmanysimilarities.

TEACHER TIP:

Consider looking online and sharing the music video of

“Tim McGraw” with students. Do the characters in the

music video wear anything that reminds you of the West

or Patsy Montana? Explain.

PatsyMontana

Taylor Swift

© E

bet R

oberts

20

Teacher’s Guide



Clothingisn’ttheonlyelementofasinger’spublicimage.Ondisplayinthemuseumaremanyobjectsincludingamotorcycleandatypewriterthatbelongedtonoteworthyfiguresincountrymusichistory.TwocarsareondisplaythatbelongedtoCountryMusicHallofFamemembersWebbPierceandElvisPresley.First,listentothissongperformedbyElvis,andthenwewilldiscusshiscarandimageinfurtherdetail.

11. Listen to “That’s All Right” by

Elvis Presley, track 12, and discuss

the following.

• Doyoulikethissong?Whyorwhynot?

• HaveyouheardofElvisPresley?

• Whatdoyouknowabouthim?

• WhatdoesthissongrevealtoyouaboutElvis’simage?

• ListsomeadjectivestodescribeElvisandhispublicimage.

• Basedonthelistyougenerated,designacarforElvis.Writeadescriptionofwhatitwouldlooklike,ordrawapicture.


DisplaythephotoontheTeacher’s Guideposter.Elvis’sCadillacisnotyouraveragecar.Itwascustomizedjustforhim.The1960Cadillac75limousine,apersonalfavoriteofPresley’s,wascustomizedbyBarrisKustomCityofNorthHollywood.Theexteriorsheenisduetoits24-karatgoldplatehighlights,andfortycoatsofatranslucentmixtureofcrusheddiamondsandfishscalescalled“diamonddustpearl.”Theinteriorincludessuchtouchesasagold-platedtelevisionandarefrigerator.


• WhydoyouthinkElvishadacarlikethis?

• HowwouldthiscarcontributetoElvis’spublicimage?

• WhatdoyouthinkElviswantedthepublictothinkabouthimwhentheysawhiminthiscar?

14. Using what they’ve learned

about the image of a performer,

invite students to develop their own

fictional performer.

Usingtheworksheet“DevelopaPerformer’sImage”onpages21-22,theyshoulddeterminewhatheorshewillsoundlike,looklike,andsingabout.Afterstudentshavecompletedtheirworksheets,encouragethemtosharetheircreationswiththeclassorinsmallgroups.

15. Invite students to write in their

journals using the following prompts.

Manyperformersorotherpublicfiguresconveyaparticularimageofthemselvestothepublicbutareverydifferentintheirpersonallives.Whydoyouthinktheywoulddothis?Howmightitbenefitthem?Whatdoyouthinkaboutthis?

ElvisPresley

21

Teacher’s Guide


Worksheet

Develop a Performer’s Image

Name:___________________________________________________Date:______________________________________

Youcanlearnmoreaboutaperformerbylookingattheirpublicimage.Usingtheinformationyoulearnedinthislesson,createyourownperformerwithauniqueimage.

1. Performer’s Name: _______________________________________________________________________________

2. List some adjectives to describe your performer.

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

4. What themes does the performer sing about?

5. Describe the performer’s personal life. How does he or she spend his or her free time?

Does he or she have any hobbies, likes, or dislikes?

22

Teacher’s Guide


Worksheet

Develop a Performer’s Image

page 2

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

23

Teacher’s Guide


The Sources

of Country Music


Language Arts:

3. Writing

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


• Writeonaspecifictopictoaspecifiedaudience.

• Practicewritingtoapromptwithinaspecifiedtime.

Art:

3.0 Students will choose and evaluate a range of

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

3.3 (K-1, 9-12)

4.0 Students will understand the visual arts in relation

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


1. StudentswillreflectontheirlearningbyanalyzingThe Sources of Country Music,apaintingbyThomasHartBenton.

2.Studentswilldefinetheword“source”andwillbrainstormdifferentsourcesofcountrymusic,basedonpreviouslessons.

3.Studentswillusetheirimaginationtolearnmoreaboutthefiguresinthepainting.

Prep Time:5minutestoaccessonlineversionofThe Sources of Country Music

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

Vocabulary:Mural,source

1. Ask students to define the word

“source.”

Youmaylookupthewordinthedictionary,orusethedefinitionbelow,afterstudentshavecomeupwiththeirowndefinition.

Source:A beginning or origin

2. Before sharing the painting

with students, ask them to create

their own drawing or painting

depicting how and where country

music started.

3. Examine the title of The Sources of Country Music as a class.

Whatdoyouthinkthepaintingisabout,basedonthetitle?


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

TEACHER TIP:

Thomas Hart Benton has been the subject of numerous

books and films. Consider exploring them with students.

A film featuring Benton working on The Sources of

Country Music can be found on the museum’s Web

site under “Learn.” Find the page titled “For Teachers.”

Students may be interested in Thomas Hart Benton, a

film by Ken Burns, or Thomas Hart Benton: An American

Original, a book by Henry Adams.

5. Examine the painting as a class.



• Basedonthispainting,canyouidentifyanyofthesourcesofcountrymusic?

• HowistheWestdepictedinthispainting?Whydoyouthinkit’sfeatured?

•WhydoyouthinkThomasHartBentonputdancersinthecenterofthepainting?

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24

Teacher’s Guide


• Whydoyouthinkheputachurchinthebackground?Whataboutthetrainandthesteamboat?

• Whatinstrumentsdoyouseeinthispainting?Doyouknowwhatcountriestheycomefrom?Arethereanyinstrumentsyoudon’trecognize?

• Describethevariouspeopleinthepainting.

• What,ifanything,doyouthinkismissing?

TEACHER TIP:

Expand this activity by asking students to select

one instrument from the painting to learn more about,

using books and the Internet. They may focus on what

the instrument is made of, where it comes from, its

playing techniques, or what genres of music it is played

in. More information can be found on our Web site:

www.CountryMusicHallofFame.org.

7. Instruct students to identify

one character in the painting that

is of particular interest to them.

Studentsshouldthenwriteaparagraphorshortstoryusingthatpersonasamaincharacter.

Usethefollowingquestionstoguidethinking.

• Whatcanyoutellaboutthispersonbasedontheinformationinthepainting?

•Whatisthischaracterdoinginthepainting?

•Whyisthispersonimportant?

• Whatdoyouthinkthisperson’sdailylifeislike?Whatclueshelpedyoucomeupwithyouranswer?

•Inwhatothersettingdoyouimaginethisperson?

TEACHER TIP:

Encourage students to learn about other murals

and muralists from around the world using books

or the Internet as resources. Artists could include

Michelangelo, Pablo Picasso, or Diego Rivera.

Suggested questions for discussion are below.

• Whatdistinguishesamuralfromothervisualart?

• Whopaintedthismural?

• Whatisthismuralcalled?

• Whatdoesthetitletellyouaboutthemural?

• Whereisthismural?Howlargeisit?

• Whoisthesubjectofthemural?

Describe what you see.

• Whatistheinspirationforthemural?

How can you tell?

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

25

Teacher’s Guide


Styles of

Country Music


Language Arts:

1. Language

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

5. Logic


Compare and contrast two characters, ideas, or stories.

Social Studies:

2.0 Globalization of the economy, the explosion







wants, using versus saving money, and policy making

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

6.0 Personaldevelopmentandidentityareshaped

by factors including culture, groups, and institutions.

Central to this development are exploration,

identification, and analysis of how individuals and

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

Music:


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



9.0 Students will understand music in relation to

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


1.Studentswilllistentodifferentstylesofcountrymusictoidentifysomeoftheirdistinctivecharacteristics.

2.Studentswillcreatevisualrepresentationsofthesongstheyhear,tocompareandcontrastmusicalstyles.

Prep Time:Tenminutestophotocopylyricsheetsandworksheets,fiveminutestosetupCDplayer

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

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


Welearnedearlierthatcountrymusictodayistheresultofmanytypesofmusiccomingtogetherfromdifferentcultures.Therearemanydifferentstylesofmusicwithincountrymusic.Thereisbluegrass,honky-tonk,cowboy,andmore.Let’slistentoandexploreafewdifferentstylesofcountrymusictocompareandcontrastthewaytheysound.

2. Select at least three of the styles

of country music from the next few

pages to read aloud to students.

PlaythesuggestedsongfromtheCDtoprovidestudentswithalisteningexample.

3. Distribute lyric sheets and

worksheets to students.

Instructthemtocompletetheworksheetonpages28-29andreadthesonglyricsastheylisten.Theyshouldidentifytheinstrumentsanddescribethestyletheyhear.

4. Distribute white or colored paper,

pencils, crayons, and oil pastels to

students.

Astheylistentoeachsong,instructthemtodrawwhattheyhear,feel,orimagine.Allowstudentstimetocompletetheirdrawings.Youmayneedtoplayeachsongseveraltimes.Askstudentstocreatedrawingsformultiplesongsandinstructthemtosharetheirworkwiththeclass.


• Explainwhatyourartworkrepresents.

• Whydidyouvisuallyrepresentmusicinthisway?

• Whatdoesitshowaboutthatparticularstyleofmusic?

• Howareeachofyourdrawingsthesame?Howaretheydifferent?

6. Ask students to research

online some of the performers

featured in the lesson.

TEACHER TIP:

You may hang students’ art in the classroom as part of

your study of country music. Consider having students

write labels with descriptions of their work and display

them next to the work.

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26

Teacher’s Guide


Early Country

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

Play “Waiting for a Train”

by Jimmie Rodgers, track 5.

Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage42.Thissongisanexampleofearlycountrymusic.

Cowboy

Cowboymusicnotonlycouldbeheardontheradio,butalsocouldbeseeninmoviesabouttheWildWest.Cowboysongstoldstoriesaboutlifeontherange.SomenotablecowboysingerswereGeneAutry,PatsyMontana,andRoyRogers.

Play “I Wanna Be a Cowboy’s

Sweetheart” by Patsy Montana,

track 10.

Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage45.Thissongisanexampleofcowboymusic.

Western Swing

Westernswingbecamepopularduringtheeraofbigbandmusic.Intendedfordancing,itbecamepopularinthedancehallsofTexasandOklahoma.Itsdistinctsoundmixedcountrymusicwiththesophisticatedrhythmsofjazz.Usingsomethingclosertoabigbandlineup(oftenincludinghorns)thantoatraditionalcountryband,starslikeBobWillsbecameverypopular.

Play “Take Me Back to Tulsa” by Hall

of Fame member Bob Wills and His

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

BobWills

JimmieRodgers

27

Teacher’s Guide


Bluegrass

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

Play “I Saw the Light” by Bill Monroe,

track 3.Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage40.ThissongisagospelsongwrittenbyHankWilliams,playedinbluegrassstyle.

Rockabilly

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

Play “That’s All Right,” by Elvis

Presley, track 12.Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage47.Thissongisanexampleofrockabillymusic.

The Nashville Sound

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

Play “I Fall to Pieces” by Patsy Cline,

track 14.

Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage49.ThissongisanexampleoftheNashvilleSound.

Tejano

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

Play “Baila Esta Cumbia” by Selena,

track 15.

Providelyricsforeachstudentsotheycanfollowalongastheylisten.Lyricscanbefoundonpage50.ThissongisanexampleofTejano.ThelyricsarelistedinbothSpanishandEnglish.

PatsyCline

28

Teacher’s Guide


Worksheet

Styles of Country Music

Name:__________________________________________________________Date:______________________________________

Acoustic Guitar Banjo Bass

Drums Electric Guitar Fiddle/Violin

Piano Steel Guitar Other:




Fast Flowing Hard

Loud Rough Smooth

Soft Twangy Other:

Fast Flowing Hard

Loud Rough Smooth

Soft Twangy Other:

Song Name: _____________________________________________________________________________________________

Artist: _______________________________________________________ Style: _____________________________________

What instruments do you hear?

Song Name: _____________________________________________________________________________________________

Artist: _______________________________________________________ Style: _____________________________________


How would you describe this song?


Do you like this song? Why or why not? ____________________________________________________________

____________________________________________________________________________________________________________

____________________________________________________________________________________________________________


____________________________________________________________________________________________________________

____________________________________________________________________________________________________________

29

Teacher’s Guide


Worksheet

Styles of Country Music

page 2




Fast Flowing Hard

Loud Rough Smooth

Soft Twangy Other:

Song Name: _____________________________________________________________________________________________

Artist: _______________________________________________________ Style: _____________________________________




____________________________________________________________________________________________________________

____________________________________________________________________________________________________________

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

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

3. Do any of these styles of music remind you of songs you listen to at home? Explain.

30

Teacher’s Guide


Post-Visit Reflection


Language Arts:

3. Writing


• Writeinjournals.

• Practicewritingtoapromptwithinaspecifiedtime.

2. Communication


• Participateingroupdiscussions.

• Participateincreativeandexpressiveresponses

to text (e.g., choral reading, discussion, dramatizations,

oral presentations, personal experiences).

4. Research


Organize information gathered using a simple graphic

organizer.

5. Logic


Compare and contrast two characters, ideas, or stories.


1.StudentswillreflectontheunitandontheirvisittotheCountryMusicHallofFameandMuseumtoidentifynewinformationtheylearnedornewwaysofthinking.

2.StudentswillusewhattheylearnedaboutcountrymusictoanalyzeanothergenreofmusicandtoconnectcountrymusictootherstylesofAmericanmusic.

Prep Time:Fiveminutestophotocopyworksheets.

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

Vocabulary:Artifact,genre

1. Reflection Activities

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

Lesson A


Atthebeginningofthisunit,wedefinedthewordartifact.Belowisthedefinitionweused:

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


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

3. Describe an artifact.

Usingtheworksheet“ObserveanArtifact,”onpage32,studentswillreflectonamuseumartifactofparticularinteresttothem.

Lesson B

1. Describe another musical genre.

Usingtheworksheet“ExploreaGenreofMusic,”onpage34,studentswillexamineanothergenreofmusic,justastheyhavebeenstudyingcountrymusicduringthisunit.

2. After students complete the

worksheet, encourage them to share

answers aloud as a class.

8|

31

Teacher’s Guide


Teacher Tip:

Invite students to bring in a CD with a song from the

genre they chose. Students may then compare the

sound of this genre to the sound of country music.

Review songs before playing them for the class.

Lesson C

1. Students may choose to write in their

journals using the following prompts.

• WhatwereyourimpressionsofcountrymusicbeforeyourvisittotheCountryMusicHallofFameandMuseum?Howdidyouropinionschangeorstaythesameaftercompletingthisunitorvisitingthemuseum?

• Howisamuseumfocusingonvisualartsimilartoordifferentfromamuseumfocusingonmusic?

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

2. Create your own museum.

Createyourownmuseumasaclass.Studentsshouldeachbringinanobjectfromhomethatisimportanttothem.Astheysawduringtheirmuseumvisit,artifactsareaccompaniedbyapaneloftextthattellsvisitorssomethingabouttheobject,itshistory,anditsimportance.Studentsshouldeachprepareatextpaneloutofconstructionpaper,withinformationabouttheobject,andwhyitisincludedintheclassroommuseum.Studentsmaygluephotographstotheirpanel,ordecorateitusingcoloredpaper,ormarkersandcrayons.Asaclass,developanexhibitthemeandtitle.Youmayalsodevelopsubthemesdependingonwhatobjectsstudentschoosetoinclude.

A curator at the Country Music Hall of Fame

and Museum examining an artifact.

32

Teacher’s Guide


Worksheet

Observe an Artifact

Name:__________________________________________________________Date:______________________________________

1. Select one artifact that you remember from your visit to the Country Music Hall of Fame

and Museum. What artifact did you select and why? To whom did it belong?

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

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

4. What was this artifact used for? How can you tell?

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

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

33

Teacher’s Guide


Worksheet

Observe an Artifact

page 2

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

34

Teacher’s Guide


Worksheet

Explore a Genre of Music

Name:__________________________________________________________Date:______________________________________

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

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

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

3. Describe the sound of this genre of music. What instruments are included?

4. Describe the public image of performers in this genre of music.

Do the performers dress a certain way?

35

Teacher’s Guide


Worksheet

Explore a Genre of Music

page 2

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

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

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

country music?

6. Using the Venn diagram below, compare and contrast country music with the genre you

selected. How are they similar? How are they different?

Country Music __________________________music genre

36

Teacher’s Guide


Glossary words

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

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

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

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

Acoustic:Of,pertainingto,orbeingamusicalinstrumentwhosesoundisnotelectricallyenhancedormodified.

America:EithercontinentoftheWesternHemisphere.

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

Background Singer:Asingerwhoprovidesvocalsupportandharmoniestoaleadsinger.

Big Band: Ajazzordancebandthatisthesizeofanorchestra.

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

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

British Isles:AnislandgroupinWesternEuropecomprisingGreatBritain,Ireland,andadjacentislands.

Comedian:Someonewhosejobistomakepeoplelaugh.

Compare:Toexaminecharacteristicstodiscoversimilarities.

Contrast:Toexaminecharacteristicstodiscoverdifferences.

Costume:Anoutfitworntocreatetheappearancecharacteristicofaparticularperiod,person,place,orthing.

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

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

Director:Museumdirectorsoverseeallaspectsofthemuseumandareresponsibleforthemuseum’soverallfinancialstatusandculturalvaluetothecommunityitserves.Directorsusuallyworkcloselywithaboardofdirectorsandreporttothatgroup.

Educator:Museumeducatorsdevelopandconducteducationalprogramsfocusedonthemuseum’sexhibitsandmission.

Era:Asystemofchronologicnotationreckonedfromagivendate.

Exhibit Designer:Museumexhibitdesignersdevelopexhibitsthatpresentthemuseum’scollectiontothepublictohelpthembetterunderstandthemuseum’smissionandthestoryoftheobjectsinitscollection.

Folksong:Atraditionalsongofunknownoriginpasseddownthroughoraltradition.

37

Teacher’s Guide


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

Gospel:Music,oftenperformedinquartets,thatiswrittenaboutChristianthemes.

Great Depression:Aperiodofsevereeconomichardshipduringthe1930s,intheU.S.

Hall of Fame:Aninstitutionestablishedtohonorthemostinfluentialornoteworthycontributorstoafieldorprofession.

Harmonizing:Astyleofsingingwheremultiplepeoplesingthesamewordsbutindifferentpitches.

Heritage:Traditionsandculturethatarepassedonwithinagroupfromonegenerationtothenext.

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

Induct:Toadmitasamember.

Mural:Apaintingcreateddirectlyonawallorbuilding.

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

Nashville Sound:Astyleofcountrymusicthatemergedinthelate1950sasacommercialresponsetorock&roll.Thisstyleischaracterizedbybackgroundchoralsingersand,sometimes,orchestralstringsectionstocreateasoftersound,meanttoappealtopopandcountrylistenersalike.

Nation:Acommunityofpeoplecomposedofoneormorenationalitiesandpossessingamoreorlessdefinedterritoryandgovernment.

New World:TheWesternHemisphere,morespecifically,NorthandSouthAmerica.

North America:ThenortherncontinentoftheWesternHemisphere,extendingfromCentralAmericatotheArcticOcean.

Plaque:Acommemorativeoridentifyinginscribedtablet.

Producer:Thepersonwhosupervisesallaspectsofarecordingsession.

Recording Engineer:Theassistanttotherecordproducerandthepersonwhotakescareofthetechnicalaspectsoftherecording.

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

Settler:Onewhoestablishesaresidenceinanarea.

Sheet Music:Musicprintedonlarge,unboundsheetsofpaper.

Songwriter:Apersonwhocomposeswordsormusicorboth,especiallyforpopularsongs.

Source:Apointoforigin.

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

Theme:Asubjectortopicofdiscourseorofartisticrepresentation.

The West:ThewesternUnitedStatesinitsfrontierperiodcharacterizedbyroughnessandlawlessness.

Western Swing:Ahybridstyleofcountrymusiccombiningfiddletuneswithelementsofbig-bandjazz,pop,andblues,andusuallyintendedfordancing.ItemergedinthesouthwesternUnitedStatesinthe1930s,anditskeyprogenitorswereBobWillsandMiltonBrown.

38

Teacher’s Guide


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

UnderlicensefromTheSonyMusicCustomMarketingGroup,adivisionofSonyMusicEntertainment

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

CourtesyofCountryMusicFoundationRecords

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

Sony/ATVAcuff-RoseMusic(BMI)

UnderlicensefromUniversalMusicEnterprises

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

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


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


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


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

CourtesyofCountryMusicFoundation,Inc.

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

CourtesyofEMIMusicMarketing

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

(Patsy Montana) UniversalMusicCorp.(ASCAP)


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

TimberPublishing/HillsboroValleySongs(SESAC)

CourtesyofBigMachineRecords

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


13. “Take Me Back to Tulsa”

– Bob Wills & His Texas Playboys (Bob Wills / Tommy Duncan) PeerInternationalCorp./RedRiverSongs,Inc.(BMI)


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

UnderlicensefromUniversalMusicEnterprises

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

(ASCAP)

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

CourtesyofEMIMusicMarketing

Songs on the Companion CD

39

Teacher’s Guide


Man in Black

(JOHN R. CASH)

Well,youwonderwhyIalwaysdressinblack,Whyyouneverseebrightcolorsonmyback,

Andwhydoesmyappearanceseemtohaveasombertone.Well,there’sareasonforthethingsthatIhaveon.

Iweartheblackforthepoorandthebeatendown,Livin’inthehopeless,hungrysideoftown,

Iwearitfortheprisonerwhohaslongpaidforhiscrime,Butistherebecausehe’savictimofthetimes.

Iweartheblackforthosewhoneverread,OrlistenedtothewordsthatJesussaid,

Abouttheroadtohappinessthroughloveandcharity,Why,you’dthinkHe’stalkingstraighttoyouandme.

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

Butjustsowe’reremindedoftheoneswhoareheldback,Upfrontthereought‘abeaManinBlack.

Iwearitforthesickandlonelyold,Fortherecklessoneswhosebadtripleftthemcold,

Iweartheblackinmournin’forthelivesthatcouldhavebeen,Eachweekweloseahundredfineyoungmen.

And,Iwearitforthethousandswhohavedied,Believin’thattheLordwasontheirside,

Iwearitforanotherhundredthousandwhohavedied,Believin’thatweallwereontheirside.

Well,there’sthingsthatneverwillberightIknow,Andthingsneedchangin’everywhereyougo,

But’tilwestarttomakeamovetomakeafewthingsright,You’llneverseemewearasuitofwhite.

Ah,I’dlovetoweararainboweveryday,Andtelltheworldthateverything’sOK,

ButI’lltrytocarryoffalittledarknessonmyback,Tillthingsarebrighter,I’mtheManinBlack.

© 1971, 1998 SONG OF CASH, INC. (ASCAP) ADMINISTERED BY BUG.

40

Teacher’s Guide


I Saw the Light

(HANK WILLIAMS)

Chorus:Isawthelight,Isawthelight

Nomoredarkness,nomorenightNowI’msohappy,nosorrowinsight

PraisetheLord,Isawthelight

Iwanderedsoaimless,myheartfilledwithsinIwouldn’tletmydearSaviorin

ThenJesuscamelikeastrangerinthenightPraisetheLord,Isawthelight

Chorus

JustlikeablindmanIwanderedaloneWorriesandfear,Iclaimedformyown

ThenliketheblindmanthatGodgavebackhissightPraisetheLord,Isawthelight

Chorus

IwasafooltowanderandstrayStraightisthegateandnarrowtheway

NowIhavetradedthewrongfortherightPraisetheLord,Isawthelight

Chorus

© 1948 SONY/ATV MUSIC PUBLISHING LLC. ALL RIGHTS ADMINISTERED BY SONY/ATV MUSIC PUBLISHING LLC,

8 MUSIC SQUARE WEST, NASHVILLE, TN 37203. ALL RIGHTS RESERVED. USED BY PERMISSION.

41

Teacher’s Guide


Match Box Blues

(BLIND LEMON JEFFERSON)

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

Iain’tgotsomanymatchesbutIgotsofartogo

IsaidMama,whomayyourmanagerbeOh,Mama,whomayyourmanagerbe

ReasonIasksomanyquestionscan’tyoumake’rangementsforme

Igotagirlacrosstown,shecrochetsallthetimeIgotagirlacrosstown,shecrochetsallthetime

Mama,ifyoudon’tquitcrocheting,you’regonnaloseyourmind

Ican’tcountthetimesIstoleawayandcriedIcan’tcountthetimesIstoleawayandcried

Sugar,thebluesain’tonme,butthingsain’tgoin’onright

Ifyouwantyourlover,youbetterpinhertoyoursideIsay,ifyouwantyourbaby,pinhertoyourside

Ifsheflagmytrain,PapaLemon’sgonnaletherride

Ain’tseenmygoodgalinthreelongweekstodayAin’tseenmygoodgalinthreelongweekstoday

Girl,it’sbeensolong,seemslikemyheartgoin’break

Excuseme,Mama,forknockingonyourdoorWellexcuseme,Mama,forknockingonyourdoor

Mymind’sgonnachange,Iain’tlovin’mygalnomore

42

Teacher’s Guide


Waiting for a Train

(JIMMIE RODGERS)

AllaroundthewatertankwaitingforatrainAthousandmilesawayfromhomesleepingintherain.Iwalkeduptoabrakemantogivehimalineoftalk,

Hesaysifyou’vegotthemoney,I’llseethatyoudon’twalk.

Ihaven’tgotanickelnotapennycanIshow;HesaidgetoffyourailroadbumAndslammedtheboxcardoor.

HeputmeoffinTexasaplaceIsurelylove,Wideopenspaces’roundme,Themoonandstarsabove,

NobodyseemstowantmeorlendmeahelpinghandI’monmywayfromFrisco,Goin’backtoDixieland,Mypocketbookisempty,

Andmyheartisfilledwithpain,I’mathousandmilesawayfromhomejustwaitingforatrain.

PEER INTERNATIONAL CORP. (BMI)

ALL RIGHTS RESERVED. USED BY PERMISSION.

43

Teacher’s Guide


Welcome to the Future

(BRAD PAISLEY/CHRIS DUBOIS)

WhenIwastenyearsoldIrememberthinkin’howcoolitwouldbeWhenweweregoin’onaneighthourdrive

IfIcouldjustwatchTVAndI’dhavegivenanything

TohavemyownPacMangameathomeIusedtohavetogetaridedowntothearcade

NowI’vegotitonmyphone

Hey,glory,glory,hallelujahWelcometothefuture

MygrandpawasinWorldWarIIHefoughtagainsttheJapanese

HewroteahundredletterstomygrandmaAndmailed’emfromhisbaseinthePhilippines

IwishtheycouldseethisnowTheworldtheysavedhaschangedyouknow

IwasonavideochatthismorningWithacompanyinTokyo

Hey,everyday’sarevolutionWelcometothefuture

(Hey)Lookaroundit’sallsoclear(Hey)Whereverweweregoin’

Wellwe’rehereSomanythingsIneverthoughtI’dseeArehappeningrightinfrontofme

IhadafriendinschoolTherunningbackonthefootballteamTheyburnedacrossinhisfrontyardForaskin’outthehomecomingqueen

IthoughtabouthimtodayAndeverybodywho’sseenwhathe’sseen

FromawomanonabusToamanwithadream

Hey,wakeupMartinLutherWelcometothefuture

Hey,glory,glory,hallelujahWelcometothefuture

© 2009 HOUSE OF SEA GAYLE MUSIC (ASCAP)

ALL RIGHTS RESERVED. USED BY PERMISSION. INTERNATIONAL COPYRIGHT SECURED.

44

Teacher’s Guide


BackthroughtheyearsIgowanderingonceagain,

Backtotheseasonsofmyyouth.Irecallaboxofragsthatsomeonegaveus,Andhowmymamaputtheragstouse.

Therewereragsofmanycolors,Buteverypiecewassmall,AndIdidn’thaveacoat

Anditwaswaydowninthefall.Mamasewedtheragstogether,Sewingeverypiecewithlove,

ShemademycoatofmanycolorsThatIwassoproudof.

AsshesewedshetoldastoryFromtheBibleshehadread,Aboutacoatofmanycolors

Josephwore,andthenshesaid,“PerhapsthiscoatwillbringyouGoodluckandhappiness.”

AndIjustcouldn’twaittowearitAndmamablesseditwithakiss.

MycoatofmanycolorsThatmymamamadeforme,

Madeonlyfromrags.ButIworeitsoproudly.

Althoughwehadnomoney,IwasrichasIcouldbe,

InmycoatofmanycolorsMymamamadeforme.

SowithpatchesonmybritchesAndholesinbothmyshoes,AndmycoatofmanycolorsIhurriedofftoschool,

JusttofindtheotherslaughingAndmakingfunofme

InmycoatofmanycolorsMymamamadeforme.

AndIcouldn’tunderstanditForIfeltIwasrich.

AndItoldthemoftheloveMymamasewedineverystitch.AndItoldthemallthestory

Mamatoldmewhileshesewed.Andhowmycoatofmanycolors

Wasworthmorethanalltheirclothes.

Buttheydidn’tunderstanditAndItriedtomakethemsee

ThatoneisonlypoorOnlyiftheychoosetobe.

AndthoughwehadnomoneyIwasrichasIcouldbe

InmycoatofmanycolorsThatmamamadeforme.

Coat of Many Colors

(DOLLY PARTON)

VELVET APPLE MUSIC (BMI)

45

Teacher’s Guide


I Wanna Be a Cowboy’s Sweetheart

(PATSY MONTANA)

Iwannabeacowboy’ssweetheartIwannalearntoropeandtoride

IwannaridethroughtheplainsandthedesertOutwestoftheGreatDivide

Iwannahearthecoyoteshowlin’Asthesunsetsinthewest

Iwannabeacowboy’ssweetheartThat’sthelifethatIlovebest

IwannarideoldPaint,goin’atarunIwannafeelthewindinmyface

AthousandmilesfromthecitylifeGoin’acowhand’space

IwannapillowmyheadnearthesleepingherdWhilethemoonshinesdownfromabove

Iwannastrummyguitarandyodel-le-hee-hooThat’sthelifethatIlove

© 1935 UNIVERSAL MUSIC CORP. COPYRIGHT RENEWED. ALL RIGHTS RESERVED.

46

Teacher’s Guide


YousaidthewaymyblueeyesshinedPutthoseGeorgiastarstoshamethatnight

Isaid,“That’salie”

JustaboyinaChevytruckThathadatendencyofgettin’stuck

Onbackroadsatnight

AndIwasrighttherebesidehimAllsummerlong

AndthenthetimewewokeuptofindThatsummer’dgone

ChorusButwhenyouthinkTimMcGrawIhopeyouthinkmyfavoritesongTheonewedancedtoallnightlongThemoonlikeaspotlightonthelake

WhenyouthinkhappinessIhopeyouthinkthatlittleblackdress

ThinkofmyheadonyourchestAndmyoldfadedbluejeansWhenyouthinkTimMcGraw

Ihopeyouthinkofme

SeptembersawamonthoftearsAndthankingGodthatyouweren’there

ToseemelikethatButinaboxbeneathmybedIsaletterthatyouneverreadFromthreesummer’sback

It’shardnottofinditallalittlebittersweetAndlookingbackonallofthatit’snicetobelieve

Chorus

AndI’mbackforthefirsttimesincethenI’mstandin’onyourstreet

Andthere’saletterleftonyourdoorstepAndthefirstthingthatyou’llread

IswhenyouthinkTimMcGrawIhopeyouthinkmyfavoritesongSomeday,you’llturnyourradioonIhopeittakesyoubacktothatplace

WhenyouthinkhappinessIhopeyouthinkthatlittleblackdress

ThinkofmyheadonyourchestAndmyoldfadedbluejeansWhenyouthinkTimMcGraw

Ihopeyouthinkofme

Tim McGraw

(TAYLOR SWIFT / LIZ ROSE)

© 2006 SONY/ATV MUSIC PUBLISHING LLC, TAYLOR SWIFT MUSIC AND HILLSBORO VALLEY SONGS.

ALL RIGHTS ADMINISTERED BY SONY/ATV MUSIC PUBLISHING LLC, 8 MUSIC SQUARE WEST, NASHVILLE, TN 37203.

ALL RIGHTS RESERVED. USED BY PERMISSION.

47

Teacher’s Guide


That’s All Right

(ARTHUR CRUDUP)

Well,that’sallright,mamaThat’sallrightforyou

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

That’sallrightnowmama,anywayyoudo

Mamashedonetoldme,Papadonetoldmetoo

Son,thatgalyou’refoolin’with,Sheain’tnogoodforyou

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

I’mleavingtown,babyI’mleavingtownforsure

Well,thenyouwon’tbebotheredwithMehanging’roundyourdoor

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

© 1947 (RENEWED) UNICHAPPELL MUSIC INC. / CRUDUP MUSIC (BMI)

ALL RIGHTS ADMINISTERED BY UNICHAPPELL MUSIC INC. ALL RIGHTS RESERVED. USED BY PERMISSION.

48

Teacher’s Guide


Take Me Back to Tulsa

(BOB WILLS / TOMMY DUNCAN)

Where’sthegalwiththereddressonSomefolkscallherDinah

StolemyheartawayfrommeWaydowninLouisiana

TakemebacktoTulsaI’mtooyoungtomarryTakemebacktoTulsaI’mtooyoungtomarry

PEER INTERNATIONAL CORP. / RED RIVER SONGS, INC. (BMI)

49

Teacher’s Guide


I Fall to Pieces

(HARLAN HOWARD/ HANK COCHRAN)

IfalltopieceseachtimeIseeyouagainIfalltopieces,howcanIbejustyourfriend

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

YouwalkbyandIfalltopieces

Ifalltopieces,eachtimesomeonespeaksyournameIfalltopieces,timeonlyaddstotheflame

YoutellmetofindsomeoneelsetoloveSomeonewho’llloveme,too,thewayyouusedtodo

ButeachtimeIgooutwithsomeonenewYouwalkbyandIfalltopiecesYouwalkbyandIfalltopieces

© 1960 SONY/ATV MUSIC PUBLISHING LLC. ALL RIGHTS ADMINISTERED BY SONY/ATV MUSIC PUBLISHING LLC,

8 MUSIC SQUARE WEST, NASHVILLE, TN 37203. ALL RIGHTS RESERVED. USED BY PERMISSION.

50

Teacher’s Guide


IfeelsomethingthatmovesmeArhythmthatmakesmedance

TakeyourpartnersWe’llallenjoy

Dance,dancetothiscumbiaMove,moveyourwaistEveryone,handsup

Andshout,shoutwithmadness

Dance,dancetothiscumbiaArhythm,arhythmwithoutequal

NobodystayseatedWe’reallgoingtodance

(RepeatAll)

Dance,dancetothiscumbiaArhythm,arhythmwithoutequal

NobodystayseatedWe’reallgoingtodance

SientoalgoquememueveUnritmoquemehacebailar

TomentodossuparejasTodosvamosagozar

Baila,bailaestacumbiaMueve,muevelacinturaTodos,lasmanosenaltoYgriten,gritenconlocura

Baila,bailaestacumbiaUnritmo,ritmosinigualNadiesequedesentadoTodosvamosabailar

(Repitetodo)

Baila,bailaestacumbiaUnritmo,ritmosinigualNadiesequedesentadoTodosvamosabailar

Baila Esta Cumbia

(A.B. QUINTANILLA III / PETE ASTUDILLO)

© 1990 A.Q.3 MUSIC / EMI BLACKWOOD INC. (BMI) / PEACE ROCK MUSIC (ASCAP)

ALL RIGHTS ON BEHALF OF A.Q.3 MUSIC / EMI BLACKWOOD MUSIC INC. CONTROLLED AND ADMINISTERED BY

EMI BLACKWOOD INC. (BMI) ALL RIGHTS RESERVED. INTERNATIONAL COPYRIGHT SECURED. USED BY PERMISSION.

51

Teacher’s Guide


Grace Guill WhiteHouseHeritageSchool

Stephen Henry CreswellArtsMagnetMiddleSchool

Beverly Roberts EnsworthSchool

Beth Stepelton H.B.WilliamsElementarySchool

The staff of the Country Music Hall

of Fame and Museum thanks the

following local teachers who gave

their time and valuable input during

the development of this resource:

Books:

Encyclopedia of Country Music.EditedbyPaulKingsbury.OxfordUniversityPress,2004.

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

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

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

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

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

Web Sites:

FormoreinformationaboutcountrymusicandtheCountryMusicHallofFameandMuseum,visit:

www.CountryMusicHallofFame.org

www.CMAworld.com

Formoreinformationaboutmuseumsandmuseumcareers,visittheAmericanAssociationofMuseum’sWebsite:

www.aam-us.org/

FormoreinformationaboutThomasHartBentonandKenBurns’sdocumentary,visit:

www.pbs.org/kenburns/benton/

Helpful Resources:

Please submit student writings,

questions, and the

Teacher’s Guide Evaluation to:

SchoolProgramsCoordinatorCountryMusicHallofFameandMuseum

222FifthAvenueSouthNashville,TN37203

Phonenumber:615-416-2088

Faxnumber:615-255-2245

52

Teacher’s Guide


Teacher’s Guide to the Museum

Teacher’s Evaluation

Thankyoufortakingafewminutestoprovidefeedbackandsuggestions.Weappreciateyourhelpinmakingourprogramsandresourcesasmeaningfulaspossible.

DateofYourVisit: NameofSchool:

SubjectYouTeach: Grade(s)YouTeach:

DidyouuseanyactivitiesintheTeacher’s Guide to the Museum? Yes No

Ifyes,whatactivitiesdidyouuse?

PleaseratetheTeacher’s Guide to the Museumonthefollowing:

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

PleaseusethisspaceforanycommentsorsuggestionsyoumayhaverelatingtotheTeacher’s Guide to the Museum.

Whichlessonsdidyoufindmostuseful?

Whichlessonsdidyourstudentsmostenjoy?

Werethereanylessonsyouwouldliketoseechanged?Pleaseexplain.

COUNTRY MUSIC HALL OF FAME®

AND MUSEUM

222 FIFTH AVENUE SOUTH

NASHVILLE, TENNESSEE 37203

615.416.2001

COUNTRYMUSICHALLOFFAME.ORG

The educational programs of the Country Music Hall of Fame® and Museum are funded in part by grants from the Metro Nashville Arts Commission and from the Tennessee Arts Commission,

through an agreement with the National Endowment for the Arts. This Teacher’s Guide was funded in part by a Tennessee Arts Commission Teacher Training Grant.

Accredited by the American Association of Museums, the Country Music Hall of Fame® and Museum is operated by the Country Music Foundation, Inc., a not-for-profit 501(c)(3) educational organization

chartered by the state of Tennessee in 1964. The Foundation also operates CMF Records, the Museum’s Frist Library and Archive, the CMF Press, Historic RCA Studio B, and Hatch Show Print.

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