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Since Beethoven’s death on this day 188 years ago, debate has raged as to the cause of his deafness, generating scores of diagnoses ranging from measles to Paget’s disease. If deafness had been his only problem, diagnosing the disorder might have been easier, although his ear problem was of a strange character no longer seen. It began ever so surreptitiously and took over two decades to complete its destruction of Beethoven’s hearing.
“Blurred Lines” and Thicke’s overwhelming success have been eclipsed by the popularity of the recent federal court case, in which a jury decided that its creators infringed upon the copyright of Marvin Gaye’s 1977 Billboard Hot 100 chart topper, “Got to Give It Up.”
It’s true. THIS IS NOT A JOKE! After five years Zayn Malik has decided to leave One Direction. Niall, Harry, Liam and Louis will continue as a four-piece group in the forthcoming concerts of their world tour, and will record their fifth album, due to be released later this year, without Zayn.
On the official One Direction Family website, Zayn says:
“My life with One Direction has been more than I could ever have imagined. But, after five years, I feel like it is now the right time for me to leave the band. I’d like to apologise to the fans if I’ve let anyone down, but I have to do what feels right in my heart. I am leaving because I want to be a normal 22-year-old who is able to relax and have some private time out of the spotlight. I know I have four friends for life in Louis, Liam, Harry and Niall. I know they will continue to be the best band in the world.”
One Direction say:
“We’re really sad to see Zayn go, but we totally respect his decision and send him all our love for the future. The past five years have been beyond amazing, we’ve gone through so much together, so we will always be friends. The four of us will now continue. We’re looking forward to recording the new album and seeing all the fans on the next stage of the world tour.”
What were the first musical instruments to be regularly played in public concerts by entire orchestras of British women? The answer may surprise you. From the mid-1880s until the First World War, hundreds of “Ladies’ Guitar and Mandolin Bands” flourished throughout Britain, including several consisting entirely of female members of the aristocracy.
Over the half-century of its existence, the association has been one of this country’s great engines of experimental art, producing work with an irreducible breadth of scope and style. By now the organization’s significance derives not only from the example of its first wave—including Mr. Abrams, still formidable at 84—but also from an influence on countless uncompromising artists, many of whom are not even members of its chapters in Chicago and New York.
Among the events organized around the anniversary are Free at First (currently on view at Chicago’s DuSable Museum of African American History, and running through September 6, 2015) and the forthcoming exhibition The Freedom Principle: Experiments in Art and Music, 1965 to Now, at the MCA Chicago (opening in mid-July), which builds around the aesthetics championed by the association and their legacy.
This YouTube playlist should woo you pretty hard: http://bit.ly/1EHQMid
Our own connection to the AACM, worth every plug one can work in, is George E. Lewis’s definitive history A Power Stronger than Itself: The AACM and American Experimental Music(one of my favorite non-fiction books we’ve published). Lewis, who joined the AACM in 1971 when he was still a teenager, chronicles the group’s communal history via the twin channels of jazz and experimental cultural production, from the AACM’s founding in 1965 to the present. Personal, political, filled with archival details—as well as theory, criticism, and reportage—the book is a must-read jazz ethnography for anyone interested in the trajectory of AACM’s importance and influence, which as the NYT’s piece notes, began from a place of “originality and self-determination,” and landed somewhere that, if nothing else, in the words of Jason Moran, the Kennedy Center’s artistic director for jazz, “shifted the cultural landscape.”
To read more about A Power Stronger than Itself, click here.
Even though the harp is Ireland’s national symbol, the fiddle is the most commonly played instrument in traditional Irish music. Its ornamental melodies are more relaxed than the classical violin and improvisation is encouraged. The fiddle has survived generational changes from its start as a low-class instrument popular among the poor.
That Beethoven welcomed the French Revolution and admired Napoleon, its most flamboyant product, is common knowledge. So is the story of his outrage at the news that his hero, in flagrant disregard of liberté, égalité, fraternité, had had himself crowned emperor: striking the dedication to Napoleon of his "Eroica" symphony, he addressed it instead "to the memory of a great man."
In the kingdom of Goredd, humans and dragons have lived and worked side by side for more than forty years, a treaty of peace signed, and the past war forgotten. But when a member of the royal family is brutally murdered and the finger of blame points to dragons, it appears that not all is forgotten, or forgiven.
Enter to win a copy of Seraphina, written by Rachel Hartman, and the newest release, Shadow Scale (Seraphina: Book Two).
Giveaway begins March 9, 2015, at 12:01 A.M. PST and ends April 8, 2015, at 11:59 P.M. PST.
Seasonally enough, last night I attended Blizzard of Voices, an oratorio by Paul Moravec (husband to your friend and mine Wendy Lamb). While you might have thought the warm and woody Jordan Hall would have been an oasis in Boston’s horrible weather, Moravec’s commemoration of the 1888 Schoolhouse Blizzard was terrible–in the exactest sense–in its evocation of the wind and cold and terror and death that swept over the Great Plains and killed more than two hundred people.
Taken from Ted Kooser‘s book of the same name, the work’s texts were beautifully shared shared among a chorus and six soloists:
We finally had to dig
Down into a drift, wrapping
the blanket around us. Billy
died in the night. I thought he
was only asleep. At dawn,
I dug out, finding that we
Were in the sight of the homeplace.
And with the orchestra thundering–and more ominously, insinuating–away, it really felt like voices from a storm, meteorological and otherwise.
Am I the only person who thought this was, historically, the same storm the Ingalls family endured in The Long Winter? Nope–Laura Ingalls Wilder’s book covers events of eight years earlier. Debbie Reese and I got into it a bit a couple of weeks ago about that book, and while I take her point about the objectionable stereotyping of American Indians therein, I’m not ready to give The Long Winter up. The way it turns winter-wonderland fantasy into nightmare is unparalleled and as keenly evoked as what I heard last night.
After the concert was over, I discovered that my bus, which is supposed to show up every ten minutes, wasn’t due to arrive for at least half an hour. I started to think that the Boston winter of 2015 was Just Like Back Then, but then I slapped myself hard.
Who was Nicolas Nabokov? The Russian-born American composer had a huge impact on music and culture globally, but his name remains relatively unknown. He had friends and acquaintances in a variety of circles, whether his cousin the writer Vladimir, the poet Auden, or the choreographer Balanchine.
How can drums help people communicate? What can someone communicate through a drum?
How do you think the musician(s) in this book wanted their music to make people feel?
Is the drum a central part of this story or community? Why or why not? How would the story be different if another instrument were used, such as a guitar or flute?
What words in the text describe how the drum sounds?
Bring in other images of drums from around the world or compare two or more books featuring drums: What are the features of a drum? What do drums around the world have in common? How are drums unique from other instruments? What materials are best for making drums? What geometric shapes are best for making drums?
If you read more than one book featuring a drum: Post a world map and note which countries drums are found.
Have students research the particular type of drum featured in the book. What materials are used for this type of drum? What characteristics does this type of drum have and what is special about the design? Is this drum used everyday/casually or for special holidays/significant times? What country or region does it originate? What genre of music is the drum used in today? Who are some famous drummers who use this kind of drum?
Set up a listening station devoted to music including drums. Provide a range of musical genres. Leave covers available for students to explore. After students have an opportunity to listen to different kinds of music featuring or including drums, encourage students to share their reactions in writing. What images did the music bring to them as they listened with their eyes closed? What did they imagine as they heard the drums?
Encourage students to make their own drum in class or at home. Students can make their own drums out of coffee cans, cylindrical oatmeal boxes, or plastic deli containers. Supply different materials (plastic wrap, paper, foil, etc.) for covering the opening so students can hear a variety of different sounding drums. Which ones make metallic sounds, loud sounds, soft sounds, sweet sounds, deep sounds? How can you make the sound change?
Jill Eisenberg, our Senior Literacy Expert, began her career teaching English as a Foreign Language to second through sixth graders in Yilan, Taiwan as a Fulbright Fellow. She went on to become a literacy teacher for third grade in San Jose, CA as a Teach for America corps member. She is certified in Project Glad instruction to promote English language acquisition and academic achievement. In her column she offers teaching and literacy tips for educators.
It's Women's History Month and this year's theme is Weaving the Stories of Women's Lives, so I thought I would begin the month with a new picture book for older readers that introduces them to the remarkable International Sweethearts of Rhythm.
In 1909, near Jackson, Mississippi a school/orphanage called Piney Woods Country Life School was started by Dr. Laurence Clifton Jones for African American girls.
The girls were educated, housed, clothed and fed and in return they all did chores to help keep things running smoothly and well. In 1939, Dr. Jones started a band that he called the Sweethearts with some musically talented girls to help raise money for the school. The music they played was called swing or big band music, by either name it was Jazz and people couldn't get enough of it.
Dean describes how the girls stayed together after leaving Piney Woods, hoping to make a living as musicians. They would live, sleep, eat and play music, traveling around from gig to gig in a bus they called Big Bertha. Band members came and went, and before long the band was no longer made up of only African American women, but included many races and nationalities. As a result, they decided to call themselves the International Sweethearts of Rhythm.
But while the band hit the big time, they still didn't get paid as much as their male counterparts nor were they taken as seriously, no matter how good they were. Not only that, Dean points out, but in the Jim Crow south, because they were interracial now, traveling and performing became risky and she includes some of those scary, dangerous incidents they faced.
In 1945, as World War II was winding down, the Sweethearts found themselves on a USO tour thanks to a letter writing campaign by African American soldiers. But sadly, the Sweethearts disbanded after the war and the members went their separate ways.
Dean does an excellent job of introducing the Sweethearts to her young readers and the difficulties an all-women's interracial band faced back in the 1940s balancing it with positive events and the strong bonds of friendship among all the members.
Cepeda's colorful acrylic and oil painted illustrations match the energy of the music the Sweethearts played with a bright rainbow palette of greens, pinks, purples, yellows, blues and orange.
So many wonderful books are coming out now introducing young readers to some of the greatest artists and musicians of the 20th century and this book is such a welcome addition.
This book is recommended for readers age 7+
This book was bought for my personal library
You can see for yourself just how good the Sweethearts were in their heyday:
In 2005, Ms magazine published a conversation between pop singer Lesley Gore and Kathleen Hanna of the bands Bikini Kill and Le Tigre. Hanna opened with a striking statement: “First time I heard your voice,” she said, “I went and bought everything of yours – trying to imitate you but find my own style.”
At a Glance:
I started listening to City and Colour when I was about 12-years-old. I remember listening to his new album (at the time 2012) and loved it. I was really into music during this time, I was listening to all new music but it was all rock/metal music. The mix is really good, he has one of the best voices I've ever heard, and great music for just chilling with friends or reading a
The scraps of an archive often speak in ways that standard histories cannot. In 2005, I spent my days at the Paul Sacher Foundation in Basel, a leading archive for twentieth-century concert music, where I transcribed the papers of the German-Jewish émigré composer Stefan Wolpe (1902-1971). The task was alternately exhilarating and grim. Wolpe had made fruitful connections with creators and thinkers across three continents, from Paul Klee to Anton Webern to Hannah Arendt to Charlie Parker. An introspective storyteller and exuberant synthesizer of ideas, Wolpe narrated a history of modernism in migration as a messy, real-time chronicle in his correspondence and diaries. Yet, within this narrative, the composer had also reckoned with more than his share of death and loss as a multiply-displaced Nazi-era refugee. He had preserved letters from friends as symbols of the ties that had sustained him, in some cases carrying them over dozens of precarious border crossings during his 1933 flight. By the 1950s, his circumstances had calmed down, after he had settled in New York following some years in Mandatory Palestine. Amidst his mid-century papers, I was surprised to come across a cache of artfully spaced poems typewritten on thick leaves of paper, with the attribution “Yoko Ono.” The poems included familiar, stark images of death, desolation, and flight. It was only later that I realized they responded not to Wolpe’s life history, but likely to Ono’s own. The poems inspired a years-long path of research that culminated in my article, “Limits of National History: Yoko Ono, Stefan Wolpe, and Dilemmas of Cosmopolitanism,” recently published in The Musical Quarterly.
Yoko Ono befriended Stefan Wolpe and his wife the poet Hilda Morley in New York City around 1957. Although of different backgrounds and generations, Wolpe and Ono were both displaced people in a city of immigrants. Both had been wartime refugees, and both endured forms of national exile, though in different ways. Ono had survived starvation conditions as an internal refugee after the Tokyo firebombings. She was twelve when her family fled the city to the countryside outside Nagano, while her father was stranded in a POW camp. By then, she had already felt a sense of cultural apartness, since she had spent much of her early childhood shuttling back and forth between Japan and California, following her father’s banking career. When she began her own career as an artist in New York in the 1950s, Ono entered what art historian Midori Yoshimoto has called a gender-based exile from Japan. Her career and lifestyle clashed with a society where there were “few alternatives to the traditional women’s role of becoming ryōsai kenbo (good wives and wise mothers).” Though Ono eventually became known primarily as a performance and visual artist, she identified first as a composer and poet. After she moved to the city to pursue a career in the arts, Ono’s family disowned her. It was around this time that she befriended the Wolpe-Morleys, who often hosted her at their Upper West Side apartment, where she “loved the intellectual, warm, and definitely European atmosphere the two of them had created.”
In 2008, I wrote a letter to Ono, asking her about the poems in Wolpe’s collection. Given her busy schedule, I was surprised to receive a reply within a week. She confirmed that she had given the poems to Wolpe and Morley in the 1950s. She also shared other poems and prose from her early adulthood, alongside a written reminiscence of Wolpe and Morley. She later posted this reminiscence on her blog several months before her 2010 exhibit “Das Gift,” an installation in Wolpe’s hometown Berlin dedicated to addressing histories of violence. The themes of the installation trace back to the earliest phase of her career when she knew Wolpe. During their period of friendship, both creators devoted their artistic projects to questions of violent history and traumatic memory, refashioning them as a basis for rehabilitative thought, action, and community.
Virtually no historical literature acknowledges Ono’s and Wolpe’s connection, which was premised on shared experiences of displacement, exile, and state violence. Their affiliation remains virtually unintelligible to standard art and music histories of modernism and the avant-garde, which tend to segregate their narratives along stable lines of genre, medium, and nation—by categories like “French symbolist poetry,” “Austro-German Second Viennese School composition,” and “American experimental jazz.” From this narrow perspective, Wolpe the German-Jewish, high modernist composer would have little to do with Ono the expatriate Japanese performance artist.
What do we lose by ignoring such creative bonds forged in diaspora? Wolpe and Ono both knew what it was to be treated as less than human. They had both felt the hammer of military state violence. They both knew what it was to not “fit” in the nation—to be neither fully American, Japanese, nor German. And they both directed their artistic work toward the dilemmas arising from these difficult experiences. The record levels of forced displacement during their lifetimes have not ended, but have only risen in our own. According to the most recent report from the UN High Commissioner on Refugees, “more people were forced to flee their homes in 2013 than ever before in modern history.” Though the arts cannot provide refuge, they can do healing work by virtue of the communities they sustain, with the call-and-response of human recognition exemplified in boundary-crossing friendships like Wolpe’s and Ono’s. And to recognize such histories of connection is to recognize figures of history as fully human.
Headline image credit: Cards and poems made for Yoko Ono’s Wish Tree and sent to Hirshhorn Museum and Sculpture Garden (Washington), 7 November 2010. Photo by Gianpiero Actis & Lidia Chiarelli. CC BY 3.0 via Wikimedia Commons.
Among this year’s Oscar nominees for Best Picture were two films with drum scores: Whiplash, in which a highly regarded but abusive conductor molds an aspiring young jazz musician into the genius he was meant to be, and Birdman, in which an aging film actor who was never a genius at all stars in a play and possibly flies. In spite of their innovative soundtracks, neither film received an Oscar nomination for Best Original Score.
If this is how the year is starting out, it's going to be a banner year for middle-grade books. First, Gordon Korman's Masterminds (more on that fantastic new thriller another day) and now Echo: A Novel.
Ryan, Pam Muñoz. 2015. Echo: A Novel. New York: Scholastic.
I received an Advance Reader Copy of Echo from Scholastic and was intrigued that it was wrapped in musical notation paper and had a smartly-boxed Hohner Blues Band harmonica tied to it.
I was happy to see an apparently music-related book, and what somewhat surprised to find that Echo begins with a fairytale, "The Thirteenth Harmonica of Otto Messenger," a fairytale replete with abandoned princesses, a magical forest, a mean-spirited witch, and a prophecy,
"Your fate is not yet sealed. Even in the darkest night, a star will shine, a bell will chime, a path will be revealed."
Though brief, I became enthralled with the tale and was surprised and taken aback when I reached Part One and found myself not in the fairytale forest, but in
Trossingen, Baden-Württemberg, Germany, 1933, home to the world's oldest harmonica manufacturer. I couldn't wait to find out what became of the abandoned princesses, but soon found myself wrapped up in the story of young Friedrich Schmidt, a German Jew during Hitler's ascendance to power. This kind-hearted, young boy of a musical family was surely destined to be gathered up in the anti-Semitic wave sweeping through Germany. I became engrossed in Friedrich's story, anxiously hoping that things would work out for him and his family, and was again surprised when I reached Part Two and found myself in
Philadelphia, 1935, home of the then-famous Albert Hoxie and the Philadelphia Harmonica Band, and of the Bishop's Home for Friendless and Destitute Children, where I found myself in the company of piano-playing orphans, Mike and Frankie Flannery. Their story was no less heart-wrenching than Friedrich's, and I found myself desperately rooting for the young boys when I suddenly arrived
in a migrant worker's community in Southern California, 1942, where young Ivy Maria Lopez was about to play her harmonica on the Colgate Family Hour radio show, but her excitement was short-lived. I fell in with this hard-working, American family and hoped, along with Ivy, for her brother's safe return from the war.
Of course, there's more, but this is where I will leave off.
Pam Muñoz Ryan has written a positively masterful story that will take the reader from the realm of magic through the historical travails of the infirm, the oppressed, and the poor in the midst of the 20th century. Through it all, music gathers the stories together in a symphony of hope and possibility. In music, and in Echo, there is a magic that will fill your soul.
It may only be February, but I predict that praise for Echo will continue throughout the year.
In between having a child and filming a ton of great movies, Johansson found the time to start a “Girl Group” called The Singles, that includes Este Haim, Julia Haltigan, Kendra Morris, and Holly Miranda. Their first song, “Candy”, which you can hear over at Vice, was produced by TV On The Radio’s Dave Sitek.
There’s some serious 80’s Synth-Pop influence there, and a danceable beat. Fun!
‘I write arrangements, I’m sort of a wannabe composer’ – consciously or otherwise, these words from violinist Joshua Bell seem to give voice to the tension between these two interlocking musical activities. For arrangement and composition are interlocked, as composers throughout the ages have arranged, adapted, revised, and generally played free with musical compositions of all kinds (their own and other people’s) for reasons artistic, practical, or downright commercial.
A new highly interactive early literacy storytime featuring instrument exploration, songs, fingerplays, dance and books for ages 3 and up.
Chandra and Sheila playing the drums. photo by Paige Bentley-Flannery
Created by Community Librarians Sheila Grier and Chandra vanEijinsbergen, Music, Movement, and Stories (MnMS for short) is one of my favorite new children’s programs for ages 3-5 at Deschutes Public Library. The music cd’s, books, and musical instruments circulate between all six branches. The program includes two stories and lots of dancing, singing and playing musical instruments.
I joined Sheila and Chandra in our Early Learning Space at the Downtown Bend Library and we made some noise! We talked about the most asked about questions and shared favorite books and ideas.
How did MnMS start?
“Music Movement and Stories started when I began to read about doing a music program at our library and wondered why most music programs at libraries do not include the great books we have about music, dancing or sing-along books. We can feature these books along with our cd collection,” says Sheila.
Do you use a different theme each week? (scarves flying around…)
Chandra vanEijinsbergen, Community Librarian photo by Paige Bentley-Flannery
Chandra VanEijinsbergen says, “Some of the librarians do. Like with regular story time, I like the idea of using themes in MnMS. Some themes came together naturally, for example farms. Easy to find both books and songs about farms and farm animals. Food was more difficult- books were easy and songs to use with shakers or musical instruments, were sort of easy.”
When do you offer MnMS?
“We do MnMS on a different day than our regular story times, Baby Steps, Toddlin Tales and Preschool Parade,” says Sheila
What is your story time structure?
Two movement songs
Story (book or felt board)
Two musical prop songs – ribbons, scarves, bean bags, hoops, etc.
Story (book or felt board)
Two musical instrument songs
Ideas for handing out and getting materials back?
“Sing a song”, says Sheila. For example, Kathy Reid-Naiman’s “I’m Passing Out the Sticks” & “Time to Put Away”. “Talk about the instrument or prop as you are handing them out. Put a container in the middle of the room, they will happily return items.”
Any great tips to share?
Sheila Grier, Community Librarian photo by Paige Bentley-Flannery
Sheila’s tip: Telling the parents that it’s ok to look silly and dance it’s a must, their child, grandchild will think they are wonderful and mimic what the adult is doing. I love seeing the dads and grandpas dancing.
Chandra’s tip: Remove chairs from the story time space. This encourages caregivers to sit and participate with their child. If you have a smaller group, sitting in a circle is nice.
Paige’s tip: Take over the whole story time room. Wiggle, shake, shimmy, jump and march across the room backwards.
Thank you Sheila and Chandra! Check out their recommended books and music below!
Traditional Song Picture Books
Down by the Station by Will Hillenbrand
Hush Little Baby by Sylvia Long
Old MacDonald by Jessica Souihami
On Top of Spaghetti by Paul Johnson
Over in the Meadow by Jill McDonald
Pete the Cat Wheels on the Bus by James Dean
Ten in the Den by John Butler
Twinkle Twinkle Little Star by Sylvia Long
By Jane Cabrera
Twinkle Twinkle Little Star
Here We Go Round the Mulberry Bush
Row Row Row Your Boat
If You’re Happy and You Know It
Ten in the Bed
Wheels on the Bus
by Iza Trapani
Baa Baa Black Sheep
The Bear Went over the Mountain
Here we Go Round the Mulberry Bush
How Much is that Doggy in the Window
Itsy Bitsy Spider *
I’m a Little Tea Pot
Row Row Row Your Boat
Twinkle Twinkle Little Star
MnMns Photo by Tina D.
Scarves or Ribbons
Wiggle Song by Dragon Tales from Dragon Tales-
Freeze by Michael Plunkett from Shakin the Chute
Fast Slow by Laura Berkner from the Best of
Parachute (or ribbons)
Got the Wiggles by Michael Plunkett from Ribbons and Rhythms
Long Ribbons by Michael Plunkett from Ribbons and Rhythms
Shake Your Reader Ribbons by Pam Schiller from Leaping Literacy
Ribbon Dance by Michael Plunkett from Rhyme and Rhyme movement
Beanie Bag Dance by Greg and Steve from Kids in Action
Bean Bag Boogie by Learning Station from Me and My Bean Bag
Bean Bag Rock by Georgiana Stewart from Action Songs for Preschoolers
The Bean Bag by Hap Palmer from Can a Jumbo Jet Sing the Alphabet
Baby Danced the Polka by Karen Beaumont
Croaky Pokey by Ethan Long
Dance with me by Charles Smith Jr.
Dancing Feet or Farmyard Beat by Linda Craig
Dancing in my Bones by Sylvia Andrews
Down by the Cool of the Pool by Tony Mitton
Hilda Must be Dancing by Karma Wilson
Listening and Free Dance Songs
Wiggle Walk by Georgiana Stewart from Toddlerific
Jump Jump by Lolly Hollywood from Go! Go! Go!
March Around by Lolly Hollywood from Go! Go! Go!
Put Your Little Foot by Carole Peterson from Dancing Feet
My Energy by Laura Berkner from Under a Shady Tree
Jump Up by from Imagination Movers
The Wiggle Song by Carole Peterson from Sticky Bubblegum
Rock and Roll Freeze Dance by Hap Palmer from So Big
Clap Your Hands by Singalong Kidz from Singalong Kidz
Parachute (or ribbons)
Clap Your Hands by Kathy Reid Naiman from Preschool Songs 1
Walking Walking by Ann Marie Akin from Songs for Wiggleworms
Put Your Finger On by Parachute Express from Feel the Music
Stretch! by Dragon Tales from Dragon Tales
Clap Clap Clap Your Hands by Carole Peterson from Sticky Bubble Gum
Statues by Georgiana Stewart from Action Songs for Preschoolers
Hands are for Clapping by Jim Gill from Jim Gill Sings the Sneezing Song and other contagious tunes
Twist Stop Hop by Ronno from Jump Start Action Songs
I Can Do It by Patty Shukla from I Can Do It
Say & Rhyme by Pam Schiller from Leaping Literacy
I Can Dance by Ronno from Jump Start Action Songs
Spaghetti Legs by Jim Gill from Jim Gill Sings the Sneezing Song and other contagious tunes
Warm Up Time by Georgiana Stewart from Action Songs for Preschools
The Freeze by Steve and Greg from We All Live Together
The Airplane Song by Laura Berkner from Whaddya Think of That
I have a little scarf by Eine Kleine NachtMusick from Moving with Mozart
Dancing Scarf Blues by Carole Peterson from Dancing Feet
Bell Horses by Kathy Reid Naiman from I Love to Hear the Sounds
Tideo By Kathy Reid Naiman from More Tickle Tunes
Oh children ring your bells by Kathy Reid Naiman from I love to hear the Sounds
Ring them on the Floor by Kathy Reid Naiman from I love to hear the Sounds
Nursery Rhyme Tap by Pam Schiller from Leaping Literacy
Tap your Sticks By Hap Palmer from Rhymes on Parade
When the Saints Come Marching in by Georgiana Stewart from Rhythm Sticks Rock
Sticks on the Move by Georgiana Stewart from Rhythm Sticks Rock
Rhythm Stick March by Michael Plunkett from Rhythm Stick Rap and Tap
Chim, Chimmy Chimpanze By Pam Schiller from Leaping Literacy
Milkshake by Anne– Marie Akin from Songs for Wiggleworms
We’re going to the Market by Kathy Reid-Naiman from I Love to Hear the Sounds
Shaker Hop by Carole Peterson from Dancing feet
For more great MnMS recommendations, please email Sheila Grier at firstname.lastname@example.org
Paige Bentley-Flannery is a Community Librarian at Deschutes Public Library. For over fifteen years–from Seattle Art Museum to the New York Public Library to the Deschutes Public Library-Paige’s passion and creative style for art, poetry and literature have been combined with instructing, planning, and providing information. Paige is currently serving on the ALSC Notable Children’s Book Committee, 2015 – 2017. She is a former Chair of the ALSC Digital Content Task Force and member of the ALSC Great Websites Committee.
Popular music is much more than mere entertainment—it helps us make sense of who we are or who we hope to be. Although music is but one of pop culture’s media outlets, our tendency to embody and take ownership of sound—whether through our headphones, MP3 downloads, dancing, or singing—often makes it difficult to separate our personal connection to popular music from the cultural context in which it was created.