Professional Documents
Culture Documents
The
teacher
resource
guide
has
been
created
to
support
the
Artist
in
Residence
program
with
Lyz
Jaakola.
You
will
find
a
variety
of
information
and
media
that
will
help
prepare
your
students
for
the
upcoming
event.
Feel
free
to
use
whatever
material
you
feel
will
best
engage
and
excite
your
students.
Each
school
or
setting
has
differing
formats
for
instruction
and
time
available
for
student
contact.
You
may
want
to
use
the
word
document
as
a
teacher
guide,
and
the
PowerPoint
or
Smart
Notebook
files
for
student
engagement.
I
will
appreciate
your
feedback
following
the
appearance
to
hear
what
content
was
most
helpful,
and
how
we
might
improve
this
experience
for
schools
in
the
years
to
come.
Table
of
Contents:
Correlation
of
Minnesota
State
Music
Standards
...........................................................................................
2
About
Ojibwe
Anishinaabe
People
.................................................................................................................
5
The
Music
of
the
Ojibwe
................................................................................................................................
6
Songs
to
be
Performed:
.................................................................................................................................
7
References:
.................................................................................................................................................
12
Glossary
......................................................................................................................................................
13
YouTube
and
other
videos
relating
to
the
above
curriculum:
.......................................................................
14
Using
YouTube
Videos
when
Blocked
at
School
............................................................................................
15
Quiz
.............................................................................................................................................................
16
Quiz
Key
......................................................................................................................................................
17
4-
5
4-
5
4-
5
1.
Create
or
make
in
a
variety
of
contexts
in
the
arts
area
using
the
artistic
foundations.
Elizabeth
Jaakola
(Anishinaabe,
enrolled
member
of
Fond
du
Lac
band
of
Lake
Superior
Ojibwe)
has
had
a
varied
musical
background,
preparing
her
for
a
career
in
music
education
and
American
Indian
studies
at
Fond
du
Lac
Tribal
and
Community
College.
Earning
her
Bachelor
of
music
degree
(1992)
in
vocal
performance,
Elizabeth
chose
teaching
at
a
tribal
school
as
a
music
specialist
before
embarking
on
a
performance
journey.
Performing
and
writing
in
many
styles/genres,
shes
difficult
to
pigeonhole,
but
these
chameleon-like
traits
are
only
natural
for
a
Native
woman
who
readily
embraces
her
mixed
heritage.
Elizabeths
past
includes
performances
in
the
Rome
Operafestival
(Mezzo
Soprano),
Choral
music
at
Carnegie
Hall,
Traditional
ceremony
singer,
Jazz
scat
singer,
Blues
siren
and
Regional
soloist
in
many
venues
of
Northern
Minnesota.
Her
Native-based
compositions
have
been
heard
on
radio
stations,
television,
video,
and
many
stages
near
to
her
home
on
the
Fond
du
Lac
reservation
in
Minnesota.
After
earning
a
Masters
in
Music
from
the
University
of
Minnesota-
Duluth,
Lyz
embraced
teaching
full-time
Music
and
Indian
Studies
at
Fond
du
Lac
Tribal
&
Community
College.
Shes
currently
compiling
her
Native-based
choral
pieces,
striving
to
promote
Anishinaabe
music
performances
and
education,
occasionally
gigging
around
town
in
her
Blues
band
(Lyz
Jaakola
&
the
Smokin
Chimokes),
recording
various
projects
such
as
the
Native
women's
hand
drum
group,
Oshkii
Giizhik
Singers'
sweetheart
CD
and
Anishinaabe
Youth
Chorus'
sophomore
recording,
in
between
teaching
and
parenting
3
fabulous
children.
? The Ojibwe people radiate out from the shores of Lake Superior. See map below in pink:
? Tradition
indicates
that
the
Ojibwe
people
settle
on
and
around
Madeleine
Island
near
Bayfield
Wisconsin
on
the
1400s.
? Ojibwe
are
also
called
the
Chippewa,
a
slang
name
for
the
Ojibwe
used
in
government
documents.
? Ojibwe
people
call
themselves
Anishinaabe
? Each
reservation
has
its
own
government,
courts,
police
and
economic
structure.
? There
are
seven
Ojibwe
reservations
in
Minnesota:
Red
Lake,
White
Earth,
Grand
Portage,
Fond
du
Lac,
Leech
Lake,
Bois
Forte
and
Mille
Lacs.
Anishinaabe Reservations
? There
are
560
federally
recognized
tribes
in
the
United
States,
each
with
its
own
musical
practices,
styles,
and
culture.
? Repetition
is
common
in
vocal
melodies
? Most
accompaniment
is
percussion
? The
melodic
scales
used
notes
that
do
not
fall
on
a
piano
keyboard,
but
may
fall
in-between
these
notes.
? Harmonic
structures
of
major
or
minor
chords
are
not
used
with
most
singing
close
to
unison.
? Much
of
the
traditional
music
is
of
a
spiritual
nature.
? Singing
includes
stories
and
vocables
non-word
syllables
(such
as:
wey
ya
hey
ya
hey
hey)
? Contemporary
Ojibwe
music
represents
a
wide
range
of
musical
styles.
?
?
?
?
?
?
Western
Music
written
and
composed
variety
of
instruments
songs
are
harmonic
lyric
centered
songs
are
functional
and
non-functional
melodies
may
be
any
contour
simple
to
complex
harmony:
triadic
Songs
to
be
Performed:
Lyz
Jaakolas
performance
will
include
the
following
pieces
from
the
CD
that
you
will
receive
when
she
visits:
Titles
Composer/Arranger
Water
Walk
Song;
Theme
Dorene
Day
and
Mashkoonce
Water
Walk
Song:
Arrangement
(chorus)
Dorene
Day
and
Mashkoonce/
Lyz
Jaakola
Lyrics:
Niib
Aubid,
Music:
Traditional
Wenaboozhoo
and
the
Ducks
(story
song)
Anishinaabe
Woman's
Love
Song
(traditional)
Traditional
Anishinaabe/Lyz
Jaakola
Sweetheart
Song
Contemporary
Traditional/Lyz
Jaakola
Mary's
Meme
Mary
Moose/Lyz
Jaakola
Ma'iingan
Oshkii
Giizhik
Singers
Lyz
Jaakola
wrote
some
notes
with
background
information
on
each
of
these
pieces.
A
synopsis
of
that
writing
is
below.
Waterwalk
Song:
From
www.motherearthwaterwalk.com
The
story
of
the
Nibi
(Water)
Song
told
by
Beatrice
Menase
Kwe
Jackson,
Migizi
Clan.
This
song
was
written
by
Doreen
Day
at
the
request
of
her
grandson.
She
attended
a
conference
about
the
water
at
which
the
internationally
known
speaker,
Dr.
Masaru
Emoto
said,
the
very
least
we
should
do
every
day,
is
to
speak
to
the
water:
Water,
we
love
you.
We
thank
you.
We
respect
you.
So
she
did
this.
Every
day
on
their
drive
to
drop
Mashkoonce
(Little
Elk)
to
school,
they
passed
a
body
of
water.
And
every
day
they
said
these
words
to
the
water
as
they
drove
by.
They
made
games
by
saying
it
in
different
voices
and
then
would
say
it
as
fast
as
they
could.
Then
one
day
Mashkoonce,
said,
Nokomis
why
cant
we
say
this
in
our
language?
So,
Dorene
asked
her
daughters
language
teacher
to
write
it
in
Ojibwemowin.
Dorene
had
the
words
taped
to
the
car
visor
as
they
learned
the
words.
One
day
this
grandson
Mashkoonce
said,
Nokomis
why
dont
we
sing
the
words,
dont
you
think
the
water
would
like
it
to
be
sung?
So
she
thought
about
it
and
came
up
with
the
tune.
They
sang
this
song
to
the
water
every
morning
on
their
drive
to
school.
The
lyrics
are:
G
e
g
o
i
n
a
a
b
i
k
e
g
o
n
!
G
e
g
o
i
n
a
a
b
i
k
e
g
o
n
!
G
i
g
a
-
m
a
m
i
s
k
o
s
h
k
i
i
n
z
h
i
g
w
e
m
!
G
i
g
a
-
m
a
m
i
s
k
o
s
h
k
i
i
n
z
h
i
g
w
e
m
!
M
i
n
i
k
w
e
w
i
i
n
i
n
o
y
e
g
!
M
i
n
i
k
w
e
w
i
i
n
i
n
o
y
e
g
!
G
a
g
w
e
-
w
a
w
i
i
k
w
a
w
i
s
h
i
m
o
k
!
G
a
g
w
e
-
w
a
w
i
i
k
w
a
w
i
s
h
i
m
o
k
!
Translated
as:
Do
not
look.
Or
your
eyes
will
turn
red!
Womans
Love
Song
This
song
begins
with
a
flute
song.
When
flutes
began,
I
dont
know.
I
do
know
that
there
are
at
least
three
different
renditions
of
where
our
flutes
come
from.
This
would
be
a
good
research
project
for
any
classroomto
find
at
least
three
differing
versions
of
the
origin
of
Native
flute.
Then
of
Lakota
and
Ojibwe
flutes
then
within
Ojibwe
culture,
finding
three
origin
stories
and
respectfully
learning
them
as
our
truth.
I
have
heard
the
flute
was
given
to
a
woman,
and
given
to
a
man
by
a
woman,
and
finally,
shown
to
a
man
in
a
tree
limb
In
any
case,
flutes
in
Ojibwe
culture
are
played
solo,
not
in
any
ensemble.
They
were
intended
to
be
used
for
personal
entertainment
and
for
a
man
to
communicate
to
his
sweetheart
from
afar
(like
the
other
side
of
the
camp)
A
girl
would
recognize
her
beau
by
his
flute
timbre
and
song.
The
song
he
would
play
would
be
improvisational
in
nature,
but
a
girl
would
have
listened
so
intently
that
she
could
know
him
by
his
tune.
Standard
tuning
for
flutes
is
a
relatively
new
development.
Flutes
were
usually
made
to
scale
based
on
the
length
of
a
mans
arm
and
the
spread
of
his
fingers,
giving
each
flute
a
unique
scale
and
timbre.
I
placed
this
flute
song
here
to
tell
a
little
storyHe
calls
out
to
her
with
an
almost
mournful
yearning.
Next
is
a
traditional
womans
melody.
Each
person
may
have
their
own
songeach
family
might
have
a
song,
or
each
community
or
village.
Songs
are
considered
to
have
a
place,
an
owner,
to
use
that
term.
It
is
not
thought
that
one
person
sings
another
persons
song
without
asking
permission.
Often,
that
permission
is
sought
by
offering
tobacco
(a
pinch
of
loose
tobacco,
offered
earnestly,
is
sufficient)
or
sometimes
an
appropriate
gift,
depending
on
the
song.
That
person
whose
song
it
is
may
choose
to
grant
permission
or
to
not
grant
permission.
Some
songs
are
freely
shared
by
many.
We
see
today
with
the
schizophonic
[music
that
is
separated
from
its
source]
nature
of
recordings
that
it
is
very
challenging
to
maintain
our
cultural
protocol
when
it
comes
to
songsbut
we
try
the
best
that
we
can
to
make
our
offerings
so
that
we
can
know
and
sing
songs
that
are
considered
traditional
in
a
good
way.
I
chose
to
arrange
this
song
in
a
theme
and
variations
treatment
mainly
because
its
important
that
the
integrity
of
our
traditional
aesthetic
is
what
is
heard
first.
Traditionally
this
song,
being
a
womans
love
song,
would
be
sung
solo
a
cappella.
I
find
it
very
interesting
that
the
melody
has
a
form
that
is
almost
pop
song
form
reminiscent
of
Tin
Pan
Alley
Id
like
to
do
more
research
on
song
forms
in
our
culture,
to
see
if
that
was
a
common
form
or
if
it
was
a
borrowed
form.
Anyway,
it
is
an
interesting
melody
to
me.
So,
I
sang
it
as
is
first
and
then
added
the
hand
drum
(deweigan)
and
then
started
to
layer
in
various
vocal
parts.
Id
like
to
see
this
as
a
choral
piece
and
encourage
the
singers
to
approximate
the
Anishinaabe
vocal
timbre.
It
is
an
acquired
skill
that
I
think
allows
people
to
understand
Native
music
from
another
perspective
when
they
try
to
sing
it
our
way.
Especially
for
those
trained
in
European
American
voice
methods
to
try
to
sing
like
the
Ojibwe
boys
and
men
who
sing
full
voice
in
a
comparatively
high
range.
Later,
I
add
a
descant
and
the
flute
returns
while
it
borders
on
cacophony.
After
that
variation,
I
decided
to
coast
out
of
it
with
some
more
traditional
treatment
of
the
song,
with
upper
octaves
replicating
what
we
call
Zhaabowe
singing
(when
the
women
sing
an
octave
higher
than
the
men
at
certain
parts
of
a
pow-wow
song)
and
doubling
the
parts
the
last
variation
I
brought
the
flute
in
to
compliment
the
melody,
as
if
the
two
are
now
coexisting,
separate
yet
parallel
in
harmony.
Sweetheart
Song,
The
One
That
Got
Away
This
song
is
in
the
style
of
what
we
call
Sweetheart
Songs.
They
have
a
standard
vocabulary
of
elements
that
identify
them
as
such:
a
double
beat
(a
consistent
dotted
rhythm
on
drum),
a
generally
descending
melody,
a
repetitive
form
utilizing
vocables
for
1
push-ups
then
English
lyrics
for
the
majority
of
the
last
half
of
the
2nd
and
4th
repetitions.
Often
the
lyrics
of
sweetheart
songs
are
about
love
or
just
snagging
(an
Indian
term
for
the
act
of
seeking
and
finding
a
companion
with
romantic
intent)
in
all
its
forms,
good
love,
bad
love,
sweet
love
or
love
gone
sour.
Most
often
these
songs
are
sung
by
boys
or
men
with
hand
drums
(one-
sided
frame
drums)
and
they
can
sometimes
verge
on
the
risqu
with
extra
appreciation
if
delivered
in
double
entendre
or
something
equally
clever.
They
are
our
culture
of
todays
pop
songs,
I
guess.
There
is
a
trend
gaining
momentum
in
Indigenous
communities
around
the
globe
called,
Idle
No
More,
which
often
results
in
something
called
a
Round
Dance.
The
sweetheart
song
is
a
genre
found
in
the
repertoire
of
songs
being
performed
at
Round
Dances.
They
are
intended
as
songs
for
a
good
time,
songs
for
everybody,
Indian
or
non-Indian,
to
relate
to
and
appreciate
or
even
dance
to.
The
Round
Dance
step
is
a
clockwise
side-step
motion
with
knees
relaxed
and
bodies
gently
moving
up
and
down
to
the
beat.
Sometimes
the
dancers
are
in
pairs
but
most
often
the
Idle
No
More
round
dancers
are
single
file,
holding
hands.
You
can
now
find
many
of
these
types
of
songs
on
YouTube,
just
search
Idle
No
More
Round
Dance
References:
http://www.lyzjaakola.com/
Documents
from
Perpich
Center
https://sites.google.com/a/pcae.k12.mn.us/professional-development-in-music-
education/curriculum/american-indian-resources/american-indian-music-resources
Ojibwe
language
and
traditional
song
site
www.umich.edu/~ojibwe/lessons
Glossary
? Vocable
a
style
of
singing
with
non-word
syllables,
like
fa
la
la
la
la,
or
wey
ya
hey
ya
hey
hey.
? Anishinaabemowin/Ojibwemowin
the
natural
language
spoken
by
Ojibwe-Anishinaabe
tribal
peoples
? call
and
response
a
common
form
used
in
traditional
Native
North
American
music
where
one
singer
calls
and
a
group
of
singers
respond
? double
beat
any
variation
of
a
drum
beat
in
groups
of
two
(short-long,
long-short,
strong-weak,
weak-strong,
etc)
? Incomplete
repetition-
Common
description
of
pow-wow
song
form
where
the
first
statement
(lead)is
sung
by
a
solo
male
who
is
answered
by
the
group
which
then
adds
more
musical
phrases
on
to
the
response.
After
all
the
new
musical
material
is
sung,
the
group
will
repeat
the
later
portions
of
the
song,
eliminating
the
lead
in
the
repetition.
? Ojibwe/Anishinabe
(Chippewa)
an
Indigenous
peoples
of
the
Great
Lakes
region
? powwow
a
Native
North
American
celebration
of
music
and
dance
characterized
by
use
of
a
Dance
Drum
and
male
groups
singing
while
they
strike
the
Drum
? push
ups
a
common
term
to
denote
form
in
pow-wow
music
? single
beat
a
steady
regularly
occurring
repeating
drum
beat
? tail
a
closing
phrase
on
a
pow-wow
song,
similar
to
a
coda
in
Western
music
Quiz
Quiz
Key
2. Which
of
the
Great
Lakes
to
the
Anishinaabe
People
surround?
Lake
Superior
3. What
instrument
family
is
most
common
accompanying
traditional
Ojibwe
music?
Percussion
4. What
are
vocables?
Non-word
syllables
5. Lyz
Jaakoa
teaches
at
what
college?
Fond
du
Lac
Tribal
Community
College
6. What
wind
instrument
does
Lyz
Jaakola
play?
Flute
7. What musical styles are used in contemporary Ojibwe music? All styles
Minnesota
Public
Radio
thanks
The
Sunup
Foundation
for
generous
support
of
this
music
education
initiative.