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Sweet Babe O’ Mine

Grades 9-12

Teacher’s Guide and Related Standards

This lesson explores the historical and cultural context of Margie Maddox’s 1939 recording of the lullaby, “Sweet Babe O’ Mine,” conducted by the well-known ethnomusicologists John and Ruby Lomax, a husband and wife team. Students will have the opportunity to 1) Learn about the contexts of a song’s recording, 2) listen to and analyze Margie’s song, 3) engage with contemporary musicians Elizabeth Mitchell and Daniel Littleton’s re-interpretation of the song, and 4) participate in creative activities connected to music making.

 

• Introduction

  This lesson on lullabies is designed to accompany the LOC Mixtape Podcast, Episode 2. The thinking and active listening questions are designed to encourage students to engage with the podcast episode, while the supplementary activities can be used to spark creative interaction based on the ideas presented in the podcast.

• Podcast Episode Guide

  This guide helps teachers understand the structure of the podcast episode and plan classroom discussions or activities. Use the timestamps to navigate the episode and highlight key segments.

  Episode Format Overview:

  • 0:00–1:00 | Host introduction
    The host introduces the show’s theme of exploring audio primary sources from the Library of Congress and doing “remixes” of them, providing context and modeling how a podcast engages listeners from the start.
  • 1:00–2:42 | Episode topic introduction
    The episode’s focus is introduced. Students can note the topic and reflect on their prior knowledge or any questions they may have.
  • 02:42 - 04:55 | “Imagine This” segment
    Primary source audio is played along with accompanying descriptive narration, helping students visualize its historical or cultural context. The host tees up the guest expert(s), bridging the source and expert insight.
  • 4:55–16:34 | Historical expert interview
    The guest expert discusses the topic in depth with the host. Encourage students to listen for evidence, examples, and explanations that connect to the primary source audio.
  • 16:34–17:49 | Transition to musical guest
    Another audio clip introduces a new perspective and sets up the musician interview. Teachers can prompt students to compare and contrast with earlier sources.
  • 17:49–33:42 | Musician interview
    The guest musician shares their response to the primary source and how they created a new work in conversation with that source. This segment illustrates how primary sources and personal experiences inform our understanding of cultural history and can inspire new creative endeavors.
  • 33:42–38:34 | Original remix audio
    Students hear a creative reinterpretation of the primary source. This segment can be used to discuss adaptation, creativity, and the evolution of cultural practices.
  • 38:34–End | Outro and credits
    The host wraps up the episode. Teachers can guide students to reflect on what they learned and connect it to broader themes, related questions, extension/enrichment activities, or classroom projects.

• Extension

  Become an Ethnomusicologist
  Additional exploration of this topic could involve a longer-term project where students engage with an older family member (parent, grandparent, aunt, uncle, etc.) to explore songs or folk tunes that are important to the family (either currently or in the past). Examples include a song connected with a family ritual, religious practice, or favorite activity. The objective is to have students act as ethnomusicologists and study the traditions of music-making within their own family contexts.

  Exercise:

  1. Students will identify a family member or members who sing or remember a song that is special to them or their larger family.
  2. As a part of the exercise, students can be required to get the family member(s) written permission to record an interview about the song, AND to record them singing the song. (Note: this could also be a group performance)
  3. Using a phone or small recorder, students can record an interview with the family member, considering questions like:
     1. How did you learn the song?
     2. Did your parent(s) sing this song when you were young?
     3. Why is this song important?
     4. What do the lyrics mean to you?
     5. What is your favorite element of the song?
     6. What memories come to mind when you think of the song?
     7. Would it be important for future generations to continue the tradition of singing this song (why or why not?)
  4. During the same interview, have the students record family member(s) singing the song(s).
  5. Class Presentation or Video Essay
     1. Teachers have options to have students share their findings. Here are two recommended options:
        1. Have students give a short presentation to the class about their family song(s).
        2. Have students create a video essay where they discuss what they learned through the interview and share the family song(s).
  6. Prompts for Student Reflection
     1. How did your project change your perspective on your family?
     2. What are the benefits of interviewing and preserving your family traditions in this way?

• Assessment

  Depending on instructional choices and class priorities, a variety of interdisciplinary learning outcomes might be measured through a customized rubric. Measurable learning outcomes might include:

  • Accurate musical or historical analysis
  • Lyrical or musical inventiveness
  • Synthesis of historical and musical context
  • Demonstration of musical elements (rhythm, form, melody, etc.)
  • Thematic insights through students' personal reflections

  Please feel free to use the rubric below or create a rubric that measures the specific learning outcomes that you have identified.

No Response Score Point 0	Not There Yet Score Point 0.5	Beginning To Score Point 0.75	Yes Score Point 1.0
The claim is missing.	The claim is incorrect or irrelevant.	The claim partially takes a position on the topic or issue addressed within the prompt.	The claim takes an appropriate position on the topic or issue addressed within the prompt.
There is no type of evidence in the response.	The evidence is irrelevant or does not support the claim.	The evidence partially supports the claim and demonstrates some understanding of the topic or text, using appropriate sources.	The evidence supports the claim and demonstrates a strong understanding of the topic or text, using appropriate sources.
There is no use of words, phrases, and clauses to create cohesion and to clarify the relationship between the claim and evidence.	Use of words, phrases and clauses fail to show or explain any relationship between the claim and evidence.	Words, phrases, and clauses used lack cohesion but partially clarify the relationship between the claim and evidence.	Appropriate words, phrases, and clauses are used to create cohesion and to clarify the relationship between the claim and evidence.