Musical Manufacturing:

An Introduction to Instrument
Design and Construction
Grades 9-12

Andrew Foote
Course Description:
This course aims to provide students with a basic understanding of instrument design, including
methods of sound production and perception, fundamental construction skills and safety, and
materials. The students will have the opportunity to design three different instruments: a basic
drum, a one-string chordophone (Diddley-Bo) and an instrument of their choice. As basic design
principles are covered in the teaching of the course, students will have the opportunity to use
traditional paper-and-pencil design methods, or the Google SketchUp program on school
provided Chromebooks. Each project will additionally include a physical manufacture
component, in which the students will manifest their instruments into functioning prototypes.
After all three projects have been completed, the students will pick one of their instruments to
refine and improve upon, using feedback from their peers, as well as testing their instruments in
external musical settings, from an informal jam with friends to a classical guitar classroom. The
combination of peer-feedback and testing will provide students with valuable information that
they will use to improvement on the prototype. The experiences in this class will culminate in a
performance by the students on their instruments, as soloists or small group members, as well as
a large-ensemble piece. No experience with construction is necessary.

Rationale
This course aims to enable students to connect their own musical ideas with the physical world,
via an instrument of their own design. The practical applications for the construction portion of
this class are wide spread; basic tool knowledge and shop safety are skills all adults today should
know. The ability to safely operate power tools has been a skill reserved for those students who
only take shop or auto-technology classes. Considering the potential gain from learning these
types of skills, opening a class to appeal to a different set of students allows another group of .
Breaking down the barriers established between school departments is another important gain
from this class. Far too often musical classes exist independently of the rest of the school, and
collaboration is discouraged beyond other members of the program. While enrollment in school
music programs continues to drop, teachers are creating classrooms that flourish, and programs
in schools that are overflowing with student interest and engagement. Diversity and variation
from traditional musical classrooms can help to strengthen music programs, without replacing
ensembles that still interest many people today. Musical taste is highly personal, and this course
provides high school students with an opportunity to tailor their physical means to suit their taste.
It is not a secret, or a surprise, that many students don't connect with the traditional band classes
of today, presence in school music is suffering because of it (Kratus, 2007). This class hopes to
bring students the opportunity to branch away from the traditional music classes, as well as
incorporating some design principles and basic physics to their musical education. The
construction of a Diddley-Bo, a traditional African-American instrument, also allows for another
chance to connect with external areas of study. BY communicating with the history teachers at
the school, this class can provide some extended cultural background on early 20th century rural
America, specifically in African-American southern communities. This population tends to be
overlooked in schools today, as discussed in Tolnays 1997 article. While the focus on the Great
Migration is the journey and destination, much of the culture developed in the south during
reconstruction is not covered. By creating an instrument directly related to that, the class aims to
inspire discussion and investigation amongst students into that period.
On an even larger scale, this class is set up so that students can informally make music with each
other, without the formalized, and frequently daunting, state or county assessment performances
that are common in large ensemble music classes. This class strives to create a space where the
blending of creativity in design and music is seamless, and where students transcend above the
classification of non/musical. As Thibeault discusses in his 2015 article, There are many cohorts
where participation is so broad that the term musician is redundant, (Thibeault, 2015). This
classroom aims to fil that need, so commonly overlooked in a group of 50 students. By requiring
collaborative performance, the desired result is an increased amount of cooperation and
experimentation, which further enforces the participatory culture described by Thibeault.
Overall, this class can provide a unique chance for students to engage in cross-disciplinary
learning, connecting music, science, history, and industrial arts. Each of these areas can provide
the students with a new perspective on the related subjects, as well as skills and knowledges in
these fields.

Expected Impact on Students

By the end of the course, students should have gathered a fundamental understanding of how
sound is produced and how various factors affect aspects of that sound (such as timbre, volume,
pitch, etc.). This knowledge can be articulated verbally or in writing, as they will be expected to
do both. Secondarily, students will be able to provide background knowledge on the cultural
history and development of chordophones, including the Diddley-Bo, from a variety of cultures.
They will also learn general tool and shop safety, along with basic plastic and woodworking
principles. Finally, students will be presenting their own creation to their peers, both as a
physical product and as means for music making. This class addresses VA SOL standards HG
5.1, 5.2, 5.3, HIB 1.0, as well as National Core Art Anchor Standards 1, 2, 3, 4, 7, 10.

Expected Impact on the Community

This class hopes to provide the community and the school with a new avenue for musical
expression, specifically through the physical side of instrument construction and personalization.
As explained in the Rationale, this class is working to establish a space in which students feel
free to express themselves, and share the wonder of music with their peers. This class provides
opportunities for collaborations with local artists, such as luthiers, as well as with school and
community band programs. By connecting the students with the community, the skills learned
here may be transferred to others beyond the classroom, growing the general wealth of
knowledge and musical interest outside the school. As the course grows, the students could
collaborate with peers in the music theory class to compose a piece for their new instruments,
potentially holding a public concert to raise money for the program.
 Project Outline
Project Title: The Diddley-Build! Andrew Foote

Project Description Students will learn about the physical properties of sound, and how the
human body interprets it. This will be paired with a cultural study of the Diddley-Bo, a one-
string instrument common in American Blues. Finally, the students will demonstrate their
understanding by constructing their own instrument, and explaining how it functions, both
physically and culturally, in their lives today.

UbD Planning Template:

Stage 1 Desired Results
PROJECT Transfer
GOALS Students will be able to independently use their learning to problem solve,
and refine a product of their own creation.
1. Students will be Students will engage with and alter physical objects through
able to build an experimentation and iteration.
instrument that Students will be able to explain the basics of sound and wave-motion as
is suitable for
well as the sound perception process in the human ear.
music making
Meaning
(string vibrates
UNDERSTANDINGS ESSENTIAL QUESTIONS
to produce a
pitch) Students will understand that material What is Sound?
(NCAS 1, 2, 3). effects instrument timbre How is the sound affected by
Students will consider issues of timbre, (variable)?
2. Students will be pitch, and volume when selecting What can you do to improve
able to materials and creating their instrument. upon the design?
articulate the Students will understand that pitch is
history and measured in Hertz, and that the
background of distinctions that determine notes in
the instrument Western Music are human inventions.
they built. Students will understand that sound
(NCAS 11) travels in a wave (vibrations) and be
able to explain the effects of different
3. Students will variables (ex. tension) on the sound.
explain the Acquisition
basic process Students will know that sound consists Students will be skilled at
by which they of pressure changes within a medium using basic
constructed (air) carpentry/construction
their instrument Students will know how the human ear methods. This includes using
(NCAS 6) perceives sound. power tools/hand tools,
Students will know the background and joining wood with fasteners,
evolution of chordophones, as well as and troubleshooting common
their characteristics. This will include problems such as warping or
the Diddley-Bo, and its role in the cracking.
development of American Blues Students will be skilled at
Music. tuning a string instrument
Students will know basic string (using friction or geared
instrument construction principles. tuners)
 Students will understand basic
principles of instrument construction,
including tool technique, material
choice, parts of a chordophone, and
common design features (supports,
sound holes, etc.)

Stage 2 - Evidence
Evaluative Assessment Evidence
Criteria
Can the student PERFORMANCE TASKS:
successfully Students will successfully build their Diddley-Bo.
produce sound on o The instrument built produces a tone when the string is struck, and
the instrument? tone manipulation is possible (ex: using glass slide to change pitch)
Students will indicate (either on an instrument or a diagram) the parts of the
Diddley-Bo
Students will draft and revise a plan for their instrument, working with their
peers. Reflection on the design process will be included in the general
reflection write up at the conclusion of the project.
Can the student OTHER EVIDENCE:
explain the Students will explain (aloud or in writing) the history of their instrument.
information in an Students will explain the history of their instrument, and how it contributes
understandable to the evolution of string instruments today. This will enable them, when
way? paired with physical knowledge, to extrapolate and analyze design decisions
made by instrument builders of the past and present.
Stage 3 Learning Plan
Day 1
Students will have the opportunity to play and explore on various chordophones, such as a
Diddley-Bo, Canjo, Dulcimer, Balalaika, Banjo, or any other instruments accessible to the Teacher.
Teacher will explain the basics of sound and sound perception, through a presentation and
demonstration with a model. Teacher will also explain the historical significance of the monochord.
o Homework: Students will read on basic physics of sound, as well as the anatomy of the ear, as
well as being asked to find information (any forms of media) on chordophones and their
history.
Day 2
The Teacher will assemble an instrument with the students, demonstrating proper shop safety and
material use.
The cultural history of the chordophone will be discussed, and students will provide examples from
their research. The example Diddley-Bo and blueprints will be presented, and a materials list will
be discussed. Additionally, shop safety will be reviewed*.
o Homework: Students will read the article provided by the teacher (Evans, 1970), and do
independent research on the Diddley-Bo, including notable players and songs featuring the
instrument. Students will also produce an initial blueprint for their instrument
Day 3
Teacher will offer feedback on designs.
Students will review peers designs, and offer critique, refining their own plans accordingly. If time
remains, they will be allowed to begin working in the shop. At home, students will produce a final
blueprint for their instrument.
Day 4
Teacher will supervise as students work on their instruments. Help will be provided when needed.
Day 5
Students will continue to work on their instruments
Day 6
Students will continue to work on their instruments, with help as needed from the teacher.
Students who do not finish will be asked to finish at home, or come in after school.
Day 7
Students will explore their instruments, and discuss their experiences building.
Teacher will ask students to justify their design decisions, and to explain the context for the project
(history, science).
o Homework: Students will compose or choose a song to cover on their instrument, for
performance in front of their peers.
Day 8
Students will select a piece to perform on their given instrument, and tell the teacher. This can be
an original composition or a cover of a pre-existing song. Teacher will record the song selections.
-Students will have the remainder of the class period to practice on their own.
o Homework: Students will work on their piece for performance at the next class
Day 9
Students will perform their piece on their homemade instruments.
Students will take the remainder of the class, to write a personal reflection about their experience,
chronicling difficulties, design decisions (with justifications), and shop experiences, as well as
discussing the applicability of those skills beyond the classroom.
o Homework: The students will finish their reflection.

*At this point, Shop Safety should have been already taught and tested, at the beginning of the class.
ADAPTATIONS & MODIFICATIONS

This project is very scaffold-able. If a student is unable safely work in the shop with tools, the teacher
can compile a kit for them to assemble and modify on their own terms (paint, tuning, etc.). Color
changes will be more difficult as much of the project is not digital and high-contrast modes cannot be
used, however brightly colored safety zones around tools and clear lines on materials may help with
this. Pacing can be adjusted by offering additional times after school to work, and limiting the
individual work in the shop that is needed. If the student is experienced in the shop or already has
instrument construction practice, the assignment can be made more challenging by adding constraints,
such as size or materials, and by asking the student to create a kit for another student.
EXAMPLE END OF PROJECT ASSESSMENT RUBRIC:

Score 4 3 2 1

-The student -The student -The student -The student does

successfully successfully constructs an not complete the
constructs their constructs their instrument that is construction of
functional functional instrument, mostly functional, their instrument,
instrument, and which is used in their though it has some and a performance
 adds functional performance. issues in cannot be
features that enable -The student performance. completed.
for an enhanced demonstrates -The student -The student
performance (ex. understanding of the demonstrates some demonstrates little
Pickups). cultural background understanding of the understanding of
-The student can of their instrument. cultural background the history and
articulate an in- -The student can of their instrument, background of
depth articulate the however there is a their instrument.
understanding of principles of sound lack of depth -The student
the cultural production and demonstrated. cannot articulate
background of their perception. -The student can the principles of
instrument and articulate a moderate sound production
related instruments. understanding of the and perception.
-The student can physics of sound
articulate the production and
principles of sound perception, though
production and there are some errors.
perception in detail,
as well as
explaining
connections to
other forms of wave
motion.

Successful completion of instrument- 50 points

Discussion of cultural background-15 points
Discussion of physical background-15 points
Individual plan completion-20 points
Collaborative work on plans-10 points
Safe working in shop-100 points*

*Shop safety will be assessed by the teacher on a binary basis.

Budget:

Item Name
(linked to Use Cost Quantity Overall
provider) (How will this be used by students/teacher?) (per unit) Cost
Dowels These will be used as necks for instruments (2 per dowel) 6.37 8 50.96

Screws These will be used to fasten instruments together 1.94/box 2 3.88

Eye screws These will be used to attach strings 15.99/box 3 47.97

Cigar boxes These will be used as resonating chambers for instruments 1.99 20 39.80

Cajon Kit These will be used in the first project 39.99 16 639.84

Microphones These will be used to electrify instruments (optional) 11.54 15 173.10

Guitar Amplifier These will be used for performance at the end of the year, as 69.99 3 209.97
well as testing throughout

Tape measure This will be used for construction of instruments 8.99 5 44.95

2x1 Lumber This will be used in general construction 0.98 20 19.6

Drill This will be used in the construction of instruments 59.97 2 119.94

Total Cost: $1350.01

Citations
Kratus, J. (2007). Centennial series: Music education at the tipping point.Music Educators Journal, 94(2), 42-48.

Tolnay, Stewart E. The Great Migration and Changes in the Northern Black Family, 1940 to 1990. Social Forces,
vol. 75, no. 4, 1997, pp. 12131238., www.jstor.org/stable/2580669.

Thibeault, M. D. (2015). Music education for all through participatory ensembles. Music Educators Journal, 102(2),
54-61.

Evans, David. Afro-American One-Stringed Instruments. Western Folklore, vol. 29, no. 4, 1970, pp. 229245.,
www.jstor.org/stable/1499045.