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i

Music Education for Children with Autism

Spectrum Disorder
ii
iii

Music Education for Children with Autism

Spectrum Disorder

A RESOURCE FOR TEACHERS

Sheila J. Scott

1
iv

1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.

Published in the United States of America by Oxford University Press

198 Madison Avenue, New York, NY 10016, United States of America.

© Oxford University Press 2017

All rights reserved. No part of this publication may be reproduced, stored in

a retrieval system, or transmitted, in any form or by any means, without the
prior permission in writing of Oxford University Press, or as expressly permitted
by law, by license, or under terms agreed with the appropriate reproduction
rights organization. Inquiries concerning reproduction outside the scope of the
above should be sent to the Rights Department, Oxford University Press, at the
address above.

You must not circulate this work in any other form

and you must impose this same condition on any acquirer.

Library of Congress Cataloging-​in-​Publication Data

Names: Scott, Sheila J., author.
Title: Music education for children with autism spectrum disorder : a resource for teachers /​Sheila J. Scott.
Description: New York : Oxford University Press, [2017] |
Includes bibliographical references and index.
Identifiers: LCCN 2016021613 | ISBN 9780190606343 (pbk. : alk. paper) |
ISBN 9780190606336 (cloth: alk. paper) | ISBN 9780190606374 (oxford scholarship online) |
ISBN 9780190606381 (companion website)
Subjects: LCSH: Music—Instruction and study. | Children with autism spectrum
disorders—Education. | Special education. | Education, Primary.
Classification: LCC MT17 .S4 2017 | DDC 618.92/​85882065154—dc23
LC record available at https://​lccn.loc.gov/​2016021613

9 8 7 6 5 4 3 2 1

Paperback printed by WebCom, Inc., Canada

Hardback printed by Bridgeport National Bindery, Inc., United States of America
v

To children on the autism spectrum who guide us to observe, to listen,

and to teach in new ways.
vi
vii

Contents

List of Figures xiii

List of Tables xv
Alphabetical List of Songs xvii
Preface xix
Acknowledgments xxiii
About the Companion Website xxv

1. Autism and Music Education 1

The Musical Child 1
What is Autism? 4
Qualitative Impairments in Social Interaction 5
Restrictive and Repetitive Behaviors and/​or Interests 7
Autism and Education 11
Communication 12
Joint attention 13
Play 15
Verbal communication 18
Teachers’ use of language 19
School Environments 20
Sensory challenges 21
Routine 24
Student engagement 25
Independence 27
Developing Relationships with Instructional Assistants 28
Chapter Summary 31

vii
viii

viii Contents
2. Planning for Instruction 33
Programming in Music Education 33
Differentiated Instruction 34
Student profile (initial assessment) 36
Program profile (initial assessment) 39
Program profile (continuing assessment) 41
Planning Learning Experiences 43
Universal Design for Learning 43
Principles of Universal Design 45
Universal Design and Instruction 46
Lesson Planning 49
Context 51
Content differentiation 51
Lesson outline 52
Sample Lesson—​Grade 2 Music 53
Context 53
Content differentiation 54
Lesson outline 55
Learning Sessions for Groups of Children with ASD 58
Lesson planning template 58
Sample lesson 59
Chapter Summary 61

3. Songs and Singing 63

Cognitive Perceptions 64
Pitch Perception 64
Relationships between Language and Music 66
Vocal (Singing) Experiences for Children on the Autism Spectrum 69
Echolalia 74
Teachers’ Vocal Models 77
Choosing a Repertoire of Songs 78
Musical Considerations 78
Texts 79
Leading Songs 81
Teaching Songs by Rote 83
Whole Song Approach 84
Vocal Experiences for Children on the Autism Spectrum 84
Motivation 85
ix

Contents ix
Personalizing a greeting 85
Personalizing songs 86
Language as song (sung speech) 86
Pitch discrimination 87
Kazoo 88
Voice 88
Pitch production 89
Call and response 89
Vocalizing contour 90
Kazoo 91
Songs with Simple Repeated Syllables 95
Songs and language development 96
Picture books based on songs 98
Choosing singing books 98
Using singing books 100
Chapter Summary 103

4. Listening to Music 105

Pedagogical Principles for Listening 108
Musical Genres and Styles 109
Length 109
Regularity 110
Multisensory Engagement 110
Familiarity 111
Music Listening for Joint Attention, Relaxation, and Sensory Stimulation 111
Instructional Intervention: Interaction Using Scarves 112
Selecting Music 113
Tempo and Dynamics 120
Dynamics 120
Teaching strategies 124
Tempo 125
Teaching strategies 126
Chapter Summary 127

5. Moving 129
Motor Development 131
Gait and Coordination 131
Motor Planning 131
x

x Contents
Object Control 133
Imitation 134
Educational Experiences Integrating Movement and Music 135
Features of Movement Interventions 136
Body awareness 136
Spatial awareness 138
Awareness of energy or effort 138
Movement vocabulary 139
Object control 139
Practice 140
Creativity 140
Collaboration 141
General Guidelines for Teaching Movement 141
Nonlocomotor movement 142
Locomotor movement 155
Movement and Meter 163
Chapter Summary 165

6. Playing Musical Instruments 169

Categorizing Instruments 170
Materials of Construction 170
Gourds (maracas and shakers) 170
Metals 171
Skins (hand drum) 176
Woods 177
Sound Effects 179
How Instruments Are Played 181
Ease of Performance 182
General Guidelines for Teachers 185
Students’ Initial Experiences 188
Sensory Stimulation 189
Exploration 189
Educational Interventions 191
Aural acuity 192
Instrument family identification 192
Specific instrument identification 193
Playing Instruments 194
Accompanying Songs 194
xi

Contents xi
Experimenting with Sounds 197
Creating Sounds by Following the Conductor 197
Creating Sounds to Accompany Stories 199
Picture books 199
Personal stories 202
Instrumental Conversations 203
Rhythm sticks 204
Drums 208
Chapter Summary 208

7. Musical Narratives: Integrating Musical Experiences through Storytelling and

Drama 211
Background 211
Musical Narrative: Festival Fall 215
Part 1: Dawn 215
Part 2: Walking through the Town 216
Part 3: Raking the Leaves 216
Part 4: Afternoon Siesta 217
Part 5: Dusk 217
Chapter Summary 217

Appendix 219
References 225
Bibliography of Suggested Resources 235
index 237
xii
xiii

List of Figures

1.1 Teddy Bear 2

1.2 Rig-​A-​Jig-​Jig 17
1.3 Row, Row, Row Your Boat 19
1.4 All the Pretty Little Horses 21
2.1 The Eency Weency Spider 36
2.2 Rain, Rain, Go Away 37
2.3 Down by the Station 41
2.4 Star Light, Star Bright 46
2.5 One, Two, Tie My Shoe 57
2.6 Hey, Ho! Nobody Home 60
3.1 Bingo 64
3.2 Simple Gifts 65
3.3 Goodbye Song 66
3.4 Sleep, Baby, Sleep 68
3.5 Singing Ranges 70
3.6 Engine, Engine, Number Nine 71
3.7 Suogan 72
3.8 Winter is Here 76
3.9 The Farmer in the Dell 80
3.10 Star Light, Star Bright, in 2/​4 and 4/​4 Meter 82
3.11 All Through the Night 83
3.12 This Old Man 83
3.13 Music Class Cheer Song 86
3.14 Fall is on its Way 87
3.15 Sung Speech for Gaining a Student’s Attention 88
3.16 Sung Speech for Informing Expectations 88

xiii
xiv

xiv List of Figures

3.17 Sung Speech for Rewarding Success 88
3.18 Typical Greeting 89
3.19 Possible Greeting Between Teacher and Student with Echolalia 90
3.20 Down by the Bay 94
3.21 Fa, La, La Song 95
3.22 Old MacDonald had a Farm 96
3.23 Comparing Rhythm for Lyrics in Twinkle, Twinkle, Little Star 101
5.1 Meaningful (left) and Nonmeaningful (right) Gestures. 135
5.2 Bilateral (top), Unilateral (middle), and Cross-​Lateral (bottom) Movements 144
5.3 Notation for 8-​Beat Phrase for Body Awareness Game 146
5.4 Movements to Promote Body Awareness 148
5.5 Notation for Nonlocomotor Freeze Game 150
5.6 Imitating Partner: Facing (left) and Beside (right) 155
5.7 March (left) and Freeze (right) 157
5.8 Notation for Locomotor Freeze Game (16 Beats): Walking 158
5.9 Notation for Walking Forward and Backward 159
5.10 Notation for Locomotor Freeze Game (8 Beats): Running 160
5.11 Notation for Locomotor Freeze Game (16 Beats): Running 160
5.12 Notation for Locomotor Freeze Game (8 Beats): Sliding 161
5.13 Notation for Locomotor Freeze Game (16 Beats): Sliding 161
5.14 Notation for Locomotor Freeze Game (8 Beats): Hopping 161
5.15 Notation for Locomotor Freeze Game (16 Beats): Hopping 161
5.16 Notation for Locomotor Freeze Game (8 Beats): Skipping 162
5.17 Notation for Locomotor Freeze Game (16 Beats): Skipping 162
6.1 Maracas, Chikitas, Egg Shakers, and Twin Chikitas 172
6.2 Cymbals and Finger Cymbals 173
6.3 Cluster Bells, Jingle Bells, Cow Bell and Mallet, and Agogo Bells 174
6.4 Triangles and their Beaters, and Cabasa 176
6.5 Tambourine and Half-​Moon Tambourine 177
6.6 Hand Drum; Bottom: Wood Block and Beater, Tick Tock Block, and Sand
Blocks 178
6.7 Rhythm Sticks (Ribbed and Smooth), Claves, and Guiro with Scraping Stick 180
6.8 Wow Earth Bell and Mallet, Frog Guiro, Owl Whistle, and Train Whistle 181
xv

List of Tables

4.1 Western Art Music for Interaction with Scarves 114

4.2 Jazz for Interaction with Scarves 116
4.3 Folk Music (and Popular Music in Folk Style) for Interaction with Scarves 117
4.4 World Music for Interaction with Scarves 117
4.5 Easy Listening/​Popular Music for Interaction with Scarves 118
4.6 Dynamics and Tempo 121
5.1 The Eency Weency Spider 132
5.2 Energy or Effort 139
5.3 Movement Vocabulary 140
5.4 Non-​Locomotor Movements 143
5.5 Freeze Game: Western Art Music 151
5.6 Freeze Game: Jazz 152
5.7 Ball Passing: Western Art Music 153
5.8 Ball Passing: Jazz 154
5.9 Locomotor Movements 156
5.10 Free Dancing 164
5.11 Movement and Meter: Bach Overtures 166
6.1 Timbre or Tone Quality Based on Materials of Construction 171
6.2 How Instruments are Played 182
6.3 Ease of Performance Listed from Easiest to Most Difficult to Play 183
6.4 Story with Instruments: Going Out for Recess 203
6.5 Instrumental Conversations with Rhythm Sticks: Jazz 205
6.6 Instrumental Conversations with Rhythm Sticks: Western Art Music 206
6.7 Instrumental Conversations with Rhythm Sticks: Indigenous, Folk, New Age,
Movie, and Popular 207
7.1 Fall Festival 214

xv
xvi
xvii

Alphabetical List of Songs

All the Pretty Little Horses 21

All Through the Night 83
Bingo 64
Down by the Bay 94
Down by the Station 41
Engine, Engine Number Nine 71
Fa, La, La Song 95
Fall is on its Way 87
Goodbye Song 66
Hey, Ho! Nobody Home 60
Music Class Cheer Song 86
Old MacDonald had a Farm 96
One, Two, Tie My Shoe 57
Rain, Rain, Go Away 37
Rig-​A-​Jig-​Jig 17
Row, Row, Row Your Boat 19
Simple Gifts 65
Sleep, Baby, Sleep 68
Star Light, Star Bright 46
Suogan 72

xvii
xviii

xviii Alphabetical List of Songs

Teddy Bear 2
The Eency Weency Spider 36
The Farmer in the Dell 80
This Old Man 83
Winter is Here 76
xix

Preface

This is a resource book for teachers working with children on the autism spec-
trum in the approximate age range of 4 to 9. My experiences teaching children with
ASD began with a request from a local teacher. She noticed that her students with
ASD responded positively to music. She tried to communicate with these students
through music but, since she was not a musician or a music teacher, did not feel
qualified for this task. Would I develop and deliver a music program for these stu-
dents? I was excited by this possibility but also naïve. I assumed that all I had to do
was consult some published resources, compile their recommendations, and build a
program. I soon learned that these resources did not exist.
This publication represents my search for activities with which to create a music
program for these children. My educational preparation in both the Kodaly Method
and the Orff Approach, my background as an elementary-​level music teacher, and
my current position teaching courses in general music methods to pre-​service edu-
cators provided a wealth of experiences to draw on in creating a music program for
children with ASD. Over the next several years I worked (and continue to work)
with children with autism on a weekly basis, experimenting with a variety of educa-
tional strategies, revising approaches, and assessing whether these interventions were
successful with these students. All of the materials and activities described in this
book were field tested in this program.
My starting point in planning music-​based activities for children with ASD was to
examine the research literature highlighting the challenges experienced by children
xix
xx

xx Preface
with ASD and describing the difficulties they encounter in managing their behav-
iors in typical school environments. Explanations of these research findings inform
the educational strategies described in this book.
Many of the activities in this publication are similar to those already used by teach-
ers. However, this book differs from other resources in that activities are situated in
relation to children with ASD. This helps teachers understand how these students
learn and, through this understanding, helps students on the autism spectrum reach
their full potentials. Readers gain a repertoire of activities to use in their classrooms.
They also gain insights into how children on the autism spectrum behave and how
teachers may structure educational environments to help these children manage
their behaviors. While the educational interventions described in this publication
are geared to students in preschool (approximately ages 4 or 5) through grade 3
(approximately ages 8 or 9), the activities in this resource may be adapted for older
students.
Many educators work with students with ASD. Some of these students are grouped
alongside their typically developing peers in inclusive environments; others receive
instruction, or a portion of their instruction, in programs developed exclusively for
children with exceptional cognitive, behavioral, and/​or psychomotor needs. Many
educators are challenged to create educational environments that provide all indi-
viduals with educational opportunities best suited to their needs. These teachers
may observe that, in general, students on the autism spectrum display an affinity to
music. Building on these natural inclinations, educators open doors to social interac-
tion as students engage with others in music-​based experiences. Children respond
to music in a variety of ways. Their responses involve cognition when children per-
form the beat and subdivisions of the beat on drums. Their responses involve cre-
ativity when students improvise movements to express their aural experiences. Their
responses involve communication when children and caregivers interact through
performance.
This publication may be used by a variety of educational professionals and for
a variety of purposes. Both pre-​service and in-​service music teachers may use this
book to help to prepare music programs for this group of students or to find ways to
differentiate music instruction for individuals with ASD. Generalist educators may
use this book to find activities that will motivate their students toward joint atten-
tion and increased interaction within educational environments and with individu-
als (teachers, instructional assistants, and peers) within these environments.
The following summary provides an overview of the seven chapters in this book.
Chapter 1, Autism and Music Education, provides an overview of autism and advice
on structuring educational environments to maximize learning for students on the
spectrum. In Chapter 2, Planning for Instruction, teachers gain information about
xxi

Preface xxi
differentiated instruction and creating lesson plans around the principles of Universal
Design. Chapter 3, Songs and Singing, begins with a review of research that profiles
pitch perception for memory, discrimination, and reproduction in individuals with
ASD, followed by a series of practical teaching interventions that assist teachers in
engaging students with ASD through songs and singing. In Chapter 4, Listening
to Music, music listening is explored as an avenue for promoting receptivity, joint
attention, relaxation, and sensory stimulation among children with ASD and their
caregivers, concluding with descriptions of educational interventions that moti-
vate students to explore expressive qualities of music such as dynamics and tempo.
Chapter 5, Moving, begins with an overview of research literature that profiles the
challenges encountered by children with ASD in motor development. This is fol-
lowed by a summary of the benefits of movement interventions and descriptions
of teaching strategies that help children on the autism spectrum practice and refine
proficiencies in movement. In Chapter 6, Playing Musical Instruments, the benefits
students receive through playing instruments are reviewed including descriptions of
the percussion instruments referred to throughout this resource, and explanations of
factors to consider when choosing instruments for particular tasks and for particular
students. This is followed by guidelines for introducing percussion instruments to
students with ASD and descriptions of educational interventions that facilitate the
use of percussion instruments with these students. In Chapter 7, Musical Narratives,
storytelling and drama are used to integrate the music activities described in ear-
lier chapters (e.g., singing, moving, listening, and playing instruments) into holistic
musical experiences. Additional educational interventions are posted on the com-
panion website, along with audio files of the songs notated in the book and an anno-
tated bibliography of picture books based on songs. Updates of research findings,
along with suggested implications for education, are also posted. As a whole, this
resource provides teachers with comprehensive perspectives for engaging children
with ASD in hands-​on activities through music.
Working with students with ASD requires that teachers carefully observe and
respond to the students’ reactions to their educational environments. As I interact
with teachers I realize that many of them are challenged to find ways to involve stu-
dents with ASD in their classes. They want to offer these students the best education
possible, but are unsure of how to do so. I hope that the work I share helps educators
on their personal journeys, creating and recreating educational contexts for their
students.
xxii
xxiii

Acknowledgments

Thank you to Norm Hirschy, acquisitions editor, Oxford University Press,

who recognized potential in this work and facilitated its acceptance by Oxford
University Press. As well, thank you to Sylvia Dare who so effectively guided the
production process. Throughout my years of working with children with ASD and
in writing about the activities I use in this teaching context I have been supported
and assisted by many people including Jihoon An, Junsuh An, Junwoo An, Helen
Armstrong, Bart Brown, Candace Brown, Story Brown, Suki Brown, John Blyth,
Sheelagh Chadwick, Amy Jensen, Floyd Jensen, Sunglim Lee, Madeline Lowe, Brent
Legg, Mary McMahon, Debbie Schmitz, Ewart Scott, Heather Scott, Joyce Scott,
William (Bill) Scott, Debbie Stevens, Jean Valcourt, Shannon Vogel, and Arthur J.
Winton. Finally, I express appreciation to Brandon University for supporting the
sabbaticals during which I wrote the first draft of this manuscript.

xxiii
xxiv
xxv

About the Companion Website

www.oup.com/​u s/​m usiceducationforchildrenwithASD

Readers are invited to explore materials that accompany this book in the companion
website. This book is suited to educators with varying backgrounds including, but
not limited to, specialist music teachers, special education teachers, and educators in
general classroom situations. The website is designed with this in mind by including
materials for educators with limited formal education in music as well as for those
with extensive backgrounds as music performers and/​or music educators. The web-
site includes the following features:

• Updates of the research literature with implications for how students with
ASD learn through music
• Aural files of vocal performances of all songs shown in the text in traditional
music notation
• Annotated references for picture books that represent songs
• Aural files of rhythm patterns for the movement games described in c­ hapter 5
• Examples of musical narratives to illustrate further the ideas presented in
Chapter 7 of this book

References to materials in the Companion Website are highlighted throughout the

text using the symbol shown to the right.

xxv
xxvi
xxvii

Music Education for Children with Autism

Spectrum Disorder
xxviii
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 —Eh! bien, Christophe? fit Babette.
—Vous parlez sans la reine, répondit le jeune avocat.
Quelques jours après cette déception assez amère, un apprenti
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«Chaudieu veut voir son enfant!»
—Qu’il entre! s’écria Christophe.
—O mon saint martyr! dit le ministre en venant embrasser
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Mais qu’ai-je appris? tu t’es fait recevoir avocat, tu as prêté le
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 Christophe répondit tranquillement:—De quoi s’agit-il?
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—Sur qui?
—Sur le duc de Guise.
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—Oh! Christophe, ils t’ont fait avocat, et tu raisonnes! dit
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—Oh! Christophe, si tu avais entendu Calvin, tu saurais que nous
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—Lisez! dit Christophe en présentant au ministre la réponse de
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—Oh! mon enfant, tu es ambitieux, tu ne peux plus te dévouer!...
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Chaudieu sortit sur cette belle parole.
Quelques jours après cette scène, Christophe, la famille Lallier et
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d’une belle terre seigneuriale sise en Picardie, de laquelle on avait
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beau.
—Qu’y a-t-il donc? demanda le curé de Saint-Pierre-aux-Bœufs.
—La reine-mère et le jeune roi viennent souper avec vous,
répliqua le premier chirurgien. La reine et le roi attendent un vieux
conseiller dont la charge sera vendue à Christophe, et M. de Thou
qui a conclu le marché. N’ayez pas l’air d’avoir été prévenus, je me
suis échappé du Louvre.
En un moment, les deux familles furent sur pied. La mère de
Christophe et la tante de Babette allèrent et vinrent avec une célérité
de ménagères surprises. Malgré la confusion que cet avis jeta dans
l’assemblée de famille, les préparatifs se firent avec une activité qui
tint du prodige. Christophe, ébahi, surpris, confondu d’une pareille
faveur, était sans parole et regardait tout faire machinalement.
—La reine et le roi chez nous! disait la vieille mère.
—La reine! répétait Babette, que dire et que faire!
Au bout d’une heure tout fut changé: la vieille salle était parée, et
la table étincelait. On entendit alors un bruit de chevaux dans la rue.
La lueur des torches portées par les cavaliers de l’escorte fit mettre
le nez à la fenêtre aux bourgeois du quartier. Ce tumulte fut rapide. Il
ne resta sous les piliers que la reine-mère et son fils, le roi Charles
IX, Charles de Gondi nommé grand-maître de la garde-robe et
gouverneur du roi, M. de Thou, le vieux conseiller, le secrétaire
d’État Pinard et deux pages.
—Braves gens, dit la reine en entrant, nous venons, le roi mon
fils et moi, signer le contrat de mariage du fils à notre pelletier; mais
c’est à la condition qu’il restera catholique. Il faut être catholique
pour entrer au parlement, il faut être catholique pour posséder une
terre qui relève de la couronne, il faut être catholique pour s’asseoir
à la table du roi! N’est-ce pas, Pinard?
Le secrétaire d’État parut en montrant des lettres-patentes.
—Si nous ne sommes pas ici tous catholiques, dit le petit roi,
Pinard jettera tout au feu; mais nous sommes tous catholiques ici?
reprit-il en jetant des yeux assez fiers sur toute l’assemblée.
—Oui, sire, dit Christophe Lecamus en fléchissant quoique avec
peine le genou et baisant la main que le jeune roi lui tendit.
La reine Catherine, qui tendit aussi sa main à Christophe, le
releva brusquement et, l’emmenant à quelques pas dans un coin, lui
dit:—Ah! çà, mon garçon, pas de finauderies? Nous jouons franc jeu!
—Oui, madame, reprit-il saisi par l’éclatante récompense et par
l’honneur que lui faisait cette reine reconnaissante.
—Hé! bien, mons Lecamus, le roi mon fils et moi nous vous
permettons de traiter de la charge du bonhomme Groslay, conseiller
au Parlement, que voici, dit la reine. Vous y suivrez, j’espère, jeune
homme, les errements de monsieur le Premier.
De Thou s’avança et dit:—Je réponds de lui, madame.
—Eh! bien, instrumentez, garde-notes, dit Pinard.
—Puisque le roi notre maître nous fait la faveur de signer le
contrat de ma fille, s’écria Lallier, je paie tout le prix de la seigneurie.
—Les dames peuvent s’asseoir, dit le jeune roi d’une façon
gracieuse. Pour présent de noces à l’accordée, je fais, avec
l’agrément de ma mère, remise de mes droits.
Le vieux Lecamus et Lallier tombèrent à genoux et baisèrent la
main du jeune roi.
—Mordieu! sire, combien ces bourgeois ont d’argent! lui dit Gondi
à l’oreille.
Le jeune roi se prit à rire.
—Leurs seigneuries étant dans leurs bonnes, dit le vieux
Lecamus, veulent-elles me permettre de leur présenter mon
successeur et lui continuer la patente royale de la fourniture de leurs
maisons?
—Voyons, dit le roi.
Lecamus fit avancer son successeur qui devint blême.
—Si ma chère mère le permet, nous nous mettrons tous à table,
dit le jeune roi.
Le vieux Lecamus eut l’attention de donner au roi un gobelet
d’argent qu’il avait obtenu de Benvenuto Cellini, lors de son séjour
en France à l’hôtel de Nesle, et qui n’avait pas coûté moins de deux
mille écus.
—Oh! ma mère, le beau travail! s’écria le jeune roi en levant le
gobelet par le pied.
—C’est de Florence, répondit Catherine.
—Pardonnez-moi, madame, dit Lecamus, c’est fait en France par
un Florentin. Ce qui est de Florence serait à la reine, mais ce qui est
fait en France est au roi.
—J’accepte, bonhomme, s’écria Charles IX, et désormais ce sera
mon gobelet.
—Il est assez bien, dit la reine en examinant ce chef-d’œuvre,
pour le comprendre dans les joyaux de la couronne.—Eh! bien,
maître Ambroise, dit la reine à l’oreille de son chirurgien en
désignant Christophe, l’avez-vous bien soigné? marchera-t-il?
—Il volera, dit en souriant le chirurgien. Ah! vous nous l’avez bien
finement débauché.
—Faute d’un moine, l’abbaye ne chôme pas, répondit la reine
avec cette légèreté qu’on lui a reprochée et qui n’était qu’à la
surface.
Le souper fut gai, la reine trouva Babette jolie, et, en grande
reine qu’elle fut toujours, elle lui passa au doigt un de ses diamants
afin de compenser la perte que le gobelet faisait chez les Lecamus.
Le roi Charles IX, qui depuis prit peut-être trop de goût à ces sortes
d’invasions chez ses bourgeois, soupa de bon appétit; puis, sur un
mot de son nouveau gouverneur, qui, dit-on, avait charge de lui faire
oublier les vertueuses instructions de Cypierre, il entraîna le premier
président, le vieux conseiller démissionnaire, le secrétaire d’État, le
curé, le notaire et les bourgeois à boire si druement, que la reine
Catherine sortit au moment où elle vit la gaieté sur le point de
devenir bruyante. Au moment où la reine se leva, Christophe, son
père et les deux femmes prirent des flambeaux et l’accompagnèrent
jusque sur le seuil de la boutique. Là, Christophe osa tirer la reine
par sa grande manche et lui fit un signe d’intelligence. Catherine
s’arrêta, renvoya le vieux Lecamus et les deux femmes par un geste,
et dit à Christophe:—Quoi?
—Si vous pouvez, madame, tirer parti de ceci, dit-il en parlant à
l’oreille de la reine, sachez que le duc de Guise est visé par des
assassins...
—Tu es un loyal sujet, dit Catherine en souriant, et je ne
t’oublierai jamais.
 Elle lui tendit sa main, si célèbre par sa beauté, mais en la
dégantant, ce qui pouvait passer pour une marque de faveur; aussi
Christophe devint-il tout à fait royaliste en baisant cette adorable
main.
—Ils m’en débarrasseront donc, de ce soudard, sans que j’y sois
pour quelque chose! pensa-t-elle en mettant son gant.
Elle monta sur sa mule et regagna le Louvre avec ses deux
pages.
Christophe resta sombre tout en buvant, la figure austère
d’Ambroise lui reprochait son apostasie; mais les événements
postérieurs donnèrent gain de cause au vieux syndic. Christophe
n’aurait certes pas échappé aux massacres de la Saint-Barthélemi,
ses richesses et sa terre l’eussent désigné aux meurtriers. L’histoire
a enregistré le sort cruel de la femme du successeur de Lallier, belle
créature dont le corps resta nu, accroché par les cheveux à l’un des
étais du Pont-au-Change pendant trois jours. Babette frémit alors, en
pensant qu’elle aurait pu subir un pareil traitement, si Christophe fût
demeuré Calviniste, car tel fut bientôt le nom des Réformés.
L’ambition de Calvin fut satisfaite, mais après sa mort.
Telle fut l’origine de la célèbre maison parlementaire des
Lecamus. Tallemant des Réaux a commis une erreur en les faisant
venir de Picardie. Les Lecamus eurent intérêt plus tard à dater de
l’acquisition de leur principale terre, située en ce pays. Le fils de
Christophe, qui lui succéda sous Louis XIII, fut le père de ce riche
président Lecamus qui, sous Louis XIV, édifia le magnifique hôtel qui
disputait à l’hôtel Lambert l’admiration des Parisiens et des
étrangers; mais qui, certes, est l’un des plus beaux monuments de
Paris. L’hôtel Lecamus existe encore rue de Thorigny, quoiqu’au
commencement de la Révolution, il ait été pillé comme appartenant
à M. de Juigné, l’archevêque de Paris. Toutes les peintures y ont
alors été effacées; et, depuis, les pensionnats qui s’y sont logés l’ont
fortement endommagé. Ce palais, gagné dans le vieux logis de la
rue de la Pelleterie, montre encore les beaux résultats qu’obtenait
jadis l’Esprit de Famille. Il est permis de douter que l’individualisme
moderne, engendré par le partage égal des successions, élève de
pareils monuments.

FIN DU MARTYR CALVINISTE.

 NOTE.

Voici cette chanson publiée par l’abbé de La Place dans son

Recueil de pièces intéressantes, où se trouve la dissertation dont
nous avons parlé.
LE CONVOI DU DUC DE GUISE.

Qui veut ouïr chanson? (bis)

C’est du grand duc de Guise;
Et bon, bon, bon, bon,
Di, dan, di, dan, bon,
C’est du grand duc de Guise!
(Ce dernier vers se parlait et se disait sans doute comiquement.)
Qui est mort et enterré.

Qui est mort et enterré. (bis)

Aux quatre coins du poële,
Et bon, etc.,
Quatre gentilshomm’s y avoit.

Quatre gentilshomm’s y avait, (bis)

L’un portoit son grand casque,
Et bon, etc.,
Et l’autre ses pistolets.

Et l’autre ses pistolets, (bis)

Et l’autre son épée,
Et bon, etc.,
Qui tant d’hugu’nots a tués.

Qui tant d’hugu’nots a tués. (bis)

Venoit le quatrième,
Et bon, etc.,
Qui étoit le plus dolent.

Qui étoit le plus dolent; (bis)

Après venoient les pages,
Et b t
 Et bon, etc.,
Et les valets de pied.

Et les valets de pied, (bis)

Avecque de grands crêpes,
Et bon, etc.,
Et des souliers cirés.

Et des souliers cirés, (bis)

Et des beaux bas d’estame,
Et bon, etc.,
Et des culottes de piau.

Et des culottes de piau. (bis)

La cérémonie faite,
Et bon, etc.,
Chacun s’alla coucher.

Chacun s’alla coucher, (bis)

Les uns avec leurs femmes,
Et bon, etc.,
Et les autres tout seul.

Cette découverte curieuse prouverait jusqu’à un certain point la

culpabilité de Théodore de Bèze, qui voulut alors diminuer par le
ridicule l’horreur que causait cet assassinat. Il paraît que l’air faisait
le principal mérite de cette ronde.
 TABLE DES MATIÈRES.

ÉTUDES PHILOSOPHIQUES.

Massimilla Doni 1
Gambara 74
L’Enfant maudit 129
Les Marana 220
Adieu 275
Le Réquisitionnaire 315
El Verdugo 330
Un Drame au bord de la mer 340
L’Auberge rouge 359
L’Élixir de longue vie 391
Maître Cornélius 413
Sur Catherine de Médicis 468
Introduction 469
Première partie.—Le Martyr calviniste 503

FIN DE LA TABLE.
 Au lecteur.
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apportées. Elles sont soulignées par des pointillés. Positionnez
le curseur sur le mot souligné pour voir le texte original.
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