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Calypso, Parang, Chutney Context: CONSIDERATIONS

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Calypso, Parang, Chutney Context: CONSIDERATIONS Core Skills: Music Class: Duration: 4 sessions, 40 minutes for each activity Topic: Calypso, Parang, Chutney Context: CONSIDERATIONS: In their everyday lives, students are exposed to a variety of HFLE: local musical genres. This learning plan aims to make them more aware of the differences between these genres. Outcomes: At the end of this learning experience students will: Literacy Aurally identify the following local musical genres: Calypso, ☐Reading Parang and Chutney ☐Writing Describe the salient characteristics of each genre. Oral Describe at least three differences between Calypso, Communication Parang and Chutney styles ☐ Literary Appreciation Activities: Media & Information It’s a Calypso! Literacy 1. Students listen to an excerpt from a soca tune. 2. They attempt to identify the genre of music ( calypso- Numeracy soca) ☐ Problem Solving 3. Once the genre is confirmed, the introduction, verse and Critical thinking chorus are played and the students are asked to listen Communication for the rhythmic pattern of the drum kit. ☐ Representation 4. The drum kit pattern is isolated and played for the Reasoning students and they are invited to tap/ clap along with the music. They are told that this is the characteristic ☐ ICT Skills rhythmic pattern of soca music 5. An excerpt of the calypso is played again and the Differentiated students tap the drum kit pattern as they listen. Instruction 6. Through guided questioning, students are invited to describe the tempo and mood of the music. They are told Assessment for that soca music is ‘dance music’ which is used mainly learning during the Carnival season 7. Students are asked to name other soca songs that they know and their composers. The term sobriquet is introduced. 8. They are invited to bring other soca songs to share with the class the next day. Is This Calypso Too? 9. Students listen to a conventional calypso (e.g. Unsung Heroes or Portrait of Trinidad). 10.They share their views about the lyrical content of the calypso 11.They also compare the tempo and mood of this piece with the soca tune. 12.The term Conventional Calypso is introduced. 13.Students are questioned as to whether the lyrics contained a story line and this is established as a main characteristic of conventional calypsoes 14.The introduction, verse, and chorus are again played and students are asked to listen for the type of strum used by the guitar 15.The guitar part is then isolated and played for the students either live or via cd and they are they asked to clap the rhythm 16.The second verse and chorus is played and they are asked to clap the rhythm of the guitar strum as they listen 17.The third verse, chorus and interlude is played and students are asked to listen for the rhythmic pattern of the drum kit. 18.This is also isolated and students are invited to clap along with the rhythm 19.The students compare the drum patterns of the soca and the conventional calypsoes. 20.They discuss the tempo and mood of the conventional calypso and compare them with those of soca music. 21.Students name other conventional calypsos that they know and their composers/performers. Relevant sobriquets are also discussed. 22.Students are invited to bring other conventional calypsoes to share with the class the next day. Viva La Parranda! 23.A parang excerpt is played and students are asked to guess which genre of music it is, giving reasons for their answers. 24.Once the correct genre is identified, the excerpt is played again and students listen to the lyrics and identify which language is used 25.Through guided discussion, the main theme of parang music (the birth of Christ) is identified. 26.The excerpt is played again and the students are asked to listen for the box bass or bass line and try to identify the rhythmic pattern which is characteristic to this genre. 27.This pattern is isolated and played either live or via cd and the students clap/tap along with the music 28.The song is played again and this time students listen carefully for the strum used by the cuatros and guitars, which is also characteristic of this genre 29.These instruments are also isolated and the students attempt to imitate the rhythmic pattern 30.The class is divided into three groups and the entire song is played. 31.As the music is played, one group imitates the bass pattern, another, the guitar’s rhythmic pattern and the third, the cuatro’s rhythmic pattern. 32.Students name other parang songs and artistes that they know and are invited to bring along additional parang music to share with the class the next day. Chutney Music 33.A excerpt from a piece of chutney music sung in Hindi is played.(e.g. Chola by Adesh Samaroo) 34.Students are invited to guess the genre of music, giving reasons for their answers. 35.The genre is confirmed and the excerpt is played again 36.Students listen to the lyrics and identify the language used (Hindi) 37.Another excerpt is played of a chutney tune sung in English and the language is again identified.(English) 38.The first excerpt is replayed and students are asked to identify the main instruments used. 39.A picture of the harmonium is shown and the melody played by the harmonium is isolated and played either live or via cd. 40.The rhythmic pattern of the drums is also isolated and played. 41.The excerpt is played again and students tap the drum pattern along with the music 42.Students are asked to listen for the similarities between the rhythmic pattern of the drums used in chutney with the pattern of the drums used in soca. 43.Students share their findings and a guided discussion is held. Resources: Recordings of calypsoes, parang and chutney Flash cards displaying the words calypso, conventional, soca, parang and chutney Assessment: Performance task – given a selection of recordings, students use their knowledge of the characteristics of Calypso (conventional and soca), Parang and Chutney to place them under appropriate headings)..
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