West African Percussion Book

Total Page:16

File Type:pdf, Size:1020Kb

West African Percussion Book B O X notation [collected rhythm transcriptions by Paul Nas (WAP Pages) and others] Contents Instruments and Strokes ____________________________________________________________ 6 Notation details____________________________________________________________________ 7 Abioueka _________________________________________________________________________ 8 Abondan ________________________________________________________________________ 10 Adjos ___________________________________________________________________________ 12 Bada ___________________________________________________________________________ 14 Baga ___________________________________________________________________________ 20 Baga Giné _______________________________________________________________________ 21 Balakulanya / Söli lente ____________________________________________________________ 23 Balan Sondé _____________________________________________________________________ 26 Bambafoli _______________________________________________________________________ 28 Bandogialli / Bando Djeï ___________________________________________________________ 29 Bara____________________________________________________________________________ 31 Bintin __________________________________________________________________________ 32 Bolokonondo_____________________________________________________________________ 34 Bolomba ________________________________________________________________________ 37 Bolon___________________________________________________________________________ 38 Boula___________________________________________________________________________ 39 Conoule I _______________________________________________________________________ 40 Dalah___________________________________________________________________________ 41 Dalfo ___________________________________________________________________________ 42 Damba__________________________________________________________________________ 43 Demosoni Kelen __________________________________________________________________ 46 Dennadon _______________________________________________________________________ 47 Diaeba __________________________________________________________________________ 48 Diansa __________________________________________________________________________ 49 Dibon II_________________________________________________________________________ 52 Djaa____________________________________________________________________________ 53 Djaa Kouroussa __________________________________________________________________ 55 Djaa Siguiri______________________________________________________________________ 56 Djabara _________________________________________________________________________ 57 Djagbè __________________________________________________________________________ 59 Djambadon ______________________________________________________________________ 62 Djelidon / Djelifoli / Sanja / Lamba___________________________________________________ 64 Djolé ___________________________________________________________________________ 72 Contents 3 Donaba _________________________________________________________________________ 73 Dunumbè _______________________________________________________________________ 74 Fanga __________________________________________________________________________ 77 Fankani_________________________________________________________________________ 78 Foro-Bingé ______________________________________________________________________ 82 Fulafare (Yoleli)__________________________________________________________________ 84 G'Beredu________________________________________________________________________ 86 Garankedon _____________________________________________________________________ 90 Garankefoli______________________________________________________________________ 92 Gidamba / Somba Koro ____________________________________________________________ 93 Griot ___________________________________________________________________________ 97 Kadan _________________________________________________________________________ 101 Kakilambé ______________________________________________________________________ 106 Kanin__________________________________________________________________________ 110 Kassa __________________________________________________________________________ 111 Kassa Djibo_____________________________________________________________________ 114 Kassa Soro _____________________________________________________________________ 116 Kawa __________________________________________________________________________ 117 Kebendo _______________________________________________________________________ 118 Kemoba ________________________________________________________________________ 119 Kennefoli_______________________________________________________________________ 121 Konden I _______________________________________________________________________ 122 Konden II ______________________________________________________________________ 124 Konjumalon ____________________________________________________________________ 125 Konkoba Dundun ________________________________________________________________ 127 Konkoba I ______________________________________________________________________ 129 Konkoba II _____________________________________________________________________ 132 Konkoba III ____________________________________________________________________ 134 Könönari _______________________________________________________________________ 135 Könöwoulen I ___________________________________________________________________ 137 Könöwoulen II __________________________________________________________________ 139 Koreduga / Kotedjuga / Komodenu __________________________________________________ 140 Korobadon _____________________________________________________________________ 142 Kuku __________________________________________________________________________ 145 Kurabadon _____________________________________________________________________ 148 Lafè / Kurubi ___________________________________________________________________ 149 Lafè ___________________________________________________________________________ 151 Liberté I________________________________________________________________________ 156 Liberté II_______________________________________________________________________ 157 Lolo ___________________________________________________________________________ 158 Maane _________________________________________________________________________ 160 Macru _________________________________________________________________________ 162 Madan _________________________________________________________________________ 164 Madan rapide ___________________________________________________________________ 165 Mamaya _______________________________________________________________________ 166 Marakadon _____________________________________________________________________ 169 Matadi _________________________________________________________________________ 171 Mendiani_______________________________________________________________________ 172 Meni __________________________________________________________________________ 175 Mola __________________________________________________________________________ 176 Molekanimani Djou Jee___________________________________________________________ 177 Moribayassa ____________________________________________________________________ 178 Namani ________________________________________________________________________ 179 Nantalomba ____________________________________________________________________ 180 N'Goron / Toubala Kono __________________________________________________________ 181 N'Gri / Kirin / Krin /Wassolonka / Wasulunke /Bubuninca ______________________________ 182 Toubala Kono ___________________________________________________________________ 185 Noumou _______________________________________________________________________ 186 Senefoly________________________________________________________________________ 188 Shiko __________________________________________________________________________ 189 Silamalon ______________________________________________________________________ 190 Sinte __________________________________________________________________________ 192 Sirankuruni ____________________________________________________________________ 194 Siwé ___________________________________________________________________________ 195 Sobonincun_____________________________________________________________________ 196 Sofa / Limbadji toko ______________________________________________________________ 200 Sökö___________________________________________________________________________ 203 Söli des Manían _________________________________________________________________ 205 Söli rapide______________________________________________________________________ 206 Sorofoli ________________________________________________________________________ 209 Sorsornet_______________________________________________________________________ 211 Takonany ______________________________________________________________________ 214 Takosaba_______________________________________________________________________ 216 Tiriba__________________________________________________________________________ 218 Toro___________________________________________________________________________ 220 Warba _________________________________________________________________________ 222 Wassolonka /Bubuninca __________________________________________________________
Recommended publications
  • The KNIGHT REVISION of HORNBOSTEL-SACHS: a New Look at Musical Instrument Classification
    The KNIGHT REVISION of HORNBOSTEL-SACHS: a new look at musical instrument classification by Roderic C. Knight, Professor of Ethnomusicology Oberlin College Conservatory of Music, © 2015, Rev. 2017 Introduction The year 2015 marks the beginning of the second century for Hornbostel-Sachs, the venerable classification system for musical instruments, created by Erich M. von Hornbostel and Curt Sachs as Systematik der Musikinstrumente in 1914. In addition to pursuing their own interest in the subject, the authors were answering a need for museum scientists and musicologists to accurately identify musical instruments that were being brought to museums from around the globe. As a guiding principle for their classification, they focused on the mechanism by which an instrument sets the air in motion. The idea was not new. The Indian sage Bharata, working nearly 2000 years earlier, in compiling the knowledge of his era on dance, drama and music in the treatise Natyashastra, (ca. 200 C.E.) grouped musical instruments into four great classes, or vadya, based on this very idea: sushira, instruments you blow into; tata, instruments with strings to set the air in motion; avanaddha, instruments with membranes (i.e. drums), and ghana, instruments, usually of metal, that you strike. (This itemization and Bharata’s further discussion of the instruments is in Chapter 28 of the Natyashastra, first translated into English in 1961 by Manomohan Ghosh (Calcutta: The Asiatic Society, v.2). The immediate predecessor of the Systematik was a catalog for a newly-acquired collection at the Royal Conservatory of Music in Brussels. The collection included a large number of instruments from India, and the curator, Victor-Charles Mahillon, familiar with the Indian four-part system, decided to apply it in preparing his catalog, published in 1880 (this is best documented by Nazir Jairazbhoy in Selected Reports in Ethnomusicology – see 1990 in the timeline below).
    [Show full text]
  • ©Studentsavvy Music Around the World Unit I Thank You For
    ©studentsavvy Music Around the World Unit I thank you for StudentSavvy © 2016 downloading! Thank you for downloading StudentSavvy’s Music Around the World Unit! If you have any questions regarding this product, please email me at [email protected] Be sure to stay updated and follow for the latest freebies and giveaways! studentsavvyontpt.blogspot.com www.facebook.com/studentsavvy www.pinterest.com/studentsavvy wwww.teacherspayteachers.com/store/studentsavvy clipart by EduClips and IROM BOOK http://www.hm.h555.net/~irom/musical_instruments/ Don’t have a QR Code Reader? That’s okay! Here are the URL links to all the video clips in the unit! Music of Spain: https://www.youtube.com/watch?v=_7C8MdtnIHg Music of Japan: https://www.youtube.com/watch?v=5OA8HFUNfIk Music of Africa: https://www.youtube.com/watch?v=4g19eRur0v0 Music of Italy: https://www.youtube.com/watch?v=U3FOjDnNPHw Music of India: https://www.youtube.com/watch?v=qQ2Yr14Y2e0 Music of Russia: https://www.youtube.com/watch?v=EEiujug_Zcs Music of France: https://www.youtube.com/watch?v=Ge46oJju-JE Music of Brazil: https://www.youtube.com/watch?v=jQLvGghaDbE ©StudentSavvy2016 Don’t leave out these countries in your music study! Click here to study the music of Mexico, China, the Netherlands, Germany, Australia, USA, Hawaii, and the U.K. You may also enjoy these related resources: Music Around the WorLd Table Of Contents Overview of Musical Instrument Categories…………………6 Music of Japan – Read and Learn……………………………………7 Music of Japan – What I learned – Recall.……………………..8 Explore
    [Show full text]
  • Electrophonic Musical Instruments
    G10H CPC COOPERATIVE PATENT CLASSIFICATION G PHYSICS (NOTES omitted) INSTRUMENTS G10 MUSICAL INSTRUMENTS; ACOUSTICS (NOTES omitted) G10H ELECTROPHONIC MUSICAL INSTRUMENTS (electronic circuits in general H03) NOTE This subclass covers musical instruments in which individual notes are constituted as electric oscillations under the control of a performer and the oscillations are converted to sound-vibrations by a loud-speaker or equivalent instrument. WARNING In this subclass non-limiting references (in the sense of paragraph 39 of the Guide to the IPC) may still be displayed in the scheme. 1/00 Details of electrophonic musical instruments 1/053 . during execution only {(voice controlled (keyboards applicable also to other musical instruments G10H 5/005)} instruments G10B, G10C; arrangements for producing 1/0535 . {by switches incorporating a mechanical a reverberation or echo sound G10K 15/08) vibrator, the envelope of the mechanical 1/0008 . {Associated control or indicating means (teaching vibration being used as modulating signal} of music per se G09B 15/00)} 1/055 . by switches with variable impedance 1/0016 . {Means for indicating which keys, frets or strings elements are to be actuated, e.g. using lights or leds} 1/0551 . {using variable capacitors} 1/0025 . {Automatic or semi-automatic music 1/0553 . {using optical or light-responsive means} composition, e.g. producing random music, 1/0555 . {using magnetic or electromagnetic applying rules from music theory or modifying a means} musical piece (automatically producing a series of 1/0556 . {using piezo-electric means} tones G10H 1/26)} 1/0558 . {using variable resistors} 1/0033 . {Recording/reproducing or transmission of 1/057 . by envelope-forming circuits music for electrophonic musical instruments (of 1/0575 .
    [Show full text]
  • Islamic Economic Thinking in the 12Th AH/18Th CE Century with Special Reference to Shah Wali-Allah Al-Dihlawi
    Munich Personal RePEc Archive Islamic economic thinking in the 12th AH/18th CE century with special reference to Shah Wali-Allah al-Dihlawi Islahi, Abdul Azim Islamic Economics Institute, King Abdulaziz University, Jeddah, KSA 2009 Online at https://mpra.ub.uni-muenchen.de/75432/ MPRA Paper No. 75432, posted 06 Dec 2016 02:58 UTC Abdul Azim Islahi Islamic Economics Research Center King Abdulaziz University Scientific Publising Center King Abdulaziz University http://spc.kau.edu.sa FOREWORD The Islamic Economics Research Center has great pleasure in presenting th Islamic Economic Thinking in the 12th AH (corresponding 18 CE) Century with Special Reference to Shah Wali-Allah al-Dihlawi). The author, Professor Abdul Azim Islahi, is a well-known specialist in the history of Islamic economic thought. In this respect, we have already published his following works: Contributions of Muslim Scholars to th Economic Thought and Analysis up to the 15 Century; Muslim th Economic Thinking and Institutions in the 16 Century, and A Study on th Muslim Economic Thinking in the 17 Century. The present work and the previous series have filled, to an extent, the gap currently existing in the study of the history of Islamic economic thought. In this study, Dr. Islahi has explored the economic ideas of Shehu Uthman dan Fodio of West Africa, a region generally neglected by researchers. He has also investigated the economic ideas of Shaykh Muhammad b. Abd al-Wahhab, who is commonly known as a religious renovator. Perhaps it would be a revelation for many to know that his economic ideas too had a role in his reformative endeavours.
    [Show full text]
  • African Drumming in Drum Circles by Robert J
    African Drumming in Drum Circles By Robert J. Damm Although there is a clear distinction between African drum ensembles that learn a repertoire of traditional dance rhythms of West Africa and a drum circle that plays primarily freestyle, in-the-moment music, there are times when it might be valuable to share African drumming concepts in a drum circle. In his 2011 Percussive Notes article “Interactive Drumming: Using the power of rhythm to unite and inspire,” Kalani defined drum circles, drum ensembles, and drum classes. Drum circles are “improvisational experiences, aimed at having fun in an inclusive setting. They don’t require of the participants any specific musical knowledge or skills, and the music is co-created in the moment. The main idea is that anyone is free to join and express himself or herself in any way that positively contributes to the music.” By contrast, drum classes are “a means to learn musical skills. The goal is to develop one’s drumming skills in order to enhance one’s enjoyment and appreciation of music. Students often start with classes and then move on to join ensembles, thereby further developing their skills.” Drum ensembles are “often organized around specific musical genres, such as contemporary or folkloric music of a specific culture” (Kalani, p. 72). Robert Damm: It may be beneficial for a drum circle facilitator to introduce elements of African music for the sake of enhancing the musical skills, cultural knowledge, and social experience of the participants. PERCUSSIVE NOTES 8 JULY 2017 PERCUSSIVE NOTES 9 JULY 2017 cknowledging these distinctions, it may be beneficial for a drum circle facilitator to introduce elements of African music (culturally specific rhythms, processes, and concepts) for the sake of enhancing the musi- cal skills, cultural knowledge, and social experience Aof the participants in a drum circle.
    [Show full text]
  • Explore Music 7 World Drumming.Pdf (PDF 2.11
    Explore Music 7: World Drumming Explore Music 7: World Drumming (Revised 2020) Page 1 Explore Music 7: World Drumming (Revised 2020) Page 2 Contents Explore Music 7: World Drumming Overview ........................................................................................................................................5 Unit 1: The Roots of Drumming (4-5 hours)..................................................................................7 Unit 2: Drum Circles (8-10 hours) .................................................................................................14 Unit 3: Ensemble Playing (11-14 hours) ........................................................................................32 Supporting Materials.......................................................................................................................50 References.................................................. ....................................................................................69 The instructional hours indicated for each unit provide guidelines for planning, rather than strict requirements. The sequence of skill and concept development is to be the focus of concern. Teachers are encouraged to adapt these suggested timelines to meet the needs of their students. To be effective in teaching this module, it is important to use the material contained in Explore Music: Curriculum Framework and Explore Music: Appendices. Therefore, it is recommended that these two components be frequently referenced to support the suggestions for
    [Show full text]
  • Year 8 Unit 1
    Y E A R 8 U N I T 1 – AFRICAN MUSIC LP5 LEARNING OBJECTIVES LEARNING OUTCOMES (Pupils should know/understand/be able to do/be aware (The evidence to show that pupils have achieved the of by the end of the lesson) learning objectives) Learn about African musical instruments Level 3 (working towards) All Pupils : Use features of African music such as rhythms, Know that African music is often performed using different types of drum, but other percussion instruments (pitched and unpitched) cyclic rhythms, polyrhythms and syncopation to are also used. begin creating a group piece of African-inspired Compose and record own rhythm performing on a suitable music instrument and turning it into a cyclic rhythm Level 4 (working at) Most Pupils Make connections between African musical instruments and those available within the classroom Compose and accurately record own rhythm, with some syncopation, performing it individually and as part of a group polyrhythmic texture Level 5/6 (working beyond/GAT) Some Pupils : Identify and correctly name a range of African musical instruments Take on a leading role in organising a group polyrhythmic texture showing awareness of how different cyclic rhythms fit together LESSON STRUCTURE NC KS3 POS Identify and use the Learning about African Musical Instruments – Video 3 (& Cover/Homework 3) inter-related dimensions Watch Video 3 with pupils, showing a selection of different African musical of music expressively and with increasing instruments in action. Pause and discuss the questions contained on the video at sophistication, including use of tonalities, appropriate intervals, inviting pupils to make connections between traditional African different types of scales musical instruments and those available in the classroom.
    [Show full text]
  • Land- ​ En Volkenkunde
    Music of the Baduy People of Western Java Verhandelingen van het Koninklijk Instituut voor Taal- , Land- en Volkenkunde Edited by Rosemarijn Hoefte (kitlv, Leiden) Henk Schulte Nordholt (kitlv, Leiden) Editorial Board Michael Laffan (Princeton University) Adrian Vickers (The University of Sydney) Anna Tsing (University of California Santa Cruz) volume 313 The titles published in this series are listed at brill.com/ vki Music of the Baduy People of Western Java Singing is a Medicine By Wim van Zanten LEIDEN | BOSTON This is an open access title distributed under the terms of the CC BY- NC- ND 4.0 license, which permits any non- commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// creativecommons.org/ licenses/ by- nc- nd/ 4.0/ The terms of the CC license apply only to the original material. The use of material from other sources (indicated by a reference) such as diagrams, illustrations, photos and text samples may require further permission from the respective copyright holder. Cover illustration: Front: angklung players in Kadujangkung, Kanékés village, 15 October 1992. Back: players of gongs and xylophone in keromong ensemble at circumcision festivities in Cicakal Leuwi Buleud, Kanékés, 5 July 2016. Translations from Indonesian, Sundanese, Dutch, French and German were made by the author, unless stated otherwise. The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2020045251 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”.
    [Show full text]
  • Wavedrum Voice Name List
    Voice Name List Live mode Button Program Bank-a Programs 1 98 The Forest Drum 2 61 D&B Synth Head Rim Head Rim 3 15 Djembe (Double-size) No. Program No. Program Algo. Inst. Algo. Inst. Algo. Inst. Algo. Inst. 4 49 Steel Drum (F-A-B -C-F) Real Instrument 51 Balafon 7 51 25 81 Bank-b 0 Snare 1 (Double-size) 29 - - - 52 Gamelan 9 76 18 63 1 35 Tabla Drone 1 Snare 2 (Double-size) 30 - - - 53 EthnoOpera 7 61 15 72 2 75 Dance Hit Drone (Key of F) 2 Snare 3 (Double-size) 31 - - - 54 Koto Suite 20 79 20 66 3 0 Snare 1 (Double-size) 3 Velo Ambi Snare 19 17 2 12 55 Compton Kalling 20 5 22 15 4 50 Broken Kalimba 4 Multi Powerful Tom 5 22 24 21 56 Wind Bonga 7 8 19 28 Bank-c 5Krupa Abroad 2 267 10 57 Personality Split 7 10 16 78 1 59 Snare/Kick 2 (Double-size) 6 Pitched Toms w/Cowbell 19 24 4 22 Bass Drum/Snare Drum split 2 67 Kenya Street Rap 7 Ambi Taiko 9 23 19 12 58 Snare/Kick 1 (Double-size) 35 - - - 3 19 Conga (Double-size) 8 Viking War Machine 12 34 9 20 59 Snare/Kick 2 (Double-size) 36 - - - 4 82 DDL Mystic Jam 9 Vintage Electronic Toms 26 31 2 14 60 Kick The Synth 4 11 4 1 10 Okonkolo → Iya Dynamics 10 60 18 21 61 D&B Synth 4 16 23 85 11 Iya Boca/Slap Dynamics 10 58 14 29 62 Voice Perc.
    [Show full text]
  • Improvisation in Latin Dance Music: History and Style
    City University of New York (CUNY) CUNY Academic Works Publications and Research John Jay College of Criminal Justice 1998 Improvisation in Latin Dance Music: History and style Peter L. Manuel CUNY Graduate Center How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/jj_pubs/318 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] CHAPTER Srx Improvisation in Latin Dance Music: History and Style PETER MANUEL Latin dance music constitutes one of the most dynamic and sophisticated urban popular music traditions in the Americas. Improvisation plays an important role in this set of genres, and its styles are sufficiently distinctive, complex, and internally significant as to merit book-length treatment along the lines of Paul Berliner's volume Thinking in Jazz (1994 ). To date, however, the subject of Latin improvisation has received only marginal and cursory analytical treat­ ment, primarily in recent pedagogical guidebooks and videos. 1 While a single chijpter such as this can hardly do justice to the subject, an attempt will be made here to sketch some aspects of the historical development of Latin im­ provisational styles, to outline the sorts of improvisation occurring in main­ stream contemporary Latin music, and to take a more focused look at improvi­ sational styles of one representative instrument, the piano. An ultimate and only partially realized goal in this study is to hypothesize a unified, coherent aesthetic of Latin improvisation in general.
    [Show full text]
  • Djembes - New Rim Con't
    2 OS g Freestyle Mechanically Tuned Djembes - New Rim Con't. DJEMBES MODEL DESCRIPTION LIST Stage Series Djembes SFDMX-10AG 10" Djembe, Extended Rim, Antique Gold 169.00 S & BON MODEL DESCRIPTION LIST SFDMX-12AG 12" Djembe, Extended Rim, Antique Gold 239.00 GA TSDJ-10NB 10" Stage Series Djembe with Bag, Natural 280.00 SFDMX-14AGB 14" Djembe, Extended Rim, Antique Gold with Bag 299.00 FREESTYLE DJEMBES TSDJ-12NB 12" Stage Series Djembe with Bag, Natural 360.00 SFDMX-9AS 9" Djembe, Extended Rim, Antique Silver 139.00 TSDJ-13NB 13" Stage Series Djembe with Bag, Natural 420.00 SFDMX-10AS 10" Djembe, Extended Rim, Antique Silver 169.00 SFDMX-12AS 12" Djembe, Extended Rim, Antique Silver 239.00 Black Mamba Djembes FDMX-14ASB 14" Djembe, Extended Rim, Antique Silver with Bag 299.00 DJEMBES, CON MODEL DESCRIPTION LIST ABMD-7 7" Black Mamba Djembe 112.00 Freestyle Cannon Rope Tuned Djembes & Bags ABMD-8 8" Black Mamba Djembe 205.00 MODEL DESCRIPTION LIST ABMD-10 10" Djembe with Bag and Djembe Hat 290.00 SFDJ-14BMB 14" Cannon Djembe with Bag, Black Mamba 249.00 ABMD-12 12" Djembe with Bag and Djembe Hat 375.00 SFDJ-14LB 14" Cannon Djembe with Bag, Lava 249.00 ABMD-13 13" Djembe with Bag and Djembe Hat 439.00 Freestyle Doumbeks Synergy Rope Tuned Djembes MODEL DESCRIPTION LIST MODEL DESCRIPTION LIST SFDK-9SP 9" Freestyle Doumbek, Snake Print 74.00 SDVR-7 7" Synergy Vuur Djembe 81.00 SFDK-9RP 9" Freestyle Doumbek, Bali Red 74.00 SDVR-8 8" Synergy Vuur Djembe 164.00 SFMTDK-9AB 9" Freestyle Doumbek, Aztec Blue 119.00 SDVR-10 10" Synergy Vuur Djembe
    [Show full text]
  • Super-Heroes of the Orchestra
    S u p e r - Heroes of the Orchestra TEACHER GUIDE THIS BELONGS TO: _________________________ 1 Dear Teachers: The Arkansas Symphony Orchestra is presenting SUPER-HEROES OF THE SYMPHONY this year to area students. These materials will help you integrate the concert experience into the classroom curriculum. Music communicates meaning just like literature, poetry, drama and works of art. Understanding increases when two or more of these media are combined, such as illustrations in books or poetry set to music ~~ because multiple senses are engaged. ABOUT ARTS INTEGRATION: As we prepare students for college and the workforce, it is critical that students are challenged to interpret a variety of ‘text’ that includes art, music and the written word. By doing so, they acquire a deeper understanding of important information ~~ moving it from short-term to long- term memory. Music and art are important entry points into mathematical and scientific understanding. Much of the math and science we teach in school are innate to art and music. That is why early scientists and mathematicians, such as Da Vinci, Michelangelo and Pythagoras, were also artists and musicians. This Guide has included literacy, math, science and social studies lesson planning guides in these materials that are tied to grade-level specific Arkansas State Curriculum Framework Standards. These lesson planning guides are designed for the regular classroom teacher and will increase student achievement of learning standards across all disciplines. The students become engaged in real-world applications of key knowledge and skills. (These materials are not just for the Music Teacher!) ABOUT THE CONTENT: The title of this concert, SUPER-HEROES OF THE SYMPHONY, suggests a focus on musicians/instruments/real and fictional people who do great deeds to help achieve a common goal.
    [Show full text]