MUSIC
TRADITIONAL ARTISTIC PROCESSES ® CLASSICAL 1. CREATING (Cr) Artsource CONTEMPORARY 2. PERFORMING, PRESENTING, PRODUCING (Pr) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL 3. RESPONDING (Re) MULTI-MEDIA 4. CONNECTING (Cn)
ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY
Title of Work: Bolivia. Their sound is unique because they com- Peace Pipes and Soaring Over the High Plains bine traditional music of different ethnic cultures Creators: from the Americas with contemporary elements of Company: Arco Iris jazz and pop. Sometimes they play ethnic instru- Founder, composer, percussionist: Danais Tokatlian ments, such as the bombo lugüero - a hollowed out (1939 - 2003) Composer, woodwinds, voice, synthesizer: Ara Tokatlian log drum from Argentina, caja challera - Argentine (b. 1951) drums, siku - bamboo panpipes, moxenio - a lower Percussionist: Hartt Stearns register version of the pincullo which is an end- Strings: Bill Fowler and Julio Ledezma blown flute with a fipple, pincullo - a bamboo flute Background Information: and quena - an Andean notched flute. This blending Arco Iris, an instrumental group, founded in the late of instruments, rhythms and melodies, along with 1960s by Danais and Ara Tokatlian, originated in contemporary elements, gives the music of Arco Buenos Aires, Argentina. When they moved to Los Iris its particular character and color. Angeles many years ago, they began performing over Creative Process of the Artist or Culture: 200 times yearly in the greater Los Angeles area. The In the time they’ve been together, several world Tokatlians based their personal and professional lives on class percussionists have joined Arco Iris. They the principles of universal acceptance, understanding of brought to the group the percussion instruments different cultural values and free artistic expression. of Cuba and Brazil. In Brazil, where the African These ideas are communicated through their culture is mixed with the cultures of the exhilarating music. During its history, Arco Iris has Portuguese descendants and the original Indians, performed throughout South America and Europe. idiophones (metal and wood) make up the bulk of They have released many albims and singles, two of percussive instrumentation. In Cuba, where the which became gold records in Argentina. Their film African culture is mixed with those credits include Out On a Limb (Shirley McLaine), of Spanish and Extreme Prejudice (Nick Nolte), The Telephone indigenous peoples, the (Whoopie Goldberg) and Stand and Deliver (James membranophones (drums) are Olmos). Ara Tokatlian joined the Harry Belafonte band most important. and toured the USA and Europe during 1995 and 1996. California About the Artwork: Cuba Arco Iris is described as a ‘musical rainbow.’ Two of “We represent the spirit of their pieces, Peace Pipes and Soaring Over the High Peru the music of the Americas.” Brazil Plains reflect their sense of harmony with the music of Bolivia Ara Tokatlian the Quechua and the Aymara Indians of Peru and Argentina
Discussion Questions: Additional References: After the recorded or live performance: • State Adopted Music textbooks, levels K-8. See sections • In Soaring Over the High Plains Arco Iris uses on Latin American songs, dances and listening lessons. wind, string and percussion sounds. Can you identify one instrument from each category? Sample Experiences: • Identify the instruments that played the melody LEVEL I lines in Soaring Over the High Plains. • Identify and learn about the instruments used by Arco • What are the mental images that came to mind as Iris that came from the environment. Name and you listened to Soaring Over the High Plains? describe them. Categorize them in regard to instrumental • What is the name of the ethnic wind instrument groupings (or families), i.e., percussion, winds or strings. that solos in Peace Pipes? (Panpipes or Siku) To Describe their sounds. Create original instruments from which family of winds (brass or woodwinds) does your environment. (1 gallon ice cream tubs - drums; this instrument belong? (woodwinds) Analyze this rattles made from cans filled with seeds, stones, sand or instrument for its familial similarities, likenesses rice; flutes made from plastic piping) and differences. (See Addendum) * • Learn to sing folk songs, play musical games and dance • How is the historical/cultural fusion created in to music from Latin America. For an accompaniment, add both compositions? (Use a combination of ancient rhythm patterns using instruments that are often heard and contemporary instruments.) Describe the over- in Latin American music, such as claves, maracas, all effect in each composition in regards to bongo drums, guiros, cowbells or triangles. instrumentation, styling, tone color, rhythms. • Listen to an excerpt or a short composition by a Latin • How does the physical arrangement of American composer, such as Alberto Williams, Alberto instruments affect the results in a live performance? Ginastera, Heitor Villa-Lobos, Oscar Lorenzo Fernandes, A recorded performance? (closer to audience or Camargo Guarnieri, Roque Cordero or Carlos Chavez. recording microphone) Compare and contrast it with the music of Arco Iris. LEVEL II Multidisciplinary Options: • Create movement to communicate ideas generated by • Select one instrument, such as the flute, and listening to Soaring Over the High Plains. research its counterpart in different cultures. • Analyze Peace Pipes to identify patterns of • Explore the scientific basis for sound production rhythm, melodic lines and the presence or on selected instruments. absence of harmony. • Fill narrow-necked bottles with different amounts * • Trace the evolution of selected of water. Blow across the ends to produce different instruments from their origins to pitches. Use mathematical calculations (ratios) to present-day forms. determine pitch intervals. LEVEL III • Explore selected world cultures to learn about the * • Create original compositions employing musical instruments indigenous to each. Discover electronic, vocal and acoustic sounds. basic similarities and unique differences. • Listen to the recording of either Peace Audio-Visual Materials: Pipes or Soaring Over the High Plains . Using • Artsource® audio recording: Peace Pipes and a selection of percussion instruments, create Soaring Over the High Plains, Arco Iris Records, a variety of complimentary rhythmic patterns Pan-pipes P. O. Box 2929, Blue Jay, CA 92317. © 1987. to accompany the recording. • Photos: courtesy of Arco Iris. * Indicates sample lessons 2 MUSIC
SAME AND DIFFERENT ENDURING VALUES
LEVEL I Sample Lesson
INTRODUCTION:
Padre Sol, an original song by Ara and Danais Tokatlian, is a short composition having three phrases and an easy-to-sing melody.
OBJECTIVES: (Student Outcomes) Students will be able to:
• Perceive same and different phrases in music (Form). (Responding)
• Sing, with expression, a Latin-American folk song accurately in Spanish and English. (Performing & Responding & Connecting)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)
MATERIALS:
Music- Padre Sol (provided in the lesson), Rhythm Instruments - bongo drums, castanets, claves, cowbell, guiros, hand drum, maracas, triangle (optional), autoharp, guitar or keyboard instrument for accompaniment.
3 PROGRESSION: • Part I - Learning the song and understanding its organization.
• Listen to Padre Sol and identify the phrases which sound alike: phrases 1 and 2.
• Students learn to sing the two phrases which are the same (Note: The English words differ in phrase two, however the notation for each phrase is identical.) Write the letter symbols for the two phrases on a chart or chalkboard. A A Leave a blank space for phrase 3. Phrase 1 2 3
• Sing the entire song. Students perform phrases 1 & 2 and teacher sings phrase 3.
• Call attention to the different sound of phrase 3. Write the letter symbol “B” in the blank space. The symbols for the phrases should read - A A B Phrase 1 2 3
• Students learn to sing phrase 3. All sing the entire song.
• To further emphasize same and different, use a small group of volunteers, or an individual to sing the phrase that is different. (Phrase B)
• Learn the Spanish language version. Follow the same procedure of learning by phrases.
Part II - Creating instrumental accompaniments to emphasize the song’s form.
• Tap the basic, or metric beat as the song is sung. (Four beats per measure.) Teach the following rhythm pattern to accompany the two A phrases. (Tap the pattern with hands on knees.) Explain that this pattern requires two taps for each beat. This pattern imitates the rhythm of the melody.
• Select one or two students to play the pattern on rhythm instruments.
• Review the metric beat. This will be used to accompany the third phrase.
• Select one or two students to play the pattern. Use instrumental sounds that differ decidedly from those used for the first pattern. 4
• Explain that the first pattern learned emphasizes the rhythm of the melody. The second pattern is different. It emphasizes the four beat meter.
• Sing the entire song using the two patterns together.
EXTENSION:
Change instruments to accompany the song. Keep in mind the emphasis on same and different. Continue to select instruments for each pattern which produce markedly different sounds. Add another simple rhythm pattern. For instance, select a metallic sound to be played on the first beat of each measure for the A phrases.
VOCABULARY: form, meter, metric beat, phrase, rhythm of the melody
ASSESSMENT: (Responding & Connecting)
DESCRIBE: Describe the song, Padre Sol and the three phrases.
DISCUSS: Discuss the words of the song and what you think they mean.
ANALYZE: Explain the differences between phrases 1 and 2 and phrase 3.
CONNECT: What other verses can you think of to add to this song.
Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
5 MUSIC
MUSICAL INSTRUMENTS: THEN AND NOW TRANSFORMATION
LEVEL II Sample Lesson
INTRODUCTION:
Music has played an important part in the lives of people worldwide, throughout history. Ancient carvings, frescos, cave paintings, wall drawings, inscriptions, metal and clay figures and sculptures from many cultures attest to this fact. From these sources we have discovered that musical instruments were first fashioned from materials found in nature, such as drums from hollow logs, and simple flute-type instruments from hollow reeds, bamboo and wood. Modern descendants of the original pipes and flutes are called woodwinds.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Trace the evolution of pipes and flutes from their historical/cultural roots to their present-day forms. (Connecting)
• Identify the tone colors of modern woodwind instruments. (Responding)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)
MATERIALS:
• Music Textbook and Reference Books
PROGRESSION:
• Introduce the topic. (See Introduction above)
• Explain the project - To conduct research on the evolution of woodwind instruments. Serpent • Chart the following sub-topics: • Early forms and their sources • Forms found in world cultures • Early orchestral forms • Changes through time • Modern woodwinds - shape and sound • Basic sound production
• Divide the class into research teams of six each. Ask the teams to divide the sub-topics among members. 6 • Provide the following suggestions for researching: • School library • Music - internet, iTunes, etc. • Local public and college/university libraries • Ethnic museums • Specialty stores - Ethnic Music and Art • Museums of Natural History
• The following are suggestions for classroom opportunities for collecting information:
• Invite a guest speaker from:
• a local library • a museum • a specialty bookstore • the ethnomusicology department of an institution of higher education
• Invite a local ethnic musician or a middle school, high school or community woodwind quintet to perform and conduct a question and answer period.
• Give each group the following vocabulary listing. Ask them to define as many words as possible as they conduct their research. Confer extra credit to each group which defines all or most of the words. Give additional credit to groups who add appropriate words to the list.
air column nay aulos notch bassoon nose flutes blowholes oboe Boehm System pads clarinet pan-pipes concert flute piccolo cornet pincullo dragon flute pitch Flageolet English Horn pommers early wooden flute recorder end-blown flutes saxophone flageolet shakuhachi finger holes shawm Recorder hsiao siku huayra thumb key keys transverse flute lip plate vibration mouthpiece wave-form mbundu whistling fish
• When groups have completed their research, assist them in assembling and outlining their material in preparation for writing full group reports.
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• Upon completion of the written reports, ask the team members to prepare oral reports. Assist them in finding appropriate recorded examples of instrumental sounds. Refer to the recordings that accompany the music textbooks.
• Encourage question and answer periods at the end of each oral report.
VOCABULARY: (Listed in lesson)
ASSESSMENT: (Responding & Connecting)
DESCRIBE: Describe how you did research on the evolution of woodwind instruments.
DISCUSS: Discuss one or two of the most interesting things you discovered in your research.
ANALYZE: Analyze how the shape and size of the instrument affects its sound quality and quantity.
CONNECT: Discuss how other instruments might have evolved from their early counterparts. Discuss how things such as materials and technology might have impacted their development.
Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
Arco Iris in concert Photo courtesy of Arco Iris
8 MUSIC
KALEIDOSCOPE TRANSFORMATION
LEVEL III Sample Lesson
INTRODUCTION:
Arco Iris creates musical compositions which artfully convey ideas, and evoke images and scenes through the interplay of music elements, combining the sounds of ancient folk instruments, modern acoustic and electronic instruments and vocal sounds. In this lesson students will transmit their own ideas by originating compositions using some of these elements.
OBJECTIVES: (Student Outcomes) Students will be able to:
• Create original compositions employing electronic, vocal and acoustic sounds. (Creating & Performing)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting)
MATERIALS:
• Musical instruments, e.g. classroom rhythm and tonal, ‘found,’ student constructed, standard band/orchestra, electronic keyboard. Recording device and selected poetry.
• References: Music textbooks (segments on composition). Books on making musical instruments.
PROGRESSION:
Part I
• Survey the group to identify students who play band or orchestra instruments.
• Prepare for the lesson by giving the students an opportunity to hear the sounds of unfamiliar instruments, to review uncomplicated sound capabilities of the electronic keyboard and to discuss possible uses of the recording program or device (Garage Band or similar program).
• Distribute a group of poems from which the class will select one to be used as a basis for creating a group composition.
Part II
• Chart or make copies of the selected poem. • Decide as a group which instruments will provide the rhythms and which will be used to create melody
9 or harmony. Remind them that these decisions may be subject to alteration as the activity progresses.
• Solicit volunteers for the vocal sounds group, and the rhythm, melody, harmony and electronic sections. Select two people to be responsible for recording.
• Work as a total group to brainstorm ideas for converting the poem to a musical composition.
• Unless the class has had sufficient experience and training in using standard notation, have them create original symbols to designate sounds. For instance, heavy/light marks for dynamics, short/long marks for duration, up/down/same marks for melody, blank spaces for rests, etc.
• First, experiment with the ideas suggested for the rhythm section. Ask the students in the rhythm section to play as the remainder of students tap the rhythms. Reach consensus on the preferred rhythms.
• Next, experiment with the simple themes or motifs suggested for the melody section. Ask the students in the melody section to play. Others may hum the melody. Reach consensus on the preferred melody.
• Play the melody and rhythms together.
• Solicit additional ideas for vocal and instrumental sounds which include use of band/orchestra instruments (if any) and the electronic keyboard.
• If chordal instruments such as the guitar or autoharp are available, decide how they will be used.
• Add each suggestion, one at a time, and allow for changes and adjustments to be made as the activity progresses. Rehearse, revise and refine work.
• Perform the completed composition several times until each group feels satisfied with its work.
• Give the composition a title.
Tambourine
Glokenspiel Autoharp
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EXTENSION:
• Give the students an opportunity to work in smaller groups. Suggest that they proceed from a different point, starting with a melodic idea, a vocal sound or an electronic sound. Provide different resources to motivate ideas for their compositions, e.g. a painting or a South American folktale, myth or legend.
VOCABULARY: harmony, melody, rhythm
ASSESSMENT: (Responding & Connecting)
• DESCRIBE: Describe the steps you went through to create your composition.
• DISCUSS: Identify and discuss the problems you encountered.
• ANALYZE: Talk about what you think worked well in your composition and why. Then identify the things you would change if you could continue to refine it.
• CONNECT: Discuss other projects that people do which require problem solving and collaboration.
Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
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