MUSIC

TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA)

ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY

Title of Works: importance was her ability to coach, teach and accompany McFerrin to the Power of Three (video) Robert. Their children, Brenda and Bobby were naturally Scat-Singing (excerpt) very involved in music. Just a year and a half apart in Vocal Improvisation (excerpt) Ich Grölle Nicht - Dichter Liebe Cycle (Schumann) age, they were literally making music together and Ave Maria (Bach-Gounod) individually when mere toddlers. Bobby’s life was in My God Is So High (Spiritual) jeopardy during his mother’s pregnancy when she I Got Plenty o’ Nuttin’ (excerpt - Gershwin) contracted a rare form of polio and had to be placed in Keep-a-Inchin’ Along (Spiritual) an iron lung. It is believed that her concern for the life Creators: of her unborn child helped to sustain her fight to Robert McFerrin, Sr., opera and concert artist, vocal coach, survive. Robert (Sr.) was Artist-in-Residence at the university lecturer and artist-in- residence (1921-2006) Bobby McFerrin, recording and concert artist, composer, University of Missouri, St. Louis, Sara was professor conductor (b. 1950) emeritas of Voice and Chair of the Music Department Brenda McFerrin, vocal recording artist, vocal coach, music at Fullerton Community College in California, Brenda teacher, (b. 1951) pursues a successful singing career in Hollywood and Background Information: Bobby enjoys international fame in a musical career The McFerrins are a family of singers. Although musical which is as varied as he is talented, creative and families are not unique, the McFerrins are special. versatile. Frequently, singing families function as ensembles and About the Artwork: feature a particular style. The McFerrins, however, have The works represent a variety of styles which showcase pursued successful careers individually. Robert Sr. broke the many-sided talents of the McFerrins. In the video, racial barriers by becoming the first African American to McFerrin to the Power of Three, Bobby and Brenda win the Metropolitan Opera “Auditions of the Air” in provide a rousing scat-singing 1953. He made his debut on the Met stage in 1955 as introduction. For the first section, Amonasro in Verdi’s Aida. In later years his contributions Bobby, in his inimitable fashion, to opera continued in Europe where he became the first improvises with exceptional voicings. African American baritone to perform in two of Secondly, his father, Robert, adroitly Europe’s leading opera houses. Sara, a trained musician interprets a selection from the in her own right, met Robert when she was a paid Schumann Dichter Liebe Cycle. soloist at St. Mark’s Methodist Church in New York (Continued p. 2.) “My goal was to become City. Married in 1949, Sara’s university training, California NewYork as fine an artist as my Missouri professional experience, and deep interest in and capabilities would permit, commitment to her husband’s career served to provide and to perform the great roles support, encouragement and inspiration. Of equal of the baritone repertoire... and to concertize.” Robert McFerrin, Sr.

About the Artwork: (continued) Discussion Questions: In the third selection Bobby provides an unprecedented After viewing the video: vocal accompaniment for his father’s impressive • In comparing the following selections, performance of Gounod’s Ave Maria. In it Bobby what were the stylistic differences? recreates the accompaniment which is usually a) scat-singing and I Got Plenty o’ Nuttin’ performed instrumentally. Next, performing a spiritual b) Ich Grölle Nicht and the solo in concert style, Robert further demonstrates his improvisation artistry and stylistic sensitivity as he solos on My c) Ave Maria and My God Is So High God Is So High. The spiritual is followed by an d) My God Is So High and Keep-a- excerpt of a selection from Porgy and Bess, the solo Inchin’ Along. I Got Plenty o’ Nuttin’, effectively sung by Robert Sr. Describe any similarities you may have Finally, Brenda, Bobby and Robert merrily collaborate found in the above pairings? on an unaccompanied, ‘down-home’ rendition of a folksy spiritual, Keep-a-Inchin’ Along. • In Bobby McFerrin’s solo improvisation he produces a variety of sounds. Can Creative Process of the Artist or Culture: you describe some of the sounds you Each of the performances draws upon the artists’ heard? Can you make some of the same knowledge, training, talent and experience. sounds? Can you improvise unique sounds of your own? Likewise, each selection demonstrates their • Can you describe the differences in the musical periods versatility in performance styles. In addition, there represented by three compositions by Schubert, Gershwin is the special interaction of familial warmth and and McFerrin? camaraderie which naturally flows among them. The performances are punctuated with humor, and Audio-Visual Materials: exhibit their obvious enjoyment of and respect for • Artsource® videotape excerpt: McFerrin to the Power of each other. The sum total of these attributes provides a Three. Footage courtesy of Instructional Technology rare collection of beautifully performed numbers. Center, University of Missouri, St. Louis, and the McFerrin family. Ain’t Got Plenty O’Nuthin’ courtesy of Multidisciplinary Options: the Gershwin Estate and Warner Chappell Music Inc. • Conduct research to discover the significant historical events that occurred during the lives of Additional References: composers Robert Schumann (1810-1856), • Bobby McFerrin: Medicine Music, Capitol Records, George Gershwin (1898-1937) and Robert ‘Bobby’ Inc., EMI-CDP 792048-2 McFerrin (b. 1950 ). Discuss how the periods during • Thomas, Dr. Naymon Elijah. Robert McFerrin: The which each composer lived (or lives) may have had First Black Man to Sing at the Metropolitan Opera. A some impact on their works. Doctoral Dissertation. The University of Oklahoma, • Prepare Program Notes for the video, McFerrin to Graduate College, School of Music, 1988. the Power Of Three. Summarize information about • Robins, Cynthia. Note Perfect Bobby McFerrin. Vis a the composers, where appropriate, and briefly Vis Magazine, East/West Network, Inc., Los Angeles, describe each composition. Share the video and 1990, (page 88). Program Notes with another class. Catalf, Phil. Medicine Man, New Age Journal. Brighton, 2

MA: Rising Star Associates, Ltd. Partnership, began to imitate the sounds of instruments. Learn March/April, 1991 (pp. 30-33, 94-96). about scat-singing. View the Artsource® video and listen to the “Scat-Singing” in order to learn more Sample Experiences: about its sound and style. LEVEL I • Experiment with making sound patterns using your LEVEL III voice and/or body percussion. Try making patterns that * • Since Robert McFerrin’s historic debut with the others can echo. Metropolitan Opera in 1955, he has been succeeded by numerous young African American singers who * • Bobby McFerrin and his Voicestra perform many have firmly established their careers in the world of songs by imitating instrumental sounds and creating opera and on the concert stage. Starting with unusual combinations of sounds. Sing a familiar song McFerrin, create a timeline to indicate the and add several different kinds of appropriate sounds as emergence of these stars and name some of their an accompaniment. famous opera roles.

• The McFerrins demonstrate the importance of the • Choose a familiar song and create a scat interlude. expressive qualities of music in their performances. Listen to and sing several songs which clearly demonstrate • In the late nineteenth century composers began to the significance of dynamics, tempo, rhythm and style. write concert arrangements of African American (Refer to a music textbook to learn more about the spirituals. Gradually, these arrangements began to be mentioned qualities/elements in bold.) heard in concert halls worldwide. Discover who wrote many of these arrangements. Name some of • Form small groups. Give each group a different short the artists of the past who popularized the practice of poem, or a stanza of a longer poem. Create vocal sounds singing these spirituals in concert. Name some of to enhance the meaning of the poem. today’s artists who continue the practice.

LEVEL II • Listen to each of the Artsource® selections and • In Bobby McFerrin’s improvisation (video) he sings a enjoy the style and musicality of each one. melody and accompanies himself vocally. Describe the sounds made in the accompaniment. How are they different from the melody? Surmise which instruments he is imitating in his accompaniment.

• Bobby McFerrin based his improvisation on simple, everyday topics. Listen to Bobby’s improvisational sounds. Take a line of poetry and improvise off of the words in a similar way to Bobby McFerrin. Make individual choices in selecting topics for solo improvisations.

* • Scat-singing grew out of the jazz style when singers * Indicates sample lessons 3 MUSIC

CLASSROOM VOICE-ORCHESTRA TRANSFORMATION LEVEL 1 Sample Lesson

INTRODUCTION:

Although Bobby McFerrin began formal music lessons (piano) at a very young age, he did not seriously consider music as a profession until he entered college. His post-college jobs included arranging, accompanying on piano and performing as a background singer for various groups and events. His first job as a solo vocalist began in 1977. Although audiences responded positively to his creative vocal acrobatics, Bobby felt his body language was stilted. Encouraged and advised by his dancer-friend, Tandy Beal, Bobby learned body movements which enhanced his vocal delivery. Now he has formed a group called Voicestra. He states that he did not want to present performers who only sang songs. “I wanted everything to be amplified by some visual aesthetic. So that not only do people have an aural experience, but they have a visual one too. Two of their senses are employed rather than just one.” * Bobby’s stage presentations feature a broad range of vocal arrangements generously spiced with individual and group improvisations.

“I like to work hard and have fun... the rewards of work itself are enough.” Bobby McFerrin **

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Create original vocal sounds which enhance the expressive qualities of selected songs. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Music textbooks, song collections for children.

• Artsource® video, McFerrin to the Power of Three.

PROGRESSION:

• Give some background on the McFerrin family and show one of the segments from the Artsource® video. Suggestions include: “Scat- Singing” or “Vocal Improvisation.”

• Ask students what they found interesting about the piece and what they noticed about the way sounds were made. Bobby McFerrin 4 Photo: Carol Friedman

• Do an echo activity where you make a short pattern of sounds and the students repeat the pattern back. Patterns can be made with body percussion sounds of clapping, stomping, snapping or clicking. Patterns can also be made by using a combination of letter sounds.

Examples: Shh, Shh, Bata-Bata, Bim Echo: Shh, Shh, Bata-Bata, Bim

Mmm, Ba-Ba-Ba-loon Echo: Mmm, Ba-Ba-Ba-loon

Hickory, Dickory, Dock, clap-clap Echo: Hickory, Dickory, Dock, clap-clap

Chuba-Chuba-Be-Do-Da Echo: Chuba-Chuba-Be-Do-Da

• Once the students get good at repeating the sound patterns made by the teacher, encourage them to create their own patterns. Choose different students to be the leader, with the group echoing or repeating the pattern back.

• Select a song whose lyrics suggest the possible addition of sound effects and/or ostinatos (a repeated pattern). Explain to the children that they will add appropriate sounds with their voices or percussive rhythmic patterns only.

• Review the lyrics of the selected song to determine places where the vocal sounds would be most suitable. Decide on some sounds that might be performed as emphasis or as an ostinato. Reach consensus on how many sounds will be most fitting. Remind the children that too many sounds may obscure the song itself. Try different ideas and combinations of ideas until the group agrees upon the most appropriate performance.

• It might be helpful to watch the video again after they have experimented with adding sounds and/or sound patterns (ostinatos) to the song. Encourage them to find new ideas and ways that they might improve the song they are singing. SONG SUGGESTIONS:

• The Bus • Hickory, Dickory, Dock • Jack and Jill Went Up the Hill • Ebeneezer Sneezer • Old House • The Sound Song • Chatter with the Angels • Jubilee! • Temple Bell • What Is It? • I Hear a Sound • A Goblin Lives in Our House • Gonna Build Me a House • Halloween is Coming • The Little Leaves Dance 5

VOCABULARY: ostinato, pattern

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe how you selected the sound effects and patterns to go with the song.

DISCUSS: Discuss the types of sounds that worked best with the song.

ANALYZE: Discuss the way Bobby McFerrin used sounds and patterns in his songs. Discuss what you found most interesting and why.

CONNECT: Discuss other things beside songs that can be decorated with patterns.

* New Age Journal, “Medicine Music.” April 1991, p. 33. ** Vis a Vis Magazine, October 1990, p. 88.

6 MUSIC

SCAT SINGING THE HUMAN FAMILY LEVEL II Sample Lesson

INTRODUCTION:

There are many ways that music can be produced and one used by Bobby and Brenda McFerrin in the Artsource® video is called scat-singing. Scat-singing, according to The New American Dictionary of Music,* is a technique of jazz singing in the manner of an instrument, using meaningless syllables. Louis Armstrong is often credited with creating the technique, although Ella Fitzgerald and Cab Calloway also are noted for their improvisational skills with scat. It is interesting to think that you don’t need instruments or lyrics to make music.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Recognize and know some background on scat-singing. (Historical and Cultural Context)

• Perceive the different characteristics of a normal voice and a falsetto voice. (Artistic Perception)

• Describe the changes in vocal styles as they scat. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® video of McFerrin to the Power of Three - “Scat-Singing” excerpt.

PROGRESSION:

• Introduce the concept of scat-singing and give some background on Bobby and Brenda McFerrin.

• Before viewing the video excerpt, direct students to watch and listen for the following:

• the two vocal ranges possible for an adult male voice. (There is the regular, normal vocal range and the falsetto which is above the normal range.)

• the way Bobby and Brenda use nonsense syllables to produce the melody and create interesting rhythmic patterns.

• the way Bobby uses his body as a specific type of musical instrument. 7 • Play the video selection and then discuss responses.

• View the video and listen again for increased awareness. This time listen for the following:

• There is always a feeling of an underlying beat or pulse.

• Sometimes Bobby sounds like a string bass and sings a bass musical pattern. Sometimes he harmonizes with the melody sung by Brenda. Sometimes Bobby and Brenda sing in unison. Sometimes Bobby sings in his normal range and sometimes he sings falsetto.

• Discuss these ideas and what students observed and heard.

EXTENSIONS:

• Listen to and discuss the other vocal segments on the Artsource® video.

• Compare and contrast the scat-singing with the opera singing.

VOCABULARY: scat-singing, underlying beat, falsetto

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe scat-singing in your own words.

DISCUSS: Discuss what you noticed about the way Bobby and Brenda related during their singing.

ANALYZE: Discuss the differences between a singing a song in the normal way and using scat-singing.

CONNECT: Discuss the similarities between improvising in singing, playing an instrument and doing a dramatic scene.

* Morehead, Philip D. The New American Dictionary of Music. A Dutton Book,New York, NY. 1991.

8 MUSIC

AFRICAN AMERICANS IN THE WORLD OF OPERA THE HUMAN FAMILY

LEVEL III Sample Lesson

INTRODUCTION:

Robert McFerrin’s historic debut at the Metropolitan Opera was proof positive that the years of commitment to his goal, and his personal sacrifices were well worth the effort. Primarily, we must realize that McFerrin had a talent that was destined for success. Secondly, his years of training and experience prepared him substantially.

McFerrin made his initial operatic debut in Massachusetts with the Tanglewood Opera Theatre, in the role of Rigoletto. This opportunity was followed by a contract to perform with the New England Opera Company. During this same period he performed roles with the National Negro Opera Company and the New York City Center Opera Company. In addition, he appeared on Broadway in Kurt Weill’s Lost in the Stars with his wife, Sara. Before joining the Metropolitan Opera roster McFerrin had performed in recitals and with leading symphony orchestras throughout the United States and Canada.

In the period between McFerrin’s winning the Met auditions in 1953 and his debut in 1955, he received intensive training at the Kathryn Turney Long School. He studied fencing, ballet and calisthenics as well as vocal coaching. He states, “I did not at all mind the long delay before my debut, because the training I received was worth the waiting. I do not think I could have made the quality debut expected at the Met if I had not been prepared in stage deportment at the Kathryn Turney Long School.” *

“There were many good singers in New York at the time... Bob’s voice had carrying power and a warmth that could not be matched by any of the black male singers who were on the concert circuit... He was a superior singer and that is the reason he was chosen.” Sara McFerrin **

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Name African American opera singers who have succeeded Robert McFerrin in the world of opera. (Historical and Cultural Context)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® video McFerrin to the Power of Three, excerpts featuring Robert McFerrin.

• Reference books and recordings on black, male opera singers.

9

PROGRESSION:

• Introduce the students to Robert McFerrin and give some of his background. View the sections of the Artsource® video and use the ‘Discussion Questions’ on page 2. Ask them why it was such a breakthrough for Robert McFerrin to become an opera singer.

• Create a timeline to cover the period from 1940 to 1991 which will chronicle the appearance of African American artists in operatic roles, worldwide.

• Divide the class into groups. Assign each group a decade to research. Ask the students to name the artists and some of their notable roles. Have them include the opera houses where they have performed, and the dates of their performances, if possible. (Some groups will list the same names when artists performances have extended into different decades.)

• As a concluding assignment, ask each student to select an opera in which one of the artists has performed. Have them summarize the opera and describe a significant aria performed by the selected artist.

• Where possible, provide recordings of these solos.

• Each group share their research and recordings with the class and discuss what they learned.

EXTENSION:

• Listen to live broadcasts or recorded opera presentations in which African American artists perform. Attend an opera, or view an opera on television or the internet. Study the libretto, or read a synopsis of the opera prior to listening to or viewing a performance.

VOCABULARY: aria, opera

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: how you went about doing your research.

DISCUSS: the problems you encountered in doing the research and how you went about finding the information when you were blocked.

ANALYZE: Discuss the differences and similarities you found in artists of different periods. Did the number of successful African American opera singers vary greatly. If so, why?

CONNECT: Discuss other professions in which African Americans made great strides and contributions.

* Thomas, Naymond E. Robert McFerrin: The First Black Man to Sing at the Metropolitan Opera Company. DMA diss., University of Oklahoma, 1988. ** Ibid. 10

rtsource ® A The Music Center’s Study Guide to the Performing Arts

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Introduction

ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

Artsource® highlights works of art and artists of stature from diverse cultures. It represents early to contemporary art forms in the disciplines of dance, music and theatre and complements the programs and performances of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication. Artists present their perceptions, reflections, and points of view which influence, and are influenced by, the culture and period of time in which they exist. Artsource ® Contributors

Project Director Melinda Williams

Project Coordinator Susan Cambigue-Tracey

Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams

Music Rosemarie Cook-Glover Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard, Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke

Theatre Barbara Leonard Kathryn Johnson

Technical Production donated by Paul Tracey

Layout and Logo* Design Maureen Erbe Design *Received the LULU AWARD for excellence in graphic design and advertising, sponsored by the Los Angeles Advertising Women (LAAW) Additional Artwork & Artsource® Logo Graphic H. P. Law & Partners

The Music Center of Los Angeles County wishes to thank the artists featured in this publication for their outstanding artistry and their generosity in allowing us to share their creative spirit in the classroom. Sincere appreciation is also extended to the members of the Center’s Board of Directors and Education Council for their guidance in developing these resource materials, Music Center volunteers for their help in organizing, proofing and editing Artsource® units; the professionals who provided field review; and the dedicated teachers who tested the Artsource® units in their classrooms.

Mark Slavkin Vice President for Education Melinda Williams Director of Education