This Session 4/18/17. Collabora-ve Composing: Connec-ons to Diversity in the General Music Classroom

Transcription

1 Collabora-ve Composing: Connec-ons to iversity in the General Music Classroom r. Sharon G. avis irector of Music Educa-on, Lebanon Valley College Workshop materials: "No human culture is inaccessible to someone who makes the effort to understand, to learn, to inhabit another world" Henry Louis Gates (1991). This Session Strategies and techniques for composi-onal experiences based on World Music Composi-onal experiences used in K-12, undergraduate and in-service teacher sezngs Create composi-ons with conference par-cipants! 1

2 Crea-ng original music raws upon the processes of listening and performing calls upon the creator to demonstrate musical thinking in problem solving contexts promotes experiences to understand the expressions of a culture in a rich and personal way can foster collabora-ve work in the classroom sezng Guided Listening Experiences World Music Pedagogy A\en-ve Listening irected listening experiences focused on structures Engaged Listening Ac-ve par-cipa-on while listening Enac-ve Listening Con-nued listening to performance level Crea-ng World Music Inven-on of extensions, improvisa-ons, composi-ons Patricia Shehan Campbell: Teaching music globally: Experiencing music expressing culture Akadinda and rum A"en%ve Listening: Focus on texture How many layers do you hear? 2

3 What else do you hear? o all the layers start at once? Is there a main part? How do composers create interest with short repea-ng pa\erns? Akadinda and rum Engaged Listening: Create groups of 7 or more people Each person creates a movement to fit the musical pa\ern for one layer. You should have 7 different movements Perform your mo-on for the the dura-on of the piece. PLAN-PRACTICE AN PERFORM Guided Listening: Supports Composi-on One xylophone Another fancy layer joins Same as layer 1 octave lower New melody Loud rumming 5 6 Another drum and the xylophone layers start to fade out. Xylophones layered in one at a %me, short repea%ng pa"erns, dynamics at the end, interlocking pa"erns Goal: raw upon these processes to create mul--layered instrumental piece of music. 3

4 Teachers need to create too! In small groups create a piece of music in this style. Create at least 3 different pa\erns Organize the entrances and exists Use at least 3 different -mbres. Body percussion Apps on your phone Chairs 5 minutes! Composi-on Ideas Using Polyrhythm Africa: Many cultural and linguistic groups of people with varying musical genres and instruments. Membranophones, idiophones are common. Polyrhythm consisting of short rhythmic, timbral, and/ or melodic motifs that combine to create a musical whole is also in wide use. Assignment: create a piece of percussion music that has at least 4 layers; is polyrhythmic and uses several different types of timbres. eaine and describe your work and how it compares to one of the genres in the chapter. More Textures This composi-on is closely related to the Ewe people due to the feel in the meter, the Timbres represented, the repe--on and the layers. I named it hun-ng because the Ewe Believe that hunters like warriors had access to esoteric powers 4

5 Polyrhythm pa\erns Shona Mbira Music Mbira come in many shapes and sizes Matches bilateral symmetry of the body Lej side keys are for the lej thumb Right side are for the right thumb and index Shona mbira: Two interlocking parts 5

6 Student Strategies Technique: Wrote with the finger pa\ern in mind. RI-LT-RT-LT Each instrumental layer started with a different finger to produce an effect: Aesthe%c: Worked to produce a kaleidoscope affect Func%on of the Music and Connec%on to Self: Connected to loss (ancestors) Teaching from a global perspec-ve World music does not have to be introduced by geographic region. From this interlocking rhythm/texture lesson we could study tambourim rhythms added to the surdo Brazillian samba Malaysian kompang drums Cymbals and gongs of Chinese Lion ance. Cain, Lindblom & Walden (2013) Concepts of Melody How do melodies move? Concepts: high/low/upward/downward/ repeats/steps skips jumps, smooth and bumpy/ plain or embellished 6

7 A\en-ve listening with puzzle cards Process: Learners solve problems Can you predict what the melody will sound like? Work with a partner to arrange the cards according to what you hear Pose Problems Learner predic-ons Humming I see pa\erns There are repeats La Mariposa: The bu\erfly from Colibri World Playground 7

8 Process: A\en-ve Listening Personal/Cultural Context Escravos e Jó: A Brazilian children s game Engaged Listening Musical Form: iscover the form together Form several small circles A sec-on: join hands and step to the beatthree small steps to the guitar rhythm B sec-on: Stop, stand in place and clap hands three -mes on the rhythm between the words Stomp feet three -mes following La Morena: Turn 2 -mes waving arms 8

9 Bolivian K antu Zampoña (sam-pon-ya or Panpipes) Tuned to diatonic scale Shared performancetwo or more alternate melodic notes Arca only plays certain notes Ira: certain notes K antu (k-an-tu) Ceremonial panpipe music from the al-plano, or high plateau of Peru-Bolivia Arca: Leader Ira: Follower Example of zampoña tuning. Communal Performances: Always Panpipes are Aerophones played in pairs: Hocket style Enac-ve Listening Row Row Row Mer- ri- ly Mer- ri- ly E your boat A A Mer- ria Life G is E G A gen- tly down the stream A ly Merrily but E a dream Red is the arca (leader) Lej side of room Black is the ira (follower) Right side of room Strategies Students sang folk tunes in hocket style Played recorder in hocket style Worked in small groups to choose a folk song and arrange in hocket style Created their own piece of music in the form of Bolivian K antu (AA/BB/CC) hocket style. 9

10 Crea-ng In Hocket Style Listening Map Grids Na-ve American Flute Music escending melodic line favored Ajer the basic melody is learned the performer will decorate the melody with ornamenta-on Ornamenta-on learned through listening to others Grace notes (lijs, falls, slides) Trills tremolos flu\er-tongue Personalizing music through improvisa-on/ ornamenta-on is characteris-c of Na-ve American music 10

11 Suba Rain Strategies Composi-on is generated by musical thinking and is informed by the sound sources and the role the music is to take or the structure (Wiggins, 2007). Allow -me for playing with sound The root of composi-ons can be generated by listening for salient features in world music Crea-ng experiences based on these features Copying certain rhythm pa\erns or key features Create listening and crea-ng experiences based on musical dimensions Listening Map tools: Omnigraffle, Microsoj Shapes, Excel (puzzle cards), ipad drawing "No human culture is inaccessible to someone who makes the effort to understand, to learn, to inhabit another world" Henry Louis Gates (1991). Handouts 11

12 References Burton, B.. (2008) Moving within the circle: Contemporary Native American Music and ance. World Music Press Burton, B.. (1998). Voices of the wind: Native American Alute songs. World Music Press Campbell, P. S. (2004). Teaching music globally: Experiencing music expressing culture Cain, M., Lindblom, S. & Walden, J. (2013). Initiate, create, activate: Practical solutions for making culturally diverse music education a reality. Australian Journal of Music Education. Nedlands 2. pp Titon, J. (2017). Worlds of music: An introduction to the Music of the World s peoples. Cengage Learning 12