Artsource. The Music Center s Study Guide to the Performing Arts MUSIC

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1 Artsource MUSIC The Music Center s Study Guide to the Performing Arts TRANSFORMATION ENDURING VALUES TRADITIONAL ARTISTIC PERCEPTION (AP) CLASSICAL CREATIVE EXPRESSION (CE) CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA) FREEDOM & OPPRESSION Title of Work: Peace Pipes and Soaring Over the High Plains Creators: Company: Arco Iris Founder, composer, percussionist: Danais Tokatlian (b d. 2003) Composer, woodwinds, voice, synthesizer: Ara Tokatlian (b. 1951) Percussionist: Hartt Stearns Strings: Bill Fowler and Julio Ledezma Background Information: Arco Iris, an instrumental group, founded in the late 1960s by Danais and Ara Tokatlian, originated in Buenos Aires, Argentina. When they moved to Los Angeles many years ago, they began performing over 200 times yearly in the greater Los Angeles area. The Tokatlians based their personal and professional lives on the principles of universal acceptance, understanding of different cultural values and free artistic expression. These ideas are communicated through their exhilarating music. During its history, Arco Iris has performed throughout South America and Europe. They have released many albims and singles, two of which became gold records in Argentina. Their film credits include Out On a Limb (Shirley McLaine), Extreme Prejudice (Nick Nolte), The Telephone (Whoopie Goldberg) and Stand and Deliver (James Olmos). Ara Tokatlian joined the Harry Belafonte band and toured the USA and Europe during 1995 and THE POWER OF NATURE THE HUMAN FAMILY Bolivia. Their sound is unique because they combine traditional music of different ethnic cultures from the Americas with contemporary elements of jazz and pop. Sometimes they play ethnic instruments, such as the bombo lugüero - a hollowed out log drum from Argentina, caja challera - Argentine drums, siku - bamboo panpipes, moxenio - a lower register version of the pincullo which is an endblown flute with a fipple, pincullo - a bamboo flute and quena - an Andean notched flute. This blending of instruments, rhythms and melodies, along with contemporary elements, gives the music of Arco Iris its particular character and color. Creative Process of the Artist or Culture: In the time they ve been together, several world class percussionists have joined Arco Iris. They brought to the group the percussion instruments of Cuba and Brazil. In Brazil, where the African culture is mixed with the cultures of the Portuguese descendants and the original Indians, idiophones (metal and wood) make up the bulk of percussive instrumentation. In Cuba, where the African culture is mixed with those of Sp a n i s h and indigenous peoples, the membranophones (drums) are most important. California About the Artwork: Arco Iris is described as a musical rainbow. Two of their pieces, Peace Pipes and Soaring Over the High Plains reflect their sense of harmony with the music of the Quechua and the Aymara Indians of Peru and Cuba We represent the spirit of the music of the Americas. Ara Tokatlian Peru Bolivia Argentina Brazil

2 Discussion Questions: After the recorded or live performance: In Soaring Over the High Plains Arco Iris uses wind, string and percussion sounds. Can you identify one instrument from each category? Identify the instruments that played the melody lines in Soaring Over the High Plains. What are the mental images that came to mind as you listened to Soaring Over the High Plains? What is the name of the ethnic wind instrument that solos in Peace Pipes? (Panpipes or Siku) To which family of winds (brass or woodwinds) does this instrument belong? (woodwinds) Analyze this instrument for its familial similarities, likenesses and differences. (See Addendum) How is the historical/cultural fusion created in both compositions? (Use a combination of ancient and contemporary instruments.) Describe the overall effect in each composition in regards to instrumentation, styling, tone color, rhythms. How does the physical arrangement of instruments affect the results in a live performance? A recorded performance? (closer to audience or recording microphone) Multidisciplinary Options: Select one instrument, such as the flute, and research its counterpart in different cultures. Explore the scientific basis for sound production on selected instruments. Fill narrow-necked bottles with different amounts of water. Blow across the ends to produce different pitches. Use mathematical calculations (ratios) to determine pitch intervals. Explore selected world cultures to learn about the musical instruments indigenous to each. Discover basic similarities and unique differences. Audio-Visual Materials: Artsource audio recording: Peace Pipes and Soaring Over the High Plains, Arco Iris Records, P. O. Box 2929, Blue Jay, CA Photos: courtesy of Arco Iris. Additional References: State Adopted Music textbooks, levels K-8. See sections on Latin American songs, dances and listening lessons. Sample Experiences: LEVEL I Identify and learn about the instruments used by Arco Iris that came from the environment. Name and describe them. Categorize them in regard to instrumental groupings (or families), i.e., percussion, winds or strings. Describe their sounds. Create original instruments from your environment. (1 gallon ice cream tubs - drums; rattles made from cans filled with seeds, stones, sand or rice; flutes made from plastic piping) * Learn to sing folk songs, play musical games and dance to music from Latin America. For an accompaniment, add rhythm patterns using instruments that are often heard in Latin American music, such as claves, maracas, bongo drums, guiros, cowbells or triangles. Listen to an excerpt or a short composition by a Latin American composer, such as Alberto Williams, Alberto Ginastera, Heitor Villa-Lobos, Oscar Lorenzo Fernandes, Camargo Guarnieri, Roque Cordero or Carlos Chavez. Compare and contrast it with the music of Arco Iris. LEVEL II Create movement to communicate ideas generated by listening to Soaring Over the High Plains. Analyze Peace Pipes to identify patterns of rhythm, melodic lines and the presence or absence of harmony. * Trace the evolution of selected instruments from their origins to present-day forms. LEVEL III * Create original compositions employing electronic, vocal and acoustic sounds. Listen to the recording of either Peace Pipes or Soaring Over the High Plains. Using a selection of percussion instruments, create a variety of complimentary rhythmic patterns to accompany the recording. * Indicates sample lessons Pan-pipes 2

3 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). (Artistic Perception) Sing, with expression, a Latin-American folk song accurately in Spanish and English. (Artistic Perception, Creative Expression and Historical/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: 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

4 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 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 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

5 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: (Aesthetic Valuing) 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. 5

6 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. (Historical/ Cultural context) Identify the tone colors of modern woodwind instruments. (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 Textbook and Reference Books PROGRESSION: Introduce the topic. (See Introduction above) Explain the project - To conduct research on the evolution of woodwind instruments. 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 Serpent Divide the class into research teams of six each. Ask the teams to divide the sub-topics among members. 6

7 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. Flageolet air column aulos bassoon blowholes Boehm System clarinet concert flute cornet dragon flute English Horn early wooden flute end-blown flutes flageolet finger holes hsiao huayra keys lip plate mouthpiece mbundu nay notch nose flutes oboe pads pan-pipes piccolo pincullo pitch pommers recorder saxophone shakuhachi shawm siku thumb key transverse flute vibration wave-form whistling fish Recorder When groups have completed their research, assist them in assembling and outlining their material in preparation for writing full group reports. 7

8 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: (Aesthetic Valuing) 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. Arco Iris in concert Photo courtesy of Arco Iris 8

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

10 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 10

11 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: (Aesthetic Valuing) 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. 11

12 Artsource The Music Center s Study Guide to the Performing Arts A Project of the Music Center

13 135 North Grand Avenue Los Angeles, CA , The Music Center of Los Angeles County. All rights reserved. Artsource written units, audio, video and slides/photographic materials are subject to the provisions of copyright law, and are to be used for educational purposes only. Individuals or institutions are prohibited from broadcasting over the air, charging admission or receiving direct compensation for the exhibition of the video, audio or photographic materials accompanying the Artsource units. The Music Center does not sanction the illegal use or unauthorized duplication of someone else s work in any form. Individuals who willfully violate the Music Center s policy do so at their own risk and are liable to the Music Center in the event of a loss resulting from litigation.

14 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.

15 Artsource Contributors Project Director Project Coordinator Melinda Williams Susan Cambigue-Tracey Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams Music Theatre Rosemarie Cook-Glover Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard, Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke 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