Honors Creative Project (HONRS499) Matthew Rooney. Dr. Kimberly Inks, Creative Project Advisor. Ball State University.

Transcription

1 Experiencing the Music f Thailand thrugh Orff-Schulwerk: A Series f Lessn Plans Hnrs Creative Prject (HONRS499) by Matthew Rney Dr. Kimberly Inks, Creative Prject Advisr Ball State University Muncie, Indiana June 13 th, 2008 Graduatin Summer 2008

2 r ()).. ne. f Abstract t: (1\ \ 1< { The traditinal music f Thailand can sund strange and hypntic upn first hearing. Its linear cmpsitin, shrill timbres, and haunting intnatin make it vastly different frm traditinal Western music. The flk and classical music f Thailand can be valuable tls fr expanding the musical and cultural understanding fr students in the general music classrm. This prject is a set f lessn plans fr teaching the music f Thailand in the elementary/middle schl general music classrm using the Orff-Schulwerk apprach. The cmpser Carl Orff and his assciate, Gunild Keetman, created the Orff-Schulwerk apprach in Germany during the mid-20 th century, It has since enjyed ppularity amng music educatrs frm acrss the wrld. The Schulwerk teaches music in the way that students best learn, thrugh games, mvement, singing, and playing instruments. Therefre, using the Orff-Schulwerk apprach allws students t actively explre the music and culture f Thailand thrugh meaningful experiences like meldic imprvising, playing drums, singing, playing xylphnes, playing games, reading petry, and cmpsing their wn rhythmic/meldic ideas. Acknwledgements I wuld like t thank Dr. Kimberly Inks fr all f her help, encuragement, and guidance thrughut this prject and my entire undergraduate career. I wuld like t thank Dr. Kris Rugsaken fr prviding me with the English translatins and flk sng ideas. Michelle Barnes has been my mentr thrughut student teaching and ne f my biggest resurces fr Orff-Schulwerk ideas. I thank her very much. I wuld als like t thank Mary Behler fr her review and advice f these lessn plans and Lisa Sullivan and Sarah Hassler fr their pedaggical ideas. Finally, my greatest thanks ges t my students frm the PSU-BSU English Camp frm suthern Thailand and my middle schl students frm the Orff-Schulwerk classrm at Fall Creek Valley Middle Schl. They are the nes that cntinue t mst inspire me.

3 Table f Lessn Plans 1. Shippy Shippy Shippy Ship 2. Peek! A Thai Hide-and-Seek 3. The Elephant Sng 4. Png Paang 5. Pleeng Wan Ked 6. Fn Tk 7. Sunding the Surf Backgrund Infrmatin This creative prject has cme frm my wn persnal interests and unique experiences. Philsphically. I believe that students in a music classrm can nly learn thrugh active participatin in meaningful musical experiences. This idea is a crnerstne f Orff-Schulwerk apprach and the reasn why I intend t use Orff and Keetman's ides thrughut my teaching career. S. ne may ask why I have chsen the music f Thailand fr this prject, I have had the unique pprtunity f traveling t Thailand in May f 2006 and May f I was a cnversatinal English instructr at a camp fr cllege and high schl students in suthern Thailand. I had the unique pprtunity t learn sngs and games first hand frm yung peple in Thailand. This creative prject is als a summatin f my undergraduate training in music educatin at Ball State University. Final Pints n the Lessn Plans 1. These lessns are simply meant t be springbards. Orff-Schulwerk emphasizes the creativity f the individual teacher and each individual student. Therefre. I've included my wn arrangements and ideas. but each lessn prvides limitless pssibilities fr different variatins and extensins. 2. I have nt made suggestins f grade level with each plan. In keeping with the traditin f Orff-Schulwerk. the age level fr each plan depends n the level f experience fr each grup f students. Hwever. the lessns are rughly placed in an rder f "least difficult" t "difficult," 3. In rder t minimize cnfusin, I have a guide fr explaining sme f the terminlgy and abbreviatins in the lessn plans. Primary/Secndary Cncept/Skill: This is the musical cncept that is the fcus f the lessn. The cncept is usually frm the basic elements f music (rhythm. meldy, harmny. frm. etc.) TLW... This is the bjective statement f what the students will learn and hw they will demnstrate that knwledge. TLW means "the learner will." T = teacher S = students B. P. = bdy percussin (there are fur basic bdy percussin, snap, clap. pat. and stmp) Natinal Standards = Each lessn plan includes a listing f the Natinal Standards fr Music Educatin that it satisfies.

4 Assessment There are unlimited ways in which a teacher can assess student knwledge thrugh this prject. Hwever, there are sme specific assessment tls that may be helpful! Assessment thrugh perfrmance is the mst effective way t gauge musical learning. Therefre. each lessn cntains a perfrmance element that shuld be evaluated with a rubric. I have prvided an example f a rubric fr Pleeng Wan Ked did nt unsatisfactry basic prficient distinguished attempt Cmpleted Did nt Played less Played 4-7 Played full 8 Withut a full8-beat attempt than 4 beats beats beats f hesitatin, imprvisatin t play imprvisatin, played a full in C- may include 8 beats f pentatnic brief imprvisatin hesitatins r additinal beats I Rhythmic Did nt Rhythm is Sme Used Used scheme built attempt spratic. rhythmic rhythmic rhythmic with birthday t play indecipherable, scheme scheme t scheme t chant cmpletely used cnstruct create clear randm beginning. middle, and ending Meldic Did nt Pitch use is Primarily Used a Used a scheme built attempt disjunct and used single variety f variety f upn t play lacks any type pitch; pitches t pitches t pattems and f chesin; n meldy is create a create a arund a use f pattern; disjunct, chesive patterned. tnal center cnstant use f smewhat meldy chesive a single pitch inchesive; based n meldy with little use f patterns and clear patterns arund a beginning, tnal center middle, and ending I Demnstrate Did nt Incrrect mallet General Crrect Crrect prper attempt psitin r grip; crrect mallet mallet xylphne t play striking t hard psitin r psitin and psitin and playing r incrrectly; grip; striking grip; prper grip; prper technique n hand t hard r placement f placement; alteratin t sft; mallets n crrect little hand the bars; pressure; use alteratin crrect f alteratin pressure and is seamless alteratin

5 Shippy Shippy Shippy Ship "Shippy Shippy Shippy Ship" is a game that mayr may nt be native t Thailand. There are many similar games acrss numerus cultures. Hwever, this particular versin is very ppular amng yuth in Thailand. "Shippy Shippy Shippy Ship" is ultimately perfrmed in a line f at least 3 peple. The persn at the frnt f the line is the leader and must create a new mvement every 4 beats. This mvement travels dwn the line with each persn repeating the mvement f the persn befre them. "Shippy Shippy Shippy Ship" is a game that is ften perfrmed at scial functins such as schl pep rallies r parties. The accmpanying lessn is meant t intrduce students t an enjyable game that can explre simple duple meter and varius nn-lc-mtr mvements. The primary skill fr this lessn is music literacy, allwing students t read varius 4-beat rhythmic patterns. The cncluding activity f the lessn culd be used as a tl fr frmally assessing students' music reading/sight-reading abilities.

6 Shippy Shippy Shippy Ship Primary Skill: Lking ahead is imprtant while music reading Secndary Cncepts: Simple Duple Meter 4/4 Time Signature Nn-lcmtr vs. Lcmtr Mvement TL W understand hw t lk ahead while reading music by perfrming succeeding mvements with reasnable accuracy. Materials: Drum Ensemble Rhythmic Building Bricks shwing varius 4-beat patterns Prcess: Shippy Shippy Shippy Ship T plays a Thai piece in simple duple meter During the piece, T perfrms varius 4-beat mvements, S ech T asks that S shuld cntinue t ech, hwever, while S are eching, Twill change the 4-beat mvement S must perfrm a mvement and bserve a different mvement simulta neusly TIS perfrm this new eching game with the recrded piece T asks fr a S vlunteer t be the T TIS cntinue until all vlunteers have gne T resumes rle and asks S t say, "Shippy shippy shippy ship" while perfrming the mvement game (S ech) Once S are cnfident. divide int grups f 3 (the number f S is less imprtant than making each grup is even) Each grup picks a leader wh will cme up with a new mvement every 4- beats Remaining S stand in a line t the side f the leader S perfrm the game The game will smewhat resemble the wave The leader stands at the frnt f the line, saying "Shippy shippy shippy ship" and perfrming a new mvement every 4-beats Once the leader has cmpleted the first 4-beat mvement, the next persn in line will ech the mvement. saying "Shippy shippy shippy ship," and bserving the leader fr the next 4-beat mvement The third persn will jin after the secnd persn has cmpleted the first mvement The varius grups cmpete against ne anther. The first grup t mess up the chain f mvements lses. Fr a challenge, S can be arranged int lnger lines (grups f 4-8) S retrieve drums S ech varius 4-beat patterns frm T

7 Shippy Shippy Shippy Ship S ech varius 4-beat patterns frrn 1. while T simultaneusly creates a new pattern (just like the previus game) S get in small drum circles f three One S is the leader, while the thers are in clck-wise rder Leader creates a new rhythmic pattern every 4-beats, the line fllws in successin (just like in the previus game) T puts fur 4-beat building brick patterns n the bard (turned arund) T turns arund the 1 st card, S say & clap the rhythm Prcess repeated fr the remaining cards T explains that the pint f "Shippy Shippy" was t help S read music. A musician must cnstantly lk ahead wrlile reading music in rder t ensure a gd perfrmance S read the entire 16-beat pattern n the bard T reveals anther 16-beat pattern. S sight-read that pattern T assesses S ability t sight-read Optins include individual r small grup assessments K- 4 Natinal Standards: #2a - Perfrm in rhythm and maintain a steady temp #2d - Ech shrt rhythms and meldic patterns #2f - Perfrm independent instrumental parts while ther students sing r play cntrasting parts #5a - Read whle, half, dtted half, quarter, and eighth ntes and rests in 2/4 and 4/4 meter signatures #5d - Use standard symbls t ntate meter, rhythm, pitch, and dynamics in simple patterns presented by the teacher #9c -Identify varius uses f music in their daily experiences and describe characteristics that make certain music suitable fr each use

8 Peek! A Thai Hide-and-Seek The use f literature is a crnerstne f the Orff-Schulwerk and Peek! A Thai Hide-and-Seek by Minfng H (ISBN: ) is an ideal bk t create a psitive musical experience fr children. The primary purpse f this lessn is t intrduce students t Thai culture, gegraphy, and wildlife. This lessn is intended fr yunger learners (2 nd - grade) and can prvide students a great 'first experience f Thailand! Of all the lessns in this series, the lessn fr Peek! prvides the teacher with perhaps the mst amunt f creative freedm. This lessn is designed t prduce many different permutatins that can be adapted fr a particular classrm envirnment. Fr example, thugh a pre-cmpsed stinat piece is featured in the lessn, it is a wnderful idea t allw the students t create their wn piece using the animal nises in H's bk. 4th

9 Peek! A Thai Hide-and-Seek Matthew Rney Percussin 1.; I I I I I I I I I I Swip-Swip Percussin 2 Eechy-eechy egg I I T Percussin 3... Hru-hruu Percussin 4 Percussin 5 ~ (J (J (J (J 77 Thm-thm.".."..fIl..fIl..fIl..fIl. f'- f'-."..".."..". f'- f'- f'- f'- f'- f'- f'- f'-"""".". f'- Jiak-jiak Percussin 6 Percussin 7 -,J -,J_-,J -,J -,J_-,J -,J -,J,--,-,J -,J -,J-.--,J -,J -,J -,J Gk-gk - - & & & Hiss -,J -,J -,J Percussin 8 '" ~. "il -:;i. ~~ ~. ~I~ -:;i.~ ~. ~)~ ~~ Hm prawl hm prawl

10 Peek! A Thai Hide-and-Seek Primary Cncept: Layered stinati are created by rhythmic cmplements Secndary Cncept: Nte Values Syncpatin TLW perfrm layered stinati with mvement, bdy percussin, speech, and unpitched percussin with reasnable accuracy. Materials: Peek! A Thai Hide-and-Seek by Minfng H ISBN: Un-pitched Percussin Instruments Prcess: Peek! A Thai Hide-and-Seek T reads the bk t S T tells S that this bk is frm Thailand. S give impressins f Thailand based upn the pictures and characters frm the bk T reads the bk again and invites S t make the animal nises S can randmly prduce sunds OR S vlunteers can ffer sunds and all S perfrm the same thing S chse a place in the free space T will perfrm different sunds (frm the bk) and S mve t that nise, paying attentin t levels, lc-mtr/nn-ic-mtr. paths, etc. T perfrms the animal nises in the rhythm f the final cmpsitin Divide S int small grups, assign each grup (r allw them t pick) a different animal nise T can place the animal and accmpanying sund n an easy t read cards In grups, S must chse a mvement fr their animal sund. They may use bdy percussin, lc-mtr r nn-lc-mtr mvement. and at least tw levels. They must als SAY their animal nise while perfrming. S grups perfrm fr ne anther T reads stry again (r have a S vlunteer). As the stry ges n, S add their animal sunds ne at a time (alng with the bk). They cntinue thrughut the bk creating a layered final mvement/speech cmpsitin. Repeat the same prcess, but allw grups t perfrm with un-pitched percussin instruments Extensins: S can create their wn rhythms fr the animal sunds in the bk S chse their wn animals and animal nises t create a stry as a class S can use pitched percussin t perfrm varius meldic stinati

11 Peek! A Thai Hide-and-Seek K- 4 Natinal Standards: #20 - Perfrm in rhythm with apprpriate dynamics and timbre, and maintain a steady temp #2b - Perfrm easy rhythmic patterns accurately and independently n rhythmic and classrm instruments #2d - Ech shrt rhythms and meldic patterns #2e - Perfrm in grups, blending instrumental timbres, matching dynamic levels, and respnding t the cues f a cnductr #2f - Perfrm independent instrumental parts while ther students sing r play cntrasting parts #40 - Create and arrange music t accmpany readings r dramatizatins #4c - Use a variety f sund surces when cmpsing #9d - Identify an describe rles f musicians in varius music settings and cultures

12 The Elephant Sng The Elephant Sng, r Pleeng Chang as it is called in Thai, is an incredibly ppular flk sng in Thailand. Of the Thais I have persnally met, all seem t knw and lve this particular sng. There seems t be few ther flk sngs that can transcend bundaries f age and gegraphy t becme ne f Thailand's mst belved anthems. Dr. Kris Rugsaken f Ball State University prvided the meldy and English translatin. Hwever, I have adjusted the English s that it matches the riginal rhythm f the Thai. Due t its nature as a flk sng, there are many versins, including ne in Prnprapit Phasavadi's Frm Bangkk and Beynd. Hwever, I have chsen t use the versin that I learned as an English camp leader in Phuket, Thailand in May The lessn fr The Elephant Sng uses the riginal Thai language. Hwever, -the inten1-in is nt fr the students t slave thrugh the prcess f learning these rather difficult wrds. The teacher intrduces the sng in Thai and with traditinal mvements. Based upn this perfrmance, students must guess as t what the sng is abut. Once the students have crrectly inferred "the meaning, they can prceed t learn the English versin. The piece can be used t allw students t explre d-based F pentatnic. The meldy can be taught by rte, and nce learned, a ching and drum part can be added. I have included Phasavadi's drum part. This is the traditinal rhythmic accmpaniment fr Pleeng Chang. Hwever, students culd create their wn drum ensemble!

13 The Elephant Sng [Cmpser] ;pran 1 I I I Chang Chang Chang r - Where is that elephant? r It's abslutely huge it's nse is called a trunk it's jpran 2 ercusslon Chang, elephant, chang chang, elephant,,/ fj 1 l - tj r pol nty teeth are called tusks it has big ears, eyes, and tail fj 2 "'tj - - -

14 The Elephant Sng ----~-~ , ,~"--'"--- Primary Cncept: D-based F pentatnic is a five nte scale based n d Secndary Cncepts: Frm Nn-lc-mtr Mvement TL W sing and playa meldy in d-based F pentatnic with reasnable accuracy. Materials: "The Elephant Sng" Percussin Ensemble Rhythm Building Bricks Prcess: The Elephant Sng T sings sng in Thai with mvement, S try t "translate" sng based n the mvement: In Thai: Chang Chang Chang Hld arms ut and take giant steps Nn kurry i cha r plw Hld arms up as if asking questin Chamng tua ty myee bw Spread arms ut t shw big size Jamk yw yw rik wa nwuang Bring elbw t nse, let arm hang Me key tay ya rik wa nwah Stick ut index fingers arund muth Me h, me ta, hung yw Pint t ears, eyes, and turn while wiggling yur hand at yur bttm like a tail In English (except fr pt line, "Chang" means elephant) Chang Chang Chang Where is that elephant? It's abslutely huge! Its nse is called a trunk Its pinty teeth are tusks T sings sng in English with mvement. S simultaneusly imitate mvements S sit. ech line by line T asks, "Hw many lines?" (6) S ech line by line while thinking "Which lines have the same rhythm?" (2,3.4) T labels them as B. S ech lines 2-4 while patting. S pat/say lines 2-4, while T claps/says remainder. S ech 1 sf line with stmps. S d/say lines 1-4. T des remainder. Repeat sng. "Hw is line 5 similar/different frm I. 2-4" (ne extra nte) S clap ech line 5 S d/say line 1-5. T des last line. S ech last line.

15 The Elephant Sng S chse bdy percussin fr the piece S sing entire sng with bdy percussin At instruments: Set up in F pentatnic. What d yu knw? S ech line 1 (n C). Splay. T adds line 2. S ech line 2. S play lines 1 & 2. S repeat. T plays rest: S listen fr repeated nte patterns. What lines? (4-5) What nte? (F) S ech lines 4-5. Splay 1-2,4-5. REMIND f line 3 in between! T plays remainder. S ech line 3. S play lines 1-5. T plays line 6. S ech line 6. S play entire meldy. S play entire meldy. T adds "ching" n F with glckenspiel. Class divides lh. 1,12 n meldy, lh n ching. Switch. S vlunteers play "ching" n glckenspiel. S ech by saying: Chang, elephant, chang chang, elephant S ech bdy percussin: Chang = stmp Elephant = pat S play/say pattern (repeat) S retrieve tuban drums. T reviews lw/high tne. (use shrt ech patterns.) S ech n drums: Chang = lw tne Elephant = high tne Divide class 1,12, lh n meldy, lh n drums. Switch. Perfrming "The Elephant Sng" Mst S n SX, AX 2-3 glckenspiel vlunteers Rest n drums Natinal Standards: # 1 c - Sing frm memry a varied repertire f sngs representing genres and styles frm diverse cultures #2a - Perfrm n pitch, in rhythm, with apprpriate dynamics and timbre, and maintain a steady temp

16 The Elephant Sng #2b - Perfrm easy rhythmic and meldic patterns accurately and independently n rhythmic, meldic, and harmnic classrm instruments #2c - Perfrm expressively a varied repertire f music representing diverse genres and styles #2d - Ech shrt rhythms and meldic patterns #2e - Perfrm in grups, blending instrumental timbres, matching dynamic levels, and respnding t the cues f a cnductr #2f - Perfrm independent instrumental parts while ther students sing r play cntrasting parts #6b - Demnstrate perceptual skills by mving, by answering questins abut, and by describing aural examples f music f varius styles representing diverse cultures #9b - Describe in simple terms hw elements f music are used in music examples frm varius cultures f the wrld

17 Png Paang Png Paang is a children's game that I learned frm high schl students frm Hat YaL Thailand in May f Thugh riginal t suthern Thailand, Png Paang is ppular thrughut the natin and was even featured in Prnprapit Phasavadi's bk, Frm Bangkk and Beynd. In the game, ne child is "it." This child is blindflded and labeled "Png Paang" (the Thai wrds fr fishing net), while the ther children are the "fish." The game represents the fishing culture that dminates the suthern peninsular prvinces f Thailand. The "fish" travel in a circle arund Png Paang, chanting the sng three times. Upn cmpletin f the third repeat, the "fish" ask Png Paang, "Dead, r alive?" The questin refers t whether r nt the "fish" can mve while the blindflded Png Paang attempts t tag them. If Png Paang says "dead," the "fish" can't mve at all. If Png Paang says "alive," the "fish" must keep their feet planted, but may mve t avid being tagged. This lessn features the English translatin f Png Paang prvided by students frm the Prince f Sngkla University English Camp in Surat ThanL Thailand. I have since adjusted the wrds t fit the rhythm f the riginal pem. The tw accmpanying stinati were inspired by the bdy percussin exercises in Gunild Keetman' s Rhythmische Ubung. Hwever, students shuld be welcme t cme up with their wn stinati! Png Paang is intended t teach students abut tw significant aspects f Thai classical/flk music. First is the "ching," a metallic sund (usually a cymbal) that accmpanies a meldy n the weak beat. Secnd is the cntrast between wd, skin, and metallic sunds that help t give Thai instrumental music its unique sund. (Mrtn, 1976, p. 22)

18 Png Paang Traditinal Children's Game Vice Percussin 1 ~ f) I I I r I I I Oh Png Paang Png Paang.. is blind. :".,.".."..". Percussin 2 -". -- I Fish are snea king in and ut Percussin 3 '" - Png Paang it's a pr blind Png Paang it's a pr blind fl Perc. 1 '" f) I I I I I I I Fish sneak in! ut blind Png Paang.". -jill-."..". Perc. 2 --" " -- fish are snea king in and ut Perc. 3 '" Png Paang it's a pr blind Png Paang it's a pr blind

19 Png Paang.--.~ Primary Cncept: Thai music has three basic timbres (wds, skins, and metals.) Secndary Cncept: Layered Ostinati TL W perfrm the three timbres f Thai music thrugh meldy and accmpanying stinati. Materials: Png Paang frm "Frm Bangkk and Beynd" Un-pitched Percussin (wds, skins, and metals) Prcess: Png Paang Oh, Png Paang Png Paang is blind Fish sneak in/ut Blind Png Paang T intrduces infrmatin n Thailand and plays a listening example S pat steady beat while T says pem T writes "Png Paang" n the bard, explains prnunciatin and meaning S ech pem line by line (repeat if needed) S say 151 and last line while T says middle S ech lines 2 & 3 S say entire pem with steady beat (switching steady beat placement n each repetitin) S ech clapping n beats 2 & 4 while saying the pem T explains the "ching" sund used in Thai flk sngs Play recrded example S vlunteer transfers ching t finger cymbal (T demnstrates playing technique) S vlunteer plays while ther S repeat pem and clap the ching part S clap/say pem. T adds shnat # 1 with bdy percussin Fish are sneaking in and ut (repeat) p p cl ci p p st T asks, "What is this?" OSTINATO! (shrt repeated accmpanying pattern) S ech stinat # 1 Class is divided in Y:z. Y:z say/clap pem, Y:z say/b.p. stinat # 1 (Switch) S play pem, stinat # 1, and ching S clap/say pem. T adds stinat #2 with bdy percussin Png Paang, it's a pr blind (repeat). cl ci P P ci sn

20 Png Paang S ech stinat #2 Class is divided in Y2. Y2 n pem, Vz n stinat #2 (Switch) Class is divided in 1/3. 1/3 n pem, 1/3 n stinat # 1, 1/3 n stinat #2 (Switch as needed) S play pem, stinatl and ching T presents S with hand drums, jingle bells, and rhythm sticks. T asks, "What is each instrument made ut f?" (skin, metal, wd) T plays an example f Thai ranaat music and asks S t listen fr the three different timbres. Class is divided int 3 grups. Instruments are dispersed in the free space int 3 grups (accrding t classificatin - skin, metal, wd) Wds play "Fish are sneaking in and ut." Drums play "Png Paang, it's a pr blind." Metals play the ff-beat ching part and chant Each grup perfrms and parts are layered in (beginning with skins) Statins rtate Game: S frm a circle One player is chsen as Png Paang, the ther are fish PP is blindflded and placed in the middle f the circle created by the fish Fish rtate arund Png Paang saying the chant and playing the ching part 3x and freeze The fish call ut "Dead r alive?" Png Paang replies: Dead Fish must freeze and remain abslutely still n matter what Alive = Fish must freeze their feet int the grund, but can change their psture t avid Png Paang Png Paang (still blindflded) appraches the fish and whever he/she tags becmes the new Png Paang Each retired Png Paang will grab and instrument and accmpany the chant Whever is the last t becme the Png Paang is the winner! (AS the game cntinues, the circle will need t cndense. Once it is cndensed as much as pssible the ther S can help the Png Paang by shuting ut directins) Frmal Assessment Use the game as a frmal assessment. 1. Can students say the pem and perfrm the ching part in the circle? 2. As students are eliminated, can the students keep the stinat t accmpany the chant? a. T can assign peple t particular stinatl r S can chse. b. S may switch after each repetitin f the game if they chse t d s.

21 Png Paang K-4 Nalinal Standards: #2a - Perfrm in rhythm, with apprpriate dynamics and timbre, and maintain a steady temp #2b - Perfrm easy rhythmic patterns accurately and independently n rhythmic classrm instruments #2c - Perfrm expressively a varied repertire f music representing diverse genres and styles #2d - Ech shrt rhythms and meldic patterns #2e - Perfrm in grups, while blending instrumental timbres #2f - Perfrm independent instrumental parts while ther students play cntrasting parts #6b - Demnstrate perceptual skills by mving, by answering questins abut, and by describing aural examples f music f varius styles representing diverse cultures #6d -Identify the sunds f a variety f instruments frm varius cultures #9b - Describe in simple terms hw elements f music are sued in music examples frm varius cultures f the wrld

22 Pleeng Wan Ked Imprvisatin is imprtant part f traditinal Thai ranaat, r xylphne, music (Mrtn, 1976) Pleeng Wan Ked is intended t prvide students with the experience f nleldically imprvising with a Thai flk sng. I fund Pleeng Wan Ked in Frm Bangkk and Beynd by Prnprapit Phasavadi but expanded int a full lessn that has students using bth drums and xylphnes. As explained by Phasavadi, Pleeng Wan Ked is used as a happy birthday sng. Interestingly enugh, the mst prevalent happy birthday sng in Thailand is the same piece that is used in American birthday celebratins (an interesting nte wrth pinting ut t students.) Pleeng Wan Ked begins with questin/answer exercises n the drums. Based upn their individual birthdays, students ultimately decide the rhythmic scheme that will be used fr their future meldic irnprvisatins. T begin imprvising n xylphnes, students begin by playing the rhythmic scheme n the tnic nte (C). Each time, students are permitted t pick ne additinal nte until all five pentatnic ntes are used. Once this is accmplished, students can imprvise in prgressively smaller grups until they are playing alne. This prcess assists the students wh may feel uncmfrtable with imprvising. The final intentin is fr the piece t be played in a rnd frm with the teacher playing the Pleeng Wan Ked meldy n recrder fr the A sectins, while students imprvise fr the cntrasting sectins. Hwever, the staff ntatin is included and culd be taught t students n either recrder r xylphne.

23 Pleeng Wan Ked A Thai Happy Birthday Sng Recrder, I _0 hill r 13 J 13 IJ lj J,iblJ n J 13 IJ au,ibl 'r JJ J JJ IJ J J J,j IJ i J J n IJ UU * II

24 P/eeng Wan Ked Primary Cncept: 8-beat meldic imprvisatin with d-based C pentatnic Secndary Cncepts: Rnd Frm TLW imprvise an 8-beat meldic pattern n xylphne in C pentatnic. Materials: Pie eng Wan Ked frm "Frm Bangkk and Beynd" Orff Percussin Ensemble Prcess: Pleeng Wan Ked "A Thai Happy Birthday Sng" T plays recrding f the piece as S enter the rm S retrieve drums Tasks S when their birthday is (give the mnth and the date) Each S answers in a nrmal speaking vice Tasks S "When's yur birthday?" using rhythmic call n the drum. Ta-mi ta-di (rest, rest) (L - h h h) S respnd by saying in rhythm in 2 beats Tasks S "When's yur birthday?" using rhythmic calin the drum. S respnd by playing their mnth and date in rhythm Ask all S t jin the T n the questin (have them ech 1 st) S chse 2-4 birthdays with different rhythms (adding up t an 8-beat phrase) (the number f dates depends n length f each date pattern) S assign bdy percussin t each date. S practice rhythmic pattern, r "birthday chant" Example) April 5 th, March 18 th, February 21S t, July 5 th Once cmfrtable, S transfer t the high tne n drums At xylphnes: S play rhythm f "birthday chant" n C (either C is OK!) S chse ne nte in additin t C t play. HOWEVER, S must play last mnth/date n C S chse an additinal nte fr a ttal f 3... repeat prcess until all 5 pentatnic ntes are used T plays Pleeng Wan Ked meldy n recrder T tells S that when they hear the end f the meldy, say rest, and then begin imprvising with the birthday chant as a class (all at the same time!) T explains that in Thailand, mst peple sing the traditinal "Happy Birthday" sng. Hwever. this is anther ppular birthday sng f Thailand Playas a rnd with T n recrder fr A sectins and full grup imprvisatins fr cntrasting sectins Playas a rnd with T and grups f 2-4 Playas a rnd with T and individuals

25 Pleeng Wan Ked Beginning with full grup and cntinuing t small grups can give shy S a chance t imprvise withut feeling t nervus Other S shuld say the birthday chant t "help ut" their classmates wh are imprvising Extensin Ideas Use this lessn as a frmal assessment tl fr imprvisatin Have S imprvise n drums r ther unpitched percussin Repeat the "birthday chant" t allw fr 16-beat meldic imprvisatins Allw the S t ntate the "birthday chant" Prcess ut the meldy t be played n recrder r xylphne K-4 Natinal Standards: #2a - Perfrm n pitch, in rhythm, with apprpriate dynamics and timbre, and maintain a steady temp #3a - Imprvise "answers" in the same style t given rhythmic and meldic phrases #3d - Imprvise shrt sngs and instrumental pieces, using a variety f sund surces #5a - Read whle, half, quarter, and eighth ntes and rests in 2/4 and 4/4 meter signatures #6c - Use apprpriate terminlgy in explaining music and music perfrmances #7a - Devise criteria fr evaluating perfrmances and imprvisatins #9d - Identify and describe rles f musicians in varius music settings and cultures

26 Fn Tk Thai is an extremely difficult language fr many Westerners t cmprehend. This is due t the many duble vwels and tnes that help t define the unique sund f the language. Therefre, in this prject, I have deemphasized the imprtance f teaching sngs in the riginal Thai. Hwever, I felt that it was imprtant that I make an exceptin with the lessn fr Fn Tk. Students shuld have at least sme experience with the native language f varius cultures. Fn Tk's call and respnse frm makes it the ideal pprtunity t satisfy this gal. I learned Fn Tk frm Dr. Kris Rugsaken f Ball State University. Dr. Kris prvided the English translatin and allwed me t recrd him perfrming it. I transcribed the sng and adapted the English translatin t fit the riginal rhythm f the Thai language. Fn Tk literally translates t "the rain." The sng is a chant that is perfrmed in a call/respnse frm with teacher and students. T prepare the students fr the Thai, the lessn begins with a prgressin f speech activities that begin with nrmal speech and end with a pem that has the same cntent and rhythm f the riginal material. It is imprtant nt t intrduce the Thai until the rhythm f the English translatin is cnfident. Thugh the translatin is intended t make it easier t prnunce, here is a break dwn f the sunds: Fn tk (phne talk) Daed rk (dead rk) Nk kajrk kha rung (nk kajrk cw rung) Mae mai sai seu (may my sci sey) Kap piiseu yuu khang lang (cap pee-eesey yu-u kng lng) The stinati were inspired by the Rhythmische Ubung. Hwever, students shuld feel free t create their wn stinati! Als, teachers and students shuld experiment with different ways f perfrming the meldy f Fan Tk.

27 Fn Tk transcribed by Matthew Rney Bass Drum 1 nk ka jrk kha 0 rung Bass Drum 2 daed rk mae mai sal seu kap pii seu yuu Bass Drum 3 B. Dr. 1 B. Dr. 2 khang lung with B. Dr. 3 B. Dr. 1 B. Dr. 2 B. Dr. 3 rain drps rain drps etc.

28 2 Fn Tk B. Dr. 1 B. Dr. 2 B. Dr. 3 rain drps!

29 Fan Tak Primary Cncept: Thai flk sngs are traditinally in call and respnse frm Secndary Cncepts: Simple Duple Meter Layered Ostinati TL W perfrm call and respnse frm with speech, bdy percussin, and drums with reasnable accuracy. Materials: Fn Tk Drum/Percussin Ensemble Prcess: Fn Tk "Rain" Tasks S, "Hw are yu tday?" S respnd Tasks S a questin that requires a lnger answer, S respnd T repeats same prcedure, S must answer the first questin with 2 syllables, and the secnd questin with a certain number f syllables (decided upn by T) T repeats again, this time, S use the same answer and accmpany it with their chice f bdy percussin (S are still independent) S are arranged int grups f 2-3. S must chse tw answers that they prefer. S must chse bdy percussin Grups perfrm their cali/respnse pattern T presents a pem, S vlunteers explre ways t read it Rain drps Sun shines Birds cme back t their nests She has a butterfly n her ld back S ech the pem line by line (T says it with rhythm f "fn tk") S ech line 2 and repeat it after T says line 1 S ech line 4 and repeat it after T says line 2 T/S say entire pem (alternating with T saying line 1 J Once S are cmfrtable, T asks if sme S can perfrm the T part S (in 2 grups) say entire pem T explains that there is a Thai questin/answer wrd play that is similar called "Fn Tk" S maintain steady beat while T chants "Fn Tk" Fn tk The rain is drpping Daed rk The sun is shining Nk kajrk kha rung The sparrws are returning t their nests Mae mai sai seu The widw is putting her bluse Kap piiseu yuu khang lang With butterfly n her back When T says, "fn tk," S respnd "daed rk"

30 Fn Tk S say line 2, T says remainder S ech, "Mae mai sai seu" When T says, "nk kajrk kha rung," S respnd "mae mai sai seu" S say line 2/4, T says remainder S ech, "Kap piiseu yuu khang lang" S ech lines 4 & 5 after T says "nk kajrk kha rung" T/S say entire pem in call/respnse (T = 1,3) (S = 2,4,5) T can use visual aides t assist with the wrds Once cmfrtable, T claps with wrds, Spat Cntinue and T asks if sme S can vlunteer t perfrm the T's part S perfrm entire piece with bdy percussin S retrieve drums T plays each line n drum, S ech T perfrms lines 1 & 3, S perfrm remainder Divide class in lh, 1'2 perfrm T part, ther perfrm remainder (switch) Once cmfrtable, all S perfrm entire pem T labels this as the meldy S ech, "With butterfly n her back" S pat new part S play new part n high tnes Divide class in lh, 1h perfrm meldy, 1/2 perfrm new stinat (switch) T plays secnd stinat ("Rain Drps"), S jin in Divide class in 1/3, 1/3 perfrm meldy, 1/3 perfrm "with butterfly... ", 1/3 perfrm "rain drps" (switch 2x) Assign the meldy t high drums, stinat 1 t medium drums, and stinat 2 t lw drums Perfrm entire piece with three types f drums 5-8 Natinal Standards: #2a - Perfrm n at least ne instrument accurately and independently, alne and in small and large ensembles, with gd psture and gd playing psi'tin #2c Perfrm music representing diverse genres and cultures, with expressin apprpriate fr the wrk being perfrmed #8a - Cmpare in tw r mre arts hw the characteristic materials f each art can be used t transfrm similar events, scenes, emtins, r ideas int wrks f art #9c - Cmpare, in several cultures f the wrld, functins music serves, rles f musicians, and cnditins under which music is typically perfrmed

31 Sunding the Surf Sunding the Surf is the mst advanced lessn plan in this prject. It is meant fr students wh have extensive experience with xylphne playing and are accustmed t learning pieces by rte. The lessn fr Sunding the Surf was inspired by a live ranaat perfrmance that I attended in May Ranaat is the tradilinal xylphne ensemble in Thai classical music. Its instruments resemble Orff xylphnes, but shaped like a bat. The prevalence f xylphne music in Thailand is ne reasn why the Orff-Schulwerk translates s well. The perfrmance I attended was at the Rse Garden, a famus cultural center nrthwest f Bangkk. I recrded the perfrmance n a small tape recrder and subsequently transcribed and arranged Sunding the Surf fr Orff ensemble. The primary cncept f this lessn is t teach advanced ranaat playing techniques t students wh have a slid Orff xylphne backgrund. Three attributes f this technique are the use f ctaves, mallet rlls, and the use temp fluctuatins t create variety. This piece shuld be prcessed by rte, a teaching technique that is standard in the Thai ranaat traditin. Once the ntes are learned, students shuld feel free t accelerate the temp and repeat the meldic material as many times as they deem apprpriate. Anther perfrmance practice f Thai ranaat is the use f a leading xylphne slist t establish the meldy f the piece befre the ther instrumentalists jin. (Mrtn, 1976) Instead f having all players fr the intrductin, a teacher culd reward an utstanding student by giving him r her a sl that wuld set the temp fr the piece. This wuld als be a great pprtunity fr the teacher t shw the Orff ensemble vide and pictures f a real Thai ranat ensemble. YuTube prvides a number f high-quality ranaat perfrmances frm adults and children that culd be very beneficial fr students t view.

32 Sunding the Surf H. M. King Prajadhipk transcribed and arranged fr Orff ensemble by Matthew Rney Mallets 1 Mallets 2 Mallets 3 Bass Drum Mal. 1 Mal. 2 Mal. 3 B.Dr.

33 2 Sunding the Surf Mal. 1 Mal. 2 Mal. 3 B. Dr. ~.n ~ I ~ - I t.j fr repeat nly Mal , 1':\. Mal. 2 ~.1fI-. I - I I t.j rit. rit. Mal. 3 B. Dr. ~..., 1':\ I I I - A., -li:' JIL....,,.,. rit. ~ n ~u ij 1 J I I It I 1':\

34 Sunding the Surf Primary Cncept: Thai classical ranaat playing features rlling, ctaves, and temp variatins Secndary Cncept: Octaves Mallet Rlls Temp (Accelerand, Ritardand) TLW perfrm the three majr aspects f Thai ranaat style n Orff xylphnes with a mul"l"i-iayered piece. Materials: Sunding the Surf Orff Xylphne Ensemble Prcess: Sunding the Surf At instruments: Leave as is T explains that xylphnes are used in Thai classical music. The instruments are called ranaats are shaped as a bat (shw a picture). All f the bars are left n "the instruments t resemble the Thai ins"truments S ech by rte: start n g: 9 c' gag start n a: abc' d' e' (walk up t e') Play bth patterns tgether T plays phrase 1 st, S ech T labels this phrase A S ech by rte: start n d': d' g' d' e' g' start n a': a' g' e' d' c' (walk dwn t c', skip f') T plays phrase 1 st, S ech T labels this phrase B TIS play phrase A & B (T ]st, S ech) TIS play phrase A & B (S ]st, S ech) Divide class in V2, V2 begin, ther V2 ech (switch) S ech by rte: start n e': e' a' e' g' a' start n g': g' f' e' d' e' T plays phrase 1 st, S ech T labels this phrase C Divide class in V2, V2 begin, ther V2 ech (switch) S play ABC B SX begin, AX/BX ech Just fr fun, T plays a ranaat selectin and asks the S hw the perfrmance differs There are many answers, but try t get them t ntice that the perfrmers are playing in ctaves

35 Sunding the Surf T demnstrates this technique n the instruments (hwever, S will nt be able t d this fr all ntes) S practice playing meldy in ctaves independently. S decide which sectins are pssible t play in ctaves and decide whether r nt they want t perfrm any part f the piece in this style Bass Xylphne Part S ech by rte: start n c': C' A abc' d' E' start n g': G' E' a' g' e' d' C' Play bth patterns tgelher (label a & b) start n a': A' G' g' f' e' d' E' Play all three patterns tgether (label c) Playa b c b T explains that fr the half ntes, S will rll T explains the rll technique T plays recrding f a Thai ranaat ensemble. S listen fr the heavy use f rlling amng all parts S practice independently S play entire BX part w / rlls Tasks S if this part sunds familiar The BX part is a versin f the SX/ AX part. It is reduced and played at a different temp. T explains that in Thai music, varius xylphne parts play at different tempi. S play all parts tgether Intrductin T plays the intr and asks if it sunds familiar It is the A pattern Y2 as fast T plays intr again, S receive independent time t figure it ut Tasks S vlunteer t play S ech T plays intr, at the end, T adds a glissand dwn and back up S ech glissand S play entire intrductin S play intrductin with rlls n all ntes Splay intr and main part f the piece Cda is identical t intrductin except with a rll at the end (cntinue t rll thrughut as well) S play entire piece Drum Part S ech pattern Once slid, S repeat

36 Sunding the Surf S play entire piece with drum part Once piece is learned, S repeat the main sectin f the piece hwever many times they desire. Each repeat ges a slightly faster temp. Hwever, the intr and cda must be played at the same slw temp. This is indicative f traditinal ranaat perfrmance. 5-8 Natinal Standards: #2a - Perfrm n at least ne instrument accurately and independently, alne and in small and large ensembles, with gd psture, playing psitin, and mallet cntrl #2c - Perfrm music representing diverse genres and cultures, with expressin apprpriate fr the wrk being perfrmed #2e - Perfrm with expressin and technical accuracy and varied repertire f instrumental literature with a level f difficulty f 3, n a scale f 1 t 6, including sme sls perfrmed frm memry #6c - Demnstrate knwledge f the basic principles f meter, rhythm, tnality, and intervals in their analyses f music #7a - Develp criteria fr evaluating the quality and effectiveness f music perfrmances and cmpsitins and apply the criteria in their persnal listening and perfrming #9a Describe distinguishing characteristics f representative music genres and styles frm a variety f cultures

37 Bibligraphy Keetman, G. (1970). Rhythmische ubung. Mainz, Germany: Schtt Music. Mrtn, D. (197 6). The traditinal music f Thailand. Berkeley, CA: University f Califrnia Press. Orff, C. & Keetman, G. (1958). Music fr children. Mainz, Germany: Schtt Music. Phasavadi, P., & Shehan Campbell, P. (2003). Frm Bangkk and beynd: Thai children's sngs, games, and custms. Danbury, CT: Wrld Music Press. Helpful Bks t Use in the Classrm H, M. (2004). Peek! A Thai hide-and-seek. Cambridge, MA: Candlewick Press. ISBN H, M. (l996). Hush! A Thai lullaby. New Yrk: Orchard Bks. ISBN Helpful CD's t Use in the Classrm Chitrabngs, M. R. C. (2000). Ryal curt music f Thailand. Washingtn, D. C.: Smithsnian Flkways Fngnam. W. (1998). The sleeping angel: Thai classical music. Charlttesville, VA: Nimbus. Varius Artists. (1999). M/am: Thai cuntry grve frm Isan. Seattle, WA: Sublime Frequencies. Varius Artists. (2001). Thailand ceremnial and curt music frm central Thailand. Barre, VT: Multicultural Media Varius Artists. (2003). Thailand: K Samui. Bulgne, France: Auvidis. Varius Artists. (2003). Rugh guide t the music f Thailand. Lndn: Wrld Music Netwrk