Introduction This series will help both specialist and non-specialist teachers deliver the Key Stage 3 curriculum for Music effectively. The books follow the Scheme of Work objectives, providing: on left-hand pages, lesson plans divided into starter, main activity, extension and plenary, with cross-references to the National Curriculum and periodic suggestions for homework on right-hand pages, photocopiable student activity sheets which offer technical guidance and self-assessment outcomes prelim notes for teachers on extra resources required, and a class-based assessment grid linked to the National Curriculum levels of achievement an appendix of a photocopiable scale for classroom support The authors objective has been to provide every material support to the teacher, to leave you free to teach your subject. 26 Wedgwood Way, Pin Green Industrial Estate, Stevenage, Hertfordshire SG1 4QF Telephone: 01438 356907. Fax: 01438 747015. www.badger-publishing.co.uk enquiries@badger-publishing.co.uk Badger Music for Key Stage 3 Teacher Book 3 with Copymasters for Year 9 ISBN 1 84424 380 X Text David Stanley, Sarah Croot and John Foxwell 2004 Complete work Badger Publishing Limited 2004 The right of David Stanley, Sarah Croot and John Foxwell to be identified as authors of this Work have been asserted by them in accordance with the Copyright, Designs and Patents Act 1988. Publisher: David Jamieson Editor: Paul Martin Design: Lodestone Publishing Limited www.lodestonepublishing.com Printed in the UK.
Contents Resource list 4 Class record sheet 5 Unit 12: Bhajan/qawwali 6 Unit 13: Music and Media 22 Unit 14: The Concerto 40 Unit 15: Popular Song 58 Appendix 78
9.12.1 Bhajan/qawwali LESSON PLAN Learning outcomes Assessment Resources Plenary Extension Main activity Starter activity HW All students will Most students will Some students will QCA/NC ref. To identify, explore and perform bhajan/qawwali with understanding of its conventions and context Develop an understanding of the importance of music for the Indian culture Understand the term Sangeet and explain the main differences between the Carnatic and Hindustani traditions Understand the primacy of song in the music of different cultures and state their views confidently in class discussion 4c, 4d, 5a, 5b, 5c geography, culture, Sangeet, Hindustani music, Carnatic music, song, voice Hand out some atlases so that the students can see a map of the world. Students to find India on the map. General discussion about the culture in India. Give students the chance to share previous knowledge of the culture / music of India. An introduction to and exploration of the geographical and cultural context of Indian music. Write up findings from discussion into a mini report in preparation for feeding back to the class. Class discussion Atlases Keywords How will these be assessed? Assessment of this lesson is by outcome and discussion. Students complete the I can do grid on their Student Activity Sheet. 6 The unit will be assessed by outcome of each task, completion of homework tasks, completion of the self-assessment grid on the Student Activity Sheet, and musical performance.
Name... Form... 9.12.1 Bhajan/qawwali STUDENT ACTIVITY SHEET Activity Activity support The map on the right shows the geographical position of India. Copy the map into your exercise book. Your heading is The Geographical and Cultural Context of Indian Music. Pakistan Arabian Sea India Answer the following questions in your exercise book in complete sentences: 1. What term, used to describe Indian music, represents a combination of vocal music, instrumental music and dance? 2. Which of these three art forms is considered to be superior? 3. What name is given to the north Indian musical tradition? 4. What name is given to the south Indian musical tradition? 5. Apart from their location, how do these two types of Indian tradition differ? In pairs, consider why song is given such an important status in Indian music. Do you think that the voice is one of the most expressive musical instruments? Why? Do you think that the genre of popular song is important for your generation in today s society? Feedback your findings from your discussion to the class. Self-assessment I can: (Tick how you feel about each statement.) Describe the geographical location of India Write about the meaning of the term Sangeet Understand the main differences between Carnatic and Hindustani music Consider the importance of song in Indian music and the music of our culture Speak confidently to the class, feeding back ideas from the discussion This page may be photocopied by schools purchasing this book. China Nepal Bay of Bengal In order to find out more about the music and culture of other countries, it is important that we are aware of their geographical location. Since the earliest times, India has had a very diverse ethnic population. This diversity has led music to develop within a complex context. Music has historically had a fundamental role in defining the Indian culture. The term Sangeet in Indian music represents a combination of three art forms: vocal music, instrumental music and dance. Many Indian scholars believe that vocal music is the most superior art form in Indian music. Much Indian instrumental music has therefore developed by imitating vocal style. There are two major traditions of classical music in India: north India (Hindustani) and south India (Carnatic). Carnatic music and Hindustani music have clear differences. Carnatic music has maintained its original form, whereas Hindustani music has been altered by outside influences. Carnatic music places an emphasis on song structures. It follows that the voice is given primary importance. Carnatic music is also generally more theoretical than Hindustani music. This has led to the implication of certain rules which have to be closely followed. We have already seen that the voice is of supreme importance in Indian music. Song form, the main vehicle for the voice, is arguably the oldest form of music. The voice was used as a means of expression before instruments were even invented. Date Badger Publishing
9.12.2 Bhajan/qawwali LESSON PLAN Learning outcomes All students will Most students will Some students will Assessment Resources Plenary Extension Main activity Starter activity HW QCA/NC ref. Keywords To identify, explore and perform bhajan/qawwali with understanding of its conventions and context Understand the main characteristics of Indian music Listen to Indian music and identify its main characteristics Fully understand the use of rag, tal and drone in Indian music and accurately identify examples of these 3a, 3b, 4a, 4b, 4c, 4d, 5a, 5b, 5c, 5e saptak, swar, rag, tal, theka, drone, tala, sitar, tabla Prepare a mini project on the traditional instruments of India. Include pictures. Take care not to overuse one source. Also set students the challenge of discovering the definition of sympathetic strings! Listen to Indian music. Students to identify key features and characteristics. Discussion of the elements of music (to include rhythm, timbre and texture). Encourage students to recognise that there is no key and no sense of harmony in Indian music (atonal). An exploration of some key compositional devices in traditional music of India. Write about the timbre, texture, rhythm and harmony of Indian music. Learn Indian music theory keywords and definitions. Quiz. CD player, recordings of traditional Indian music How will these be assessed? Assessment of this lesson is by outcome and completion of homework. Students complete the I can do grid on their Student Activity Sheet. 8 The unit will be assessed by outcome of each task, completion of homework tasks, completion of the self-assessment grid on the Student Activity Sheet, and musical performance.
Name... Form... 9.12.2 Bhajan/qawwali STUDENT ACTIVITY SHEET Activity Activity support The table below shows a number of keywords used to explain Indian music theory. To help learn their definitions, they are listed with their English musical equivalent. Copy the table into your exercise book under the heading Indian Compositional Devices. Indian Theory English Theory Indian Theory English Theory Saptak Octave Rag Scale Swar Note/Pitch Tal Rhythm RAG and TAL are very important to understand because they form the basis of Indian music. In your exercise book write a definition of RAG. Now write a definition of TAL. Include an explanation of theka in your answer. Another common compositional feature of Indian music is the presence of a drone. Can you guess what a drone might be? Maybe you think your teacher drones on and on! Listen as you are played an example of a drone in Indian Music. What effect does the drone have? Draw a picture of a sitar and tabla. Write a definition of them in your exercise book underneath the pictures. Listen to the sound of the sitar and tabla. Try to describe their timbre. tabla sitar Self-assessment I can: (Tick how you feel about each statement.) Listen to Indian music and describe its basic characteristics Understand the terms saptak and swar Understand the definitions of rag and tal and why they are so important to the Indian musical tradition Listen to Indian music and identify the drone Listen to common Indian instruments and describe their timbre There are a number of important keywords that we will encounter during our study of Indian music. Some of the most important of these are listed in the table to the left. Indian Classical music covers two traditions the north (Hindustani) and the south (Carnatic). Both traditions interpret the rag and tal slightly differently. Generally speaking, the Rag is similar to a western scale and is normally an arrangement of 7 notes (swars). There are very strict rules governing the formation of a rag. Each rag belongs to a particular season or time of day, and evokes a particular mood when performed. Tal simply represents the rhythmic patterns on which Indian music is based. Theka is the term given to a drumming pattern used for keeping time in music. This is normally played on the tabla. Almost all Indian music features a drone which forms the background of the piece. A drone is two notes that are played constantly throughout the piece of music. Listen carefully to the music you are played. It should be quite easy to identify the drone which is heard constantly in the background of the music. Indian music is commonly associated with 2 main instruments the sitar and tabla. The sitar is a string instrument which has 7 main strings and 12 sympathetic strings. The strings are tuned to the swars of the rag. A tabla is a pair of drums used for accompaniment. One drum is larger than the other. The larger drum can change pitch. To describe their timbre accurately, you will need to listen to the extract of music carefully. Date This page may be photocopied by schools purchasing this book. Badger Publishing
9.12.3 Bhajan/qawwali LESSON PLAN Learning outcomes Assessment Resources Plenary Extension Main activity Starter activity HW All students will Most students will Some students will QCA/NC ref. Keywords To identify, explore and perform bhajan/qawwali with understanding of its conventions and context Compose a piece of music based on Indian conventions Compose a piece of music which accurately follows the traditional Indian structure Accurately compose and confidently perform music based on Indian conventions showing stylistic awareness and accuracy 1b, 1c, 2a, 2b, 3c, 4d, 5a, 5b, 5c, 5e Alap, Jhor, Gat, Jhala, improvisation, the aural tradition Introduce the strict structural rules governing much Indian music. Listen to some examples. Can students equate these structural music rules to any other cultures? Composition of music based on compositional techniques and structures of Indian music. Definition of keywords written into exercise book. Performance of select students work. CD player, extracts of Indian music, all available classroom instruments How will these be assessed? Assessment of this lesson is by outcome and performance. Students complete the I can do grid on their Student Activity Sheet. 10 The unit will be assessed by outcome of each task, completion of homework tasks, completion of the self-assessment grid on the Student Activity Sheet, and musical performance.
Name... Form... 9.12.3 Bhajan/qawwali STUDENT ACTIVITY SHEET Activity Activity support Your task is to compose a piece of music using Indian conventions as your stimulus. You will each have to take one of the roles in the table below. When you have decided who is going to play each part, write your names in the appropriate space. Part Role Name 1 Main melody 2 Percussionist 3 Percussionist 4 Drone Your composition must be based on the notes of the following rag: C E F G B C For this particular composition you will be following a very fixed structure. At the very start of your composition, the person playing part 4 will need to play the drone. Try using the notes C and G to form the drone. The first section you need to prepare is the ALAP. The next section that needs composing is the JHOR. During the next section (GAT), it is the turn of the drum player to improvise. This is traditionally structured over a cycle of 4 16 beats. Finally, your composition needs to finish with a fast, rhythmic climax called the JHALA. Practice performing your composition. Self-assessment I can: (Tick how you feel about each statement.) Work collaboratively in a group deciding who will play which part Understand the definition and role of the different sections of Indian music Compose the Alap and Jhor Compose the Gat and Jhala Perform confidently to the class This page may be photocopied by schools purchasing this book. A typical Indian music ensemble consists of the 4 parts listed in the table. Don t forget, you can only use notes of the rag to form the melodic aspect of your composition. The people playing the melody and the drone will be using keyboards. Make sure that you use an appropriate tone! Try the tone of the sitar to start with. Remember, the drone should be heard in the background throughout the entire composition. The Alap will be performed by the person playing part 1 (main melody). This person needs to improvise using the notes (swars) of the rag. There is no steady rhythm or pulse at this stage. The section titled Jhor is where a steady pulse should start. This is when the percussionists begin to play. At least one of you will need to be playing a drum in order to represent the sound of the tabla. You will need to practice moving from the Alap to the Jhor so that the transition is seamless! The person improvising the notes of the rag should continue. This time, however, they improvise at the same time as the drummer. Don t forget, the drone is still going on at this stage together with the second percussionist whose job it is to maintain the pulse. Experiment with different ways that you can bring your composition to an exciting conclusion! You have not notated your composition for two main reasons: 1. Most of the composition is improvised, hence it will always be slightly different each time it is performed. 2. The music of India together with that of Africa tends not to be notated. Rather, it is passed down through generations of families. This is called the aural tradition. Date Badger Publishing
9.12.4 Bhajan/qawwali LESSON PLAN Learning outcomes All students will Most students will Some students will Assessment Resources Plenary Extension Main activity Starter activity HW QCA/NC ref. Keywords To identify, explore and perform bhajan/qawwali with understanding of its conventions and context Understand the definition of a bhajan Listen critically to a bhajan identifying its main characteristics Prepare a short report on the role of bhajans in the Indian culture using the Internet as a resource 3a, 3b, 4a, 4b, 4c, 4d, 5a, 5b, 5c, 5e devotion, religion, bhajan, song, asthayi, swar, antara, culture Students to consider the difference between religion and devotion (Devotion generally symbolises a higher state of worship where soul becomes submerged in worship. Devotion lies at the very heart of the Indian musical tradition.) Introduce today s topic; the Indian bhajan. Illustration and exploration of the history, context and characteristics of the bhajan. Using keyboard, investigate the different tones that imitate Indian musical instruments. Students to feedback the results of their Internet research. CD player, recorded examples of bhajans, computers with Internet access, keyboards How will these be assessed? Assessment of this lesson is by outcome and disussion. Students complete the I can do grid on their Student Activity Sheet. 12 The unit will be assessed by outcome of each task, completion of homework tasks, completion of the self-assessment grid on the Student Activity Sheet, and musical performance.
Name... Form... 9.12.4 Bhajan/qawwali STUDENT ACTIVITY SHEET Activity Activity support Your title is Bhajans. Answer the following questions in your exercise book in complete sentences: 1. What is a bhajan? 2. During what period were they commonly written? 3. Why are bhajans normally simple? 4. What sentiments do bhajans express? Write about the typical structure of a bhajan. Listen as you are played some examples of bhajans. What musical features can you identify? Listen out for the musical features listed below. When you can hear each one, tick the box next to the feature. 1. Repetition 2. Simplicity of musical material 3. Asthayi 4. Antara 5. Percussion instruments 6. Harmonium 7. Voice Using the Internet as a resource, investigate the role that bhajans play in the Indian culture. Prepare a small presentation from the research that you find. Self-assessment I can: (Tick how you feel about each statement.) Understand some of the differences between religion and devotion Write about the typical structure of a bhajan Listen critically to bhajans and identify the main musical characteristics Use the internet as a resource Prepare a presentation on the role of bhajans in the Indian culture This page may be photocopied by schools purchasing this book. A bhajan is a Hindu devotional song popular in the North Indian tradition and written between the 14th and 17th centuries. The music of bhajans is usually simple and straightforward because they have to be learnt and sung by congregations. Bhajans express a pure and selfless love of God. A typical bhajan begins with an asthayi. During this section, the swars (notes) are from the middle and low registers. The asthayi is followed by a number of antara. The swars in these sections come from the higher ranges. Listen very carefully to the bhajans. Work through each feature listed to the left and try to identify it in the music. Some are harder than others! Only tick the box when you are really confident that you can hear the musical feature. Bhajans play a central role in Indian culture. See how much information you can find out about this. Can you think of anything equivalent to this in our or any other cultures? Different cultures, for example, share similar purposes for music (devotional, religious, special occasions, rituals and so on). It is important to realise that most cultures enjoy a diverse mix of classical, pop and folk music. Date Badger Publishing
9.12.5 Bhajan/qawwali LESSON PLAN Learning outcomes All students will Most students will Some students will Assessment Resources Plenary Extension Main activity Starter activity HW QCA/NC ref. Keywords To identify, explore and perform bhajan/qawwali with understanding of its conventions and context Take part in class performance of a bhajan Confidently and accurately maintain their part in class performance of a bhajan Take a lead role in performing a bhajan with the class, assisting other students 1a, 1b, 1c, 4a, 4b, 4c, 4d, 5a, 5b, 5c, 5e bhajan, performance Play the chosen bhajan to the students. Question students as to some of the musical characteristics in order to reinforce previous knowledge. (Bhajans are available to download from www.sathyasai.org. Enlist the help of any Indian families represented in the school and liaise with the Religious Education Department.) Learn and perform the bhajan. Improvise a percussive accompaniment to the performance of the bhajan. Lead a complete performance of the bhajan. Sheet music for a bhajan (or a recording), piano, percussion instruments How will these be assessed? Assessment of this lesson is by outcome and performance. Students complete the I can do grid on their Student Activity Sheet. 14 The unit will be assessed by outcome of each task, completion of homework tasks, completion of the self-assessment grid on the Student Activity Sheet, and musical performance.
Name... Form... 9.12.5 Bhajan/qawwali STUDENT ACTIVITY SHEET Activity Activity support Look carefully at the words of the bhajan that you are going to perform. Your teacher will explain their meaning to you. Before we can learn the song, we must consider the tal that the song is in. Your teacher will demonstrate this to you. Now try to clap the tal as the bhajan is played again. Listen carefully as you are played the asthayi. What main characteristics can you identify? Write these in the space below: We will now learn to sing the asthayi and then perform it together with the tal in the following ways: 1. The whole class claps the tal. 2. The whole class sings the asthayi. 3. Half the class claps the tal while the remainder sings the asthayi. 4. Now try to sing the asthayi and clap the tal at the same time! Finally, we will learn the antara. Self-assessment I can: (Tick how you feel about each statement.) Understand the important role that the text of a bhajan has Clap the tal as the bhajan is played Identify the main characteristics of the asthayi Learn the asthayi Learn the antara This page may be photocopied by schools purchasing this book. The text of bhajans conveys the love of God in a colourful and expressive language. Just like the simplicity and repetition of the music, the words tend to be repeated in order to emphasise and restate their meaning. Remember, the tal describes the rhythm of the bhajan. This will be constructed over a number of different beats. Remember, the asthayi is the very first section of the bhajan. In order to respect the values and cultures of different ethnic groups, it is important that we are very sensible when performing the bhajan. As well as being sensible, we need to sing the bhajan with style, accuracy and enthusiasm. Date Badger Publishing
9.12.6 Bhajan/qawwali LESSON PLAN Learning outcomes All students will Most students will Some students will Assessment Resources Plenary Extension Main activity Starter activity HW QCA/NC ref. Keywords To identify, explore and perform bhajan/qawwali with understanding of its conventions and context Understand the definition of a qawwali Discuss, in pairs and as a class, the importance of qawwali to the Indian culture Listen critically to a qawwali identifying its main structural characteristics 3a, 3b, 4a, 4b, 4d, 5a, 5b, 5c, 5e Qawwali, tabla, dhol, dholak, harmonium, qawwal, alap, vel, culture, audience participation Listen to a bhajan and qawwali. Explore the differences and similarities in sound. Illustration and exploration of a qawwali. Listen to a qawwali and identify the different sections and roles. Write down ideas from discussion ready to feedback to the class. Class discussion to report findings from discussion in pairs. Listen to a qawwali identifying its main structural characteristics. CD player, recordings of bhajan and qawwali How will these be assessed? Assessment of this lesson is by outcome and performance. Students complete the I can do grid on their Student Activity Sheet. 16 The unit will be assessed by outcome of each task, completion of homework tasks, completion of the self-assessment grid on the Student Activity Sheet, and musical performance.
Name... Form... 9.12.6 Bhajan/qawwali STUDENT ACTIVITY SHEET Activity Activity support In your exercise book, write a detailed definition of qawwali. Write about the typical ensemble of a qawwali performance and the roles that individuals take. The chart below shows the typical structure of a qawwali performance. Copy this into your exercise book. Add to the chart a definition of the different sections. Musical Introduction Alap Different verses Main song Sudden end A typical qawwali performance will feature audience participation. The audience members, stirred by the excitement and passion of the music, sing and dance and often give money to performers (vel). Why do you think that the music has such an effect on the audience? Self-assessment I can: (Tick how you feel about each statement.) Identify some musical differences between bhajan and qawwali Write a definition of qawwali Write about the typical ensemble of a qawwali performance Understand the different sections of a typically structured qawwali Consider the role of this music in the Indian culture This page may be photocopied by schools purchasing this book. The term qawwali actually translates to mean utterance. Qawwali are North Indian and Pakistani devotional songs and have been a feature of Indian culture since the 12th Century. They set poetry to music, and are lyrical and rhythmic. Their excitement and passion encourages the audience to sing and dance! A typical qawwali performance features about 10 men who would take on the following roles: 5 men: Sing verses and clap hands 1 man: Plays dholak Lead singer: qawwal The table below provides a definition of each section of a typical qawwali: Section Introduction Alap Verses Main song Discuss your ideas with the person sitting next to you. Can you think of anything similar to this in our or any other cultures? Consider why music forms such a central part of so many cultures. 1 man: Plays the tabla and dhol 2 men: Sing and play harmonium Definition Melody played on harmonium including improvisation. Singer sings long notes related to rag of song. This section has no rhythm. First version performed by qawwal and accompanied by harmonium. Repeated versions sung by other singers featuring different improvised melodies. Rhythm starts and men clap hands. This section builds in tempo and passion, and then ends suddenly. Date Badger Publishing
9.12.7 Bhajan/qawwali LESSON PLAN Learning outcomes Assessment Resources Plenary Extension Main activity Starter activity HW All students will Most students will Some students will QCA/NC ref. Keywords To identify, explore and perform bhajan/qawwali with understanding of its conventions and context Compose and perform an original song using some features of qawwali to aid composition Take an active role in the composition and performance of an original song based on the traditions of qawwali Produce an authentic performance showing stylistic accuracy and understanding 1a, 1b, 1c, 2a, 2b, 3c, 5a, 5b, 5c lyrics, rag, composition, introduction, harmonium, alap, main verse, qawwal, main song Ask students if they can remember the typical structure of a qawwali. Write this on the whiteboard. Brainstorm the different performers and their roles. Composition of song in the style of a qawwali using the notes of a rag, following the typical qawwali structure and setting given lyrics. Written justification of composition outlining the compositional process. Performance of songs. Evaluation using criteria that the class decide. Which performance is the most successful and why? All available classroom instruments, manuscript paper How will these be assessed? Assessment of this lesson is by outcome and performance. Students complete the I can do grid on their Student Activity Sheet. 18 The unit will be assessed by outcome of each task, completion of homework tasks, completion of the self-assessment grid on the Student Activity Sheet, and musical performance.
Name... Form... 9.12.7 Bhajan/qawwali STUDENT ACTIVITY SHEET Activity Activity support You need to work in groups of 6. Your task is to compose a song in the style of a qawwali. Study the lyrics below. These are the words that will form the basis of your qawwali: My soul is in peace as I look up to you, The great being who comforts my every need Your composition will need to be based on the notes of the following rag: B D E G A B First, compose the introduction. Write the name of the person who is going to perform the introduction in the space below: Now compose the alap. The next section to compose is the main verse. Write the name of your chosen lead singer in the space below: Who is going to play the accompaniment? When the main verse has been performed, other versions of it need to follow which will be performed by the whole group. Now compose the main song. Remember, this section must build in tempo and passion until it reaches a sudden end! Self-assessment I can: (Tick how you feel about each statement.) Compose an introduction based on improvisation of the rag Compose the alap Compose the verses Compose the main song Maintain my part in a group performance of an original song based on qawwali This page may be photocopied by schools purchasing this book. Study the lyrics carefully. They are only short because devotional song lyrics are often based on the repetition of a single idea. This has the effect of transporting the performers and audience into a euphoric and trance like state. The introduction will feature a single melody only (monophony). This melody will be improvised around the notes of the rag. You need to choose one person in the group who will perform this section. If you are performing on keyboard, choose the tone of a harmonium to add authenticity to your performance. The alap will contain long, held notes from the rag, creating a drone effect. These notes will be sung! Choose the best singers in the group to perform this section. The lead singer (qawwal) has to perform the first version of the verse. This will be accompanied by music, traditionally played on the harmonium. Elect a lead singer in your group and someone who will play the music in this section. The following verses need to feature different improvised melodies. This is where the main rhythm should begin. Some members of the group will need to clap their hands and all members should join in singing. This section should feature drums and percussion instruments. During the compositional process consider how you can most effectively use the musical elements including tempo, dynamics and timbre. Date Badger Publishing
9.12.8 Bhajan/qawwali LESSON PLAN Learning outcomes Assessment Resources Plenary Extension Main activity Starter activity HW All students will Most students will Some students will QCA/NC ref. Keywords To identify, explore and perform bhajan/qawwali with understanding of its conventions and context Demonstrate respect for the traditions of other cultures Understand and write about the origins and development of Bollywood Exercise a deeper understanding of the effects of the popularisation of traditional music on different cultures 4a, 4b, 4c, 4d, 5a, 5b, 5c, 5e Indian film industry, Filmi sangeet, Bollywood, fusion Write an essay on the importance of a young person to be knowledgeable about their traditional music culture. Is it important for a young person to understand his/her musical roots? Why/why not? Use the example of the Indian tradition and your own culture in your essay. Watch an extract from a Bollywood movie to engage students and introduce the topic area. An exploration of the Indian film music industry. A consideration of the importance of cultural music traditions. Students to actively help other groups by encouraging them to think of issues that they may not have already considered. Class discussion to aid completion of homework. Television, video of Bollywood film How will these be assessed? Assessment of this lesson is by outcome and completion of homework. Students complete the I can do grid on their Student Activity Sheet. 20 The unit will be assessed by outcome of each task, completion of homework tasks, completion of the self-assessment grid on the Student Activity Sheet, and musical performance.
Name... Form... 9.12.8 Bhajan/qawwali STUDENT ACTIVITY SHEET Activity Activity support In your exercise book, write about the origins and development of the Indian film industry. Your title is Bollywood. Answer the following questions in your exercise book in complete sentences: 1. What is the music used in Bollywood similar to? 2. Can traditional Indian music elements be found in Indian film music? 3. What is fusion? 4. Can fusion be found in the Indian film music genre? You will be shown part of a Bollywood film. While you are watching make notes on the following aspects: 1. Storyline / plot 2. Musical characteristics 3. Lavish nature of production The Indian film music genre appeals mainly to the youth. Do you think the popularity of this genre encourages young people from the Indian culture to become familiar with traditional Indian music such as bhajan and qawalli? Discuss this with the person sitting next to you. Jot down some notes ready to feedback to the class. Self-assessment I can: (Tick how you feel about each statement.) Respect the traditions and cultures of other ethnic groups Understand and write about the origins and development of the Indian film industry Understand the role and characteristics of music in Bollywood films Analyse a particular scene from an Indian film I have watched Confidently outline my opinions about the importance of traditional music culture knowledge The Indian film industry is commonly referred to as Bollywood (a combination of the words Bombay and Hollywood). India s first motion sound picture was produced in 1931. Most Bollywood films are romances or comedies which present light, easy and enjoyable viewing. The films are lavish, colourful and vibrant and contain numerous song and dance sequences. Filmi sangeet is the term given to music from the Indian film industry. Filmi sangeet represents a huge commercial area which appeals mainly to the youth and lower classes. The music used in Bollywood is traditionally similar to Western pop, incorporating catchy tunes and rhythms. Traditional Indian music elements can be found to a subtle degree. Most Indian film music is actually dominated by western jazz, rap, disco and a host of other styles depending on the common styles of the time. Often, popular styles such as these are combined. This is a form of fusion in music. Watch the film carefully. Try to work out what is happening! Compare your notes to the person sitting next to you. Do you agree? Have you noticed similar characteristics? In many respects, these situations are similar in a variety of cultures, including our own. Most of the music in the charts today appeals to the youth market, and it is fair to assume that most of these young people do not share the same level of enthusiasm for traditional classical music. Our society is now witnessing an increase in attempts to popularise classical music such as by Bond, Vanessa Mae and Myleene Klass. Do you think these attempts are, or will be, successful in encouraging young people to appreciate more traditional musical forms. Date This page may be photocopied by schools purchasing this book. Badger Publishing