_____________________________________________________________________________________________________________________________
Title: Rag Chandranandan (1.1) (Wade & Campbell, 2020, p.8)
Culture: Indian
Instrumentation: Sitār
Pitch: n d | P n d d P M- d- P M | G(+)
Melody: Heterophony, drone to ground melodic mode
Harmony: Unison
Cultural Contexts: In India, from ancient times, syllables have been assigned to seven pitches in ascending order: sa, ri or re, ga, ma, pa, dha, and ni. These pitches are called sargam. The syllables are useful for notating melody.
Teaching Strategy Possibilities: One possible teaching strategy is to teach the seven pitches (sa, ri or re, ga, ma, pa, dha, and ni) and compare/contrast them to the traditional Western Kodály solfege system (do, re, mi, fa, sol, la, ti, do). How are these two systems of teaching melody the same? How are they different?
_____________________________________________________________________________________________________________________________
Title: Call to Prayer (1.2) (2.4) (Wade & Campbell, 2020, p.11, 24)
Culture: Islamic
Instrumentation: Voice
Melody: Monophony
Harmony: Unison/ solo
Pitch: Microtones: Intervals that do not match those of the European system of whole steps and half steps. Arab music features a theoretical scale of twenty-four pitches per octave. This creates "half-flat" and "half sharp" intervals. This system provides a greater variety of possible pitches from which seven are selected on which to base the melody. Call to Prayer features half-flat third and half-flat seventh.
Cultural Contexts: Issued from mosques five times a day.
Teaching Strategy Possibilities: One possible teaching strategy is to listen to the following video of an Islamic Call to Prayer. This Call to Prayer features microtones. How does this Call to Prayer sound different that traditional western music that we listen to?
Title: La Negra Tomasa (1.3) (Wade & Campbell, 2020, p.12)
Culture: Cuban
Instrumentation: Voice, guitar, percussion (wood blocks, shakers, drums)
Pitch: Pitches of a minor scale are the basis for La Negra Tomasa. The scale produced from the pitch selection of Spanish flamenco music, however, features an interval larger than a whole step: namely, an augmented second that consists of three half steps. Among flamenco music, this scale is referred to as the "Andalusian mode".
Teaching Strategy Possibilities: One possible teaching strategy is dance and use movement to feel the beat of the flamenco music.
_____________________________________________________________________________________________________________________________
Title: Saung Gauk (1.4) (Wade & Campbell, 2020 p.13)
Culture: Burmese
Instrumentation: Saung-gauk, finger symbols, voice
Melody: Monophony
Harmony: Unison
Time: Free rhythm- little or no sense of predictability about the organization of time. Free rhythm in world musical traditions can serve two purposes: 1) to express meaning and emotion, 2) to set apart a section of a composition to introduce melodic elements.
Teaching Strategy Possibilities: One possible teaching strategy is practice our own free rhythm on instruments in class. How does the improv free rhythm help express emotion?
_____________________________________________________________________________________________________________________________
Title: Bu Dünya Bir Pencere (Aytekin) (1.5) (Wade & Campbell, 2020, p.13, 16)
Culture: Turkish
Instrumentation: Voice, violin, electric guitar, bass, drums set, tambourine
Pitch: Six basic pitches of A, Bb, C#, D, E, G, and the tonal center of A
Time: Asymmetrical meter- subdivisions that are not all the same length. Each asymmetrical beat structure has a name. Devr-i hindi is the name of the particular structure used in this Turkish folk song.
Structure: The beat structure is broken down into 2+2+3
Cultural Contexts: Turkish makam Hijaz
Teaching Strategy Possibilities: One possible teaching strategy is practice movement to this Turkish piece. How does movement help us feel the beat structure of 2+2+3?
_____________________________________________________________________________________________________________________________
Title: Úirchill a´ Chreagáin (Creggan Graveyard) (1.6) (2.3) (Wade & Campbell, 2020, p. 14, 24)
Culture: Irish
Instrumentation: Voice
Melody: Monophony
Harmony: Unison/ solo
Time: Irish traditional sean-nós ("old style") free rhythm. Free rhythm- used to express the meaning and emotion of the song or text.
Teaching Strategy Possibilities: One possible teaching strategy is listen to this Irish voice solo. Do you believe the free rhythm helps the artist express meaning and emotion?
_____________________________________________________________________________________________________________________________
Title: Samba Percussion Demonstration (1.7) (Wade & Campbell, 2020, p.15)
Performer(s): samba de morro ensemble Culture: Turkish
Instrumentation: Surdo, panderio (tambourine with metal jingles in the frame), cuica (friction drum with a stick through the head), voice
Rhythm: This percussion demonstration includes a basic and steady beat of 1-2-1-2 pulse. This is a distinctive rhythm pattern including an accenting (or stressing) a beat in some way- placing a louder percussive stroke on or somewhere between beats. In Turkish music, a beat might be a short beat or a long beat, differing in duration.
Panderio pattern appears in steady sixteenth notes, but accents on certain of them to create a distinctive rhythmic pattern.
Beats: 1 2 | 1 2 |
Surdo: x X | x X |
Panderio: X x x X X x x X | X x x X X x x X |
The rhythm patterns of the panderio and tambourim are syncopated. Another layer of rhythm is added by the voice, and the multiple layers of rhythm is an example of polyrhythm.
Tempo: The speed is set by the need to coordinate musicians and dancers. Once set, it is the musical role of the player(s) of the surdo cdrum to keep the tempo steady.
Cultural Contexts:
This is a characteristic of music in the African diaspora, including African American, Afro-Cuban, Afro-Brazilian, and other African-influenced Latin American practices.
Teaching Strategy Possibilities: One possible teaching strategy is to play the above beat pattern on percussion instruments in class. How does this 1-2-1-2 pulse feel?
_____________________________________________________________________________________________________________________________
Title: Garett Barry's Jig (1.8) (2.13)/ Garrett Barry's Jig (version 2) (2.14) (Wade & Campbell, 2020, p. 16, 28)
Culture: Irish
Instrumentation: Bagpipe
Harmony: Solo
Time: 6/8
Rhythm: Compound meter consisting of recurring groupings of beats, but with each beat consisting of a subgroup of three pulses with equal duration.
Timbre: Light, airy
Cultural Contexts: "From these examples, it should be clear that the idea about the piece is entangled with ideas about performance practice..." this "Irish jig a tune composed most often in two sections, (A & B) of predetermined length that will be carefully transmitted within a community if music makers. However, the performer of a jig knows that the performance tradition not only permits but expects ornamentation to be added to that tune" (Wade & Campbell, 2020, p. 28).
Teaching Strategy Possibilities: One possible teaching strategy is to share the following video of Irish bagpipes being played. What instrument family does the bagpipe belong to (woodwind family)? How do you know?
_____________________________________________________________________________________________________________________________
Title: Monks Chanting Sutras (2.1) (Wade & Campbell, 2020, p. 20, 24)
Culture: Burmese
Instrumentation: Individual voice- As with the Buddhist philosophy behind the chant, the self (individual voice) is regarded not as an individual but simply as part of the whole, a part of something greater.
Melody: Monophony
Harmony: Unison
Structure: Following the structure of its text; the chanting of Theravada Buddhist monks is broken into sections based on the stanzas of its text. The singers dramatically stretch out the last line of text, then pause for a moment before the clap of a punctuating instrument revolves the phrase (page 29).
Cultural Contexts: This musical practice occurs frequently among the Chuuk peoples of the South Pacific islands, where singers highly value this precise unison singing as a socio-aesthetic value.
Teaching Strategy Possibilities: One possible teaching strategy is to pay close attention to the precise unison singing. How can we imitate this precision in our own performance?
_____________________________________________________________________________________________________________________________
Title: Bu Dünya Bir Pencere (Marsis) (2.2) (Wade & Campbell, 2020, p. 23, 169-171)
Culture: Turkish-language folk song
Instrumentation: Kemençe (very short-knecked, bowed lute), tulum (bagpipe without drone pipe, with two chanters), garmon (a small piano accordian), or kaval (an end-blown flute made typically of boxwood or fruitwood).
Melody/ Pitch: The horon features a single melody and seven-syllable rhyming scheme. The melodic mode of Bu Dünya Bir Pencere is called Hicaz, one of the most common modes throughout Turkey, the Arab world, and parts of Southeastern Europe.
Harmony: There are harmonically unstable chords that can be formed (e.g., using three pitch classes, as in 1-flat 2-4). Using these chords as an imaginative means by which musicians can refer to the European system of functional harmony without following its expectations.
Harmonically ambiguous chords are arpeggiated and can also be used as power chords. Playing the same chords simultaneously can produce a "powerful" oversaturated sound.
Harmonic progression: I-IV-V
Time: 7/8
Structure: Asymmetrical beat structures such as devr-i hindi (short + short + long).
Cultural Contexts: Bu Dünya Bir Pencere is a classic horon dance song, a form of line dance performed in the Black Sea region of Turkey.
Lyrics: The lyrics of Bu Dünya Bir Pencere appear to be directly inspired by a much older poem by the Turkish poet and humanist Yunus Emre (1238-1320), considered not just an important literary and religious figure but one of the important textual sources for the modern Turkish language.
Teaching Strategy Possibilities: This piece has many different musical elements and possible teaching strategies. We can learn a lot about Turkish music from Bu Dünya Bir Pencere. This piece is a classic dance song. As a class, we can learn the line dance to feel the asymmetrical beats.
_____________________________________________________________________________________________________________________________
Title: Straight Intertribal (2.5) (Wade & Campbell, 2020, p. 24)
Culture: Native American
Instrumentation: Voice
Melody: Monophony
Harmony: Unison
_____________________________________________________________________________________________________________________________
Title: Zhonghua liuban (2.6) (Wade & Campbell, 2020, p. 24)
Performer(s): Jiangnan sizhu "silk and bamboo" instrumental ensemble- associated with the Jiangnan region of China in the proximity of Shanghai. Culture: Chinese
Instrumentation: pipa,yangqin, erhu, dizi, sheng, bangu, and clapper.
Melody: Heterophony
Although these musicians follow the same melody, each individual produces creative variations of the tune, making. the music organic and eliminating monotony. "The melody can be transformed by elaborating or simplifying the basic skeleton melody- by adding ornaments, trills, and short melodic embellishments, for example, while maintaining the structure of the piece" (Wade & Campbell, 2020, p. 24).
Cultural Contexts: A musician's ability to improvise in response to the playing of the other musicians and the overall musical context.
Teaching Strategy Possibilities: One possible teaching strategy is listen to the piece and determine where the performers added ornaments embellishments.
_____________________________________________________________________________________________________________________________
Title: kotekan norot (2.7) (Wade & Campbell, 2020, p. 24-25)
Performer(s): Gangsa Culture: Balinese
Instrumentation: ugal (lead metallophone), drum, gongs
Pitch: The pitches of a very fast figuration are distributed among the musicians, between two groups of musicians who are playing the smaller high-pitched instruments in the ensemble.
Melody: Heterophony "The rapid figurations in Gangsa kotekan norot from the final selection of the gamelan gong kebyar composition Jaya Semara demonstrate another possibility for performing a single melody communally" Wade & Campbell, 2020, p. 24-25).
Cultural Contexts: Often performed in temple courtyards.
_____________________________________________________________________________________________________________________________
Title: Tarana (2.8) (Wade & Campbell, 2020, p. 25-26)
Culture: North Indian
Instrumentation: Voice, sitār, sarod, percussion
Pitch: Reoccurring pitch sa
Melody: Heterophony; A drone grounds the melody.
Cultural Contexts: Much of North Indian vocal music is also heterophonic, featuring a soloist and another melody producing instrument that "shadows" the soloist. This second instrument is played by a musician whose role is to follow even improvised melody closely, or to improvise or repeat something just heard in order to give the soloist a short break after a cadence.
Teaching Strategy Possibilities: One possible teaching strategy is learn about the different Indian instruments used in this piece.
_____________________________________________________________________________________________________________________________
Title: Burmese polyphony (2.9) (Wade & Campbell, 2020, p. 26)
Culture: Burmese
Instrumentation: Saung (arched harp), patt waing (21-drum set), voice
Melody: Polyphony; On the harp, the melody is played by plucking the first finger of the right hand while a secondary melodic line is played with the thumb.
_____________________________________________________________________________________________________________________________
Title: Pabawin Thachin (2.10) (Wade & Campbell, 2020, p. 26)
Culture: Burmese
Instrumentation: Saung (arched harp), patt waing (21-drum set), voice
Melody: Polyphony
Teaching Strategy Possibilities: One possible teaching strategy is to examine the patt waing and compare/contrast it to Western percussion instruments, such as the drum set or timpani.
_____________________________________________________________________________________________________________________________
Title: Áách Kapwongen Etiwa Áámi (2.11) (Wade & Campbell, 2020, p. 27)
Culture: Chuukese
Instrumentation: Voice, electronic synthesizers
Melody: Homophonic
Time: The electronic synthesizers help drive the rhythm
Cultural Contexts: Secular- Chuukese especially value both sacred and secular group songs in which they freely add multiple vocal parts to create a chordal structure. A single vocalist may begin singing but then will be joined by others who freely add harmonic parts based on taste or experience.
_____________________________________________________________________________________________________________________________
Title: The Click Song (2.12) (Wade & Campbell, 2020, p.
Performer(s): Miriam Makeba Culture: South African
Instrumentation: Voice, guitar, double bass, percussion
Cultural Contexts: Makeba recorded this song after leaving South Africa and moving to New York. It became a major hit, perhaps thanks to its combination of the exotic 'clocking' sounds from the South African language of the lyrics with an easy to understand Western harmonic accompaniment"
(Wade & Campbell, 2020, p. 27).
_____________________________________________________________________________________________________________________________
Title: Sinom Ladrang (2.15) (Wade & Campbell, 2020, p. 29)
Culture: Balinese
Instrumentation: Percussion, flute
Structure: Contrasting sections- three movement form. Sinom Ladrang is linked to the human body: its opening section is considered to be the head; its middle section, the torso or "main body"; and the final form, the feet.
The head is short, with themes clearly presented, and a regular pulse, beginning fast and slowing down to settle into the tempo of the next movement.
The main body has the longest metric cycle of the piece, permitting melodic and thematic development. Played in a slow, stately tempo, it always features an identifying fixed sequence of drum patterns.
The feet have a shorter metric cycle, and fast tempo that accelerates to a climax before the piece ends.
Teaching Strategy Possibilities: One possible teaching strategy is listen to the piece and determine when each section (head, body, and feet) start and end.
_____________________________________________________________________________________________________________________________
Title: Jaya Semara (2.16) (Wade & Campbell, 2020, p. 29)
Culture: Balinese
Instrumentation: Percussion
Pitch: Contrasting instrumental pitches within sections.
Structure: Three-part form; adds to another means of creating sections within the piece- highlighting individual instrumental groupings within the large ensemble so that the sections are formed by contrasts in the timbres and pitch registers of instruments.
Timbre: Contrasting timbres within sections.
Teaching Strategy Possibilities: One possible teaching strategy is to actively listen to the different sections in the piece. How do the different sections contrast in timbre?
_____________________________________________________________________________________________________________________________
Title: De Color de Cera Mare (2.17) (Wade & Campbell, 2020, p. 30).
Performer(s): La Niña de los Peines Culture: Spanish (Spain)
Instrumentation: Guitar, voice, clapping
Melody: Monophony
Structure: A traditional flamenco, a composition (cante) consists of several verses (coplas) alternated with short guitar interludes (falsetas/variaciones).
A flexible structure is shaped in the course of performance, however, singers often improvise.
A cante often begins with a guitar introduction that establishes the metric cycle, tempo, tonality, and mood. The singer usually follows with a short vocal section in which the voice is warmed up and that singer sets the mood for the copla by improvising on syllables (vocables).
_____________________________________________________________________________________________________________________________
Title: La Negra Tomasa (2.18) (Wade & Campbell, 2020, p. 31)
Culture: Cuban
Instrumentation: Guitar, percussion, voice
Structure: Two contrasting sections show the hybridity of the genre.
The initial section- a strophic song/ verse section known as the tema, verso, or canto- derives from European models. Strophic song refers to a song tune that is repeated while the text changes.
The second and final section, called montuno, consists of call-and-response vocals and many instruments repeating melodic riffs or rhythmic phrases. This structure and texture based on cycles lends itself to open-ended improvisation
Cultural Contexts: As in much Afro-Latin repertoire, the montuno structure is derived ultimately from African models.
Teaching Strategy Possibilities: One possible teaching strategy is to determine where the song tune is repeated throughout the piece.
_____________________________________________________________________________________________________________________________
References:
No comments:
Post a Comment