Week 3

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Title: Suwa Onbashira Kiyari-Taiko

Performer(s): Ensemble O-Suwa-Daiko Culture: Japan

Instrumentation: Tambourines jingle bells (optional) Taiko or other drums, with felt mallets or drumsticks; voice

Cultural Contexts: The purpose or function of taiko drumming varies throughout history, ranging from communication, military action, theatrical accompaniment, and religious ceremonies.

Teaching Strategy Possibilities: Many classrooms do not have taiko drums. Djembe or tubano drums may supplement. Pat the beat and walk to the beat. This song allows children to participate kinesthetically before moving to the percussion instruments.

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Title: Rocky Road

Performer(s): Louise Bennett Culture: Jamaca

Instrumentation: Voice, guitar, xylophone

Harmony: Lines 1-4: I-I-V-I (each chord held a measure) Line 5: IV-I-V-I (each chord held for a measure)

Time: 3/2

Cultural Contexts: Singing game from Jamaica.

Teaching Strategy Possibilities: Have half of the class sing the call section and the other half sing the response section. Switch. If students have the necessary skills, transfer the functional harmony to an instrument (guitar/ ukulele to most aptly reflect the recording, or xylophone/recorder if students have those skills instead).

I=C chord

V=G chord

IV=F chord

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Title: O' Embole, Embole- Embolada

Performer(s): (performers unknown) Culture: Brazil

Instrumentation: Tambourines (or sleigh bells); xylophones (optional); voice

Chorus: I-V-V-I (repeated)

Verse: V-I-V-I

Cultural Contexts: The song O' Embole, Embole- Embolada comes from an improvisatory tradition in which singers make up verses about contemporary issues.

Teaching Strategy Possibilities: Sing along to the chorus and play the tambourine or sleigh bells on the beat. Sing the functional harmony (do-sol-sol-so) when the chorus starts.

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Title: El Carnaval de mi Tierra (The Carnival of My Land)

Performer(s): Los Hermanos Lovo Culture: Eastern El Salvador

Instrumentation: Bass, two guitars, two violins, shaker, percussion, media caña, voice

Harmony: I-V harmony; repetitive and easy to learn

Time: 4/4

Structure: Steady beat; strong-weak metrical pattern; tap along!

Teaching Strategy Possibilities: Sing I-V harmonies with the chorus, pat the beat, or play the beat on rhythm sticks. The I-V harmonic pattern is repetitive and easy to learn. The pulse is strong and is a great first activity. This song incorporates attentive listening, engaged listening, and enactive listening.

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Title: Wau Rauh (Just Arrived)

Performer(s): Sekaha Angklung Murni Culture: Bali

Instrumentation: Xylophones, metallophones and/or glockenspiel, gong.

Melody: Four-note melodic scale called slendro that differs from the diatonic scale with which most children in the West are familiar.

Structure: Repetitive 16-beat cycle that is marked by a gong.

Cultural Contexts: The song Wau Rauh (Just Arrived). from the Indonesian island of Lombok, close to Bali, comes from the gamelan angklung musical tradition.

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Reference:

World Music Pedagogy, Volume II: Elementary Music Education