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Collabora.veComposing:Connec.onstoDiversityinthe
GeneralMusicClassroomDr.SharonG.Davis
DirectorofMusicEduca.on,[email protected]
Workshopmaterials:hKps://slgdavis.com/resources/pmea-2017/
"Nohumancultureisinaccessibletosomeonewhomakestheefforttounderstand,tolearn,to
inhabitanotherworld"HenryLouisGates(1991).
ThisSession
Recognizingmusicasanauralart,achannelofcrea.veprac.ceandameansofpersonalandcommunal
expression,inthissession:• Strategiesandtechniquesforcomposi.onalexperiencesbasedonWorldMusic
• Modelsofcomposi.onalexperiencesusedinK-12,undergraduateandin-serviceteacherse[ngs
• Createcomposi.onswithconferencepar.cipants!
GuidedListeningExperiences
WorldMusicPedagogy• AKen.veListening
– Directedlisteningexperiencesfocusedonstructures• EngagedListening
– Ac.vepar.cipa.onwhilelistening:dancing,singing,playinganinstrument
• Enac.veListening– Con.nuedlisteningtoperformancelevel
• Crea.ngWorldMusic– Inven.onofextensions,improvisa.ons,composi.ons
PatriciaShehanCampbell:Teachingmusicglobally:Experiencingmusicexpressingculture
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AkadindaandDrum
A"en%veListening:FocusontextureHowmanylayersdoyouhear?
Whatelsedoyouhear?
Doallthelayersstartatonce?Isthereamainpart?Howdocomposerscreateinterestwithshortrepea.ngpaKerns?
AkadindaandDrum
EngagedListening:• Creategroupsof7ormorepeople• Eachpersoncreatesamovementtofit
themusicalpaKernforonelayer.• Youshouldhave7different
movements• Performyourmo.onforthethe
dura.onofthepiece.PLAN-PRACTICEANDPERFORM
GuidedListening:SupportsComposi.on
Goal:Drawupontheseprocessestocreatemul.-layeredinstrumentalpieceofmusic.
Xylophoneslayeredinoneata%me,shortrepea%ngpa"erns,dynamicsattheend,interlockingpa"erns,mediumtempo.
1 2 3 4 5 6 7
Onelayer.Soe2X
Anotherlayerjoinsanditisscrollfancy
Thislayerislouder2Xlike1butaliKlelower
Thislayersoundslikeanewmelody.
Anotherinstrumentjoinsaeeronerepeat
Drum,beat
FancybongoswithrhythmTheotherlayersaresoeer.Andthenfadeout
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Teachers need to create too!
• Insmallgroupscreateapieceofinthisstyle.– Createatleast3differentpaKernsthatrepeatatleast4.mes
– Organizetheentrancesandtheending– Useatleast3different.mbres.
• Bodypercussion• Appsonyourphone• Chairs• Voice• 5minutes!
Composi.onIdeasUsingPolyrhythm
Africa:Manyculturalandlinguisticgroupsofpeoplewithvaryingmusicalgenresandstyles.• Membranophones,idiophonesarecommon.• Polyrhythmconsistingofshortrhythmic,timbral,and/ormelodicmotifsthatcombinetocreateamusicalwholeisalsoinwideuse.
Assignment:createapieceofpercussionmusicthathasatleast4layers;ispolyrhythmicandusesseveraldifferenttypesoftimbres.DeAineanddescribeyourworkandhowitcomparestooneofthegenresinthechapter.
MoreTexturesThiscomposi.oniscloselyrelatedtotheEwepeopleduetothefeelinthemeter,theTimbresrepresented,therepe..onandthelayers.Inamedithun.ngbecausetheEwe
Believethathunterslikewarriorshadaccesstoesotericpowers
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RespeclulCrea.ng
Respeclullycrea.ngusingsalientfeatures
Whilealsodefininganddescribing
Leadstomeaningfulcrea.ngandconnec.onstoaculture
Mbiracomeinmanyshapesandsizes• Matchesbilateralsymmetryofthebody
• Leesidekeysarefortheleethumb
• Rightsidearefortherightthumbandindex
• Shonambira:Twointerlockingparts
ShonaMbiraMusic
StudentStrategies• Technique:WrotewiththefingerpaKerninmind.RI-LT-RT-LT– Eachinstrumentallayerstartedwithadifferentfingertoproduceaneffect:
• Aesthe%c:Workedtoproduceakaleidoscopeaffect
• Func%onoftheMusicandConnec%ontoSelf:Shonaancestralspiritslovetoheartheirfavoritembirapieces.Theseperformancesareanofferingdrawingthemnear
– Connectedtoloss(ancestors)
Teachingfromaglobalperspec.ve
Rhythm:Worldmusicdoesnothavetobeintroducedbygeographicregion.– Fromthisinterlockingrhythm/texturelessonwecouldstudytambourimrhythmsaddedtothesurdoBrazilliansamba
– Malaysiankompangdrums– CymbalsandgongsofChineseLionDance.
Cain,Lindblom&Walden(2013)
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ConceptsofMelody
Howdomelodiesmove?• Concepts:high/low/upward/downward/• repeats/stepsskipsjumps,• smoothandbumpy/• plainorembellished
AKen.velisteningwithpuzzlecards
LaMariposa:ThebuKerflyfromColibriWorldPlayground Process:AKen.veListening
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Personal/CulturalContextEscravos De Jó: A Brazilian children’s game
EngagedListening
• MusicalForm:Discovertheformtogether• Formseveralsmallcircles• Asec.on:joinhandsandsteptothebeat-threesmallstepstotheguitarrhythm
• Bsec.on:Stop,standinplaceandclaphandsthree.mesontherhythmbetweenthewords
• Stompfeetthree.mesfollowing• LaMorena:Turn2.meswavingarms
BolivianK’antu
Zampoña(sam-pon-yaorPanpipes)• Tunedtodiatonic
scale• Sharedperformance-
twoormorealternatemelodicnotes
• Arcaonlyplayscertainnotes
• Ira:certainnotesK’antu(k-an-tu)• Ceremonialpanpipe
musicfromtheal.plano,orhighplateauofPeru-Bolivia
Exampleofzampoñatuning.
PanpipesareAerophonesCommunalPerformances:Always
playedinpairs:Hocketstyle
Arca:LeaderIra:Follower
Enac.veListening
D D D E F# F#EF#GARowRowRowyourboatgen-tlydownthestreamD D D A A A F# F# F#Mer-ri-lyMer-ri-lyMer-ri-lyD D D A G F# E DMer-ri-lyLifeisbutadream
Redisthearca(leader)LeesideofroomBlackistheira(follower)Rightsideofroom
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Strategies
• Studentssangfolktunesinhocketstyle• Playedrecorderinhocketstyle• Workedinsmallgroupstochooseafolksongandarrangeinhocketstyle
• CreatedtheirownpieceofmusicintheformofBolivianK’antu(AA/BB/CC)hocketstyle.
Crea.ngInHocketStyle
ListeningMapGrids1
2 3 4
5 6 7 8
Na.veAmericanFluteMusic
• Descendingmelodiclinefavored• Aeerthebasicmelodyislearnedtheperformerwilldecoratethemelodywithornamenta.on– Ornamenta.onlearnedthroughlisteningtoothers– Gracenotes(lies,falls,slides)– Trills—tremolos—fluKer-tongue
• Personalizingmusicthroughimprovisa.on/ornamenta.onischaracteris.cofNa.veAmericanmusic
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“Suba”Rain Crea.ngoriginalmusic
Drawsupontheprocessesoflisteningandperforming
– callsuponthecreatortodemonstratemusicalthinkinginproblemsolvingcontexts
– promotesexperiencestounderstandtheexpressionsofacultureinarichandpersonalway
– canfostercollabora.veworkintheclassroomse[ng
StrategiesComposi.onisgeneratedbymusicalthinkingandisinformedbythesoundsourcesandtheroleorthestructurethatthemusicistotake.(Wiggins,2007).• Allow.meforplayingwithsound• Therootofcomposi.onscanbegeneratedbylisteningfor
salientfeaturesinworldmusic• Crea.ngexperiencesbasedonthesesalientfeatures
– CopyingcertainrhythmpaKernsorkeyfeatures• Studentsshouldanalyzeandcomparetheircomposi.onto
theoriginalstyle,asasignofrespecttotheinspira.onoftheircomposi.ons.
• ListeningMaptools:Omnigraffle,MicrosoeShapes,Excel(puzzlecards),iPaddrawing
"Nohumancultureisinaccessibletosomeonewhomakestheefforttounderstand,tolearn,to
inhabitanotherworld"HenryLouisGates(1991).
Handouts
hKps://slgdavis.com/resources/pmea-2017/
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References• Burton,B.D.(2008)Movingwithinthecircle:ContemporaryNativeAmericanMusicandDance.WorldMusicPress
• Burton,B.D.(1998).Voicesofthewind:NativeAmericanAlutesongs.WorldMusicPress
• Campbell,P.S.(2004).Teachingmusicglobally:Experiencingmusicexpressingculture
• Cain,M.,Lindblom,S.&Walden,J.(2013).Initiate,create,activate:Practicalsolutionsformakingculturallydiversemusiceducationareality.AustralianJournalofMusicEducation.Nedlands2.pp.79-97
• Titon,J.(2017).Worldsofmusic:AnintroductiontotheMusicoftheWorld’speoples.CengageLearning
• Audio:DrakensbergBoysChoir;PutamayoKids-WorldMusicPlayground
• SmithsonianFolkwayshttp://www.folkways.si.edu/
