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Collabora.veComposing:Connec.onstoDiversityinthe

GeneralMusicClassroomDr.SharonG.Davis

DirectorofMusicEduca.on,LebanonValleyCollegesdavis@lvc.edu

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/