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Notable elements:
1) style of singing/vocal timbre
2) type of pentatonic scale
(yo scale DO-RE-FA-SOL-LA)
3) form
4) instrumentation of accompaniment
5) mood of song as it relates to context
Listen to Jōban Tanko Bushi
Take notes: what are notable
elements of this music?
Pair up!
Create prompts/questions for...
1) Attentive
2) Engaged
3) Enactive
4) Creating World Music
Listenings I chose:
1) recording of choir performing the choral arrangement from World Music Press website
2) recording of native musician performing this work song from Smithsonian folkways website
3) recording of another song in Min'yō style
4) recording of a contrasting Japanese musical style, Tōgaku for comparison (both from album, Songs of Japan on iTunes)
5) recording of a Japanese instrument from the Min'yō genre from Smithsonian Folkways
Read cultural context:
In pair-
What kinds of listenings should be chosen for this piece?
LIST OF LISTENINGS:
“Erghan Diado” and “Polegnala e Pschenitza”
by Bulgarian State Radio & Television Female Vocal Choir
“Bulgarska Suita” from the Koutev Bulgarian National Ensemble album
LIST OF LISTENINGS:
1) "Fōg Elnā Khel" performed by Fahya Choir from album, The Leading Arabic Accapella Choir (from their website)
2) "Fog Ennakhal" from the album, History of Arabic Song: The Voice of Nazem El Ghazali Vol. 2 (iTunes)
3) "Maqâm Hidjâs Diwân" from the album, Le Maqâm Irakien- Tradition de Bagdad (iTunes)
-search recordings on publishing company websites, Smithsonian Folkways, iTunes, Youtube
-recording of the choral arrangement
-recordings by native musicians
-engage with cultural context
-elements in common with arrangement
*Listen to multiple tracks on multiple albums for most clear examples
4) Ataba Hawawié from the album, Middle East Sung Poetry (folkways)
Youtube recording of a gaida entitled "Bulgarian Kaba Gaida Bagpipe Българска Каба Гайда"
Listen for notable elements!
Consider:
-Relevancy for understanding musical culture and choral piece
(what will help reach your learning goals?)
-Age/development of singers
and learning context
Attentive Listening:
Pay attention to what the individual voice parts are doing. How many are there? How do they relate to one another?
1) Research
2) Certification
3) Lesson plan on Tools for Teachers
-http://www.folkways.si.edu/lesson-plans/smithsonian
4) Resource Guide
5) This workshop!
Engaged Listening:
Move to the beat. How many small beats in a measure and how are they divided?
-Student development as evolved, empathetic human beings- understanding themselves as individuals and members of a local and global community
-“acknowledge and validate the numerous cultures that are now represented in our school population and to foster tolerance and appreciation of those who differ from ourselves”- Mary Goetze
-challenge to understand new systems of melody, rhythm, timbre, and form and develop greater skills through recreation of these elements
-opportunities for creative expression once music has been studied in depth and treated with respect
ex. extensions, improvisation or composition in the style of
"CREATE AND RE-CREATE"
Attentive: How would you describe the sound of the solo male singer? Choral singers?
Engaged: Hum along to the repeating melody. Pay attention to added embellishments.
Enactive: Practice singing the hijāz maqām using solfege syllables do-ra-mi-fa-sol-le-te-do.
Creating: create your own musical mode on which to improvise a melody
Write a short poem and recite it on an improvised melody using the notes of the hijāz maqām.
Enactive Listening:
-Practice achieving the resonant timbre of Bulgarian folk style singing by warming up on a closed [e] or bright [Ɛ] vowel.
-Choral comfort zone
-Need for more diverse repertoire to broaden musical and cultural horizons
-Need for culturally valid repertoire
-Positive and productive teacher attitude!
-BE CURIOUS AND LEARN!
-establishing connection of music to life and elements within culture
ex. language, cultural customs, history, theater, dance, art, other musical forms
-"music as cultural thought and behavior"
One of the earliest and most influential forms of singing in the Arabic culture is sung poetry
The Japanese genre, Min'yō, often consists of either work songs or songs that function as entertainment
Culturally valid practice of performance informed by aural immersion
ex. vocal timbre, vowel/consonant pronunciation, inclusion of dance/movement
Active participation in listening
ex. Singing/humming a melody, tapping a rhythm, moving to music
-"participatory consciousness"
Hum along to the soprano melody when you hear it.
Tap or move your feet to the beat. How many beats in the measure?
Using listening #1 to inform nuance of the pronunciation.. you may want to consider closing to consonants such as “n” on the word “donto” to achieve the proper weight and stress within syllables.
World music pedagogy is an approach to multicultural music education established by Dr. Patricia Shehan-Campbell, rooted in exploration of cultural context and thorough, focused listening experiences to inform knowledge of musical cultures.
Practice singing a scale using solfege syllables do-ra-mi-fa-sol-le-te-do in order to become familiar with sound of the hijāz maqām.
-earthsongs
-World Music Press
-Santa Barbara Multicultural Octavos
-Alliance Music Publishing
-Global Music Book Series through Oxford University Press
-Smithsonian Folkways Recordings and Tools for Teaching
-Multicultural Perspectives in Music Education Book Series
About Certification in World Music Pedagogy through Smithsonian Folkways Course
Dr. Campbell is chair of Ethnomusicology of Music Education at the University of Washington. She has contributed to a wide range of material on multicultural music education including the series, Multicultural Perspectives in Music Education, and is a member on the Board for Smithsonian Folkways.
Directed listening questions for analysis of musical elements and structure
ex. Listen for components of melody, rhythm, meter, form, timbre, instrumentation
Describe the singing style.
What kinds of instruments do you hear?
Multicultural music education is a philosophical approach to music education which encourages the exploration of world music cultures as an essential element of the music curriculum in order to develop sensitivity, understanding, and respect for people from various ethnic backgrounds
-Combines discipline of ethnomusicology and practice of music education
-Considers manner in which music is taught and learned in original culture
-Emphasis placed on listening and organized into five phases: attentive, engaged, enactive, integrating cultural context, and creating world music
*can occur in any order
"LISTEN TO LEARN"
-Over the 20th century, there have been many terms for it: intercultural ed, multiethnic education, but all have the same premise:
to acknowledge diverse population of US and understand the world and America in which
we live