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Collabora-veComposing:Connec-onstoDiversityinthe
GeneralMusicClassroomDr.SharonG.Davis
DirectorofMusicEduca-on,[email protected]
Workshopmaterials:www.slgdavis.com/PMEA
"Nohumancultureisinaccessibletosomeonewhomakestheefforttounderstand,tolearn,to
inhabitanotherworld"HenryLouisGates(1991).
ThisSession
• Strategiesandtechniquesforcomposi-onalexperiencesbasedonWorldMusic
• Composi-onalexperiencesusedinK-12,undergraduateandin-serviceteacherseZngs
• Createcomposi-onswithconferencepar-cipants!
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Crea-ngoriginalmusic
Drawsupontheprocessesoflisteningandperforming
– callsuponthecreatortodemonstratemusicalthinkinginproblemsolvingcontexts
– promotesexperiencestounderstandtheexpressionsofacultureinarichandpersonalway
– canfostercollabora-veworkintheclassroomseZng
GuidedListeningExperiences
WorldMusicPedagogy• A\en-veListening
– Directedlisteningexperiencesfocusedonstructures• EngagedListening
– Ac-vepar-cipa-onwhilelistening• Enac-veListening
– Con-nuedlisteningtoperformancelevel• Crea-ngWorldMusic
– Inven-onofextensions,improvisa-ons,composi-onsPatriciaShehanCampbell:Teachingmusicglobally:Experiencingmusicexpressingculture
AkadindaandDrum
A"en%veListening:FocusontextureHowmanylayersdoyouhear?
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Whatelsedoyouhear?
Doallthelayersstartatonce?Isthereamainpart?Howdocomposerscreateinterestwithshortrepea-ngpa\erns?
AkadindaandDrum
EngagedListening:Creategroupsof7ormorepeopleEachpersoncreatesamovementtofitthemusicalpa\ernforonelayer.Youshouldhave7differentmovementsPerformyourmo-onforthethedura-onofthepiece.PLAN-PRACTICEANDPERFORM
GuidedListening:SupportsComposi-on
1 2 3 4 5 6
Onexylophone
Anotherfancylayerjoins
Sameaslayer1octavelower
Newmelody LoudDrumming
Anotherdrumandthexylophonelayersstarttofadeout.
Goal:Drawupontheseprocessestocreatemul--layeredinstrumentalpieceofmusic.
Xylophoneslayeredinoneata%me,shortrepea%ngpa"erns,dynamicsattheend,interlockingpa"erns
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Teachers need to create too!
• Insmallgroupscreateapieceofmusicinthisstyle.– Createatleast3differentpa\erns– Organizetheentrancesandexists– Useatleast3different-mbres.
• Bodypercussion• Appsonyourphone• Chairs• 5minutes!
Composi-onIdeasUsingPolyrhythm
Africa:Manyculturalandlinguisticgroupsofpeoplewithvaryingmusicalgenresandinstruments.• Membranophones,idiophonesarecommon.• Polyrhythmconsistingofshortrhythmic,timbral,and/ormelodicmotifsthatcombinetocreateamusicalwholeisalsoinwideuse.
Assignment:createapieceofpercussionmusicthathasatleast4layers;ispolyrhythmicandusesseveraldifferenttypesoftimbres.DeAineanddescribeyourworkandhowitcomparestooneofthegenresinthechapter.
MoreTexturesThiscomposi-oniscloselyrelatedtotheEwepeopleduetothefeelinthemeter,theTimbresrepresented,therepe--onandthelayers.Inamedithun-ngbecausetheEwe
Believethathunterslikewarriorshadaccesstoesotericpowers
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Polyrhythmpa\erns
Mbiracomeinmanyshapesandsizes• Matchesbilateralsymmetryofthebody
• Lejsidekeysareforthelejthumb
• Rightsidearefortherightthumbandindex
• Shonambira:Twointerlockingparts
ShonaMbiraMusic
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StudentStrategies
• Technique:Wrotewiththefingerpa\erninmind.RI-LT-RT-LT– Eachinstrumentallayerstartedwithadifferentfingertoproduceaneffect:
• Aesthe%c:Workedtoproduceakaleidoscopeaffect
• Func%onoftheMusicandConnec%ontoSelf:Connectedtoloss(ancestors)
Teachingfromaglobalperspec-ve
Worldmusicdoesnothavetobeintroducedbygeographicregion.– Fromthisinterlockingrhythm/texturelessonwecouldstudytambourimrhythmsaddedtothesurdoBrazilliansamba
– Malaysiankompangdrums– CymbalsandgongsofChineseLionDance.
Cain,Lindblom&Walden(2013)
ConceptsofMelody
Howdomelodiesmove?• Concepts:high/low/upward/downward/• repeats/stepsskipsjumps,• smoothandbumpy/• plainorembellished
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A\en-velisteningwithpuzzlecards
Process:Learnerssolveproblems
• Canyoupredictwhatthemelodywillsoundlike?
• Workwithapartnertoarrangethecardsaccordingtowhatyouhear
PoseProblems
• Humming• Iseepa\erns
• Therearerepeats
Learnerpredic-ons
LaMariposa:Thebu\erflyfromColibriWorldPlayground
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Process:A\en-veListening
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
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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)LejsideofroomBlackistheira(follower)Rightsideofroom
Strategies
• Studentssangfolktunesinhocketstyle• Playedrecorderinhocketstyle• Workedinsmallgroupstochooseafolksongandarrangeinhocketstyle
• CreatedtheirownpieceofmusicintheformofBolivianK’antu(AA/BB/CC)hocketstyle.
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Crea-ngInHocketStyle
ListeningMapGrids1
2 3 4
5 6 7 8
Na-veAmericanFluteMusic
• Descendingmelodiclinefavored• Ajerthebasicmelodyislearnedtheperformerwilldecoratethemelodywithornamenta-on– Ornamenta-onlearnedthroughlisteningtoothers– Gracenotes(lijs,falls,slides)– Trills—tremolos—flu\er-tongue
• Personalizingmusicthroughimprovisa-on/ornamenta-onischaracteris-cofNa-veAmericanmusic
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“Suba”Rain
StrategiesComposi-onisgeneratedbymusicalthinkingandisinformedbythesoundsourcesandtherolethemusicistotakeorthestructure(Wiggins,2007).
• Allow-meforplayingwithsound• Therootofcomposi-onscanbegeneratedbylisteningfor
salientfeaturesinworldmusic• Crea-ngexperiencesbasedonthesefeatures
– Copyingcertainrhythmpa\ernsorkeyfeatures• Createlisteningandcrea-ngexperiencesbasedonmusical
dimensions• ListeningMaptools:Omnigraffle,MicrosojShapes,Excel
(puzzlecards),iPaddrawing
"Nohumancultureisinaccessibletosomeonewhomakestheefforttounderstand,tolearn,to
inhabitanotherworld"HenryLouisGates(1991).
Handouts
www.slgdavis.com/PMEA
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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
