Musical Explorers: Bolero, West African, Turkish (Grades K-2)

Musical Explorers My City, My Song Developed in Partnership with Carnegie Hall’s Weill Music Institute

Teacher Guide 2016-2017

DEVELOPED BY THE BROAD STAGE IN PARTNERSHIP WITH CARNEGIE HALL’S WEILL MUSIC INSTITUTE THE BROAD STAGE Jane Deknatel, Director, Performing Arts Center Kurt Swanson, General Manager Alisa De Los Santos, Manager of Education & Community Programs Mandy Matthews, Education & Community Programs Associate Sam Sandoval, Education & Community Programs Assistant ADDITIONAL CONTRIBUTORS Roberto Carlos Shanna Lesniak-Whitney Anindo Marshall John Zeretzke ILLUSTRATIONS Sophie Hogarth AUDIO PRODUCTION Scott Lehrer Jeff Cook Alejandro Venguer Oscar Zambrano ARRANGER Javier Quick The Broad Stage Education & Community Programs Theater: 1310 11th Street | Santa Monica, CA 90401 Mailing: 1900 Pico Blvd | Santa Monica, CA 90405 Phone: 310-434-3560| Fax: 310-434-3439 education@thebroadstage.com thebroadstage.com/MusicalExplorers Education and Community at The Broad Stage is supported in part by: Herb Alpert Foundation Bank of the West Johnny Carson Foundation City of Santa Monica and the Santa Monica Arts Commission Colburn Foundation The Rosalinde and Arthur Gilbert Foundation Leonard M. Lipman Charitable Fund Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission SMC Associates Sidney Stern Memorial Trust Dwight Stuart Youth Fund Ziering Family Foundation, a Support Foundation of the Jewish Community Foundation of Los Angeles Musical Explorers is made available to a nationwide audience through Carnegie Hall’s Weill Music Institute.

Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern.

Major funding for Musical Explorers has been provided by the E.H.A. Foundation and The Walt Disney Company.

Additional support has been provided by the Ella Fitzgerald Charitable Foundation, The Lanie & Ethel Foundation, and the Vidda Foundation. © 2016 The Carnegie Hall Corporation. All rights reserved.

Table of Contents Foreword

4

How to Use This Guide

5

Options for Teachers

6

Options for Teachers of Students with Special Needs

6

Pathways for Teachers

7

Meet the Artists

8

Unit 1: Introduction

9

Unit 2: Mexican Folk Music with Rocio

20

Unit 3: Traditional Turkish Music with John

27

Unit 4: West African Music with Anindo

34

Concert Experience

43

Additional Information

47

Glossary

47

Education Standards

48

Common Core Capacities

49

Acknowledgments

49

50

Audio Track List

3

Foreword Welcome to Musical Explorers!

This program is designed to connect students in grades K–2 to the diverse musical community of Los Angeles as they build basic music skills through listening, singing, and moving. Students explore a wide variety of musical styles found in different Los Angeles neighborhoods, learn songs throughout the year, and perform with the artists at culminating interactive concerts.

Musical Explorers combines skills-based and creative activities that can be integrated into general and music classrooms. To facilitate planning, this Teacher Guide contains lesson plans, printed music, background information about musical styles and artists, and Student Guide activity pages.

The companion audio CD provides the songs from each unit plus learning tracks. Teachers are encouraged to start each lesson with warm-up exercises (found in Unit 1: Introduction) to help students develop healthy, age-appropriate vocal technique.

The Teacher and Student Guide pages, audio files, and additional digital resources are available on the Musical Explorers Resources page, which can be found at thebroadstage.com/MusicalExplorers.

We hope you enjoy the journey!

Exploration How can music represent the spirit of a community?

Key Objectives Musical Explorers are students and teachers who look for the answers to this question as they • meet singers whose music represents different musical styles and cultural communities • sing and move to the artists’ songs • make connections between the artists’ music, their Los Angeles neighborhoods, and their cultures • explore patterns that authentically represent the unique sound of each artist’s music

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How to Use This Guide With your guidance, Musical Explorers develop habits of active and engaged listening through a process that includes using recurring prompts, follow-up questions, modeling, and short, repeated listening. rompts: As students encounter new songs throughout the curriculum, ask them questions about P the music. We have included some scripted suggestions, which appear in italics. These prompts are purposefully very open to help familiarize students with the process of noticing and articulating specific aspects of the music.

• What do you hear in this music?

• How would you move to this music?

• What words can you use to describe this music?

• How does this music make you feel?

Follow-Up Questions: Here are some examples of questions that might be used in addition to the above prompts to further expand your students’ ideas. Young students may need to be offered some choices until they develop more confidence in their own vocabulary and abilities. Follow-up questions may include: • Can you tell me a little more about that?

• Can you show me that with your hands by clapping or tapping, or by moving your body?

• Can you sing it for me?

• What do you think the musicians are feeling?

What makes you think that?

• What are the instrumentalists doing? What is the singer doing?

• Is the music busy or calm, loud or soft, high or low, smooth or bumpy?

Modeling: At the beginning of the year, it may be helpful to model responding to your own prompts.

Modeling can also be facilitated through appointing student leadership roles in the classroom, allowing students to learn from their peers.

Repeated Listening: As you facilitate listening and discussion, it will be helpful to remember these tips for the prompt “What did you hear in this music?”: • Play examples more than once and spread listening across many lessons. Unfamiliar music takes time to absorb, process, and respond to.

• Play back short excerpts of the music by pausing the CD player after each section.

• Ask the prompts while listening to a song, since it may be more difficult for students to recall a musical detail or observation when the music exists only in memory.

Making the Invisible Visible: To help young students actively listen to and engage with music, look for ways to make the invisible world of music visible, and whenever possible, kinesthetic. In Musical Explorers, these methods include: • singing melodies • clapping and tapping rhythms (body percussion) • counting rhythms • drawing sounds • connecting narrative ideas with music • dancing • connecting cultural images with music Lesson Timings: Each lesson is built for a class period of approximately 30 to 40 minutes.

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Options for Teachers Creative Extensions: These activities are designed to continue the exploration of repertoire and concepts beyond the concert program. We encourage you to delve deeper into the music and cultures explored through these activities and to share your experiences with other classes, parents, members of the school community, and The Broad Stage staff.

Musical Word Wall: We encourage you to keep a word wall and add each of the vocabulary words below as they are introduced in the lessons, along with any other terms you might choose to add.

Musical Word Wall Introductory Lessons explorer neighborhood humming vibrations Mexican Folk Music chorus lyrics requinto

Traditional Turkish Music drone harmony melody kemenche Karadeniz kemenche improvisation

West African Music call and response tempo rhythm djembe

Music Educators Toolbox: Carnegie Hall’s Music Educators Toolbox provides activities, worksheets, audio and video resources, and assessments. Browse resources by grade level, skills and concepts, musical genres, instruments, national standards in music, and other criteria selected to serve the needs of educators. All materials are free for use at carnegiehall.org/toolbox.

Options for Teachers of Students with Special Needs • Students can participate in Musical Explorers in a variety of ways and may learn the songs by singing, moving, and/or clapping. You may also want to focus on smaller sections of the songs.

Since you know your students best, allow them to participate in ways that will help them feel the most successful.

• Encourage students to engage with the music using tangible objects, such as handmade instruments (e.g., cups with beans for shakers), rhythm sticks, and drums.

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• Allow time for students to experience the music and repeat as often as necessary. The lessons outlined in this curriculum may take additional time and span more than one class period. Use one-step directions and visuals as often as possible to help students understand the concepts.

• Some visual aids are provided within the curriculum and at the Musical Explorers concerts, but you may wish to provide additional resources to help your students engage with the material. If you have ideas for elements to include in future curricula, please send them to education@thebroadstage.com.

Pathways for Teachers Basic Program Path (Minimum requirements for concert participation)

Basic+ Program Path (If you have more time)

Advanced Program Path (If you have a lot more time)

Complete Lesson 1 and learn to sing the first song in each unit.

Complete Lessons 1 and 2 and learn the first (see Basic Program Path at left) and second (see below) songs in each unit.

Complete both lessons, learn both songs, and complete the Creative Extensions included in each unit.

Mexican Folk Music with Rocio “La Bamba”

Mexican Folk Music with Rocio “Cielito Lindo”

Traditional Turkish Music with John “Hars Em Gnum”

Traditional Turkish Music with John “Black Sea Fiddle”

West African Music with Anindo “Fanga”

West African Music with Anindo “Lamban”

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Meet the Artists Rocio, Mexican Folk Music Rocio Libertad Mendoza is a performance artist who purveys the cultural experiences of a Mexican immigrant. Born in Colima, Mexico, Rocio grew up in Mendocino County and worked in agriculture with her family. Both of her parents are musicians and taught Rocio Mexican folk melodies. She has appeared as a dancer in numerous music videos including Black Eyed Peas, Carlos Santana, and Justin Timberlake. She is a featured artist on Raphael Saadiq’s Grammy-nominated album, The Way I See It. Rocio played a lead role in Josefina Lopez’s original play titled Trio Los Machos. Recently she was a music supervisor and vocalist for the original theater production titled Fighting Shadows, written by Richard Cabral and Robert Egen. Rocio is a member of Tres Souls, a trio dedicated to the preservation of Bolero music.

John, Traditional Turkish Music John Zeretzke is an award-winning composer, artist-educator, and humantarian. He has composed music for The Joffrey Ballet of Chicago, The Royal Danish Ballet, Paramount Pictures, Disney, Discovery Channel, Shakespeare Santa Cruz, and more. John won a Lifetime Achievement Award from the City Of Ojai and the Professional Artist Service Award (PASA), for his work in arts education. John received the Medal of Honor from the White Helmets of the United Nations for peace keeping for his work in the southern Philippines with his acclaimed Flutes Across The World program. John founded and directed the Goin’ South Band, Salaamuna Ensemble, and World Pathways Ensemble.

Anindo, West African Music Anindo is an accomplished musician, percussionist, a Certified Dunham Technique Instructor, and a member of the Katherine Dunham Certification Board. She also teaches African dance from East, South, Central and West Africa. She has studied with the world’s finest percussionists, including Babatude Olatunji, Mamadi Keita, Mor Thiam, Lamin Dido Camara, Karamba Diabate to mention a few. Her study of African rhythm made her continue studying West African dance as well under the umbrella of such teachers as Kimoko Samo (formerly artistic director of Les Ballet Africains of Guinea West Africa), Marie Basse and countless other great African dance teachers. She has taught and continues to teach worldwide, including at Debbie Allen Dance Academy, Dance Dimensions, Lula Washington Dance Theater, Occidental College, LMU, UCI, Dallas Black Dance Theater, Cleo Parker Robinson Dance, Dance Excellence, USC, and LACHSA, and she is a member of ADAAWE.

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Introduction Introduction

Lesson11 Lesson

Lesson 1: Becoming Musical Explorers Aim: What does being an explorer have to do with listening to music?

Summary: Students identify themselves as explorers of the music in Los Angeles.

Materials: Musical Explorers CD, Musical Explorers Student Guide Pages, markers or crayons Standards: US 1, 2, 6, 7, 8, 9; VAPA Music 2.4 Vocabulary: explorer, neighborhood

Introduce the “Musical Explorers Song” • Introduce the Bus Driver on SG1. Our Bus Driver will take us to the neighborhoods in which our artists live.

• Where is our school on this map? Where is your neighborhood?

• As we explore our city, what styles of music do you think we might find? Where?

• Explore where the music we’ll learn about comes from by looking at the map on SG2–3.

• Introduce students to the Musical Explorers program by singing the “Musical Explorers Song,” Track 1, SG4.

Use the “Musical Explorers Song” and the suggested warm-up activities in Lesson 2 to begin each Musical Explorers lesson!

Be an Explorer • This year, students will explore three different genres of music.

• What does it mean to be an explorer? What might an explorer find on his or her adventures?

• Lead students in exploring their classroom or school, prompting them to observe specific elements.

• What does the room smell like? How does the wall feel when you touch it?

• In this curriculum, students will be introduced to new music by exploring three different neighborhoods.

• Using SG5-6, create a postcard of your neighborhood. Share your postcard with The Broad Stage by mailing SG5-6 with your teacher’s help!

Explore the “Musical Explorers Song” • Listen to the “Musical Explorers Song”, Track 1, and prompt students to explore what they hear.

• What do you hear in the music?

• How does the music make you feel?

• How would you move to this music?

Musical Word Wall Add the words explorer and neighborhood to the Musical Word Wall.

9

Lesson 1 Introduction Lesson 1 Introduction

Musical Explorers Song Music and Lyrics by Daniel Levy

10

SG

1

Welcome to Our Musical Trip!

Welcome, Musical Explorers!

I’m your bus driver, and I’ll help you explore our musical city.

Together, we’ll meet our singers and hear their songs and stories.

Come along with me and make your discoveries!

11

SG

2

Rocio Mexico

West Africa

Musical Explorers Around the World Map We can hear music from all around the world in Los Angeles. Where do these types of music come from?

Mexican Folk: Mexico Traditional Turkish: Turkey West African: West Africa

12

Anindo

SG

3

Turkey

John

13

SG

4

Musical Explorers Song Every song tells a story, every tune tells a tale.

Every rhythm has a reason, don’t you want to know?

Don’t you want to know what makes the music go?

Come along and see, make your discovery.

(x2) I can go explore the world of music at my door.

My city and my neighborhood, singing songs and feeling good.

I can know what makes the music grow, I can know what makes the music go!

14

SG

5

Create a Postcard Use the space below to draw or paste images of people, places, and things from your neighborhood!

Greetings from .. .

15

SG

6

Write to a friend about your neighborhood on your postcard!

Dear ________________,

(Your friend’s name) (Your friend’s address)

Your friend,

____________________

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Lesson 2 1 Introduction Lesson Introduction

Lesson 2: Exploring Our Voices Aim: What happens in our bodies when we breathe, hum, and sing?

Summary: Students explore their singing and talking voices. The exercises may be done as a warm-up. It may take some time for students to know and feel that their singing and talking voices are very different from each other.

Materials: Musical Explorers CD, Musical Explorers Student Guide pages Standards: US 1, 2, 6, 7, 8, 9; VAPA Music 2.4 Vocabulary: h umming, vibrations

What Happens When We Breathe?

• Have students find a partner to explore what happens when taking a breath. Have one student take a few slow, deep breaths into their bellies. Encourage students not to lift their shoulders as they take deep breaths. Have the other student watch what happens.

• What is happening inside your bodies as you breathe?

• Is anything moving? What is moving?

• Can you describe what you feel?

• What happens when you raise both hands in the air, take a deep breath, and then lower your hands while you exhale? Does that feel different? How so?

• What happens when you lean over, touch your toes, and take a deep breath? How does that feel different?

•

What Happens When We Hum? • Have students perform a few long sounds by singing or humming, which is singing without opening one’s lips.

While they hum or sing, tell them to touch their noses, cheeks, throats, necks, backs, and chests.

• What do you feel?

• Does anything change when you hum or sing instead of speak?

• What do you think is happening? Why? • Explain that all sounds are caused by vibrations, or movements, that go through the air. Without vibrations, music and sounds would not exist. By touching our throats when we hum, speak, or sing, we can actually feel the wiggly vibrations created by our vocal folds.

• Have students alternate between blowing air (not making sound) and humming, while touching their throats, so that they can feel the difference between vocal folds vibrating and at rest.

17

Lesson 2 Introduction Lesson 1 Introduction • Learn the “Warm-Up Rhyme”

• Teach the “Warm-Up Rhyme,” beginning to sing.

Track 3, to your students. Practice this often as a warm-up before

1

2 Touch your toes, (bend over and touch toes)

Stretch to the sky, (arms lifted over head, taking deep breath) Reach way up high.

You’re a seed that grows. (rolling up)

Standing tall, Feel the lift.

3

4 Arms releasing, (arms drop downwards, keeping chest lifted)

Breathing deep, (deep belly breath, hands on hips)

Down they drift.

5

6 Fill your lungs. (stretching arms out and down, like a ballet dancer)

18

Smoothly and slowly, (arms come in and release the breath) Out it comes. (breathe out slowly)

Introduction Introduction

Lesson Lesson21

• Vocal Exercises

• Now that students have felt their own vocal fold vibrations, guide them in discovering what else their voices can do.

• There are four types of voices: talking, singing, whispering, and calling.

• Have students explore their voices.

• How would you use your voice in the classroom? In music class? In the library? Outside on the playground?

By doing the following exercises often, students will become comfortable with using their singing voices, both high and low. Feel free to mix and match the following warm-ups, or to create your own to add variety.

“Sirens,” Track 4: Have students pretend they are police cars on a chase with their sirens. To do this, start by singing “ooo” on a low pitch and slide up to a high pitch, and then slide back down to a low pitch.

• How can we use our arms to show the different shapes our voices are making?

• Try out students’ ideas of how sirens can sound and look.

“Yawning Kittens,”

Track 5: Have students pretend they are sleepy kittens by stretching, yawning, and sighing.

• Model the vocal contour of the yawn and sigh (going from a high to a low pitch).

• Model a swooping contour with your hands and arms.

• Have students mimic you so that they can begin to feel and understand the difference between high and low sounds by using their bodies and voices.

“Floating Balloon,”

Track 6: Have students imagine they are a balloon floating in the wind.

• Model the balloon’s path by moving your arm.

• Make your voice match the contour of the balloon’s path (voice starts low and finishes high). Repeat this several times.

• Have students imitate your arm and vocal movements.

• Experiment with the size and contour of the balloon’s arc, matching the movement with your voice.

• x Sing the “Musical Explorers Song” • Warm up students’ voices by singing the “Musical Explorers Song,” • Begin each class by listening to or performing this song.

Track 1, SG4.

Musical• Word Wall Add the words humming and vibrations to the Musical Word Wall.

19

Preparation Lessonwith 1 Greek Folk with Magda Mexican Folk Music Rocio

Mexican Folk Music with Rocio Find Our Neighborhood The bus driver now takes us on a journey to Olvera Street, to meet our first singer, Rocio. Have students turn to SG7 and help them do the following: • Locate The Broad Stage in Santa Monica.

• Locate Rocio on the map at Olvera Street.

• Complete the activity.

20

SG

7

Find Rocio’s Neighborhood It’s time for us to begin our musical trip! Find The Broad Stage in Santa Monica, and then find Olvera Street, where Rocio lives, on the map below. Complete the maze to start our journey. Let’s go!

Rocio The Broad Stage

OLVERA STREET

SANTA MONICA

21 21

Lesson 1 Mexican Lesson 1with Rocio Greek Folk with Magda Folk Music

Lesson 1: Learning “La Bamba” Aim: What unique instrument is used in Mexican folk music?

Summary: Students learn to sing “La Bamba” and are introduced to a new instrument, the requinto.

Materials: Musical Explorers CD, Musical Explorers Student Guide pages Standards: US 1, 5, 6, VAPA Music 1.3, 2.1, 2.2, 3.1, 3.2, 5.1 Vocabulary: chorus, lyrics, requinto

Meet Rocio • Meet Rocio on SG9.

Explore “La Bamba” • Listen to “La Bamba,” Track 7.

• Learn the chorus of “La Bamba,” Track 8 and practice the lyrics.

• Listen to “La Bamba,” Track 7, again and sing along to the chorus.

La Bamba

 4   4 

Bam

5

   

bam

  

ba

 

ba



 

bam

La Bamba

   ba,  

bam

 





ba,



bam



  

ba



bam

 

  

bam

ba,

ba.

Explore the Requinto • Look at the image of the requinto on SG8.

• Listen to the sound that the requinto makes, Track 9.

• The requinto is the guitar that Rocio and her group, Tres Souls, use in “La Bamba.”

• Listen to “La Bamba,” Track 7. Can you hear the requinto?

Musical Word Wall Add the words chorus, lyrics, and requinto to the Musical Word Wall.

22

 



 

SG

Explore the Requinto

8

A requinto is smaller and has a higher pitch than a traditional guitar, but has the same parts. Learn about the parts of the requinto below.

Tuning Peg

Fret Board

Sound Hole

6 Strings

Bridge

23

Meet Rocio!

WE LCOM E TO OLVE RA ST.

!

Hola Musica l Explorers!

I am so exc ited to be sharing the tradition o f Mexican folk music My family with you. is from Me xi co and I g singing and rew up playing inst ruments. O the best pla ne of ces to hear Mexican fo (and eat y lk music ummy Mexi can food!)

Street, nea is Olvera r my house Musical Exp . When yo The Broad u come to lor Stage, we w c/o The Bro ers ill sing and Mexican fo ad Stage explore lk music to 1310 11th Str gether! eet Santa Mon Your friend ica, CA , 90401 Rocio

24

24

SG

9

Mexican Folk Music with Rocio

Lesson 2

Lesson 2: Exploring “Cielito Lindo” Aim: What can we learn about Mexican culture and music from the song “Cielito Lindo”?

Summary: Students learn to sing “Cielito Lindo” and understand the history of the song.

Materials: Musical Explorers CD, Musical Explorers Student Guide Pages Standards: US 1, 5, 6, 8, 9; VAPA Music 2.1, 2.2, 3.1, 3.2, 4.2, 5.1

Sing “Cielito Lindo” •

• Listen to “Cielito Lindo,” Track 10.

• Learn the pronunciation of the chorus, Track 12.

• Learn the chorus of “Cielito Lindo,” Track 11.

• Listen to “Cielito Lindo” and sing along with the chorus,

Track 10.

Cielito Lindo

Cielito Lindo

 3  4 

Ay,

 



ay,

10

  

tan



do se a

ay,



ay,

  

le

gra

cie





Can

   li

to



ta y

  

lin do los

 



no



llo res

   co

ra



Por



que

3

  nes.

zo





can



“Cielito Lindo” Translation Ay, ay, ay, ay, Canta y no llores, Porque cantando se alegran, Cielito lindo, los corazones.

Ay, ay, ay, ay Sing and don’t cry Because singing lifts hearts, my dear

25

Lesson 2

Mexican FolkMusic with Rocio

Understanding the History of “Cielito Lindo” •

\ • Share the translation of the chorus of “Cielito Lindo” with students.

• Who do you think the singer is singing to?

• What do you think the singer is trying to say?

• “Cielito Lindo” is a very old song. It was written over 100 years ago in 1882 by the songwriter Quirino Mendoza y Cortés.

• It is a well-known song within Mexican culture, and is sung by people of Mexican descent around the world.

• What other songs are known within a culture? Are there songs that your community sings together?

Creative Extension: Living History • Remind students that “Cielito Lindo,” Track 10, is a song that has been sung for many generations in Mexico.

Discuss how music could be shared from generation to generation.

• How can parents share music with their children?

• Ask students to think about the members of their families who have lived a long time.

• Who is the oldest member of your family? Grandparents? Aunts or uncles?

• Have students interview a grandparent or older member of their family.

• Where did you grow up?

• What kinds of music did you listen to?

• Did your parents share music with you?

• Ask students to bring in a recording of a piece of music their family member listened to when they were children to share.

26

Traditional Turkish Music with John

Preparation

Traditional Turkish Music with John Find Our Neighborhood The bus driver is going to take us from Olvera Street over to Westwood to meet our next musician, John.

Have students turn to SG10 and help them do the following: • Find Rocio in Olvera Street.

• Find John in the Westwood area.

• Complete the activity.

27

SG

10

Find John’s Neighborhood It’s time for the next stop on our trip! Find Rocio in Olvera Street and then find John in the Westwood area. Then complete the activity.

John

T J Y R B O Y H F Q Z J H T J

L W T Y J Y A D Q U O J O M O

O I S O L H H S E V W A T J T Y Y Q L G W K N W P N E K D D M O A M C O K X D E N S P Q D M U L I I X M T Y N R R X F G K B S E O E M Y T M U Y O Y R N W F S K U A O H D E R C O F L R R L J T C R M B L Z X F K Q B P P Y D D E Y I H I Q V W F N L N M F D F S Q U W O D F G E N R I H Z I K W N R L H B W S D Z X L W N W C G G B S F Kemenche Harmony Drone Fiddle Melody Turkish

K V W E A Y X A H S K A T E D

Y Z D O P U Q Y E E H P Y S H

WESTWOOD OLVERA STREET

Rocio 28 28

MalianTurkish Traditional with Yacouba Traditional Music with John

Lesson1 1 Lesson

Lesson 1: Learning “Hars Em Gnum” Aim: How can we create harmony using a drone?

Summary: Students learn how to sing a drone along with a melody, and also explore the kemenche.

Materials: Musical Explorers CD, Musical Explorers Student Guide pages Standards: US 6, 8, 9; VAPA Music 1.3, 2.1, 2.4, 3.1, 3.3, 3.4, 4.1, 4.2, 5.1 Vocabulary: drone, harmony, melody, kemenche, improvisation

• Meet John

• Meet John on SG11.

• John performs traditional Turkish music.

• “Hars Em Gnum” Hum with

• Listen to “Hars Em Gnum,” Track 13.

• Listen to the drone, Track 14.

• A “drone” is one continuous note that does not change pitch. It is played at the same time as a melody and is the earliest form of harmony.

• “Harmony” is made of different notes that are played or sung at the same time as the melody.

• Hum the drone along with Track 14.

• Listen to “Hars Em Gnum,” Track 13, and hum the drone to produce harmony while John plays the melody plays.

Explore the kemenche • Listen to the sound the kemenche makes in “Hars Em Gnum,”

Track 13.

• Look at the picture of the kemenche on the left of SG12 and discuss its characteristics.

• How many strings does it have?

• Does the kemenche look similar to a modern day instrument?

• What does the sound of the kemenche remind you of?

Understand Improvisation • Listen to “Hars Em Gnum,”

Track 13 in which John improvises on the kemenche.

• Improvisation means making something on the spot.

• What parts of “Hars Em Gnum” do you think are improvised?

29

Turkish Music with LessonTraditional 1 Traditional Lesson 1 John Malian with Yacouba

Creative Extension: Improvise Your Own Dance • “Hars Em Gnum,” Track 13, is a song that would be improvised at a traditional Turkish wedding.

• Have you ever been to a wedding? What songs do your family play at weddings?

• At a Turkish wedding, dance is very important. People at the wedding know the same set of steps but improvise by combining the dance steps in different ways.

• Have students listen to “Hars Em Gnum,” Track 13, and improvise their own dance based on the sounds they hear and the rhythms they feel.

Musical Word Wall Add the words drone, harmony, melody, kemenche, and improvisation to the Musical Word Wall.

30

SG

11

Meet John!

Wes twoo

Hello Musical Exp lorers, Welcome to Wes tw there are all kind ood, where s all over the world of people from !

Turkish commun There is a ity here, but I le arned to play Turkish m usic when I got to travel toTurkey an of traditionalTur d study with masters ki bringing some of sh instruments. I am m instruments with y most wonderful m I can’t wait to sh e to The Broad Stage. are my music wit h you at the concert!

d

Musical Explorer s C/O The Broad Stage 1310 11th Street Santa Monica, CA 90401

Best, John

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31

LessonTraditional 2 Traditional with Lesson 1 John Malian withTurkish YacoubaMusic

Lesson 2: “Black Sea Fiddle” Aim: What patterns can we find in “Black Sea Fiddle”?

Summary: Students learn the 7 meter and the clapping rhythm that goes with it.

Materials: Musical Explorers CD, Musical Explorers Student Guide pages Standards: US 6, 8, 9; VAPA Music 1.1, 1.3, 2.1, 3.1, 3.3, 5.1 Vocabulary: Karadeniz kemenche

Rhythmic Patterns in Turkish Folk Music • Listen to John explain the 7 meter, a 2-2-3 rhythmic pattern in demonstrates.

• Listen carefully to John’s clapping pattern, and join in on patterns.

Track 18, and follow along as he

Track 17, using your body to create rhythmic

• Put it all together by listening to the Karadeniz kemenche and clapping the 2-2-3 pattern in “Black Sea Fiddle,” Track 16.

Explore the Karadeniz Kemenche • Listen and sway along to the Karadeniz kemenche, also called the Black Sea fiddle, in “Black Sea Fiddle,” Track 16.

•

Does it sound similar or different from the original kemenche from Lesson 1?

• Using SG12, have students explore the differences between the two instruments.

• The Karadeniz kemenche is played on the lap and the original kemenche is played on the ground.

• How can you tell that based on the way they are made?

Musical Word Wall Add Karadeniz kemenche to the Musical Word Wall.

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SG

12

Explore Turkish Instruments

kemenche

Karadeniz kemenche

33 33

Preparation Lesson Classical with Falu \Indian West African Music with1 Anindo

West African Music with Anindo • x Find Our Neighborhood The bus driver will now take us on a journey from Westwood to Inglewood, to meet our next singer Anindo. Have students turn to SG13 and help them do the following: • Locate John in Westwood.

• Locate Anindo in Inglewood.

• Complete the activity.

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Malian Traditional with Yacouba

Lesson 1 SG

13

Find Anindo’s Neighborhood Find John in Westwood. Find Anindo in Inglewood. Complete the activity below to go from John to Anindo!

_EM_N_HE Anindo plays West A _ R _ C A _ M u s i c We learned how to count in S _V E _ John plays the

WESTWOOD

John

INGLEWOOD Anindo

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West African MusicLesson with1Anindo Lesson 1Classical Indian with Falu

Lesson 1: Exploring “Fanga” Aim: How is call and response used in West African music?

Summary: Students learn “Fanga,” call and response, and dance.

Materials: Musical Explorers CD, Musical Explorers Student Guide pages Standards: US 1, 2, 5, 9 VAPA Music 1.1, 2.1, 2.2, 3.1, 3.4, 4.1, 4.2, 5.1 Vocabulary: call and response

Sing “Fanga” • Listen to “Fanga,”

Track 19.

• The structure used in “Fanga” is called “call and response.” Anindo, the leader, sings the call, and we sing the response.

• Listen to the pronunciation of “Fanga,” Track 22.

• In West African tradition Ashe is the life force within all living beings.

• Listen to Anindo demonstrate the call and response,

Track 21.

• Practice singing the response to Anindo’s call during “Fanga,” Track 19. Invite one student to be the leader and sing the call while the rest of the class sings the response.

Fanga

Call  4   4      

4 4 5

      Call

   36

Fan ga

a she

a la fi ya



  

a she



Fanga

    a she a she 

   

Response

a she

  

a she



      

Response

Fan ga

a la fi ya

  

   a she 

Call

a she

   

a she

  

a she

   

Respose

a she

   a she

   

West African with Anindo IndianMusic Classical with Falu

Lesson Lesson11

Explore Movement Patterns in “Fanga” • Learn traditional West African movements to “Fanga” using the guide below.

• Using

1

Track 19, perform the movements with the lyrics of “Fanga.”

2

Step 1: Lift left foot up, and bring hands and arms to chest.

Step 2: Step left foot down, and extend arms overhead

Repeat steps 1 and 2 four times.

3

4

Step 3: Step to the left and extend arms to the left.

Step 4: Bring right foot to left foot and bring hands and arms to chest.

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Lesson 1Classical West African Music with1Anindo Lesson Indian with Falu

6

5

Step 5: Step to the right, and extend arms to the right.

Step 6: Bring left foot to right foot, and bring hands and arms to chest.

Musical Word Wall Add the phrase call and response to the Musical Word Wall.

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Malian Traditional with Yacouba

Meet Anindo!

Lesson 1

SG

14

Dear Mus ical Explo rers

, I come fr om Africa , where m rhythm is usic and a par t of every asp lives. I ha ve ect of our and danc been a drummer, er my wh s ole life an inger America d to share A came to fr with the young pe ican music and da ople here nce ready to . I ho mo lot of sing ve because we wil pe you are l ing and d ancing at be doing a the conce r t!

Be Well, Anindo

Musical E xplorers c/o The B road S tag e 1310 11th S t.

Santa Mo nica , CA 90401

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Indian Classical with Falu Lesson Lesson 2 West AfricanMusic with1 Anindo Lesson 2: Learning “Lamban” Aim: How percussion is used in West African music?

Summary: Students will learn to sing “Lamban” and understand how the djembe is used in West African music.

Materials: Musical Explorers CD, Musical Explorers Student Guide pages Standards: US 1, 2, 5, 9 VAPA Music 1.1, 1.3, 2.1, 2.2, 2.4, 3.1, 5.1 Vocabulary: tempo, rhythm, djembe Sing “Lamban” • Listen to “Lamban,” Track 24.

• As you listen, move, clap, or stomp along to the beat.

• Listen to Anindo’s pronunciation of the lyrics in “Lamban,” Track 27.

• Listen to “Lamban” slow, Track 25, and sing along.

• Listen to “Lamban” at tempo (full speed), Track 24, and sing along.

Lamban

4 4 5





Ee



Ee

    

dja

le

a

    

dja

le

a



  Rhythmic Learn     Patterns 9



Ee

dja

le

a

Lamban



  

 

la

le

ke



  

 



ke



  

 

da,

da,

da,

• Listen to “Lamban” Rhythmic Pattern 1, right.

• Listen to “Lamban” Rhythmic Pattern 2,  Ee dja a “Lamban” slow, le Track 25.da,

• Listen to “Lamban” at tempo, 40

a

a

la

la

le



le

      dja

le

a

     dja

le

a

     

ke

dja

le

a



da



da

 da

Track 28, and follow the pattern by patting your lap: right, left,

         of “Lamban”   the rhythm   and  try the • Combine Rhythmic Patterns 1 and 2 to pat by  rhythm  patting along to

 twice. 

13

a



Track 29, and follow the pattern by tapping your left knee

a

la

le

ke

dja

Track 24, while singing and patting.

le

a

da

West AfricanMusic with Anindo

Lesson 2

Explore the Djembe • Look at the image of the djembe on SG15 and review the parts that make it up.

• Listen to the djembe Track 23.

• Using SG15, explore the parts of the djembe: the shell, the skin, and the rope.

• What does each part do? How do the parts work together?

Creative Extension: Make Your Own Djembe • Have students think about how they might make their own djembe.

• What could you use for the shell? The skin? The rope?

• Ask students to collect similar materials from home and bring them into class. Make sure students bring materials equivalent to the djembe shell, animal skin drum head, and the rope.

• Give each student the opportunity to make a djembe using SG15 as a guide. Have students share why they chose each material.

• For example, students may start with a plastic cup, stretch a balloon over the mouth of the cup, and secure it with a rubberband.

• Does each djembe have a unique sound? Why?

Musical Word Wall Add the words tempo, rhythm, and djembe to the Musical Word Wall.

41

SG

Explore the Djembe

15

Drum Head

Made of Animal Skin

Shell

42 42

Rope for tuning

Lesson 1 Introduction Concert Experience

The Concert • Review the diverse artists the students have encountered so far.

• Rocio (Mexican Folk Music) • John (Traditional Turkish Music) • Anindo (West African Music) • Look at SG2-3, and have students find the countries represented on the map. Brainstorm a list of responses with the students.

• What do you remember about the artists and their music?

• Listen to a brief excerpt by each artist on the Musical Explorers CD. • As a class, brainstorm some questions the students could consider during the concert. Have the students try to answer the questions for one another after attending the performance.

• Lead a discussion with students about the roles of performer and audience member (or listener) during a concert. Brainstorm ideas about these roles, and document them on chart paper. Have students narrow down the list by voting on their favorite two ideas per role.

• Divide the class in half with one half acting as performers and the other half acting as audience members for a song from Musical Explorers. Facilitate a reflective discussion with students about how each group did. Invite the groups to share one aspect of what they liked and one thing that could be improved for themselves and the other group. Perform the song again, switching so that the students take on the opposite role. Repeat the reflection.

• to The Broad Stage!

Let’s Go

The Bus Driver now takes us from each of our artists’ neighborhoods to The Broad Stage in Santa Monica, where we will meet and hear our artists Rocio, John and Anindo. Have students turn to SG16 and help them do the following: • Find Rocio, John, and Anindo on the map.

• Find The Broad Stage in Santa Monica.

• Complete the maze that takes each of them to Santa Monica.

• Concert After the

• Reflect on your concert experience with your students by completing SG17-18.

• Share your reflections with The Broad Stage by emailing us your students’ work at education@thebroadstage.com.

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SG

Find The Broad Stage!

Find Rocio in Olvera Street; John in Westwood; and Anindo in Inglewood. In the maze, draw the path from each of them to The Broad Stage in Santa Monica. Let’s go!

44

16

SG

17

What Did You See and Hear at The Broad Stage?

Draw pictures of your trip to The Broad Stage below.

45

SG

18

Who Is Your Favorite Artist?

Write a letter to your favorite artist. Be sure to include your favorite part of the concert and your favorite song from the concert.

Dear

,

Your friend,

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Additional Information Glossary Call and response: a musical form where the leader calls one line, and the group responds with either an echo or another complementary phrase

Rhythm: patterns of sound and silence Tempo: the speed of a piece of music Vibrations: the effect of the movement of air

Chorus: a musical section in a song with the same lyrics and melody that repeats after each verse Djembe: drum used in West African music Drone: one continuous note that does not change pitch Explorer: a person who uses his or her senses to learn about something Guitar: a string instrument, usually with six strings. The strings are usually plucked or strummed Harmony: the combination of simutaneously sounded musical notes History: the study of human events of the past Humming: making a steady, continuous sound with your lips closed Improvisation: making up music on the spot Kemenche: stringed instrument played with a bow used in Turkish music Karadeniz kemenche: similar to the kemenche except it is played resting on the lap Lyrics: words in a song Melody: the main tune in a song Neighborhood: the area surrounding a particular place Requinto: a smaller, higher-pitched version of the guitar used in Mexican folk music

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Education Standards Unit

National Standards

California VAPA Music Standards

Introduction

1, 2, 6, 7, 8, 9

2.1, 2.4, 4.2

Mexican Folk Music with Rocio

1, 5, 6, 8, 9

1.3, 2.1, 2.2, 2.4, 3.3, 3.4, 4.2, 5.1

Traditional Turkish Music with John

6, 8, 9

1.1, 1.3, 2.1, 2.2, 2.4, 3.1, 3.3, 4.1, 4.2, 5.1

West African Music with Anindo

1, 2, 5, 9

1.1, 1.3, 2.1, 2.2, 2.4, 3.1, 3.4, 4.3, 4.2, 5.1

National Standards for Music Education Standard 1 Standard 2 Standard 3 Standard 4 Standard 5 Standard 6 Standard 7 Standard 8 Standard 9

Singing varied reportoire of music alone and with others Performing varied repoertoire of music alone and with others Improvising melodies, variations and accompaniments Composing and arranging music within specified guidelines Reading and notating music Listening to, analyzing, and describing music Evaluating music and music performances Understanding relationships between music, the other arts, and disciplines outside the arts Understanding music in relation to history and culture

Visual and Performing Arts Framework for California Public Schools (VAPA): Music

1.0 ARTISTIC PERCEPTION Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Music Students read, notate, listen to, analyze, and describe music and other aural information,using the terminology of music.

1.1 Read, write, & perform simple patterns of rhythm and pitch, using beat, rest, & divided beat (two sounds on one beat) 1.3 Identify common instruments visually and aurally in a variety of music 2.0 CREATIVE EXPRESSION Creating, Performing, and Participating in Music Students apply vocal and instrumental musical skills in performing a varied repertoire of music. They compose and arrange music and improvise melodies, variations, and accompaniments, using digital/electronic technology when appropriate 2.1 Sing with accuracy in a developmentally appropriate range.

2.2 Sing age-appropriate songs from memory.

2.4 Improvise simple rhythmic accompaniments, using body percussion or classroom instruments.

3.0 HISTORICAL AND CULTURAL CONTEXT Understanding the Historical Contributions and Cultural Dimensions of Music Students analyze the role of music in past and present cultures throughout the world, noting cultural diversity as it relates to music, musicians, and composers.

3.1 Recognize and talk about music and celebrations of the cultures represented in the school population.

3.3 Use a personal vocabulary to describe voices, instruments, and music from diverse culture.

3.4 Use developmentally appropriate movements in responding to music from various genres, periods, and styles

(rhythm, melody, form).

4.0 AESTHETIC VALUING Responding to, Analyzing, and Making Judgments About Works of Music Students critically assess and derive meaning from works of music and the performance of musicians according to the elements of music, aesthetic qualities, and human responses.

4.1 Create movements that correspond to specific music.

4.2 Identify, talk about, sing, or play music written for specific purposes (e.e., work, song, lulluby).

5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS Connecting and Applying What Is Learned in Music to Learning in Other Art Forms and Subject Areas and to Careers Students apply what they learn in music across subject areas. They develop competencies and creative skills in problem solving, communication, and management of time and resources that contribute to lifelong learning and career skills. They also learn about careers in and related to music.

5.1 Recognize and explain how people respond to their world through music.

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Common Core Capacities Through hands-on classroom activities and one culminating interactive performance, Musical Explorers helps to address Common Core Capacities for College and Career Readiness, empowering students through learning activities in which they • demonstrate independence • build strong content knowledge • respond to the varying demands of audience, task, purpose, and discipline • comprehend as well as critique • value evidence • come to understand other perspectives and cultures The Musical Explorers curriculum focuses on building music performance skills, content knowledge, and creativity, while developing core capacities in English language arts and mathematics. Through active listening, describing and analyzing repertoire, writing activities, and a focus on the perspectives of other cultures and communities, Musical Explorers provides students with the opportunity to put these core capavities to use in a music domain.

Acknowledgements Recordings “Musical Explorers Song,” by Daniel Eliot Levy © 2007 Daniel Levy and SCAP. Performed by Shanna Lesniak-Whitney and Shane Schag.

“La Bamba,” traditional Mexican folk song. Performed by Tres Souls.

“Cielito Lindo,” by Quirino Mendoza. Performed by Tres Souls.

“Hars Em Gnum,” Traditional Turkish song. Performed by John Zeretzke.

“Gotke Yildiz Aymisum” (Black Sea Fiddle) Traditional Turkish Song. Performed by John Zeretzke.

“Fanga,” Traditional West African song. Performed by Anindo Marshall and Adaawe.

“Lamban,” Traditional West African song. Performed by Anindo Marshall and Adaawe.

All scores reprinted with permission. Tracks 1-6 © 2016 The Carnegie Hall Corporation, Tracks 7-12 courtesy of Tres Souls: Tracks 13-18 courtesy of John Zeretzke, and Tracks 19-29 courtesy of Anindo Marshall.

Photos Artist Photos: Rocio courtesy of Roberto Carlos, John courtesy of John Zeretzke; Anindo courtesy of Anindo Marshall; The Broad Stage courtesy of Ben Gibbs. All other photos courtesy of Creative Commons.

All illustrations of the bus driver by Sophie Hogarth.

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Audio Track List 1. “Musical Explorers Song” 2. “Musical Explorers Song” accompaniment 3. “Warm Up Rhyme” 4. “Sirens” 5. “Yawning Kittens” 6. “Floating Balloon” 7. “La Bamba” 8. “La Bamba” chorus 9. Requinto 10. “Cielito Lindo” 11. “Cielito Lindo” chorus 12. “Cielito Lindo” pronunciation 13. “Hars Em Gnum” 14. “Hars Em Gnum” drone 15. “Hars Em Gnum” melody 16. “Black Sea Fiddle” 17. “Black Sea Fiddle” with rhythmic pattern 18. Turkish rhythmic patterns 19. “Fanga” 20. “Fanga” slow 21. “Fanga” call and response 22. “Fanga” pronunciation 23. Djembe 24. “Lamban” 25. “Lamban” slow 26. “Lamban” call and response 27. “Lamban” pronunication 28. “Lamban” rhythmic pattern #1 29. “Lamban” rhythmic pattern #2

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Developed in partnership with

Weill Music Institute thebroadstage.com/musicalexplorers carnegiehall.org/musicalexplorers

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