Artsource - McFerrin to the Power of Three

Artsource

MUSIC ®

The Music Center’s Study Guide to the Performing Arts

TRANSFORMATION

ENDURING VALUES

ARTISTIC PROCESSES

TRADITIONAL CLASSICAL

1. CREATING (Cr)

CONTEMPORARY

2. PERFORMING, PRESENTING, PRODUCING (Pr)

EXPERIMENTAL

3. RESPONDING (Re)

MULTI-MEDIA

4. CONNECTING (Cn)

THE HUMAN FAMILY

THE POWER OF NATURE

FREEDOM & OPPRESSION

Title of Works:

importance was her ability to coach, teach and accompany

McFerrin to the Power of Three (video) Scat-Singing (excerpt) Vocal Improvisation (excerpt) Ich Grölle Nicht - Dichter Liebe Cycle (Schumann) Ave Maria (Bach-Gounod) My God Is So High (Spiritual) I Got Plenty o’ Nuttin’ (excerpt - Gershwin) Keep-a-Inchin’ Along (Spiritual)

Robert. Their children, Brenda and Bobby were naturally very involved in music. Just a year and a half apart in age, they were literally making music together and individually when mere toddlers. Bobby’s life was in jeopardy during his mother’s pregnancy when she contracted a rare form of polio and had to be placed in an iron lung. It is believed that her concern for the life

Creators: Robert McFerrin, Sr., opera and concert artist, vocal coach, university lecturer and artist-in- residence (1921-2006) Bobby McFerrin, recording and concert artist, composer, conductor (b. 1950) Brenda McFerrin, vocal recording artist, vocal coach, music teacher, (b. 1951)

of her unborn child helped to sustain her fight to survive. Robert (Sr.) was Artist-in-Residence at the University of Missouri, St. Louis, Sara was professor emeritas of Voice and Chair of the Music Department at Fullerton Community College in California, Brenda pursues a successful singing career in Hollywood and

Background Information:

Bobby enjoys international fame in a musical career

The McFerrins are a family of singers. Although musical

which is as varied as he is talented, creative and

families are not unique, the McFerrins are special.

versatile.

Frequently, singing families function as ensembles and

About the Artwork:

feature a particular style. The McFerrins, however, have

The works represent a variety of styles which showcase

pursued successful careers individually. Robert Sr. broke

the many-sided talents of the McFerrins. In the video,

racial barriers by becoming the first African American to

McFerrin to the Power of Three, Bobby and Brenda

win the Metropolitan Opera “Auditions of the Air” in

provide a rousing scat-singing

1953. He made his debut on the Met stage in 1955 as

introduction. For the first section,

Amonasro in Verdi’s Aida. In later years his contributions

Bobby, in his inimitable fashion,

to opera continued in Europe where he became the first

improvises with exceptional voicings.

African American baritone to perform in two of

Secondly, his father, Robert, adroitly

Europe’s leading opera houses. Sara, a trained musician

interprets a selection from the

in her own right, met Robert when she was a paid

Schumann Dichter Liebe Cycle.

soloist at St. Mark’s Methodist Church in New York City. Married in 1949, Sara’s university training, professional experience, and deep interest in and commitment to her husband’s career served to provide support, encouragement and inspiration. Of equal

(Continued p. 2.)

“My goal was to become California as fine an artist as my capabilities would permit, and to perform the great roles of the baritone repertoire... and to concertize.”

Robert McFerrin, Sr.

Missouri

NewYork

About the Artwork: (continued)

Discussion Questions:

In the third selection Bobby provides an unprecedented

After viewing the video:

vocal accompaniment for his father’s impressive

• In comparing the following selections,

performance of Gounod’s Ave Maria. In it Bobby

what were the stylistic differences?

recreates the accompaniment which is usually

a) scat-singing and I Got Plenty o’ Nuttin’

performed instrumentally. Next, performing a spiritual

b) Ich Grölle Nicht and the solo

in concert style, Robert further demonstrates his

improvisation

artistry and stylistic sensitivity as he solos on My

c) Ave Maria and My God Is So High

God Is So High. The spiritual is followed by an

d) My God Is So High and Keep-a-

excerpt of a selection from Porgy and Bess, the solo

Inchin’ Along.

I Got Plenty o’ Nuttin’, effectively sung by Robert Sr.

Describe any similarities you may have

Finally, Brenda, Bobby and Robert merrily collaborate

found in the above pairings?

on an unaccompanied, ‘down-home’ rendition of a folksy spiritual, Keep-a-Inchin’ Along.

• In Bobby McFerrin’s solo improvisation he produces a variety of sounds. Can

Creative Process of the Artist or Culture:

you describe some of the sounds you

Each of the performances draws upon the artists’

heard? Can you make some of the same

knowledge, training, talent and experience.

sounds? Can you improvise unique sounds of your own?

Likewise, each selection demonstrates their versatility in performance styles. In addition, there is the special interaction of familial warmth and camaraderie which naturally flows among them.

• Can you describe the differences in the musical periods represented by three compositions by Schubert, Gershwin and McFerrin?

The performances are punctuated with humor, and

Audio-Visual Materials:

exhibit their obvious enjoyment of and respect for

• Artsource® videotape excerpt: McFerrin to the Power of

each other. The sum total of these attributes provides a

Three. Footage courtesy of Instructional Technology

rare collection of beautifully performed numbers.

Center, University of Missouri, St. Louis, and the

Multidisciplinary Options:

McFerrin family. Ain’t Got Plenty O’Nuthin’ courtesy of the Gershwin Estate and Warner Chappell Music Inc.

• Conduct research to discover the significant historical events that occurred during the lives of

Additional References:

composers Robert Schumann (1810-1856),

• Bobby McFerrin: Medicine Music, Capitol Records,

George Gershwin (1898-1937) and Robert ‘Bobby’

Inc., EMI-CDP 792048-2

McFerrin (b. 1950 ). Discuss how the periods during

• Thomas, Dr. Naymon Elijah. Robert McFerrin: The

which each composer lived (or lives) may have had

First Black Man to Sing at the Metropolitan Opera. A

some impact on their works.

Doctoral Dissertation. The University of Oklahoma,

• Prepare Program Notes for the video, McFerrin to

Graduate College, School of Music, 1988.

the Power Of Three. Summarize information about

• Robins, Cynthia. Note Perfect Bobby McFerrin. Vis a

the composers, where appropriate, and briefly

Vis Magazine, East/West Network, Inc., Los Angeles,

describe each composition. Share the video and

1990, (page 88).

Program Notes with another class.

Catalf, Phil. Medicine Man, New Age Journal. Brighton,

2

MA: Rising Star Associates, Ltd. Partnership,

began to imitate the sounds of instruments. Learn

March/April, 1991 (pp. 30-33, 94-96).

about scat-singing. View the Artsource® video and listen to the “Scat-Singing” in order to learn more

Sample Experiences:

about its sound and style.

LEVEL I • Experiment with making sound patterns using your voice and/or body percussion. Try making patterns that others can echo.

LEVEL III * • Since Robert McFerrin’s historic debut with the Metropolitan Opera in 1955, he has been succeeded by numerous young African American singers who

* • Bobby McFerrin and his Voicestra perform many songs by imitating instrumental sounds and creating

have firmly established their careers in the world of

unusual combinations of sounds. Sing a familiar song

McFerrin, create a timeline to indicate the

and add several different kinds of appropriate sounds as

emergence of these stars and name some of their

an accompaniment.

famous opera roles.

• The McFerrins demonstrate the importance of the

• Choose a familiar song and create a scat interlude.

opera and on the concert stage. Starting with

expressive qualities of music in their performances.

Listen to and sing several songs which clearly demonstrate

• In the late nineteenth century composers began to

the significance of dynamics, tempo, rhythm and style.

write concert arrangements of African American

(Refer to a music textbook to learn more about the

spirituals. Gradually, these arrangements began to be

mentioned qualities/elements in bold.)

heard in concert halls worldwide. Discover who wrote many of these arrangements. Name some of

• Form small groups. Give each group a different short

the artists of the past who popularized the practice of

poem, or a stanza of a longer poem. Create vocal sounds

singing these spirituals in concert. Name some of

to enhance the meaning of the poem.

today’s artists who continue the practice.

LEVEL II

• Listen to each of the Artsource® selections and

• In Bobby McFerrin’s improvisation (video) he sings a

enjoy the style and musicality of each one.

melody and accompanies himself vocally. Describe the sounds made in the accompaniment. How are they different from the melody? Surmise which instruments he is imitating in his accompaniment.

• Bobby McFerrin based his improvisation on simple, everyday topics. Listen to Bobby’s improvisational sounds. Take a line of poetry and improvise off of the words in a similar way to Bobby McFerrin. Make individual choices in selecting topics for solo improvisations. * • Scat-singing grew out of the jazz style when singers

* Indicates sample lessons

3

MUSIC

CLASSROOM VOICE-ORCHESTRA TRANSFORMATION

LEVEL 1 Sample Lesson INTRODUCTION: Although Bobby McFerrin began formal music lessons (piano) at a very young age, he did not seriously consider music as a profession until he entered college. His post-college jobs included arranging, accompanying on piano and performing as a background singer for various groups and events. His first job as a solo vocalist began in 1977. Although audiences responded positively to his creative vocal acrobatics, Bobby felt his body language was stilted. Encouraged and advised by his dancer-friend, Tandy Beal, Bobby learned body movements which enhanced his vocal delivery. Now he has formed a group called Voicestra. He states that he did not want to present performers who only sang songs. “I wanted everything to be amplified by some visual aesthetic. So that not only do people have an aural experience, but they have a visual one too. Two of their senses are employed rather than just one.” * Bobby’s stage presentations feature a broad range of vocal arrangements generously spiced with individual and group improvisations.

“I like to work hard and have fun... the rewards of work itself are enough.” Bobby McFerrin ** OBJECTIVES: (Student Outcomes) Students will be able to: • Create original vocal sounds which enhance the expressive qualities of selected songs. (Creating & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Music textbooks, song collections for children.

• Artsource® video, McFerrin to the Power of Three.

PROGRESSION: • Give some background on the McFerrin family and show one of the segments from the Artsource® video. Suggestions include: “ScatSinging” or “Vocal Improvisation.”

• Ask students what they found interesting about the piece and what they noticed about the way sounds were made.

Bobby McFerrin Photo: Carol Friedman

4

• Do an echo activity where you make a short pattern of sounds and the students repeat the pattern back.

Patterns can be made with body percussion sounds of clapping, stomping, snapping or clicking. Patterns can also be made by using a combination of letter sounds.

Examples: Shh, Shh, Bata-Bata, Bim

Echo: Shh, Shh, Bata-Bata, Bim

Mmm, Ba-Ba-Ba-loon

Echo: Mmm, Ba-Ba-Ba-loon

Hickory, Dickory, Dock, clap-clap

Echo: Hickory, Dickory, Dock, clap-clap

Chuba-Chuba-Be-Do-Da

Echo: Chuba-Chuba-Be-Do-Da

• Once the students get good at repeating the sound patterns made by the teacher, encourage them to create their own patterns. Choose different students to be the leader, with the group echoing or repeating the pattern back.

• Select a song whose lyrics suggest the possible addition of sound effects and/or ostinatos (a repeated pattern). Explain to the children that they will add appropriate sounds with their voices or percussive rhythmic patterns only.

• Review the lyrics of the selected song to determine places where the vocal sounds would be most suitable. Decide on some sounds that might be performed as emphasis or as an ostinato. Reach consensus on how many sounds will be most fitting. Remind the children that too many sounds may obscure the song itself. Try different ideas and combinations of ideas until the group agrees upon the most appropriate performance.

• It might be helpful to watch the video again after they have experimented with adding sounds and/or sound patterns (ostinatos) to the song. Encourage them to find new ideas and ways that they might improve the song they are singing.

SONG SUGGESTIONS: • The Bus • Hickory, Dickory, Dock • Jack and Jill Went Up the Hill • Ebeneezer Sneezer • Old House • The Sound Song • Chatter with the Angels • Jubilee!

• Temple Bell • What Is It? • I Hear a Sound • A Goblin Lives in Our House • Gonna Build Me a House • Halloween is Coming • The Little Leaves Dance 5

VOCABULARY: ostinato, pattern ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe how you selected the sound effects and patterns to go with the song.

DISCUSS: Discuss the types of sounds that worked best with the song.

ANALYZE: Discuss the way Bobby McFerrin used sounds and patterns in his songs. Discuss what you found most interesting and why.

CONNECT: Discuss other things beside songs that can be decorated with patterns.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking

* New Age Journal, “Medicine Music.” April 1991, p. 33. ** Vis a Vis Magazine, October 1990, p. 88.

6

MUSIC

SCAT SINGING THE HUMAN FAMILY

LEVEL II Sample Lesson INTRODUCTION: There are many ways that music can be produced and one used by Bobby and Brenda McFerrin in the Artsource® video is called scat-singing. Scat-singing, according to The New American Dictionary of Music,* is a technique of jazz singing in the manner of an instrument, using meaningless syllables. Louis Armstrong is often credited with creating the technique, although Ella Fitzgerald and Cab Calloway also are noted for their improvisational skills with scat. It is interesting to think that you don’t need instruments or lyrics to make music.

OBJECTIVES: (Student Outcomes) Students will be able to: • Recognize and know some background on scat-singing. (Responding) • Perceive the different characteristics of a normal voice and a falsetto voice. (Responding & Connecting) • Describe the changes in vocal styles as they scat. (Responding) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® video of McFerrin to the Power of Three - “Scat-Singing” excerpt.

PROGRESSION: • Introduce the concept of scat-singing and give some background on Bobby and Brenda McFerrin.

• Before viewing the video excerpt, direct students to watch and listen for the following: • the two vocal ranges possible for an adult male voice. (There is the regular, normal vocal range and the falsetto which is above the normal range.)

• the way Bobby and Brenda use nonsense syllables to produce the melody and create interesting rhythmic patterns.

• the way Bobby uses his body as a specific type of musical instrument.

• Play the video selection and then discuss responses.

7

• View the video and listen again for increased awareness. This time listen for the following: • There is always a feeling of an underlying beat or pulse.

• Sometimes Bobby sounds like a string bass and sings a bass musical pattern.

Sometimes he harmonizes with the melody sung by Brenda.

Sometimes Bobby and Brenda sing in unison.

Sometimes Bobby sings in his normal range and sometimes he sings falsetto.

• Discuss these ideas and what students observed and heard.

EXTENSIONS: • Listen to and discuss the other vocal segments on the Artsource® video.

• Compare and contrast the scat-singing with the opera singing.

VOCABULARY: scat-singing, underlying beat, falsetto ASSESSMENT: (Responding & Connecting) DESCRIBE: Describe scat-singing in your own words.

DISCUSS: Discuss what you noticed about the way Bobby and Brenda related during their singing.

ANALYZE: Discuss the differences between a singing a song in the normal way and using scat-singing.

CONNECT: Discuss the similarities between improvising in singing, playing an instrument and doing a dramatic scene.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking

* Morehead, Philip D. The New American Dictionary of Music. A Dutton Book,New York, NY. 1991.

8

MUSIC

AFRICAN AMERICANS IN THE WORLD OF OPERA THE HUMAN FAMILY

LEVEL III Sample Lesson INTRODUCTION: Robert McFerrin’s historic debut at the Metropolitan Opera was proof positive that the years of commitment to his goal, and his personal sacrifices were well worth the effort. Primarily, we must realize that McFerrin had a talent that was destined for success. Secondly, his years of training and experience prepared him substantially.

McFerrin made his initial operatic debut in Massachusetts with the Tanglewood Opera Theatre, in the role of Rigoletto. This opportunity was followed by a contract to perform with the New England Opera Company. During this same period he performed roles with the National Negro Opera Company and the New York City Center Opera Company. In addition, he appeared on Broadway in Kurt Weill’s Lost in the Stars with his wife, Sara. Before joining the Metropolitan Opera roster McFerrin had performed in recitals and with leading symphony orchestras throughout the United States and Canada.

In the period between McFerrin’s winning the Met auditions in 1953 and his debut in 1955, he received intensive training at the Kathryn Turney Long School. He studied fencing, ballet and calisthenics as well as vocal coaching. He states, “I did not at all mind the long delay before my debut, because the training I received was worth the waiting. I do not think I could have made the quality debut expected at the Met if I had not been prepared in stage deportment at the Kathryn Turney Long School.” *

“There were many good singers in New York at the time... Bob’s voice had carrying power and a warmth that could not be matched by any of the black male singers who were on the concert circuit... He was a superior singer and that is the reason he was chosen.” Sara McFerrin **

OBJECTIVES: (Student Outcomes) Students will be able to: • Name African American opera singers who have succeeded Robert McFerrin in the world of opera.

(Responding & Connecting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® video McFerrin to the Power of Three, excerpts featuring Robert McFerrin.

• Reference books and recordings on black, male opera singers.

9

PROGRESSION: • Introduce the students to Robert McFerrin and give some of his background. View the sections of the Artsource® video and use the ‘Discussion Questions’ on page 2. Ask them why it was such a breakthrough for Robert McFerrin to become an opera singer.

• Create a timeline to cover the period from 1940 to 1991 which will chronicle the appearance of African American artists in operatic roles, worldwide.

• Divide the class into groups. Assign each group a decade to research. Ask the students to name the artists and some of their notable roles. Have them include the opera houses where they have performed, and the dates of their performances, if possible. (Some groups will list the same names when artists performances have extended into different decades.)

• As a concluding assignment, ask each student to select an opera in which one of the artists has performed. Have them summarize the opera and describe a significant aria performed by the selected artist.

• Where possible, provide recordings of these solos.

• Each group share their research and recordings with the class and discuss what they learned.

EXTENSION: • Listen to live broadcasts or recorded opera presentations in which African American artists perform.

Attend an opera, or view an opera on television or the internet. Study the libretto, or read a synopsis of the opera prior to listening to or viewing a performance.

VOCABULARY: aria, opera ASSESSMENT: (Responding & Connecting) DESCRIBE: how you went about doing your research.

DISCUSS: the problems you encountered in doing the research and how you went about finding the information when you were blocked.

ANALYZE: Discuss the differences and similarities you found in artists of different periods. Did the number of successful African American opera singers vary greatly. If so, why?

CONNECT: Discuss other professions in which African Americans made great strides and contributions.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking * Thomas, Naymond E. Robert McFerrin: The First Black Man to Sing at the Metropolitan Opera Company. DMA diss., University of Oklahoma, 1988.

10 ** Ibid.