1
Music of our World
Mr. Robert Larson
2
Table of Contents
Program Goals ..........................................................................................................................................................................................................3
Course Goals..............................................................................................................................................................................................................3
Course Scope and Sequence.................................................................................................................................................................................4
Course Overview......................................................................................................................................................................................................6
Course Description .................................................................................................................................................................................................................. 6
Course Objectives .................................................................................................................................................................................................................... 6
Topic 1: Native American ...................................................................................................................................................................................................... 6
Unit 1: Sioux Grass Dance ......................................................................................................................................................................................................................... 6
Unit 2: Yeibichai............................................................................................................................................................................................................................................ 8
Unit 3: Nda’a’’ ................................................................................................................................................................................................................................................. 9
Topic 2: East Asia ................................................................................................................................................................................................................... 12
Unit 1: Jiangnan Sizhu (Silk & Bamboo) ........................................................................................................................................................................................... 12
Unit 2: Shange .............................................................................................................................................................................................................................................. 13
Unit 3: Taiko Ensemble............................................................................................................................................................................................................................ 15
Topic 3: Caribbean ................................................................................................................................................................................................................ 17
Unit 1: Soca ................................................................................................................................................................................................................................................... 17
Unit 2: Mento ............................................................................................................................................................................................................................................... 19
Unit 3: Reggae .............................................................................................................................................................................................................................................. 21
Example Lesson Plan ................................................................................................................................................................................................................................. 23
Assessment ..................................................................................................................................................................................................................................................... 23
Performance ................................................................................................................................................................................................................................................. 23
Rationale ........................................................................................................................................................................................................................................................ 23
Topic 4: Africa ......................................................................................................................................................................................................................... 23
Unit 1: Marching Songs ............................................................................................................................................................................................................................ 24
Unit 2: Agbekor ........................................................................................................................................................................................................................................... 25
Unit 3: Work Music .................................................................................................................................................................................................................................... 27
Example Lesson Plan ................................................................................................................................................................................................................................. 29
Performance ................................................................................................................................................................................................................................................. 29
Rationale ........................................................................................................................................................................................................................................................ 29
3
Program Goals







Students will be lifelong participants of music through creating music.
Students will be lifelong participants of music through listening to music.
Students will be lifelong participants of music through reflecting on how it impacts their lives.
Students will have the resources to further explore their musical interests.
Students will have an understanding of fundamental theory concepts.
Students will be able to evaluate music using language that is descriptive and musical.
Students will cultivate an understanding of how music is part of human nature.
Course Goals




Students will cultivate an understanding of music from other cultures.
Students will be able to evaluate music using language that is descriptive and musical.
Students will gain a better understanding of other cultures.
Students will develop as musicians.
4
Course Scope and Sequence
Scope and Sequence
Culture
Musical
Expression
Native American
Rhythm
Melody













3 beat patterns
Fast Tempo
Steady Drum
Accents
Absence of regular
meter
Duple meter
Triple meter
Tonal center
Leaps
Pulsation
Vocables
Translated text
Portamento
East Asia
Caribbean


















Harmony

Not Present

Texture




Simple
Basic drum
Complex Vocals
Cutting Percussion
(rattle)







Shrill Voices
Dry rattle
Falsetto
Portamento
Nasal tone
Vibrato

Timbre




Africa





Syncopation
Polyrhythm/Meter
Marching tempos
Fast tempos
Improvisation

Duple meter
Polyrhythm
“Upbeat” emphasis
Skank beat (syncopation)
One-Drop beat (don’t hear
beat one)
Fast and slow tempos
Pentatonic Scale
Heterophonic
variations
Western Pitches
Improvisation of
lyrics
Improvisation of
tune to fit lyrics
Percussive melody
with accents and
dynamics
Not present




English
Significance in lyrics
Simple/singable melodies
Major and minor


Major Scale
Vocal Melody vs. Rhythmic
Melody
Chant
Improvisation





Homophonic vs. Polyphonic
Not as prominent as in
Western Music.
Thin at times, full at
others
Many voices
Busy
Soloists


Western harmonies
Parallel motion
Thicker harmonies in
background
Simple and complex variety
Complex and thick
percussion
Percussion/instruments and
vocals are well balanced

Unique instrument
sounds
Tone colors of
different instruments



Metallic quality instruments
Bright and forward
Unique vocal tone/style (Bob
Marley)
Muted keyboard and guitar



Vocals usually well balanced
and full.
Complex drumming textures
because of polyrhythm
Changes based on
event/activity
Full, well supported Vocals
Chanting vocals are thinner
Drums match in texture.
Usually have a piercing
instrument that sticks out.
Variable based on activity.
Duple meter
Steady Pulse
Embellishments
Syncopations
Improvisation
Free meter
Polyrhythms







5
Form





ABAB
Coda (tail)
Call & Response
ABCABCAA
Variations
AABBCCD


Heterophonic
Call and Response






Expression





Dance
Costume
Movement
Vocables
Witty lyrics




Style/Genre



Historical
Period


War Dance
Navajo ceremonial
dance and song
Navajo traditional
popular music
Sioux wars
Navajo Wars







Culture


Sioux
Navajo



Instrumental introductions
Popular style
Intro-chant-chorus-chorus
variations
Intro-verse-chorus-repeat
cycle
Intro-chorus, verse, chorus,
verse
Emphasis on repeating
chorus to end



Cycle
Call & Response
Based on activity. Typically
repetitive for work songs.
Expression through
interplay of parts
with static dynamics
Meaning in Lyrics
Movement of
players.
Performers body
stance.
Dynamic contrast
Jiangnan Sizhu (Silk
and Bamboo)
Shan’ge
Taiko Drumming in
the Kumi Daiko style




Celebration styles
Chanting
Witty Lyrics
Vocal style matches meaning
of lyrics



Strong presence in lyrics
Intensity in drumming
Upbeat and positive for
work songs



Soca (form of Calypso)
Mento
Reggae



Hymns/Marching songs
Drum and Dance
Improvisation
Folk tradition
Years of work in
agriculture.
Taiko drums have
been around for
hundreds of years.
Ensembles form in
50’s with the rise of
jazz.
Chinese
Shanghai region
Japan

1970’s turning point
Trinidad economy.
Celebrations
Rise in tourism in Jamaica
50’s-60’s
70’s becoming socially
conscious



Apartheid
Traditional war dances
Work songs as part of
culture from a young age.
Trinidad
Jamaica



South Africa
Ewe People
All across Africa (Work
Songs)




6
Course Overview
Course Description
Music of our World exposes students to the music of cultures from around the world while developing the fundamentals
of music. Through this, students will have opportunities to perform authentic music, learn about the culture and its history, be
exposed to non-western music, and develop themselves as a musician.
Course Objectives







By the end of the course, students will be able to identify 5 characteristics of the music of each topic.
By the end of the course, students will understand the history of each style of music.
By the end of the course, students will compose music for each topic, while displaying at least 3 characteristics of the
style of music.
By the end of the course, students will be able to analyze what each style of music is expressing.
By the end of the course, students will be able to identify the uses of each style of music.
By the end of the course, students will be able to perform at least 3 authentic pieces with less than 2 mistakes each.
By the end of the curse, students will be able to identify the musical concepts in each musical example.
Topic 1: Native American
Standards: 1,2,6,7,8,9
Unit 1: Sioux Grass Dance
Musical examples:
Grass dance YouTube video
Grass Dance Field Recording
7
Rhythm:
Recognizing that there is no regular meter.
Recognizing the accented three beat patterns and how it relates to the dance.
Melody:
Identifying the tonal center of the melody.
Recognizing the pitch pulsations within the melody.
Recognizing the use of vocables.
Harmony:
There is no harmony present.
Texture:
Discussing how the simplicity of the drum and the complexity of the melody fit together.
Timbre:
Describing the tone the voices. Compare the tone to Western tone.
Recognizing the use of falsetto. What is falsetto? When is this used in western music?
Recognizing the use of portamento. What is portamento? When is this used in Western music?
Form:
ABAB with call and response within each section.
Recognizing the different sections.
Expression:
What is the significance to the dancing?
What does the music add to the dance?
What does the dance add to the music?
How does the music express the meaning of the piece?
How does the dancing and the costume express the meaning?
8
Style:
Grass Dance, which is a type of War Dance.
History:
Used for preparing for war.
Culture:
Sioux Tribe
Unit 2: Yeibichai
Musical examples:
Yeibichai youtube video
Yeibichai field recording
Rhythm:
Recognizing that there is a steady duple meter.
Are there accents? What is being accented?
How is this different than the grass dance?
Melody:
Identifying the tonal center of the melody.
Sing the tune.
Recognizing the use of vocables.
How is this the same as the grass dance? How is it different?
Harmony:
There is no harmony present.
Texture:
Discussing how the simplicity of the rattle and the complexity of the melody fit together.
9
Timbre:
Describing the tone the voices. Compare the tone to Western tone.
Recognizing the use of falsetto. What is falsetto? When is this used in western music?
Recognizing the use of portamento. What is portamento? When is this used in Western music?
Form:
ABCABC with variations
Recognizing the different sections.
Expression:
What is the significance to the dancing?
What does the music add to the dance?
What does the dance add to the music?
How does the music express the meaning of the piece?
How does the dancing and the costume express the meaning?
Style:
Ceremonial song and dance for the Nightway Ceremony.
History:
Used the night before the Nightway Ceremony.
Culture:
Navajos
Unit 3: Nda’a’’
Musical examples:
youtube video
Shizhane’e Navajo Circle dance Song from Enemyway Field Recording
10
Rhythm:
Recognizing that there is a steady triple meter.
Are there accents? What is being accented?
How is this different than the other units?
Melody:
Identifying the tonal center of the melody.
Sing the tune.
Recognizing the use of vocables.
Translated words
Recognizing different motives and singing them.
Harmony:
There is no harmony present.
Texture:
Discussing how the simplicity of the drum and the complexity of the melody fit together.
Timbre:
Describing the tone the voices. Compare the tone to Western tone.
Recognizing the use of falsetto. What is falsetto? When is this used in western music?
Recognizing the use of portamento. What is portamento? When is this used in Western music?
Form:
AABBCCD
Recognizing the different sections.
Expression:
What is the significance to the dancing?
What does the music add to the dance?
What does the dance add to the music?
How does the music express the meaning of the piece?
11
How does the dancing and the costume express the meaning?
What is the translation? What are the lyrics saying? What is the tone of the lyrics? Witty
Style:
Traditional Popular Navajo song
History:
War Dance
Culture:
Navajos
Example Lesson Plan
Students would watch a video of a Sioux grass dance. Students will be told to look specifically as to how the dancers
movements relate to the beat and what their movements are. The teacher will then teach them a simplified version of
the dance. Throughout the process of teaching the dance the teacher will ask the students about how the beat relates to
the dance.
Assessment
Journal entries: Students will keep a record of their thoughts and observations while listening to recordings and
watching videos. This allows the teacher to be able to tell how well the student can identify specific musical aspects and
explain them in musical terms.
Observing Discussion: The teacher will observe the students’ thoughts, questions, and statements in class discussion.
This is a formative assessment of what the students understand and what they need further guidance on.
Performance
Students will perform the grass dance that they learned, including the drum part and a simplified vocal part. A local
tribe will be contacted and will come perform with them. They will then teach them a more complex version of the dance and
get to see an authentic performance. The community would be invited.
12
Rationale
I chose these three units because they give a good overview of Native American music, being from two different tribes
and containing different musical characteristics. They have common characteristics, but they also have differences that make
them unique to their culture. Which is important to recognize. I decided that the performance for this section would be a dance
because dances are interconnected with music in Native American culture. Pairing this with having authentic Native
Americans come and join allows the students to experience authentic music making it much more meaningful and relatable.
Topic 2: East Asia
Standards: 1,2,3,4,6,7,9
Unit 1: Jiangnan Sizhu (Silk & Bamboo)
Musical Examples:
The “Silk and Bamboo” Jiangnan sizhu ensemble. “Huan Le Ge
Rhythm:
Recognizing the steady duple meter.
Recognizing that there are syncopations.
Melody:
Understanding what scale degrees are in a pentatonic scale.
Recognizing the theme? Are there variations of the theme? When are they played?
Defining heterophonic. Is this piece heterophonic?
Harmony:
There is no harmony present.
Texture:
Thin with many different voices that can be heard.
13
Which voices do you hear? Busy strings, percussion, bamboo instruments
Timbre:
Each instrument has its own distinct color and sounds.
Describe some of the instrument colors.
Form:
Heterophonic. What does that apply to form? Means that it is the same section unless the theme changes.
Expression:
Are dynamics? No, then how else can you be expressive?
Interplay between parts creates the expression.
Style:
Jiangnan Sizhu (Silk and Bamboo)
History:
Traditional music
Culture:
Chinese –Shanghai Region
Unit 2: Shange
Musical Examples:
Yundao ge “Weeding song” –Jin Wenyin
Fang Ma Shan’ge “Releasing the horse into Pasture” –Zhao Yue
Rhythm:
Changes with task
Improvisation
14
Duple or free meter
How does this compare to silk and bamboo music?
Melody:
Recognizing that there are two methods.
1.) Improvisation of lyrics to fit a tune.
2.) Improvisation of tune to fit lyrics.
Experiencing that through freestyle rap/singing and improvising melodies for poems.
How does this compare to silk and bamboo music?
Harmony:
There is no harmony present.
Texture:
Soloist so there is no texture.
Timbre:
Generally young persons voice. What are some vocal qualities that you would expect out of a young voice?
Do you think they were focused on there singing, or their task at hand more?
Form:
Call and Response, making witty comments at each other or flirting and courting. What are some examples of
this in popular western music/culture?
Expression:
High amount of focus on lyrics.
Style:
Shange
History:
Outdoor music for workers in the rice fields.
15
Culture:
Chinese –throughout
Unit 3: Taiko Ensemble
Musical Examples
Youtube videos (Daihachi Oguchi)
Rythm:
Recognizing the steady tempo and beat.
Recognizing that there are polyrhythms.
How does this compare to the other two units?
Melody:
Is there a melodic instrument? If so, what is it? If not, how is the melody being created.
-accents and different pitched drums. May have a flute or another melodic instrument.
Harmony:
There is no harmony present.
Texture:
Is it balanced? Why?
How do the different colors balance each other?
Timbre:
Recognizing the different colors of the drums and other percussive instruments?
Are there certain colors that stick out?
How does this compare to the other units?
Form:
Depends on the piece.
16
Expression:
What makes this music so exciting to listen to and watch?
What emotions does it create?
How do the performers add to the experience?
Style:
Taiko ensemble drumming, in the Kumi Daiko style
History:
The Taiko drum has been around for hundreds of years. The Taiko ensemble began in the 1950’s with the rise of
jazz.
Culture:
Japan
Example Lesson Plan
For the Shange unit the students would be given a melody and a topic. They will then make up lyrics with the melody,
much like freestyle rapping. We will then have a discussion as to how this is similar to popular music today. For this lesson
they will not have to match the pitches of the melody, but should fit the words within the rhythm. This will have several
lessons before hand to prepare for this, and several lessons after to continue with it.
Assessment
Composition Project: Students will create their own compositions for a “Taiko” ensemble. This will show the teacher if
the students know the musical concepts of Taiko. It also shows them how well the student can apply their knowledge at a
higher order of thinking.
Motive Composition: Students will create their own melodies based off of the pentatonic scale. The melody will be no
more than 8 bars to fit the style of silk and bamboo. This will be done in the first unit. This will show the teacher if the student
knows what scale degrees are used in the pentatonic scale and the function of the scale degrees. It will also so the teacher if the
student understands the rhythmic and melodic tendencies of silk and bamboo music.
17
Performance
Each students “Taiko” composition will be performed using western percussion.
Rationale
I chose these three units to study under East Asia because they are from different regions, they are different genres, and
they have different musical characteristics while still showing the overall tendencies of East Asian music. I chose to have the
students to do two composition projects to have them apply their knowledge in a personal way. The first silk and bamboo
project is a small and simple project but lays a good foundation for knowing the foundations of East Asian melody. The second
project is larger, but it is also last. This project, along with the performance, allows students to participate in an engaging form
of music while using a higher level of thinking.
Topic 3: Caribbean
Standards 1,2,5,6,7,8,9
Unit 1: Soca
Musical Examples
Hot, Hot, Hot –Alphonsus Cassell
Rythm:
Recognizing the duple meter
Identifying which beats are emphasized. Emphasis on the upbeat.
Melody:
How is it similar to traditional western music?
What scale is it using? Major or minor
Is the melody singable? Sing the melody.
What are the lyrics about?
18
Are there sections where they aren’t only singing? How do these cheers fit in?
Harmony:
Recognizing harmony in the instruments.
Recognizing that the vocals are mostly homophonic but did have some sections that are harmonized.
Basic harmonization, two or three part
Texture:
What is the texture made of? What instruments? What voices? When do these occur? Same time, different times?
Is this texture complex or simple?
Is it balanced?
What does this texture remind you of? A celebration
Timbre:
What are the tone qualities?
Dark or bright qualities? Bright
Describe the tone qualities of the instruments and vocals? Bright and forward
Form:
instrumental intro, chant section, chorus, chorus variations
What is the focus on? The chorus
Expression:
Recognizing the celebration and party feel. What creates this? Loud dynamics, forward rhythms, chanting.
What makes the music exciting?
Are there certain phrases that make it exciting? “Ole! Ole!”
Style:
Soca (form of Calypso)
19
History:
In the mid 1970’s Trinidad’s economics picked up. This lead to the people having a raise in spirits, because
things were starting to turn around. This song reflects the celebration of the people of Trinidad.
How does the music reflect this?
Culture:
Trinidad
Unit 2: Mento
Musical Examples:
Woman’s Smarter- The Jolly Boys
Rhythm:
Recognizing the steady duple meter.
Are any beats emphasized? Upbeat
How is this similar to soca music?
Melody:
How is it similar to traditional western music?
What scale is it using? Major or minor
Is the melody singable? Sing the melody.
What are the lyrics about?
What kind of motion is used? Stepwise
What is the focus? The lyrics or the melodic line?
Harmony:
Recognizing harmony in the instruments.
Recognizing that the vocals are mostly homophonic but did have some sections that are harmonized.
20
What section is harmonized? Is it complex?
What kind of motion is used in the harmony? Parallel
Texture:
What is the texture made of? What instruments? What voices? When do these occur? Same time, different times?
Is this texture complex or simple? Simple
Is it balanced? Can all of the parts be heard?
How does this compare to soca music?
Timbre:
What are the tone qualities? Thin, slightly metallic
Describe the tone qualities of the instruments and vocals? Singers sing with full sound but not in the traditional
western sense.
Form:
instrumental intro, verse, chorus, instrumental break. This repeats several times.
What is the focus? The verse and chorus lyrics
Does each section get the same amount of time? Yes
How does this compare to Soca music?
Expression:
What is the primary form of expression? The lyrics
How does the texture and simplicity effect the expression? Puts the focus on the lyrics
Witty lyrics focused on society
Style:
Mento
History:
The mento style developed in the 1950’s and 60’s. Mento artists are writing music for foreign tourists who were
interested in the traditional sounds of Jamaica.
21
Culture:
Jamaica
Unit 3: Reggae
Musical Examples:
One Love –Bob Marley
Rhythm:
Understand what a skank beat is. (repeated syncopated rhythm)
Understanding what a one-drop beat is. (do not hear beat one of the measure)
Recognizing the slow tempo.
Recognizing the steady meter.
What beats are emphasized?
How does this compare to the other units?
Melody:
How is it similar to traditional western music?
What scale is it using? Major or minor
Is the melody singable? Sing the melody.
What are the lyrics about?
What kind of motion is used? Stepwise
What is the focus? The lyrics or the melodic line?
Recognizing the use of call and response. How does this effect the melody?
How does this compare to the other units?
Harmony:
Recognizing when harmonies are occurring?
Are the instruments harmonizing? Are vocals harmonizing?
Are they complex or simple harmonies?
How does this compare to the other units?
22
Texture:
Recognizing the simple texture.
What are the different instruments and vocals heard?
Are they balanced?
Can all of the parts be heard?
How does this compare to the other units?
Timbre:
Recognizing the two defining timbres that are present
1) Reggae style vocals. Bob Marley’s signature voice.
2) Muted guitar and keyboard. What are they playing? The skank rhythm.
Form:
instrumental intro, chorus, verse, chorus, verse, chorus repeated.
How does this compare to the other units?
What is the focus? The lyrics of the verse and chorus
Expression:
What is the main means of expression?
What is the significance of the lyrics?
What are the main themes from the lyrics? Peace and unity
How does the music reflect that?
Style:
Reggae.
History:
Reggae grew out of the same time period as Mento. It became most popular in the 70’s because of the lyrics
being socially conscious.
Culture:
Jamaica.
23
Example Lesson Plan
Read the lyrics of a few calypso pieces and discuss what they are about. We would relate this to historical events that
occurred at that time and identify how the musician displayed that through their lyrics and music.
Assessment
Listening journal: Students will listen to different pieces of calypso music and identify the aspects that make them
calypso. They will do the same for mento and reggae music. This shows the teacher if the students can recognize certain
aspects and which ones they may need to assist the students with hearing.
Essay: Students will write a short essay on a reggae song and will write what it is about, how it relates to Jamaican
society when it was written, and how it could be related to their own personal life. This shows the teacher if the student
understands how music relates to their life.
Performance
Students will combine with the choir at the school. They will have the option of playing an instrument or singing. They
will then performance at a social event of some sort.
Rationale
The purpose of this performance block is to expose students Caribbean culture and music. Each of these songs come
from a different genre of Caribbean music. They contain similar and different characteristics of Caribbean music and
reflect different aspects of the culture and history of the Caribbean. This allows the students to get a quality overview of
Caribbean culture and music. I chose the lesson plan that I did because one of the primary focuses of Caribbean music is
the lyrics. I want them to understand how the lyrics relate to what was going on at the type. This activity is also
interdisciplinary. I chose the performance that I did so that the students may be able to perform the music in the setting
that it would traditionally be performed.
Topic 4: Africa
Standards: 1, 3, 4, 6, 8, 9
24
Unit 1: Marching Songs
Musical Examples:
Siyahamba –traditional marching song
Rhythm:
Recognizing the use of simple rhythms.
Recognizing the steady duple rhythm. What could be the purpose of this? Marching
Recognizing the slight syncopation. Good introduction to syncopated music of Africa
Melody:
Recognizing the use major tonality.
What kind of motion is used? Stepwise
What are the lyrics about?
What languages are being used?
Harmony:
Is not always harmonized.
Recognizing the simple harmonization in the second part.
When does it occur?
Who is harmonizing?
Texture:
What is the texture made up of? Only voices
Is the texture balanced?
Is the texture simple or complex?
Timbre:
Describe the tone quality of the voices. Full, powerful, supported
Compare them to traditional western singing
25
Form:
Recognizing the cycle form.
It has one line that is repeated is stated then varied. This is then repeated; often in another language such as
English.
Is this form common in traditional western music? This form is not as common in western music.
Expression:
What is the value behind the lyrics?
How does the timbre show expression?
How do the dynamics show expression?
What are some emotions that are expressed? Confidence, struggle, perseverance, victory.
Style:
Marching Song
History:
Siyahamba was one of many marching songs that were sung during the apartheid. Those who were taking part
in the protests sang these songs. These songs are still around in South Africa. They are sung to remember what
those who went before them went through.
Culture:
South Africa
Unit 2: Agbekor
Musical Examples:
Agbekor field recording and video
Rhythm:
Recognizing the use of polyrythm.
What are some of the different rhythms?
How does this compare to traditional western music?
26
Is there a steady beat?
How does this compare to marching songs?
Melody:
Recognizing that there are two melodies occurring; vocal and rhythmic.
Is the vocal melody singable? It is more of a chant
Where is the rhythmic melody found? The lead drum
How does this compare to western music?
What do the lyrics mean?
How does this compare to marching songs?
Harmony:
Is there harmony? Not present
Texture:
Recognizing the thick texture and why it is so thick. Polyrythm
Can you hear all of the different drums?
How do the drums and vocals relate?
Timbre:
Do the drums blend together?
Are their any outliers that cut through the texture? Piercing bell
Describe the tone quality of the vocals.
How do these things compare to western music? How about marching songs?
Form:
Call and response
How does this relate to marching songs?
Expression:
Recognize the intensity. What creates the intensity? Polyrythm and text
27
What is the text about? War
What does the rhythm and text express together?
Style:
Percussive drumming and dance music
History:
Originated as a song dance for war.
Culture:
The Ewe people created Agbekor. They are from the western Africa nation states, Ghana and Togo.
Unit 3: Work Music
Musical Examples:
Video of postal workers cancelling stamps
Rhythm:
Depends on the activity.
Recognize the use of improvisation
How does the rhythm relate to the activity?
Is there syncopation?
Melody:
Recognize that it depends on the activity.
Does there have to be a melody?
What method is used while creating the melodies? Improvisation
How does this compare to the other units?
How does it compare to traditional western music?
Harmony:
Depends on how many people are participating.
28
Are the postal workers using harmony? Homophonic and polyphonic
Texture:
Recognize that the texture depends on the activity and amount of parts.
What is the texture like for the postal workers?
Is the texture for work music most likely going to be thin or thick?
Recognize that each aspect is performing a task for work.
Timbre:
Recognize that it depends on the activity.
Form:
Recognize that it depends on the activity.
Recognize that the postal workers are using theme and variations.
Expression:
What is its purpose? To make work more enjoyable
Hows does the music achieve this? Upbeat melody, purposeful rhythms.
Style:
Work music.
Postal workers example has a western melody with African rhythms.
History:
Work music is part of the culture. From a very young age, the people begin to participate in music while doing
work. They learn through their culture that music is part of their being and they react to that.
Culture:
Throughout Africa
29
Example Lesson Plan
Students will listen to the postal workers recording without seeing the video. They will record what they hear and what
they think the setting is. They will then watch the video and record what they see and hear. We will then have a
discussion comparing the first listening and the second listening. This will lead into discussing the use of music in
African culture vs. Western Culture.
Assessment
Journal Entry: After anything that they listen to they will write a journal entry on what they heard in descriptive musical
terms. This allows the teacher to see if the student is able to identify key characteristics of the music and which ones
they may need help with.
Work Music Composition: At the end of the work music unit, students will find a task that they do everyday. They will
create their own work music for this task. The composition must contain at least three characteristics found in the
African work music. This allows the teacher to see if the students understand the content at the highest level of
thinking.
Performance
Students will perform Siyahamba in English and Xhosa. They will also perform a simpler war dance drumming piece.
Lastly, they will perform their work music compositions.
Rationale
The primary purpose of this performance is to expose the students to African music and culture. Each unit covers a
different aspect of African music as well as a different part of African history. This allows the students to get a general
overview of African music and its different uses and characteristics. Each unit also presents an opportunity to develop the
students as musicians. Siyahamba allows for vocal development, Agbekor works rhythm, and work music combines the two
while adding improvisation. This allows students who may not have much musical background to be able to be introduced to
some of the fundamental concepts of music as well as the fundamentals and history of African music. I chose the lesson that I
did to allow students to see one of the primary uses of music in Africa and how it compares to the western uses of music. I
chose the performances that I did to allow the students to perform as close to authentic music as possible. The work music
compositions are not completely authentic, but the purpose is authentic.