Teaching the in the In Muskegon, Michigan HS Band & O M Amw Calv Michigan Music Stan nstrumental Classroom Orchestra, 1920-21 Michigan Music Conference Saturday, January 21, 2012 way Grand - Haldane (3rd Floor) 8:00am – 8:45am Dr. Phillip M. Hash vin College, Grand Rapids, Michigan [email protected]www.pmhmusic.weebly.com ndards m
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For teachers who are looking for more multimedia resources related to folk and global music, the Smith-sonian Folkways website may be a good place to start. For even more in-depth and hands-on experience with these materials, a Smithsonian Folkways Certification Course in World Music Pedagogy would be a logical next step.
Smithsonian Folkways, the nonprofit record label of the Smithsonian Institution founded to “record and docu-ment the entire world of sound” (Smithsonian Folkways, 2011), has made their extensive collection of audio and video recordings available through their website, which can be accessed at http://www.folkways.si.edu/. In addi-tion, when the Smithsonian Global Sound educational initiative was launched by Smithsonian Folkways in 2005, many new features were added to the website, including curricular materials for teachers and interactive online activities for students.
The Smithsonian Folkways website currently allows users to search their massive collection by artist, album, track, collection, series, “new releases, “best sellers,” or genre. The extensive genre list includes everything from African American music to psychology/health to world history. The “Advanced Search” option allows one to search by country, culture group, format, genre, instru-ment, label/archive, language, or year/decade.
Under “Tools for Teaching,” the “lessons and activi-ties” page directs the user to an interactive world map. One can click on a map location to find a lesson plan that uses materials available on the Smithsonian Folkways website (streaming videos, liner notes, music samples,
and podcasts). Each lesson plan includes information about cultural groups/music, suggested grade levels, objectives, procedures, and assessments.
Also under “Tools for Teaching,” the user can find entertaining and informative “interactive features” that allow the user to click on jazz or mariachi instruments and hear their sounds individually and in ensemble, scroll over beautiful artwork to watch detailed videos of Latin American artists, click on a map to hear musical examples from that location, assess learning through quizzes, and more. Links to additional resources provide a “world of learning opportunities” for teachers and students.
Many video clips and liner notes from audio record-ings made in more than 160 countries can be accessed on this website for free, and brief audio tracks can be sam-pled before downloading entire tracks or buying CDs. School libraries can subscribe to Smithsonian Folkways so that students can create personal playlists and teachers can create course folders or put tracks on digital course reserve. Free videos and lesson plans by region, and pod-casts of the radio show, “Tapestry of the Times” produced by Smithsonian Folkways Recordings and WYPR in Baltimore can also be accessed through iTunes U at http://itunes.apple.com/institution/smithsonian-folkways/id402449145.
425407 GMT25210.1177/1048371311425407BeegleGeneral Music Today
Smithsonian Folkways: Resources for World and Folk Music Multimedia
Amy Christine Beegle1
Abstract
This column describes multimedia resources available to teachers on the Smithsonian Folkways website. In addition to massive collections of audio and video recordings and advanced search tools already available through this website, the Smithsonian Global Sound educational initiative brought detailed lesson plans and interactive features to the fingertips of teachers and students. Smithsonian Folkways Certification Courses in World Music Pedagogy are also discussed.
Keywords
world music, culture, multimedia, folk music, video, teacher education, global music
For those interested in more active and personal teach-ing methods and materials, teachers can attend a 40-hour intensive summer Smithsonian Folkways Certification Course to be certified in the specialized study of World Music Pedagogy. This course has been offered every summer since 2009 at the University of Washington and was also offered at the University of Idaho during the summer of 2011. It may be offered at more universities in the future. The course facilitates learning from music education scholars, ethnomusicologists, and “culture bearers” through songs, stories, movement, and playing instruments. Participants also learn to use audio, video, print, and electronic resources from the Smithsonian Global Sound website to develop curricular materials that are then made available to other teachers via the web.
Declaration of Conflicting Interests
The author(s) declared no potential conflicts of interest with respect to the research, authorship, and/or publication of this article.
Funding
The author(s) received no financial support for the research, authorship, and/or publication of this article.
Reference
Smithsonian Folkways. (2011). Our mission and history. Retrieved from http://www.folkways.si.edu/about_us/mission_history.aspx
Bio
Amy Christine Beegle, PhD, is an assistant professor of music education at the College-Conservatory of Music at the University of Cincinnati. She has taught general music in public and private elementary and middle schools in Los Alamos, Chicago, and Seattle. She has presented workshops regionally, nationally, and internationally, and her scholarship has been published in the Journal of Research in Music Education, the Journal of Historical Research, The Music Educators Journal, the Orff Echo, and the Kodály Envoy.
FJH Publication - Grade 3 Music Selection - Broad Description
• A great tribute piece for this level (similar to Boysen's "I AM")
• Unique low brass and percussion solis - difficult tuba duet at end.
• Wonderful embedding of "Lift High the Cross" within the work.
• Great piece to teach layering, texture and timbre.
• Allows students express feelings about death or loss.
Brian Balmages
Brian Balmages (b. 1975) is an active composer, conductor, producer, and performer. He received his bachelor’s degree in music from James Madison University and his master’s degree from the University of Miami in Florida. Mr. Balmages’ works for symphonic band, orchestra, and brass have been performed throughout the world, including the College Band Directors National and Regional Conferences, the Midwest Clinic, the International Tuba/Euphonium Conference, the International Trombone Festival, and the International Trumpet Guild Conference. His active schedule of commissions has included groups ranging from elementary schools to professional ensembles, including the Baltimore Symphony Orchestra, Miami Symphony Orchestra, the University of Miami Wind Ensemble, Dominion Brass, and others. He has also enjoyed world premieres in prestigious venues such as Carnegie Hall.
As a conductor, Mr. Balmages enjoys engagements with numerous honor bands and orchestras, university groups, and professional ensembles throughout the country. Notable guest conducting appearances have included the Midwest Clinic, College Band Directors Regional Conference, Mid-Atlantic Wind Conductors Conference, the Atlantic Classical Orchestra Brass Ensemble, and Meyerhoff Symphony Hall in Baltimore. He has also served as an adjunct professor of instrumental conducting and acting director of the symphonic band at Towson University in Maryland.
Currently, Mr. Balmages is the Director of Instrumental Publications for The FJH Music Company Inc. in Fort Lauderdale, Florida. He resides in Baltimore with his wife, Lisa, and their sons, Jacob and Collin.
As a composer, I used to write music only for advanced level ensembles. However, after marrying an elementary band director, and with the support of numerous friends, colleagues, and directors, I have found great joy and challenge in writing music for younger students along with my more difficult works. After all, the youngest of musicians are equally deserving of good literature and I can only hope that my music will inspire them the way I am inspired by a Mahler symphony." — Brian Balmages
Background Information ...Not Afraid to Dream is written in memory of Kevin Langlie, a high school senior who tragically passed away. At the
request of his school, it is designed to serve two purposes: to help bring closure to everyone at the school, and to celebrate
his life, both the serious and "not-so-serious" moments. The title comes from the eulogy delivered by his band director,
Christopher W. Jarvis: "His focus on the positive and the possible left no room in his life for negative attitudes and
excuses....He wasn't afraid to dream and share those dreams...."
The work opens with the sounds of various chimes, almost mimicking the sounds of church bells. This somber beginning
is reflective in nature and is a musical "moment of silence." As the melodies and harmonies grow out of this silence, it is
almost as though a ray of sunshine beams through the sound of the band to counter the earlier passages. A solo trumpet
hints at the opening of Lift High the Cross, one of the hymns that was sung at Kevin's wake.
Eventually, the tone of the piece turns to a much lighter note, picking up in both mood and tempo. A lighthearted melody
intertwines with changing meters as it begins to reflect Kevin's sense of humor and enthusiasm. The piece then falls into a
groove beginning with low brass (Kevin's instrument was tuba) and eventually spreading throughout the entire ensemble,
much like his personality tended to do.
As the piece drives forward, a full refrain of Lift High the Cross appears, undergoing several changes in harmony as it
competes with the main rhythmic motif for the spotlight. Eventually, the undeniable spirit of the opening theme of this
section comes back in triumph as the piece builds to one final climax. A brief tuba duet reminds everyone that Kevin is
still in the band; then the ensemble joins in for a whirlwind of harmonies that eventually finds its way home.
Musical Elements Form: Intro ABACADA
Measures What?
1-3 Wind Chimes, Outdoor Chimes, Chimes - separate entrances.
4-10 Low Brass "mournful" motif centered on d minor triad
11 Chimes- extended range g minor with seconds added (church bells)
12-16 Low Brass "mournful" motif with upper woodwinds responding "beam of light?"
17-22 A tempo - full ensemble plays establishing Bb Major but a tritone is used in the upper voices.
23-24 Ab major chord established with Lift High motif introduced by solo trumpet in Bb major.
25-30 Lift High motif altered and used with a call and response between tpt/cl and horn/altos/euph "beam of
light" in measure 27 on Eb Major then settling on unison F at 30.
31-36 Return of Low Brass "mournful" motif with fl/cl countermelody.
37-38 Fl/Ob/Bsn motif in F major counter the dark sounds of the low brass.
39-41 Low Brass "mournful" motif
42 Chimes - same as measure 11
43 Bb Major chord marked "dolce"
44-52 Bb Major continues by clarinets and low brass while horn and marimba perform Theme 1A on unison Bb.
52-60 [A Section] Theme 2 is introduced in the flute and oboe, while Theme 1A is in cl 1, horn, and mallet 2
60-68 [B Section] Theme 3 is introduced by the alto saxes with Theme 1B is in the tenor sax. Ride Cymbal is
added. At 64 Cl 2 & 3 join in Theme 1B and tpt 2& 3 join with Theme 3.
68-76 Cl 2&3, tsax, tbone 1 continue Theme 1B while the altos, tpt 2/3, horns, and cl 1 (in 72) play Theme 3
together. Beat 2 is emphasized in Theme 3 by the low brass, perc, and tpt 1 by means of bell tones.
76-84 [A Section] Theme 2 returns in upper woodwinds and mlt perc 1. Theme 1A is in tpt 2/3 and mlt perc 2
and a new Theme 4 is introduced by altos and tpt 1. Low brass/ww emphasize beats 2 and 3 with staccato
notes.
84-92 [C Section] Theme 5 is introduced by the tubas and euphs while Theme 1C (steady eighth notes) are
being played by the altos and horns. motif 6 is introduced in 99 by tpt 2/3.
92-100 Everything above continues but in 94 tpt 1plays Theme 4.
100-108 Full ensemble playing. Theme 1C by altos and horns. Theme 3 - picc, fl, ob, cl 1, mlt 1, Theme 4 - t.sax,
108-116 [A Section] Big sound. Theme 1A in tpt 2/3, Theme 2 in upper woodwinds, and Theme 4 in altos and tpt
1. Low brass/ww/perc emphasizing beat 2 and 3 again.
116-124 Energy decreasing w/ Theme 3 in cl 2/3 and horns then to alto 1/2 only.
124-132 [D Section] Hn and tbones play open 5ths while timp and mlt perc 2 play theme 3 in unison. In 128 it is
just tuba and euph and the vibes play eighth notes alternating on octave Bb.
132-146 Full use of the hymn Lift High the Cross performed by clarinet choir, then joined by saxes and horn and
tuba.
146-162 Theme 3 in tpts and percussion leads to a restatement of Lift High by woodwind choir now in C Major.
New theme introduced (Theme 7) by tsax and horns. Builds in intensity.
162-170 Call and response of theme 7 between upper ww and upper brass.
170-End [A Section] Triumphant return of theme 2 in alto, tpt, horns with theme 1A played in upper woodwinds.
Low brass chord leading ear to C Major at 178. Following tuba duet in 178-179 (theme 2) is a final
statement by the entire ensemble of variation of theme 2 ending in C Major.
Rhythm Rhythm is a major component to this piece. Slow section uses just quarter, half, whole, eighth, and a few triplets. The
faster section is based off of eighth note subdivisions. Very few sixteenth runs exist in the piece. Students will need help
on rhythms that utilize ties. See the attached rhythm worksheet to see the various rhythms used in each of the themes
throughout the piece. The music has lots of energy due to the syncopation and quickly changing meters.
Melody The melody for much of this work revolves around the intervals heard in Lift High the Cross. This melody appears in the
slow introduction. Theme 1 is primarily used as a percussive device keeping energy and consistency throughout the work.
Theme 2 is very syncopated and has small leaps of a third. Theme 3 usually starts on the 5th of the chord and descends.
Theme 4 is marked by the same leap of a fourth found in Lift High.. Theme 5 is used in the infectious low brass groove
that is in arch form and syncopated. Theme 6 is used again like a percussive device usually in unison. Theme 7 is derived
from Theme 3 and is used at the end of the piece. It starts on the tonic and descends to the dominant which helps to propel
the music forward to the end.
Harmony The key signature throughout the composition is Bb Concert. The beginning section appears to be modal centering on a d
minor triad (Phrygian). When the fast section begins it is clearly in Bb Concert until measure 150 when it transitions to C
Major until the end. Balmages careful use of dissonance help propel this work forward. Moreover, Balmages layers
themes to keep interest as the tonal center does not change that often.
Texture The texture is homophonic in the beginning suggesting a chorale "moment of silence". The faster section representing the
boys energy and spirit is polyphonic. In fact, it is this great use of polyphony that creates the energy and spirit of the
music.
Timbre The timbre in the slow section is very dark. The sounds of the chimes is haunting and beautiful. The low brass need to
sustain their sounds and keep them rich and dark while the woodwinds offer glimpses of the sun. The fast section by
contrast is bright in color. Ending is C Major also gives a bright quality to the sound. The orchestration and syncopated
rhythms also help secure the light feeling in the sound.
Expression A significant challenge in this work is the contrast from slow and sustained introduction and the very upbeat fast section.
Articulations are important in clarity and unity. Dynamic contrast is marked, but shaping of the melodic line can also be
done especially within the chorale. Long complete phrases and continuity between sections make this piece effective.
The Heart The heart of this piece is its artful use of rhythmic and melodic themes that capture the transition and journey from despair
and somberness to jubilation.
Introducing the Piece "Apollo 13 Activity" Using an Anticipation/Reaction Guide have the student anticipate the music that will be performed
in the background of the movie "Apollo 13" as the rocket launches. Tell the students about the unsuccessful launches of
the past, the uncertainty of this launch, the "unlucky" numbers attached to this, the fear in the families, the excitement of
the moment, etc. Have them anticipate how the composer will capture all of those emotions and set up the visual elements
in the film. At the end of the activity, tell them that we will begin the study of a composer who was asked to capture the
mood surrounding an unfortunate death in a high school.
Objective 1 Psycho-Motor (Skill Focused) The students will be able to accurately perform independently and with others rhythms that contain ties.
Strategies 1. "Definition Time" - Students will define a musical "tie".
2. "Move the Tie Game" - a simple rhythm will be written on the board. The students will first be asked to count, hiss and then
play the rhythm. A student will then come to the board to move the tie to a new location. The band will then count, hiss and
play the rhythm, etc. To make this more advanced multiple rhythms can be added as well.
3. "Smart Warm-up" Use Smart Music to practice ties in warm-ups and various pitches.
4. "Not Afraid to be Rhythmic" Using the "Not Afraid to Be Rhythmic" worksheet, first count, hiss and then play each example.
Assessment
1. In band lessons, each student will need to be able to accurately count, hiss and perform each rhythm on the worksheet.
2. In groups of two, students will create two different rhythms by adding ties in different places on a series of differentiated
rhythm examples. The students will show the class where they placed the ties and then demonstrate the two rhythms alone
and then together.
Objective #2 Cognitive (Knowledge Focused) The students will identify and examine how various compositional techniques/choices can create various
moods within a piece.
Strategies
1. "You Are The Composer Activity" - You are asked to write a piece in memory of a high school senior who has passed away
tragically while hiking. What questions would you ask the family before you started composing the music?
2. "Anticipate/Reaction Guide" Identify the important aspects about Kevin that needed to be displayed in the music. Anticipate
what the music would sound like then identify and analyze the techniques used by Balmages and then react to the results. Did
it achieve the goal or idea it was aiming for?
3. "Identify the Theme" - copy the score and hand out one page to every two people or so. Using the "Not Afraid to be
Rhythmic" worksheet, have the students identify the themes on the page by drawing the symbols located on the worksheet
onto the page of the score. The students will then tape the score on the wall in order. Ask the students to go up by sections to
see how the piece is constructed and creates a create mood or emotion. (review pieces of this each day) - have on website as
well.
4. "Match that Mood" List the following "moods" on the board. Play in any order portions of the music and ask the kids to
identify the mood. Follow up by asking what techniques the composer used to create this affect.
a. Noble and Mystical- Lord of the Rings
b. Urgent - Mars
c. Joyful - Joy
d. Restful - Clair De Lune
e. Sneaky/playful - Midnight Mission
f. Anguish - Come, Sweet Death
5. "Venn Diagram" Using a Venn Diagram, compare and contrast "I AM" with "...Not Afraid". Examine the similarities and
differences and discuss.
Assessment 1. Using the portfolio, check to see that the Anticipation/Reaction guide and Venn diagram have been filled out accurately.
2. Students will select a piece of paper with a unique and specific mood on it. They will then compose an 8 or more measure
solo for their instrument expressing that mood. Students will be graded based on the rubric.
Objective #3 Affective (Feeling Focused) The students will explore their thoughts and emotions about fear, courage, optimism, pessimism and the
effects it has on us and others.
Strategies
1. Journal entry questions:
a. How could fear prevent you from dreaming and trying to reach for your goals?
b. Is it possible that fear can be good? If so when and why?
c. Is it possible to control fear? If so how?
d. When was a time when you were fearful, but overcame it? What was the result?
e. Is it possible that courage can be bad? If so when and why?
f. Why is optimism powerful?
g. Why is pessimism destructive?
h. In what ways can we use courage and optimism to help our band?
Assessment I will read the journal entries to check for depth of thought and understanding.
CMP Plan: Jupiter Symphony Title: Symphony No. 41, mvt. 4 “Jupiter” Composer: Wolfgang A. Mozart, arr. Gruselle
Grade Level: 4 Publisher: FJH
Music Selection
A masterpiece of Western music
An example of absolute music
Classical period bowing Sonata-Allegro Form
Analysis
Broad Description The finale of a classical period symphony, transcribed/arranged for string orchestra
Background information
The last movement of Mozart’s final symphony. His last three symphonies were written during the summer of 1788 for a subscription concert which never materialized. These symphonies are representative of the
culmination of Mozart’s development of the symphonic form in the Classical era.
This last work is assumed to have been started on July 25 and finished on August 10.
The nickname “Jupiter” (king of the Roman gods) was not Mozart’s, but was given to the piece later in reference to the enormity of scope.
In world history, the constitution of the U.S. was being ratified, and the French revolution was beginning
74-85 Theme 2 (Key of G—dominant: motives 4 and 2) 85-94 Transition/imitation 95-120 Coda
Development: 121-154 (motives 1 and 2)
Recapitulation: 156-163 Theme 1 (Key of C) 164-175 Developmental (motive 1)
176-193 Transitional (motives 4 and 2) 194-199 Theme 2 (Key of C)
200-207 Transitional (pedal on V)
207-end Coda
Rhythm
The rhythmic characters of the various motives are contrasting. Dotted rhythms in second motive suggest regal announcement or fanfare (king of gods)
Background rhythms in the homophonic sections are primarily the consistent driving subdivision of supporting voices. In the imitative and fugal areas, the overlaying rhythms result in rhythmic complexity .
Melody
5 diatonic motives are used in the original—four are used in this arrangement. They have contrasting contours. 1 and 3 suggest arches, 2 moves downward and 4 upward.
Motive 1:
Motive 2:
Motive 3:
Motive 4:
Motive 5 (in original)
Harmony Harmonic centers are typical of the classical period. First theme is in the tonic,
second theme in the dominant, both themes in the tonic for the recapitulation. The harmonic rhythm is slower in the theme areas, faster in developmental areas and relatively static preparing the recap (dominant expectation) and static at the
coda.
Timbre Off the string articulation and legato.
Texture
Areas of monophony, polyphony and homophony are strategically placed. The unisons are celebratory or fanfare-ish. The themes are introduced in a “melody with accompaniment” type of homophony, and the developmental areas are
fugal or at least imitative, displaying the balance and complexity that can be constructed with the small motives.
Expression The Classical style allowed for a wide range of affects, conversation, dialogue
and tension within a piece or a movement. In this work harmonic tension occurs in the developmental areas, where our ears are bended and the journey is unpredictable. Harmonic steadiness elicits feelings of calm, anticipation and
closure, while the melodic fragments suggest boldness, serenity, uneasiness, playfulness, discovery, and above all, grandeur.
Heart Statement The heart of this piece is in the rhythmic and melodic interplay of the four motives. These motives are masterfully manipulated to create a grand and
explosive work.
Introducing the piece Students write two measures of rhythm in 4/4 time. It must be set to a text, and the text must include their name. After sharing some examples, watch video of
Potter Puppet Pals: “The Mysterious Ticking Noise”. Homework assignment: write three or four contrasting two-measure rhythms also including your name.
Outcomes Strategies Assessments
Skill Outcome 1: Students will correctly execute off-the-string
bowings.
Strategies:
1. Students view videos of bowings from Baroque and Classical 2. Students review twinkles, playing both off and on the string versions
3. C major scale in using the bowings:
Half note for each pitch, slur two Eight spiccato eighths for each pitch
Half do one, half the other and reverse
Assessment: 1. and 2. Observation in rehearsal shows skill development
3. While playing scale with eyes closed, covertly select a student or two to play detaché instead of spiccato. Students have to identify the offending students
Knowledge Outcome 1: Students will identify, describe and create
motives.
Strategies 1. Identify the 4 motives in the score. In journals (notecards) describe
how they are contrasting
2. Using 4 colors of highlighters, identify and mark motives in an excerpt. Begin in groups of three or four, finish as homework assignment.
3. Play a segment of the piece and have students identify their own and
each other’s motives
Assessment 1. and 2. Peer assessment—compare notes, pencil and paper exam
3. Observation
Knowledge Outcome 2: Student will identify and describe monophony, homophony and polyphony,
Strategies 1. Listen to recorded examples of various textures, compare and
create Venn diagram
(ex.: Hallelujah chorus shows three textures in one work) 2. Identify various textures in this piece by playing excerpts, have students jot on card, or give a hand sign (sign language letters)
Assessment:
1. Written work reflects understanding 2. students identify textures in score and parts using predetermined icons
for each texture type
Affective Outcome: Students will explore how a composer engages an audience without extra-musical backdrops such as text, story or
dance (absolute music)
Strategies: 1. Listen to examples of programmatic vs. absolute 2. In this piece, describe the character of each motive with motions
and/or text with Mozart’s name (akin to Harry Potter activity) 3. Study a programmatic piece concurrently, or refer to a previously
studied piece for comparison
4. Create a representation of sonata form, showing the struggle between tonic and dominant in pictures or images
Assessment: 1. Journal entries show insight
2. Performance reflects the varying characters within the single movement
3. Students will write program notes for the two contrasting pieces
4. Peer assessment and discussion of representations