Teaching Music – International Perspectives Andy Gleadhill

MUSIC EXPO MANCHESTER 2018

Www.andygleadhill.co.uk

GETTING TO KNOW YOU RAP

MY NAME IS................. I COME FROM............. I’M IN TO..................... AN' GETTIN’ DOWN

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Spainish Gypsy Music Steel Pans African Indian Vocal Rhythms Drumming Salsa Gamelan Bali

Musical Diaspora

Spain, Indonesia, India, Caribbean, Africa, Columbia and back to Africa.

How different cultures teach music

Not all see things the same way

Otherness

RED BLUE GREEN YELLOW BLACK

GREEN BLUE BLACK YELLOW RED

BLACK BLUE RED GREEN YELLOW

YELLOW BLUE RED BLACK GREEN

BLACK BLACK RED YELLOW GREEN

RED BLUE GREEN YELLOW BLACK

GREEN BLUE BLACK YELLOW RED

BLACK BLUE RED GREEN YELLOW

YELLOW BLUE RED BLACK GREEN

BLACK BLACK RED YELLOW GREEN

Spanish Gypsy Music

Clapping

or

Palmas

A round of applause please!

How did you clap?

Right to Left

Left to Right

or

Both together?

Are you Right or Left handed?

Try it the other way round

Fold your arms

Two pitches

Low sound = Cup

High sound = Slap

Alegrias Rhythm

1 2 3 4 5 6 7 8 9 10 11 12

1 2 3 4 5 6 7 8 9 10 11 12

C C S C C S C S C S C S

Chunking

and Slow It Down

1 2 3 4 5 6 7 8 9 1`0 11 12

C C S C C S C S C S C S

Compare to

“West Side Story”

1 2 3 4 5 6 7 8 9 1`0 11 12

C C S C C S C S C S C S

GAMELAN

FOLLOW THE HAMMER (an oral tradition)

Gamelan music is end weighted

Most western music is front weighted

Gamelan Rap

It' cool to sing, cool to dance, cool to play gongs slap knee

It's cool to sing, cool to dance, cool to play gongs

clap clap clap slap knee

It' cool to sing, cool to dance, cool to play gongs click click click slap knee

It' cool to sing, cool to dance, cool to play gongs slap knee

It's cool to sing, cool to dance, cool to play gongs

clap clap clap slap knee

It' cool to sing, cool to dance, cool to play gongs click click click slap knee

Traditions and Customs

Every player learns to play all the parts in the Gamelan

Does this lead to a better understanding?

Compare to our Western Classical Orchestras

MUSIC IN INDIA

MUSIC IN INDIA

Indian Vocal Rhythms

In some Indian musical traditions, particularly thouse of Southern India, syllabals are often used to create rhythmic patterns. Each syllable represents a beat which are then grouped into phrases to create rhythms. These are know as Jatis.

1........................................................Ta

2........................................................Taka

3........................................................Takita

4........................................................Takadimi

5............................Taka Takita..................2+3

6............................Taka Takadimi.............2+4

7............................Takita Takadimi...........3+4

8............................Takia Takia Taka..........3+3+2

9............................Taka Takita Takadimi...2+3+4

Add in calps = C

5.............................Taka Takita..................2+3

C C

6.............................Taka Takadimi.............2+4

C C

7.............................Takita Takadimi...........3+4

C C

Add in calps = C

8............................Takia Takia Taka..........3+3+2

C C C

9.............................Taka Takita Takadimi...2+3+4

C C C

Key Themes for Teaching World Music

Social and cultural context.

Pupils need to show understanding.

Why is it different?

What is particularly,

African/Brazilian/Caribbean/Guatemalan

nose flute, about the music?

Traditions and Authenticity

An honest representation

Our own interpretations

Accessibility and Inclusiveness

Disney's Lion King/Kodo Taiko (Sony Music)

MUSIC IN THE CARIBBEAN

The Development of Steel Pan Bands

The Islands of Trinidad and Tobago were developed as sugar cane and cocoa plantations, with many workers coming from West Africa and other parts of the Caribbean and bringing with them their traditional African Drumming rhythms, much of which was played on drums.

Soon the plantation owners banned the workers from playing their African drums as they were using them to communicate between plantations and to practice their African religions.

So instead the plantation workers developed "Tamboo Bamboo", making their music using sticks of Bamboo that were readily available on the plantations.

This was in turn banned, as it often turned into stick fighting between rival groups and so the workers made music with what ever they could lay their hands on. This included drums made from biscuit tins. The players noticed that where the biscuit tins had become misshapen, they played different notes and so they began to hammer out different areas to produce two distinct tones; this became known as "Ping Pong" music.

When the petroleum industry made a base in the country, musicians started to experiment with the technique of hammering oil drums into tuned instruments. These oil drums became the full Steel Pans used by bands we know today.

TAMBOO BAMBOO

FANGA PART 1

S = Stomp large bamboo on the floor

C = Click small bamboo on to large bamboo

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

S O C C S O C C S O C C S O C C

FANGA PART 2

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

S O O C O C C O S O S O C C O O

FANGA PART 3

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

S O O S O O C C S O O S S O C C

FANGA FULL SCORE

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

S O C C S O C C S O C C S O C C

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

S O O C O C C O S O S O C C O O

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16

S O O S O O C C S O O S S O C C

Biscuit Tin Band

Ping Pong Music

H = Play high Agogo bell

L = Play low Agogo Bell

Madagascar1 2 3 4 5 6 7 8 9 10 11 12

H H H H L L H H H H L L

1 2 3 4 5 6 7 8 9 10 11 12

H O O H H O O H H O L L

1 2 3 4 5 6 7 8 9 10 11 12

L O O L H O L O H H H O

MUSIC IN AFRICA

Music is an important part of everyday life in Africa and fulfils many roles. Folklore, Dance and Drama.

Religious rituals, at ceremonies such as weddings,

funerals and birth of a child. An accompaniment to day-to-day activities e.g. working in the fields, tending cattle and collecting water. War songs, Lullabies etc.

DRUMS Everyone participates in music making but there are

also professional musicians and master drummers who are highly valued.

Drums in Africa come in many shapes and sizes and have many different playing styles.

D’JEMBE DRUMSThe D’jembe drum is a West African drum. It is shaped like a large goblet and meant to be played with bare hands.

The name of the djembe comes directly from the saying "Anke dje, anke be" which literally translates to "everyone gather together”.

"Dje" = "gather" (Wood)

"be" = "everyone" (Skin)

So “Djembe” = “gather everyone”

•MONO AFRICAN•

Part 1:

Part 2:

Part 3:

H

L

H

H

L

L

POLY AFRICAN Part 1:

Part 2:

Part 3:

H

L

H

H

L

L

POLY AFRICAN Part 1:

Part 2:

Part 3:

H

L

H

H

L

L

POLY AFRICAN Part 1:

Part 2:

Part 3:

H

L

H

H

L

L

THE 3 -2 AND 2-3 CLAVE

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Pupils Compose, Improvise and Create music together

Music, rather than the spoken word, is the principle language of the classroom

Pupils learn about music by making music together

Pupils participate in the music making whatever their ability

The Royal Drummers of Burindi

1 2 3 41 2 3 41 2 3 41 2 3 4

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