“Nature, my countries, the people I love, and the marvelousLatin American music styles arethe seeds of my compositions.The titles only identify them...the melodies, their feelings andemotions are mine... and yours.”

Alfredo Rolando Ortiz

About the Artwork:The audio selection is really a pairing of two

contrasting pieces. Joropo Azul and Zayante are two

short works, representing traditional styles with both

classical and folk roots from Latin America. The

pieces were originally improvised and then become

totally new compositions. The first piece, Joropo Azul,

is in the style of joropo, the national folk dance of

Venezuela. It is set in contrast with Zayante,

composed in the traditional style of Paraguay. Joropo

Azul is played in a major key, with very bright tones

and an upbeat rhythm. The melody sometimes

follows the main beat and sometimes is heard off the

beat (syncopated), which gives a complex texture to

the piece. You will hear accented main pulses, and the

groupings of very short pulses.

Creative Process of the Artist or Culture:Latin American harps are folk harps. As with folk

music around the world, Latin American harp music

is usually not written down. The musicians learn by

listening and watching, as well

as memorizing some pieces.

Some become proficient at

improvisation. Each region

has its own characteristic

structure and design of the

harp, as well as unique ways of

playing.

Title of Work:Joropo Azul and Zayante, Paraguayan Folk Harp

Creator: Alfredo Rolando Ortiz

Background Information:“I was born in Cuba where the harp is not a traditional

instrument. My adventure with the harp began when I was

11 years old. Our family emigrated to Venezuela. As the

ship neared land, I saw green forms rising up through the

clouds, and soon the mountains of Venezuela loomed in

front of us. As we drove up that mountain there was this

beautiful music on the radio. I didn’t know what it was, but

I fell in love with it.” It was a harp! As a teenager, Alfredo

Ortiz borrowed one and began taking lessons from a fellow

student. His interest blossomed into a passion, as he began

to play the harp for hours at a time when schoolwork was

done. On weekends he would get blisters from practicing as

he skipped meals and rest. He pursued the opportunity to

hear the famous Paraguayan harpist Alberto Romero and

met him backstage. Mr. Romero took an interest in the

young boy who was fascinated with the harp, and after he

heard Alfredo play offered to teach him at no charge. After

graduation from high school, Alfredo was accepted to med-

ical school in Medellin, Colombia. His professional music

career began shortly after arriving in Medellin, when he

received his first paid assignment to play at a local wedding. One

of the guests offered him a recording contract. Combined

income from performances and recordings paid his way

through medical school. In spite of his success as a harpist,

Alfredo never missed a class and became a doctor. After five

years of medical practice in Colombia, Dr. Ortiz moved to

Southern California to study Music Therapy. Since 1978 his

life has been wholly dedicated to music.

VenezuelaCuba

California

MUSIC

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PERCEPTION (AP)

CREATIVE EXPRESSION (CE)

HISTORICAL & CULTURAL CONTEXT (H/C)

AESTHETIC VALUING (AV)

CONNECT, RELATE & APPLY (CRA)

rtsource ®

The Music Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

Photo courtesy of Alfredo Ortiz

* Indicates sample lessons

2

*

*

*

Discussion Questions: After listening to the audio recording:

• Does this harp music differ from what you expected?

• What ideas or words describe the harp itself?

• What words or images come to mind to describe

Joropo Azul? How would you describe Zayante?

• Describe the differences in mood between the two

pieces. Discuss the feelings you had in listening to

each one.

• For what celebrations or special events could this

music be used?

Background on Zayante continued:Zayante is characterized by a vigorous pulse and pow-

erful chord patterns. Following traditional

Paraguayan rhythms, it grows in dynamic waves, falls

back and then resumes with increasingly powerful

crescendos. A quiet pattern played in a minor key

(misterioso) completes the contrasting elements of the

piece. Between the patterns are several flowing

glissandos. The glissando is characteristic of harp

music, because on a harp all the strings can be

strummed in quick succession, creating a wave of

sounds and colors.

Multidisciplinary Options:• The Ultimate Concert: Dr. Ortiz recorded suites to

celebrate the birth of both his daughters. At the sec-

ond birth, the obstetrician allowed him to bring the

harp to the hospital to comfort his wife, Luz Marina,

and the emerging infant, Michelle Maria. Music was

improvised throughout labor and delivery. Several

days later, the music was recorded in a studio, except

for the passage that had been improvised just as the

baby was born. The joy and beauty of the family are

first heard in the patterns of the harp rising and falling

back in waves and finally interspersed with the first

sounds of the infant. The final movement of the suite

has never been attempted again. It cannot be repli-

cated. Describe a piece of music that you associate

with a special memory or celebration. Explain the

connection between them. Research different pieces

of music to find a piece that would capture the mood

and spirit of a specific event in your own life.

Audio-Visual Materials: • Artsource® audio recording: Joropo Azul and Zayante,

courtesy of Alfredo Rolando Ortiz.

Sample Experiences:LEVEL I• The music Mr. Ortiz plays has repeating themes and

patterns. In performance he also wears colorful

traditional clothing with repeating bands of colors and

patterns. Create rhythmic patterns using body

percussion and also design patterns in art. Use accents.

• Latin America is a group of countries that share many

cultures - that of their own indigenous populations, of

Spain and of others. Do you have blended cultures in

your heritage? Is there special music or art that is a part

of your traditions or celebrations? How did your

family’s traditions evolve? Do you think you will

continue them? Is there a tradition that you would like

to start?

LEVEL II• Most of the music played by Dr. Ortiz is “pure music”

or patterns that he improvises to make something

beautiful. Often the patterns are quite distinctive.

Listen to each of his pieces. Can you discern rhythmic

contrasts? Can you identify some of the patterns you

hear? What tone colors do you perceive? Find a way to

draw or write the different patterns down. Try

elaborating on your basic ideas using graph paper and

colored pencils.

• Listen to a piece of music without words. Reflect on it.

What do you think of? What feelings do you get when

you hear this music? Think of a title for the music.

Design a CD album cover for it. What words would you

use? What images would you show? How would you put

your words, images and music together?

LEVEL III

• Stringed instruments function according to precise

mathematical and physical principles. Build a simple

tuned instrument - water glasses, rubber band harp,

etc. and explore how sounds vary with tension, length

of strings, materials and size of the soundbox.

• Research other harp music at the library. Listen to

several different pieces and note the differences.

3

A BRIEF HISTORY OF THE HARP

The harp is an ancient instrument that evolved from the hunting bow thousands of years ago. In Africatoday they still play a single stringed musical bow with a gourd or turtle shell for the soundbox. Manytypes of harps are found throughout the world, but there were none found in the pre-ColombianAmericas. The first harps were brought over by the Spanish missionaries. There are written records offamous harpists as early as the 16th century in Veracruz and other parts of Latin America. The Spanishharps consisted of a wooden soundbox and multiple strings of varying lengths. These harps, and otherstringed instruments such as the guitar, came to characterize the music of Spain and found their way intothe New World. The Spanish missionaries were proficient players and accomplished instrument-mak-ers (luthiers).

Research countries that have harps and find them on a map. What conclusions can you draw from yourresearch?

PREPARING FOR THE EXPERIENCE

Understanding diversity is the key to understanding the arts of Latin America. Cuba, an ethnically diverseisland set in the Caribbean Sea, is the artist’s birthplace. There is a strong Spanish influence in Venezuelaand Colombia which both have seacoasts and enormous mountains. In Paraguay, the plains are far fromthe ocean. Two languages are taught there in schools; Spanish and Guarani, the language of the GuaraniIndians.

Prior to listening to the audio tape, give students some historical and cultural perspective on LatinAmerica. Ask students what they know about any of these countries. Discuss how traditions are shared,and how independent traditions and musical styles might evolve in an area with vast geographical and eth-nic diversity. Direct them to observe and listen to diverse aspects of the performance.

Egyptian Harps

4

LEVEL I Sample Lesson

INTRODUCTION:

The music Mr. Ortiz plays has repeating themes and rhythmic patterns. Rhythm, one of the principle elements of music, is the distinctive grouping of sounds and silence in time, based on duration (length)of tone, strong and weak stresses and other factors such as harmony. It is usually regulated by a steady, regular underlying pulse or beat.

Rhythmic patterns are also found in visual designs. For example, in performance, Mr. Ortiz wears colorfultraditional clothing with repeating bands of colors and lines that form patterns. Each band is simple whenalone, but form colorful and elaborate images when combined. When a shape, line or color repeats itselfin a work of art, it creates a visual rhythm.

This lesson is designed to increase an awareness of both musical and visual rhythmic patterns.

OBJECTIVES:

Students will be able to:

• Recognize and identify rhythmic patterns in music. (Artistic Perception)

• Create a variety of rhythmic patterns in music and be able to repeat patterns created by others. (Creative Expression)

• Recognize and identify patterns in art and clothing. (Artistic Perception)

• Design a repeated pattern in art, using different colors, shapes and lines.(Artistic Perception)

• Describe, discuss, analyze and connect information and experiences basedon this lesson. Refer to Assessment at the end of this lesson. (AestheticValuing)

MATERIALS:

• Artsource® audio recording of Joropo Azul.

• Large sheets of paper and crayons or markers.

PROGRESSION:

• Give some background information on Alfredo Rolando Ortiz and his music (see Unit pages 1-2).

ENDURING VALUESPATTERNS IN MUSIC AND ART

MUSIC

Folk harp

5

• Ask students if they know what a pattern is in art? in music? in clothing? Ask for examples and illustrations.

• Play Joropo Azul and help the students clap the upbeat rhythmic beat of the music. Ask if students canidentify and clap any rhythmic patterns that are repeated in the music.

• Clap a few simple rhythmic patterns and have the students repeat or echo them. If you have troublethinking of simple rhythmic sound patterns, use lines from a nursery rhyme such as “Jack and Jill.” Alsomake sure your patterns have certain sounds accented (stronger emphasis).

• Ask different students to create simple clapping patterns that others echo. This is called ‘Call and Response.’

• Take each sound pattern and repeat it four times so that students can clearly hear the pattern. Encouragethem to use other aspects of body or vocal percussion, such as stamping, snapping and clicks.

• Look around the room and ask students to identify patterns in objects or in clothing that peers are wearing.If available, show photos of artwork featuring patterns.

• TASK: After seeing many examples, pass out paper and crayons to students and have them create a simplevisual pattern that they repeat many times. Ask them to have 3-5 different types of lines, shapes or colors intheir pattern. Make sure they establish an order of lines, shapes and colors that is repeated. Some studentsmay wish to cover a full sheet of paper or construction paper with their visual pattern. It is a good ideato play the music of Mr. Ortiz as they work, to give them added inspiration.

• Display your students’ projects when completed.

• Using some of the questions below, ask students to discuss their work and the work of their peers.

EXTENSIONS:

• Use stencils and paint to create a class mural of patterns; or paste patterns onto long strips of fabric orconstruction paper and group together in a hanging.

• Use a full nursery rhyme and clap the rhyme first with words, then just with rhythmic sound. Try puttingthese patterns in the feet, adding movement.

• Create a visual pattern using hands, feet and fingertips in different colors.

VOCABULARY: rhythmic pattern, design, Call and Response, musical tone, tempo, tone color (timbre),lines, shapes, colors

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe either a musical or visual pattern and show three examples.

DISCUSS: Discuss the things you liked about the pattern you designed.

CONNECT: Discuss ways that you can create patterns with numbers, words, houses, gardens, etc.

6

LEVEL II Sample Lesson

INTRODUCTION:

How does an artist select titles for each piece of music he/she composes? Dr. Ortiz draws from his per-sonal experiences in thinking of some of his titles. For example, one piece is dedicated to his wife, whosename is Luz Marina - light from the sea - so he chose that as a theme and title. In another instance, thecomposer and his wife share a long-standing custom of looking at the moon and telling each other: “Teregalo la luna” or - “I give you the moon.” He took this idea and composed a song, using that title andthe images of the moon, to celebrate their 20th wedding anniversary. Another piece, The Butterfly Trees,was inspired by a visit to Santa Cruz, California, where he saw thousands of Monarch butterflies whichappeared literally as “a carpet of wings covering every leaf and branch of the tree.”

OBJECTIVES:

Students will be able to:

• Create titles for different selections of music. (Artistic Perception)

• Design a CD cover to convey the images of a song. (Creative Expression)

• Demonstrate a basic knowledge of some of the ways that composers find inspiration for their music andtitles. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® audio recording of Joropo Azul and Zayante.

• A variety of instrumental music that displays a contrast of rhythms, qualities and moods.

• Paper, preferably the size of a CD cover, and pencils, crayons or markers.

PROGRESSION:

• Give some background information on Alfredo Rolando Ortiz and his music (see Unit pages 1-2).

• Play the Artsource® audio cassette recording of Joropo Azul and Zayante. Ask students what images cometo their minds as they listen to the pieces. If they could give each piece a title, what would it be? Whatimages, colors and designs would they create for the CD featuring one of them.

ENDURING VALUESTITLE A SONG

MUSIC

Orchestral harp

7

• Now play a selection of three other pieces of music. Make sure that they each have different moods andqualities and are strictly instrumental. Ask students to select one piece that appeals to them. They are togive the piece of music they selected a title and then plan a CD cover to illustrate it.

• Pass out the materials and ask the students to begin their project. The title can be small or large, butmust in some way connect to the drawing of the scene or images that express the title.

• Display and share the work of the class. Use some of the questions below to begin a conversation aboutthe different interpretations.

EXTENSION:

• Write a poem that depicts the images you associate with the piece ofmusic. Read the poem as the music plays in the background.

VOCABULARY: pattern, CD, image

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the music you selected so that someone know-ing nothing about it would have an idea of what it sounds like. Thinkof adjectives that could describe it (joyful, eloquent, intricate, precise,flowery, light, lively, courtly, busy, etc.)

DISCUSS: Discuss the images that came into your mind as you lis-tened to the music.

ANALYZE: Look at the different interpretations for the same piece ofmusic by different students in the class. Discuss and analyze why the images were the same or different.

CONNECT: Think of other things that people give titles to, such ascars, businesses, animals. What purpose does a title have in identify-ing an object or concept? What meaning does it convey?(metaphor/symbol)

8

LEVEL III Sample Lesson

INTRODUCTION:

The harp, a multi-stringed instrument, is an ancient invention that may have begun with the sounds ofthe hunting bow thousands of years ago. People realized that the vibrations of a string, held securely atboth ends, could produce sounds. Stringed instruments function according to precise mathematical andphysical principles. The length, thickness and tension of the string determines the pitch and quality ofsound that will be heard.

OBJECTIVES:

Students will be able to:

• Construct a basic stringed instrument. (Artistic Perception)

• Discuss the relationship between sound and the principles of physicsthat produce sound. (Artistic Perception)

• Demonstrate a basic knowledge of the history of the harp. (Historicaland Cultural Context)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® audio recording of Joropo Azul and Zayante.

• Photos of stringed instruments (harp, violin, viola, cello), if available.

• Each group will need: one 9" x 12" sheet of peg board, 16 golf tees, rubber bands, fishline or thin wire,two stacks of books about 6 inches high.

PROGRESSION:

• Share with students some of the basic principles of sound production.

vibration - is needed to produce soundpitch - tension and length of string affects frequencies of sound wavesamplification - a soundbox is needed on a stringed instrument; the initial vibration must echo through a larger space in order to be heard over a distanceharmonics - fractional equivalents on the string that produce octaves, fifths and additional

intervals when the length of the vibration is interrupted

• Give some background on Alfredo Rolando Ortiz (see Unit pages 1-2) and play the two pieces of musicfrom the Artsource® audio. Ask students to pay particular attention to the different pitches and durationsof sound they hear.

ENDURING VALUESBUILD A RUBBER BAND HARP

MUSIC

Photo courtesy of Alfredo Ortiz

• Discuss the characteristics of the harp (see page 3) and other stringed instruments (violin, viola, cello,double bass, guitar, mandolin, etc.). If you have photos of these instruments, show them to the students.Ask what characteristics they have in common and what is unique to each.

• Guide students in constructing a simple rubber band harp. They will need the following materials:

9" x 12" sheet of peg board16 golf teesrubber bandstwo stacks of books about 6 inches high

• Work in small groups. Stack the books, and set your peg board on top. Install a row of 8 pegs acrossthe bottom of the pegboard. Then install a diagonal row of pegs in ascending order toward the top ofthe board. Stretch the rubber bands vertically across the two rows of pegs.

• Experiment with the sound you can make with the different lengths of stretched rubber bands, fishlineor thin wire. Think of some of the following questions. How does the length of the string affect pitch?How does the tension of the string affect pitch? Can you play a simple tune? If you have access to stringedinstuments, how does the construction of the instrument affect the sounds?

• Share findings from your experiment with other groups.

EXTENSION:

• Ask students who play a stringed musical instrument to bring it to class and show it and play it for theother students. Ask them to pay particular attention to the sound box and arrangement of the strings, aswell as the thickness of the strings. Do the strings vary in thickness? Ask the student who owns the instru-ment to show the class what happens when the strings are tightened or loosened and how the musiciancontrols that aspect of the instrument.

• Use new or old guitar, violin or cello strings or different thickness of bendable wire as alternative ‘strings’on your harp. Work with them until you can achieve a high quality of sound. Try pressing down on thestrings at different points to see if you can change the pitch.

VOCABULARY: stringed instruments, vibration, tension, duration, pitch, amplification, harmonics, intervals

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe, in your own words, the principles behind a person's ability to produce and hearsound.

DISCUSS: Discuss the main ideas you learned from this construction of a rubber-band harp.

ANALYZE: Discuss the main differences between the instrument you made and a professionally-madeinstrument.

CONNECT: What are the differences in the way sound is produced by stringed instruments comparedto wind and percussion instruments?

9

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ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

Artsource® highlights works of art and artists of stature from diverse cultures.

It represents early to contemporary art forms in the disciplines of

dance, music and theatre

and complements the programs and performances

of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication.

Artists present their perceptions, reflections, and points of view which

influence, and are influenced by, the culture and period of time in which they exist.

I n t r o d u c t i o n

Project Director Melinda Williams

Project Coordinator Susan Cambigue-Tracey

Writers:Dance Susan Cambigue-Tracey

Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield,Barbara Leonard, Melinda Williams

Music Rosemarie Cook-GloverEd Barguiarena, Susan Cambigue-Tracey, Barbara Leonard,

Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke

Theatre Barbara LeonardKathryn Johnson

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The Music Center of Los Angeles County wishes to thank the artists featured in this publication for their outstanding artistry and

their generosity in allowing us to share their creative spirit in the classroom.

Sincere appreciation is also extended to the members of the Center’s Board of Directors and Education Council for their guidance in developing

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