DEMO DIGITAL PROJECT M
E
12
INCLUDED ON
TH LICE
NC
5
PRIMARY
MUSIC l
a ol b
n o G cti a
What are we going to learn? LEARNING SITUATION TARGET IN ACTION SDG
1
Music without borders
PAGE
Create a playlist with your favourite music and find a way to get it to children who haven’t got internet access.
8
Industry, innovation and infrastructure
2
Listen to the water’s song!
PAGE
30
Think about how we can raise awareness in our school about the responsible use and consumption of water. Make up the lyrics to a song about it that you can perform at a school festival.
Clean water and sanitation
3
Music to understand us!
PAGE
52
Class discussion on gender equality in current music. Researching and creating a small collage with images of some Spanish and Latin American female singer-songwriters.
Reducing inequality
PERCEPTION AND ANALYSIS
• • • • • • •
Sound and silence. Auditory discrimination of the qualities of sound. Nuances of intensity: “Farruca”, El sombrero de tres picos, Falla. Identification of dance styles and follow-up of form in a stick dance. The bouzouki in traditional Greek dances. Difference between a bar or measure, rhythm and beat. Perception of the stressed syllable of words. The accent. Time signature: Duple, triple, quadruple in musical fragments. (Annen Polka, Strauss; Minuetto, Boccherini; Andante cantabile, Fa Mayor, Op. 3, nº 5, Haydn). • Reading and writing of rhythms schemes. • The oldest written melodies: the Hymn to Nikkal and the Seikilos Epitaph.
• Auditory recognition of simple notes. • Wind instruments (wood and metal) and percussion instruments (defined and undefined pitch) • Intervals: definition and identification of different types. • Power chords as a simple form of accompaniment with bar percussion instruments; types. • Roles of staging professionals in the theatre. • Scenic spaces throughout history. • A musician and poet: Ziryab. • Instruments of Spanish folklore with oriental roots. • Professions in a orchestra. • Basic guidelines for the corporal expression of rhythmic movement and dance.
• • • • • • • • • •
Active listening: Canción de la Infanta, Pauline García-Viardot. Symbols of prolongation: tie and dot. Intonation of sentences that express the speaker’s attitude. Musical fragments for the identification of bars. Minstrels: promoters of romances, poems of popular origin. Drawing melodic lines that match the speaker’s attitude. Application of the bar line in the rhythms of different bars. Auditory identification of two string instruments: the vihuela and the guitar. Singing, dancing and guitar playing artists that make up the flamenco scene. Identification of the rhythmic and melodic motif.
CREATION AND PERFORMANCE • Songs: The cave, Tafta hindi, Playing instruments. • Prosodies to accompany with body percussion. • Vocal interpretation and creation of musicograms using unconventional symbols. • Accompanying the notes MI, SOL, LA. • Interpretation using percussion bar instruments: The cave, Tafta hindi. • Percussion accompaniment: Playing instruments. • Practicing accent or stress. • Dance interpretation: The Little Bird (stick dance); Syrtaki Parapoñota (Greece). • Building an instrument to accompany a carol.
PLAY THE PART!
Secret rhythms • Creation, in groups, of a secret code and graphic document with symbols and musical notes. • Creation of a quadruple metre rhythm using a secret code agreed upon by the group. • Swapping rhythms with the other groups to be deciphered and interpreted using small percussion instruments.
• Songs: I invite you to play, I freeze like a statue. • Improvisation and creation of rhythmic movements: the Roman Saturnalia. • Performance with bar percussion instruments (power chords). • The body as an instrument of expression: the Roman Saturnalia. • Active listening: Persian March, J. Strauss jr. percussion accompaniment. Tremolo practice. • Creation of small choreographies to accompany Andalusian music. • The body as an instrument of expression: dramatization of In a Persian market.
Preaching from the rooftops • Group research on ‘pregones’ or street crying songs, their characteristics, the functions of the street crier in the Community. • Creation of an advertisement related to the school in the form of a public address by a street crier. • Pooling of the street cries with the rest of the class.
• Songs: The mistery of history; Tengo los ojos azules (zorongo); Arirang (traditional Korean). • Collective interpretation of a dance: Tzadik Katamar (Israel). • El Conde Flores romance. • El llivre Vermell. The canon. • Interpretation with voice, recorder and bar percussion instruments: Arirang. • The body as an instrument of expression: rumba. • Collective interpretation of a dance: Spanish Rumba. • Performance with percusssion bar instruments: Tengo los ojos azules. • Danza de las hachas, Joaquín Rodrigo.
Composing a piece Creation of a duple metre rhythm using the notes proposed. Invention of a melody from the rhythm created with the sounds of the pentatonic scale. Creation of a melody in groups based on individual proposals. Choosing instruments for the group.
• • • •
Rehearsals
PAGE
74
The notes SI LA, SOL, MI, RE • Presentation of the note RE. • Snow in my window. • Alphabet soup. The notes DO’, SI, LA, SOL, MI, RE • Presentation of the note DO’. • Pirate’s dance. • Bang’s tower. The notes RE’, DO’, SI, LA, SOL, MI, RE • Presentation of the note RE’. • Day and night. The notes RE’, DO’, SI, LA, SOL, FA, MI, RE • Presentation of the note FA. • Night-time brushstrokes. • The bus blues. The notes RE’, DO’, SI, LA, SOL, FA, MI, RE, DO • Presentation of the note DO. • The thinker. • Santa María, Strela do día. The notes RE’, DO’, SI flat, LA, SOL, FA, MI, RE, DO • Presentation of the note SI flat. • Flat SI. Positions of the notes on the recorder
1
Music without borders
Since the beginning of time, human beings have built and developed new objects to make their work easier and to improve their quality of life. Ancient civilisations, such as the Phoenicians, the Iberians and the Greeks, left us technological advances that today are a testimony of their culture.
What do you think? Is it easy to access the music you like without internet? And when you want to discover music from other countries such as Japan, India or Argentina?
Data
Target in action Create a playlist of your favourite music and find a way to get it to children who haven’t got internet access.
8
A significant part of the world’s population hasn’t got an internet connection.
9
9
PERFORMANCE
The Cave 1
Listen, sing and accompany. We’re entering the cave now,
We find rocks and little pebbles,
Marble statues all around me,
we’re going to look around.
bits of wood among the mud.
hammer, chisel and a brush.
I see some good materials.
Then I see a shadow coming!
Oh, the sculptor is a vampire
Why are they lying all about? (repeat)
I think I just had enough!
I am leaving in a rush!
Chorus
Chorus
Chorus Soprano
High and low
10
U1
M U S I C A L L A N G UA G E
The qualities of sound Music is the art of combining sound and silence in a creative way. All sounds have got different qualities.
1
Silence is the absence of sound.
Questions bag
Observe, read and learn how sound is produced. Talk about it in class.
Nature is full of sounds.
Therefore, absolute silence doesn’t exist.
Everything around us vibrates when moving or when coming into contact with other bodies. Sound travels in waves through air, water, and some other mediums.
Any sound that we hear has four qualities: duration, timbre, pitch, and intensity.
Our ear detects these waves, identifies their qualities and creates an auditory sensation in the brain.
11
M U S I C A L L A N G UA G E
The qualities of sound 1
2
Relate and unite: which quality of sound tells us... ... if a sound is high or low?
...if a sound is long or short?
Duration
Timbre
...if a sound is loud or soft?
Pitch
Intensity
Listen and number in the order that you hear them. Write at least two qualities that you perceive in the sound of each of the instruments. Flute:
Cello:
Violin:
Drum:
12
... what source does the sound come from?
U1
M U S I C A L L A N G UA G E
Intensity Nuances of intensity
The intensity of a sound can be soft or loud. Composers use intensity contrasts to enhance the expressiveness of text and music. The conductor uses gestures to indicate intensity so that the musicians can interpret the melody.
Between the two types of intensity, soft-loud, there are different nuances.
1
Observe and complete with nuances of intensity. Listen and move your arms as if you were the conductor of the orchestra.
Pianissimo ()
very soft sound
Piano ()
soft sound
Forte ( )
loud sound
Mezzo forte () medium sound
Fortissimo ( )
very loud sound
Very soft sound
Soft sound
Medium loud sound
Manuel de Falla (1876-1946)
Loud sound
Very loud sound
‘Farruca’ El sombrero de tres picos This Andalusian composer, born in Cádiz, is one of the most important musicians of Spanish music.
13
PERFORMANCE
Body percussion The beat is the pulse of the music. It generates the rhythm. Rhythm is the result of combining musical notes and is closely related to beat.
4 4 {
q
Look
4 4 {
q I
fo - llow
{
4 4 {
{
I
rhythm well!
It re - so - nates through all the cave.
14
d
q
d+i
i
Rehearse them with the help of the prosodies. Write the missing rhythm.
q
1
Pulse
q
4 4 {
You
am
ben - ding
must ne - ver lose
q
q
Rhythm
q • •
q
q qqqq q q q q q •q q • • • • •
q
4
Bar (or measure)
Look at the stems to interpret clapping.
my
q
{
knees.
the beat.
{
U1
MUSIC AND MOVEMENT
The stick dance 1
Observe and learn the basic movements to the stick dance.
Individual
In pairs
Hit the sticks together.
2
Hit inwards, diagonally.
Hit outwards, diagonally.
Hit in a cross (✘), with the right and left hand at the same time.
Listen to The Little Bird. Accompany with sticks when you hear the dulzaina.
Introduction Individual
Stick dance 1
2 q 4
2 q 4
1st time: rows facing each other 2nd time: partner next to you
Stick dance 2
q q q q
FORM
I
P1
I
Voice P1 P2 P1 P2
q q q q q q q q q ✘
✘
✘
✘
✘
✘
2 q q q q q q q q q q q q q qq q q qq q q qq q q qq q q 4
1st time: rows facing each other
✘ ✘ ✘ ✘
✘
To dance these traditional dances, you can use two cardboard tubes or small plastic bottles as sticks.
15
LISTEN
Dance styles Dance is as old as humanity. Human beings have used body movement as a form of expression and communication since prehistory. Dance is linked to music: a certain style of dance is usually associated with a musical genre.
In ancient cultures, such as the Iberian culture, any important celebration was accompanied with music and dance.
Dance scene. San Miguel de Liria ceramic vessel (Valencia). Iberian ceramics (2nd century BCE).
1
Listen and match each dance style to the music. Number in the order you hear them.
Rock and roll
16
Classical music
Traditional music
U1
MUSIC AND MOVEMENT
Greek dance 1
The bouzouki is the most representative instrument of modern Greek music. It is usually used to accompany traditional dances.
Listen, learn and dance the Greek dance Syrtaki Parapoñota.
Starting position
Introduction
Without moving from the spot and with your feet together, raise and lower your heels.
Form an open circle, holding hands, with your forearms raised.
4 4
Movements
Take four steps to the right, bringing your feet together on the fourth step.
4 4
d.
i.
d.
( ) i.
(Ò8)
Take four steps to the centre. Move the left foot up and back on the fourth step.
q
d.
q i.
q
d.
q
( ) i.
Take four steps backwards, starting with the left foot, and bring both feet together on the fourth step.
q
i.
q
d.
q
i.
q
( ) d.
17
¡
¡
RT! P L A Y T H E PA
Secret rhythms
Write around
STEP 1
STEP 2
Form groups of four and decide which symbols you will use in your secret musical code. For example:
Create a four-bar rhythm, with the secret code you have invented. Draw a bar in each rectangle.
q
= =
q qqq qq
=
=
Draw the symbols you have chosen for each of the musical notes and create the secret code.
18
U1
Reflect on your experience of creating a secret musical code.
• Was it easy to create a musical code in a group?
STEP 3 Swap the rhythm and the code with another group to decipher it. Decipher the secret code of the other group and write the rhythm with the musical notes. Play it with a hand percussion instrument.
• Why?
• Mark with a
✔ which actions help teamwork.
Creating my own code
Speaking in turns
Taking group suggestions into account
Avoiding participating
19
SONG
Tafta hindi 1
Listen and sing. Move in a line clapping the beats. Tafta hindi, tafta hindi
Indian silk and Indian cotton
shash hariit ia banat.
buy in this flea market now!
If ta juuli ia sabaaia
They are silver, they are golden,
uala jushmi nishibeg. (repeat)
you can try them on right now. (repeat)
q q qqqq
4 q 4 2
Listen and accompany with the bar instruments.
FORM
AA
Soprano
4 ΠΠ&4
High and low
& ™™ ˙˙ & ™™ ˙
œœ œœ ˙˙
˙
˙
silk and In in - dias te--dian las
In Te- dian las
B B
˙˙
4 ΠΠ&4
œœ œœ ˙˙
20
˙
˙
buy in va - mos
˙
˙
˙
da_y taon-right se fe - now. tán. try- them
˙
˙
œœ œœ ˙˙
˙
B
B
(Ò 3)
œœ œœ
this flea mar - ket- prar. now! Son They do areto a com - dos
œœ œœ œœ œœ œœ œœ ˙˙
ra a - das, de - te sil--das, ver pla - den son they are- gol you can
˙
co tton in -- dias
œœ œœ ˙˙
A
END FIN
˙ ˙˙
™™ ˙˙ ™™ ˙
(Son do) -
Ó
-
˙
Ó
œœ œœ
Te--dian las In
Ó
D.C to A Back
TOTAL 3
U1
M U S I C A L L A N G UA G E
Notes and rests
Remember the duration of the notes and their rests.
The duration of a sound is represented in writing using notes and rests. Each note has got an equivalent silence of the same duration. The crotchet, which is taken as a reference, lasts for one beat.
1
Look at the musical coins and their values. Write the equivalence of each chest.
=
=
Equivalent to
Equivalent to
=
q
=
=
Equivalent to
Equivalent to
Name Semibreve (4 beats) Minim (2 beats) Crotchet (1 beat) Quaver (1/2 beats) Semiquaver (1/4 beats)
Note
Rest
q
2 Read and write the answers.
• A semibreve lasts minims,
• The
beats. It has got the same duration as crotchets,
quavers and
semiquavers.
has got the same duration as eight semiquavers.
21
M U S I C A L L A N G UA G E
Stress or accent When we pronounce a word, we always give special emphasis to one of the syllables. It is called tonic accent or prosodic accent. The syllables that are emphasised are stressed. Those that aren’t emphasised are unstressed. That ‘natural’ rhythm of the words facilitates the musical rhythm.
1
Observe and interpret the prosodic rhythm with claps.
One syllable
✷ fish
Three syllables (bass)
Two syllables (high pitched) Two syllables (bass)
✷✷ music
✷✷ device
Three syllables
✷✷✷
knows how to speak, but its eyes are missing and it can’t peek.
22
fantastic
classical
2 Recite the following couplet and paint an orange star on the accent of each word that has got more than one syllable.
This guitar that I’m playing
✷✷✷
Three syllables (high pitched)
✷✷✷ understand
Before the existence of the guitar, Phoenicians, Tartessians, Celts and Iberians played lyres and harps.
U1
M U S I C A L L A N G UA G E
Time signatures 1
Read and remember the time signatures. Practice them with a tennis ball. Duple
The beats are grouped together to form a bar.
1 2
Triple
The first beat of each bar is the one with the accent.
2
2
1
Quadruple
The sign indicates which beat has got an accent in the score.
3
1
2
3
4
Read and complete freely. Listen and interpret the rhythms following the beat of the music.
2
qqqq
qq q
q
3
q
qq
q q q q q q q q q q q qqqq
q
4
q
N AT I O N USE YOUR IMAGI
q
q qqqq q q
q
q
3 Create and write a melody using the notes MI, SOL, LA. Interpret.
34 &
23
SONG
Playing instruments 1
Listen, learn and sing the Christmas carol. Accompany with percussion. Oh come, oh come little shepherds,
The ox and the donkey are nice and warm,
the baby is waiting for you tonight.
in their bed of straw and hay.
Bring fiddle and horn to the stable,
They keep the family company,
sing joyfully to the little child.
in Bethlehem on this special day. Chorus
Play and dance with the castanets. Play your fiddle and blow your horn. Sing together the Christmas carols.
The happy shepherds bring lambs and sheep!
A special baby is born.
The dog and the cattle, they come too.
3 q qq q 4 3 q q 4 2
Listen and choose three instruments from the Christmas carol. Write their names and draw them.
24
Every creature in harmony, Up in the sky, there’s a star in view. Chorus (repeat)
In Phenicia, we also played the tambourine.
U1
PERFORMANCE
Accompaniment with percussion 1
Listen and accompany the Christmas carol as indicated.
3 q q q q Q{
Big Bel- ly John
3 q Q{
Pan,
3 q Q{
Toon,
q
car-
q
Bong.
q
pan,
q
toon.
q q q q
q {
Big Bel- ly John
Bong
q
q { Pan.
q
q
play
Pe-
ter
q
q
Toon,
car-
q { toon.
2 Look and make an instrument from walnuts.
Prepare
Make
Rehearse
Stick the walnut shells to the board as shown in the image. Then decorate the instrument to your liking.
Hold the instrument with one hand, and with the other hand scratch the walnuts with the wooden stick.
Wooden stick Coloured markers Walnut shells Wooden board Glue
25
M U S I C A L C U LT U R E
Music in ancient times 1
Read and answer the questions.
The Tambourine, your digital music magazine
What is the oldest melody in the world?
Music archaeology has deciphered two important finds that turned out to be the oldest musical pieces in history.
The Hymn to Nikkal, goddess of the Phoenicians, is considered to be the oldest musical work, although it isn’t complete. It was written around 1400 BCE. It is made of clay tablets. A prayer and some symbols, which represent sounds, are engraved on them. It has got instructions on how to play the melody on the harp or lyre.
• The most recent composition is • On what material was the Hymn to Nikkal made? • An epitaph is • Explain similarities between both pieces.
26
The Seikilos Epitaph is the first complete musical work known. An epitaph is a short text written to remember the deceased. This epitaph was placed by order of Seikilos on his wife Euterpe’s tomb in around the 2nd century BCE. It appears on a marble column with a Greek text engraved. There are letters and signs that indicate the pitch and duration of the sounds.
The Hymn to Nikkal is very valuable. It is the first time that music was written.
The Seikilos epitaph is the first known sheet music with signs marking pitch and sound duration.
U1
I N T O N AT I O N
Voice musicogram 1
RQAS
Look at the musicogram and interpret it with your voice.
N AT I O N USE YOUR IMAGI
2 Explore new symbols and create your own musicogram. Perform it in front of the group.
27
What have I learned?
if you know the answer if you needed help
1
if you haven’t been able to answer it
Read and complete.
• Sound travels in waves through
,
,
and some other mediums.
• Any
we listen to has got four qualities: ,
, and
• The beat generates the
.
, .
2 Look and write the corresponding bar. Play with percussion.
q
3
q
1
q qqqq q
q q q qqqq q q
2
q
P O P O R R T F O L I O
Colour like this:
q qq
q qqqq qqqq q
q qqqq
3 Read, match and write under each star code the word it corresponds to it according to its accentuation.
28
Guitar
Conductor
Tambourine
Musical
✷✷✷
✷✷
✷✷✷
✷✷✷
Review the essential concepts of the unit at anayaeducacion.es.
U1
How have I learned?
T TARGE N IO IN ACT
1
Arrange your favourite songs in a playlist. On a timeline, indicate the order of steps you would follow to send them to a group of boys and girls who haven’t got internet access. You can use the following graphic organiser.
Asign the 180° on this protractor between these three musical abilities, depending on how well you have done in each one of them.
Timeline
How can I justify my project?
50
Interpretating using a bar instruments
60
70
80
90
100
110
12
0
Movement and dance
13
0
170
20 10
160
180
0
0
What NGOs work in the area and how can I contact them?
15
30
0
14
40
Where do they live?
Interpretating songs
In what format can I send the songs and how?
29
2
Listen to the water's song!
Water is a precious natural resource. It is key to humanity's development. For this reason, since ancient times, settlements are always located close to geographical areas that have got an abundance of water. Water is necessary for irrigation, consumption and as a means of communication.
What do you think? Why do you think it is important to treat water? How much water do you think is needed for an outdoor music festival?
Data
Target in action Think about how we can raise awareness in our school about the responsible use and consumption of water. Make up the lyrics to a song about it that you can perform at a school festival.
30
Music festivals produce an enormous waste of water; as well as large amounts of plastic waste from bottled water.
6
SONG
I invite you to play 1
Listen, sing and accompany. I invite you to play at school everyday. Here improvising, you'll feel okay. I invite you to dance, if you have a chance. Around this big planet you’ll live a romance. I invite you to sing, your friends you may bring. All voices together from summer to spring. I invite you to dance, if you have a chance. Around this big planet you’ll live a romance.
4 q q q q q q ¿l q q q 4 foot
32
U2
M U S I C A L L A N G UA G E
Musical form
Capital letters are used to differentiate the parts of a work.
Form is the structure of a musical work, that is, the way in which it is organised. The most common forms are simple forms. They can't be broken down into smaller forms. The main ones are: • Bipartite or simple binary (AB). • Tripartite or simple ternary (ABA). • Rondo (ABACA…). • Ostinato (AAA…).
1
Observe the structure of these Roman constructions. Match with letters. Complete and write the musical form as appropriate. Puzzles
A
2
B
A
B
B
C
A
Listen and number in the order you hear them.
Ostinato
Rondo
Bipartite
Tripartite
Bolero,
Vienesse Musical Clock,
Contredanse n.° 8,
'Pizzicato',
Maurice Ravel
Zoltán Kodály
Ludwig van Beethoven
Ballet Sylvia, Léo Delibes
33
MUSICAL INSTRUMENTS
The family of wind instruments 1
Read, number and write the name of each instrument.
Musical group
Decibeliux Look for musicians who can interpret: 1. AULOS: Woodwind instrument made up of a double tube, each with a double reed. 2. ROMAN TUBA: Straight brass military trumpet. 3. LITUUS: Long bronze trumpet bent at the end in the shape of a J. 4. CORNU: Brass instrument that curves around the musician's body in the shape of a G.
2
Listen and number in the order that you hear them. Write the name of each instrument and the wind family to which it belongs: wood or metal.
34
Both Roman women and men sang and played instruments.
U2
MUSIC AND GAMES
The Roman Saturnalia Current carnivals may have their origin in Saturnalia, the Roman festivals in honour of the god Saturn. There was a great banquet and everyone was invited. They were days of celebration, the exchange of gifts, games... with lots of dancing and music.
1
Pantomime was common in the Roman theatre. It consisted of acting with gestures and movements but without using words.
Listen to the music and act out in pantomime the following scenes from the Roman Saturnalia.
The sound of the Roman tubas announces the start of the festivities. People on the street join the musicians with joy.
An offering to the god is celebrated in the temple of Saturn. Afterwards, a banquet takes place.
The participants arrange themselves in a circle and, in turns, one improvises movements and the others imitate the sound of music.
2 Improvise and accompany the music with one of these instruments. Write their names.
35
M U S I C A L L A N G UA G E
Interval
The interval type is named with ordinal numbers (3rd, 4th, etc.), indicating whether it is ascending or descending.
An interval is the distance between two musical notes. Distance is measured by counting the number of notes between the first and second notes that make up the interval, both included. The interval is ascending if the second note is higher than the first. It is descending when the second note is lower.
1
Look and complete by naming the ascending intervals.
&
DO
DO
Unison
DO
RE of 2.nd
DO
•
MI
of 3.rd
DO
• •
FA
DO
•••
DO
DO
DO
of 4.th
2 Look and complete the intervals.
&
Look at the example.
FA
2.
nd
SOL
ascending
&
FA
3.rd ascending
&
36
MI
&
&
5.th ascending
&
LA
4.th descending
&
U2
PERFORMANCE
Accompaniment with a power chord
A power chord always gives rise to an interval of a 5th.
The melodies are embellished when they have instrumental accompaniment. The simplest accompaniment is the power chord, which is made up of the 1st and 5th notes of a scale. Thus, the RE power chord is formed with the notes RE (I) and LA (V).
Learn and practice different power chord to interpret with bar instruments.
4 q q & q q
Alternated power chord
4 q
A2
q
& q
q
q q
A3
Jumping power chord
4 q qq & q q
Listen to the melody From art to art. Accompany part A with the previous chords and parts B, C and D with body percussion. B C D
4 q
2
Simultaneous power chord
q
4
& qq qq
q q q q qq q q q q
& q
q
q
4
q
q
q
q
q q q q
Crossing power chord
4
& q q
q
Avoid wasting water.
q
3 Learn and practice the following power chords. Write the names.
A4
q
A1
q
1
q q qq q q q q 37
q
P E R F O R M A N C E A R T S A N D C U LT U R E
Staging To prepare a stage performance, we need to know how it will be staged. For this, we need to know what each theatre professional does and how they distribute and organise everything that happens on stage.
We mustn't forget the playwright, who is the person who writes the literary texts to be represented on stage.
Staging
1
Direction/ organisation
Set design
Interpretation
Characterisation
Technical work
Theatre work
Director; stage manager.
Set designer (sets, sound, lighting, costumes...).
Actors and actresses, musicians, dancers...
Makeup artists, tailors, hairdressers.
Lighting technicians, stagehands, technicians and sound technicians.
Ticket clerks and ushers.
Read the definition and write the correct name. Person who accompanies spectators to their seats. Person who dresses, puts on make-up or does the hair for the actors and actresses. Person who handles set changes and special effects. Person who supervises and directs the staging of the play. Person who plays a role in theatrical performance. Person who writes the scripts of the texts of the play. Person who designs all the sets for the theatrical performance.
38
U2
P E R F O R M A N C E A R T S A N D C U LT U R E
The history of the stage 1
Read and learn.
In ancient history
In churches
In porticoed atriums
Theatrical performances began more than 2000 years ago. The Greeks and Romans built the first theatres. Shows are still performed there.
Theatrical performances declined in the Middle Ages but they later reappeared inside churches and with religious themes.
However, the clergy didn't want the show to be more important than prayer. For this reason, the representations began to take place outside of places of worship, in the porticoed atriums.
In squares and streets
In ‘corrales de comedias’
In theatres like the current ones
Wider spaces were looked for and performances began in squares and the streets. The stages were carts or portable platforms and the sets painted fabrics.
Interest in the theatre became a business and the public began to be charged for admission. Closed places were necessary, sheltered from bad weather and street noise.
The representations were consolidated in such a way that theatres as they are known today began to be built, each time equipped with the best technological advances.
39
¡
¡
RT! P L A Y T H E PA
Preaching from the rooftops
Write around
STEP 1 Form groups of four and investigate what a 'pregón' or street cry is. Discover its characteristics, what functions the 'pregonero' or street crier had and how, since ancient Rome, a 'trumpet' announced their cry. Find out what the characteristic intonation was like in your community.
STEP 2 Now that you know what a street cry is, you are going to create one. Think about what kind of announcement about school you can make and write it on an A4 card. Remember the information you found.
STEP 3 Rehearse using the characteristic intonation. Then, roll up the card and tie it with a bow and string.
40
U2
Draw the face according to how you felt during the activity.
STEP 4 Finally, share your street cries with the rest of the group. In turns, unroll the street cry and a representative from each group will read it, accompanying it with a class instrument.
Indifferent
Sad
Scared
Happy
Surprised
Investigating the street cry.
Creating it in a group.
Announcing it.
Listening to other groups.
41
SONG
I freeze like a statue 1
42
Listening, learn and sing. We are here to pose today,
A new pose today we’ll choose
because a picture he will take.
while the teacher plays the blues.
But it’s not a photograph
We’ll look at everybody’s faces
Group 2
nor on canvas will he paint.
and we’ll look at how they walk too!
Everyone
In the posture that we choose
In the posture that we choose
we’ll be petrified, ok?
we’ll be petrified, ok?
And he gives us two long bars
And he gives us two long bars
to think and play. One! Two!
to think and play. One! Two!
I freeze like a statue… (×6)
I freeze like a statue… (×6)
Group 1
U2
MUSIC AND MOVEMENT
Andalusian music Andalusian music emerged in Al-Andalus during the Arabs period on the Península (from the 8th century to the end of the 15th century).
The musician and poet Ziryab laid the foundations of Andalusian music. People called him 'black bird' because of his brown skin and his sweet and melodious song.
It was born from a fusion of Arabic music from the East and music from the Península Ibérica.
1
Explore different movements to express yourself with your body. Listen and move to the music.
Move freely around the classroom and use your body to express yourself.
Move quietly around the classroom, without brushing against anyone.
Link movements of different parts of the body, in the vertical, medium and horizontal planes.
Form different body shapes (ball, wall, arrow and screw) and vary them as the music unfolds.
43
MUSICAL INSTRUMENTS
Percussion family
Percussion is the oldest form of musical expression.
Percussion instruments are those whose sound is produced by being struck, rubbed or shaken. They are classified into two large groups: • Indefinite pitch: produce sounds that aren't recognised as notes. • Definite pitch: produce sounds that are recognised as notes.
1
Listen to the following instruments of indefinite pitch. Read and learn their names. 1. Kashaka
2
Preparing for the task
2. Darbuka
3. Djembe
Research and write the names of these definite pitch instruments. Listen and circle the ones you hear.
44
4. Caxixi
5. Cabasa
U2
3
Observe some instruments from Spanish folklore that have eastern roots. Listen and number in the order you hear them. Square tambourine
4
Kettledrum
Castanets
Listen and clap one of the following rhythms. 1
3 q q q 2
3 5
Clapping
q
q q
q q qq q
q qq q
q
In groups of four, research the above instruments. Collect the group information in a digital notes’ application. Give a presentation to the other groups.
45
M U S I C A L L A N G UA G E
The tremolo A tremolo is the rapid repetition of the same sound. It is usually represented with transverse lines on the stems of the notes: When a bar is the same as the previous one, this sign is sometimes used as an abbreviation:
1
Practice the following rhythms to prepare for the activity on the next page.
2 4
2 q 4
q
q
4 q q q q 2 q q q q
q
q
q
q
q q
q
q
q
q
q qq
q qq
q
2 q q q q q q q q q q q q q q q q q q q q q q 4 q q q q q q q q
N AT I O N USE YOUR IMAGI
2 Explore and create your own type of percussion for the rhythmic patterns of two pitches.
46
U2
PERFORMANCE
Persian march 1
Read the sheet music assigned to you. Follow it as you listen to the Persian March by Johann Strauss Jr.
Introduction
A
2 4
q q q q
q q q q q q q q q q
q q
q q q q q
q q q q q q q q q
q q q q q q q q q q
q q q q
q
FORM
I
A
B
C
C’
I
Bridge A
B
q q q q q q q q
B
q q q q q q q q
q q q q q
q q q q q q q q q q q q q q q q Bridge
C
C’
47
M U S I C A N D C U LT U R E
Musical professions 1
Order the letters to discover musical professions related to the orchestra. Which one do you identify with the most?
3
uctorcond
1 2
istsolo
4
1
iciansmus
3 leads the The performers in the execution of a musical work. He stands in the centre of the orchestra.
The is the creator of the musical work.
2
4 performs a The solo in the work, which is usually composed for his artistic brilliance.
48
posercom
The the musical work.
perform
The sound of water creates a special atmosphere in the dance, music and theatre shows that are held in the Generalife Gardens, in the Alhambra in Granada.
U2
D R A M AT I S AT I O N
In a Persian market 1
Dramatise the beat, while exploring this theatrical performance.
The camel drivers enter the market and place the merchandise on their stalls.
A snake charmer makes a cobra dance to music.
The beggars ask for alms with their song.
Trumpets announce the arrival of the caliph and his guard. They all bow to him.
The princess and her ladies search the market stalls for fabrics for a dress.
Seeing the caliph's retinue, the beggars head towards him to ask for alms.
Tightrope walkers and jugglers perform to the amazement of the people.
The princess does not find what she is looking for and is sad. Her ladies comfort her.
Albert William Ketèlbey (1875-1959) In a persian market He was an English composer, conductor and pianist. He became famous for composing music for silent films and instrumental pieces. The camel drivers collect their wares and slowly leave the market.
The princess and her entourage also leave the market.
49
P O P O R R T F O L I O
What have I learned?
Colour like this: if you know the answer if you needed help
1
Name the intervals and indicate whether they are ascending or descending.
if you haven't been able to answer it
& 2 Write the examples of the staffs indicated.
Simultaneous
Crossing
4 & 4 &
3 Write the name of each instrument and if it is of definite or indefinite pitch.
50
Review the essential concepts of the unit at anayaeducacion.es.
Jumping
Alternated
4 & 4 &
U2 T TARGE N IO IN ACT
How have I learned? 1
Order and write the following content. Think about which ones you are good at (your strengths) and which ones you need to improve (your weaknesses).
Make two lists. One highlighting the good use of water and the other highlighting its misuse. The mirror
Musical language
Try to make them rhyme and use them to make a song.
Accompan im
Dramatisation
Reflect on what the misuse of water is and its consequences.
ng
Discriminati sounds
ent
tation Interpre hms of rhyt
GOOD USE OF WATER 1.º 2.º 3.º 4.º BAD USE OF WATER
5.º
51
© GRUPO ANAYA, S.A., 2022 - C/ Juan Ignacio Luca de Tena, 15 - 28027 Madrid. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of the publishers.