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The Broad Stage presents
WICKED TINKERS
STUDENT MATINEE FRI MAR 13, 2020 10 AM GRADE 7 THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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Rob Bailis Director, Performing Arts Center EDUCATION & COMMUNITY PROGRAMS STAFF
Ilaan E. Mazzini, Director of Education & Community Programs Monica Sahagun, Education & Community Programs Manager Olivia Murray, Education & Community Programs Coordinator Mandy Matthews, Curriculum Consultant Sharon Hart, Educator Aaron Shaw, Artist EDUCATION & COMMUNITY PROGRAMS Phone 310.434.3560 education@thebroadstage.org thebroadstage.org/education THE BROAD STAGE 1310 11th Street Santa Monica, CA 90401 Box Office 310.434.3200 Fax 310.434.3439 info@thebroadstage.org thebroadstage.org
Education and Community Programs at The Broad Stage is supported in part by The Herb Alpert Foundation Johnny Carson Foundation City of Santa Monica and the Santa Monica Arts Commission The Rosalinde and Arthur Gilbert Foundation Leonard M. Lipman Charitable Fund Los Angeles County Arts & Culture The Ralph M. Parsons Foundation Sidney Stern Memorial Trust Dwight Stuart Youth Fund The Plaza at Santa Monica
THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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GREETINGS FROM THE BROAD STAGE! Dear Educators, The Broad Stage is excited to present a special performance of the Wicked Tinkers, the highly regarded pioneers of the growing Tribal Celtic music movement. You and your students will definitely enjoy the energetic, rousing sounds of bagpipes, tribal drums, and the bronze-age Irish horn as the Wicked Tinkers reimagine traditional Scottish and Irish music with fresh modern perspectives. This curriculum guide was created to help students appreciate the artistic and structural connections between music and literature, particularly poetry; to increase their understanding of the impact of immigration and cultural diffusion on American music; and to improve their critical thinking skills through the careful analysis of a musical performance. Lessons address specific California Common Core state standards for middle school EnglishLanguage Arts, History-Social Science, and/or Visual and Performing Arts. We invite you to use the lessons in your classroom before and after the performance to ensure your students receive the best arts experience possible. The principles of arts integration, social-emotional learning, and collaboration inform all four lessons in this guide. Students begin with an introduction to Celtic culture and the vocabulary common to music and literature through a close reading and discussion of the poem, “The Song of Wandering Aengus,� by noted Irish poet, William Butler Yeats. In the second lesson, students reflect on their own musical histories before they explore the impact of Celtic immigration on the development of American music from the 1800s to the present. The third lesson uses videos that feature a member of the Wicked Tinkers to help students identify the key characteristics in Celtic music including instruments and unique rhythmic patterns. Finally, students learn how to critically evaluate a musical performance using concepts such as the elements of music, aesthetic qualities, and human responses.
We hope that you will use all of the lessons contained in this guide to prepare your students to fully appreciate and enjoy the power and beauty of a live musical performance. Their field trip to The Broad Stage to see Wicked Tinkers is sure to be an experience they will not soon forget. Thank you for supporting the arts! Sincerely, Sharon Klein Hart 7th Grade Teacher, Lincoln Middle School
THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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CONTENTS LESSONS LESSON 1: Celtic Culture and Literature......................................................5 LESSON 2: The Impact of Celtic Immigration on American Music in the United States......................................................................................................10 LESSON 3: Celtic Music....................................................................................14 LESSON 4: Post-Show Performance Reflection.........................................17
HANDOUTS HANDOUT 1: Celtic Nations Map...................................................................20 HANDOUT 2: Vocabulary Terms....................................................................22 HANDOUT 3: “The Song of Wandering Aengus”.........................................23 HANDOUT 4: Exit Ticket.....................................................................................24 HANDOUT 5: Personal Music History Organizer...........................................25 HANDOUT 6: Irish Potato Famine Primary Sources....................................26 HANDOUT 7: Musical Multiple Choice............................................................28 HANDOUT 8: Celtic Instruments.....................................................................29 HANDOUT 9: Performance Reflection Form...............................................30 HANDOUT 10: Sentence Starters for an Academic Discussion...............32
ADDITIONAL RESOURCES Glossary.............................................................................................................33 What I Learned................................................................................................35 THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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LESSON 1: CELTIC CULTURE AND LITERATURE LESSON AT A GLANCE LESSON OBJECTIVE: Students will be introduced to Celtic culture through the poem “The Song of Wandering Aengus” by Irish poet William Butler Yeats. Students will investigate similarities and differences in vocabulary words common to both poetry and music. DURATION: 50 minutes, or one class period MATERIALS: Handout 1: Celtic Nations Maps, Handout 2: Vocabulary Terms, Handout 3: “The Song of Wandering Aengus,” Handout 4: Exit Ticket, Collections textbook, access to YouTube STANDARDS: CA VAPA, Music, Grade Seven: 5.1 Identify similarities and differences in the meanings of common terms used in various arts and other subject areas. CCSS Grade Seven, RL 7.1: Cite several pieces of textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. CCSS Grade Seven, RL 7.2: Determine a theme or central idea of a text and analyze its development over the course of the text. CCSS Grade Seven, RL 7.4: Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of rhymes and other repetitions of sounds (e.g. alliteration) on a specific verse or stanza of a poem. CCSS Grade Seven, RL 7.7: Compare and contrast a written story, drama, or poem to its audio, filmed, staged, or multimedia version, analyzing the effects of techniques unique to each medium (e.g. lighting, sound, color, or camera focus and angles in a film). CONCEPTS/VOCABULARY: Beat: Unit of measure of rhythmic time. Composition: Creation of original music by organizing sound. Usually written for others to perform. Diction: Word choice. Form: Organization and structure of a composition. Metaphor: Comparison of two unlike things without the words like or as. Rhyme: Repetition of sounds at the end of words. Rhythm: Combination of long and short, even or uneven sounds that convey a sense of movement in time. Simile: Comparison of two unlike things using the words like or as. Theme: A compositional form in which a theme, or main idea, is clearly stated and then followed by a number of variations. Phrase: A musical idea comparable to a sentence or clause in language. GUIDING QUESTIONS: What vocabulary words do poetry and music have in common? Why? How can poetic devices like rhyme be used to make a poem feel like a song? THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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LESSON PLAN Mini Lesson: Celtic Culture and Maps Project or pass out the unlabeled map on Handout 1: Celtic Nations Maps. Ask for volunteers to identify the places when you point to them on the map. Remind students that they may be familiar with this map from an earlier history unit (Medieval Europe). Once students guess the names of the places, project the labeled map. Ask for a volunteer to tell the class what word unifies all six places. Someone may guess “Celtic.” (Be sure to pronounce with a hard “k” sound.) Explain that these places are called Celtic because people from mainland Europe settled there thousands of years ago, and they once shared a common language and culture that historians call Celtic. Inform students that they will be seeing the Wicked Tinkers perform “Celtic Tribal Music” at The Broad Stage. Continue the conversation and ask students to share what they think “Celtic Tribal Music” means. Answers will probably be that the band plays music that originates in the cultural traditions of the countries/places they just identified on the map. They may also mention that the music emphasizes strong rhythms, probably with drums, etc. Give students an opportunity to share other words they associate with “Celtic.” They may come up with the basketball team, the Boston Celtics. Explain that in the United States (U.S.), the “C” became a softer “s” sound. Explain that historically many Irish and Scottish immigrants settled in Boston, which is probably why the team chose this name. You can mention that the musicians in the Wicked Tinkers are from the United States, and they connect with the traditions of the Celtic people because of their own cultural background or appreciation.
MAIN LESSON Now that students know which geographical places are “Celtic,” tell them that they will learn more about Celtic culture by reading a poem from Ireland. “The Song of Wandering Aengus,” is by one of the most famous Irish writers, William Butler Yeats. Share with students the background notes for the poem on page 71C, “Building Background,” in the Collections teaching notes:: “...many images and details relate to Irish folklore, the oral tradition of Ireland. For example, Irish folklore connects the hazel tree with wisdom, inspiration, and magic. The transformation of a sea creature into a beautiful woman also commonly occurs in Celtic folklore.” Ask students: Why are sea creatures common in Celtic folklore? (geography connection: lots of coastline) Have students discuss these questions in pairs or small groups: What do poetry and music have in common? Which do they prefer and why? After students share their answers, pass out Handout 2: Vocabulary Terms (only to be read). Have students read through the terms and ask them to discuss with a partner how the first six words could apply to poetry. Tell them they will have a chance to use the music terms later in the lesson to demonstrate their understanding of the poem. THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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Have students read the background and author information for “The Song of Wandering Aengus” on page 71 in the Collections textbook. (Note: Skip Shakespeare’s information and poem.) Read the poem out loud on Handout 3, or listen together on either the Collections audiolink or on YouTube read by Irish Actor, Michael Gambon. https://www.youtube.com/watch?v=cN_VPtGfsw0 After reading the poem for the first time, have students discuss questions 1 and 3 on the bottom of pg. 73 in Collections (also below) with partners or in small groups. “1. Summarize What are the primary actions that take place in each of the three stanzas of the poem? 3. Interpret What is the quest of Aengus in this poem?” Read the poem again as a class except this time, recite the poem as a choral reading. This will help students understand the song-like qualities of the poem and hear the rhymes again. This will be a preparation for the next activity. TASK: Students will use vocabulary terms from music to better understand poetry. Read the top of pg. 73 in Collections, “Determine the Impact of Rhyme” up to “End Rhyme” (also below). After, have students share with a partner the three ways poets use rhyme. “A poem is a combination of sound and meaning. Poets choose their words carefully, since word choice, or diction, affects a poem’s meaning and the way it sounds. Rhyme is the repetition of sounds at the end of words, as in more and roar. Words rhyme when their accented vowels and the letters that follow have identical or similar sounds. Poets use rhyme for a number of purposes: 1. To make a poem songlike or playful. 2. To emphasize sounds that suggest feelings. 3. To create rhythms that help convey sensory feelings, such as a sense of motion.” Complete the “End Rhyme” activity with them. “End rhyme refers to words that rhyme at the ends of lines of poetry. For example, the second and fourth lines from “The Song of Wandering Aengus” contain end rhymes: I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; The end rhymes are head/thread. Reread the first stanza of the poem to listen for and identify a second pair of end rhymes.”
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Next, as the book suggests, have students reread the first stanza of the poem with a partner and identify a second pair of end rhymes. Allow students time to discuss questions 2 and 4 on the bottom of page 73 (also below). (Answers are in the teacher’s notes of Collections.) “2. Identify Patterns Find end rhymes and other examples of repetition in the second stanza. What effects do those forms of repetition have? Do they emphasize a particular meaning? 4. Analyze What words suggest that Aengus is chanting a song?” With all of this information, ask students to work together on completing the vocabulary chart on Handout 2 with examples from the poem. If time permits, discuss the other vocabulary terms: simile, metaphor, and diction. Finally, ask students to explain and answer the questions below in their own words to their partner. Ask for volunteers to share their answers with the class. What do poetry and music have in common? How does the title of the poem fit? ASSESSMENT CRITERIA: Students participate in partner or small group academic discussion. Students use vocabulary terms from music to express their understanding of the poem. PURPOSE: For students to see the commonalities between art forms like music and poetry in order to increase their understanding and appreciation of both. If time permits, have students share their own favorite couplets or rhymes from songs they know (appropriate of course). Another option is to assign this for homework. An exit ticket (Handout 4) is also available for this lesson.
TAKE IT FURTHER! If you think your students would like another poem by William Butler Yeats, and the combination of it with the music of an Irish band, follow this link to a video of the band, The Waterboys, performing their version of the poem, “The Stolen Child.” Afterwards, ask for volunteers to reflect on what they thought about as they listened. https://www.youtube.com/watch?v=vOzbqY1ABwQ
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OPTIONAL EXTENSION Challenge students to imitate “The Song of Wandering Aengus” by writing their own stanza of eight lines that rhyme every other line and begin with “I went out to…” OR Have students draw their interpretation of the poem in their own style or the style of the Wicked Tinkers’ cartoon.
Student Reflection Use textual evidence from the poem to answer the following questions (also on exit ticket): How did your understanding of poetry improve? What connections can you make between poetry and music? In what other ways can you apply what you’ve learned about poetry and music? What did you learn about Celtic culture through the poem?
THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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LESSON 2: THE IMPACT OF CELTIC IMMIGRATION ON AMERICAN MUSIC IN THE UNITED STATES LESSON AT A GLANCE LESSON OBJECTIVE: Students reflect on their own musical histories, learn about the impact of the Celtic immigration on the development of American music in the U.S., and write song lyrics that communicate something important about the U.S. in today’s society. DURATION: 50 minutes or one class period MATERIALS: Handout 5: Personal Music History Organizer, Handout 6: Irish Potato Famine Primary Sources, access to YouTube STANDARDS: CCSS English-Language Arts, Grade Seven: SL.7.2 Analyze the main ideas and supporting details presented in diverse media and formats and explain how the ideas clarify a topic, text, or issue under study. CA History–Social Science Standards: Chronological and Spatial Thinking, Grade Seven: Students use a variety of...documents to...explain the historical migration of people. CA VAPA Music Grade Seven: 3.0 Students analyze the role of music in past and present cultures throughout the world, noting cultural diversity as it relates to music, musicians, and composers. Social Justice Standard Grades 6-8: Identity 1, ID.6-8.2 I know and like who I am and can comfortably talk about my family and myself and describe our various group identities. Social Justice Standard Grades 6-8: Justice 12, JU.6-8.12 I can recognize and describe unfairness and injustice in many forms including attitudes, speech, behaviors, practices, and laws. CONCEPTS/VOCABULARY: Appalachia: Region in Eastern United States that stretches from the southern tier of New York to northern Alabama and Georgia. Celtic: Relating to the people and culture from Brittany, Cornwall, Isle of Man, Ireland, Scotland, and Wales. Migration: Movement from one part of a region to another; movement of people from one land to another. Scots-Irish Immigrants: Immigrants who came from Ireland, but whose cultural background was originally Scottish. Social Injustice: When there are seen and unseen unfair practices within a society that promote inequality and hinder social advancement. Ulster: One of the four traditional Irish provinces situated in North Ireland. GUIDING QUESTIONS: How does immigration impact the cultural legacy of a country? What role does music play in personal histories and in a country’s history? What role does social injustice play in the process of migration?
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LESSON PLAN Mini Lesson: Musical History Ask a student volunteer to sing a few lines of a song they think every student will know. Encourage students to sing along. (You could always sing something like “Happy Birthday” if no student will.) Ask a few volunteers why they know the song, when they learned it, and why they learned it. Then ask if they know anything about the history of the song: why it was written, when, where, etc. Have students discuss and share with partners or small groups: What is the first song you remember singing or learning to play, at school, or at home? What is the latest song you remember singing or learning? Tell students to map out their personal musical history using the organizer on Handout 5. After students have time to complete the organizer, they should discuss similarities and differences of answers with a partner or among group members. What did they notice about their answers? What similarities and differences in music, for example in genres? Cultures? Listening to music v. playing it? How hard was it to reflect on their musical history? What were some challenges? What was easy? Give them time to complete a main idea statement based on their musical history. Part 1: Learn About the Celtic Immigration to America Tell students that now that they have reflected on their personal music histories, they are going to expand their views of U.S. music history and the impact of Celtic immigration has had on it, so they can better appreciate the Wicked Tinkers and their “Celtic tribal music” at the Broad Stage. Reestablish what “Celtic” means from Lesson One and that this lesson concentrates specifically on Scotland and Ireland. Historical background for students: Many Scottish people moved to Ireland in the 1600’s seeking better opportunities and because the British government, which ruled Scotland, wanted to “tame” Irish rebels in Northern Ireland. The Irish had long seen the British as conquerors of their land and fought for years to obtain an Irish Republic free from British rule (this finally happened, except for Northern Ireland, in the early 20th century). The Scots-Irish and Irish then moved to America in the 1700 and 1800s. Read the segment below (or at the link) and play the example of “The Streets of Laredo.” Music Before the American Revolution, most Irish immigrants were Protestants from Ulster, also known as ScotsIrish. They tended to settle in the Appalachian Mountains. American bluegrass, folk, country, and Western music can trace its roots back to the Celtic folk tunes they played. There are many well-known American songs that sound a lot like their Irish counterparts. One good example is the classic Western song “The Streets of Laredo”. “The Streets of Laredo”: https://www.uticairish.org/blog/a-few-irish-influences-on-american-culture THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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If time permits, play “Lost Highway: the Story of Country Music” up to 4:25 on YouTube. The video explains how early Scottish and Irish immigrants brought their music to America. “Lost Highway: the Story of Country Music”: https://www.youtube.com/watch?v=fvhmqdWXusE Tell students that the music of Scots-Irish, Irish, then combined with African music brought by slaves is what many consider the origins of modern American country music. Without this integration, we may not have the following music or music videos from Lil Nas X and Blanco Brown. Option to show their music videos: • Lil Nas X, “Old Town Road”: https://www.youtube.com/watch?v=r7qovpFAGrQ • Blanco Brown, “The Git Up”: https://www.youtube.com/watch?v=Q7U6AoZ27yE Lead a class discussion about the impact of Scottish and Irish immigrants on American music. Notice if students can connect the idea that the history of music in the U.S. evolves over time, similar to how their personal music histories evolve. Continue the conversation, and watch this video from Carnegie Hall about the Scots and Irish immigration stories to America. Before watching, review the words Ulster (a county in Northern Ireland) and Appalachia (Carolinas, Tennessee, Kentucky). After watching the video, have students pair share about the video and the main ideas. Ask students to discuss: The video mentions the massive Irish immigration to America as the result of the potato famine. What do you know about this event? Carnegie Hall, “Migrations: Scots-Irish and Irish”: https://www.youtube.com/watch?v=jve1PWlX0rk&t=33s Pass out Handout 6: Irish Potato Famine Primary Sources and have students underline powerful words, phrases, and images that provide answers and suggestions for the reasons why 2 million people left Ireland in the 1840s and 1850s. After reading, ask students to share their findings. Continue the conversation and ask, “What feelings came up as you read these passages?” Discuss the main social injustice idea of the Newsela article. (The British government did not want to spend money to help their Irish citizens. The Irish suffered tremendously as a result and were forced to leave their country.) When the Irish came to America, they weren’t always welcome. Play a little of the song, “No Irish Need Apply” and ask students to pay attention to the lyrics. After listening to the song ask, what does this song tell us about the Irish immigrant experience? “No Irish Need Apply”: https://www.youtube.com/watch?v=py363BW5_DE Part 2: Write Lyrics After listening to current and past songs and gaining a deeper understanding of the influence and role of music in different cultures and experiences, ask students to individually brainstorm about the role of music in today’s society. What stories are today’s songwriters and artists trying to communicate? Tell students that their answers will drive the next part of the activity. TASK: Write song lyrics connected to the stories and experiences in today’s society. With their brainstormed list, ask students to underline any key ideas that they personally connect with as their prompt for writing song lyrics. Give students 15 minutes to individually write a stanza that communicates something important about today’s society. Examples include immigration stories, climate change, breaking gender norms, etc. Explain that words and lyrics are powerful and can communicate something important about the cause that they THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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believe in. Remind students that lyrics are similar to poems, where it can rhyme, include metaphors, and visually tell a story through descriptive language. ASSESSMENT CRITERIA: Students pick a cause or experience to write about. Students use descriptive language to write their lyrics. Students write a stanza of lyrics. PURPOSE: To better understand the role of music in communicating stories past and present. Student Reflection: As a class discussion or individual write-up, ask students to reflect on these questions. What effect does music have on people and how does this then impact history? How does history impact music? What have you learned about your personal musical history? What have you learned about the musical history of the U.S.?
TAKE IT FURTHER! Finish the Carnegie Hall: “Migrations: The Making of America” video, which focuses on the musical contributions from the migrations of Eastern European Jews to America and the Great Migration of African-Americans to Northen United Stated. Begin the video at 3:15.
OPTIONAL EXTENSION As an optional extension, have students explore this essay prompt and question. What migrations are you aware of in U.S. history, forced or otherwise, that have impacted it’s culture and music? In their response, ask students to share specific musical examples by artists from other countries who have influenced music in the U.S. today. Possible answers: African slaves forced to come to the Americas; forced removal of Indigenous peoples from their land; Mexican and Central American immigrants seeking better economic opportunities and safety; Eastern European Jews fleeing pogroms in Russia, etc., Vietnamese refugees seeking asylum after the Vietnam War; many others leaving unstable countries.
THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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LESSON 3: CELTIC MUSIC LESSON AT A GLANCE LESSON OBJECTIVE: Students will learn about key characteristics in Celtic music including instruments and unique rhythms. DURATION: 50 minutes or one class period MATERIALS: Handout 7: Musical Multiple Choice, Handout 8: Celtic Instruments STANDARDS: ELA Speaking and Listening Grade Seven: SL 7.1 Students will engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 7 topics, texts, and issues, building on others’ ideas and expressing their own. CA VAPA Music Grade Seven: 3.4 Perform music from diverse genres and cultures. CA VAPA Music Grade Seven: 3.5 Identify instruments from a variety of cultures visually and aurally. CONCEPTS/VOCABULARY: Bagpipes: Wind instrument with two or more single or double-reed pipes. Bronze Age Irish Horn: Ancient instrument from Ireland made of bronze and sounds like an Australian didgeridoo. Compound Time: Musical rhythm or meter in which each beat in a bar is subdivided into three smaller units. Drone: A pipe of the bagpipe that is tuned to produce a single continuous tone. Didgeridoo: An Australian Aboriginal wind instrument in the form of a long wooden tube, traditionally made from a hollow branch, which is blown to produce a deep, resonant sound. Jig: A form of lively Irish folk dance tune in compound signature or 6/8. Lamellophone: Family of musical instruments whose sound is generated by plucking flexible tuned tongues of metal, wood, cane, or other material attached at one end to a small board or resonator and plucked with the thumbs or fingers or activated mechanically. Percussion: Musical instruments played by striking with the hand or with a handheld or pedal-operated stick or beater, or by shaking, including drums, cymbals, xylophones, gongs, bells, and rattles. Pitch: The quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness of a tone. Reel: The most common type of dance tune played in Irish traditional music that is in a simple time. Rhythm: Combination of long and short, even or uneven sounds that convey a sense of movement in time. Scottish Trump: A lamellophone instrument played by the teeth and plucking of the springy piece in the middle. Simple Time: Musical rhythm or meter in which the beat of a piece of music can be broken down into two part rhythms. Common examples of simple time signatures are 4/4, 3/4, 2/4, 3/8, and 2/2. GUIDING QUESTIONS: What are the distinguishing qualities of Celtic music? THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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Mini-Lesson: Identify Music from Diverse Cultures Before delving into the listening activity, give students 2 minutes to write an answer to this question, What do you listen for when you listen to music? Students can write their answers on Handout 7: Musical Multiple Choice. After writing, ask for a few students to share their answers to the class. Review music vocabulary from Lesson 1 including rhythm, beat, and composition. Review the new term pitch together, and ask students to keep these vocabulary words in mind while listening to the following segments of music. Using their answers from the quick write and vocabulary words, have students listen to short segments from the instrumentations below. While listening, ask students to identify where the music is from and key characteristics on Handout 7. Ask students to quietly write their answers on the handout and to wait to discuss until all pieces of music are listened to. 1. Asia
https://www.youtube.com/watch?v=pBOKeVsiJho
2. Celtic
https://www.youtube.com/watch?v=KDMtspVZ_jE
3. Americas
https://www.youtube.com/watch?v=_Tl7DCbClOE
4. Middle East
https://www.youtube.com/watch?v=GkjNROBu6l0
5. Africa https://www.youtube.com/watch?v=wXV39pybgJU&t=1s After listening to all pieces of music, review the answers as a class. While discussing, answer the questions below together about each piece of music. What were your thoughts as you listened to each piece of music? What characteristics from the music told you that it was from that part of the world? Identify the instruments you heard. What do the selections tell you about music from around the world? Based on your prior knowledge, what role does music play in various cultures? Part 1: Celtic Instruments Before going to The Broad Stage to see Wicked Tinkers, watch this curriculum video with Wicked Tinkers bagpipe player, Aaron Shaw, and learn more about Celtic instruments and the instruments being played during the performance. Celtic Instruments with Aaron Shaw of Wicked Tinkers: https://www.youtube.com/watch?v=T5RmvjsEP88 After watching the video, ask students to complete Handout 8: Celtic Instruments with a partner and review what they just learned about the bagpipe, bronze age Irish horn, and Scottish trump. NOTE: The answer to the Bronze Age Irish Horn section’s question “What other instrument is the Bronze Age Irish Horn related to?” is: Australian didgeridoo
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Part 2: Jigs and Reels
Tell students that another important aspect of Celtic music is the rhythmic patterns and dances. There are two main types in Celtic music, jigs and reels. Watch the curriculum video with Aaron Shaw below to hear the difference between the two rhythmic patterns. Clap to the beat of the music to get more familiar with jigs and reels. Jigs and Reels with Aaron Shaw of Wicked Tinkers https://www.youtube.com/watch?v=ClaHBaq65xc After watching the video, review compound and simple time together as a class. Ask students if anyone can explain the difference from their own musical experiences. The jig rhythm is in compound time (6/8, 9/8 or 12/8), meaning the beat is in three part rhythms. Ask students to tap their foot while saying, po-ta-toe, po-ta-toe, po-ta-toe. The reel rhythm is in simple time (2/4, 4/4 or 2/2), meaning there are four beats in the signature. Ask students to tap their foot while saying, hot po-ta-toe, hot po-ta-toe, hot po-ta-toe. Main Activity TASK: Write a set of lyrics in the rhythmic pattern of jig and reel. To deepen understanding of jigs and reels, have students work in small groups to write a set of lyrics to each rhythmic pattern about the same theme. The theme could be drawn from what they wrote about in Lesson Two, or a new group theme. For the jig pattern, the syllables of the words are in sets of 3. For the reel pattern, the syllables are in sets of four. Read the example of a jig lyric versus a reel lyric below in the theme of the changing seasons. Jig Example (6/8) Off we go, to the snow. Summer’s gone, winter’s glow! Reel Example (2/4) Adventure starts, snow is falling. Summer’s over, let’s go sledding! ASSESSMENT CRITERIA: • Lyrics follow the jig and reel patterns. • Lyrics are inspired by the same theme. • Students work collaboratively in a group. After writing, ask groups to perform or share their jig and reel songs to the class. Ask “audience” members to clap the beat so the group can find the rhythm. PURPOSE: To better understand the difference between a jig and reel rhythmic pattern. Student Reflection As a class discussion or pair-sharing, ask students to reflect on these questions. Which rhythmic pattern, jig or reel felt more natural when either tapping the beat or writing a lyric? When listening to Celtic instruments, which sounds were you drawn to and why? What does the sound of Celtic music tell you about their culture? THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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LESSON 4: POST-SHOW PERFORMANCE REFLECTION LESSON AT A GLANCE LESSON OBJECTIVE: Students will critically assess the performance of musicians according to the elements of music, aesthetic qualities, and human responses. DURATION: 20-25 minutes MATERIALS: Handout 9: Performance Reflection Form, Handout 10: Sentence Starters for an Academic Discussion STANDARDS: CA VAPA, Music Grade Seven: 3.3 Identify and describe distinguishing characteristics of musical genres and styles from a variety of cultures. CA VAPA, Music Grade Seven: 4.1 Use criteria to evaluate the quality and effectiveness of musical performances and compositions. CA VAPA, Music Grade Seven: 4.2 Apply criteria appropriate for the style or genre of music to evaluate the quality and effectiveness of performances. CCSS Grade Seven, SL 7.1.a: Students will engage effectively in a range of collaborative discussions (Oneon-one, in groups, and teacher-led) with diverse partners on grade 7 topics, texts, and issues, building on others’ ideas and expressing their own. CCSS Grade Seven, SL 7.1.c: Pose questions that elicit elaboration and respond to others’ questions and comments with relevant observations and ideas that bring the discussion back on topic as needed. CCSS Grade Seven, SL 7.1.d: Acknowledge new information expressed by others and, when warranted, modify their own views and understanding. CONCEPTS/VOCABULARY: Aesthetic Qualities: Concerned with beauty or the appreciation of beauty. Composition: Creation of original music by organizing sound. Usually written for others to perform. Elements of Music: Melody, harmony, rhythm, and form; expressive elements of dynamics, tempo, and timbre. Melody: An organized sequence of single notes. Rhythm: Combination of long and short, even or uneven sounds that convey a sense of movement in time. Tempo: The pace at which music moves according to the speed of the underlying beats. GUIDING QUESTIONS: How do we critically evaluate a musical performance?
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Warm Up Activity Give students a few minutes to respond to this writing prompt: Describe your favorite food. Why is it your favorite? NOTE: You could do this as a Google question on Google Drive, and project the answers. Have students share their answers with a partner. Ask students to break down what they thought were important elements in the process of determining which food was their favorite. List their answers on your computer or on the board, so that they can see the answers. Ask students to organize their answers into at least 3 categories (taste, texture, sight…) Now ask students to apply the same process of evaluation to a musical performance, specifically the recent performance of the Wicked Tinkers. What aspects of the performance can be evaluated? Think: elements of music, aesthetic qualities, human response Main Activity To get started, pass out Handout 9:Performance Reflection Form and allow students time to complete Part A, by writing down their initial thoughts about the performance. Read the following lesson objective based on the VAPA 7th grade standard for evaluating music: Students will critically assess the performance of musicians according to the elements of music, aesthetic qualities, and human responses. Ask students to explain what the standard means in their own words and define the elements of music, aesthetic qualities, and human responses. During the discussion, write down the class definition of each on the board. Below are questions to start the conversation: What are the important elements of music? What is the meaning of “aesthetic?” What are human responses? NOTE: Concentrate on breaking down the elements of music category, using the suggested vocabulary words, to help them get started: melody, harmony, rhythm, tempo. See if they can define “aesthetic qualities” and “human responses” on their own. Next, have students use this language to complete Handout 9 Part B and write three academic sentences assessing the Wicked Tinkers performance in terms of the elements of music, aesthetic qualities, and human responses. TASK: Students will use critical thinking skills in an academic discussion to evaluate the performance of the Wicked Tinkers at The Broad Stage. After students complete their writing, organize students into small groups for an academic discussion using their sentences and one-minute protocol to share their personal evaluation of the Wicked Tinkers performance. As an option, you can pass out Handout 10, an additional sentence starter suggestions for an academic discussion.
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Keep time to allow each student to share for only one minute. Challenge students to keep speaking for one minute while using the vocabulary or adding on to a peer’s reflection. Example: I agree with your comment that one of the best aspects of the Wicked Tinkers performance was that they looked like they were having fun and I’d like to add...” ASSESSMENT CRITERIA: • Students complete Handout 9: Performance Reflection Form. • Students participate in an academic discussion using specific evidence to support their ideas and opinions. • Students use academic sentence starters when communicating and engaging in the discussion. PURPOSE: For students to become critical thinkers and speakers through evaluating a musical performance.
OPTION: Have students answer questions on the Google Form, so that The Broad Stage has specific feedback about the performance. Link: https://forms.gle/Z3gHuPtW1ABCvENN8
Student Reflection Once all students have spoken, ask students to reflect with the whole class on the process of working with others to evaluate a musical performance. What was challenging about evaluating a musical performance? What went well? Why is it important to learn how to evaluate a performance? How can you apply this skill to other areas of school or life?
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HANDOUT 1: CELTIC NATIONS MAP
Map from From Wikimedia Commons https://commons.wikimedia.org/wiki/File:Map_of_Celtic_Nations.svg THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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HANDOUT 1: CELTIC NATIONS MAP
Map from From Wikimedia Commons https://commons.wikimedia.org/wiki/File:Map_of_Celtic_Nations.svg THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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HANDOUT 2: VOCABULARY TERMS Beat
Application to music: unit of measure of rhythmic time. Example in “The Song of Wandering Aengus”:
Composition
Application to music: creation of original music by organizing sound. Example in “The Song of Wandering Aengus”:
Form
Application to music: organization and structure of a composition. Example in “The Song of Wandering Aengus”:
Phrase
Application to music: a musical idea comparable to a sentence or clause in language. Example in “The Song of Wandering Aengus”:
Rhythm
Application to music: combination of long and short, even or uneven sounds that convey a sense of movement in time. Example in “The Song of Wandering Aengus”:
Theme
Application to music: a compositional form in which a theme, or main idea, is clearly stated and then followed by a number of variations Example in “The Song of Wandering Aengus”:
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HANDOUT 3: “THE SONG OF WANDERING AENGUS”
The Song of Wandering Aengus By William Butler Yeats
I went out to the hazel wood, Because a fire was in my head, And cut and peeled a hazel wand, And hooked a berry to a thread; And when white moths were on the wing, And moth-like stars were flickering out, I dropped the berry in a stream And caught a little silver trout. When I had laid it on the floor I went to blow the fire a-flame, But something rustled on the floor, And someone called me by my name: It had become a glimmering girl With apple blossom in her hair Who called me by my name and ran And faded through the brightening air. Though I am old with wandering Through hollow lands and hilly lands, I will find out where she has gone, And kiss her lips and take her hands; And walk among long dappled grass, And pluck till time and times are done, The silver apples of the moon, The golden apples of the sun. Source: The Wind Among the Reeds (1899)
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HANDOUT 4: EXIT TICKET Answer three of the following questions and hand this ticket to your teacher on your way out.
Answer three of the following questions and hand this ticket to your teacher on your way out.
How did your understanding of poetry improve?
How did your understanding of poetry improve?
What connections can you make between poetry and music?
What connections can you make between poetry and music?
In what other ways can you apply what you’ve learned about poetry and music?
In what other ways can you apply what you’ve learned about poetry and music?
What did you learn about Celtic culture through the poem?
What did you learn about Celtic culture through the poem?
Answer three of the following questions and hand this ticket to your teacher on your way out.
Answer three of the following questions and hand this ticket to your teacher on your way out.
How did your understanding of poetry improve?
How did your understanding of poetry improve?
What connections can you make between poetry and music?
What connections can you make between poetry and music?
In what other ways can you apply what you’ve learned about poetry and music?
In what other ways can you apply what you’ve learned about poetry and music?
What did you learn about Celtic culture through the poem?
What did you learn about Celtic culture through the poem?
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HANDOUT 5: PERSONAL MUSIC HISTORY ORGANIZER Directions: List a few songs or music pieces you remember learning at each age, either at home or outside of your home. If you know anything about the song, such as the year it was written, the name of the songwriter or composer, the country of origin, etc., include that information, too. Then, determine some similarities and differences with your partner and/or group answers.
Preschool Age:
Elementary School Age:
Middle School Age:
Similarities with my partner / groupmates:
Differences with my partner / groupmates:
Main idea statement:
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HANDOUT 6: IRISH POTATO FAMINE PRIMARY SOURCES World History
Primary Sources: The Irish Potato Famine, Victims of the Great Hunger By James Mahoney, Illustrated London News, adapted by Newsela staff, text level 7
03/14/2017
Editor’s Note: The Irish famine was the result of a terrible outbreak of a fungus in 1845. It destroyed the potato crop across Europe. In Ireland, it led to widespread starvation, ruined businesses and the Irish Diaspora, making the Irish people find new homes around the world. Ireland’s population of 8 million lost over 1 million to starvation, and 2 million more moved away between 1845 and 1855. Most went to the United States. It is believed that Sir Walter Raleigh brought the potato to Ireland from the Americas around 1570. The damp Irish climate made the potato easy to grow and produced a larger amount of food per acre. In the period from 1780 to 1845, it helped double the Irish population from 4 million to 8 million. With more people came an increased demand for land and food. Potatoes became the only crop that could produce the larger amount of food that was needed. The English owned wheat fields around the country and hired Irish farmers to grow and harvest the wheat that was exported to England. The Irish lived off potatoes on their family lands. By the time of The Potato Famine, Ireland’s population depended on the potato for 60 percent of its food. In September 1845, the fungus was brought ashore from the cargo ships. It quickly spread to the potato fields. As the potato crop was lost, small farmers suffered immediately. Starvation also led to an increase in diseases. This natural disaster was made worse by the slow reaction of the English government. Ireland was part of the British Empire, but England didn’t want to pay the high price needed to save the Irish people. By 1848, the worst was over, but its effects lasted for many years. By 1911, Ireland’s population fell to 4 million. In 1847, James Mahoney, an artist living in Cork, Ireland, was asked by the Illustrated London News to tour the surrounding countryside. He was to report on what he saw. The articles and illustrations he made alerted the English to the crisis. Here is Mahoney’s account as he journeys to the town of Skibbereen and nearby villages in the south of Ireland:
“Great Numbers Of Starving Poor Surrounded Our Coach”
I started from Cork, by coach, for Skibbereen. Stopping for breakfast in Clonakilty, the horrors of the poverty became visible to me. Great numbers of starving poor surrounded our coach wagon begging for money. There was a woman carrying the body of her child who had died. She asked for pennies to buy a coffin for her dear little baby. I learned that dozens like this woman come into the town each day. After leaving Clonakilty, each step that we took westward brought fresh evidence of this misery. We either met a funeral or a coffin every hundred yards. We next reached Skibbereen. We first proceeded to the Bridgetown section and there I saw the dying, the living and the dead lying upon the same floor with only a few miserable rags upon them. Not a single house out of 500 was free from death and fever. The dead lay close to the living as long as six days.
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HANDOUT 6: IRISH POTATO FAMINE PRIMARY SOURCES CONT’D “There Lay The Four Bodies, And A Fifth Was Soon To Die”
After leaving this house of death, we proceeded to High Street and there found one house without door or window. There, one fine, tall country lad had entered some hours before to escape the freezing cold but now lay dead on the bare floor surrounded by many others. What was seen was truly heartbreaking. It so distressed Dr. Donovan that he begged me not to go into the house and to avoid coming into contact with the people near the doorway. The next morning, I started for Ballidichob, and learned upon the road that we should come to a hut or cabin where four people had lain dead for six days. Upon arriving at the hut, the home of Tim Harrington, we found this to be true. There lay the four bodies, and a fifth was soon to die. On hearing our voices, the dying man tried to reach the door. He asked for drink or a fire to warm himself, but fell in the doorway near death. We next got to Skull, where Dr. Traill, the church leader for the county, whose humanity is beyond all praise, showed us more indescribable horrors. In the street, from 300 to 500 women with money in their hands were seeking to buy food. A few of the government officers doled out cornmeal to them. One of the women told me she had been standing there since daybreak.
“I Certainly Saw From 150 To 180 Funerals”
This food was in small amounts at high prices and came from a stock of just 50 tons for a population of 27,000. This is less than four pounds per person, so that you may know there were feelings of great disappointment in those waiting for their portion. I certainly saw from 150 to 180 funerals for victims of starvation, where the living have lost all sympathy for the dead. So hardened are the men regularly employed to remove the dead from the workhouse that I saw one of them sitting on four coffins in a wagon, smoking with enjoyment. The people also say that whoever escapes the fever will soon be sick because they must walk past the dead, as they walk from three to six miles to work, and back again in the evening, without a bit of food. Added to this they are, in a great number of instances, standing in bogs and wet places which so affects them that many of the poor fellows have been known to drop down at their work.
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HANDOUT 7: MUSICAL MULTIPLE CHOICE Quick Write: What do you listen for when you listen to music?
a) African
a) African
a) African
b) Asian
b) Asian
b) Asian
c) Celtic
c) Celtic
c) Celtic
d) Middle Eastern
d) Middle Eastern
d) Middle Eastern
e) from the Americas
e) from the Americas
e) from the Americas
Notes:
Notes:
Notes:
1
2
a) African
a) African
b) Asian
b) Asian
c) Celtic
c) Celtic
d) Middle Eastern
d) Middle Eastern
e) from the Americas
e) from the Americas
Notes:
Notes:
3 Other Notes:
4
5
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HANDOUT 8: CELTIC INSTRUMENTS Bagpipe What are the main parts in a bagpipe?
What country(ies) would you find this instrument being played?
Describe the sound that the instrument makes. Is it loud or soft? High or low?
How do you play the instrument?
Bronze Age Irish Horn What material is the instrument made out of?
What country(ies) would you find this instrument being played?
Describe the sound that the instrument makes. Is it loud or soft?
What other instrument is the Bronze Age Irish Horn related to?
How do you play the instrument?
Scottish Trump What material is the instrument made out of?
How do you play the instrument?
Describe the sound that the instrument makes. Is it loud or soft?
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HANDOUT 9: PERFORMANCE REFLECTION FORM PART A Capture your immediate thoughts after watching the Wicked Tinkers performance at The Broad Stage. What instrument stood out to you during the performance? Why?
What elements of music could you recognize in the songs?
What was the most memorable rhythm for you? Explain.
How did the Wicked Tinkers songs make you feel? Why?
What was the most striking image that you remember?
What surprised you?
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HANDOUT 9: PERFORMANCE REFLECTION FORM PART B Write an academic sentence that shares your thoughts on the elements of music, aesthetic qualities, and human response to the Wicked Tinkers performance. Examples of academic sentence starters: Sharing: I (believe/think) the Wicked Tinkers’ performance was (adjective) because (use 1-2 details from the show) and (use 1-2 vocabulary words from above)... Example: I believe the Wicked Tinkers’ performance was very enjoyable because they used a variety of horns and drums, and their tempos were very energetic… Building on others’ remarks: I agree with you about the use of instruments and the energetic tempos, and I’d like to add...
ELEMENTS OF MUSIC
AESTHETIC QUALITIES
HUMAN RESPONSE
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HANDOUT 10: SENTENCE STARTERS FOR AN ACADEMIC DISCUSSION Sentence Frames for affirming an idea and adding to it: My idea is related to
’s idea
I really liked
’s idea about
I agree with
’s idea. Also
My idea builds on
’s idea. I
Presenting a different angle on a subject: While I can see why you believe this, I see this differently. In my opinion I understand where you are coming from, but I see this differently. From my perspective That’s a valid point, but I feel On the other hand, I do agree with the part about
, but
Expressing your opinion: I believe that In my opinion I feel that I think that
because
To me, it seems obvious that THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER THEBROADSTAGE.ORG/EDUCATION 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560
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GLOSSARY Aesthetic Qualities: Concerned with beauty or the appreciation of beauty. Appalachia: Region in Eastern United States that stretches from the southern tier of New York to northern Alabama and Georgia. Bagpipes: Wind instrument with two or more single or double-reed pipes. Beat: Unit of measure of rhythmic time. Bronze Age Irish Horn: Ancient instrument from Ireland made of bronze and sounds like an Australian didgeridoo. Celtic: Relating to the people and culture from Brittany, Cornwall, Isle of Man, Ireland, Scotland, and Wales. Composition: Creation of original music by organizing sound. Usually written for others to perform. Compound Time: Musical rhythm or meter in which each beat in a bar is subdivided into three smaller units. Diction: Word choice. Didgeridoo: An Australian Aboriginal wind instrument in the form of a long wooden tube, traditionally made from a hollow branch, which is blown to produce a deep, resonant sound. Drone: A pipe of the bagpipe that is tuned to produce a single continuous tone. Elements of Music: Melody, harmony, rhythm, and form; expressive elements of dynamics, tempo, and timbre. Form: Organization and structure of a composition. Jig: A form of lively Irish folk dance tune in compound signature or 6/8. Lamellophone: Family of musical instruments whose sound is generated by plucking flexible tuned tongues of metal, wood, cane, or other material attached at one end to a small board or resonator and plucked with the thumbs or fingers or activated mechanically. Melody: An organized sequence of single notes. Metaphor: Comparison of two unlike things without the words like or as. Migration: Movement from one part of a region to another; movement of people from one land to another. Phrase: A musical idea comparable to a sentence or clause in language. Percussion: Musical instruments played by striking with the hand or with a handheld or pedal-operated stick or beater, or by shaking, including drums, cymbals, xylophones, gongs, bells, and rattles. Pitch: The quality of a sound governed by the rate of vibrations producing it; the degree of highness or lowness of a tone. Reel: The most common type of dance tune played in Irish traditional music that is in a simple time signature. Rhyme: Repetition of sounds at the end of words. Rhythm: Combination of long and short, even or uneven sounds that convey a sense of movement in time. Scots-Irish Immigrants: Immigrants who came from Ireland, but whose cultural background was originally Scottish.
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GLOSSARY CONT’D Scottish Trump: A lamellophone instrument played by the teeth and plucking of the springy piece in the middle. Simile: Comparison of two unlike things using the words like or as. Simple Time: Musical rhythm or meter in which the beat of a piece of music can be broken down into two part rhythms. Common examples of simple time signatures are 4/4, 3/4, 2/4, 3/8, and 2/2. Social Injustice: When there are seen and unseen unfair practices within a society that promote inequality and hinder social advancement. Tempo: The pace at which music moves according to the speed of the underlying beats. Theme: A compositional form in which a theme, or main idea, is clearly stated and then followed by a number of variations. Ulster: One of the four traditional Irish provinces situated in North Ireland.
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WHAT I LEARNED... Write a letter to the artist. Be sure to include your favorite part of the performance and what you learned.
Dear _________
Your friend,
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