Artsource
MUSIC ®
The Music Center’s Study Guide to the Performing Arts
TRANSFORMATION
ENDURING VALUES
ARTISTIC PROCESSES
TRADITIONAL CLASSICAL
1. CREATING (Cr)
CONTEMPORARY
2. PERFORMING, PRESENTING, PRODUCING (Pr)
EXPERIMENTAL
3. RESPONDING (Re)
MULTI-MEDIA
4. CONNECTING (Cn)
FREEDOM & OPPRESSION
THE POWER OF NATURE
THE HUMAN FAMILY
Title of Work:
About The Artwork:
Sh-Boom
By bringing their own contemporary style to the tunes from the 50s and 60s, The Alley Cats appeal to fans of all ages, breathing new life into everyone’s favorite doo-wop classics. The Cats’ engaging wit and humor have won over audiences nationally as they relate directly to the crowd with jokes, stories, and audience participation that appeal to young and old alike. Tight harmonies, universal humor, and unbelievable a cappella energy have made The Alley Cats America’s premier doo-wop group.
Creators: The Alley Cats: Armando Fonseca, Royce Reynolds, John O’Campo and Michael Washington
Background Information: The Alley Cats bring their own contemporary doo-wop singing style to the tunes from the 50s and 60s. The four members of The Alley Cats are a perfect blend both vocally and personally. Royce Reynolds, whose solid bass vocals create the Cats’ musical foundation, and Mando Fonseca, the second tenor always ready with a pun or quick quip, have the ease of familiarity which make their camaraderie and vocal play radiate from the stage. First tenor John O’Campo, re-creator of all those soaring 50s first tenor lines, and newest member, Michael Washington, whose smooth baritone vocals melt hearts the world over, bring their freshness and talent to an already solid foundation of a cappella tradition. The Alley Cats formed in 1987 at Fullerton College in Orange County, California, and began their musical journey with Disney’s “Blast to the Past” salute. The Cats have appeared at numerous fairs and festivals around the country and have been the featured performers on stages at Disneyland, Knott’s Berry Farm, and at the White House. On the recording scene, The Alley Cats CDs showcase rich harmonies, as well as the energy and humor from their live shows. Their first disc, The Cat’s Meow, was called “the best a cappella recording of the 50’s classics we’ve ever heard,” by Mainely A Cappella. Their release, Cruisin’, won a Contemporary A Cappella Recording Award. Their newest release, Strike 3 and Drive-in Live, continues a tradition of doo-wop at its best.
Creative Process of the Artist or Culture A cappella, meaning singing without musical accompaniment, is the oldest form of music. Tribal Chant, Gregorian chant, Gospel, Jazz, Barbershop, doo-wop, and Contemporary music all trace their roots to a cappella. During the fifties young men and women began forming groups in their neighborhoods. Street corner singing soon became the hits of the day and doo-wop was born. Doo-wop is a type of rhythm and blues popular in the 1950s and 60s using nonsense syllables in intricate, harmonic arrangements. Classic examples are Sh-Boom by The Chords and Earth Angel by The Penguins. (Continued on page 2) Photo courtesy of The Alley Cats
“The group engages the audience with familiar ideas, while keeping the song as true to its original form as possible.” Armando Fonseca California
- What kind of entertainment did you have? - What do you remember about the big news stories of the time?
Creative Process Continued: Early on, what we called doo-wop music embraced the grand tradition of nonsense lyrics. Taking their cue from Dizzy Gillespie’s 1947 be-bop song, Oop Boop Sh’bam, vocal groups sang Sh-Boom, Oop Shoop, Rama Lama Ding Dong, all using meaningless sounds to fill the beats and create background chants. But perhaps the most common nonsense syllable was doo, which has always been useful in popular songs. Over 150 years ago, Composer Stephen Foster used doo-dah doo-dah to fill out the verses of De Camp Town Races (1850). A hundred years later a black vocal group called The Sliders crooned doo-da doo-doo behind Savannah Churchill on her When you Come Back to Me. The first hit record showcasing doo-wop came in 1955 with The Turbans recording of When You Dance.
Discussion Questions: After the video or live performance has been viewed: • What thoughts do you have about the song, Sh-boom? • Where have you heard this song before? • Do you hear doo-wop on the radio now? • Do you think you will hear popular music of today on the radio in 50 or 60 years? • Did you notice the strange words used in Sh-Boom? • Do you ever sing a cappella? • When did you realize there was no musical accompaniment? • Can you think of any other a cappella songs?
Multidisciplinary Options: Take some time to discuss the 1950s era in the United States. Have the children make guesses as to the styles of clothing, toys and activities of the children back then. Have students ask family members who lived during the 50s what life was like then and how it was different from life now. Use the following as a possible framework for a take-home questionnaire. - What kind of clothing styles did you wear? - What was your favorite song? Style of Dance? Can you show me? - What did you do and where did you go for fun? - Who served as the President? What years?
Audio-Visual Materials: • Artsource® audio excerpt: Sh-Boom, courtesy of Warner/Chappell Music, Inc. and The Alley Cats. • Photos courtesy of The Alley Cats.
Additional References: • Kane, E. E. Take Me back to the 1950s. Article at lifescript.com. • Kaleen, Stuart, Ed. The 1950s. Greenhaven Press Inc. San Diego. 2000 • Gribin, Anthony and Matthew Schiff. The Complete Book of Doo-Wop Rythm and Blues. Krause, 2000.
Sample Experiences: LEVEL I • Have each student sing as high and low as they can. Ask them if they think they are (from lowest to highest) a bass, baritone, tenor, alto or soprano. Who sings lowest? Who sings highest? * • Recognize and list songs that contain nonsense lyrics. Substitute original nonsense syllables into familiar songs. Sing these songs a capella. LEVEL II • Look up the following words and their definitions. Share and discuss them. Words: a cappella, harmony, bass, baritone, tenor, alto, soprano, doo-wop, rhythm, tempo, pitch, lyrics. * • Listen to sounds around you for new ideas in sound texture, tempo, rhythm, etc. Using these ideas, create doo-wop lyrics. LEVEL III • After doing the “Multi-Disciplinary Option” on the left column, make a chart and graph to compare the answers of the people interviewed by each student. * • Music is a window into our society’s history. When people hear familiar songs, they will most often remember a specific time and place, as well as their mood, and whether they were alone or with others. Interview parents and friends to see what songs are attached to memories that they cherish.
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Indicates sample lesson
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MUSIC
NAME THAT TUNE ENDURING VALUES
LEVEL I Sample Lesson INTRODUCTION: Over the course of history, many composers have used nonsense syllables to fill in the beats of the music. The songs of young children are a perfect example. What are some of these songs? Why do the lyrics include these nonsense words? Is it for children’s entertainment or is it for a lack of any other way to finish the verses? This lesson can open up this question to students and get them to recognize the doo-wop lyric or phrases.
OBJECTIVE: Students will be able to:
The Alley Cats John O’Campo, Mando Fonseca, Michael Washington, Royce Reynolds, Photo courtesy of The Alley Cats
• Recognize and list songs they know containing nonsense lyrics, and sing the song a cappella. (Responding & Performing) • Demonstrate how substituting their own nonsense syllables into familiar songs can fill in the beat, finish a verse or make the song more entertaining. (Creating & Performing) •Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® audio of Sh-Boom • Poster board, marker or board and chalk • Paper for each student • CD’s and tapes of children’s songs PROGRESSION: • Discuss the singing style of doo-wop. Play Sh-boom on the Artsource® audio. Use the “Discussion Questions” on page 2. • Have students take a few minutes to list a few songs that they know that have nonsense lyrics or songs that they think could have the nonsense lyric added or substituted for the current lyrics. 3
• Once they have made the list, have students name songs aloud and add them to the poster board. List songs only once. • Then select one or two to sing as a class in the a cappella style. Make note of the nonsense lyric. Old McDonald had a Farm is a great starting place. Replace the “E I E I O” with your own nonsense lyrics. • Brainstorm nonsense sounds that they heard in the music sung by The Alley Cats, as well as other ones they can make up. Using this knowledge, take one of the songs that was sung and change the nonsense lyrics. Make up new ones to replace the old. EXTENSIONS: • Listen to oldies radio or an oldies CD and find doo-wop syllables. Check out the Vocalworks ‘Radio Hour’ Artsource® Unit. • Go home and ask grandparents for the most memorable doo-wop phrase. Return to class and make a list. Find out if there is a # 1 choice. VOCABULARY: lyric, nonsense, a cappella ASSESSMENT: (Responding & Connecting) DESCRIBE: Name the nonsense lyrics that you found the most interesting. DISCUSS: Talk about songs today and how they still use nonsense lyrics. ANALYZE: Look at the chart again, what is common in these songs and what is unique? CONNECT: Take time to talk to parents and grandparents and find out what is still common through all styles of music. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
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MUSIC
SOUND OFF ENDURING VALUES
LEVEL II Sample Lesson INTRODUCTION: Music is inspired in a number of ways: through personal experience, emotions such as pain and happiness and in the doo-wop era by the sounds of the city streets, people and neighborhoods. Groups would make up lyrics that would match the sounds of passers-by, the local train and the creaks and moans of their building. OBJECTIVE: Students will be able to: • Create doo-wop lyrics depending on what they hear around them. (Creating & Performing)
The Lion Sleeps Tonight. (a doo-wop song) Illustration by Eric Byrd
• Discuss how songs are created and what they feel may inspire songs they enjoy. (Responding & Performing) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Performing) MATERIALS: • Artsource® audio of Sh-Boom • Some time to listen quietly to the sounds going on in and out of the classroom. • Piece of paper for each student to sounds and possible lyrics. • Chalk board to list the choices. PROGRESSION: • Have students take a few minutes to listen to the sounds around them. Examples are cars driving by, clocks ticking, kids outside, the pencil sharpener next-door, etc. • Once they have had time to listen, have them list the sounds and a lyric that might work for the song. • Listen to Sh-Boom and realize all the nonsense lyrics came from street sounds and people moving around the area. • Make a list on the chalkboard for the sounds heard, and try a few different lyrics to match the sounds. There are no wrong answers. Vowel sounds work well with different consonants, such as doo, da, ba ba loo, coo-coo-roo, ma-ma mia, chic-a-boom, rat-ta-tat-tat, etc. 5
• Ask different students to make up a nonsense pattern of sounds; have the class echo it back. This is a “call and response” form. • After students have experimented with sounds and patterns, ask them to work with partners and have nonsense conversations back and forth. Partner A does a nonsense patter, then stops; Partner B responds with a different nonsense patter. This continues back and forth until it flows easily from one to the other. It is like bouncing a ball, then tossing it to a partner, who catches it and repeats the cycle. • Take turns performing your partner sound conversations. EXTENSIONS: • Listen to oldies doo-wop songs and find the doo-wop lyrics, write them down and try to imagine how they came up with that lyric. • Change the lyrics of classic doo-wop songs by replacing them with your own. • Listen to modern music and find nonsense lyrics. • Research groups that were founded in your area. VOCABULARY: doo-wop, lyric, nonsense, era ASSESSMENT: (Responding & Connecting) DESCRIBE: How did you come up with nonsense sounds? Did you get ideas from listening to sounds in your environment or from other sources? DISCUSS: Talk about songs today and how they still use nonsense lyrics. ANALYZE: Look at how you and your friends spend time. Do you make time for music? Is there a band in your neighborhood? CONNECT: Talk to family members. Do they have memories of street corner singers in their neighborhoods? Do they know anyone who went on to record songs in the 50s or 60s? Grandparents would more likely know someone, especially if they were on the East Coast. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
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MUSIC
ON THE CHARTS ENDURING VALUES
LEVEL III Sample Lesson INTRODUCTION: Music is a window into our society’s history. It is a constant. People can always remember a specific place and time when they heard that special song. Through the use of music and interviewing family members, students can get a chance to observe and connect with the past through the music of their parents and grandparents. OBJECTIVE: Students will be able to: • List historical and cultural trends and events. (Connecting) • Discuss how times have changed and the differences they observe between their own childhood and those of their parents, grandparents and other family members. (Responding & Connecting) • Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Responding & Connecting) MATERIALS: • Artsource® audio of Sh-Boom • Large writing surface to list survey answers and questions. • Piece of paper for each student to list questions they feel would be appropriate and interesting. • A survey of exact questions each student will answer and have answered by family members. PROGRESSION: • Have students take a few minutes to list questions they would like answered. A few examples would be: • What was the most popular song when you were my age? • Do you still hear that song on the radio now? • Who was the President when you were my age? • What was the most popular game? • How would you travel from one side of the country to the other? • Who was the most famous music star at the time? 7
• Once students have made the list of questions, have them answer each question. Then ask the questions of their parents and grandparents. A few students may have the chance to ask a great-grandparent. Have the students write the answers down and bring them back to class for discussion. • After the interviews have been conducted, make a master list on the chalkboard or sheet of paper. Place the answers on the board. Organize the answers by age groups. Take time to discuss the answers and allow the students to make connections between the age groups and to find differences as well as comparisons. EXTENSIONS: • Listen to the radio and try to find music from other decades. You will find that the easiest and most frequently found decades are the 50s and 60s. Ask students why? • This lesson can lead into many activities involving history and culture. The explosion of the video age will be very obvious between the children’s grandparents and parents. There were no home game systems in the fifties and pinball - an arcade game - was the forerunner of video games. The subject of technology can make for a very long discussion. VOCABULARY: culture, Baby Boomer, generation, era ASSESSMENT: (Responding & Connecting) DESCRIBE: Recall and describe the answer that most surprised you. Give reasons why. DISCUSS: Talk about music and culture today; what has staying power and what will be forgotten in the near future? Will the songs you hear on the pop station be played in 50 or 60 years on a regular basis? ANALYZE: Look at the chart again. Do you think the historical events of the times made the music more lovable and memorable, perhaps timeless? What part does history play in music? What part does music play in history? CONNECT: Ask your teacher to tell about his/her own pop culture memories and how they think music fits in. Go home and discuss these ideas with you parents and see what their memories are. Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening; Speaking
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