Unidad Taller Música 18pp

8/12/2019 Unidad Taller Msica 18pp

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cuatro experlenclaspara estudiantes de

musicalesmatem6ticas

Taller profesional parmaestros bilingues grados 2s-8elaborado parCMC: MathPowerfor the l-atino ChiAMay 25,1997 Los Angeles, CApoPhilip "Felipe" PasmanickBuena Vista School, SFUSD

Mrisica, Ldgica, Lenguaje Instrucciiln directaterminacon -ar 2 sflabas

algo que se hace enel sal6n de clase

Funky conga: patronesbaile, voz y tambort\+

5.rD a-.-this... is... con...ooo

La Canci6n del Dreidel

uffiEmADdcima: rima y simetria

La nifla lista, una vez E aencontr6 un gran espejo. tr] bObserv6 que el reflejo E bpuso todo al rev6s. E aY la nifla vio despu6s E a

de

cuando el Sngulo cambi6la imdgen se movi6."Ay, me siento m6s confusaque Perseo con la Medusacuando la decapit6."

?itviu

EaEaEbtfbtrlafr garIo

hablarandarlimpiar;----?


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Rhythm, math and the fourth dimensionNotesfor educators by Phil "Felipe" Pasmanick @ I l-93i"ririn for CMC's Math Powerior the Latino Child conference 5-30-97DisclaimersMusic is certainly not the main way I teach math, and I don't want to oversell its usefulness. Iadvocate an ecfictic approach to math education using genuine problem solving, use ofmanipulatives, awareneii of developmental factors, and integrated -activities. organized. qoqdttremitic menus or product-orientedinquiry-based projects. Secondly, the value of music in theclassroom goes far,iar beyond the study ofhathematici; besides its inrinsic culnral value, musicdevelops language arts, encourages second language acquisition, provides vehicles for contentinstruction, and promotes cross-cultural understanding.With that said, teachers who use and enjoy music may find ways to exploit the mathematical natureof music. Studies purport to show thafWestern classical music instruction is more benefircial forstudent math achi-evement than computer training. While I have some classical training andappreciate its esttretics and method, I prefer the rich rhythms gnd vogal patterns of the AfricanDi-aspora. The following text describes the approach I have developed in my second grade Spanishimmersion classroom over the last ten years.Music, Math, and the Fourth Dimension--Theoretical ConsiderationsDetecting and describing the patterns to be found in numbers, in art, and in nature seems to be anancient and omnipresentcultural phenomenon. From the Mayan and the Babylonian astronomersto the architects of the Alhambra and the bat6 drummers of Nigeria, truth and beauty are found inthe complex reiterations of the heavens, of shapes, of sound. Decorative and symbolic patterns arefound in ceramics, weaving, and monuments around the world.Most patterns we study in elementary school are visual, pictorial and thus necessarily static, fixed,like the pattern of black and white keys on the piano or the even numbers in a hundreds chart.Even those patterns that change as they go, such as the sequence of square numbers or theFibonacci series, exist without reference to trilgg.Rhythrn, however, consists of patterns that exist in reference to a pulse, a beaq that is, time dividedinto equal units. It is time that makes rhythm a pattern that can be reproduced and combined withother patterns. It is time that gives rhythm its regularity, just as the uniform shapes, sizes, andcolors of pattern blocks make itpossible to arrange them in symmenical and pleasing patterns; justas the regular height" width, and depth of tiles makes tiling a bathroom floor a predictable (iffrusfating ) task. Thatiswhy wecanreferto timeasthefourthdimensionofpattern.Time must be seen in two ways to understand rhythm. First, there is the duration of a sound--howlong it can be heard. For our purposes, namely, the introduction of african-based rhythms toschool children, we can consider a]l the sound units to be of the same duration: a quick on/off, likea hand clap. In an analogy to pattern blocks, this short duration is a constant, like the thickness ofall the blocks. For purposes of notation, we consider each sound an eight note.The second and more important meaning of time is the regular pulse or beat. This is what makesthe $ythm a rhythm. To continue with the pattern block analogy, blocks must be placedcontiguously on a flat, solid surface, such as a table-top. You can't build a block pattern on yourlap, any more than you can lay tiles on a bumpy flobr. In rhythm, it is ttre beat ttrat giv-es apredictable "surface" to place the units of sound.Sounds also have qualities like pirch, timbre, and volume, which are analogous to the shape,color, and size of pattern blocks. As beginners we will concern ourselves with only two sound


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qualities: "open" (clap) and "closed" (snap). On the congas, these are equivalent to the "open"ringing tone and the "closed" thudding bass.Because time keeps going even when nothing is happening--because there is still a flat emptysurface where you did not place a pattern block--there is a third kind of sound: silence (in musicalterms, "rests"). The silences or empty spaces must be accounted for in order to represent arhythm symbolically. And indeed, in Afro-Cuban rhythmic patterns there are usually more silentsound units ttran there are sounds. The silent qpace is the place-holder, the zero that separates thesound units, that makes the pattern make sense in its relation to the underlying pulse.Teaching Rhythms to ChildrenChildren--all learners, perhaps--should first experience rhythm patterns visually, aurally, andkinesthetically; that is, by seeing, hearing, and doing. Many teachers have children repeat simplepatterns such as snap clap, snap clap, or snap snap clap, snap snap clap. They then go on todescribe these as AB, AB and AAB, AAB respectively.This is an excellent start The next step is to involve pauses--the silent sound. Let the studentslearn snap snap clap. Let them see that there are two different units of sound, A and B, with twoAs and a B forming a cycle of three elements (beats) that can be repeated over and over. Then trygoing snap snap clap (pause), snap snap clap (pause) while tapping your foot on the first snap andthe clap to demonstrate the beat. Children will soon see that even though both patterns have theAAB sound pattern, these are two very different patterns. Help them to learn that the secondexample has the third sound unit, the sound of silence.A teacher so inclined can then use recordings or his/her own performance on an instrument todemonstrate the cornmon musical key signatures: 214,314, 414, and 6/8. This should be donegently, gradually, as part of the regular singing experience. Students will soon recognize the"feel" of the different time signatures and begin to keep time with varied snap-clapaccompaniments. Any group that gets this far has done a lot The group now has the rhythmicbase to appreciate music, to dance and sing and play. (I believe that keeping time is a life skill, Iikeswimming, and no one should leave school wittrout being able to keep time.)Depicting Rhythms in Linear and Cyclical PatternsTo get the full math value from these exercises, students should learn to represent the rhythmssymbolically. I have found three approaches to be valuable. First" I have students choose threecolors of unifix (linker) cubes. They assign one color each for the clap (open), the snap (closed),andthe silent space. Then they make "trains" of their patterns. From there they use graph paper,marking an O for the open sound, an X for the closed sound, and a dot for the silenlspaca Thegrid on the graph paper provides a visual representation of the regularity of the beat, and makes itmuch easier to writerhythms successfully. Many drummers use asimilar notational systern Thenwe 89 on to reiterate the linear pattern on a circular (or cyclical) grid, which helps show therepetitive nature of the patterns.Making Music MathematicallyLast.year we tied a new approach for developing and playlng these patterns. We integrated themusical patterns study with a sound unit developed by the Exploratorium, San Fr-ancisco'sinnovative hands-on science museum. Ttre unit explores the sound qualities of various objects,such as d-owgls, pleceq of bamboo, and steel tubes of various lengths, steel grids, tuning forks,glassbottles (for blowing across), and hard and soft mallets, all supplied in handy dandy kits. Weadded a few items-water bottle drums, guiro (scrapers) made from ribbed botties and cans, andshakers.Whilc we investigated various science topics, such as the relation of length to pitch and the effectof vibration on the eatdrum, each child was determining which sounds s/he liked to make. After


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we'd had plenty of time to play freely with the objects, I allowed the children to form their owngloups oftour,'with each child selecting a different.instrument" and invite theq p ggmpose andpe*tirm an ensemble piece. The children had to write out their patterns on a grid. Most chose a^four-element, three-type pattern, although some chose a three element pattern to create apolyrhythm. I providid- a steady br'at; aloud metronome or metrono_fire tape would have done thejob w6n better. The students had opportunities to practice and finally to record and Iisten to eachother's creations.To record,I cued the students to come in one at a time and to drop out one at a time in the sameorder they came in, after four repetitions of the pattern, to allow the audience to hear gach pgThey als6 showed their audience a chart, or "score", which displayed all four patterns in parallelnairis. I allowed for minor improvisations or deviations from the pattem as long as they came backto the basic part every few cycles. The results were very exciting, and some were franklybeautiful, or at least interesting.Advanced Rhythm Exercises--African-Inspired PatternsOnce students master these exercises, and once they have had lots of exposure to Afro-Cuban andAfro-American rhythms, I introduce the twelve- and sixteen-element sequences. I provide studentswith linear and cyclical grids ("trains" and "webs") and we focus on three simplified versions ofimporant rhythms: 618 bemb6, conga (the Cuban carnaval beat) and rap.The 6/8 (12 element) rhythms are particularly interesting because of the way they combine fourelement and three-element patterns. I like to start examining these longer patters during our LunarNew Year study, when we focus on the uses, combinations, and pauerns of the number 12. Westay with the L2-element motif when we study Africa and its 1218 rhythms. The conga and the rapactivities are more accessible and are more easily integrated with language arts activities andpossible performance. For rumba you must play drums or use atape (l*e my Reading furnba).Rhyme and meterMath learning can take place through the study of song texts. One way, of course, is the directapproach, starting with counting songs (for example Yo tenta diez perritos). I have developedsongs whose content addresses directly or indirectly a specific math goal, while other songs are puttogether by students using a Venn diagram to develop logical categories.Another approach I have just begun to use is the ddcima poetic form of 10 eight-syllable lines, awildly successful form that is still enjoyed across the Spanish-speaking world. D6cimas are oftensung (and when sung, improvised) but can be written and read as texts. I help students discoverthe surprising palindromic and bilaterally symmenical features of the abbaa aabba rhyme scheme.(In fact it was a special ed. student who first pointed out the palindromic quality to me.)ConclusionsCetainly I have not exhausted the math possibilities of music. Some teachers may wish to explorethe math potential of the standard system of musical notation or the inticacies of harmony. Othersmay investigate the math and physics of sound, pirch, wave forms, and so on. I will not attempt toaddress such complex subjects further, other than to say that the science of sound is a fertile fieldof study.How.ever you may choo.se to develop it, I hope you'll.find $at an integrated and participatorymusic program can contibuts to your students'progless in mathematics.

xo oxo ooxo gxoxo oo


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Nombre aLos MamiferosSi t0 tienes cuatro patasComo osos y ratasPodrias ser mamfferoSi sefrorSi tf naciste vivoComo gato o chivoPodrlas ser mamlferoEso esSi tu sangre es calienteComo la gentepodrfas ser mamfferoC6mo noSi aire t0 respirasComo yo, si me miraspodrias ser mamfferoSim6n, sim6nPero si todas estas cosas sonverdad para ti...eres mamfferoSi t0 tienes peloDe aquf al sueloeres mamfferoSin dudaSi t0 mamaste lechede tu mam6eres mamlferoDigo yoY si una de estas cosas esverdad para ti...eres mamlfero.

ritmo'funk" porP. Pasmanick @1990

-r


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(based on the song Los Mamfferos) @P. Pasmanick 5-90Categorizing Animals with Venn Diagrams

Study the characteristics ofmammals listed in the song.Distinguish between necessaryconditions such as 'breathesair' (all mammals do, but so doother animals) and necessaryand sutficient conditions, suchas 'has hair' (all mammals do,and only mammals do).

Dos maneras de categorizar(Two ways to classify)q,p(and/or) (orlor)

Students can use animal cardsor plastic animals in the Venncircles representing thenecessary conditions. They willsee how the mammals and onlythe mammals can be placed inthe center where all three circlesintersect.Students can use othercategories, such as what theanimals eat, how they getaround, how they defendthemselves, or any otherreasonable category. Studentsenjoy playing "guess my rule" asthey sort their animals.

" The exception fesfs the rule."

CuatroPatas(FourSangreCaliente(WarmBlooded)

(BornAlive)

ComePlantas(herbi-vorous)

ComeOtrosAnimales(carni-vorous)

Gomede todo(omni-vorous)

Reading Rumba page 34


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Nombre FechaLlena a clrcuto para cada caracter(stica que tiene el animal.Nombra y colorea los animales.

@ P. Pasnanick 1988, 1996

o loconejo, Paz dorado, gato, mosca,petirrojo (p6jaro) vaca

Identifica la familia de cada animal.Crea un diagrama Yenn.


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Fecha-C6mo entender un diagrama Venn.

.Escoje tres colores contrastantes.

.Colorea los tres cfrculos y los cudraditos..Escoje una caracter(stica para cada cfrculo..Colorea con l6piz los circulitos para cadacaracteristica que sea verdad para cada letra.

Color de cfrculo IColor de cfrculo 2Color de cfrculo 3

caracterlstica Icaracterfutica 2

caracterlstica 3

CIrculo 2 Cfrculo 3

Circulo 1

Lefra caracte-ristica 1 caxacte-llstrca2 caracte-ristica 3 eA o o oB o o oC o o oCh o o oD o o oE o o oF o o o

@ P. Pasmanick 1992


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Canta como yo cant6Hoy es hoymaflana es maflana6Qui6n lo moj6qui6n lo moj6?El que 1o moja lo seca.6Qui6n 1o moj6?Tri ves, yo no llorotti ves.Call-and-response songs encouragepeople of all ages to join in the music.Because the coros are repeated manytimes, they ale easy to learn, and peoplecan sing unselfconsciously because theyare performing a short melody in a largegroup. Participants who sing corosmake a real contribution to the totalsound of music, while improving theirskills in ftythm, melody, and language.To get the most out of these constantlychanging coros, I like to ask the childrento provide the vocabulary we willuse.(Vocabulary may be limited to aspecific topic to reinforce a unit.) Iwrite their words on large chart paperor an overhead transparency. Whenlisting verbs, which most of my coroscall for, I like to use this Venn diagramsystem for charting the words we comeup with. This allows a direct mathlesson to take place as the vocabulary iselicited and the song leamed.

T.i. no roba$.

Make books ilhutratingeach child I verses.

/ cohrm-pmmolestar

gritarrobarpcgarhablarpensarandarlirryiarcantar

Yo no grito,

Ben

ta.,{,t

E I no ,'roleE8-Aifl_..4.SHNq Tegaa


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Nombre / FechaLlena este Venn sobre

q#,


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La Canci6n del DreidelCanci6n Tradicional en 214Versi6n en espaholporPhilip Pasmanick @ 1990

Tenqo yo un dreidel,de birrb lo form6.Y cuando va est6 secocon dreidet jugar6.coro:O dreidel, dreidel, dreidel,con dreidel jugar6.

O dreidel, dreidel, dreidel,Con dreidel gozarl.Tiene cuatro lados,En uno caerA,Y seg0n la letra,alguien ganar6.

coroSu forma es un cubo,en una pir6midecon un cilindro arribacon que lo girar6.

coroEs un juego lindoY muy tradicionalPor eso si no ganoNo voy a sentirme mal.

coroMONTUNOCon dreideljugar6Y gozar6. mamACon dreideljugar6.

a

tuimelu)shinJiIun jehLaspir6midesde Egipto



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Nombre Fecha.Haz estas figuras con palillos. O(Las lfneas quebradas y las esquinas blancas son "invisibles").Contesta las preguntas..Dibuja las figuras como objetos s6lidos con sombras.

1. pir6mide l,Curf,ntos bordes (paliltosX;Cudntas esquinas (pelotas)?6Cu6ntas caras (superficies?

2, Tetrahedro 6Cu6ntos bordes (patiltos)?;Cudntas esquinas (pelotas)?iCfintas caras (superfi cies) ?

6Cur{ntos bordes (palillos) ?i,Cadntas esquinas (pelotas) ?;Cu6ntas caras (superficies)?i

6Cu6ntos bordes iCadntas esquinas lCur{ntas carasen total? en total? en total?Extra (atr6s):. Describe elcilindro.. Dibuja IaesEella de 6puntos.. Dibuja lamenora.Dibuja undreidel

3. CuboI

Muestra tusecuaciones

+ E@


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C6mo hacer disefros basados en elhex6gono y la estrella de seis puntosusando un compes y una regla ffiPor Phil Pasrnanick @19911. Dobla tu papel en cuatro renglonespara encontrar el centro. Pon la punta detu compds en el centro y dibuja un clrculocon un di6metro de dos pulgadas (2").Marca el centro del circulo y colorea enamarillo la circumferencia.

2. Pon la punta de tu comp6s encualquier punto en ta circumferenciadel primer ciculo (el amarillo). Dibujaun nuevo clrculo del mismo tamaflo.Tocard el centro del primer circulo.

Tu papel

3. Dibuja el tercercfrculo poniendola punta de tucompds donde lacircumferencia delsegundo cfrculotoca la del primercirculo.

5. Nombra lospuntos A,B,C,D,E,and F comomuestra el dibujo.Para hacer unaestrella de seispuntos,_g[buia las[qeas AC, CE yEA.lueqo dibujaFB, BD y DF.

4. Sigue asfalrededor delprimer ciculohasta hacer seiscfrculos de estamanera. Tomauna regla.

6. Para hacer unhexdggno,_ dibui-aAEl, B9, CD, DE,EF, y FA.Luego experimentacon varios disefros.


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Nombre Fecha-Toca estos paffones con un comparlero. Usa objetos o la voz.Observa que el patr6n de arriba es un patr6n de tres elementos y dos tiposrepetido cuaffo veces y el de abajo es de cuafro elementos y fres tiposrepetido tres veces.Copia cada patr6n con bloques y en papel cuadriculado.

11

10

Ahora, crea tu propia composici6n.Escribe dos diferentes tipos de patrones.Luego toca lapieza con tu compafrero.Muestra elementos, tipos, y ciclos.

11

109

(E)fiRA) Patr6n de _elementos, _ tipos ciclos

o :o o o 114Patr6n de tres elementos (cajas) y dos tipos (sonidos).Hay cuatro ciclos (repeticiones).i t 2 3 + is 6 7 8 9 10 11 L2Patr6n de cuatro elementos (cajas) y tres tipos (sonidos).Hay tres ciclos (repeticiones).

o x x o x x o x x

120

P. Pasmanick @ 5-n (HfiRA) Patr6nde_elementos, _ tipos

11

ciclos


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Counting Songs in Spanish (raditionat)Chocolate1,2,3, cho4,5,6, co7,9,9, la10, teChocolate, chocolate,bate, bate, bate,chocolate.PlngtiinoPin uno, pin dos, pin tres,pin cuatro, pin cinco, pin seis,pin siete, pin ocho, pin nueve, pin diez,;pingriino * Sisueet4zg} patdnDiez Estrellas ffi 1,3,6,10...En ta noche se ven ****1,2,3 estrellas, 4, 5, 6, estrellas,7, 8,9 estretlas, 10 estrellas y mas.Pero en el dfa se venno 10, 9, 8, estrellas, 7, 6, 5, estrellas,4,3,2 estrellas, s6lo 1 estrella brillando.1El solDiez ElefantesUn elefante, se balanceaba,sobre Ia tela de una arafia,como vela que no se caia,fue a llamar a otro elefante.Dos elefantes, se balanceaban,sobre la tela de una arafia,como veian que no se caian,fueron a llamar a otro elefante.(3,4, 5, 6, 7,8,9...)Diez elefantes se columpiabansobre la tela de una arafra,como velan que si se cafan,iya no llamaron elefantes

Diez Perrltos

Yo tenla diez perritos,yo tenia diez perritosuno se cay6 en la nieve,solamente quedan 9, 9, 9.Yo tenia nueve perritos,yo tenia nueve perritos,uno fue por un bizcocho,sotamente quedan 8, 8, 8.De los ocho que tenla,de los ocho que tenfa,uno se fue al banquete,solamente quedan 7, 7, 7..De los siete que tenfa,de los siete que tenia,Uno camin6 al rev6s,solamente quedan 6, 6, 6.De los sies que yo tenfa,de los sies que yo tenfa,uno quiso dar un brinco,solamente quedan 5, 5, 5.De los cinco que tenla,de los cinco que tenfa,uno se meti6 alteatro,solamente quedan 4, 4, 4.De los cuatro que tenia,de los cuatro que tenfa,uno fue a aprender ingl6s,solamente quedan 3, 3, 3.De los tres que yo tenla,de los tres que yo tenia,uno tuvo mucha tos,solamente quedan 2, 2, 2.De los dos que yo tenfa,deJos dos que yo tenla,uno tom6 el desayuno,solamente queda 1, 1, 1.Y ese uno que quedaba,y ese uno que quedaba,decidi6 irse de cirquero,y quedaron cero, cero.



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NombreLl6vame Al Partido (ritmo 3/4)Versi6n originalde P. Pasmanick (@1989) de"Take Me Out To the Ball Game" por Albert von TilserLl6vame al partidoQuiero ver el beisbol.Jonrones, poncheos, y doble-pleyRegresa t0 pero me quedar6Alentando a nuestro equipoComiendo soda y manf.Porque beisbol es el deporteMejor para mf.

Fecha

Escribe los nombres de lasnueve posiciones defensivas.Reading Rumba page 24


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Funlqt Conga PhilipPasnanick @1994 v. 11-96

Conga (sometimes called comparsa) is the rhythm used in Cuba forCarnaval. It is made up of lots of rhythm parts all playing together.Each part is a simple pattern that repeats over and over.The trains of boxes and the 'rhythm web' show how some of thepatterns work and fit together. Learn to chant each part. Then formgroups to do several parts at once over a nice strong beat.Here's the basic conga dance step. The fourth step, shown in a box,is the one you 'step out' with, as the bass part goesThis...is...con...GA. Note that the next step is with the same foot,so that you'Il 'step out' on the other side next time. That is, danceLeft Right Left Right RIGHT Left Right Left (L R L R R L R L ).,fi Watt your fingers over thefootprints to see how this works.When you can do the step, trymarching as you sing parts.

A 5 gallon plastic bottlefrom an ollice water coolermakes a fine bombd (bassdrum) for conga.

l+2+3+4+5+6+7+8+) C C al+ 2 + 3 + 4 + 5 + 6 + 7 + 8 +drs rsconSayas ir rs(3J)dug iltlig it

ooh girdown l+2+3+4+5+6+7+8+

@ o o @ @l+ 2 + 3 + 4 + 5 + 6 + 7 + 8 +x x x x x ( )( X1+ 2+ 3 + 4 + 5 + 6 + 7 + 8 +o c a o o o o o

123Left .rD '(- Et- re .e a(DRight I,fhis,,, is... coo,.ooo

.e.(t a,cotr,., 8aoortnky frmkyoo r(, rOE. gao Eis.,. con.,. gaooo frrnky fimty con,,. gaoooo

Note: This is a very simplified version of llavana-style conga- The real thing is much more complex.


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Roots of rap--African musical influence in the AmericasMost West ffiisans worshipped their gods in rituals using drumming, singing, and dance. During theperiod 1500-1850, some 10 million West Africans were seized and forced into slavery tlroughout theAtlantic region of the Americas. These people brought their religions and music with them. It is welllrrow today that African drumming influenced today's popular musical styles. Less well know is just whatthat musical legacy is, and how it developed in Latin America as compared to English North America.The Latin American slave trade lasted longer and was more active than the North American trade. Some 957o of enslavedAfricans ended up in Latin America and the Caribbean. They were often the majority population, and even though theyworked under barbarous conditions, they were treated as human beings, inferior perhaps but with legal rights to a securefamily, property, and time for themselves. There were thriving corrmunities of freed blacks, free mulattos (persons ofmixed race) and escaped slaves. Peopte of African descent performed every kind of labor and profession.In Cuba, Black people formed associations to practice their various religions. Lucumf people, from the Yoruba area oftoday's Nigeria, developed the rites lnown as Santeria, while those from nearby Calabar pracdcedAbacud. Africans fromthe Congo river basin createl Palo. These traditions--and others--are alive and well, with a wealth of ritual dance,complex sacred music, and thousands of songs in afro-cuban languages.These religious associations (cabildos) were very private and serious. Eventually a series of secular musical forms beganto emerge, keeping certain essential elements of the traditional music. For example, it is said that the Abacud drummersinvented conga, the Cuban carnaval rhythm, basing it around their ancient five-stroke clave pattem. Then they took theirclave rhythm and the three-drum ensemble and created the rumba family of good-time party music, with a vocal stylestrongly influenced by Spanish Flamenco singing. Later still, styles such as son andmambo, using a slightly differerntclave andEuropean insuu.ments, would evolve into the salsa so popular today.In North America, the African slave trade was relatively meager and short-lived- Blacks were always a minority, and hadno legal protection or social space to exist as free men and women. Attempts to maintain their languages and religionswere suppressed. Without a stream of African-born arrivals to maintain specific cultures, tribal identities were lost.However, persons of African descent in the U.S. managed to retain the key structural features of their ancestral musicaltraditions. These include:* call and response (soto and chorus) pattem; solist often improvises clever topical verses and extended rhylne schemes* rhythm as a number of fixed, simple pattems that interact in interesting ways, as well as improvisation on the structuret speaking styles with lots of rhythm and melody; talking becomes singing (James Brown, Barry White, rap)* rhythm uses stressed upbeats over a steady pulse to create tensionFrom work songs to jazz, gospel to funk, these elements have contributed to unique artistic creations respected andimitated around the world. A recent manifestation is rapl}ip-hop, a modem high-tech music directly linked to Africa, themother continent. People interested in rap will benefit from understanding the greater historical context the music springsfrom. With good music educators all leamers discover aspects of the brilliant West African heritage that gives Afro-Latinand African American music their irresistable rhythmic drive, melodic strength, and critical social awareness.Integrating rap in the curriculumMath.analysis of rhythms in terms of pattems*how many beats in one cycle, in 2, in 10;

*reproduce orally and with instruments*reproduce with unifix cubes, on graph paper*compare rap bass part w/ rumba clave pattem

Social Studies

.graph data on relative popularity of artists,records sol4 themes of songs, etc.

@ P. Pasmanickv. 8-94t

Performing Arts . l : :.write and perforrn original raps.create backgrounds, rhythm charts,visual axt supports; videotape raps RapMusic

.read, discuss selected lyrics,relate to perceived social realiry

.study African roots of rap styles(rhytbms, vocal styles, dance)Language Arts.consider rap lyrics; determine rhymes andnear rhymes, use rhymes for spelling.syllabify words and determine stressedsyllables, write in a grid.read, Iisten to, and sing age-appropriateraps, then write original pieces

Basic raprhythms leboomo 8st For more rap rhythm parts see Reading Rumbap.30

Unidad Taller Música 18pp

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