Module 3- Music and Movement as a context

Title: Capoeira Brazil
Origin: Brazil
Performers: Grupo Engenho da Bahia
Instruments: Berimbaus, Pandeiro, Agogo, Recoreco and Atabaque.

In certain cultures, the music created is intended to tell a story, reflect on a statement or idea, as well as have some sort of interaction. The interaction involved can be between the players and listeners, between the individual performers and other ensemble members, as well as the movement and dance to music itself. Additionally, the environment and setting can play a vital role in how music is created or “performed”. The specific context described in our text involves: audience-performer interaction, intra-ensemble interaction, and music and movement. Through these various contexts, we are able to understand and reflect on the ways in which music can be intertwined within various global cultures. I decided to specifically focus in on the context of music and movement this week by analyzing the Brazilian art of Capoeira.

In many cultures throughout the world, music and movement are fairly synonymous activities. From the ballets of Romantic Period France to the traditional dances of ancient India, humans have always been enticed to move their bodies to musical sounds.  While the previous examples were created for the purposes of celebration and general merriment, the tumultuous environment of slavery in Brazil led to the development of the practice of Capoeira.  Brazilian Capoeira is known as “a blurred genre that can be best described as a game or martial art with music, a form of dance with vocal and instrumental accompaniment. “(Wade, 2013, pg.154) In a modern setting the tone of capoeira has taken on that of a “game” in which the music is integral in setting the scene.  “The musicians create the atmosphere within which the game comes to life; they make the game possible, and the game, in turn, gives meaning to music.” (Wade, 2013 pg. 154-155).  In the video selection for this week you can see the ensemble working together both instrumentally as well as with the call and response featured in the vocals (intra ensemble interaction), in addition to the ensemble co-creating the capoeira with the dancers/ martial artist (music and movement).  In this specific example the ensemble consists of berimbaus, pandeiro, agogo, recoreco and atabaque.

Additionally, this practice was born out of the slaves of the times’ efforts to break free from their masters.  Capoeira is “a martial art developed by slaves to aid in rebellions and escapes, but that it had to be disguised as a dance to fool the masters.” (Wade, 2013, pg. 48) One can draw parallels between Brazilian slaves using their Capoeira to elude their captors, and African Americans using such songs to escape such as “follow the drinking gourd”, which metaphorically speaks about following the big dipper in an effort to seek freedom. Much in the same way, capoeira was used to help show them the way to freedom in Brazil, African American slaves used songs to communicate the way to freedom as well.

Reference:

Wade, B. (2013). Thinking Musically: New York, Oxford University Press

Blog 2- Module 2

Darifor

                                                                 

Title of Piece: Darifor
Performers: Ba-Ere (L) and Anansi (R)
Culture of Origin: Accra, Ghana in West Africa
Instrumentation: Gyil with minimal vocals

The piece I chose this week is from Ghana in West Africa. This is a traditional song that is usually played at a funeral or honoring ceremony to mourn the loss of someone from their community.

As human beings, we have an inherent desire to organize things that we are learning into accessible groups of commonality. In the biological sciences, living organisms are classified by kingdom, phylum, class, order, family, genus, and species. These breakdowns allow persons to better understand the interconnectedness within the world around us. The same can be said for the classification systems of instrumental music. According to The Sachs-Hornbostel system, there are four main instrument groups that are present within all musical cultures: idiophone, membranophone, chordophone, and aerophone. (Wade, 2013, pg 38) These classifications allow us to identify common threads between our musical cultures. In the musical excerpt that I have selected for this weeks blog, we can see one of these common threads. The instrument featured in this video, the Gyil, is in the same classification as the mallet percussion we are familiar with in western orchestral and band settings. By having a common thread we open the door for our students by allowing some familiarity to guide their new knowledge in worldly instruments. Not only do we provide an access point but these common classifications have led to development of the alternative instruments featured in general music classrooms by Carl Orff.

Below, I have included an example of Orff's instruments being utilized in American public schools. There is a clear commonality with the Orff xylophones featured and within the Gyil from Ghana, West Africa. I think it is safe to say that music and instruments from other cultures have had a distinct impact on music education here in the states and the classification of instruments help to breakdown and organize larger topics for students understanding and clarity. Through Orff ensembles, students are able to see various commonalities and connections among other cultures.

Wade, B. (2013). Thinking Musically. New York: Oxford University Press.

Smoky Row Orff Ensemble

Blog 1- World Music

"Peponi"

Title: Coldplay - "Peponi" (Paradise) African Style (ft. guest artist, Alex Boye)
Performers: Pianist Jon Schmidt: Cellist: Steven Sharp Nelson: Videographer: Paul Anderson, Music Producer: Al Van der Beek, and Guest Vocalist: Alex Boye
Culture of Origin: Southeast Africa including Swahili spoken areas such Tanzania, Kenya, Uganda, Rwanda, Burundi, Mozambique and the Democratic Republic of the Congo.


This is a great piece to begin to introduce students to world music as it provides a recognizable melody and accessible song as a base. Blending it in with traditional Swahili, both language and instruments creates a platform for students to understand and respect other cultures, ethnicities and origins of music. I feel as though to achieve the greatest level of engagement in and appreciation for world musics, we must provide our students with an access point that has some resonance within themselves. They must be able to relate to the music presented in some context in order to find a level of interest which in turn will motivate them and captivate their enthusiasm. On a personal level, I also chose this piece because The Piano Guys are one of my favorite groups. Additionally, my students always love to hear the remakes of various songs, both pop and classical especially at the elementary level. It is also a way for them to see and hear how they are not simply "constricted" in the music we perform as an ensemble, and how there is more to music than just simply playing the violin or cello for example.