Teacher Guide - The Broad Stage

Musical Explorers
My City, My Song
Developed in Parnership with
Carnegie Hall’s Weill Music Institute
Teacher Guide
2015-2016
THE BROAD STAGE
Wiley Hausam, Artistic & Executive Director
Amy Kirkland, General Manager
Carolyn Palmer, Director of Programming and Education
Alisa De Los Santos, Manager of Education & Community Programs
Klarissa Leuterio, Education & Community Programs Coordinator
ADDITIONAL CONTRIBUTORS
Magda Giannikou
Shanna Lesniak-Whitney
Courtney Gasque
Ann Louise Jeffries Thaiss
Christine Wilson
Gustavo Bulgach
ILLUSTRATIONS
Sophie Hogarth
AUDIO PRODUCTION
Scott Lehrer
Jeff Cook
Alejandro Venguer
Oscar Zambrano
The Broad Stage
Education & Community Programs
Theater: 1310 11th Street | Santa Monica, CA 90401
Mailing: 1900 Pico Blvd | Santa Monica, CA 90405
Phone: 310-434-3560| Fax: 310-434-3439
education@thebroadstage.com
thebroadstage.com/MusicalExplorers
Education and Community at The Broad Stage is supported in part by
Herb Alpert Foundation
Bank of the West
Austin and Virginia Beutner
Johnny Carson Foundation
City of Santa Monica and the Santa Monica Arts Commission
Colburn Foundation
The Rosalinde and Arthur Gilbert Foundation
Leonard M. Lipman Charitable Fund
Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission
The Ralph M. Parsons Foundation
SMC Associates
David & Linda Shaheen Foundation
Sidney Stern Memorial Trust
Dwight Stuart Youth Fund
Ziering Family Foundation, a Support Foundation of the Jewish Community Foundation of Los Angeles
.
Musical Explorers is made available to a nationwide audience through Carnegie Hall’s Weill Music Institute.
Lead funding for Musical Explorers has been provided by Ralph W. and Leona Kern.
Major funding for Musical Explorers has been provided by the Charles Haimoff Endowment, the E.H.A. Foundation, and The Walt Disney Company.
Greek music programming is made possible with major support from the Onassis Cultural Center of New York.
Additional support has been provided by the Ella Fitzgerald Charitable Foundation.
© 2015 The Carnegie Hall Corporation. All rights reserved.
Table of Contents
Foreword
4
How to Use This Guide
5
Options for Teachers
6
Options for Teachers of Students with Special Needs
6
Pathways for Teachers
7
Meet the Artists
8
Unit 1: Introduction
10
Unit 2: Greek Folk Music with Magda
23
Unit 3: Klezmer Music with Gustavo
33
Unit 4: Americana Folk Music with The Honeys
42
Concert Experience
51
Additional Information
55
Glossary
55
Standards Addressed
56
Common Core Capacities
57
Acknowledgments
57
Audio Track List
58
Student Guide Pages
58
3
Foreword
Welcome to Musical Explorers!
This program is designed to connect students in grades K–2 to the diverse musical community
of Los Angeles as they build basic music skills through listening, singing, and moving. Students
explore a wide variety of musical styles found in different Los Angeles neighborhoods, learn songs
throughout the year, and perform with the artists at culminating interactive concerts.
Musical Explorers combines skills-based and creative activities that can be integrated into general
and music classrooms. To facilitate planning, this Teacher Guide contains lesson plans, printed
music, background information about musical styles and artists, and Student Guide activity pages.
The companion audio CD provides the songs from each unit plus learning tracks. Teachers are
encouraged to start each lesson with warm-up exercises (found in the Introduction Unit) to help
students develop healthy, age-appropriate vocal technique.
The Teacher and Student Guide pages, audio files, and additional digital resources are
available on the Musical Explorers Resources page, which can be found at thebroadstage.com/
MusicalExplorers.
We hope you enjoy the journey!
Exploration
How can music represent the spirit of a community?
Key Objectives
Musical Explorers are students and teachers who look for the answers to this question as they
• meet singers whose music represents different musical styles and cultural communities
• sing and move to the artists’ songs
• make connections between the artists’ music, their Los Angeles neighborhoods,
and their cultures
• explore patterns that authentically represent the unique sound of each artist’s music
4
How to Use This Guide
With your guidance, Musical Explorers develop habits of active and engaged listening through a process
that includes using recurring prompts, follow-up questions, modeling, and short, repeated listening.
P
rompts: As students encounter new songs throughout the curriculum, ask them questions about
the music. We have included some scripted suggestions, which appear in italics. These prompts are
purposefully very open to help familiarize students with the process of noticing and articulating specific
aspects of the music.
• What do you hear in this music?
• How would you move to this music?
• What words can you use to describe this music?
• How does this music make you feel?
Follow-Up Questions: Here are some examples of questions that might be used in addition to the above
prompts to further expand your students’ ideas. Young students may need to be offered some choices until
they develop more confidence in their own vocabulary and abilities. Follow-up questions may include:
• Can you tell me a little more about that?
• Can you show me that with your hands by
clapping or tapping, or by moving your body?
• Can you sing it for me?
• What do you think the musicians are feeling?
What makes you think that?
• What are the instrumentalists doing? What is
the singer doing?
• Is the music busy or calm, loud or soft, high or
low, smooth or bumpy?
Modeling: At the beginning of the year, it may be helpful to model responding to your own prompts.
Modeling can also be facilitated through appointing student leadership roles in the classroom, allowing
students to learn from their peers.
Repeated Listening: As you facilitate listening and discussion, it will be helpful to remember these tips
for the “What did you hear in this music?” prompt:
• Play examples more than once and spread listening across many lessons. Unfamiliar music takes
time to absorb, process, and respond to.
• Play back short excerpts of the music by pausing the CD player after each section.
• Ask the prompts while listening to a song, since it may be more difficult for students to recall
a musical detail or observation when the music exists only in memory.
Making the Invisible Visible: To help young students actively listen to and engage with music, look
for ways to make the invisible world of music visible, and whenever possible, kinesthetic. In Musical
Explorers, these methods include:
• singing melodies
• clapping and tapping rhythms (body percussion)
• counting rhythms
• drawing sounds
• connecting narrative ideas with music
• dancing
• connecting cultural images with music
Lesson Timings: Each lesson is built for a class period duration of approximately 30 to 40 minutes.
5
Options for Teachers
Creative Extensions: These extensions are designed to continue the exploration of repertoire
and concepts beyond the concert program. We encourage you to delve deeper into the music and
cultures explored through these activities and to share your experiences with other classes, parents,
members of the school community, and The Broad Stage staff.
Musical Word Wall: We encourage you to keep a word wall and add each of the below vocabulary
words as they are introduced in the lessons, along with any other terms you might choose to add.
Musical Word Wall
Introductory Lessons
explorer
pattern
humming
vibrations
Greek Folk Music
accordion
chorus
lyrics
call and response
Klezmer Music
Ahava raba
klezmer music
Yiddish
clarinet
Americana Folk Music
Americana music
guitar
mandolin
washboard
mouth trumpet
body percussion
Music Educators Toolbox: Carnegie Hall’s Music Educators Toolbox provides activities, worksheets,
audio and video resources, and assessments. Browse resources by grade level, skills and concepts,
musical genres, instruments, national standards in music, and other criteria selected to serve the needs
of educators. All materials are free for use at carnegiehall.org/toolbox.
Options for Teachers of Students with
Special Needs
• Students can participate in Musical Explorers in a variety of ways and may learn the songs by
singing, moving, and/or clapping. You may also want to focus on smaller sections of the songs.
Since you know your students best, allow them to participate in ways that will help them feel
the most successful.
• Encourage students to engage with the music using tangible objects, such as handmade
instruments (e.g., cups with beans for shakers), rhythm sticks, and drums.
6
• Allow time for students to experience the music and repeat as often as necessary. The lessons outlined in
this curriculum may take additional time and span more than one class period. Use one-step directions
and visuals as often as possible to help students understand the concepts.
• Some visual aids are provided within the curriculum and at the Musical Explorers concerts, but you may
wish to provide additional resources to help your students engage with the material. If you have ideas for
elements to include in future curricula, please send them to education@thebroadstage.com.
Pathways for Teachers
Basic Program Path
(Minimum requirements
for concert participation)
Basic+ Program Path
(If you have more time)
Advanced Program Path
(If you have a lot more time)
Complete Lesson 1 and
learn to sing the first song
in each unit.
Complete Lessons 1 and 2
and learn the first (see Basic
Program Path at left) and
second (see below) songs in
each unit.
Complete both lessons, learn
both songs, and complete the
Creative Extensions included
in each unit.
Greek Folk Music with
Magda
“Tik Tik Tak”
Greek Folk Music with
Magda
“Trata”
Klezmer Music with
Gustavo
“Bulbes”
Klezmer Music with
Gustavo
“Yoshke, Yoshke”
Americana Folk Music
with The Honeys
“Little Piece of Cornbread”
Americana Folk Music
with The Honeys
“Who’s Gonna Be Your
Man?”
7
Meet the Artists
Magda, Greek Folk Music
Greek-born singer and accordionist Magda Giannikou composes music that
taps into a wide range of international influences. In addition to Greek, Magda
performs in French, as well as in six other languages. Banda Magda forays into
Brazilian baião rhythms, Greek dance music, jazz, samba, tango, and more.
Gustavo, Klezmer Music
Gustavo Bulgach is a musician, composer, educator, producer, and band leader.
He was born in Buenos Aires, Argentina, where he lived and learned music until
1992. He moved to New York in 1993, and eventually moved to Los Angeles. From
there, he formed the band “Black Coffee and Jam”, which became the House of
Blues Foundation House Band for over 6 years. Gustavo has also worked with
several artists such as EL GENERAL, Jumpin’ Jimes, Adam Rudolph and GO!
The Organic Orchestra, among many others.
The Honeys, Americana Folk Music
The Honeys explore harmony in folk, bluegrass and any melody that catches the
ear. Through their powerful, yet sweet harmonies, body percussion, haunting
melodies and vitality on stage, The Honeys captivate and move audiences. The
Honey’s foundation in jazz gives them an inherent flexibility to their sound,
allowing them to change and adjust their tone to best fit the mood of each
song. They have performed all over the United States and won the Harmony
Sweepstakes National Competition.
8
Let’s Begin!
Lesson 1
Introduction
Lesson 1: Becoming Musical Explorers
Aim: Where can Musical Explorers find patterns?
Summary: Students identify themselves as explorers of the music in Los Angeles and learn about musical patterns.
Materials: Musical Explorers CD, Musical Explorers Student Guide Pages, markers or crayons
Standards: US 1, 2, 6, 7, 8, 9; VAPA Music 2.4
Vocabulary: explorer, pattern
Introduce the “Musical Explorers Song”
• Introduce the Bus Driver on SG1. Our Bus Driver will take us to the neighborhoods in which our artists live.
• Where is our school on this map? Where is your neighborhood?
• As we explore our city, what styles of music do you think we might find? Where?
• Explore where the music we’ll learn about comes from by looking at the map on SG2–3.
• Introduce students to the Musical Explorers program by singing the “Musical Explorers Song,”
Track 1,
SG4.
• Using SG5–6, create a postcard of your neighborhood. Share your postcards with The Broad Stage by
e-mailing them to education@thebroadstage.com.
Use the “Musical Explorers Song” and the suggested warm-up activities in Lesson 2 to begin
each Musical Explorers lesson!
Explore Patterns
• This year as Musical Explorers, we will explore patterns.
• What is a pattern? Where do we find patterns?
• Collect words and ideas that students associate with patterns, such as repeating, same, and different.
• Look at examples of patterns on SG7.
• How do you know that these pictures are a pattern?
• Patterns
Identify
• Teacher creates different patterns with students (e.g., girl, boy, girl, boy, etc.) and students identify the
“mystery pattern.”
• Invite students to look around the school and identify some of the patterns they observe.
• Have students draw the patterns they find on SG7.
• Students can also create their own patterns using shapes, designs, colors, or blocks.
10
Introduction
Lesson 1
Introduce Musical Patterns
• Improvise a rhythmic pattern.
• Is this a pattern? How do you know?
• Listen to rhythmic patterns, Track 7. Discuss each example.
• What do you notice about this pattern? Are the notes short or long? Which rhythms repeat? Can you add
movement to match the rhythmic pattern?
• What patterns can we find in the “Musical Explorers Song?”
Musical• Word Wall
Add the words explorer and pattern to the Musical Word Wall.
11
Lesson 1
Introduction
Musical Explorers Song
Music and Lyrics by Daniel Levy
12
SG
1
Welcome to Our Musical Trip!
Welcome, Musical Explorers!
I’m your bus driver, and I’ll help
you explore our musical city.
Together, we’ll meet our singers
and hear their songs and stories.
Come along with me and make
your discoveries!
13
SG
2
UNITED STATES
New York
UNITED STATES OFCUBA
AMERICA
UNITED STATES OF AMERICA
PUERTO
RICO
Yacouba
WEST AFRICA
Bobby
Musical Explorers
Around the World
Map Explorers
Musical
We can hearthe
musicWorld
from all
Around
around the world in New York
Map
City. Where do these types of
music come from?
We can hear music from all
Greek Folk:
around
the Greece
world in
Los
Angeles.
Where
do these
Klezmer:
Eastern
Europe
types
of music
Americana
Folk:come
Unitedfrom?
States of America
Greek Folk: Greece
Klezmer: Eastern Europe
Americana United States of America
14
The Honeys
SG
3
Gustavo
EASTERN EUROPE
GREECE
EAST TIMOR
Magda
15
SG
4
Musical Explorers Song
Every song tells a story, every tune tells a tale.
Every rhythm has a reason, don’t you want to know?
Don’t you want to know what makes the music go?
Come along and see, make your discovery.
(x2)
I can go explore the world of music at my door.
My city and my neighborhood, singing songs and feeling good.
I can know what makes the music grow,
I can know what makes the music go!
16
SG
5
Create a Postcard
Use the space below to draw or paste images of people, places, and
things from your neighborhood!
Greetings from .. .
17
SG
6
Write to a friend about your neighborhood on your postcard!
Dear ________________,
(Your friend’s name)
(Your friend’s address)
Your friend,
____________________
18
SG
7
Explore Patterns
What patterns do you see in these images? How do you know
it’s a pattern?
Draw other patterns you see in your school or classroom.
19
Lesson 1
Introduction
Lesson 2: Exploring Our Voices
Aim: What happens in our bodies when we breathe, hum, and sing?
Summary: Students explore their singing and talking voices. The exercises learned may be done as a
warm-up. It may take some time for students to know and feel that their singing and talking voices are
very different from each other.
Materials: Musical Explorers CD, Musical Explorers Student Guide Pages
Standards: US 1, 2, 6, 7, 8, 9; VAPA Music 2.4
Vocabulary: h
umming, vibrations
What Happens When We Breathe?
• Have students find a partner to explore what happens when taking a breath. Have one student take a few slow,
deep breaths into their bellies. Encourage students not to lift their shoulders as they take deep breaths. Have
the other student watch what happens.
• What is happening inside your bodies as you breathe?
• Is anything moving? What is moving?
• Can you describe what you feel?
• What happens when you raise both hands in the air, take a deep breath, and then lower your hands
while you exhale? Does that feel different? How so?
• What happens when you lean over, touch your toes, and take a deep breath? How does that feel different?
•
What Happens When We Hum?
• Have students perform a few long sounds by singing or humming, which is singing without opening one’s lips.
While they hum or sing, tell them to touch their noses, cheeks, throats, necks, backs, and chests.
• What do you feel?
• Does anything change when you hum or sing instead of speak?
• What do you think is happening? Why?
• Explain that all sounds are caused by vibrations, or movements, that go through the air. Without vibrations,
music and sounds would not exist. By touching our throats when we hum, speak, or sing, we can actually feel
the wiggly vibrations created by our vocal folds.
• Have students alternate between blowing air (not making sound) and humming, while touching their throats,
so that they can feel the difference between vocal folds vibrating and at rest.
20
Introduction
Lesson 2
•
Learn the
“Warm-Up Rhyme”
• Teach the “Warm-Up Rhyme,”
beginning to sing.
Track 3, to your students. Practice this often as a warm-up before
1
2
Touch your toes,
(bend over and touch toes)
Stretch to the sky,
(arms lifted over head,
taking deep breath)
Reach way up high.
You’re a seed that grows.
(rolling up)
Standing tall,
Feel the lift.
3
4
Arms releasing,
(arms drop downwards,
keeping chest lifted)
Breathing deep,
(deep belly breath,
hands on hips)
Down they drift.
5
6
Fill your lungs.
(stretching arms out and
down, like a ballet dancer)
Smoothly and slowly,
(arms come in and
release the breath)
Out it comes.
(breathe out slowly)
21
Lesson 2
Introduction
•
Vocal Exercises
• Now that students have felt their own vocal fold vibrations, guide them in discovering what else
their voices can do.
• There are four types of voices: talking, singing, whispering, and calling.
• Have students explore their voices.
• How would you use your voice in the classroom? In music class? In the library? Outside on the playground?
By doing the following exercises often, students will become comfortable with using their singing voices, both high
and low. Feel free to mix and match the following warm-ups, or to create your own to add variety.
Track 4: Have students pretend they are police cars on a chase with their sirens on. To do this, start by
“Sirens”
singing “ooo” on a low pitch and slide up to a high pitch, and then slide back down to a low pitch.
• How can we use our arms to show the different shapes our voices are making?
• Try out students’ ideas of how sirens can sound and look.
“Yawning Kittens”
Track 5: Have students pretend they are sleepy kittens by stretching, yawning, and sighing.
• Model the vocal contour of the yawn and sigh (going from a high to a low pitch).
• Model a swooping contour with your hands and arms.
• Have students mimic you so that they can begin to feel and understand the difference between high and low
sounds by using their bodies and voices.
“Floating Balloon”
Track 6: Have students imagine they are a balloon floating in the wind.
• Model the balloon’s path by moving your arm.
• Make your voice match the contour of the balloon’s path (voice starts low and finishes high). Repeat this
several times.
• Have students imitate your arm and vocal movements.
• Experiment with the size and contour of the balloon’s arc, matching the movement with your voice.
• x
Sing the “Musical Explorers Song”
• Warm up students’ voices by singing the “Musical Explorers Song,”
• Begin each class by listening to or performing this song.
Musical• Word Wall
Add the words humming and vibrations to the Musical Word Wall.
22
Track 1, SG4.
Greek Folk Music with Magda
Preparation
Greek Folk Music with Magda
• x
Find Our Neighborhood
The Bus Driver now takes us on a journey to the Pico-Union, to meet our first singer, Magda. Have students
turn to SG8 and help them do the following:
• Locate The Broad Stage in Santa Monica.
• Locate Magda on the map at Pico-Union.
• Complete the activity.
23
SG
8
Find Magda’s Neighborhood
It’s time for us to begin our musical trip! Find The Broad Stage in
Santa Monica, and then find Pico-Union, where Magda lives, on the
map below. Complete the maze to start our journey. Let’s go!
Magda
SANTA MONICA
The Broad Stage
24
PICO-UNION
Greek Folk Music with Magda
Lesson 1
Lesson 1: Learning “Tik Tik Tak”
Aim: What word patterns can we create in “Tik Tik Tak”?
Summary: Students learn to sing “Tik Tik Tak” and create new sound patterns.
Materials: Musical Explorers CD, Musical Explorers Student Guide Pages, markers or crayons
Standards: US 1, 3, 5, 6, 8, 9; VAPA Music 1.1, 2.1, 2.4, 3.3
Vocabulary: accordion, chorus, lyrics
•
Meet Magda
• Meet Magda on SG9.
• Tik Tak”
Sing “Tik
• Listen to “Tik Tik Tak,”
Track 8.
• This song is about someone who is in love, and every time they see that person, their heart beats like a
drum—“tiki tiki tak.” Magda sings “tik tik tak” in the chorus of her song.
• Learn the chorus Parts 1 & 2 of “Tik Tik Tak,”
Tracks 9 and 10.
Score
• Listen to “Tik Tik Tak,”
Track 8, again and sing along to the chorus while patting out the rhythm on your
chest whenever you hear the first line, “Tik tik tiki tiki tak.”
• If desired, learn the pronunciation of the rest of the chorus on
Track 12.
Tik Tik Tak
& 44 œ
œ
Tik
4
&œ
Na
œ
dia
tik
ti - ki ti - ki tak
ka - ni kar - dia
∑
œ œ œ.
ve - nis
&‰ œ œ œ œ œ œ
7
the - lo
‰ œ œ œ œœ
œ œ
œœœœ œ
pou - li
mou
œ
Na
œ
œ œ œ.
ma - tha - i - no
œ
mou
San
œ
œ
Tik
tik
œ
pou
œ
se
œ œ œ.
vl - e- po
œœœœ œ
ti - ki ti - ki tak
œ
pi
-
œ œ œ.
gai - neis
25
Greek Folk Music with Magda
Lesson 1
“Tik Tik Tak” Translation
Tik tik tiki tiki tak
Kani kardia mou
San se vlepo Na dia venis
Tik tik tiki tiki tak
Thelo pouli mou
Na mathaino pou pigaineis
Tik tik tiki tiki tak
is the sound of my heart
when I see you passing by.
Tik tik tiki tiki tak
I would like to know, my bird,
where you are going.
Explore•Lyrics in “Tik Tik Tak”
• The lyrics “tik tik tak” are words that imitate the sound of the beating of a heart. What other words
describe sounds we hear? (e.g., sizzle, splash, pop, etc.)
• Look at the images on SG10 and write a word to describe the sound that each object makes.
• Choose one of your sounds from SG10 to create a new sound pattern in place of the lyrics
“Tik tik tiki tiki tak.”
• Perform your new sound pattern with the “Tik Tik Tak” accompaniment,
Track 11.
Listen to Magda play the accordion,
on SG11.
Track 13, and learn about the instrument
Musical Word Wall
Add the words accordion, chorus, and lyrics to the Musical Word Wall.
26
Meet Magda!
SG
9
WE LCOM E TO
Dear Musica
l Explorers,
Welcome to
Pico-Union
! I grew u
where I wo
p in Greece
uld swim e
,
v
ery day an
hours and
d
sp
e
hours playin
nd
g the pian
singing! Wh
o and
en I came
to Los Ang
so inspired
eles, I was
by all the
different
styles of m
cultures an
usic that o
d
ne can list
started pla
en to! I
ying my gra
ndmother’s
and tried
accordion
to sing in
as many la
I could. M
n
Musical Exp
g
uages as
y bandmate
lor
s and I a
to see you
re so excite
c/o The Bro ers
all at The
d
ad Stage
Broad Stag
experience
1310 11th Str
e and
the songs,
e
et
dance, and
my country
S
language o
a
n
t
a
together. W
M
onica, CA
f
e cannot w
all of you.
90401
ait to mee
t
Your friend
,
Magda
27
SG
10
My Sound Patterns
Look at the different objects below and write the noises they make
next to each one.
28
SG
11
Explore the Accordion
The accordion is a box-shaped musical instrument with a keyboard and
bellows. It is sometimes called a squeezebox, but the first name for
this instrument was harmonika, which is related to the Greek word
for “harmony.” The instrument is played by pushing and pulling apart
the bellows while pressing buttons or keys. The performer usually
plays the melody using the keyboard and the accompaniment with the
bass buttons.
KEYBOARD
BELLOWS
BASS BUTTONS
29
Greek Folk Music with Magda
Lesson 2
Lesson 2: Exploring “Trata”
Aim: What movement patterns can we perform with “Trata”?
Summary: Students learn to sing “Trata” and perform a traditional Greek dance pattern.
Materials: Musical Explorers CD, Musical Explorers Student Guide Pages
Standards: US 1, 5, 8, 9; VAPA Music 1.2, 2.1, 3.4
Vocabulary: call and response
•
Sing “Trata”
• Listen to “Trata,”
Track 14.
• The pattern used in the chorus is called “call and response.” Magda, the leader, sings the call and her
bandmates sing the response.
• Learn the chorus lyrics,
Track 16.
Score
• Practice singing the response to Magda’s call during the chorus of “Trata,”
Track 15. Invite one student
to be the leader and to sing the call while the rest of the class sings the response.
Trata
Call
Call
& 44 œJ
EE
&œ
3
œ
vi - ra
vi
ra
-
œ
tris
tris
œ œ œ
vi - ra
mia
mia
Response
Response
œ
sto
sto
œ
œ
spi
spi - titi
Response
Response
Call
Call
œ
œ œ œ
sta
sta
œ
tis
tis
na
pa - nia
w
E -
œ œ œ
vi -- ra
ra
dio
œ
“Trata” Translation
Evira mia sta pania
Evira dio sto yalo
Evira tris sto spiti tis
30
Shout one on the sails
Shout two on the beach
Shout three to her house
Response
Response
Call
Call
œ
œ œ œ
sto
sto
Œ
ya - lo
lo
Ó
E E
Greek Folk Music with Magda
Lesson 2
Explore•Movement Patterns in “Trata”
• Learn traditional Greek dance movements to “Trata.” The dance moves to the left using a four-beat pattern,
and then repeats the same dance movements to the right.
• Using
Track 14, perform the traditional Greek dance movements during the verses of “Trata” and on the
chorus, stop and sing the call and response with Magda.
1
Stand side by side with arms outstretched on
each other’s shoulders.
2
Beat 1: Step with your left foot to the left.
3
4
5
Beat 2: Bring your right foot in and
step together.
Beat 3: Step with your left foot to the
left again.
Beat 4: Tap your right foot’s heel on
the ground.
Repeat the sequence in the opposite
direction.
31
Lesson 2
Greek Folk Music with Magda
Creative Extension: Perform in the Greek Theater Tradition
In ancient Greece, stories and plays were performed by a leader and a chorus. The leader acted out the story
without speaking by using masks and gestures while the chorus told the story in unison.
• Choose a familiar story (e.g., “The Boy Who Cried Wolf” or “Goldilocks and the Three Bears”).
• Assign students to be leaders and other students to make up the chorus.
• Leaders create masks to show different emotions of the characters in the story using construction
paper or paper plates. Brainstorm different dramatic gestures the leaders would use to tell the story
with their masks.
• The chorus speaks or reads the story while the leaders perform the story using their masks
and gestures.
Musical• Word Wall
Add the words call and response to the Musical Word Wall.
32
Klezmer Music with Gustavo
Preparation
Klezmer Music with Gustavo
Find Our Neighborhood
The bus driver is going to take us from the Pico-Union over to South Robertson to meet our next musician:
Gustavo. Have students turn to SG12 and help them do the following:
• Find Magda in Pico-Union.
• Find Gustavo in the South Robertson area.
• Complete the activity.
33
SG
12
Find Gustavo’s
Neighborhood
It’s time for the next stop
on our trip! Find Magda
in Pico-Union and then
find Gustavo in the
South Robertson area.
Then complete the
activity.
D
V
I
J
I
R
M
I
Y
U
N
U
R
F
O
I
C
O
I
I
U
I
Y
Y
E
E
V
F
A
L
M
X
L
J
L
I
L
D
R M M
A
A
O
T
A
T
D
U
N
C
T
G
D
I
R
B
R
D
D
Y
G
R
B
S
V
W
A
I
P
K
I
A
Z
U
Y
J
P
R
K
Y
N
L
S
R
X
Q
K
S
A
A
H
J
W
E
H
O
W
Y
Q
V
E
R
Z
D
U
Z
T
N
D
Y
A
T
C
I
X
P
C
M
L
A
T
H
B
U
L
B
E
S
Q
E
L
U
A
P
L
G
C
U
U
F
K
R
F
AHAVA RABA
VIOLIN
BULBES
CLARINET
KLEZMER
YIDDISH
Gustavo
Magda
PICO-UNION
SOUTH ROBERTSON
34
Klezmer Music with Gustavo
Lesson 1
Lesson 1: Learning “Bulbes”
Aim: What can we learn about klezmer music through a Yiddish folk song?
Summary: Students sing “Bulbes” in Yiddish and explore the Ahava raba mode through improvisation.
Materials: Musical Explorers CD, Musical Explorers Student Guide Pages
Standards: US 1, 2, 3, 6, 9; VAPA Music 2.1, 3.1, 5.1
Vocabulary: Ahava raba, klezmer music, Yiddish
•
Meet Yale
• Meet Gustavo on SG13.
• Gustavo performs klezmer music, a type of Yiddish folk music from Eastern Europe
•
Sing “Bulbes”
(“Potatoes”)
• Listen to “Bulbes,”
Track 17.
• Listen to the “Bulbes” pronunciation,
Track 18, and practice speaking the lyrics in Yiddish.
• Listen to “Bulbes,”
Track 17, again and sing along.
Score
Bulbes
Traditional
Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
& 44 Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï Ï
bul--bes
bes,
Zun - tik bulbes,
bul - bes,Mon-tik
Mon - tik bul-bes
bul - bes,Dins-tik
Dins- tikun
un Mit-vokh
Mit - vokh bul
bul-- bes,
bes, Do-ner-shtik
Do - ner - shtik un Fray
- tik bul
Fray-tik
Zun-tik
&
Ï Ï Ï Ï Ï Ï Ï Ï Ï
Sha-bes
Sha - bes in
a
no -- ve
ve -- ne
ne aa
Ï
bul -- bes
bes,
Ï Ï Ï
ku - ge - le,
Ï Ï Ï Ï Ï
Ï
Zun -- tik
tik vay - ter
ter bul
bul -- bes!
bes!
Zun
“Bulbes” Chorus
Zuntik bulbes, Montik bulbes,
Dinstik un Mitvokh bulbes,
Donershtik un Fraytik bulbes,
Shabes in a novene a bulbes kugele,
Zuntik vayter bulbes!
On Sunday, potatoes, on Monday, potatoes,
on Tuesday and Wednesday, potatoes,
on Thursday and Friday, potatoes,
on Saturday, for a change, potato kugel,
on Sunday, potatoes again!
35
Lesson 1
Klezmer Music with Gustavo
A potato kugel is a baked Jewish
pudding or casserole that can be
either sweet or savory. In modern
times, noodle or potato kugels
are a mainstay of festive meals,
particularly on the Sabbath and
other Jewish holidays.
Zuntik Montik Dinstik Mitvokh Donershtik Fraytik Shabbes Sunday
Monday
Tuesday
Wednesday
Thursday
Friday
Saturday
The Yiddish word klezmer originally meant “musician.” Today, it has come to
characterize the style of secular music played in Jewish communities during joyful
celebrations, such as weddings.
Explore•the Ahava Raba Mode
Score
• Klezmer music is based on many different modes, or collection of notes similar to a scale.
One of the modes heard in klezmer music is called Ahava raba. You can hear this mode in “Bulbes.”
• Listen to the Ahava raba mode,
Track 19.
• Sing the Ahava raba mode on a neutral syllable.
• Listen to “Bulbes,”
Track 17, again and improvise using notes from the Ahava raba mode during
the instrumental break.
Ahava Raba Scale
& 44 w
w
#w
w
w
w
#w
w
Literacy Link
Want to learn more about klezmer music? The Wedding that Saved a Town is about a klezmer
musician, Yiske, and his band who must find a groom to participate in an unconventional
wedding.
36
Klezmer Music with Gustavo
Lesson 1
Creative Extension: Create New Lyrics to “Bulbes”
• Discuss why potatoes might be eaten every day. Explain what a potato kugel is and its significance.
• What are some types of food that we could eat every day? (Examples: rice, bread, chicken, and pasta)
• Have students choose one type of food they could eat every day of the week.
• How could you prepare that type of food differently for a special occasion? (Examples: rice pudding,
garlic bread, chicken tacos, and pasta with meatballs)
• Using SG14, “My New Lyrics for ‘Bulbes,’” have students fill in their chosen type of food to eat every day
of the week, using their “special occasion” food example for the meal on Saturday, or Shabbes.
• Listening to the “Bulbes” accompaniment,
Track 20, and have students sing the song using their
new lyrics.
Musical• Word Wall
Add the words Ahava raba, klezmer music, and Yiddish to the Musical Word Wall.
37
SG
Meet Gustavo!
s out h r ob
er t s o
n
Dear Musical Explo
rers,
Hello! My name is
Gustavo, and I am
a
clarinetist who pla
ys Klezmer music
with my
band, Klezmer Ju
ice! I was born in
Argentina, but my
family is from East
ern
Europe. I learned
music from them
wh
en I
was very young. Re
member, music is
th
e
language that ever
yone speaks, unde
rs
ta
nds,
and appreciates, wh
ich means: People
from
all over the world
can enjoy it! We ho
pe
that you will enjoy
our Klezmer music
and
Yiddish songs.
I can’t wait to sh
are some of my
music with you at
The Broad Stage!
Zay gezunt (stay
healthy),
Gustavo
38
Musical Explorer
s
C/O The Broad
Stage
1310 11th Street
Santa Monica, CA
90401
13
SG
14
My New Lyrics for “Bulbes”
Fill in the blanks with a food you could eat every day. Don’t forget your
special Saturday Dish! Draw the dish below.
Zuntik
, Montik
Dinstik un Mitvokh
,
,
Donershtik un Fraytik
Shabes in a novene a
Zuntik vayter
,
,
(special dish)
!
39
Lesson
2 Klezmer
Music
with Gustavo
Lesson 1
Malian
Traditional
with
Yacouba
Lesson 2: Exploring “Yoshke, Yoshke”
Aim: How can instruments sound like the human voice?
Summary: Students explore the difference between vocal and instrumental music and learn a clapping
rhythm with the song.
Materials: Musical Explorers CD, Musical Explorers Student Guide Pages.
Standards: US 1, 3, 6, 9; VAPA Music, 1.3, 2.4, 4.2
Vocabulary: clarinet
•
Sing “Yoshke,
Yoshke”
• Listen to “Yoshke, Yoshke on
Track 21.”
• Rhythms are very important in klezmer music.
• Different songs have different clapping rhythms so that people listening to the music can be part of the
music-making.
• Listen to “Yoshke, Yoshke Rhythm”
Track 22 and practice the rhythm on
Track 21.
• Listen to “Yoshke, Yoshke”
Track 21 and clap along.
Explore•Instruments in a Klezmer Band
• Listen to “Yoshke, Yoshke”
Track 21.
• The clarinet is an instruments commonly heard in klezmer music. Klezmer musicians play their
instruments in a way that imitates the human voice.
• Listen to the examples of the clarinet on
Track 23. Invite students to mimic back with their voices
what they hear.
• What human sounds do you hear?
• “Yoshke” is a nickname for someone in Yiddish, so we can imagine that the song is the musicians
talking to a friend using their instruments.
• Using what we just learned about instruments sounding like the human voice, what would you imagine
the musicans might be saying to their friend Yoshke?
• Using SG15, have students draw a picture of what Yoshke and his friends could be talking about.
Explore•Instruments in a Klezmer Band
Add the word clarinet to the Musical Word Wall.
40
SG
15
Yoshke, Yoshke
Draw your picture of what Yoshke and his friends could be
talking about.
41
41
Preparation
\Indian
Americana
with
The Honeys
Lesson
1
Classical
withFolk
FaluMusic
Americana Music with The Honeys
•x
Find Our Neighborhood
The Bus Driver will now take us on a journey from South Robertson, to Long Beach, to meet our next
singers, Courtney, Christina, and Ann, known as The Honeys. Have students turn to SG16 and help them
do the following:
•Locate Gustavo in the South Robertson area.
•Locate The Honeys in Long Beach.
•Complete the activity.
42
42
SG
16
Malian Traditional with Yacouba
Lesson 1
Find The Honeys’ Neighborhood
Find Gustavo in South Robertson. Find The Honeys in Long Beach.
Complete the activity below to go from Gustavo to The Honeys!
Gustavo
SOUTH ROBERTSON
_ LA_ I_ ET
Klezmer music often uses the Y_ D_ I S _ language.
We learned that instruments can sound like V _ I C _ _
Gustavo plays the
The Honeys
LONG BEACH
43
Americana
with
Lesson 1Classical
Lesson
1 The Honeys
Indian
withFolk
FaluMusic
Lesson 1: Exploring “Little Piece of Cornbread”
Aim: What kinds of music are used in Americana Folk Music?
Summary: Students sing “Little Piece of Cornbread” and explore instruments used in Americana
Folk Music.
Materials: Musical Explorers CD, Musical Explorers Student Guide Pages, crayons
Standards: US 1, 2, 6, 9 VAPA Music 1.3, 2.1, 4.2, 5.1
Vocabulary: Americana, guitar, mandolin, washboard, mouth trumpet
Meet The Honeys
• Meet Courtney, Christina, and Ann of The Honeys on SG17.
Sing “Little Piece of Cornbread”
• Listen to “Little Piece of Cornbread”
Track 24.
• In folk music, musicians write about all kinds of events that happen in their lives, including the happy
and sad times, just like in “Little Piece of Cornbread.”
• Learn the chorus to “Little Piece of Cornbread,”
Track 25 and practice singing the chorus.
Explore the Instruments in Americana
• Listen to “Little Piece of Cornbread”
Track 24 again.
• There are four different instruments that we hear in the recording. What do you think they might be?
• The instruments played in “Little Piece of Cornbread” are the guitar, the mandolin, the washboard,
Track 26, the mandoand the mouth trumpet. Explore SG18 and listen to examples of the guitar on
Track 27, the washboard on
Track 28, and the mouth trumpet on
Track 29.
lin on
• Listen to “Little Piece of Cornbread,” Track 24 again and listen for each instrument.
• Break students into four groups and assign a different instrument to each group . Have students raise
their hands as they hear their assigned instrument.
44
44
Americana Folk
Music
with The
Honeys
Indian
Classical
with
Falu
Little Piece of Cornbread
Lesson1 1
Lesson
Lynda Dawson
Creative Extension: Everyday Instruments
• Many types of music use instruments that are just regular items that make interesting sounds. That means,
almost anything can be an instrument.
• The Honeys play the washboard by scraping its ridges. The washboard was originally designed for washing
clothes before there were washing machines.
• What other things can be used as instruments?
• Invite students to bring an item from home that can be used as an instrument.
• What is this item normally used for?
• How can you use it as an instrument?
• Create a homemade band and play along with The Honeys in “Little Piece of Cornbread,”
Track 24.
Musical Word Wall
Add the words, Americana, guitar, mandolin, washboard, and mouth trumpet to the Musical Word Wall.
45
45
SG
Meet
The Honeys!
17
Courtney
Christina
n
An
Dear Musi
cal Explor
ers,
Hello from
Long Bea
ch! We ar
friends w
e The Ho
ho love to
neys, thr
si
ng togeth
ee
Cour tney
er. Our n
(I’m tall a
a
m
e
s
n
d have re
are
brown ha
d hair,) A
ir and pla
nn (I hav
y the guit
(I have cu
e
ar,) and
rly hair a
Christina
nd freckle
,
singing w
s). We eac
hen we w
h began
ere very
at it ever
y
o
ung and
since. Our
h
ave been
favorite p
American
ar t of sin
a music is
g
in
g
that you
at all, exc
don’t nee
ept the in
d
anything
strument
our voice
we are all
s. We can
b
orn with:
’t
wait to h
favorite so
ear you si
ngs with
n
g our
us at The
Broad St
age!
Your frien
ds,
The Hone
ys
Cour tney
, Ann
, and Chr
istina
46
Musical E
xplorers
c/o The B
road S tag
e
1310 11th
S t.
Santa Mo
nica , CA
90401
SG
18
Malian Traditional with Yacouba
Lesson 1
Instruments of Americana Music
Mandolin
Guitar
Washboard
47
Lesson 2
Americana
The Honeys
Lessonwith
1
Indian
Classical
with Folk
Falu Music
Lesson 2: Learning “Who’s Gonna Be Your Man?”
Aim: How do we use our bodies to explore the rhythmic patterns in Americana Music?
Summary: Students will learn a body percussion pattern with “Who’s Gonna Be Your Man?”
Materials: Musical Explorers CD, Musical Explorers Student Guide Pages
Standards: US 3 VAPA Music 2.4, 3.4
Vocabulary: body percussion
Explore•Body Percussion in “Who’s Gonna Be Your Man?”
• Listen to “Who’s Gonna Be Your Man?,”
Track 30.
• As you listen, move, clap, or stomp along to the beat.
• The Honeys move along with their music too. They use something called body percuission.
• Body percussion is using your body to add rhythm to a song.
• Listen to the body perciussion sample in
Track 31 and use SG19 to practice it.
• Listen to “Who’s Gonna Be Your Man?,”
Track 30 again and perform the body percussion pattern
along with the song.
Create Your Own Body Percussion
• Discuss all the ways we can make percussion with our bodies (ie, stomping, clapping, patting, snapping,
etc.)
• In “Who’s Gonna Be Your Man?,” the pattern of body percussion is STOMP (A), CLAP (B), STOMP (A),
CLAP (B), PAT (C) - A, B, A, B, C.
• Using SG20 as a guide, have students create their own body percussion pattern to go with “Who’s Gonna Be
Your Man?” using the A, B, A, B, C model.
• Perform your new body percussion patterns with “Who’s Gonna Be Your Man?,”
Track 30
• During the body percussion section, invite students to improvise using their own body percussion or
classroom instruments.
Musical Word Wall
Add the word body percussion to the Musical Word Wall.
48
Malian Traditional with Yacouba
Lesson 1
SG
19
“Who’s Gonna Be Your Man?”
Body Percussion
A
B
A
Stomp
Stomp
Clap
right
B
left
C
Clap
Pat
49
49
SG
20
Malian Traditional with Yacouba
Lesson 1
Create your own Body Percussion Pattern
Draw or write your body percussion movements below.
A
B
B
C
A
Try your pattern all together!
Share it with the class!
50
50
Lesson 1
Introduction
Concert Experience
The Concert
• Review the diverse artists the students have encountered so far.
— Magda (Greek Folk Music)
— Gustavo (Klezmer Music)
— The Honeys (Americana Folk Music)
• Look at SG2-3 and have students find the countries represented on the map.
• What do you remember about the artists and their music? Brainstorm a list of responses
with the students.
• Listen to a brief excerpt by each of these artists on the Musical Explorers CD.
• As a class, brainstorm some questions the students could consider during the concert. Have the students
try to answer the questions for one another after attending the performance.
• Lead a discussion with students about the roles of performer and audience member (or listener) during
a concert. Brainstorm ideas about these roles and document them on chart paper. Have students narrow
down the list by voting on their favorite two ideas per role.
• Divide the class in half, with one half acting as performers and the other half acting as audience members for a song from Musical Explorers. Facilitate a reflective discussion with students about how each
group did. Invite the groups to share one aspect of what they liked and one thing that could be improved
for themselves and the other group. Perform the song again, switching so that the students take on the
opposite role. Repeat the reflection.
• to The Broad Stage!
Let’s Go
The Bus Driver now takes us from each of our artists’ neighborhoods to The Broad Stage in Santa Monica,
where we will meet and hear our singers, Magda, Gustavo, and The Honeys. Have students turn to SG21 and
help them do the following:
• Find Magda, Gustavo, and The Honeys on the map.
• Find The Broad Stage in Santa Monica.
• Complete the maze that takes each of them to Santa Monica.
• Concert
After the
• Reflect on your concert experience with your students by completing SG22-23.
• Share your reflections with The Broad Stage by e-mailing us your students’ work at
education@thebroadstage.com.
51
SG
Find The Broad Stage
Find Magda in Pico-Union; Gustavo in the
South Robertson area; and The Honeys in
Long Beach. In the maze, draw the path
from each of them to The Broad Stage in
Santa Monica. Let’s go!
52
21
SG
22
What Did You See and Hear at
The Broad Stage?
Draw pictures of your trip to The Broad Stage below.
53
SG
23
Who Is Your Favorite Artist?
Write a letter to your favorite artist. Be sure to include your favorite
part of the concert and your favorite song from the concert.
Dear
,
Your friend,
54
Additional Information
Glossary
Accordion - a box-shaped musical instrument
with a keyboard and bellows. It is played by
pushing and pulling apart the bellows while
pressing buttons or keys
Ahava raba a mode often used in klezmer music
Mouth trumpet - a vocal technique where one
uses his or her own voice to mimic the sound of
a turmpet
Pattern - a distinct arrangement of visual designes of soiunds (often repeating)
Americana - a style of music that incorporates
various styles of American music, including
bluegrass, R&B, folk, and country
Vibrations - the movement of air
Body percussion - when one uses his or her body
to create rhythm for a song
Yiddish - a German language historically used by
Ashkenazi Jews
Call and response - a pattern used in songs,
where the lead singer calls one line, and other
band members or the audience respond with
another line
Washboard - a tool that is meant for washing
clothing, but is also used as an instrument
Chorus - a repeating melodic and lyrical line in
music
Clarinet - a member of the woodwind family. It
uses a reed, and has a cylindrical shape with a
flared bell at one end
Explorer - a person who uses his or her senses to
learn about something
Guitar - a string instrument, usually with six
strings. The strings are usually plucked or
strummed
Klezmer music - style of secular music played in
Jewish communities during joyful celebrations,
such as weddings
Lyrics - words in a song.
Mandolin - a string instrument that is usually
plucked, or picked
Mode - a special and unique set of notes in a scale
55
Standards Addressed
Unit
National Standards
California VAPA Music Standards
Introduction
1, 2, 6, 7, 8, 9
2.1, 2.4, 4.2
Greek Music with Magda
1, 3, 5, 6, 8, 9
1.1, 2.1, 2.4, 3.3, 3.4
Klezmer Music with Gustavo
1, 2, 3, 6, 9
1.3, 2.1, 2.4, 3.1, 4.2, 5.1
Americana Folk Music with The Honeys
1, 2, 3, 6, 9
1.3, 2.1, 2.4, 4.3, 4.2, 5.1
National Standards for Music Education
Standard 1
Standard 2
Standard 3
Standard 4
Standard 5
Standard 6
Standard 7
Standard 8
Standard 9
Singing varied reportoire of music alone and with others
Performing varied repoertoire of music alone and with others
Improvising melodies, variations and accompaniments
Composing and arranging music within specified guidelines
Reading and notating music
Listening to, analyzing, and describing music
Evaluating music and music performances
Understanding relationships between music, the other arts, and disciplines outside the arts
Understanding music in relation to history and culture
Visual and Performing Arts Framework for California Public Schools (VAPA): Music
1.0
ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Music
Students read, notate, listen to, analyze, and describe music and other aural information,using the terminology of music.
1.1 Read, write, & perform simple patterns of rhythm and pitch, using beat, rest, & divided beat (two sounds on one beat)
1.3 Identify common instruments visually and aurally in a variety of music
2.0
CREATIVE EXPRESSION
Creating, Performing, and Participating in Music
Students apply vocal and instrumental musical skills in performing a varied repertoire of music. They compose and
arrange music and improvise melodies, variations, and accompaniments, using digital/electronic technology when
appropriate
2.1 Sing with accuracy in a developmentally appropriate range.
2.4 Improvise simple rhythmic accompaniments, using body percussion or classroom instruments.
3.0
HISTORIOCAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Music
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.
3.1 Recognize and talk about music and celebrations of the cultures represented in the school population
3.3 Use a personal vocabulary to describe voices, instruments, and music from diverse culture
4.0
AESTHETIC VALUING
Responding to, Analyzing, and Making Judgments AboutWorks of Music
Students critically assess and derive meaning from works of music and the performance of musicians according to the elements of music, aesthetic qualities, and human responses.
3.1 Recognize and talk about music and celebrations of the cultures represented in the school population
3.3 Use a personal vocabulary to describe voices, instruments, and music from diverse culture
5.0
CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Music to Learning in Other Art Forms and Subject Areas and to Careers
Students apply what they learn in music across subject areas. They develop competencies and creative skills in problem
solving, communication, and management of time and resources that contribute to lifelong learning and career skills. They
also learn about careers in and related to music.
5.1 Recognize and explain how people respond to their world through music
56
Standards Addressed, cont.
Common Core Capacities
Through hands-on classroom activities and one culminatig interactive performance, Musical Explorers helps to
address Common Core Capacities for College and Career Readiness, empowering students throguh learning activities in
which they
•
demonstrate independence
•
build strong content knowledge
•
respond to the varying demands of audience, task, purpose, and discipline
•
comprehend as well as critique
•
value evidence
•
come to understand other perspectives and cultures
The Musical Explorers curriculum focuses on building music performance skills, content knowledge, and creativity,
while developing core capacities in English language arts and mathematics. Through active listening, describing and analyzing repertoire, writing activities, and a focus on the perspectives of other cultures and communities, Musical Explorers provides students with the opportunity to put these core capavities to use in a music domain.
Acknowledgements
Recordings
“Musical Explorers Song,” By Daniel Eliot © 2007 Daniel Levy and SCAP. Performed by Shanna
Lesniak-Whitney and Shane Schag.
“Tik Tik Tak” traditional Greek song. Performed by Banda Magda.
“Trata” traditional Greek song. Performed by Banda Magda.
“Bulbes” traditional Yiddish folk song. Performed by Yale Strom, Elizabeth Schwartz, Norbert Stachel, and Peter
Stan.
“Yoshke, Yoshke” Traditional Yiddish Song. Performed by Klezmer Juice.
“Little Piece of Cornbread” by Lynda Dawson of Kickin’ Grass. Performed by Honey Whiskey Trio
“Who’s Gonna Be Your Man?” Traditional African-American Folk Song. Performed by Honey Whiskey Trio
All scores reprinted with permission. All recordings © 2015 The Carnegie Hall Corporation, except for Honey
Whiskey Trio Recordings.
Photos
Artist Photos: Magda courtesy of Magda Giannikou (Credit: Christos Predoulis), Gustavo courtesy of Gustavo
Bulgach, The Honeys courtesy of Honey Whiskey Trio, SG8, SG21, SG22, The Broad Stage courtesy of Ben Gibbs,
All other photos courtesy of Creative Commons
57
58
Audio Track List
Student Guide Pages
1.
“Musical Explorers Song”
2.
“Musical Explorers Song”
Accompaniment
3.
“Warm Up Rhyme”
4.
“Sirens”
5.
“Yawning Kittens”
6.
“Floating Balloon”
7.
Rhythmic Patterns
8.
“Tik Tik Tak”
9.
“Tik Tik Tak” (chorus part 1)
10. “Tik Tik Tak” (chorus part 2)
11. “Tik Tik Tak” (accompaniment)
12. “Tik Tik Tak” (pronunciation)
13. Accordion
14. “Trata”
15. “Trata” (chorus)
16. “Trata” (pronunciation)
17. “Bulbes”
18. “Bulbes” (pronunciation)
19. Ahava raba mode
20. “Bulbes” (accompaniment)
21. “Yoshke ,Yoshke”
22. “Yoshke, Yoshke” Rhythm Clapping
23. Clarinet
24. “Little Piece of Cornbread”
25. “Little Piece of Cornbread” (chorus)
26. Guitar
27. Mandolin
28. Washboard
29. Mouth Trumpet
30. “Who’s Gonna Be Your Man?”
31. “Who’s Gonna Be Your Man Body?” Percussion
Welcome!
World Map
Musical Explorers Song
Postcard
Patterns
Magda’s Neighborhood
Meet Magda
Sound Patterns
Accordion
Gustavo’s Neighborhood
Meet Gustavo
My New Lyrics for “Bulbes”
Yoshke, Yoshke
Honeys’ Neighborhood
Meet The Honeys
Americana Folk Instruments
Body Percussion Pattern
Create your Own Body Percussion
Find The Broad Stage
What did you see and hear?
Letter to Your Favorite Artist
1
2-3
4
5-6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
59
Weill Music Institute
thebroadstage.com/musicalexplorers
carnegiehall.org/musicalexplorers
60