Teaching Sequence

Part A: Exploring African-Cuban Rhythms
Part B: Exploring Indonesian Gamelan Music
Part C: Multicultural Inspiration for Student Fanfares
Reflection

Preparation:

Ensure you have access to percussion and melodic instruments, YouTube, a computer and speakers. You will need a copy of the Student Worksheet for each student.

Work through this resource material in the following sequence:

Part A: Exploring African-Cuban Rhythms

Step 1.

As a class discuss the 'Thought Starter' on the Student Worksheet:

"From which continent do most of the world's rhythms originate?"

Record students' thoughts on the board.

Explain to students that many musicians suggest that all rhythms originated from ancient Africa. These days, when we think of exciting, rhythmic music, Africa and South America often come to mind. Both continents enjoy syncopated, complex and fast rhythms.

Step 2.

Divide the class in half, and ask each group to learn to clap two Afro-Cuban rhythms:

Group 1: Son clave

Group 2: Rumba clave

Learning support: Add in the Kodaly rhythm names below the musical notes which will help students both clap and say the rhythm accurately.

Step 3.

Come back together and ask each group to perform their rhythm to the class. Ask students to think about the subtle difference between the son clave and rumba clave.

Step 4.

Next, provide each student with an untuned percussion instrument. Ask students to begin with playing the son clave rhythm and then progress to the rumba clave rhythm.

Step 5.

Organise the class back into their original groups (i.e Group 1: Son clave, Group 2: Rumba clave). Perform the two rhythms together.

When both son and rumba clave are combined, it creates the ‘standard bell pattern'. Ask one student to try this rhythm on a cow bell:

Next break the students into small groups. One student will make up a basic improvised melody on the keyboard or a guitar. The remaining students will accompany using the son or rumba clave or a combination of both.

Part B: Exploring Indonesian Gamelan Music

Step 1.

Begin this activity by showing students the clip below of Gamelan music.

The Gamelan music of Indonesia (https://youtu.be/c1AiCTJ9t8g)

Step 2.

Explain to your students that in Indonesian Gamelan music (played by an ensemble of gongs and glockenspiel-like instruments made of bamboo), synergy plays a part – the whole is greater than the sum of its individual parts. Each part makes little sense on its own, but creates a rich texture when combined with the other ensemble parts. The rhythms are repeated dozens of times in a form of repetitive meditation.

Step 3.

Divide the class in half and practice performing this traditional Gamelan rhythm.

Learning support: Some students may tap constant quavers or crotchets to keep rhythm.

In pairs, ask students to compose a pentatonic motif using the Gamelan rhythms. An example of a pentatonic scale is: C D E G A. Try playing the pair of motifs and performing to the class.

Learning support: Ask students to write the rhythm names underneath the music notes prior to performing.

Part C: Multicultural Inspiration for Student Fanfares

Step 1.

Encourage students to experiment with Afro-Cuban rhythms and/or Gamelan rhythms in their own fanfare compositions. Play the video below which show how Cordelia Olivia To (2015 Fanfare Competition finalist) was inspired by multicultural elements.

Fanfare Competition - Multicultural Elements (https://youtu.be/m9k9dZrPnq4)

Step 2.

Encourage students to return to their fanfare compositions and make any adjustments they feel inspired to make after the exploration in this lesson.

Reflection activity

Ask students to listen to the following clips:

Tibetan horns - (https://www.youtube.com/watch?v=Z1_C3TLXRlI)

Emperor’s palace Hero - (https://www.youtube.com/watch?v=AECt8Kd6Vys)

Invite students to draw a Venn Diagram in their books, they should compare and contrast how these works compare to traditional fanfares.

Differentiated activities

Provisions for Learning Support: Many learning support students enjoy improvising on glockenspiel/xylophone/guitar/keyboard. If further support is required, ask students to improvise on untuned percussion instead (e.g. claves, maracas, clapping, wood block).

Learning Support: Provide a Venn Diagram with Clear Labels/Headings to guide students with their thinking.

Homework and extension opportunities

Ask your students to use the Gamelan rhythms and son clave to create pitched ostinatos that can be played simultaneously.

Ask students to research Australian contemporary classical composers who use pentatonic scales and other inspirations from Asian and Aboriginal and Torres Islander peoples music. For example, Peter Sculthorpe, Anne Boyd, Ross Edwards, Richard Meale, and Liza Lim. Use the following questions to help guide your class in this task:

How have these composers incorporated multicultural elements into their music?
What other sounds can you hear in their music, for example Peter Sculthorpe uses strings to resemble birds?
Could you use these in your fanfare to make it grab attention?

Invite student to visit the Australian Music Centre’s website to identify Australian composers that have incorporated multicultural elements into their works. Have students select a composer and investigate which techniques they use with the orchestra.

Ask students to continue working on their Fanfare Competition. Students can start recording their ideas about composing their music using some of the ideas explored today.

Fanfare Competition - Multi-cultural elements in composition

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