Week Six Blog post

“Arabic Alphabet Song”

Zaky

Sudan

Voice

 

 The Arabic alphabet or Arabic abjad is the Arabic script as it is codified for writing the Arabic language. It is written from right to left in a cursive style and includes twenty-eight letters. It is classified as an abjad because it is a writing system where each symbol usually or always stands for a consonant. The following children song used for teaching the Arabic alphabet is not only a great teaching tool but also serves as an excellent asset for multicultural education. Teaching in the United States or any of its districts or territories would involve interacting with students from many different cultural origins and the Arabic alphabet song is just one of many examples that can be used to make young students from other countries or cultural origins feel more comfortable while engaging with students that are local to the country they now live in. It could be taught in the classroom but children can also use it as they play during break or recess and the learning process will still be occurring. The catchy melody makes it easy to remember and become just as familiar as singing the traditional ABC song of the western cultural alphabet. Play time is the best opportunity for children to socialize and get acquainted and familiar songs or catchy melodies associated with games foster interaction between children regardless of their cultural background.

 

 

 

 

week five Blog post

Tahuid

“Upper Egypt, Lower Egypt”

 

Pharoah Sanders

United States (Jazz)

Voice, Saxophone, Bass, Guitar, Piano, Drums, Percussion

The name of the album is “Tahuid.” It is an Islamic word meaning the oneness of God. After listening to Upper Egypt, Lower Egypt it was evident that it is also a good example for creating world music because of the room it leaves for improvisation. The piece begins with bass and gradually adds the tambourine, piano, guitar, drums and builds. These instruments maintain their rhythmic pattern throughout the entire song allowing the marimba, saxophone and voice to expand on the simple four chord progression.  The marimba maintains a melody with slight variations that the voice imitates closer the end of the song. The saxophone truly explores many musical attributes outside of the norm with the different tones and techniques used while improvising. This piece can display to students that there are countless venues to explore when improvising.       

 

Week Four Blog Post

CUBAN SON

 

“UN TOUQUE DE BEMBE”

Sierra Maestra

Cuba

Tres, Guitar, Trumpet, Bongo, Congas, Guiro, Maracas, Marimbula, (Electric Bass Guitar) Voice

 

Sierra Maestra is a mountain range found on the southeastern part of the island of Cuba and the Cuban Son band named after these historic mountains have committed themselves to preserving this musical style and re-introducing it to the world. They were the first group and remain the best to play in the old-style by using the tres, guitar, trumpet, bongo, guiro, marimbula and vocals. The addition of extra percussion (congas and maracas) and replacing the marimbula with the electric bass is an example of absolute authenticity not being possible because of not utilizing the original instrumentation of the music. As heard in this piece the change in rhythms and tempos displays integration of other cultural influences and another example of a loss of absolute authenticity. The effort of this group to preserve and re-introduce this musical culture is authenticity as a continuum. One of Cuba's great musical secrets is now out!  

 

 

 

  

Week three blog

“La Gaita”

Lara Brothers

Trinidad and Tobago

Voice, Cuatro, Guitar, Mandolin, Box bass, Maracas, Guiro, tambourine, Claves, Flute

PARANG

Parang is a popular folk music originating from Trinidad and Tobago. It was introduced to Trinidad by Venezuelan migrants who were primarily of Amerindian, Spanish, and African heritage. The word is derived from two Spanish words: one is parranda which means a spree or fete and parar which means to stop. Parang is traditionally used to visit homes during the Christmas season and perform religious folk songs. The music traditionally uses a three chord structure, Spanish lyrics, Latin rhythm and even a touch of calypso. Dancing is also associated with the listening of this music as it utilizes mostly 3/4 and 6/8 time signatures which develop a slow, moderate and even a quick waltz tempo. Improvisation also plays a role in the music especially since it is not normally notated and just created for local village or community serenading and dancing. Over time parang has been performed outside the Christmas season causing it to include not only religious music but secular music as well. Like many other traditional and cultural music the instrumentation has been modified. For example, the box bass at times is replaced by the electric bass or even the double upright bass and keyboards, synthesizers and other instruments like the flute and the steelpan have been added. 

 

  

Lapo Kabwit

 

“Lapo Kabwit Riddim Jam”

Lapo Kabwit village band/Newtown Lapo Kabwit

Membranophones: Tiki(Snare drum), Bass drum, Idiophones: Syak (shaker/maracas/scraper),Cowbell, Iron, fwet(whip), Aerophones: Conch Shells, Horns, Whistles

LAPO KABWIT

The music of Dominica plays an important role in the social and culture life of the Antillean Island where the folk music is a hybrid of African and European elements. Until the late 1950s, the Afro-Dominican culture of most of the island was repressed by the colonial government and the influence of the Roman Catholic Church, both of which taught that African-derived music was evil, demonic and uncultured.Lapo Kabwit is the term used to describe a drum made with goat skin and also refers to the music it provides. Dominican folk music is an oral tradition, learned informally through watching others perform. As of 1987, most performers of traditional music were either over fifty years old or under thirty-five, which indicates an ongoing revival of previously declining traditions. Music is evaluated based on both characteristics of the music, such as complex syncopated rhythms, as well as social factors, such as the ability of the performers to improvise and respond to their surroundings and to keep the audience excited and participating in the music. The videos of Lapo Kabwit bands demonstrate the use of different types of instruments. There are membranophones, idiophones, and aerophones in this small cultural ensemble in a village and the larger” Newtown Lapo Kabwit” band performing for revelers during “ Jouvert”   in Dominica. The tiki or snare drum improvises and solos, the bass drum plays a steady beat and the other percussive and wind instruments add to the rest of the musical structure of the band. There is even what is referred to as the” fwet” which is actually a whip that adds to the ambience.