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Unit Plan: Gamelan with Drum and Bass TEACHER AUTHOR: Shane Morrow Keywords: Asian, Gamelan, ‘Drum and Bass’, Percussion, Pentatonic YEAR 10-11 LEVEL 5 Achievement Objectives Being Assessed Learning Outcomes The Arts: Music Developing Practical Knowledge in Music Students will: The Arts: Music Developing Ideas in Music The Arts: Music Communicating and Interpreting in Music The Arts: Music Understanding Music in Context DURATION 3 weeks Create a pentatonic melody and play it back from memory, using appropriate playing techniques and available instruments. (PK, DI, CI) Aurally learn a pentatonic melody and manipulate its structure through using structural devices. (PK) Identify, describe or analyse a range of gamelan music through listening, describing, transcribing and manipulating elements and structural devices using music listened to as models. (PK, UC) Play and improvise in groups with an awareness of ensemble and musical expressiveness. (PK, DI, CI) Rehearse and perform live music in gamelan style, and evaluate the performance. (CI, UC) Identify and compare the characteristics of different musical styles and genres through viewing authentic recorded performances. (UC) Identify and describe a range of patterns, effects, sound qualities and structural devices in traditional gamelan and contemporised traditional music. (PK, UC) Experiment with live and electronic sounds and musical ideas and improvise with them to create extended compositional material. (PK, DI) Use appropriate instruments and technologies to create, rehearse and perform an original gamelan melody with sequenced drum and bass track to accompany it and evaluate its effectiveness. (PK, DI, CI,) Reflect on work in progress and improve compositions because of feedback and feed-forward. (PK, DI) Present, discuss and evaluate compositions using appropriate vocabulary. (PK, DI) AIMS To explore the characteristic elements and features of traditional gamelan music and to create and perform an original piece of music in a “contemporised” gamelan style with a sequenced drum and bass beat. BACKGROUND INFORMATION FOR TEACHERS AND FOCUSING QUESTIONS What is gamelan? Gamelan is a grouping of mainly percussion instruments (metallophones, xylophones, gongs, cymbals, drums), sometimes with flutes and string instruments and, occasionally, a vocalist. Large groups can have more than 70 instruments and usually have a loud, full, ‘ringing’ sound. What are the instruments of gamelan? Gamelan sets are made up of differing numbers and groupings of instruments and can vary greatly in size and range of timbres. Players do not own their own instrument; each specific group of instruments remains together and each group is tuned slightly differently. There is no ‘standard set’ of instruments in gamelan but generally there will be a collection of cymbals, drums, genders, large gongs and trompongs: Gamelan Description Role of instrument Close substitute found in NZ classroom* Cheng-cheng (or Cengceng) Small Balinese cymbals Finger cymbals, bells, cymbals Gender Middle-register metallophone with thin metal strips suspended over individual bamboo tubes which act as resonators. It is hit with a metal hammer. Tuned instrument with up to seven bronze bars suspended over a hollow resonating box and played with a small hammer. After it is struck, each note is immediately dampened by the thumb and forefinger of the other hand. Comes in four sizes and originates from Indonesia A set of small gongs set horizontally in a single wooden frame which sits on the ground. Originates from Java. Provides rhythmic interest and helps to keep the beat Provides melody Provides melody Metallophone Embellishes the melody (often plays each melodic note twice) Provides melody (not usually found in Javanese ensemble) Provides punctuation or the beat and often mark the ends of sections Glockenspiel Saron (Gangsa in Bali) Trompong (Reong or Bonang in Bali) Gambang Wooden xylophone played with two cloth-covered wooden beaters. Large suspended Gongs Up to a metre in diameter suspended vertically in wooden frames and hit with large beaters made of wood but with the tips covered in soft fabric Kendang Drum shaped like a thin barrel with Provides beat and skins on both ends rhythmic drive * Suitable substitute sounds may also be available on electronic keyboards. Metallophone, Alto glockenspiel, Vibraphone (with motor off) Xylophone Gong (if available), stamping tubes, timpani, large ride cymbal Floor Tom, conga, bongo drum Some gamelan, particularly Javanese, may also include some or all of the following: Suling - bamboo flutes Rebab - two-string fiddle Celempung - plucked zither with 26 strings Voice In West Java it is possible to see an Anklung Gamelan consisting of a collection of instruments made out of two or more bamboo tubes, set in frame and tuned in octaves. Anklung rattle and sound a pitch when shaken. Where does Gamelan come from? Gamelan was originally developed in Indonesia, which is made up of a large number of islands including Bali and Java. The islands of Indonesia each have a unique culture. There are regional variations in the sound and make-up of gamelan: Gamelan from Bali is often fast and sounds bright and lively because it uses lots of metallic percussion instruments with bronze bars. Gamelan from Java is often slow and sounds calm because it usually features more wooden, rather than metal, percussion instruments. Javanese gamelan often includes bamboo flutes, string instruments and, sometimes, a vocalist. Gamelan is now spread throughout many parts of Asia including countries like Malaysia, Philippines, Thailand and Vietnam. Just like all other types of music, gamelan continues to evolve, develop and change. Today there are “arrangements” of folk melodies and even a few pieces of popular music available for gamelan. Recently too there have been several groups who have combined traditional gamelan music with electronica dance beats to create a ‘contemporarised’ form of gamelan. How does Gamelan work? Eastern music tends to be learned aurally - the melodies are either worked out communally or handed down from one generation to the next from the hundreds of traditional themes, patterns and rhythms. They are then memorised and can be ornamented or used as a basis for improvisation. The improvisation occurs in rehearsal rather than spontaneously in performance. The music is either not notated at all or not notated in the same way as western music. Sometimes you can see a numerical system (similar to guitar tablature) which is used as a memory aid in rehearsal. The texture is heterophonic: the simultaneous performance of a melody and a variant of the same melody. What are the musical characteristics of Gamelan? Gamelan sounds distinctly different to western music because: it uses different timbres doesn’t use major or minor scales the tuning system of the instruments is different to western equal temperament tuning it has a characteristic heterophonic texture it is based on ostinati and, therefore, sounds quite repetitive Melody is the most important feature of gamelan. Melodies are generally based around pentatonic scales called the slendro or around a seven-note (heptatonic) scale called the pelog: The slendro is approximately represented by the notes C D E G A The pelog is approximately represented by the notes C Db Eb F G Ab Bb Gamelan does not use chordal or harmonic accompaniment for the melodies as each part usually plays a version of the main melody, often at a different speed. Pentatonic scales have very limited harmonic implications and this helps to avoid discords. The accompaniment is rhythmic. Rhythm is also provided by the gongs and drums. Tuning: The pitches of the notes are not evenly spaced like they are in western music. Each set of gamelan is tuned differently so the individual instruments cannot move between groups. In addition to this, in Balinese gamelan some of the instruments occur in “male” and “female” pairs and each member of the pair is tuned slightly differently: the female slightly lower than the male. Layering of Sound: Usually the melody is played first unaccompanied and unornamented by a single instrument (e.g. the rompong) and then the other instruments join in. Each instrument has its own version of the melodic ostinato pattern. This is what gives gamelan its characteristic heterophonic texture. Ostinato: there is a main melody that is repeated throughout, usually in a middle part. It is then doubled and decorated in an upper part. The large gongs often help to provide structure to the pieces by being used to mark the beginnings and ends of cycles of phrases. The ostinati evolve and change in character and shape. Dynamic Contrast: it is common to have sections of the music that are played loudly contrasting with sections that are played softly. This provides variation in pieces built up from ostinati. These dynamic changes are worked out communally in rehearsal. Dynamic contrast also enables individual timbres to come through better. How is it different to western traditional musical ensembles? Gamelan Each gamelan is named after the specific set of instruments of the ensemble. Western Ensembles Western ensembles are usually named after the town or city they are based in or after a key performer in the ensemble. While the players in the ensemble might change, the instruments stay together as they are tuned as a set and each set has slightly different tuning. Gamelan music is learned aurally or developed communally. Therefore, the music works flow and evolve. Nearly all western musicians ‘own’ their instrument and take it with them when they change ensembles. There is no distinction between amateur and professional players – it is the communal, overall sound which is important. No formal lessons or private individual tuition is provided. Players learn through rehearsing and performing with the whole group and often move around various instruments in the ensemble. Western audiences often celebrate virtuoso soloists. The music is learned aurally and not usually notated. Music is often initially learned through printed sheet music in a standardised form of notation. Western music is normally written to established ‘plans’, structures or forms mostly by a single composer. Professional musicians usually have many years of specialist individual training on a particular instrument. How does gamelan link to Asian social, historical and cultural contexts? Gamelan is not usually performed in concert settings but is usually linked to some kind of social or cultural event. Its use differs from place to place. Gamelan can be used to accompany dances, dramas and ceremonies (e.g. weddings, funerals, coronations). LEARNING SEQUENCE Teaching and Learning Experiences Ongoing Assessment Approaches Create or transcribe a short, simple pentatonic (slendro) melody - perhaps using the notes C D E G A Students work in pairs or small groups and compose a pentatonic melody that they then play to the class. (The students could do this in small groups and then the class could select one or two to work on together.) Use available classroom instruments (see suggestions above) and divide the class into three groups. Aim to have a group of higher-pitched instruments, a middle-pitched group and lowerpitched group. Success Criteria: I have created an effective, simple melody that has direction using a pentatonic scale. Success Criteria: I am able to reproduce the pentatonic melody, in time, on my allocated instrument. In true gamelan fashion, teach each group a melody aurally: Middle instruments play the melody in its original form. After an agreed number of repetitions this group needs to smoothly, but obviously, slow the tempo of their last repeat in order to signal to the other groups that the piece is about to end. High instruments play the melody at the original tempo but repeat each note (i.e.: a single crotchet becomes a pair of repeated quavers) Low instruments play the melody in augmentation (half speed) Each group memorises and rehearses their part. Bring the groups back so the whole class can play the gamelan piece together. Arrange the players so they are near others playing the same part. Warn the high and low parts that they will need to listen for the slower tempo which will signal the end of the piece. (It may help to ‘conduct’ the first time through and then leave the students to listen in subsequent performances. Remember though that conducting is not part of the tradition) Start with the middle instruments and then add the other parts. Add drum parts to reinforce the rhythm Evaluate the performance Class discussion and evaluation: Listen to and/or watch some recordings of authentic gamelan: Teacher facilitates and monitors feedback to brainstorm and focus questions. http://www.youtube.com/results?search_query=Gamelan Brainstorm: What countries / cultures have these kinds of instrumental ensembles? Students describe the use of elements and features (e.g. timbre, texture, rhythm, style…) then answer focus questions 1. How is the piece we listened to similar to what we’ve just played? Success Criteria: I performed my part accurately and in time. I could hear and understand how my part fitted in to the overall sound. 2. What is different? 3. How can we adapt and refineour performance to make it sound more like the recordings? Rehearse and refine class piece and then perform and evaluate again. Class discussion and evaluation Success Criteria: I performed my part accurately and in tim. I could hear and understand how my part contributes to the gamelan style Provide background characteristics of gamelan (use information from Background Information from Teachers section and / or other resources) Students complete table of instruments of gamelan: picture, name and role Provide students with a table similar to the one on page two of this resource (perhaps with pictures of the instruments in the first column) Have the students research the name, description and role of the instruments and get them to identify which instrument’s part they have been playing. Play the students some examples of traditional music that has been contemporised using sequenced rhythm parts (e.g.: Music Rough Guide Asian Underground, CD - London World Music Network, 2003) Discuss the use of elements and features and how these might be recreated using available instruments and technologies. Group work – share findings and devise peer evaluation criteria e.g. 1. I found this presentation interesting because… 2. The thing that surprised me was …. 3. This could have been improved if … Working in groups of around six, students: Create an original gamelan melody (or refine one created above in the first activity) based on a pelog or slendro. Rehearse and audio record it (students will need access to the recording for the next step) Recording completed. Each student* uses available technologies to ‘contemporise’ their group’s gamelan piece by creating an original sequenced drum and bass backing which will be played alongside a live performance of their group’s gamelan piece. Peer Assessment of sequenced backings: * this may need to be done in groups or pairs depending on time and equipment available Students complete the following statements: I think your sequenced accompaniment is effective because… Three strengths of it are… Suggestions I would make to improve it are… Students return to their groups and rehearse, refine, present and evaluate their ‘contemporised gamelan’ pieces. Summative assessment criteria below. Summative Assessment Students perform a gamelan melody in groups accompanied by an original sequenced drum and bass accompaniment. (DI, CI) Performance Assessment Criteria(Teacher): Achievement Presents contemporised gamelan piece with original sequenced drum and bass accompaniment. Achievement with Merit Presents contemporised gamelan piece with effective original sequenced drum and bass accompaniment. Achievement with Excellence Presents contemporised gamelan piece with convincing original sequenced drum and bass accompaniment. Demonstrates appropriate ensemble awareness and presentation skills. Demonstrates effective ensemble awareness and presentation skills. Confidently demonstrates convincing ensemble awareness and communication skills. RESOURCES Electronic / Web Resources http://www.youtube.com/results?search_query=Gamelan http://www.musicmall-asia.com/malaysia/classical/gamelan.html http://www.musicmall-asia.com/malaysia/instruments/index.html http://en.wikipedia.org/wiki/Category:Gamelan http://arts.unitec.ac.nz/resources/links/Uploaded+Music/ http://www.sonycreativesoftware.com/download/freestuff.asp http://www.nytimes.com/learning/teachers/lessons/20010309friday.html http://www.tki.org.nz/r/ict/software/ http://arts.unitec.ac.nz/resources/ict.php?discipline=Music New Zealand Curriculum Exemplars The Arts Exemplars http://www.tki.org.nz/r/assessment/exemplars/arts/index_e.php Print Music: A Practical Teaching Guide - Hodge, Pollack, Dunbar-Hall, Science Press. Aspects of Music - Hodge, Pollack, Dunbar-Hall, Science Press. More Aspects of Music - Hodge, Pollack, Dunbar-Hall, Science Press. Listening to Music – Schindler, Holt Rinehart and Winston. Sound Matters - Bowman and Cole, Schott Educational Publications. Aural Matters - Bowman and Cole, Schott Educational Publications. In Tune With Music Book 1 - Dorricot and Allan, McGraw-Hill. Heinemann GCSE Music – Phillips, Heinemann. School / Community University of Canterbury / Christchurch Music Centre Gamelan Victoria University Gamelan Appropriate community groups Possible Software Logic Acid Xpress Super Duper Music Looper Shane Morrow (pictured concentrating hard and playing trompong) is Head of the the Arts Faculty at Riccarton High School in Christchurch. He spent three weeks Malaysia in July 2007 as a participant in the Asia:NZ AFS Educators’ Programme