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Fables and Folktales from Four Continents

Last changed: 06/26/2019 10:58am
2 , 3 , 4 , 5 Music
Music English
Both Grade Level and Arts/PE Program Access
1 45 min
1 45 min
In-School Performance In-School Performance (intended for the entire grade level to experience together)
All year
$10 40
$200 0
no Email , Phone
4 music stands
Copies of texts for students
Paper and markers/colored pencils for students
4 chairs without arms
Stage or performance area
Students arranged on floor or in chairs in rows with clear view of performance area
When listening to program music, I can use descriptive words or images to connect musical techniques to a narrative.

I can compare and contrast folk music from different countries.

I can explain how composers draw on folk narratives to create compelling musical works.

I can describe how a musical work based on a folk narrative can complement and enhance our understanding and appreciation of that narrative.
We will perform four works of music for saxophone quartet written by composers from four different continents, all inspired by folk narratives and musical styles of their cultures: Sunjata’s Time by Fodé Lassana Diabaté (Mali), Lincolnshire Posy by Percy Grainger (England), Appalachian Folk Songs by Craig Levesque (US), and Fairy Tales by Heitor Villa-Lobos (Brazil). We will frame each piece with interactive discussions/activities. Students may act out parts of a narrative, perform movements related to the tempo/main action of the music, and/or create their own creative responses to the text and music. While the musical selections will be the same, activities and discussions will be differentiated across grade levels: for example, younger students may be asked to create a visual arts response to a piece of music, while older students might be asked to listen to original source recording of the folk song and compare/contrast it to the composer’s setting of the song for four saxophones.
In an arts classroom, our program will focus more on musical framing and response. For example, while performing Cumberland Gap in a grade level classroom, we may start with understanding the original text of the song and discussing how it relates to the musical style/technique, while in a music classroom, we might listen to different recordings of the song and ask students to compare and contrast the musical aspects of these interpretations with our performance.
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Grade 2

Reading Standards for Literature; Key Ideas and Details 2. Recount stories, including fables and folktales from diverse cultures, and determine their central message, lesson, or moral.
(MU:Re7.2.2) a Describe how specific music concepts are used to support a specific purpose in music.

Grade 3

Reading Standards for Literature; Key Ideas and Details 2. Recount stories, including fables, folktales, and myths from diverse cultures; determine the central message, lesson, or moral and explain how it is conveyed through key details in the text.
(MU:Cn10.0.3) a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.

Grade 4

Reading Standards for Informational Text; Integration of Knowledge and Ideas 7. Interpret information presented visually, orally, or quantitatively (e.g., in charts, graphs, diagrams, time lines, animations, or interactive elements on web pages) and explain how the information contributes to an understanding of the text in which it appears
(MU:Re8.1.4) a. Demonstrate and explain how the expressive qualities (such as dynamics, tempo, and timbre) are used in performers’ and personal interpretations to reflect expressive intent.

Grade 5

Reading Standards for Literature; Integration of Knowledge and Ideas 7. Analyze how visual and multimedia elements contribute to the meaning, tone, or beauty of a text (e.g., graphic novel, multimedia presentation of fiction, folktale, myth, poem).
(MU:Re8.1.5) a. Demonstrate and explain how the expressive qualities (such as dynamics, tempo, and timbre) are used in performers’ and personal interpretations to reflect expressive intent.