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Fables and Folktales from Four Continents (6, 7, 8)

Last changed: 07/09/2019 9:12am
6 , 7 , 8 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 Phone , Email
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 6

Reading Standards for Literature; Integration of Knowledge and Ideas 7. Compare and contrast the experience of reading a story, drama, or poem to listening to or viewing an audio, video, or live version of the text, including contrasting what they “see” and “hear” when reading the text to what they perceive when they listen or watch.
(MU:Re7.2.6) b Identify the context of music from a variety of genres, cultures, and historical periods.

Grade 7

Reading Standards for Literature; Integration of Knowledge and Ideas 7. Compare and contrast a written story, drama, or poem to its audio, filmed, staged, or multimedia version, analyzing the effects of techniques unique to each medium (e.g., lighting, sound, color, or camera focus and angles in a film).
(MU:Re8.1.7) a Describe a personal interpretation of contrasting works and explain how creators’ and performers’ application of the elements of music and expressive qualities, within genres, cultures, and historical periods, convey expressive intent.

Grade 8

Reading Standards for Literature; Craft and Structure 6. Analyze how differences in the points of view of the characters and the audience or reader (e.g., created through the use of dramatic irony) create such effects as suspense or humor.
(MU:Pr4.2.8) a Compare the structure of contrasting pieces of music selected for performance, explaining how the elements of music are used in each.