cuatro experlenclas musicales

para estudiantes de matem6ticas

Taller profesional para maestros bilingues grados 2s-84

elaborado para CMC: MathPowerfor the l-atino ChiA May 25,1997 Los Angeles, CA por

Philip "Felipe" Pasmanick

Buena Vista School, SFUSD

Mrisica, Ldgica, Lenguaje

termina con -ar 2 sflabas

Instrucciiln directa
La Canci6n del Dreidel

hablar andar limpiar

;----?

uffi
EmA
tr] E E E
E
a

algo que se hace en el sal6n de clase

Funky conga: patrones de baile, voz y tambor t\ +

Ddcima: rima y simetria

La nifla lista, una vez encontr6 un gran espejo. Observ6 que el reflejo puso todo al rev6s. Y la nifla vio despu6s
cuando el Sngulo cambi6 la imdgen se movi6. "Ay, me siento m6s confusa que Perseo con la Medusa cuando la decapit6."

b b
a a

fr

.rD

this...

.-

acon... ga!

trla

Ea Ea Eb tfb

ooo

is...

rI

?itviu

Rhythm, math and the fourth dimension

Notesfor educators by Phil "Felipe" Pasmanick @ I l-93 i"ririn for CMC's Math Powerior the Latino Child conference 5-30-97

Disclaimers
Music is certainly not the main way I teach math, and I don't want to oversell its usefulness. I advocate an ecfictic approach to math education using genuine problem solving, use of manipulatives, awareneii of developmental factors, and integrated -activities. organized. qoqd ttremitic menus or product-orientedinquiry-based projects. Secondly, the value of music in the classroom goes far,iar beyond the study ofhathematici; besides its inrinsic culnral value, music develops language arts, encourages second language acquisition, provides vehicles for content instruction, and promotes cross-cultural understanding. With that said, teachers who use and enjoy music may find ways to exploit the mathematical nature of music. Studies purport to show thafWestern classical music instruction is more benefircial for student math achi-evement than computer training. While I have some classical training and appreciate its esttretics and method, I prefer the rich rhythms gnd vogal patterns of the African Di-aspora. The following text describes the approach I have developed in my second grade Spanish
immersion classroom over the last ten years.

Music, Math, and the Fourth Dimension--Theoretical Considerations

Detecting and describing the patterns to be found in numbers, in art, and in nature seems to be an ancient and omnipresentcultural phenomenon. From the Mayan and the Babylonian astronomers to the architects of the Alhambra and the bat6 drummers of Nigeria, truth and beauty are found in the complex reiterations of the heavens, of shapes, of sound. Decorative and symbolic patterns are found in ceramics, weaving, and monuments around the world. Most patterns we study in elementary school are visual, pictorial and thus necessarily static, fixed, like the pattern of black and white keys on the piano or the even numbers in a hundreds chart. Even those patterns that change as they go, such as the sequence of square numbers or the Fibonacci series, exist without reference to trilgg.
Rhythrn, however, consists of patterns that exist in reference to a pulse, a beaq that is, time divided into equal units. It is time that makes rhythm a pattern that can be reproduced and combined with other patterns. It is time that gives rhythm its regularity, just as the uniform shapes, sizes, and colors of pattern blocks make itpossible to arrange them in symmenical and pleasing patterns; just as the regular height" width, and depth of tiles makes tiling a bathroom floor a predictable (if

frusfating!) task. Thatiswhy wecanreferto timeasthefourthdimensionofpattern.

Time must be seen in two ways to understand rhythm. First, there is the duration of a sound--how long it can be heard. For our purposes, namely, the introduction of african-based rhythms to school children, we can consider a]l the sound units to be of the same duration: a quick on/off, like a hand clap. In an analogy to pattern blocks, this short duration is a constant, like the thickness of all the blocks. For purposes of notation, we consider each sound an eight note. The second and more important meaning of time is the regular pulse or beat. This is what makes the $ythm a rhythm. To continue with the pattern block analogy, blocks must be placed contiguously on a flat, solid surface, such as a table-top. You can't build a block pattern on your lap, any more than you can lay tiles on a bumpy flobr. In rhythm, it is ttre beat ttrat giv-es a predictable "surface" to place the units of sound.
Sounds also have qualities like pirch, timbre, and volume, which are analogous to the shape, color, and size of pattern blocks. As beginners we will concern ourselves with only two sound

qualities: "open" (clap) and "closed" (snap). On the congas, these are equivalent to the "open" ringing tone and the "closed" thudding bass.
Because time keeps going even when nothing is happening--because there is still a flat empty surface where you did not place a pattern block--there is a third kind of sound: silence (in musical terms, "rests"). The silences or empty spaces must be accounted for in order to represent a rhythm symbolically. And indeed, in Afro-Cuban rhythmic patterns there are usually more silent sound units ttran there are sounds. The silent qpace is the place-holder, the zero that separates the sound units, that makes the pattern make sense in its relation to the underlying pulse.

Teaching Rhythms to Children

Children--all learners, perhaps--should first experience rhythm patterns visually, aurally, and kinesthetically; that is, by seeing, hearing, and doing. Many teachers have children repeat simple patterns such as snap clap, snap clap, or snap snap clap, snap snap clap. They then go on to describe these as AB, AB and AAB, AAB respectively. This is an excellent start The next step is to involve pauses--the silent sound. Let the students learn snap snap clap. Let them see that there are two different units of sound, A and B, with two As and a B forming a cycle of three elements (beats) that can be repeated over and over. Then try going snap snap clap (pause), snap snap clap (pause) while tapping your foot on the first snap and the clap to demonstrate the beat. Children will soon see that even though both patterns have the AAB sound pattern, these are two very different patterns. Help them to learn that the second example has the third sound unit, the sound of silence.

A teacher so inclined can then use recordings or his/her own performance on an instrument to demonstrate the cornmon musical key signatures: 214,314, 414, and 6/8. This should be done gently, gradually, as part of the regular singing experience. Students will soon recognize the "feel" of the different time signatures and begin to keep time with varied snap-clap accompaniments. Any group that gets this far has done a lot! The group now has the rhythmic base to appreciate music, to dance and sing and play. (I believe that keeping time is a life skill, Iike swimming, and no one should leave school wittrout being able to keep time.)
Depicting Rhythms in Linear and Cyclical Patterns
To get the full math value from these exercises, students should learn to represent the rhythms symbolically. I have found three approaches to be valuable. First" I have students choose three colors of unifix (linker) cubes. They assign one color each for the clap (open), the snap (closed), andthe silent space. Then they make "trains" of their patterns. From there they use graph paper, marking an O for the open sound, an X for the closed sound, and a dot for the silenlspaca The grid on the graph paper provides a visual representation of the regularity of the beat, and makes it much easier to writerhythms successfully. Many drummers use asimilar notational systern Then we 89 on to reiterate the linear pattern on a circular (or cyclical) grid, which helps show the

repetitive nature of the patterns.

Making Music Mathematically

Last.year we tied a new approach for developing and playlng these patterns. We integrated the musical patterns study with a sound unit developed by the Exploratorium, San Fr-ancisco's innovative hands-on science museum. Ttre unit explores the sound qualities of various objects, such as d-owgls, pleceq of bamboo, and steel tubes of various lengths, steel grids, tuning forks, glassbottles (for blowing across), and hard and soft mallets, all supplied in handy dandy kits. We added a few items-water bottle drums, guiro (scrapers) made from ribbed botties and cans, and
shakers.

Whilc we investigated various science topics, such as the relation of length to pitch and the effect of vibration on the eatdrum, each child was determining which sounds s/he liked to make. After

we'd had plenty of time to play freely with the objects, I allowed the children to form their own gloups oftour,'with each child selecting a different.instrument" and invite theq p ggmpose and pe*tirm an ensemble piece. The children had to write out their patterns on a grid. Most chose a ^four-element, three-type pattern, although some chose a three element pattern to create a polyrhythm. I providid- a steady br'at; aloud metronome or metrono_fire tape would have done the job w6n better. The students had opportunities to practice and finally to record and Iisten to each other's creations.
To record,I cued the students to come in one at a time and to drop out one at a time in the same order they came in, after four repetitions of the pattern, to allow the audience to hear gach pg! They als6 showed their audience a chart, or "score", which displayed all four patterns in parallel nairis. I allowed for minor improvisations or deviations from the pattem as long as they came back to the basic part every few cycles. The results were very exciting, and some were frankly beautiful, or at least interesting.

Advanced Rhythm Exercises--African-Inspired Patterns

Once students master these exercises, and once they have had lots of exposure to Afro-Cuban and Afro-American rhythms, I introduce the twelve- and sixteen-element sequences. I provide students with linear and cyclical grids ("trains" and "webs") and we focus on three simplified versions of imporant rhythms: 618 bemb6, conga (the Cuban carnaval beat) and rap.

The 6/8 (12 element) rhythms are particularly interesting because of the way they combine four element and three-element patterns. I like to start examining these longer patters during our Lunar New Year study, when we focus on the uses, combinations, and pauerns of the number 12. We stay with the L2-element motif when we study Africa and its 1218 rhythms. The conga and the rap activities are more accessible and are more easily integrated with language arts activities and possible performance. For rumba you must play drums or use atape (l*e my Reading furnba).

Rhyme and meter

Math learning can take place through the study of song texts. One way, of course, is the direct approach, starting with counting songs (for example Yo tenta diez perritos). I have developed songs whose content addresses directly or indirectly a specific math goal, while other songs are put together by students using a Venn diagram to develop logical categories.
Another approach I have just begun to use is the ddcima poetic form of 10 eight-syllable lines, a wildly successful form that is still enjoyed across the Spanish-speaking world. D6cimas are often sung (and when sung, improvised) but can be written and read as texts. I help students discover the surprising palindromic and bilaterally symmenical features of the abbaa aabba rhyme scheme. (In fact it was a special ed. student who first pointed out the palindromic quality to me.)

Conclusions
Cetainly I have not exhausted the math possibilities of music. Some teachers may wish to explore the math potential of the standard system of musical notation or the inticacies of harmony. Others may investigate the math and physics of sound, pirch, wave forms, and so on. I will not attempt to address such complex subjects further, other than to say that the science of sound is a fertile field of study.
How.ever you may choo.se to develop it, hope you'll.find $at an integrated and participatory music program can contibuts to your students'progless in mathematics.

xo oxo ooxo gxoxo oo

Nombre

Los Mamiferos

ritmo'funk" por P. Pasmanick @1990

Si t0 tienes cuatro patas Como osos y ratas Podrias ser mamffero Si sefror Si tf naciste vivo Como gato o chivo Podrlas ser mamlfero Eso es Si tu sangre es caliente Como la gente podrfas ser mamffero C6mo no

-r< ,

HN

\#
@L dLr
1rr)

=t=

Si aire t0 respiras Como yo, si me miras podrias ser mamffero Sim6n, sim6n Pero si todas estas cosas son verdad para ti...eres mamffero
Si t0 tienes pelo De aquf al suelo eres mamffero Sin duda

ds

r
.
11

K(.

I*

ffi

Si t0 mamaste leche de tu mam6 eres mamlfero Digo yo

Y si una de estas cosas es verdad para ti...eres mamlfero.

.4,Puedes escribir los nombres de - algunos de estos animales? .a,C6mo puedes clasificarlos? Explica cinco cosas que los mamiferos tienen en com0n.

Usa el otro lado del papel.

Reading Rumba page

Categorizing Animals with Venn Diagrams

(based on the song Los Mamfferos) @P. Pasmanick 5-90

Study the characteristics of mammals listed in the song.

Distinguish between necessary conditions such as 'breathes air' (all mammals do, but so do other animals) and necessary and sutficient conditions, such as 'has hair' (all mammals do, and only mammals do).

Dos maneras de categorizar

(Two ways to classify)

q,p
(orlor)

(and/or)

Cuatro Patas (Four

Sangre Caliente (Warm Blooded)

necessary conditions. They will see how the mammals and only the mammals can be placed in the center where all three circles
intersect.

circles representing

Students can use animal cards or plastic animals in the Venn

the

(Born Alive)

can use other categories, such as what the

Students
themselves,
animals eat, how they get around, how they defend
reasonable category. Students enjoy playing "guess my rule" as they sort their animals.

or any other

Come Plantas (herbivorous)

Gome de todo (omnivorous)

Come Otros Animales (carnivorous) " The exception fesfs the rule."

Reading Rumba page 34

Nombre

Fecha

Llena a clrcuto para cada caracter(stica que tiene el animal. Nombra y colorea los animales.

@ P.

Pasnanick 1988, 1996

o lo
conejo, Paz dorado, gato, mosca, petirrojo (p6jaro) vaca
Identifica la familia de cada animal. Crea un diagrama Yenn.

FechaC6mo entender un diagrama Venn.

.Escoje tres colores contrastantes. .Colorea los tres cfrculos y los cudraditos. .Escoje una caracter(stica para cada cfrculo. .Colorea con l6piz los circulitos para cada
caracteristica que sea verdad para cada letra.
CIrculo 2 Cfrculo 3

Circulo

Color de cfrculo

caracterlstica

Color de cfrculo 2
caracterfutica 2

Color de cfrculo 3
caracterlstica 3

caracte- caxacte-

caractee

Lefra

ristica 1

llstrca2 ristica 3

A
B

C Ch

D E F

o o o o o o o o o o o o o o

o o o o o o o
@ P.

Pasmanick 1992

Canta como yo cant6

Hoy es hoy
maflana es maflana 6Qui6n lo moj6 qui6n lo moj6? El que 1o moja lo seca. 6Qui6n 1o moj6?

pm

cohrm-

gritar robar pcgar

hablar pensar andar

molestar

lirryiar
cantar

tti ves.

Tri ves, yo no lloro

Call-and-response songs encourage people of all ages to join in the music. Because the coros are repeated many times, they ale easy to learn, and people can sing unselfconsciously because they are performing a short melody in a large group. Participants who sing coros make a real contribution to the total sound of music, while improving their skills in ftythm, melody, and language.
To get the most out of these constantly changing coros, I like to ask the children to provide the vocabulary we will use.(Vocabulary may be limited to a specific topic to reinforce a unit.) I write their words on large chart paper or an overhead transparency. When listing verbs, which most of my coros call for, I like to use this Venn diagram system for charting the words we come up with. This allows a direct math lesson to take place as the vocabulary is
elicited and the song leamed.

Ben

Yo

no grito,

I no ,'roleEta.

,{,t

ifl_..4.
T.i. no roba$.

8-A
Nq Tegaa

SH

Make books ilhutrating each child I verses.

Nombre / Fecha Llena este Venn sobre

q#,

La Canci6n del Dreidel

Canci6n Tradicional en 214 Versi6n en espaholpor Philip Pasmanick @ 1990

Tenqo yo un dreidel, de birrb lo form6. Y cuando va est6 seco con dreidet jugar6.
coro: O dreidel, dreidel, dreidel, con dreidel jugar6. O dreidel, dreidel, dreidel, Con dreidel gozarl.

Tiene cuatro lados, En uno caerA, Y seg0n la letra, alguien ganar6. coro
Su forma es un cubo, en una pir6mide con un cilindro arriba con que lo girar6.

JiI
nun

jeh

u)
shin

guimel

coro
Es un juego lindo Y muy tradicional Por eso si no gano No voy a sentirme mal.
Las pir6mides de Egipto

coro
MONTUNO Con dreideljugar6 Y gozar6. mamA Con dreideljugar6.
Reading Rumba page 26

Nombre

Fecha

.Haz estas figuras con O (Las lfneas quebradas y las esquinas blancas son "invisibles") .Contesta las preguntas. .Dibuja las figuras como objetos s6lidos con sombras.

palillos.

1.

pir6mide l,Curf,ntos bordes (paliltosX

;Cudntas esquinas (pelotas)?
6Cu6ntas caras (superficies?

2, Tetrahedro 6Cu6ntos bordes (patiltos)?

;Cudntas esquinas (pelotas)?

iCfintas caras (superfi cies) ?

3. Cubo
I

6Cur{ntos bordes (palillos) ? i,Cadntas esquinas (pelotas) ?

i
Muestra tus
ecuaciones

;Cu6ntas caras (superficies)?

6Cu6ntos en total?

bordes

iCadntas en total?

esquinas lCur{ntas caras

en total?

Extra (atr6s): . Describe el cilindro. . Dibuja Ia esEella de 6 puntos. . Dibuja la menora. Dibuja un dreidel

E@

C6mo hacer disefros basados en el hex6gono y la estrella de seis puntos usando un compes y una regla
Por Phil Pasrnanick @1991

ffi

para encontrar el centro. Pon la punta de tu compds en el centro y dibuja un clrculo con un di6metro de dos pulgadas (2"). Marca el centro del circulo y colorea en amarillo la circumferencia.

1. Dobla tu papel en cuatro renglones

2. Pon la punta de tu comp6s

Tocard el centro del primer circulo.

en

cualquier punto en ta circumferencia del primer ciculo (el amarillo). Dibuja un nuevo clrculo del mismo tamaflo.

Tu papel

3.

Dibuja el tercer

cfrculo poniendo

compds donde la
circumferencia del

la punta de tu

4.

alrededor del

Sigue asf
ciculo

primer

segundo cfrculo toca la del primer

circulo.

hasta hacer seis cfrculos de esta manera. Toma

una regla.

muestra el dibujo. Para hacer una estrella de seis puntos,_g[buia las ![qeas AC, CE y EA.lueqo dibuja FB, BD y DF.

5. Nombra los puntos A,B,C,D,E, and F como

hexdggno,_ dibui-a AEl, B9, CD, DE, EF, y FA.

Luego experimenta con varios disefros.

6.

Para hacer un

Nombre

Fecha-

Toca estos paffones con un comparlero. Usa objetos o la voz.

Observa que el patr6n de arriba es un patr6n de tres elementos y dos tipos repetido cuaffo veces y el de abajo es de cuafro elementos y fres tipos repetido tres veces.

Copia cada patr6n con bloques y en papel cuadriculado.

o
11

i4

11

:o

Patr6n de tres elementos (cajas) y dos tipos (sonidos). Hay cuatro ciclos (repeticiones).

10

i t

2 3 + is 6 7 8 9 10 11

L2

x x

x x

x x

Patr6n de cuatro elementos (cajas) y tres tipos (sonidos). Hay tres ciclos (repeticiones).

Ahora, crea tu propia composici6n. Escribe dos diferentes tipos de patrones. Luego toca lapieza con tu compafrero.
Muestra elementos, tipos, y ciclos.

11

(E)fiRA) Patr6n de _elementos,

10

tipos

ciclos

10

11

12

(HfiRA) Patr6nde_elementos,
P. Pasmanick @

tipos

ciclos

5-n

Counting Songs in Spanish

Chocolate
1,2,3, cho 4,5,6, co 7,9,9, la 10, te Chocolate, chocolate, bate, bate, bate, chocolate.

(raditionat)

Diez Perrltos Yo tenla diez perritos, yo tenia diez perritos uno se cay6 en la nieve, solamente quedan 9, 9, 9. Yo tenia nueve perritos, yo tenia nueve perritos, uno fue por un bizcocho, sotamente quedan 8, 8, 8. De los ocho que tenla, de los ocho que tenfa, uno se fue al banquete, solamente quedan 7, 7, 7.. De los siete que tenfa, de los siete que tenia, Uno camin6 al rev6s, solamente quedan 6, 6, 6. De los sies que yo tenfa, de los sies que yo tenfa, uno quiso dar un brinco, solamente quedan 5, 5, 5. De los cinco que tenla, de los cinco que tenfa, uno se meti6 alteatro, solamente quedan 4, 4, 4. De los cuatro que tenia, de los cuatro que tenfa, uno fue a aprender ingl6s, solamente quedan 3, 3, 3. De los tres que yo tenla, de los tres que yo tenia, uno tuvo mucha tos, solamente quedan 2, 2, 2. De los dos que yo tenfa, deJos dos que yo tenla, uno tom6 el desayuno, solamente queda 1, 1, 1. Y ese uno que quedaba, y ese uno que quedaba, decidi6 irse de cirquero, y quedaron cero, cero.

Plngtiino
Pin uno, pin dos, pin tres, pin cuatro, pin cinco, pin seis, pin siete, pin ocho, pin nueve, pin diez, ;pingriino!

1,2,3 estrellas, 4, 5, 6, estrellas, 7, 8,9 estretlas, 10 estrellas y mas. Pero en el dfa se ven no 10, 9, 8, estrellas, 7, 6, 5, estrellas, 4,3,2 estrellas, s6lo 1 estrella brillando. 1El sol!

Estrellas ffi En ta noche se ven ****

Diez

* 4zg}

Sisueet

patdn

1,3,6,10...

Diez Elefantes
Un elefante, se balanceaba, sobre Ia tela de una arafia, como vela que no se caia, fue a llamar a otro elefante. Dos elefantes, se balanceaban, sobre la tela de una arafia, como veian que no se caian, fueron a llamar a otro elefante. (3,4, 5, 6, 7,8,9...) Diez elefantes se columpiaban sobre la tela de una arafra, como velan que si se cafan, iya no llamaron elefantes!

Reading Rumba page 35

Nombre

Fecha

Ll6vame Al

Partido

(ritmo 3/4)

Versi6n originalde P. Pasmanick (@1989) de "Take Me Out To the Ball Game" por Albert von Tilser

Ll6vame al partido Quiero ver el beisbol. Jonrones, poncheos, y doble-pley Regresa t0 pero me quedar6 Alentando a nuestro equipo Comiendo soda y manf. Porque beisbol es el deporte Mejor para mf.

Escribe los nombres de las nueve posiciones defensivas. Reading Rumba page 24

Funlqt Conga
drs rs
conSa yas ir rs

PhilipPasnanick @1994 v. 11-96

l+2+3+4+5+6+7+8+ a C ) C l+ 2 + 3 + 4 + 5 + 6 + 7 + 8
@

(3J)

@
+

l+
dug

2 + 3 + 4 + 5 + 6 + 7 + 8

il
it

tlig

)(

X
+

ooh gir down

1+ 2+ 3 + 4 + 5 + 6 + 7 + 8 o a o o c o o o l+2+3+4+5+6+7+8+

Conga (sometimes called comparsa) is the rhythm used in Cuba for Carnaval. It is made up of lots of rhythm parts all playing together. Each part is a simple pattern that repeats over and over.

The trains of boxes and the 'rhythm web' show how some of the patterns work and fit together. Learn to chant each part. Then form
groups to do several parts at once over a nice strong beat.

Here's the basic conga dance step. The fourth step, shown in a box, the one you 'step out' with, as the bass part goes This...is...con...GA. Note that the next step is with the same foot, so that you'Il 'step out' on the other side next time. That is, dance Left Right Left Right RIGHT Left Right Left (L R L R R L R L ).

is

,fi Watt your fingers over the footprints to see how this works. When you can do the step, try
marching as you sing parts.

A 5 gallon plastic bottle

from an ollice water cooler makes a fine bombd (bass drum) for conga.

Right

123 Left .rD '(I,

at-

re
a,
cotr,.,
8a!

ooo

fhis,,, is... coo,. .

E
o
ga!

.(t
frtnky
frmky

.e

.e

a(D

E
rO
ga!

oo oo

ooo oooo
is.,. con.,.
ga!

r(,

frrnky fimty con,,.

Note: This is a very simplified version of llavana-style conga- The real thing is much more complex.

Roots of rap--African musical influence in the Americas

Most West ffiisans worshipped their gods in rituals using drumming, singing, and dance. During the period 1500-1850, some 10 million West Africans were seized and forced into slavery tlroughout the Atlantic region of the Americas. These people brought their religions and music with them. It is well lrrow today that African drumming influenced today's popular musical styles. Less well know is just what that musical legacy is, and how it developed in Latin America as compared to English North America.

@ P. Pasmanick

v. 8-94

The Latin American slave trade lasted longer and was more active than the North American trade. Some 957o of enslaved Africans ended up in Latin America and the Caribbean. They were often the majority population, and even though they worked under barbarous conditions, they were treated as human beings, inferior perhaps but with legal rights to a secure family, property, and time for themselves. There were thriving corrmunities of freed blacks, free mulattos (persons of mixed race) and escaped slaves. Peopte of African descent performed every kind of labor and profession.

In Cuba, Black people formed associations to practice their various religions. Lucumf people, from the Yoruba area of today's Nigeria, developed the rites lnown as Santeria, while those from nearby Calabar pracdcedAbacud. Africans from the Congo river basin createl Palo. These traditions--and others--are alive and well, with a wealth of ritual dance, complex sacred music, and thousands of songs in afro-cuban languages.
These religious associations (cabildos) were very private and serious. Eventually a series of secular musical forms began to emerge, keeping certain essential elements of the traditional music. For example, it is said that the Abacud drummers invented conga, the Cuban carnaval rhythm, basing it around their ancient five-stroke clave pattem. Then they took their clave rhythm and the three-drum ensemble and created the rumba family of good-time party music, with a vocal style strongly influenced by Spanish Flamenco singing. Later still, styles such as son andmambo, using a slightly differernt clave andEuropean insuu.ments, would evolve into the salsa so popular today.

In North America, the African slave trade was relatively meager and short-lived- Blacks were always a minority, and had no legal protection or social space to exist as free men and women. Attempts to maintain their languages and religions were suppressed. Without a stream of African-born arrivals to maintain specific cultures, tribal identities were lost. However, persons of African descent in the U.S. managed to retain the key structural features of their ancestral musical traditions. These include:

* call

and response (soto and chorus) pattem; solist often improvises clever topical verses and extended rhylne schemes

* rhythm

as a number of fixed, simple pattems that interact in interesting ways, as well as improvisation on the structure speaking styles with lots of rhythm and melody; talking becomes singing (James Brown, Barry White, rap) rhythm uses stressed upbeats over a steady pulse to create tension

From work songs to jazz, gospel to funk, these elements have contributed to unique artistic creations respected and imitated around the world. A recent manifestation is rapl}ip-hop, a modem high-tech music directly linked to Africa, the mother continent. People interested in rap will benefit from understanding the greater historical context the music springs from. With good music educators all leamers discover aspects of the brilliant West African heritage that gives Afro-Latin and African American music their irresistable rhythmic drive, melodic strength, and critical social awareness.

Integrating rap in the curriculum

Math
.analysis of rhythms in terms of pattems *how many beats in one cycle, in 2, in 10; *reproduce orally and with instruments *reproduce with unifix cubes, on graph paper *compare rap bass part w/ rumba clave pattem .graph data on relative popularity of artists, records sol4 themes of songs, etc.

Social Studies
.read, discuss selected lyrics, relate to perceived social realiry .study African roots of rap styles (rhytbms, vocal styles, dance)

Language Arts
.consider rap lyrics; determine rhymes and near rhymes, use rhymes for spelling

Performing

: .write and perforrn original raps

Arts

. l!:

.create backgrounds, rhythm charts, visual axt supports; videotape raps

Basic rap rhythms
leboom

Rap Music

.syllabify words and determine stressed

syllables, write in a grid

.read, Iisten to, and sing age-appropriate

raps, then write original pieces
For more rap rhythm parts
see

8st

Reading

Rumbap.30

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