roMani MusiC of turKeY - Carnegie Hall

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aRCHITeCTURal fReeDoMs anD sTRUCTURes WoRKsHeeT aRCHITeCTURe CAMPiNG TENT iGLOO The Weill Music Institute at Carnegie Hall HAGiA SOPHiA The Weill Music Institute at Carnegie Hall The Weill Music Institute at Carnegie Hall fReeDoMs CReaTeD foR InHabITanTs © 2009 The Carnegie Hall Corporation. Carnegie Hall grants teachers permission to duplicate these pages for classroom use. sTRUCTURes UseD 14 The Weill Music Institute at Carnegie Hall Citi Global Encounters
aCTIVITY 2: fReeDoM anD sTRUCTURe In MUsIC aIM: How are freedom and structure vital to the music of Selim Sesler? sUMMaRY: Students explore freedom and structure in music through Selim Sesler’s “Kasap Havasi.” MaTeRIals: Citi Global Encounters CD, Freedom and Structure Listening Map for Selim Sesler’s “Kasap Havasi,” Guide to Citi Global Encounters Turkey CD TIMe ReQUIReD: 45 minutes nYC anD sTaTe sTanDaRDs: Blueprint: Music Literacy, Making Connections, Community and Cultural Resources FREEDOM AND STRUCTURE: AN UNPREPARED LiSTENiNG introduce the ideas of freedom and structure in music to your students. Tell students: • “in music, as in poetry, architecture, or dance, anything that repeats more than once can be considered ‘structural.’ Repeating rhythms, melodies, bass lines, fragments, chords—all of these elements create structure. Elements that are improvised, or spontaneously created, are considered ‘free.’” Play Selim Sesler’s “Kasap Havasi” (Track 5). ask students: “Do these musicians seem more interested in freedom or structure?” “What specifically about the music makes you say that?” Record students’ responses in text form or as an audio file for presentation at the final concert. You’ll ask these same questions again at the end of the lesson. Note: Please share exemplary work with the Carnegie Hall staff so we can include this work in the concert event. HEARiNG MUSiCAL STRUCTURES ON THEiR OWN Listen to structural elements excerpts from “Kasap Havasi” (Tracks 10–13). These excerpts, taken from the larger piece, are isolated so you and your students can hear the structured elements more precisely. (See the Guide to Citi Global Encounters Turkey CD on p. 6 for a list of these excerpts.) ask students: “Do these elements sound new, or did you hear them before when we listened to the full version of the song?” “is it clear why musicians consider these sounds structural elements?” Use this transition to segue to the next section of this lesson. Tell students: • “Now that we have a sense of what these structures sound like on their own, we will listen for freedom and structure in the context of the full recording.” ROMANI MUSIC OF TURKEY 15
Page 1 and 2: The Weill Music Institute at Carneg
Page 3 and 4: Table of ConTenTs THE BIG QUESTION
Page 5 and 6: PRoGRaM TIMelIne We hope that you w
Page 7 and 8: a noTe on TeRMs Please review the f
Page 9 and 10: lesson anD aCtiVitY Plans ROMANI MU
Page 11 and 12: Have students—first in pairs, and
Page 13: aRCHITeCTURal sHelTeRs HanDoUT Camp
Page 17 and 18: HOMEWORK Have your students respond
Page 19 and 20: aCTIVITY 3: THe TURKIsH RoManI eXPe
Page 21 and 22: MaKInG IT In GoTHaM WoRKsHeeT imagi
Page 23 and 24: THe TURKIsH RoManI eXPeRIenCe HanDo
Page 25 and 26: aCTIVITY 4: fReeDoM anD sTRUCTURe P
Page 27 and 28: sUPPoRT MaTeRIals foR Global sTUDIe
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Page 33 and 34: Have students take a look at the or
Page 35 and 36: Connect this listening exercise to
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Page 43 and 44: aDDITIonal PRoJeCT ResoURCes sUGGes
Page 45 and 46: TeaCHInG aRTIsT VIsIT 1 aIM: How do
Page 47 and 48: SUMMARY AND REFLECTiON Lead your cl
Page 49 and 50: Tell students: • “Most music in
Page 51 and 52: fInal ConCeRT: WHaT To eXPeCT On Ma
Page 53 and 54: MeeT THe ARTIsT HAndoUT SELIM SESLE
Page 55 and 56: InTRoDUCTIon To TURKeY Turkey is a
Page 57 and 58: instruMent guiDe
Page 59 and 60: DaRbUKa History The darbuka is a go
Page 61 and 62: IblIoGRaPHY The straight Dope strai

roMani MusiC of turKeY - Carnegie Hall

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