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MMED740/PMED740OrffLevelIII,Summer2017InstructorMichelleFellaPrzybylowskiContactPhone:[email protected]/MaterialsMusicForChildren,MargaretMurrayEd. Volume I;SCHOTTMusicForChildren,MargaretMurrayEd. Volume II;SCHOTTMusicForChildren,MargaretMurrayEd. Volume III;SCHOTTMusicForChildren,MargaretMurrayEd. VolumeIV;SCHOTTMusicForChildren,MargaretMurrayEd. VolumeV;SCHOTTVolumeIII&VarenewtostudentsthathavetakenLevelI&IIatanAOSAapprovedcourse*Theabovematerialsareprovidedtostudentsonthefirstdayofclass.SuplementalMaterial:SpielbuchFurXylophonI,SCHOTTSpielbuchFurXylophonII,SCHOTTRhythmischeUbung,SCHOTTPiecesandProcesses-Calantropio,Steven,NewYork:Schott,2005.StückefürFloteundTrommel-Keetman,Gunild.Mainz:Schott,1984.RECORDERSandBOOKSRecorderConsort1(SteveRosenberg)-Boosey&Hawkes,ISMNM-060-02279-1ProgramObjectivesStudentscompletinggraduatemusiceducationcourseworkthroughTheUniversityoftheArts…

• Demonstratetheapplicationofpedagogicalandmethodologicalmeanstoteachmusicandemployeffectiveteachingmethods

• Utilizetechnologyindiversewaysasateacherandinsupportofstudentlearning• Communicateandcollaboratewithpeersindiversemusicalenvironmentsandschoolcommunities• Arecreativeandinnovativemusicianswhosharethesemusicalstrengthswiththeirlearnersthroughteaching• Understandthediversecultural,communal,andlearningneedsof21stcenturystudents

PedagogyWhilethedevelopmentoftheteacher’sownmusicianshipandcreativepotentialisattheheartoftheOrffapproach,theultimategoalofthispersonalgrowthistomaketheindividualabetterteacherofchildren.Theroleofpedagogymustgobeyondtheteachingofapieceintheelementalstyle—thepieceisnotanendinitselfbutameanstomusicalunderstandingforthechild.ThelessonsdevelopedbyLevelIIIstudentsshouldbedesignedtobringchildrentoconceptualunderstandingofmusicalelementsanddeveloptheirmusicalskillsintheactiveandcreativeatmospherethatcharacterizestheOrffapproach.Inthisprocess,theteachermustalwaysbeamodelofartisticmusicianship,guidingchildrentowardmusicalunderstanding.Thestudentwill:

• teachrhythminanaccuratemanner,cueinglearnerswithaninvitingphysicalgesture• teachvocalandinstrumentalmelodiesusingavarietyoftechniques,includingvocalmodeling,gesture,and

bodypercussion• teachinstrumentaltechniqueandpartsinanartisticfashion

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• usereferencestoformasanaidinteaching• teachawarenessofinstrumentalandvocalcolorsmodelexpressivesingingandplaying

LevelIIIstudentsshoulddemonstratepedagogicalskillby: •developingatleastonelessonplanthatoutlinestheteachingaconceptinpitch/melodyorrhythm •teachingthelesson(s)totheclassusingavarietyofOrffmedia.CourseDescriptionOrffLevelIIIwillfocusonpedagogyofmorecomplexmusicfromMusicforChildrenVolumesI,II,III,IV&Vaswellaseclecticfolkmusicandmorecomplexmusicalelements,includingsyncopation,meter,permutationsofl6thnotes,melody,themeandvariation,chaconne,irregularspeech/poetryandiconicnotation,withanemphasisonimprovisationanddrama.Recorderstudieswillexploreawiderangeofmusic,includingSchulwerksourcematerials,traditionalfolkmusic,andhistoricalandmodernrepertoire.MovementclasseswillincludeamoredetailedstudyofLaban'smovementefforts,folkdancesincomplexmeter,andmorecomplexchoreographysynthesizingalldanceelementsstudiedthusfar.Speech SpeechmaterialsusedinLevelIIIshouldincludevarietyinformandliterarymood,withamplepotentialforcreativeexperimentation.Morecomplexformsmaybeintroducedforbroaderanddeeperpoeticexplorationandexperimentation.Thestudentwill: •speakin2/4,3/4,4/4,6/8,5/8,7/8meters •Performlayeredspeechpiecesatasophisticatedlevel •Useavarietyofvocaltimbresinspeaking •Speakwithvaryingdynamicsandvocalinflection •PerformaleatoricexplorationsandimprovisationsusingvaryingvocaltimbresSinging IntheOrffapproach,singingisrecognizedasfundamental—aninvaluablemeansforindividualandgroupmusicalexpression.Singingrequiresanddevelopsthehighestdegreeofpitchsensitivityandsecurity,andisessentialinthedevelopmentoftotalmusicality.Songsshouldbecarefullychosentoexpandmusicalrepertoireandvocabulary.Theyshouldbepedagogicallyusefulandofexemplarymusicalquality.Theinstructorshouldmodelappropriatevocalrangeandquality,healthyposture,andbreathingnecessaryforwell-supportedsinging.Thestudentwill: •singmelodiesin2/4,3/4,4/4,6/8,5/8,and7/8meters •singinalldiatonicmodes •explorerecitativeusingaselectedtext •singchordrootaccompanimentsforamelodyrequiringaI-Vchordchange •singchordrootaccompanimentsforamelodyrequiringharmonychanges(I-V,I-IV-V,i-v,i-V,I-vii,i-VII) •singvariationstoagivenmelody •modelaclearvocaltonewithoutexcessivevibrato •modelananimatedaffectwhensinging •improvisevocallyinalldiatonicmodes •Improvisevocallyoverchordchanges(I-V,i-v,I-IV-V,I-VII,i-VII)LevelIIIstudentsshoulddemonstratetheabilitytosingmelodiesandimprovisevocallyinalldiatonicmodes: MAJOR•Ionian•Lydian•Mixolydian MINOR•Dorian•Phrygian•Aeolian

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Melodicenrichmentwillalsoincludesingingcountermelodiesbasedontheprinciplesofdiaphony(contrarymotion)andparaphony(parallelmotion).InstrumentsTheOrffApproachspecificallyintegratesinstrumentalplayintothelearningprocess,usingbodypercussion,non-pitchedandpitchedpercussioninstrumentsandrecorder.Otherinstruments,includingauthenticinstrumentsfromworldculturesarealsosometimesusedalongwiththestandardOrffinstrumentarium.1. PerformingBodyPercussion&PlayingUnpitchedPercussionInstruments

StudentsinLevelIIIshoulddemonstratecompetenceinperformingpartslearnedthroughimitationaswellfromnotationandimprovisingrhythmsinbodypercussionandonnon-pitchedpercussioninstruments.Theabilitytousemanydifferentinstrumentsoffersteachersvarietyinchoicesofteachingtoolsfortheclassroom.Performingbodypercussionandplayingnon-pitchedpercussioninstrumentsreinforcesrhythmicandmelodicconceptsandskillsanddevelopssensitiveensemblemusicianship.Thestudentwill: •performrhythmsin2/4,3/4,4/4,6/8,5/8,7/8metersandirregularandchangingcombinations •combinerhythmicpatternsinpolymetriclayering •performrhythmicallyfreestructures •demonstrateeffectiveaccompanimenttechniquesinbodypercussionanduntunedpercussionplaying. •emphasizemusicalformthroughuseofrhythmicallycontrastingostinati,shiftsinrange,changesintimbre,texture,and/ordynamiclevel •Increasetimbrepossibilitiesinbodypercussionthroughmoreadvancedtechniques. •Createmusicusingfoundsoundsandbyplayinginstrumentsinnon-conventionalways.

StudentsinLevelIIIshoulddemonstrate: •Correcttechniquewhenperformingthelayersofbodypercussion(stamp,pat,clapsnap)andotherbodysoundgestures. •correctplayingtechniqueonmembranophones,includingthecorrectholdingandstrikingtechniquesforthehanddrum,tambourine,bongos,conga,snaredrumbassdrumandtimpani. •correctholdingandplayingtechniquefornon-pitchedidiophones(METALS:triangle,fingercymbals,suspendedcymbal,cowbell,gong,belltree,chimetreejinglebells,flexi-tone)(WOODS:claves,woodblocks,castanets,templeblocks,slitdrum,maracas,rattles,cabasa,sandblocks,guiro,vibra-slap).2. PlayingPitchedBarredInstruments Thebarredpitched-percussioninstrumentsprovidealightaccompanimentforchildren’ssingingvoicesandare

excellentteachingtoolsformelodicconcepts. Thestudentwill: •playandimprovisein2/4,3/4,4/4,6/8,5/8,7/8,andirregularandchangingcombinations •combinerhythmicpatternsinpolymetriclayering •playrhythmicallyfreestructures •playmelodiesandimprovisationsinalldiatonicmodes •combinepatternsinpolymetriclayering •playmelodiesandimprovisationsincorporatingmajorandminorharmonychanges:(I-V,I-IV-V,i-v,i-V,I-vii,i-VII) •playaccompanimentpatternsformelodiesrequiringchordchanges:I-V,i-v,i-V,I-VII,i-VII,I-ii,I-IV,I-IV-V •playusing3-mallettechnique •exploreformbymakinginstrumentalperformancedecisions •Playthemeandvariations •Increasetimbrepossibilitiesthroughmoreadvancedtechniques •MakeartisticchoicesinsoloandensembleinstrumentplayingLevelIIIstudentsshoulddemonstrate: •correctpostureandmallettechniquesforplayingthevarioussizesofxylophones,metallophonesandglockenspiels •multiplemallettechnique

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•tremolo •abilitytoimproviseinalldiatonicmodes •abilitytoimproviseinamajorscaleoveraI-VorI-IV-VaccompanimentRecorderTechniqueTherecorderservesseveralfunctionsinOrffclassrooms.Firstandmostimportant,itservesasateachingtool,Thestudentshouldplaybothsopranoandaltorecorderswithproficiencyandhaveexperienceswithtenorandbassrecorders.StudentsshouldbeabletoimproviseonsopranoandaltorecordersoveraI-Vchordprogression.Improvisation,Composition,OrchestrationImprovisationpermeatesallskillareasintheOrffSchulwerkteachereducationcurriculum.AsMargaretMurrayhasstated,“youarehelpingteacherstodiscoverandpracticetheirownmelodicandrhythmiccreativepotentialsothattheycanhelpthechildrentheyteachtodiscovertheirs.”Melodicimprovisationistheprecursorofcomposition,whichcanthenleadtoorchestrationofthemelodiesinvented.Compositionandarrangementofsimpleformsis,thus,anecessarycomponentintheOrffSchulwerkteacher-educationcurriculum.InthedevelopmentofOrffandKeetman’sprototypematerials,theelementalconceptresultedinmusicconstructedsimplyfrombasicmaterials.Acquaintancewiththesematerialsprovidesanessentialbasisforindividualandgroupeffortsincomposingandarranging.Certain“rules”andguidelinesareusefulindefiningtheextendedstyle.EssentialtotheOrffSchulwerkapproach,however,isthefreedomtoexperimentandexplorevariousoptions.Studentsshoulddemonstrateincompositionandarrangementassignmentsthattheyunderstandandhavecontrolofthemusicalmaterial. Thestudentwill: •performaleatoricexplorationsandimprovisationsusingvaryingvocaltimbres[SeeSPEECH] •composeamodalmelodyandaccompanywithbordun/droneandostinato •arrangeamajormelodyrequiringI-Vchordchangeaccompaniment •improvisevocallyandinstrumentallyinalldiatonicmodes[SeeSINGING] •improvisevocallyandinstrumentallyoverchordchanges(I-V,I-IV-V,i-v,i-V,I-vii,i-VII)[SeeSINGING] •composeamodalmelodyandaccompanywithbordun/droneandostinato •arrangeamajormelodyrequiringI-Vchordaccompaniment •composeacountermelodyforadiatonicmelodyorfolksong(paraphonyordiaphony) •arrangeamelodyrequiringharmonicchordchanges(i-v,I-V,I-vii,i-VII) •arrangeamelodyrequiringI-IV-Vchordaccompaniment •makeartisticchoicesofinstrumentationinarrangements •importanceofbeingabletoHEARthecompositiononinstrumentsandREVISEinstrumentationchoicesPedagogyWhilethedevelopmentoftheteacher’sownmusicianshipandcreativepotentialisattheheartoftheOrffapproach,theultimategoalofthispersonalgrowthistomaketheindividualabetterteacherofchildren.Theroleofpedagogymustgobeyondtheteachingofapieceintheelementalstyle—thepieceisnotanendinitselfbutameanstomusicalunderstandingforthechild.ThelessonsdevelopedbyLevelIIIstudentsshouldbedesignedtobringchildrentoconceptualunderstandingofmusicalelementsanddeveloptheirmusicalskillsintheactiveandcreativeatmospherethatcharacterizestheOrffapproach.Inthisprocess,theteachermustalwaysbeamodelofartisticmusicianship,guidingchildrentowardmusicalunderstanding. Thestudentwill: •teachrhythminanaccuratemanner,cueinglearnerswithaninvitingphysicalgesture •teachvocalandinstrumentalmelodiesusingavarietyoftechniques,includingvocalmodeling,gesture,andbodypercussion •teachinstrumentaltechniqueandpartsinanartisticfashion •usereferencestoformasanaidinteaching •teachawarenessofinstrumentalandvocalcolors •modelexpressivesingingandplaying

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LevelIIIstudentsshoulddemonstratepedagogicalskillby: •developingatleastonelessonplanthatoutlinestheteachingaconceptinpitch/melodyorrhythm •teachingthelesson(s)totheclassusingavarietyofOrffmedia.

StudentLearningOutcomesAttheconclusionofthisgraduatemusiceducationcourse,studentswill:

- DeepencontentandcomplexityofthefoundationaltenetsofOrffSchulwerkthroughthevariousmedia.- Understand,planandactivelyusecomplexmusicalelements,improvisationanddramatocreateanactivemusic

curriculumintheschoolsetting- DeepenandbroadenmovementfoundationsthroughadetailedstudyofLaban- Deepenandbroadenrecorderproficiencyskillsthroughtraditionalfolkmusic,Schulwerksourcematerials,

historicalandmodernrepertoireGradingCriteriaandAssessmentMethodsCourseassessment,evaluationandgradingisbaseduponthreefactors:(1)thecompletionofthepre-assignment,(2)activeengagementindailycoursestudiesand(3)inthecompletionofthefinalassignment/post-assignment.Belowistherubricthatwillbeutilizedbyfacultytoassessandevaluatestudentsinthesethreecategoriesoflearningandunderstanding.

Basic Average SuperiorPre-assignment

Providesbasic/unsatisfactorycontentandconceptsinpreparationforthiscourse.

Accuratelyidentifiescontentandconceptsrelevanttothiscourse.

Demonstratesadeepunderstandingandpreparationofcontentandconceptsrelevanttothiscourse.

Duringclassformativeassessments

Failstoactivelyengageincoursecontent,application,andengagementofdailycoursework.

Engagesactivelyincoursecontentandapplicationofconceptsindailycoursework.

Demonstratesathoroughanddeepengagementincoursecontent,applicationandunderstandingofdailycoursework.

Final/Post-assignment

Doesnotadequatelycompletethefinalassignment.Assignmentmayhavebeensubmittedlate.Poororganizationandlackofdepthofknowledgeevidenced.

Finalassignment/post-assignmentevidencesappropriatestructureandorganization,understandingofcoursegoalsandoutcomes.Itissubmittedontime.

Finalassignment/post-assignmentisfluidandengaging.Itisorganized,wellstructuredandclear,andevidencesadeepunderstandingandapplicationofcoursegoals.Itissubmittedontime.

TheGradingPolicycanbefoundintheCourseCatalogue.

AcademicIntegrityPolicyAprimarytenetofthiscourseistopreparestudentsforprofessionalresponsibilitiesasteachers.Thetimelyarrivaltoclassaswellasthedailypreparationandengagementincoursestudiesisessential.

UniversitypolicyonAcademicIntegritymaybefoundintheUArtscatalog.

Ifstudentsarenotclearaboutwhatconstitutesplagiarism,youmightrecommendIntroductiontoResearchandDocumentationavailableontheUniversityLibrarieswebsite.

AbsencesDuetothecompressednatureofthefive-dayintensivecoursestructure,absencesfromclasswillnotbeaccepted.Studentswhoarrivelatetoclassorleaveearlywillbeheldaccountableformissedtimethroughadditionalassignmentstobecompletedoutsideofcoursehours.TechnologyPoliciesonTechnologymaybefoundintheCourseCatalogue.

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ClassFormatAllsummermusicstudiescoursesthatmeetin-personarefive-dayintensivecoursestypicallyrunningfor8hoursperday.Studentsareresponsibleforpreparationofmaterials,forengagingincoursecontentasperthecoursedescription,andinbeingresponsivetocompletionofpreandpostcourseworkasdetailedinthecourseoutline.Coursesofferedonlinemaybeinadifferentformatandmayrunforalongeramountoftime,specifictotheneedsandintentsofthecoursecontent.

EducationalAccessibilityStudentswhobelievetheyareeligibleforcourseaccommodationsundertheADAorSection504orhavehadaccommodationsormodificationsinthepast,shouldcontacttheOfficeofEducationalAccessibilityat215-717-6616oraccess@uarts.edutoarrangeforappropriateaccommodationsandtoobtainanaccommodationsletter,ifapplicable.Facultycanprovidecourseaccommodations/modificationsonlyafterreceiptofanapprovedaccommodationsletterfromtheOfficeofEducationalAccessibility.Accommodationletterscanbeprovidedtoqualifiedstudentsatanytimeduringthesemester,butgradesearnedbeforetheletterisreceivedbythefacultycannotbechanged.NoticeofNondiscrimination

TheUniversityoftheArtsisasupportivecommunitycommittedtoindividualandartisticintegrityandinclusion.Wepromoteandrespectself-expression,awiderangeofideas,anddiversityinallofitsforms.WearecommittedtocreatinganinclusiveenvironmentinwhichUniversitycommunitymembersareabletoaccessacademic,social,recreationalprogramsandservices,aswellasopportunitiesforadmissionsandemploymentonanequitableandnondiscriminatorybasis.

TheUniversityexpresslyprohibitsanyformofdiscriminationandharassmentonthebasisofanyprotectedclassification,includingrace,color,religion,sex,genderidentity,nationalorigin,age,mentalorphysicaldisability,veteranstatus,geneticinformation,theuseofaguideorsupportanimalbecauseoftheblindness,deafnessorphysicalhandicapofanyindividualorindependentcontractor,possessionofaGEDinsteadofahighschooldiplomaandmilitarystatusasdefinedbyPennsylvanialaw,sexualorientation,maritalstatus,familialstatusanddomestic/sexualviolencevictimstatus,inaccordancewithfederal,state,andlocalnon-discriminationandequalopportunitylaws.TheUniversityalsoprohibitsactsofretaliationagainstthosewhoreportactsofharassmentdiscriminationorwhocooperatewiththeinvestigativeprocess.

Sexualviolence,sexualharassment,intimatepartner/datingviolence,andotherformsofsexualmisconductareconsideredformsofsex-baseddiscriminationandareprohibitedbyUniversitypolicyandbylaw.

TheUniversitywillpromptlyandequitablyrespondtoallreportsofdiscriminationandharassmentbasedonprotectedclassifications.Complaintsofdiscrimination,harassment,andretaliationmaybedirectedtotheUniversity’sTitleIXCoordinatorandDiversityAdministrator,LexiMorrison,[email protected](215)717-6362.ComplaintprocedurescanbefoundinAppendixAofthefaculty,staff,andstudenthandbooks.

Note:AllfacultyandprofessionalstaffattheUniversitymustreportanyincidentsofsexualmisconducttotheUniversity’sTitleIXCoordinator.Tomakeareport,e-mailtitleix@uarts.eduorfileareportthroughtheTitleIXResourcePage:www.uarts.edu/titleix.

MOVEMENT SPEECH SINGING BODY

PERCUSSION

UNPITCHEDPERCUSSION

PLAYING

RECORDER

PITCHEDPERCUSSION

IMPROVISATION

COMPOSITION

ORCHESTRATION

PEDAGOGY

RHYTHM&METER

TIMENOTBOUNDBYRHYTHM

•Performmetricstructuresincluding2/4,3/4,4/4,6/8,5/8,7/8,andirregularandchangingcombinations

•Speakin2/4,3/4,4/4,6/8,5/8,7/8meters

•Singmelodiesin2/4,3/4,4/4,6/8,5/8,and7/8

meters

•Recitative

•Performrhythmsin2/4,3/4,4/4,6/8,5/8,7/8metersandirregularandchangingcombinations

•Combinerhythmicpatternsinpolymetriclayering

•Performrhythmicallyfreestructures

•bodymusic

•Playandimprovisein2/4,3/4,4/4,6/8,5/8,7/8,andirregularandchangingcombinations

•Combinepatternsinpolymetriclayering

•Rhythmicallyfreestructures

•Performexplorationsandimprovisationsinvariousmeters

•performnon-metricimprovisations

•Teachrhythminanaccuratemanner,cueinglearnerswithphysicalgesture

•Developalessonplanthatteachesaconceptinrhythm,usingavarietyofOrffmedia.

MELODY

•Movementthemesasmelodicmovementmaterial

•Physicalresponsetomodal,majorandminormaterial

•Singinalldiatonicmodes

•explorerecitativeusingaselectedtext

•Explorebodypercussionsoundsandtechniquesbeyondthefourstandardlevels

•Playmelodiesandimprovisationsinalldiatonicmodes

•Combinepatternsinpolymetriclayering

•Playmelodiesandimprovisationsincorporatingmajorandminorharmonychanges:(I-V,I-IV-V,i-v,i-V,I-vii,i-VII)

•improvisevocallyinalldiatonicmodes

•Improvisevocallyoverchordchanges

(I-V,i-v,I-IV-V,I-VII,i-VII)

•Composeamodalmelodysuitableforbordun/droneandostinatoaccompaniment

•ComposeamajormelodyrequiringI-Vchordchangeaccompaniment

•Teachvocalandinstrumentalmelodiesusingvocalmodeling,gesture,andbodypercussion

•Developalessonthatteachesaconceptinpitch/melodyandteachthelessonusingavarietyofOrffmedia.

ACCOMPANI- •Solo/smallgroup •Performcomplexlayeredspeech

•Singchordrootaccompaniments

•Demonstrateeffective

•Playaccompanimentpatternsformelodies

•Composeamodalmelodyandaccompany

•Teachinstrumentalparts

MENTAND

TEXTURE

/largegroup

movementformations

•Movementostinati

•Moveeffectivemovementaccompaniment

•Choreographystrategies

pieces

•Performchoralspeech,poemsforseveralvoices,Greekdramaforms

foramelodiesrequiringaI-V,I-IV-V,i-v,i-V,I-vii,andi-VIIchordchanges

accompanimenttechniquesforbodypercussionandplayinguntunedpercussion

requiringchordchanges:I-V,i-v,i-V,I-VII,i-VII,I-ii,I-IV,I-IV-V

•Playusing3-mallettechnique

withbordun/droneandostinato

•ArrangeamajormelodyrequiringI-Vchordchange

Accompaniment

•Composeacountermelodyforadiatonicmelodyorfolksong(paraphonyordiaphony)

•Arrangeamelodyrequiringharmonicchordchanges(i-v,I-V,I-vii,i-VII)

•ArrangeamelodyrequiringI-IV-Vchordaccompaniment

andtechnique

artistically

•Modeleffectiveensembleleadingfromwithin

Developarecorderimprovisationlesson

FORM •Phrase,elementalforms,AA,AB,ABA,echo,question/answer,antiphonal,canon,rondo,verse/chorusfolkdance

•themeandvariations

•Rhythmicallyfreestructures

•Singvariationstoagivenmelody

•Reviewofknownforms

•Emphasizemusicalformthroughuseofrhythmicallycontrastingostinati,shiftsinrange,changesintimbre,texture,and/ordynamiclevel

•Emphasizeformbymakinginstrumentalperformancedecisions

•Playthemeandvariations

*Usereferencestoformasanaidinteaching

TIMBRE •Bodyresponsetotimbrestimuli

•Useavarietyofvocaltimbresinspeaking

•Modelaclearvocaltonewithoutexcessivevibrato

•Increasetimbrepossibilitiesinbodypercussionthroughmoreadvancedtechniques.

•Createmusicusingfoundsoundsandbyplayinginstrumentsin

•Increasetimbrepossibilitiesthroughmoreadvancedtechniques.

•Makeartisticchoicesofinstrumentationinarrangements

*Teachawarenessofinstrumentalandvocalcolors

non-conventionalways.

EXPRESSION •Shapemovementforperformance

•Thebodyasavisual,musicalinstrument

•Speakwithvaryingdynamicsandvocalinflection

•Modelananimatedaffectwhensinging

•Thebodyasmusicalinstrument

•Makeartisticchoicesinsoloandensembleinstrumentplaying

•Makeartisticchoicesininstrumentationandarrangement

•Modelexpressivesingingandplaying

IMPROVISATION explorationswithtime,polymetric/polyrhythmicpiecesprevalentinsomeAfricanmusics,