Artsource
MUSIC
®
The Music Center’s Study Guide
to the Performing Arts
TRANSFORMATION
ENDURING
VALUES
TRADITIONAL
ARTISTIC PERCEPTION (AP)
CLASSICAL
CREATIVE EXPRESSION (CE)
CONTEMPORARY
HISTORICAL & CULTURAL CONTEXT (H/C)
EXPERIMENTAL
AESTHETIC VALUING (AV)
MULTI-MEDIA
CONNECT, RELATE & APPLY (CRA)
THE HUMAN
FAMILY
THE POWER
OF NATURE
FREEDOM &
OPPRESSION
Title of Works:
importance was her ability to coach, teach and accompany
McFerrin to the Power of Three (video)
Scat-Singing (excerpt)
Vocal Improvisation (excerpt)
Ich Grölle Nicht - Dichter Liebe Cycle (Schumann)
Ave Maria (Bach-Gounod)
My God Is So High (Spiritual)
I Got Plenty o’ Nuttin’ (excerpt - Gershwin)
Keep-a-Inchin’ Along (Spiritual)
Robert. Their children, Brenda and Bobby were naturally
very involved in music. Just a year and a half apart in
age, they were literally making music together and
individually when mere toddlers. Bobby’s life was in
jeopardy during his mother’s pregnancy when she
contracted a rare form of polio and had to be placed in
an iron lung. It is believed that her concern for the life
Creators:
Robert McFerrin, Sr., opera and concert artist, vocal coach,
university lecturer and artist-in- residence (1921-2006)
Bobby McFerrin, recording and concert artist, composer,
conductor (b. 1950)
Brenda McFerrin, vocal recording artist, vocal coach, music
teacher, (b. 1951)
of her unborn child helped to sustain her fight to
survive. Robert (Sr.) was Artist-in-Residence at the
University of Missouri, St. Louis, Sara was professor
emeritas of Voice and Chair of the Music Department
at Fullerton Community College in California, Brenda
pursues a successful singing career in Hollywood and
Background Information:
Bobby enjoys international fame in a musical career
The McFerrins are a family of singers. Although musical
which is as varied as he is talented, creative and
families are not unique, the McFerrins are special.
versatile.
Frequently, singing families function as ensembles and
About the Artwork:
feature a particular style. The McFerrins, however, have
The works represent a variety of styles which showcase
pursued successful careers individually. Robert Sr. broke
the many-sided talents of the McFerrins. In the video,
racial barriers by becoming the first African American to
McFerrin to the Power of Three, Bobby and Brenda
win the Metropolitan Opera “Auditions of the Air” in
provide a rousing scat-singing
1953. He made his debut on the Met stage in 1955 as
introduction. For the first section,
Amonasro in Verdi’s Aida. In later years his contributions
Bobby, in his inimitable fashion,
to opera continued in Europe where he became the first
improvises with exceptional voicings.
African American baritone to perform in two of
Secondly, his father, Robert, adroitly
Europe’s leading opera houses. Sara, a trained musician
interprets a selection from the
in her own right, met Robert when she was a paid
Schumann Dichter Liebe Cycle.
soloist at St. Mark’s Methodist Church in New York
City. Married in 1949, Sara’s university training,
professional experience, and deep interest in and
commitment to her husband’s career served to provide
support, encouragement and inspiration. Of equal
(Continued p. 2.)
“My goal was to become California
as fine an artist as my
capabilities would permit,
and to perform the great roles
of the baritone repertoire...
and to concertize.”
Robert McFerrin, Sr.
Missouri
NewYork
About the Artwork: (continued)
Discussion Questions:
In the third selection Bobby provides an unprecedented
After viewing the video:
vocal accompaniment for his father’s impressive
• In comparing the following selections,
performance of Gounod’s Ave Maria. In it Bobby
what were the stylistic differences?
recreates the accompaniment which is usually
a) scat-singing and I Got Plenty o’ Nuttin’
performed instrumentally. Next, performing a spiritual
b) Ich Grölle Nicht and the solo
in concert style, Robert further demonstrates his
improvisation
artistry and stylistic sensitivity as he solos on My
c) Ave Maria and My God Is So High
God Is So High. The spiritual is followed by an
d) My God Is So High and Keep-a-
excerpt of a selection from Porgy and Bess, the solo
Inchin’ Along.
I Got Plenty o’ Nuttin’, effectively sung by Robert Sr.
Describe any similarities you may have
Finally, Brenda, Bobby and Robert merrily collaborate
found in the above pairings?
on an unaccompanied, ‘down-home’ rendition of a
folksy spiritual, Keep-a-Inchin’ Along.
• In Bobby McFerrin’s solo improvisation
he produces a variety of sounds. Can
Creative Process of the Artist or Culture:
you describe some of the sounds you
Each of the performances draws upon the artists’
heard? Can you make some of the same
knowledge, training, talent and experience.
sounds? Can you improvise unique sounds of your own?
Likewise, each selection demonstrates their
versatility in performance styles. In addition, there
is the special interaction of familial warmth and
camaraderie which naturally flows among them.
• Can you describe the differences in the musical periods
represented by three compositions by Schubert, Gershwin
and McFerrin?
The performances are punctuated with humor, and
Audio-Visual Materials:
exhibit their obvious enjoyment of and respect for
• Artsource® videotape excerpt: McFerrin to the Power of
each other. The sum total of these attributes provides a
Three. Footage courtesy of Instructional Technology
rare collection of beautifully performed numbers.
Center, University of Missouri, St. Louis, and the
Multidisciplinary Options:
McFerrin family. Ain’t Got Plenty O’Nuthin’ courtesy of
the Gershwin Estate and Warner Chappell Music Inc.
• Conduct research to discover the significant
historical events that occurred during the lives of
Additional References:
composers Robert Schumann (1810-1856),
• Bobby McFerrin: Medicine Music, Capitol Records,
George Gershwin (1898-1937) and Robert ‘Bobby’
Inc., EMI-CDP 792048-2
McFerrin (b. 1950 ). Discuss how the periods during
• Thomas, Dr. Naymon Elijah. Robert McFerrin: The
which each composer lived (or lives) may have had
First Black Man to Sing at the Metropolitan Opera. A
some impact on their works.
Doctoral Dissertation. The University of Oklahoma,
• Prepare Program Notes for the video, McFerrin to
Graduate College, School of Music, 1988.
the Power Of Three. Summarize information about
• Robins, Cynthia. Note Perfect Bobby McFerrin. Vis a
the composers, where appropriate, and briefly
Vis Magazine, East/West Network, Inc., Los Angeles,
describe each composition. Share the video and
1990, (page 88).
Program Notes with another class.
Catalf, Phil. Medicine Man, New Age Journal. Brighton,
2
MA: Rising Star Associates, Ltd. Partnership,
began to imitate the sounds of instruments. Learn
March/April, 1991 (pp. 30-33, 94-96).
about scat-singing. View the Artsource® video and
listen to the “Scat-Singing” in order to learn more
Sample Experiences:
about its sound and style.
LEVEL I
• Experiment with making sound patterns using your
voice and/or body percussion. Try making patterns that
others can echo.
LEVEL III
* • Since Robert McFerrin’s historic debut with the
Metropolitan Opera in 1955, he has been succeeded
by numerous young African American singers who
* • Bobby McFerrin and his Voicestra perform many
songs by imitating instrumental sounds and creating
have firmly established their careers in the world of
unusual combinations of sounds. Sing a familiar song
McFerrin, create a timeline to indicate the
and add several different kinds of appropriate sounds as
emergence of these stars and name some of their
an accompaniment.
famous opera roles.
• The McFerrins demonstrate the importance of the
• Choose a familiar song and create a scat interlude.
opera and on the concert stage. Starting with
expressive qualities of music in their performances.
Listen to and sing several songs which clearly demonstrate
• In the late nineteenth century composers began to
the significance of dynamics, tempo, rhythm and style.
write concert arrangements of African American
(Refer to a music textbook to learn more about the
spirituals. Gradually, these arrangements began to be
mentioned qualities/elements in bold.)
heard in concert halls worldwide. Discover who
wrote many of these arrangements. Name some of
• Form small groups. Give each group a different short
the artists of the past who popularized the practice of
poem, or a stanza of a longer poem. Create vocal sounds
singing these spirituals in concert. Name some of
to enhance the meaning of the poem.
today’s artists who continue the practice.
LEVEL II
• Listen to each of the Artsource® selections and
• In Bobby McFerrin’s improvisation (video) he sings a
enjoy the style and musicality of each one.
melody and accompanies himself vocally. Describe the
sounds made in the accompaniment. How are they
different from the melody? Surmise which instruments
he is imitating in his accompaniment.
• Bobby McFerrin based his improvisation on simple,
everyday topics. Listen to Bobby’s improvisational
sounds. Take a line of poetry and improvise off of the
words in a similar way to Bobby McFerrin. Make individual
choices in selecting topics for solo improvisations.
* • Scat-singing grew out of the jazz style when singers
* Indicates sample lessons
3
MUSIC
CLASSROOM VOICE-ORCHESTRA
TRANSFORMATION
LEVEL 1 Sample Lesson
INTRODUCTION:
Although Bobby McFerrin began formal music lessons (piano) at a very young age, he did not seriously
consider music as a profession until he entered college. His post-college jobs included arranging,
accompanying on piano and performing as a background singer for various groups and events. His first
job as a solo vocalist began in 1977. Although audiences responded positively to his creative vocal
acrobatics, Bobby felt his body language was stilted. Encouraged and advised by his dancer-friend, Tandy
Beal, Bobby learned body movements which enhanced his vocal delivery. Now he has formed a group
called Voicestra. He states that he did not want to present performers who only sang songs. “I wanted
everything to be amplified by some visual aesthetic. So that not only do people have an aural experience,
but they have a visual one too. Two of their senses are employed rather than just one.” * Bobby’s stage
presentations feature a broad range of vocal arrangements generously spiced with individual and group
improvisations.
“I like to work hard and have fun... the rewards of work itself are enough.” Bobby McFerrin **
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Create original vocal sounds which enhance the expressive qualities of selected songs. (Artistic
Perception)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Music textbooks, song collections for children.
• Artsource® video, McFerrin to the Power of Three.
PROGRESSION:
• Give some background on the McFerrin
family and show one of the segments from the
Artsource® video. Suggestions include: “ScatSinging” or “Vocal Improvisation.”
• Ask students what they found interesting
about the piece and what they noticed about
the way sounds were made.
Bobby McFerrin
Photo: Carol Friedman
4
• Do an echo activity where you make a short pattern of sounds and the students repeat the pattern back.
Patterns can be made with body percussion sounds of clapping, stomping, snapping or clicking. Patterns
can also be made by using a combination of letter sounds.
Examples:
Shh, Shh, Bata-Bata, Bim
Echo: Shh, Shh, Bata-Bata, Bim
Mmm, Ba-Ba-Ba-loon
Echo: Mmm, Ba-Ba-Ba-loon
Hickory, Dickory, Dock, clap-clap
Echo: Hickory, Dickory, Dock, clap-clap
Chuba-Chuba-Be-Do-Da
Echo: Chuba-Chuba-Be-Do-Da
• Once the students get good at repeating the sound patterns made by the teacher, encourage them to
create their own patterns. Choose different students to be the leader, with the group echoing or repeating the
pattern back.
• Select a song whose lyrics suggest the possible addition of sound effects and/or ostinatos (a repeated
pattern). Explain to the children that they will add appropriate sounds with their voices or percussive
rhythmic patterns only.
• Review the lyrics of the selected song to determine places where the vocal sounds would be most
suitable. Decide on some sounds that might be performed as emphasis or as an ostinato. Reach consensus on
how many sounds will be most fitting. Remind the children that too many sounds may obscure the song
itself. Try different ideas and combinations of ideas until the group agrees upon the most appropriate
performance.
• It might be helpful to watch the video again after they have experimented with adding sounds and/or
sound patterns (ostinatos) to the song. Encourage them to find new ideas and ways that they might
improve the song they are singing.
SONG SUGGESTIONS:
• The Bus
• Hickory, Dickory, Dock
• Jack and Jill Went Up the Hill
• Ebeneezer Sneezer
• Old House
• The Sound Song
• Chatter with the Angels
• Jubilee!
• Temple Bell
• What Is It?
• I Hear a Sound
• A Goblin Lives in Our House
• Gonna Build Me a House
• Halloween is Coming
• The Little Leaves Dance
5
VOCABULARY: ostinato, pattern
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe how you selected the sound effects and patterns to go with the song.
DISCUSS: Discuss the types of sounds that worked best with the song.
ANALYZE: Discuss the way Bobby McFerrin used sounds and patterns in his songs. Discuss what you
found most interesting and why.
CONNECT: Discuss other things beside songs that can be decorated with patterns.
* New Age Journal, “Medicine Music.” April 1991, p. 33.
** Vis a Vis Magazine, October 1990, p. 88.
6
MUSIC
SCAT SINGING
THE HUMAN FAMILY
LEVEL II Sample Lesson
INTRODUCTION:
There are many ways that music can be produced and one used by Bobby and Brenda McFerrin in the
Artsource® video is called scat-singing. Scat-singing, according to The New American Dictionary of Music,*
is a technique of jazz singing in the manner of an instrument, using meaningless syllables. Louis
Armstrong is often credited with creating the technique, although Ella Fitzgerald and Cab Calloway also
are noted for their improvisational skills with scat. It is interesting to think that you don’t need
instruments or lyrics to make music.
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Recognize and know some background on scat-singing. (Historical and Cultural Context)
• Perceive the different characteristics of a normal voice and a falsetto voice. (Artistic Perception)
• Describe the changes in vocal styles as they scat.
(Artistic Perception)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the
end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Artsource® video of McFerrin to the Power of Three - “Scat-Singing” excerpt.
PROGRESSION:
• Introduce the concept of scat-singing and give some background on Bobby and Brenda McFerrin.
• Before viewing the video excerpt, direct students to watch and listen for the following:
• the two vocal ranges possible for an adult male voice. (There is the regular, normal vocal range
and the falsetto which is above the normal range.)
• the way Bobby and Brenda use nonsense syllables to produce the melody and create interesting
rhythmic patterns.
• the way Bobby uses his body as a specific type of musical instrument.
7
• Play the video selection and then discuss responses.
• View the video and listen again for increased awareness. This time listen for the following:
• There is always a feeling of an underlying beat or pulse.
• Sometimes Bobby sounds like a string bass and sings a bass musical pattern.
Sometimes he harmonizes with the melody sung by Brenda.
Sometimes Bobby and Brenda sing in unison.
Sometimes Bobby sings in his normal range and sometimes he sings falsetto.
• Discuss these ideas and what students observed and heard.
EXTENSIONS:
• Listen to and discuss the other vocal segments on the Artsource® video.
• Compare and contrast the scat-singing with the opera singing.
VOCABULARY: scat-singing, underlying beat, falsetto
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: Describe scat-singing in your own words.
DISCUSS: Discuss what you noticed about the way Bobby and Brenda related during their singing.
ANALYZE: Discuss the differences between a singing a song in the normal way and using scat-singing.
CONNECT: Discuss the similarities between improvising in singing, playing an instrument and doing
a dramatic scene.
* Morehead, Philip D. The New American Dictionary of Music. A Dutton Book,New York, NY. 1991.
8
MUSIC
AFRICAN AMERICANS IN THE WORLD OF OPERA
THE HUMAN FAMILY
LEVEL III Sample Lesson
INTRODUCTION:
Robert McFerrin’s historic debut at the Metropolitan Opera was proof positive that the years of commitment
to his goal, and his personal sacrifices were well worth the effort. Primarily, we must realize that McFerrin
had a talent that was destined for success. Secondly, his years of training and experience prepared him
substantially.
McFerrin made his initial operatic debut in Massachusetts with the Tanglewood Opera Theatre, in the
role of Rigoletto. This opportunity was followed by a contract to perform with the New England Opera
Company. During this same period he performed roles with the National Negro Opera Company and the
New York City Center Opera Company. In addition, he appeared on Broadway in Kurt Weill’s Lost in the
Stars with his wife, Sara. Before joining the Metropolitan Opera roster McFerrin had performed in recitals
and with leading symphony orchestras throughout the United States and Canada.
In the period between McFerrin’s winning the Met auditions in 1953 and his debut in 1955, he received
intensive training at the Kathryn Turney Long School. He studied fencing, ballet and calisthenics as well
as vocal coaching. He states, “I did not at all mind the long delay before my debut, because the training
I received was worth the waiting. I do not think I could have made the quality debut expected at the Met
if I had not been prepared in stage deportment at the Kathryn Turney Long School.” *
“There were many good singers in New York at the time... Bob’s voice had carrying power and
a warmth that could not be matched by any of the black male singers who were on the concert
circuit... He was a superior singer and that is the reason he was chosen.” Sara McFerrin **
OBJECTIVES: (Student Outcomes)
Students will be able to:
• Name African American opera singers who have succeeded Robert McFerrin in the world of opera.
(Historical and Cultural Context)
• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to
Assessment at the end of this lesson. (Aesthetic Valuing)
MATERIALS:
• Artsource® video McFerrin to the Power of Three, excerpts featuring Robert McFerrin.
• Reference books and recordings on black, male opera singers.
9
PROGRESSION:
• Introduce the students to Robert McFerrin and give some of his background. View the sections of the
Artsource® video and use the ‘Discussion Questions’ on page 2. Ask them why it was such a breakthrough
for Robert McFerrin to become an opera singer.
• Create a timeline to cover the period from 1940 to 1991 which will chronicle the appearance of African
American artists in operatic roles, worldwide.
• Divide the class into groups. Assign each group a decade to research. Ask the students to name the artists
and some of their notable roles. Have them include the opera houses where they have performed, and the
dates of their performances, if possible. (Some groups will list the same names when artists performances
have extended into different decades.)
• As a concluding assignment, ask each student to select an opera in which one of the artists has
performed. Have them summarize the opera and describe a significant aria performed by the
selected artist.
• Where possible, provide recordings of these solos.
• Each group share their research and recordings with the class and discuss what they learned.
EXTENSION:
• Listen to live broadcasts or recorded opera presentations in which African American artists perform.
Attend an opera, or view an opera on television or the internet. Study the libretto, or read a synopsis of
the opera prior to listening to or viewing a performance.
VOCABULARY: aria, opera
ASSESSMENT: (Aesthetic Valuing)
DESCRIBE: how you went about doing your research.
DISCUSS: the problems you encountered in doing the research and how you went about finding the
information when you were blocked.
ANALYZE: Discuss the differences and similarities you found in artists of different periods. Did the
number of successful African American opera singers vary greatly. If so, why?
CONNECT: Discuss other professions in which African Americans made great strides and contributions.
* Thomas, Naymond E. Robert McFerrin: The First Black Man to Sing at the Metropolitan Opera Company. DMA
diss., University of Oklahoma, 1988.
10
** Ibid.
rtsource
A
The Music Center’s Study Guide
to the Performing Arts
A Project of the
Music Center
®
135 North Grand Avenue
Los Angeles, CA 90012
www.musiccenter.org
© 1995 - 2012, The Music Center of Los Angeles County. All rights reserved.
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Introduction
A RTSOURCE ®: T HE M USIC C ENTER’ S S TUDY G UIDE
TO THE
P ERFORMING A RTS
Artsource® highlights works of art and artists of stature from diverse cultures.
It represents early to contemporary art forms in the disciplines of
dance, music and theatre
and complements the programs and performances
of the Music Center’s resident companies and artist roster.
The arts are ancient, enduring and universal forms of communication.
Artists present their perceptions, reflections, and points of view which
influence, and are influenced by, the culture and period of time in which they exist.
Artsource Contributors
®
Project Director
Melinda Williams
Project Coordinator
Susan Cambigue-Tracey
Writers:
Dance
Susan Cambigue-Tracey
Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield,
Barbara Leonard, Melinda Williams
Music
Rosemarie Cook-Glover
Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard,
Connie Hood, Annette Simons, Marilyn Wulliger,
Diana Zaslove, John Zeretzke
Theatre
Barbara Leonard
Kathryn Johnson
Technical Production donated by
Layout and Logo* Design
Paul Tracey
Maureen Erbe Design
*Received the LULU AWARD for excellence in graphic design and advertising,
sponsored by the Los Angeles Advertising Women (LAAW)
Additional Artwork & Artsource® Logo Graphic
H. P. Law & Partners
The Music Center of Los Angeles County wishes to thank
the artists featured in this publication for their outstanding artistry and
their generosity in allowing us to share their creative spirit
in the classroom.
Sincere appreciation is also extended to the members of the Center’s
Board of Directors and Education Council for their guidance in developing
these resource materials,
Music Center volunteers for their help in organizing, proofing and editing
Artsource® units; the professionals who provided field review;
and the dedicated teachers who tested the
Artsource® units in their classrooms.
Mark Slavkin
Vice President for Education
Melinda Williams
Director of Education