Choral 10,20,30 - Sample Unit Five

Reproduced with permission. Teaching-Learning Experiences for Section Five

Siyahamba
Zulu song edited by Doreen Rao for SATB/SSA a cappella
Boosey and Hawkes, Inc. OCTB6564/OCTB6656
Unison or SATB with piano accompaniment arranged by Hal Hospson
Agape, Carol Stream, Illinois 60188 HH3949
with piano and optional percussion accompaniment
arranged by Donald Moore
Warner Bros. Publications, Inc. SV9532, SV9531, SV9530
Objectives (Refer to page 41.)
1. Develop an awareness of and an appreciation for the Zulu language and Zulu music. (PSVS)
2. Develop an understanding of chromatic modulation. (Musical Literacy)
3. Compare and contrast Zulu music with other African music. (CCT)
4. Experience moving to the music in a stylistically appropriate manner. (Interpretation/Appreciation/Decision Making)
5. Become aware of the factors which determine the degree to which a conductor is able to control and unify tempo changes and final releases. (C)
Preparatory Exercises

1. Count and clap the following rhythms. When this has been mastered, sing the counting syllables on scale patterns.
Undisplayed Graphic

2. Count and clap the following rhythms. When this has been mastered, sing the counting syllables on scale patterns.
Undisplayed Graphic

3. Sing the solfa syllables/numbers to the following. Also, transpose up to Ab, A, Bb, B and C.
Undisplayed Graphic

4. Sing the solfa syllables/numbers. Also, transpose up to Ab, A, Bb, B and C.
Undisplayed Graphic

Creative/Productive

1. Introduce the material in this manner:

on a neutral syllable (e.g., loo), tenors and sopranos sing the soprano line, altos and basses sing the bass line
neutral syllable, all four parts as written
in English
in Zulu.

2. Make a pronunciation chart for the Zulu text:
Written: Si-ya hamb'-e ku kha nye ni kwenkhos'
Pronounced: See-yah hahm-buh koo kah nigh nee kwen kohs
3. Ask the students the following question: What is the harmonic function of the F natural in the alto part (2nd system, last measure)?
The note F has been altered (lowered half a step in the alto part, last measure of the second system) in order to affect a chromatic modulation to C major. The dominant seventh chord of C major contains the pitches G, B, D, and F (natural). The next time the note F occurs (also in the alto part), it is F# as per the key signature. Harmonically, we are back in the home key of G major.
Cultural/Historical

1. Research the Zulu people and their music.
The Zulus are an Nguni people. Zululand was a province in eastern South Africa which was renamed Kwazulu when it was set up as the designated homeland for Zulus under the apartheid regime. The Zulus earned a reputation as fierce fighters primarily due to the massive losses they inflicted on the invading British in 1879. Zulu music is reflective of the Nguni style, which also encompasses the Swazi and Xhosa people. Their traditional music is predominately vocal rather than instrumental. Siyahamba is representative of the Mbube style of male a cappella singing. The Zulus consider movement as an integral aspect of choral singing.
Sources: Collier. 1994. Collier's Encyclopedia, P.F. Collier.
Sadie. 1980. The New Grove Dictionary of Music and Musicians (Sixth Edition), Macmillan Publishers Limited.

2. Play a recording of an authentic performance of African vocal music for the class. Compare and contrast to a recording of your choir's performance of Siyahamba.
One source of African vocal music is Paul Simon's Graceland album which features the South African vocal group Ladysmith Black Mambazo. This group also has produced two commercially available recordings -- Induku Zethu (Shanachie SH60021) and Ulwande Olungwele (Shanachie SH60030).
Critical/Responsive

1. Analyse a videotape of your choir singing this piece. How effective is the choir's body language? Do the facial expressions of the singers convey the mood of the text? Is the choir's vocal colour effective in conveying the mood of the song in a stylistically appropriate manner?
The vocal quality should emulate an African rather than Western European timbre. The body movement should be subtle, leaning gently to the left then to the right in a rocking motion or with small steps from side to side.
Source: Doreen Rao -- editor's remarks in Siyahamba.
2. Videotape various students conducting the final statement of the text (last two measures with anacrusis). What factors contribute to the conductor's being able to control and unify the execution of both the ritardando and the release on the final note?

Grading and Reporting

Here is a means of generating a report card mark based on the activities which were suggested in the sample unit.

Aural Skills

Process (5 marks)	Product (15 marks)
class work on ear-training informal assessments of recordings of their own and other choirs	theory/ear-training tests listening assignment(s) chosen from the sample unit

Musical Literacy

Process (10 marks)	Product (15 marks)
class work in sight-singing preliminary drafts of original compositions	sight-singing tests composition assignment(s) chosen from the sample unit

Interpretation/Appreciation/Decision Making

Process (5 marks)	Product (10 marks)
research notes, preliminary drafts of research assignments	research assignment(s) chosen from the sample unit

Vocal Technique

Process (10 marks)	Product (20 marks)
class work in warm-ups, vocalises, and technique exercises	performance of vocal solo and/or one singer per part vocal ensemble

Attitude/Values

Process (5 marks)	Product (10 marks)
participation in extra workshops and out-of-school choral groups attendance at concerts of local choral groups	report based on personal involvement with out-of-school choral group solo performance at music festival participation in choral concert