Argentina

PeruBrazil

Cuba

Bolivia

California

“We represent the spirit of the music of the Americas.”

Ara Tokatlian

About the Artwork:Arco Iris is described as a ‘musical rainbow.’ Two of

their pieces, Peace Pipes and Soaring Over the High

Plains reflect their sense of harmony with the music of

the Quechua and the Aymara Indians of Peru and

Title of Work: Peace Pipes and Soaring Over the High Plains

Creators:Company: Arco IrisFounder, composer, percussionist: Danais Tokatlian (b. 1939 - d. 2003)Composer, woodwinds, voice, synthesizer: Ara Tokatlian (b. 1951)Percussionist: Hartt StearnsStrings: Bill Fowler and Julio Ledezma

Background Information:Arco Iris, an instrumental group, founded in the late

1960s by Danais and Ara Tokatlian, originated in

Buenos Aires, Argentina. When they moved to Los

Angeles many years ago, they began performing over

200 times yearly in the greater Los Angeles area. The

Tokatlians based their personal and professional lives on

the principles of universal acceptance, understanding of

different cultural values and free artistic expression.

These ideas are communicated through their

exhilarating music. During its history, Arco Iris has

performed throughout South America and Europe.

They have released many albims and singles, two of

which became gold records in Argentina. Their film

credits include Out On a Limb (Shirley McLaine),

Extreme Prejudice (Nick Nolte), The Telephone

(Whoopie Goldberg) and Stand and Deliver (James

Olmos). Ara Tokatlian joined the Harry Belafonte band

and toured the USA and Europe during 1995 and

1996.

Bolivia. Their sound is unique because they com-

bine traditional music of different ethnic cultures

from the Americas with contemporary elements of

jazz and pop. Sometimes they play ethnic instru-

ments, such as the bombo lugüero - a hollowed out

log drum from Argentina, caja challera - Argentine

drums, siku - bamboo panpipes, moxenio - a lower

register version of the pincullo which is an end-

blown flute with a fipple, pincullo - a bamboo flute

and quena - an Andean notched flute. This blending

of instruments, rhythms and melodies, along with

contemporary elements, gives the music of Arco

Iris its particular character and color.

Creative Process of the Artist or Culture:In the time they’ve been together, several world

class percussionists have joined Arco Iris. They

brought to the group the percussion instruments

of Cuba and Brazil. In Brazil, where the African

culture is mixed with the cultures of the

Portuguese descendants and the original Indians,

idiophones (metal and wood) make up the bulk of

percussive instrumentation. In Cuba, where the

African culture is mixed with those

of Span i sh and

indigenous peoples, the

membranophones (drums) are

most important.

MUSIC

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PERCEPTION (AP)

CREATIVE EXPRESSION (CE)

HISTORICAL & CULTURAL CONTEXT (H/C)

AESTHETIC VALUING (AV)

CONNECT, RELATE & APPLY (CRA)

rtsource ®

The Music Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

* Indicates sample lessons

*

*

*

Additional References:• State Adopted Music textbooks, levels K-8. See sections

on Latin American songs, dances and listening lessons.

Sample Experiences:LEVEL I• Identify and learn about the instruments used by Arco

Iris that came from the environment. Name and

describe them. Categorize them in regard to instrumental

groupings (or families), i.e., percussion, winds or strings.

Describe their sounds. Create original instruments from

your environment. (1 gallon ice cream tubs - drums;

rattles made from cans filled with seeds, stones, sand or

rice; flutes made from plastic piping)

• Learn to sing folk songs, play musical games and dance

to music from Latin America. For an accompaniment, add

rhythm patterns using instruments that are often heard

in Latin American music, such as claves, maracas,

bongo drums, guiros, cowbells or triangles.

• Listen to an excerpt or a short composition by a Latin

American composer, such as Alberto Williams, Alberto

Ginastera, Heitor Villa-Lobos, Oscar Lorenzo Fernandes,

Camargo Guarnieri, Roque Cordero or Carlos Chavez.

Compare and contrast it with the music of Arco Iris.

LEVEL II• Create movement to communicate ideas generated by

listening to Soaring Over the High Plains.

• Analyze Peace Pipes to identify patterns of

rhythm, melodic lines and the presence or

absence of harmony.

• Trace the evolution of selected

instruments from their origins to

present-day forms.

LEVEL III• Create original compositions employing

electronic, vocal and acoustic sounds.

• Listen to the recording of either Peace

Pipes or Soaring Over the High Plains . Using

a selection of percussion instruments, create

a variety of complimentary rhythmic patterns

to accompany the recording.

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Discussion Questions:After the recorded or live performance:• In Soaring Over the High Plains Arco Iris uses

wind, string and percussion sounds. Can you

identify one instrument from each category?

• Identify the instruments that played the melody

lines in Soaring Over the High Plains.

• What are the mental images that came to mind as

you listened to Soaring Over the High Plains?

• What is the name of the ethnic wind instrument

that solos in Peace Pipes? (Panpipes or Siku) To

which family of winds (brass or woodwinds) does

this instrument belong? (woodwinds) Analyze this

instrument for its familial similarities, likenesses

and differences. (See Addendum)

• How is the historical/cultural fusion created in

both compositions? (Use a combination of ancient

and contemporary instruments.) Describe the over-

all effect in each composition in regards to

instrumentation, styling, tone color, rhythms.

• How does the physical arrangement of

instruments affect the results in a live performance?

A recorded performance? (closer to audience or

recording microphone)

Multidisciplinary Options:

• Select one instrument, such as the flute, and

research its counterpart in different cultures.

• Explore the scientific basis for sound production

on selected instruments.

• Fill narrow-necked bottles with different amounts

of water. Blow across the ends to produce different

pitches. Use mathematical calculations (ratios) to

determine pitch intervals.

• Explore selected world cultures to learn about the

musical instruments indigenous to each. Discover

basic similarities and unique differences.

Audio-Visual Materials:• Artsource® audio recording: Peace Pipes and

Soaring Over the High Plains, Arco Iris Records,

P. O. Box 2929, Blue Jay, CA 92317. © 1987.

• Photos: courtesy of Arco Iris.

Pan-pipes

3

ENDURING VALUESSAME AND DIFFERENT

LEVEL I Sample Lesson

INTRODUCTION:

Padre Sol, an original song by Ara and Danais Tokatlian, is a short composition having three phrases andan easy-to-sing melody.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Perceive same and different phrases in music (Form). (Artistic Perception)

• Sing, with expression, a Latin-American folk song accurately in Spanish and English. (ArtisticPerception, Creative Expression and Historical/Cultural context)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

Music- Padre Sol (provided in the lesson), Rhythm Instruments - bongo drums, castanets, claves, cowbell,guiros, hand drum, maracas, triangle (optional), autoharp, guitar or keyboard instrument for accompaniment.

MUSIC

4

PROGRESSION:• Part I - Learning the song and understanding its organization.

• Listen to Padre Sol and identify the phrases which sound alike: phrases 1 and 2.

• Students learn to sing the two phrases which are the same (Note: The English words differ in phrasetwo, however the notation for each phrase is identical.) Write the letter symbols for the two phrases on achart or chalkboard.

A A Leave a blank space for phrase 3.Phrase 1 2 3

• Sing the entire song. Students perform phrases 1 & 2 and teacher sings phrase 3.

• Call attention to the different sound of phrase 3. Write the letter symbol “B” in the blank space. Thesymbols for the phrases should read - A A B

Phrase 1 2 3

• Students learn to sing phrase 3. All sing the entire song.

• To further emphasize same and different, use a small group of volunteers, or an individual to sing thephrase that is different. (Phrase B)

• Learn the Spanish language version. Follow the same procedure of learning by phrases.

Part II - Creating instrumental accompaniments to emphasize the song’s form.

• Tap the basic, or metric beat as the song is sung. (Four beats per measure.)Teach the following rhythm pattern to accompany the two A phrases. (Tap the pattern with hands on knees.)Explain that this pattern requires two taps for each beat. This pattern imitates the rhythm of the melody.

• Select one or two students to play the pattern on rhythm instruments.

• Review the metric beat. This will be used to accompany the third phrase.

• Select one or two students to play the pattern. Use instrumental sounds that differ decidedly from thoseused for the first pattern.

5

• Explain that the first pattern learned emphasizes the rhythm of the melody. The second pattern is different. It emphasizes the four beat meter.

• Sing the entire song using the two patterns together.

EXTENSION:

Change instruments to accompany the song. Keep in mind the emphasis on same and different.Continue to select instruments for each pattern which produce markedly different sounds. Add anothersimple rhythm pattern. For instance, select a metallic sound to be played on the first beat of each measure for the A phrases.

VOCABULARY: form, meter, metric beat, phrase, rhythm of the melody

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the song, Padre Sol and the three phrases.

DISCUSS: Discuss the words of the song and what you think they mean.

ANALYZE: Explain the differences between phrases 1 and 2 and phrase 3.

CONNECT: What other verses can you think of to add to this song.

MUSICAL INSTRUMENTS: THEN AND NOW

LEVEL II Sample Lesson

INTRODUCTION:

Music has played an important part in the lives of people worldwide, throughout history. Ancient carvings, frescos, cave paintings, wall drawings, inscriptions, metal and clay figures and sculptures frommany cultures attest to this fact. From these sources we have discovered that musical instruments werefirst fashioned from materials found in nature, such as drums from hollow logs, and simple flute-typeinstruments from hollow reeds, bamboo and wood. Modern descendants of the original pipes and flutesare called woodwinds.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Trace the evolution of pipes and flutes from their historical/cultural roots to their present-day forms.(Historical/ Cultural context)

• Identify the tone colors of modern woodwind instruments. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Music Textbook and Reference Books

PROGRESSION:

• Introduce the topic. (See Introduction above)

• Explain the project - To conduct research on the evolution of woodwind instruments.

• Chart the following sub-topics:• Early forms and their sources• Forms found in world cultures• Early orchestral forms• Changes through time• Modern woodwinds - shape and sound• Basic sound production

• Divide the class into research teams of six each.Ask the teams to divide the sub-topics among members.

6

Serpent

TRANSFORMATION

MUSIC

Recorder

Flageolet

7

• Provide the following suggestions for researching:• School library• Music - internet, iTunes, etc.• Local public and college/university libraries• Ethnic museums• Specialty stores - Ethnic Music and Art• Museums of Natural History

• The following are suggestions for classroom opportunities for collecting information:

• Invite a guest speaker from:

• a local library • a museum • a specialty bookstore• the ethnomusicology department of an institution of higher education

• Invite a local ethnic musician or a middle school, high school or community woodwind quintet to perform and conduct a question and answer period.

• Give each group the following vocabulary listing. Ask them to define as many words as possible as theyconduct their research. Confer extra credit to each group which defines all or most of the words. Giveadditional credit to groups who add appropriate words to the list.

air column nayaulos notchbassoon nose flutesblowholes oboeBoehm System padsclarinet pan-pipesconcert flute piccolocornet pincullodragon flute pitchEnglish Horn pommersearly wooden flute recorderend-blown flutes saxophoneflageolet shakuhachifinger holes shawmhsiao sikuhuayra thumb keykeys transverse flutelip plate vibrationmouthpiece wave-formmbundu whistling fish

• When groups have completed their research, assist them in assembling and outlining their material inpreparation for writing full group reports.

8

• Upon completion of the written reports, ask the team members to prepare oral reports. Assist them infinding appropriate recorded examples of instrumental sounds. Refer to the recordings that accompanythe music textbooks.

• Encourage question and answer periods at the end of each oral report.

VOCABULARY: (Listed in lesson)

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe how you did research on the evolution of woodwind instruments.

DISCUSS: Discuss one or two of the most interesting things you discovered in your research.

ANALYZE: Analyze how the shape and size of the instrument affects its sound quality and quantity.

CONNECT: Discuss how other instruments might have evolved from their early counterparts. Discusshow things such as materials and technology might have impacted their development.

Arco Iris in concertPhoto courtesy of Arco Iris

9

TRANSFORMATIONKALEIDOSCOPE

LEVEL III Sample Lesson

INTRODUCTION:

Arco Iris creates musical compositions which artfully convey ideas, and evoke images and scenes throughthe interplay of music elements, combining the sounds of ancient folk instruments, modern acoustic andelectronic instruments and vocal sounds. In this lesson students will transmit their own ideas by originatingcompositions using some of these elements.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Create original compositions employing electronic, vocal and acoustic sounds. (Artistic Perception and Creative Expression)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Musical instruments, e.g. classroom rhythm and tonal, ‘found,’ student constructed, standardband/orchestra, electronic keyboard. Recording device and selected poetry.

• References: Music textbooks (segments on composition). Books on making musical instruments.

PROGRESSION:

Part I

• Survey the group to identify students who play band or orchestra instruments.

• Prepare for the lesson by giving the students an opportunity to hear the sounds of unfamiliar instruments, to review uncomplicated sound capabilities of the electronic keyboard and to discuss possible uses of the recording program or device (Garage Band or similar program).

• Distribute a group of poems from which the class will select one to be used as a basis for creating a groupcomposition.

Part II

• Chart or make copies of the selected poem.• Decide as a group which instruments will provide the rhythms and which will be used to create melody

MUSIC

Autoharp

Tambourine

10

Glokenspiel

or harmony. Remind them that these decisions may be subject to alteration as the activity progresses.

• Solicit volunteers for the vocal sounds group, and the rhythm, melody, harmony and electronic sections.Select two people to be responsible for recording.

• Work as a total group to brainstorm ideas for converting the poem to a musical composition.

• Unless the class has had sufficient experience and training in using standard notation, have them createoriginal symbols to designate sounds. For instance, heavy/light marks for dynamics, short/long marks forduration, up/down/same marks for melody, blank spaces for rests, etc.

• First, experiment with the ideas suggested for the rhythm section. Ask the students in the rhythm section to play as the remainder of students tap the rhythms. Reach consensus on the preferred rhythms.

• Next, experiment with the simple themes or motifs suggested for the melody section. Ask the studentsin the melody section to play. Others may hum the melody. Reach consensus on the preferred melody.

• Play the melody and rhythms together.

• Solicit additional ideas for vocal and instrumental sounds which include use of band/orchestra instruments (if any) and the electronic keyboard.

• If chordal instruments such as the guitar or autoharp are available, decide how they will be used.

• Add each suggestion, one at a time, and allow for changes and adjustments to be made as the activity progresses. Rehearse, revise and refine work.

• Perform the completed composition several times until each group feels satisfied with its work.

• Give the composition a title.

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EXTENSION:

• Give the students an opportunity to work in smaller groups. Suggest that they proceed from a differentpoint, starting with a melodic idea, a vocal sound or an electronic sound. Provide different resources tomotivate ideas for their compositions, e.g. a painting or a South American folktale, myth or legend.

VOCABULARY: harmony, melody, rhythm

ASSESSMENT: (Aesthetic Valuing)

• DESCRIBE: Describe the steps you went through to create your composition.

• DISCUSS: Identify and discuss the problems you encountered.

• ANALYZE: Talk about what you think worked well in your composition and why. Then identify thethings you would change if you could continue to refine it.

• CONNECT: Discuss other projects that people do which require problem solving and collaboration.

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ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

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.

I n t r o d u c t i o n

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-GloverEd Barguiarena, Susan Cambigue-Tracey, Barbara Leonard,

Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke

Theatre Barbara LeonardKathryn Johnson

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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

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Mark SlavkinVice President for Education

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