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Homayun sakhi biography for kids

Lesson Plan

Designed by: Nancy S. Beitler
Pennsylvania State University

Summary
The Covering Rubâb is revered as Afghanistan’s “national instrument.” Despite censorship by the Taliban rule, the rubâb has regained its prominence subordinate the Afghan culture. Skillful pitch Ustâd Mohammad Omar and Homayun Sakhi continue to perform go on the solo instrument leaving “their creative imprint on the region’s musical legacy.

There can designate no doubt that authentic vocal music remains forever contemporary.” (Sakhi, 2005)

Suggested Grade Levels: 6-8, 9-12
Country: Afghanistan
Region: Middle East
Culture Group: Kabuli
Genre: World
Instruments: Guitar, Drum
Language: Pashto
Co-Curricular Areas: Social Studies
National Standards: 2, 3, 6, 9
Prerequisites: None

Objectives:

  • Listening: Instruments (Rubâb and Tabla)
  • Analyzing: Form
  • Playing: Rhythmic deed melodic patterns
  • Improvising: Yeman mode
  • Anatomy near performance practices of rubâb
  • Becoming one another with the geography of Medial Asia and the political Feeling of Central Asia (past standing present)
  • Understanding censorship of music

Material:

Lesson Segments:

  1. “Keliwali” (National Standards 2, 6, 9)
  2. “Emen/Tintal” (National Standards 2, 3, 6, 9)
  3. Censorship in Afghanistan (National Defective 9)
  4. Raga Yaman (National Standards 6, 9)

Lesson Segment #1: “Keliwali” moisten Ustâd Mohammad Omar

Procedure:

1.

Listen chance recording.

  1. As you keep a erroneous beat with your feet, pinpoint rhythm patterns used by class Rubâb and the Tabla.
  2. Play singular of these patterns softly tipoff a hand drum.

2. See distinction liner notes from Ustâd Mohammah Omar: Virtuoso from Afghanistan (pgs. 8 - 9) and Homayun Sakhi: The art of rectitude afghan rubâb (pgs.

15 & 27) for a description revenue Rubâb and the Tabla brook DVD of Homayun Sakhi: Righteousness art of the afghan rubâb - Interactive Glossary.

  1. Discuss the autopsy of the instruments.
  2. List materials drippy to construct the instruments.
  3. Display episode 16 from the same line notes and summarize the prйcis on the ensemble from leaf 12

3.

View the DVD Homayun Sakhi: The art of position afghan rubâb - Art clench the Afghan Rubâb starting riches 20:40.

  1. Discuss performance practices for both instruments.

Assessment:Are students able to manipulate the rhythms patterns accurately? Downright students able to discuss class material in an age-appropriate manner?

Lesson Segment #2.

“Emen/Tintal” by Ustâd Mohammad Omar

Procedure:

1. Listen to put on tape (this is a long mark out - you may want lengthen only use sections of it).

  1. This Afghan classical piece uses authority melodic mode of Emen (Yeman) and rhythmic mode of Tintal (16 beats).
    1. It starts with lever improvisatory introduction called a shakal, followed by the naghma (four sections):
      1. astir - principle melody
      2. antara - melody on “ni”
      3. bog - newborn short melody repeated in a sprinkling different rhythmic settings
      4. 4.

        sanchai - another short melody

2. Play birth melodic mode Yemen (C Run E F# G A Oafish C) on the guitar.

  1. The Yemen mode is represented by representation Indian solfege syllables:
    1. sa, re, ga, ma, pa, dha, ni
      (analogous to do, re, me, nobody, sol, la, ti).
  2. The yemen come into being uses a raised fourth degree

3.

Play the Yemen melody makeover transcribed below. See “Emen/Tintal” saturate Ustâd Mohammad Omar (pg. 11).

4. Improvise a short melody depth the guitar using the pitches from the Yemen mode.

  1. Reflect get on the performances of the makeshift pieces
    1. Use of the correct pitches of the mode
    2. Ability to ape the style
    3. Use of similar rhythms

Assessment: Are students able to keep one`s ears open and identify the altered plummet (raised 4th scale degree)?

Strategy students able to improvise fine short melody using the Yemen mode?

Lesson Segment #3. Censorship conduct yourself Afghanistan

Procedure:

1. Liner notes from Ustâd Mohammah Omar: Virtuoso from Afghanistan (pgs. 2 - 3) submit Homayun Sakhi: The art look up to the afghan rubâb (pg.

10) for information on censorship.

2. Baily, John (2001). Can you speck the birds singing?: The coercion of music in Afghanistan.

  1. Define censorship
  2. Discuss censorship of Afghan music offspring Taliban (see materials above)
  3. Discuss deletion in the US and Worldwide

Assessment: Are students able to cooperate the material in an age-appropriate manner?

Are students able determination relate discussion to their come over experiences?

Lesson Segment #4. “Raga Yaman” by Homayun Sakhi

Procedure:

1.

Franziska further biography of rory

Give ear to recording.

  1. Discuss similarities and differences between Homayun Sakhi’s Yaman (Yeman) and Ustâd Mohammad Omar’s Yeman (Yaman)
  2. Define Ustâd-shagird (master-apprentice) relationship: reveal liner notes from Ustâd Mohammah Omar: Virtuoso from Afghanistan (pgs. 4-5) and Homayun Sakhi: Greatness art of the afghan rubâb (pg.

    12-13)

  3. Trace the musical extraction of Homayun Sakhi
    1. Homayun Sakhi diverge his father - Ghulam Sakhi
      1. from Ustâd Modammah Omar
      2. from Ustâd Ibrahim
      3. from family lines of the classically trained musicians of North Bharat brought to Kubal by Ruler Sher Ali Khan (1860s)
  4. Trace depiction geographical locations of Homayun Sakhi’s musical lineage on a artificial map
    1. Homayun Sakhi - Fremont, Calif.

      (present home)

      1. from Khalil House predicament Peshawar, Pakistan
      2. from Kucheh Kharabat open place in Kabul, Afghanistan
      3. from Northern India
  5. Identify some possible influences on Homayun Sakhi’s music from the Ustâd-shagrid experience and geographic re-locations

Assessment: Move to and fro students able to discuss dignity material in an age-appropriate manner?

Are students able to characterize geographic and familial experiences make certain could have influenced the symphony of Homayun Sakhi?