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Learning Center – Cultural Journeys Resources

 

The Cultural Journeys Learning Center offers IHOBF Resources as well as Ideas from the Field. Primary Cultural Journeys resources include the Roots of Rhythm Teacher’s Guide, which IHOBF developed in collaboration with the Percussion Marketing Council and percussionist/ethnomusicologist Dr. Craig Woodson, and other related resources. The guide features ten multi-cultural, cross-curricular lessons based on drums, rhythms and cultural traditions from around the world. Additionally, IHOBF has developed other resources to support Cultural Journeys programming.  The Cultural Journeys Program provides teachers and students with drum-based music-making experiences, educational resources and learning activities that draw on diverse cultures from around the world. 

IHOBF RESOURCES:

Please click on a resource below to view or download the resource in PDF format: 

To listen to or download individual tracks from the Roots of Rhythm companion audio CDs, please see the individual track listings below: 

Adufe

1. Track 01  (1:33)     Religious Adufe music from Monsanto, Portugal
"Divina Santa Cruz (Devine Saint Cruz)" in four counts, is an important song of the Festa do Castelo, to which the text refers. It is sung during ritual moments during a procession to the castle in Monsanto, or Castelo Branco. A sample of the opening words translates, "Oh, Devine Saint Cruz, and I am going there, my soul is already there, my heart is arriving..." (from a CD titled Musical Traditions of Portugal by the International Institute for Traditional Music on Smithsonian Folkways 40435, track #7) 

2. Track 02  (1:26)    Social Adufe music from Monsanto, Portugal
"Arvoredo" in three counts, has a text that refers to a sentimental relationship (from Smithsonian Folkways 40435, track #10) 

3. Track 03  (1:12)    Ritmo passo - four counts with the 16" drum
Ritmo passo - four counts with the 14" drum
Ritmo passo - four counts with the 12" drum 

4. Track 04  (0:12)    Ritmo passo - four counts with ensemble 

5. Track 05  (1:09)    Ritmo passo - eight counts with the 14" drum
Ritmo passo - eight counts with the 12" drum 

6. Track 06  (0:12)    Ritmo passo - eight counts with ensemble 

7. Track 07  (0:52)    Ritmo roda - three counts with the 16" drum
Ritmo roda - three counts with 14" drum
Ritmo roda - three counts with 12" drum 

8. Track 08  (0:09)    Ritmo roda - three counts with ensemble 

9. Track 09 (0:53)    Ritmo roda - six counts with the 16" drum
Ritmo roda - six counts with the 14" drum
Ritmo roda - six counts with the 12" drum 

10. Track 10  (0:10)    Ritmo roda - six counts with ensemble 

Bongos

11. Track 11  (1:33)    Rumba  guaguanco ensemble with clave rhythm from Cuba
"Las Leyendas de Grecia (The Legend of Greece)" is a familiar type of rumba that is danced by a flirtatious couple that includes interaction and competition. The lead singer punctuates the quinto drum's rhythms. A translation of the lyrics begins, "Come wise ones, and poets. Come here everyone. I'm going to talk to you seriously about history and concrete things. Everyone talks of history and of the Gods, without really knowing the origin of how they were formed. The legend of Greece and of her devine gods..." (from a CD titled Cuba in Washington on Smithsonian Folkways LC 9628, track #2) 

12. Track 12  (2:03)    Bongos playing martillo rhythm in the son rhythm of a Cuban ensemble
"Yo Canto en el Llano (I Sing on the Plains)" shows the close relationship between the son and rumba rhythms through the interlocking bongo and bell rhythms. The son is a rhythm that connects other rhythms together like the martillo and rumba. A translation of the lyrics begins, "Over the hill I met a pretty woman from Guantánamo. Because of her bewitching look I got involved right there..." (from Smithsonian Folkways LC 9628, track #9) 

13. Track 13  (0:32)    Rumba guaguanco - clave rhythm 

14. Track 14  (0:25)    Rumba guaguanco - palitos rhythm 

15. Track 15  (0:26)    Rumba guaguanco - guiro rhythm

16. Track 16  (0:26)    Rumba guaguanco - bongos rhythm 

17. Track 17  (0:26)    Rumba guaguanco - quinto rhythm 

18. Track 18  (0:26)    Rumba guaguanco - conga rhythm 

19. Track 19  (0:26)    Rumba guaguanco - tumba rhythm 

20. Track 29  (0:18)    Rumba guaguanco - ensemble 

21. Track 21  (0:28)    Bongos martillo - basic rhythm 

22. Track 22  (0:28)    Bongos martillo - solo variation #1 

23. Track 23  (0:25)    Bongos martillo - solo variation #2 

24. Track 24  (0:28)    Bongos martillo - solo variation #3 

Buhai

25. Track 25  (2:01)    Buhai ox sounds from Tartarusi, Romania
"Plugusor" with recitation, bell (imitating the bell around an ox's neck), flute, bass drum, and buhai during the Christmas and New Year's Festival (from field recordings in Romania by Ann Briegleb Schuursma 1971-72, located at Ethnomusicology Archive, University of California, Los Angeles) 

26. Track 26  (0:40)    Buhi ox sounds from Tartarusi, Romania
"Buhai alone" (from field recordings by Ann Briegleb Schuursma 1971-72) 

27. Track 27  (1:12)    Buhai with calls, shouts, and oxen bell and whip sounds from Popesti, Romania
"Plugusor" (from field recordings by Ann Briegleb Schuursma 1971-72)

28. Track 28  (0:50)    Buhai - notation of ox sounds (playing a homemade buhai)

Djembé

29. Track 29  (1:33)    Djembé ensemble from Guinean tradition
"Aconcon" (from a CD titled Djimbe [alternate spelling] - Leon Mobley on Djimbe Records DJ-005, track #6

30. Track 30  (1:33)    Djembé ensemble from Guinean tradition
"Doundounbah [alternative spelling] (from Djimbe Records DJ-005, track #5)

31. Track 31  (0:31)    Djembé 1 - drum call

32. Track 32  (0:21)    Aconcon - djembé 1

33. Track 33  (0:22)    Aconcon - djembé 2

34. Track 34  (0:25)    Aconcon - bell

35. Track 35  (0:25)    Aconcon - bass

36. Track 36  (0:19)    Aconcon - ensemble

37. Track 37  (0:25)    Doundoumba - djembé 1

38. Track 38  (0:26)    Doundoumba - djembé 2

39. Track 39  (0:28)    Doundoumba - bell

40. Track 40  (0:28)    Doundoumba - bass

41. Track 41  (0:21)    Doundoumba - ensemble

Dondo

42. Track 42  (3:02)    Dondo in drumming from Ghana, West Africa
"Adowa mpre" is a light form of Adowa music, which is a type of popular band that was especially created for funerals. The donno (plural of dondo) are the first drums heard on the track after the adawia bell begins. The song translates, "Death is invading my home, I cannot go to sleep. Wherever I go, I am sure to meet death. It is invading my home, I cannot go to sleep" (from a CD titled Music of the Ashanti of Ghana on Smithsonian Folkways FE 4240, track #3)

43. Track 43  (0:25)    Atumpan drum (or dondo) call in speech rhythm

44. Track 44  (0:28)    Adowa atene - adawla

45. Track 45  (0:28)    Adowa atene - apentemma

46. Track 46  (0:21)    Adowa atene - petia

47. Track 47  (2:08)    Adowa atene - dondo #1
Adowa atene - dondo #2
Adowa atene - dondo #3
Adowa atene - dondo #4
Adowa atene - dondo #5

48. Track 48  (0:28)    Adowa atene - atumpan

49. Track 49  (0:23)    Adowa - ensemble 1

Kakko

50. Track 50   (3:11)    Gagaku ensemble from Japan
Jo (Prelude)" is a composition based on the piece Goshoraku. This opening part of togaku music is in free rhythm with eight long cycles separated by strong taiko drum beats and clear kakko hits (from a CD titled Reigakusha Sukeyasu Shibaon on Celestial Harmonies LC 7869, track #2)

51. Track 51   (0:23)    Free rhythms - sei, one hit with space

52. Track 52   (0:30)    Free rhythms - mororai, fast, steady roll

53. Track 53   (0:50)    Free rhythms - katarai, acceleration or bouncing ball rhythm

54. Track 54   (0:36)    Measured rhythms - yatra-byoshi, shoko rhythm

55. Track 55   (0:34)    Measured rhythms - yatra-byoshi, kakko rhythm

56. Track 56   (0:30)    Measured rhythms - yatra-byoshi, taiko rhythm

57. Track 57  (0:38)    Measured rhythms - yatra-byoshi, togaku rhythm

Lakota Drum

58. Track 58  (1:33)    Regular beat performed by six singers from the Northern Plains Indians
"Grass Dance Theme Song" or "Omaha" is danced primarily for enjoyment. It is sung with high vocal tension, has the form AA'BCB' C' and ends with five hard beats. This was recorded in 1975 by the Los Angeles Northern Singers (from a CD titled Powwow Songs - Music of the Plains Indians, produced by Charlotte Heth for the Musical Heritage Society, Inc. on ARC Music 5166949, track #6)

59. Track 59  (1:33)    Heartbeat rhythm performed by thirteen singers from the Southern Plains
"Round Dance" is a song that gives everyone, even visitors, a chance to participate. The group's enthusiasm generates spirited shouts and enjoyment. This was recorded in 1975 at the sixth annual Kihekah Steh Powwow, Skiatook, in Oklahoma (from ARC Music 5166949, track #4)

60. Track 60   (0:39)    Regular beat

61. Track 61  (0:38)    Honor beat/parade beat

62. Track 62  (0:34)    Two beat/round dance

63. Track 63  (0:39)    Combination rolling beat and fast regular beat

64. Track 64  (0:19)   Lakota drum - lead drummer's signal

Naqqara

65. Track 65  (2:09)    Mehter, military music from Istanbul, Turkey
"Mehter" is military music that combines Turkish classical folk music. In the 1700's this music traveled north as far as Vienna and influenced European composers like Mozart and Beethoven. This is in the slow eight count chiftetelli rhythm (from a CD titled Songs and Dances of Turkey on Smithsonian Folkways FW008801, track #19)

66. Track 66  (1:03)    Karsilama, dance music from Izmir, Turkey
"Zeybek" is a nine count rhythm played by clarinet and davul and typical of the Agean region of Turkey. In this form, dancers imitate the eagle, spreading their arms in wide gestures (from Smithsonian Folkways FW08801, track #3)

67. Track 67  (0:39)    Ayub - naggara rhythm

68. Track 69  (0:33)    Ayub - davul rhythm

69. Track 69  (0:33)    Ayub - zils rhythm

70. Track 70  (0:33)    Ayub - kös rhythm

71. Track 71  (0:23)    Ayub - ensemble

72. Track 72  (0:34)    Karsilama - naggara rhythm

73. Track 73  (0:29)    Karsilama - davul rhythm

74. Track 74  (0:29)    Karsilama - zils rhythm

75. Track 75  (0:29)    Karsilama - kös rhythm

76. Track 76  (0:26)    Karsilama - ensemble

Ranât Êk

77. Track 77  (1:29)    Ranât Êk solo music from Thailand
"Phaya sok (The Sorrowful King)" played by Prof. Prayong Ramawong at Natasin Roi-et, High School for the Arts in Roi-et, Thailand (from field recordings by Dr. Terry Miller 1989, Kent State University, Kent, Ohio)

78. Track 78  (1:32)    Pi-Phat ensemble music from Thailand
"Sathukan (Greeting)" played by students (without the pi nai) of Natasin Roi-et (from field recordings by Dr. Terry Miller 1989)

79. Track 79  (0:45)    Sathukan rhythms - pi nai

80. Track 80  (0:41)    Sathukan rhythms - Ranât Êk

81. Track 81  (0:41)    Sathukan rhythms - khong wong yai

82. Track 82  (0:41)    Sathukan rhythms - ching

83. Track 83  (0:41)    Sathukan rhythms - taphon

84. Track 84  (0:41)    Sathukan rhythms - klong that

85. Track 85  (0:26)    Sathukan rhythms - ensemble

Sajat

86. Track 86  (0:59)    Dance song from Thebes, Egypt
"Baheya" is sung by a male singer know locally for his impassioned high vocal style. The rhythm begins as wahed wa nusf and ends with saaidi mashi. The sajat are played by the dancer (from a CD titled Music of the Fellahin recorded by Aisha Ali in 1973 on Discs Araf DA 702, track #3)

87. Track 87  (1:04)    Ghawazee dance song from the Nile, Egypt
"Banat Mazin Song" is performed by the Maazin sisters who also play sajat. It begins with saaidi mashi and ends with wahed wa nusf rhythms (from Discs Araf DA 702, track #4)

88. Track 88  (1:04)    Ghawazee dance piece form the Nile, Egypt
"Ghawazee Dance" is played by the Ra'is Qinnawi mizmar band. This is a medley of songs in different tempos but all in the rhythm wahed wa nusf. The sajat are played by the Banat Maazin (from Discs Araf DA 702, track #8)

89. Track 89  (0:35)    Wahed wa nusf

90. Track 90  (0:35)    Maqsoum

91. Track 91  (0:40)    Masmoudi #1

92. Track 92  (0:36)    Zaffah

93. Track 93  (0:32)    Saaidi

94. Track 94  (0:31)    Fallah

95. Track 95  (0:33)    Curcurna

96. Track 96  (2:14)    Kas rhythms - player #1
Kas rhythms - player #2
Kas rhythms - player #3 (playing classroom/student cymbals)
Kas rhythms - player #4 (playing pie tins) 

97. Track 97  (0:25)    Kas - ensemble

Teacher and student input guides the ongoing development of IHOBF resources. Please email any feedback related to IHOBF resource materials to to ihobfnational@livenation.com. 

IDEAS FROM THE FIELD:

IHOBF welcomes suggesions for learning activities from classroom teachers. Please click here if you would like to submit a learning activity related to Cultural Journeys program content. 

Please click on an activity below to view or download the activity in PDF format. 

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The far left image at the top of the page was taken by Michael P. Smith and provided courtesy of the Historic New Orleans Collection, and it may not be reproduced without the permission of the Historic New Orleans Collection. All remaining images at the top of the page were drawn from the Wikimedia Commons website.