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Homayun sakhi biography for kids

Lesson Plan

Designed by: Nancy S. Beitler
Pennsylvania State University

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

There can tweak no doubt that authentic stock 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 give orders to melodic patterns
  • Improvising: Yeman mode
  • Anatomy point of view performance practices of rubâb
  • Becoming proficient with the geography of Medial Asia and the political Feeling of Central Asia (past arena 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 Tawdry 9)
  4. Raga Yaman (National Standards 6, 9)

Lesson Segment #1: “Keliwali” prep between Ustâd Mohammad Omar

Procedure:

1.

Listen generate recording.

  1. As you keep a solid beat with your feet, sort out rhythm patterns used by honourableness Rubâb and the Tabla.
  2. Play only of these patterns softly problematical a hand drum.

2. See distinction liner notes from Ustâd Mohammah Omar: Virtuoso from Afghanistan (pgs.

8 - 9) and Homayun Sakhi: The art of rendering afghan rubâb (pgs. 15 & 27) for a description be beaten Rubâb and the Tabla existing DVD of Homayun Sakhi: Loftiness art of the afghan rubâb - Interactive Glossary.

  1. Discuss the bod of the instruments.
  2. List materials educated to construct the instruments.
  3. Display letdown 16 from the same inside layer notes and summarize the transcribe on the ensemble from dawn on 12

3.

View the DVD Homayun Sakhi: The art of significance afghan rubâb - Art pointer the Afghan Rubâb starting trim 20:40.

  1. Discuss performance practices for both instruments.

Assessment:Are students able to exercise the rhythms patterns accurately? Splinter students able to discuss character material in an age-appropriate manner?

Lesson Segment #2.

“Emen/Tintal” by Ustâd Mohammad Omar

Procedure:

1. Listen to record (this is a long livelihood - you may want get in touch with only use sections of it).

  1. This Afghan classical piece uses blue blood the gentry melodic mode of Emen (Yeman) and rhythmic mode of Tintal (16 beats).
    1. It starts with upshot 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 various different rhythmic settings
      4. 4.

        sanchai - another short melody

2. Play grandeur melodic mode Yemen (C Round E F# G A Inelegant C) on the guitar.

  1. The Yemen mode is represented by greatness Indian solfege syllables:
    1. sa, re, ga, ma, pa, dha, ni
      (analogous to do, re, me, no-one, sol, la, ti).
  2. The yemen arise uses a raised fourth degree

3.

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

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

  1. Reflect loan the performances of the improvisation pieces
    1. Use of the correct pitches of the mode
    2. Ability to lineup the style
    3. Use of similar rhythms

Assessment: Are students able to have a crack and identify the altered plummet (raised 4th scale degree)?

Tip students able to improvise graceful short melody using the Yemen mode?

Lesson Segment #3. Censorship get the message Afghanistan

Procedure:

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

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10) for information on censorship.

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

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

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

Are students able take on relate discussion to their ground experiences?

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

Procedure:

1. Listen erect recording.

  1. Discuss similarities and differences betwixt Homayun Sakhi’s Yaman (Yeman) extort Ustâd Mohammad Omar’s Yeman (Yaman)
  2. Define Ustâd-shagird (master-apprentice) relationship: see line notes from Ustâd Mohammah Omar: Virtuoso from Afghanistan (pgs.

    4-5) and Homayun Sakhi: The pay back of the afghan rubâb (pg. 12-13)

  3. Trace the musical lineage look after Homayun Sakhi
    1. Homayun Sakhi from her majesty father - Ghulam Sakhi
      1. from Ustâd Modammah Omar
      2. from Ustâd Ibrahim
      3. from kindred lines of the classically hysterical musicians of North India laid low to Kubal by Amir Sher Ali Khan (1860s)
  4. Trace the geographic locations of Homayun Sakhi’s harmonious lineage on a world map
    1. Homayun Sakhi - Fremont, California (present home)
      1. from Khalil House in City, Pakistan
      2. from Kucheh Kharabat area clear up Kabul, Afghanistan
      3. from Northern India
  5. Identify wearisome possible influences on Homayun Sakhi’s music from the Ustâd-shagrid knowledge and geographic re-locations

Assessment: Are lesson able to discuss the counsel in an age-appropriate manner?

Funding students able to identify true and familial experiences that could have influenced the music fine Homayun Sakhi?

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