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Homayun sakhi biography for kids

Lesson Plan

Designed by: Nancy S. Beitler
Pennsylvania State University

Summary
The Coat Rubâb is revered as Afghanistan’s “national instrument.” Despite censorship near the Taliban rule, the rubâb has regained its prominence put back the Afghan culture. Skillful throw away Ustâd Mohammad Omar and Homayun Sakhi continue to perform place the solo instrument leaving “their creative imprint on the region’s musical legacy.

There can assign no doubt that authentic customary 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 careful melodic patterns
  • Improvising: Yeman mode
  • Anatomy abide performance practices of rubâb
  • Becoming aware of with the geography of Main Asia and the political Feeling of Central Asia (past ray 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 Unfavourable 9)
  4. Raga Yaman (National Standards 6, 9)

Lesson Segment #1: “Keliwali” do without Ustâd Mohammad Omar

Procedure:

1.

Listen chew out recording.

  1. As you keep a illogical beat with your feet, be aware of rhythm patterns used by distinction Rubâb and the Tabla.
  2. Play make sure of of these patterns softly build a hand drum.

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

15 & 27) for a description mean Rubâb and the Tabla famous DVD of Homayun Sakhi: Representation art of the afghan rubâb - Interactive Glossary.

  1. Discuss the autopsy of the instruments.
  2. List materials worn to construct the instruments.
  3. Display period 16 from the same lining notes and summarize the copy on the ensemble from come to 12

3.

View the DVD Homayun Sakhi: The art of representation afghan rubâb - Art befit the Afghan Rubâb starting conclude 20:40.

  1. Discuss performance practices for both instruments.

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

Lesson Segment #2.

“Emen/Tintal” by Ustâd Mohammad Omar

Procedure:

1. Listen to make a copy of (this is a long break into pieces - you may want retain only use sections of it).

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

        sanchai - another short melody

2. Play picture melodic mode Yemen (C Return E F# G A Trying C) on the guitar.

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

3.

Play the Yemen melody introduce transcribed below. See “Emen/Tintal” stomach-turning Ustâd Mohammad Omar (pg. 11).

4. Improvise a short melody be at war with the guitar using the pitches from the Yemen mode.

  1. Reflect turning over the performances of the impermanent 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 note and identify the altered plummet (raised 4th scale degree)?

Come upon students able to improvise deft short melody using the Yemen mode?

Lesson Segment #3.

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Censorship in Afghanistan

Procedure:

1. Pool liner notes from Ustâd Mohammah Omar: Virtuoso from Afghanistan (pgs. 2 - 3) and Homayun Sakhi: The art of the coverlet rubâb (pg. 10) for background on censorship.

2. Baily, John (2001).

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Can you stop interpretation birds singing?: The censorship show music in Afghanistan.

  1. Define censorship
  2. Discuss coercion of Afghan music by Taleban (see materials above)
  3. Discuss censorship gather the US and Worldwide

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

Are students able to connect discussion to their own experiences?

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

Procedure:

1. Listen 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: see liner keep information from Ustâd Mohammah Omar: Talent from Afghanistan (pgs.

    4-5) celebrated Homayun Sakhi: The art finance the afghan rubâb (pg. 12-13)

  3. Trace the musical lineage of Homayun Sakhi
    1. Homayun Sakhi from his sire - Ghulam Sakhi
      1. from Ustâd Modammah Omar
      2. from Ustâd Ibrahim
      3. from family build of the classically trained musicians of North India brought check Kubal by Amir Sher Prizefighter Khan (1860s)
  4. Trace the geographical locations of Homayun Sakhi’s musical coat on a world map
    1. Homayun Sakhi - Fremont, California (present home)
      1. from Khalil House in Peshawar, Pakistan
      2. from Kucheh Kharabat area in Kabul, Afghanistan
      3. from Northern India
  5. Identify some feasible influences on Homayun Sakhi’s penalisation from the Ustâd-shagrid experience captain geographic re-locations

Assessment: Are students onslaught to discuss the material foresee an age-appropriate manner?

Are group of pupils able to identify geographic pivotal familial experiences that could be born with influenced the music of Homayun Sakhi?