concert at Skyline College near San Francisco. The visual

design of the performance was shaped through costumes,

sets and lighting design. Most of McFerrin’s vocals were a

spontaneous response to the dancers. Some sections of the

dancing were set with specific guidelines for the

improvisational work. One of the highlights of the television

production, which is featured in this unit, is an improvised duet

with Beal and McFerrin where neither knew what the other

would do.

Creative Process of the Artist or Culture:Improvisational work is very challenging; it requires a great

deal of trust, alertness, and the ability of each

person to respond fully to the other in the present moment.

Improvisation is about playing in a serious way. Someone

sets out an idea and others who know the rules and bound-

aries of the improvisational process can engage in the play,

bouncing ideas back and forth. Within the established

context, the ‘players’ in improvisational work do not

necessarily repeat moves; rather, they respond over and over

again in new ways to similar challenges. It is much like

professional sports where the players, working within certain

rules and conventions, overcome

barriers in order to achieve a

goal. However, while a creative

response is called for in both, in

dance all the ‘players’ win. Both

Tandy Beal and Bobby McFerrin

bring a willingness to create

together along with years of

experience, skill and sensitivity.

“Some of the best momentsof artistry have to do with playing.” Tandy Beal

Background Information:Dancer/Choreographer Tandy Beal and Musician/

Composer Bobby McFerrin met in 1975 when he was

playing the piano for dance classes at the University of Utah,

where she taught. Delighting each other with their

improvisational skill, they began to imagine possibilities for

a joint project. In 1981 both artists were on tour in Europe

performing in many of the same places, but never at the

same time. Finally, in London a plan was set in motion for

a collaboration. Back home they experimented with

different ways of working together. Sometimes Tandy

would respond to Bobby’s vocal music and sounds and at

other times he would accompany her dance ideas. The

collaboration resulted in a national tour and a

television special, Voice/Dance, produced in 1987 by KQED,

San Francisco’s PBS affiliate. The performance was

improvisational in style. Some sections were quite structured

while others afforded extensive opportunities for improvisa-

tion by Bobby, Tandy and the dancers. Tandy and Bobby

continue to work together. She directed choreography for

the 1990/1991 tour and television appearances of Voicestra,

McFerrin’s vocal ensemble, and choreographed the video for

The Garden from Bobby’s Medicine Music. Their most recent

collaboration is an opera that will be performed in Moscow,

Abu Dhabi, Basel, andin New York for the Nikolais

Cnetennial.

About the Artwork:Voice/Dance was taped during a special performance of the

Title of Work: Voice/Dance Improvisation

Creators:Dancer and Choreographer: Tandy Beal b. 1948Vocal Musician: Bobby McFerrin b. 1950

California

New YorkPhoto: Marty Sohl

DANCE

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PROCESSES

1. CREATING (Cr)

2. PERFORMING, PRESENTING, PRODUCING (Pr)

3. RESPONDING (Re)

4. CONNECTING (Cn)

rtsource ®

The Music Center’s Study Guide to the Performing Arts

A TRADITIONAL

CLASSICAL

CONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

*

*

* Indicates sample lessons

*

2

• The Best of Bobby McFerrin. Blue Note Records, 1996.

Sample Experiences:LEVEL I• Use a selection of simple instruments to represent five

to seven different sounds; e.g. cymbal, drum, triangle,

shaker, sand blocks, recorder. Play each separately and

have students respond in movement to its quality.

• Select a group of five to seven sound ideas which

might include sighing, humming, roaring, sneezing,

shushing, sinking, rising, falling, popping, etc. Do an

improvisation based on these sounds using both sound

and movement together.

• Experiment with different phonetic sounds, using

the letters of the alphabet. Vary the rhythm, tempo,

dynamics and duration of each letter sound, playing

with different possibilities. Make each idea into a sound

pattern which can be repeated. Improvise different

movements which go with these patterns. String several

patterns together. Record it.

LEVEL II• Have a conversation with a partner using a variety of

sounds instead of words. Repeat the conversation idea,

using both movement and sound ideas simultaneously.

• Use the Artsource® audio recording, Sound Phrases, to

motivate movement improvisations. Have students

listen to the quality, rhythm and duration, responding

in movement after the musical idea is heard.

• Play a recording of one of Bobby McFerrin’s voice

improvisations, e.g. Spontaneous Inventions. In small

groups, work with it to create a dance movement idea,

using the concept of entrances, frozen poses and exits.

LEVEL III• Select an environmental theme, such as jungle, sea,

magical forest, cave, outer space, etc. and create a sound

score using a combination of vocal and instrumental

sounds. Create a clear beginning, middle and ending

and then record the idea. Improvise or choreograph a

dance to this sound environment.

• Working in groups of three or four, take turns having

one person create rhythmic vocal sounds to which the

others improvise.

• Create a Voice/Dance duet in which one of the

partners responds in sound and the other responds in

movement. Reverse roles to experience both parts.

Discussion Questions:After the video has been viewed:• What were Tandy Beal and Bobby McFerrin doing

together in this improvisation?

• How was the Voice/Dance Improvisation a form of

playing and what made it different from playing?

• Can you show any of the movements you

remember from the video?

• How did the sounds affect the types of dance

movements which Tandy chose? How did her dance

movements affect Bobby’s sound choices?

• Discuss how the length of the sound or motion,

the rhythm, dynamics and energy affected the piece.

• Name all the ways you can communicate without

speaking in words. Demonstrate each way.

• Can you communicate to someone right now

using only vocal sounds, body percussion and

movement? Experiment and then share ideas.

Multidisciplinary Options:

• Selectively record sounds - children jumping rope,

video games, a sports event, people working with

machines, etc. Use this recording to motivate a

writing assignment that uses the sounds to trigger

emotions and thoughts which develop into a story.

• Discuss other situations when people improvise to

solve problems or create something (scientists,

design teams, sports players, etc.). In teams, brainstorm

deas to create an ad promoting something worthwhile.

Audio-Visual Materials:• Artsource® video excerpt: Voice/Dance, courtesy of

Tandy Beal, Bobby McFerrin, KQED, San Francisco

and the American Federation of Television and

Radio Artists (AFTRA).

• Photos: courtesy of Tandy Beal.

• Artsource® audio recording of a variety of short

Sound Phrases composed by Paul Tracey.

Additional References:• Spontaneous Inventions: Bobby McFerrin. Compact

Disk, Blue Note Classics (Columbia Records, Inc.) 1989.

• Spolin, Viola. Improvisation for the Theater.

Northwestern University Press, Evanston, IL: 1999.

• Teaching Beginning Dance Improvisation.

Ririe-Woodbury Dance Company.

www.ririewoodbury.com/education/resources.

3

SOUND AND MOVEMENT CODES

LEVEL I Sample Lesson

INTRODUCTION:

In many cultures music and dance are perceived as two parts of a whole. Some people find it difficult tothink of dance without musical accompaniment. Music and sound are often the inspiration for the creation of a dance.

This lesson will focus on the distinctively different tonalqualities (timbres) in musical instruments. These differenceswill be perceived by listening and then by expressing the differences through movement. Both music and dance sharethe element of quality. This element provides possibilities forcreating and experiencing different feelings, textures and energies.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Experience the element of quality (timbre) in both musicalsound and in dance movement. (Responding)

• Create movement responses to a variety of sound qualities.(Creating)

• Describe, discuss, analyze and connect information andexperiences based on this lesson. Refer to Assessment at theend of this lesson. (Responding & Connecting)

MATERIALS:

• Artsource® video excerpt of Voice/Dance with Tandy Beal and Bobby McFerrin.

• A small variety of instruments which might include: a drum, shaker, triangle, cymbal, wood block, fluteor recorder, autoharp and any type of stringed instrument.

PROGRESSION:

• Have the students close their eyes and listen to sounds in the environment. After about a minute, askthem to describe what they heard. List the sounds on the board and discuss what makes each of them different.

TRANSFORMATION

DANCE

Bobby McFerrin & Tandy BealPhoto: Marty Sohl

• All sounds, whether made on musical instruments, or by objects in the environment, have several thingsin common. They last for a certain length of time (duration), have degrees of loudness and softness(dynamics), have a pitch (high or low) and have an energy quality (sharp, smooth, vibrating, combination).In this lesson, rhythm will be dealt with only incidentally.

• Play each instrument and ask the students to show its energy quality in movement. If seated, they canuse their hands, arms, shoulders, head or torso. If there is more room, have them use a full range of movement. After each sound is played, ask them for words to describe the movement which they feel corresponds, e.g. cymbal - sustained, woodblock - sharp, shakers - shaking, etc.

• Encourage them to improvise each idea.

• Play each different instrument several times, encouraging the students to investigate different movements they can find within each energy quality. With the cymbal, for example, each time the soundis heard, they must find a different sustained movement. Encourage them to explore and use directionand level changes, try doing the movement with different parts of the body, doing one in a set spot and traveling through space as they try it again. Use the elements of dance and movement to discover variationswithin the energy theme.

• Ask the class to design a ‘Sound and Movement Secret Code’ which pre-determines what kind of movement will be done when they hear each sound. Explain that a code is a secret way to send messages.In this case, the sound will substitute for words which tell the dancers what to do. The following is an example:

SECRET SOUND AND MOVEMENT CODE

Drum sharp changes of body position (shape)Shaker shaking movements which travel from one place to anotherAutoharp circular movementsCymbal large, slow opening and closing gestures and motionWoodblock freeze

• First the teacher plays these sounds in random order, leaving space between sound cues. After the students understand the concept, select different students to play the instruments. Play the musicalsounds in a variety of sequences and with different durations, causing the dancers to respond quickly andspontaneously to each.

• Let different students try both the movement and sound roles. You can vary the idea by making up newsound code combinations using different colors as prompts.

EXTENSION:

• Divide the students into smaller groups and have them devise a different type of code which will elicitmovement responses. They may decide on a color code, animal code, number or letter code. Ask themto decide on a category, then select about five specific ideas. Assign each code (word, sound or gesture) anaction word to be done when the code cue is given. e.g. Bear - walking slowly and heavily; Bird - floating, flyingmovement; Kangaroo - jumping; Elephant - swinging; Zebra - galloping; Tiger - freeze! Have one student in the group randomly give the code cues. After the group completes their improvisation, the classcan try to ‘crack the code.’ 4

5

VOCABULARY: energy quality, timbre, duration, pitch, tempo, (see Music Glossary) code, improvisation,action words, gesture

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Direct students to find words that describe each of the sounds they worked with.

DISCUSS: Discuss the experience of interpreting different timbres and durations of sound throughmovement. Discuss what the students enjoyed and what would they change or vary about the experi-ence.

ANALYZE: Select two different sounds and analyze the difference between them in terms of timbre,duration and pitch.

CONNECT: Discuss the scientific information related to sound and do research to learn more aboutsound and how we hear.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking

6

TRANSFORMATION

LEVEL II Sample Lesson

INTRODUCTION:

Sounds, whether vocal, mechanical or instrumental, provide a multitude of possibilities for stimulatingmovement and dance ideas. Sound and movement have many things in common. A person can begin witha movement phrase which can be interpreted in sound, or vice versa.

Such things as duration (length of time), dynamics (soft/loud or small/large), rhythm (patterns), tempo(fast and slow), quality (percussive, sustained, vibratory, swinging) and pitch (high and low) can be easilyexpressed in both art forms.

These common elements provide us with opportunities to transfer what we hear into movement anddance. They can be contrasting or complementary. They can also be used in a conversational form. Thislesson will give you ideas for experimenting with sound and movement in a variety of different ways.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Increase their ability to distinguish between a variety of sound phrases. (Responding)

• Interpret sound phrases through movement. (Creating & Performing)

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

MATERIALS:

• Artsource® video excerpt of Tandy Beal and Bobby McFerrin from Voice/Dance.

• Artsource® audio recording of Sound Phrases.

PROGRESSION:

• Talk about the word “expression” and what the students think it means. Do they think that people communicate only with words? Are there other ways in which people express themselves (gestures, facialexpressions, sounds such as sighs, grunts, screams)? Are paintings, dances, music, plays and movies formsof communication? Why?

• List on the board all the different ways students can think of in which people express themselves.

• Explain that they will be listening to short musical ideas which they will then express through movement. The process involves the following: listening, recording the sound in one’s mind, playing back(remembering) and transforming the sound idea into movement.

SOUND AND MOVEMENT PHRASES

DANCE

7

• Play the Sound Phrases audio recording and ask the students to listen to each phrase, and in the silencewhich follows, translate that musical phrase into movement. They should try to capture the rhythm, qualityand length of time, ‘freezing’ at the ending of each movement phrase while they listen to the next.

• As they get more confident in listening and responding, ask them to add level changes and use differentparts of their body other than feet and arms.

• After the whole group has tried several of the different phrases, divide them in half. One group shouldimprovise to the sound phrases while the other group observes. Ask the observers to comment on whatthey saw. Switch groups.

EXTENSIONS:

• Using a variety of sound sources, which can include voice, hands, small musical instruments or environmental sounds (ripping paper, pencil sharpening, dropping coins, a baby crying, people shouting,a child laughing, etc.) have different students create simple sound phrases for the class to interpret.Emphasize that phrases are like thoughts and can be of different lengths and convey different feelings.

• Using a tape recorder and audio cassette, record some of the sound phrases created by members of theclass. This can be done in small groups or by interested individuals. Use these sound phrases for othergroups to respond to in movement improvisation.

VOCABULARY: duration, dynamics, rhythm, tempo, pitch (see Music Glossary), phrase, quality, improvisation

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Describe the process of listening to the sound phrase and then moving to it from thememory of what was heard. What made this possible?

DISCUSS: Discuss the types of sounds that were used and how they were combined to make phrases.

ANALYZE: Discuss the similarities and differences between the way Tandy Beal and Bobby McFerrinworked and the way the students worked with sounds and movement.

CONNECT: Discuss other situations or jobs where people must improvise and work together as a collaborative team. What skills are required to improvise well in any situation?

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking

LEVEL III Sample Lesson

INTRODUCTION:

Throughout history, human beings have been in awe of nature, inspired by its beauty and mystery. Eachnatural environment contains certain unique characteristics which come to mind when we think of them.Even though we bring our personal experience and cultural influence to our point of view, we all conjureup certain universal images and sounds when we think of a jungle, a stormy sea, a magical forest or outerspace. It is this universality, combined with our individual experience, which allows us to respond to art forms.

Creating a sound environment, using a combination of musical and non-musical sounds, is a wonderfulchallenge for an individual or group project. It provides an opportunity for students to create a soundscore which can be used as the motivation for choreographing a dance. Students will become more awareof the relationship between music and dance and how these two artforms can combine to make an artisticstatement about nature.

It is important to know that this sample experience will involve a series of lessons and workshops. Thestudents will be more successful if they have some background in music as well as dance.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Create a sound score, based on natural or imaginary environments, to accompany an original dance. (Creating)

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

MATERIALS:

• Recording devices (preferably one per group).

• A variety of musical instruments which are easy to play. Students who play an instrument, such as aflute or violin, may also incorporate these with the other instruments. Vocal sounds, and sounds createdfrom non-musical sources, should also be encouraged.

PROGRESSION:

• Introduce the concept of natural or imaginary environments. Have the students brainstorm, suggestingtypes of environments they have experienced, read about in books, seen in films or imagined. Then askthem to select a few and create a ‘word web’ on each. This involves coming up with all of the words thatdescribe the characteristics of each environment. They can then add creatures which might be found there.Encourage them next to think of qualities (such as soft, rugged, relaxing, pressing, erratic, easy-going,threatening, etc.) which represent their impressions of the environment.

8

THE POWER OF NATUREENVIRONMENTAL THEMES

DANCE

9

• Examples of environment might include: jungle, calm or stormy sea, magical forest, cave, outer space,country, city, underground, etc.

• Divide the class into groups of about six people. Let each group work with the environment of theirchoice. Have them either copy the ‘word web’ created by the class or create their own. They are to selectthe words which best describe the environment from their collective perspective. These words will helpthem decide upon the sequence and qualities they wish to produce in their sound score. Let them selectthe instruments which best support their ideas, encouraging them to use vocal and other sound sources.An example of this would be for them to create the sounds of wind with a chorus of vocal sounds andwhispered breathing.

• Encourage them to consider dynamics, rhythm patterns, qualities of sounds, pitch, texture, melody andtempo. If available, play examples of environmental New Age music (such as Andreas Vollenweider’sWhite Winds, or ...Behind the Gardens - Behind the Wall... Under the Tree...) to give them ideas, or classicalmusic (such as Gustav Holst’s The Planets).

Task #1- Composition

• Compose an original musical/sound score of one minute. It must have a beginning, middle and endwithin that length of time. Brainstorm, then experiment and plan cooperatively. Put the idea on paperin some symbolic form which your group can understand and follow. Each group should appoint a director. Gather the instruments and sounds you need. Practice, refine, then record.

Task #2 - Choreograph a dance to go with the musical composition

• When the recordings have been completed, each group is to create a dance which interprets the musical composition they have created. The dance will also be one minute in length. Strive to capturethe quality, mood and rhythm of the music in the movement which is selected. Work cooperatively tobuild designs and movements which suggest the specific landscape motivating the music.

• When both tasks are completed, each group will perform their work for the class. After each presentation,positive feedback and constructive critique should be given by the observers. Sometimes it works well tohave the group perform one after the other in a pre-arranged order with no stopping or clapping in-between. Discussion for all groups then follows.

EXTENSIONS:

• Have each group take the critique given them by the class in order to rework and refine their dance, asthey would with an essay or poem they have written. The process of development and editing is veryimportant in all artforms, as well as in academic subjects. The groups should then present their works again.

• Perform these pieces for another class or for parents.

10

VOCABULARY: environment, composition, choreography, quality, texture, melody, pitch, duration, tempo, score

ASSESSMENT: (Responding & Connecting)

DESCRIBE: Describe the process your group went through to create both your musical/sound score andthe dance.

DISCUSS: Discuss how your group overcame challenges and difficulties in working creatively and cooperatively.

ANALYZE: Review the criteria for each task and analyze how well you met each of the criteria. Usingthe information on creating a rubric for assessment in the addendum, design a rubric and score yourgroup on how well they accomplished each part of the two tasks.

CONNECT: Discuss how you can apply what you learned in this creative process to other collaborativeprojects you have done, or will do.

Emphasis on: Common Core - CA State Standards for Language - Reading; Writing; Listening;Speaking