If possible sing the bhajan 'Tu Dayalu'. The focus of this lesson will be in discussing and graphically representing the organisation of the bhajan (or of another appropriate piece of music. Don't be discouraged if you have limited musical knowledge or experience. Find a recording which clearly demonstrates musical change in, say melody, expression, speed or some other musical characteristic.) To do this the class will negotiate and plan a 'road map' of the music, agreeing on significant markers or 'events' in its movement through time. The expectation is that students will be able to identify the sections of the music where, for example, the pitches create a musical 'profile.' An outcome here will be an awareness of the changes which take place in pitches as the music moves upwards against those which happen when it is descending. Thus 'mapping' the musical 'event' might make an issue of the 'upward' and downward movement of the melody line. The map should assist students understand how the music works and, later, to inform their own composition activities. For example if you work with the bhajan, then before they sing it again you might ask students to 'listen' to themselves as they sing, paying attention to the way in which the music is set out. Importantly listen for changes in the tune after the music has gone up, as it comes back downwards again. Sing through the song again.
	Roll butchers' paper out onto the floor in an appropriate space, either within your classroom or elsewhere. Encourage students to describe the sections of the music. Negotiate and plan a 'road-map' of the bhajan. Use a 'line' to follow the movement of the melody. Ask how changes to the movement might be shown. (eg use a different colour on the line when the music goes down.) When the class believes the 'map' is finished satisfactorily perhaps it could be displayed on a classroom wall. Invite the class to describe what they see. Look for words like 'profile'. Indian people believe the melody of a tune, particularly a raga is like the profile of a person, and that each raga consequently has its own personality. Students are observing Tu Dayalu's profile, or its musical personality.
	Discuss the organisation of the music. Negotiate and plan a 'road map' for the event you are re-creating, highlighting significan t markers or 'events' in its passage, such as perceived musical 'highs' and 'lows' and other attributes. These might include which instruments play where, how many are playing at a particular time, who performs when, where the melody, rhythm, dynamics, or tempo change or what changes indicate that the music is about to end. Teachers may decide that it is appropriate at their level to work on this as a whole class. Others might wish their students to plan in smaller groups. Because this 'map' should be used as the basis for further rehearsal and performance it may be worth displaying in a prominent in the classroom. Later it might already suggest places where movement to music could be added. It may also be helpful when students begin working on their own original music. For example, listen to or sing a song, paying attention to ways in which the music has been organised. What special or distinguishing features does each have? (eg Call and Response or Repetition) Roll butchers' paper out onto the floor in the centre of the room. 'Let's take a look at...' The class negotiates and plans road-maps of the songs, highlighting significant markers or 'events' in their passage. This might include who performs when and where etc. Use this as the basis for fu rther rehearsal and performance. What geometric shape might best fit?

Last revised: June 26, 2002