NewYorkMissouriCalifornia“My goal was to become as fine an artist as my capabilities would permit,and to perform the great rolesof the baritone repertoire...and to concertize.”

Robert McFerrin, Sr.

importance was her ability to coach, teach and accompany

Robert. Their children, Brenda and Bobby were naturally

very involved in music. Just a year and a half apart in

age, they were literally making music together and

individually when mere toddlers. Bobby’s life was in

jeopardy during his mother’s pregnancy when she

contracted a rare form of polio and had to be placed in

an iron lung. It is believed that her concern for the life

of her unborn child helped to sustain her fight to

survive. Robert (Sr.) was Artist-in-Residence at the

University of Missouri, St. Louis, Sara was professor

emeritas of Voice and Chair of the Music Department

at Fullerton Community College in California, Brenda

pursues a successful singing career in Hollywood and

Bobby enjoys international fame in a musical career

which is as varied as he is talented, creative and

versatile.

About the Artwork:The works represent a variety of styles which showcase

the many-sided talents of the McFerrins. In the video,

McFerrin to the Power of Three, Bobby and Brenda

provide a rousing scat-singing

introduction. For the first section,

Bobby, in his inimitable fashion,

improvises with exceptional voicings.

Secondly, his father, Robert, adroitly

interprets a selection from the

Schumann Dichter Liebe Cycle.

(Continued p. 2.)

Title of Works:McFerrin to the Power of Three (video)

Scat-Singing (excerpt)Vocal Improvisation (excerpt)Ich Grölle Nicht - Dichter Liebe Cycle (Schumann)Ave Maria (Bach-Gounod)My God Is So High (Spiritual)I Got Plenty o’ Nuttin’ (excerpt - Gershwin)Keep-a-Inchin’ Along (Spiritual)

Creators:Robert McFerrin, Sr., opera and concert artist, vocal coach,

university lecturer and artist-in- residence (1921-2006)Bobby McFerrin, recording and concert artist, composer,

conductor (b. 1950)Brenda McFerrin, vocal recording artist, vocal coach, music

teacher, (b. 1951)

Background Information:The McFerrins are a family of singers. Although musical

families are not unique, the McFerrins are special.

Frequently, singing families function as ensembles and

feature a particular style. The McFerrins, however, have

pursued successful careers individually. Robert Sr. broke

racial barriers by becoming the first African American to

win the Metropolitan Opera “Auditions of the Air” in

1953. He made his debut on the Met stage in 1955 as

Amonasro in Verdi’s Aida. In later years his contributions

to opera continued in Europe where he became the first

African American baritone to perform in two of

Europe’s leading opera houses. Sara, a trained musician

in her own right, met Robert when she was a paid

soloist at St. Mark’s Methodist Church in New York

City. Married in 1949, Sara’s university training,

professional experience, and deep interest in and

commitment to her husband’s career served to provide

support, encouragement and inspiration. Of equal

MUSIC

TRANSFORMATIONTHE POWER OF NATURE

FREEDOM &OPPRESSION

ENDURING VALUES

THE HUMANFAMILY

ARTISTIC PERCEPTION (AP)

CREATIVE EXPRESSION (CE)

HISTORICAL & CULTURAL CONTEXT (H/C)

AESTHETIC VALUING (AV)

CONNECT, RELATE & APPLY (CRA)

rtsource ®The Music Center’s Study Guide

to the Performing Arts

A TRADITIONALCLASSICALCONTEMPORARY

EXPERIMENTAL

MULTI-MEDIA

2

Discussion Questions:After viewing the video:

• In comparing the following selections,

what were the stylistic differences?

a) scat-singing and I Got Plenty o’ Nuttin’

b) Ich Grölle Nicht and the solo

improvisation

c) Ave Maria and My God Is So High

d) My God Is So High and Keep-a-

Inchin’ Along.

Describe any similarities you may have

found in the above pairings?

• In Bobby McFerrin’s solo improvisation

he produces a variety of sounds. Can

you describe some of the sounds you

heard? Can you make some of the same

sounds? Can you improvise unique sounds of your own?

• Can you describe the differences in the musical periods

represented by three compositions by Schubert, Gershwin

and McFerrin?

Audio-Visual Materials:• Artsource® videotape excerpt: McFerrin to the Power of

Three. Footage courtesy of Instructional Technology

Center, University of Missouri, St. Louis, and the

McFerrin family. Ain’t Got Plenty O’Nuthin’ courtesy of

the Gershwin Estate and Warner Chappell Music Inc.

Additional References:• Bobby McFerrin: Medicine Music, Capitol Records,

Inc., EMI-CDP 792048-2

• Thomas, Dr. Naymon Elijah. Robert McFerrin: The

First Black Man to Sing at the Metropolitan Opera. A

Doctoral Dissertation. The University of Oklahoma,

Graduate College, School of Music, 1988.

• Robins, Cynthia. Note Perfect Bobby McFerrin. Vis a

Vis Magazine, East/West Network, Inc., Los Angeles,

1990, (page 88).

Catalf, Phil. Medicine Man, New Age Journal. Brighton,

About the Artwork: (continued)In the third selection Bobby provides an unprecedented

vocal accompaniment for his father’s impressive

performance of Gounod’s Ave Maria. In it Bobby

recreates the accompaniment which is usually

performed instrumentally. Next, performing a spiritual

in concert style, Robert further demonstrates his

artistry and stylistic sensitivity as he solos on My

God Is So High. The spiritual is followed by an

excerpt of a selection from Porgy and Bess, the solo

I Got Plenty o’ Nuttin’, effectively sung by Robert Sr.

Finally, Brenda, Bobby and Robert merrily collaborate

on an unaccompanied, ‘down-home’ rendition of a

folksy spiritual, Keep-a-Inchin’ Along.

Creative Process of the Artist or Culture:Each of the performances draws upon the artists’

knowledge, training, talent and experience.

Likewise, each selection demonstrates their

versatility in performance styles. In addition, there

is the special interaction of familial warmth and

camaraderie which naturally flows among them.

The performances are punctuated with humor, and

exhibit their obvious enjoyment of and respect for

each other. The sum total of these attributes provides a

rare collection of beautifully performed numbers.

Multidisciplinary Options:• Conduct research to discover the significant

historical events that occurred during the lives of

composers Robert Schumann (1810-1856),

George Gershwin (1898-1937) and Robert ‘Bobby’

McFerrin (b. 1950 ). Discuss how the periods during

which each composer lived (or lives) may have had

some impact on their works.

• Prepare Program Notes for the video, McFerrin to

the Power Of Three. Summarize information about

the composers, where appropriate, and briefly

describe each composition. Share the video and

Program Notes with another class.

*

*

* * Indicates sample lessons

began to imitate the sounds of instruments. Learn

about scat-singing. View the Artsource® video and

listen to the “Scat-Singing” in order to learn more

about its sound and style.

LEVEL III• Since Robert McFerrin’s historic debut with the

Metropolitan Opera in 1955, he has been succeeded

by numerous young African American singers who

have firmly established their careers in the world of

opera and on the concert stage. Starting with

McFerrin, create a timeline to indicate the

emergence of these stars and name some of their

famous opera roles.

• Choose a familiar song and create a scat interlude.

• In the late nineteenth century composers began to

write concert arrangements of African American

spirituals. Gradually, these arrangements began to be

heard in concert halls worldwide. Discover who

wrote many of these arrangements. Name some of

the artists of the past who popularized the practice of

singing these spirituals in concert. Name some of

today’s artists who continue the practice.

• Listen to each of the Artsource® selections and

enjoy the style and musicality of each one.

3

MA: Rising Star Associates, Ltd. Partnership,

March/April, 1991 (pp. 30-33, 94-96).

Sample Experiences:LEVEL I• Experiment with making sound patterns using your

voice and/or body percussion. Try making patterns that

others can echo.

• Bobby McFerrin and his Voicestra perform many

songs by imitating instrumental sounds and creating

unusual combinations of sounds. Sing a familiar song

and add several different kinds of appropriate sounds as

an accompaniment.

• The McFerrins demonstrate the importance of the

expressive qualities of music in their performances.

Listen to and sing several songs which clearly demonstrate

the significance of dynamics, tempo, rhythm and style.

(Refer to a music textbook to learn more about the

mentioned qualities/elements in bold.)

• Form small groups. Give each group a different short

poem, or a stanza of a longer poem. Create vocal sounds

to enhance the meaning of the poem.

LEVEL II• In Bobby McFerrin’s improvisation (video) he sings a

melody and accompanies himself vocally. Describe the

sounds made in the accompaniment. How are they

different from the melody? Surmise which instruments

he is imitating in his accompaniment.

• Bobby McFerrin based his improvisation on simple,

everyday topics. Listen to Bobby’s improvisational

sounds. Take a line of poetry and improvise off of the

words in a similar way to Bobby McFerrin. Make individual

choices in selecting topics for solo improvisations.

• Scat-singing grew out of the jazz style when singers

Bobby McFerrinPhoto: Carol Friedman

4

TRANSFORMATIONCLASSROOM VOICE-ORCHESTRA

LEVEL 1 Sample Lesson

INTRODUCTION:

Although Bobby McFerrin began formal music lessons (piano) at a very young age, he did not seriouslyconsider music as a profession until he entered college. His post-college jobs included arranging, accompanying on piano and performing as a background singer for various groups and events. His firstjob as a solo vocalist began in 1977. Although audiences responded positively to his creative vocal acrobatics, Bobby felt his body language was stilted. Encouraged and advised by his dancer-friend, TandyBeal, Bobby learned body movements which enhanced his vocal delivery. Now he has formed a groupcalled Voicestra. He states that he did not want to present performers who only sang songs. “I wantedeverything to be amplified by some visual aesthetic. So that not only do people have an aural experience,but they have a visual one too. Two of their senses are employed rather than just one.” * Bobby’s stagepresentations feature a broad range of vocal arrangements generously spiced with individual and groupimprovisations.

“I like to work hard and have fun... the rewards of work itself are enough.” Bobby McFerrin **

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Create original vocal sounds which enhance the expressive qualities of selected songs. (ArtisticPerception)

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

MATERIALS:

• Music textbooks, song collections for children.

• Artsource® video, McFerrin to the Power of Three.

PROGRESSION:

• Give some background on the McFerrin family and show one of the segments from theArtsource® video. Suggestions include: “Scat-Singing” or “Vocal Improvisation.”

• Ask students what they found interestingabout the piece and what they noticed aboutthe way sounds were made.

MUSIC

5

• Do an echo activity where you make a short pattern of sounds and the students repeat the pattern back.Patterns can be made with body percussion sounds of clapping, stomping, snapping or clicking. Patternscan also be made by using a combination of letter sounds.

Examples: Shh, Shh, Bata-Bata, Bim Echo: Shh, Shh, Bata-Bata, Bim

Mmm, Ba-Ba-Ba-loon Echo: Mmm, Ba-Ba-Ba-loon

Hickory, Dickory, Dock, clap-clap Echo: Hickory, Dickory, Dock, clap-clap

Chuba-Chuba-Be-Do-Da Echo: Chuba-Chuba-Be-Do-Da

• Once the students get good at repeating the sound patterns made by the teacher, encourage them to create their own patterns. Choose different students to be the leader, with the group echoing or repeating thepattern back.

• Select a song whose lyrics suggest the possible addition of sound effects and/or ostinatos (a repeated pattern). Explain to the children that they will add appropriate sounds with their voices or percussiverhythmic patterns only.

• Review the lyrics of the selected song to determine places where the vocal sounds would be most suitable. Decide on some sounds that might be performed as emphasis or as an ostinato. Reach consensus onhow many sounds will be most fitting. Remind the children that too many sounds may obscure the songitself. Try different ideas and combinations of ideas until the group agrees upon the most appropriate performance.

• It might be helpful to watch the video again after they have experimented with adding sounds and/orsound patterns (ostinatos) to the song. Encourage them to find new ideas and ways that they mightimprove the song they are singing.

SONG SUGGESTIONS:

• The Bus• Hickory, Dickory, Dock• Jack and Jill Went Up the Hill• Ebeneezer Sneezer• Old House• The Sound Song• Chatter with the Angels• Jubilee!• Temple Bell• What Is It?• I Hear a Sound• A Goblin Lives in Our House• Gonna Build Me a House• Halloween is Coming• The Little Leaves Dance

6

VOCABULARY: ostinato, pattern

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe how you selected the sound effects and patterns to go with the song.

DISCUSS: Discuss the types of sounds that worked best with the song.

ANALYZE: Discuss the way Bobby McFerrin used sounds and patterns in his songs. Discuss what youfound most interesting and why.

CONNECT: Discuss other things beside songs that can be decorated with patterns.

* New Age Journal, “Medicine Music.” April 1991, p. 33.** Vis a Vis Magazine, October 1990, p. 88.

7

THE HUMAN FAMILYSCAT SINGING

LEVEL II Sample Lesson

INTRODUCTION:

There are many ways that music can be produced and one used by Bobby and Brenda McFerrin in theArtsource® video is called scat-singing. Scat-singing, according to The New American Dictionary of Music,*is a technique of jazz singing in the manner of an instrument, using meaningless syllables. LouisArmstrong is often credited with creating the technique, although Ella Fitzgerald and Cab Calloway alsoare noted for their improvisational skills with scat. It is interesting to think that you don’t need instruments or lyrics to make music.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Recognize and know some background on scat-singing. (Historical and Cultural Context)

• Perceive the different characteristics of a normal voice and a falsetto voice. (Artistic Perception)

• Describe the changes in vocal styles as they scat.(Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer toAssessment at theend of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® video of McFerrin to the Power of Three - “Scat-Singing” excerpt.

PROGRESSION:

• Introduce the concept of scat-singing and give some background on Bobby and Brenda McFerrin.

• Before viewing the video excerpt, direct students to watch and listen for the following:

• the two vocal ranges possible for an adult male voice. (There is the regular, normal vocal rangeand the falsetto which is above the normal range.)

• the way Bobby and Brenda use nonsense syllables to produce the melody and create interestingrhythmic patterns.

• the way Bobby uses his body as a specific type of musical instrument.

MUSIC

* Morehead, Philip D. The New American Dictionary of Music. A Dutton Book,New York, NY. 1991.

• Play the video selection and then discuss responses.

• View the video and listen again for increased awareness. This time listen for the following:

• There is always a feeling of an underlying beat or pulse.

• Sometimes Bobby sounds like a string bass and sings a bass musical pattern.Sometimes he harmonizes with the melody sung by Brenda.Sometimes Bobby and Brenda sing in unison.Sometimes Bobby sings in his normal range and sometimes he sings falsetto.

• Discuss these ideas and what students observed and heard.

EXTENSIONS:

• Listen to and discuss the other vocal segments on the Artsource® video.

• Compare and contrast the scat-singing with the opera singing.

VOCABULARY: scat-singing, underlying beat, falsetto

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe scat-singing in your own words.

DISCUSS: Discuss what you noticed about the way Bobby and Brenda related during their singing.

ANALYZE: Discuss the differences between a singing a song in the normal way and using scat-singing.

CONNECT: Discuss the similarities between improvising in singing, playing an instrument and doinga dramatic scene.

8

9

THE HUMAN FAMILYAFRICAN AMERICANS IN THE WORLD OF OPERA

LEVEL III Sample Lesson

INTRODUCTION:

Robert McFerrin’s historic debut at the Metropolitan Opera was proof positive that the years of commitmentto his goal, and his personal sacrifices were well worth the effort. Primarily, we must realize that McFerrinhad a talent that was destined for success. Secondly, his years of training and experience prepared him substantially.

McFerrin made his initial operatic debut in Massachusetts with the Tanglewood Opera Theatre, in therole of Rigoletto. This opportunity was followed by a contract to perform with the New England OperaCompany. During this same period he performed roles with the National Negro Opera Company and theNew York City Center Opera Company. In addition, he appeared on Broadway in Kurt Weill’s Lost in theStars with his wife, Sara. Before joining the Metropolitan Opera roster McFerrin had performed in recitalsand with leading symphony orchestras throughout the United States and Canada.

In the period between McFerrin’s winning the Met auditions in 1953 and his debut in 1955, he receivedintensive training at the Kathryn Turney Long School. He studied fencing, ballet and calisthenics as wellas vocal coaching. He states, “I did not at all mind the long delay before my debut, because the trainingI received was worth the waiting. I do not think I could have made the quality debut expected at the Metif I had not been prepared in stage deportment at the Kathryn Turney Long School.” *

“There were many good singers in New York at the time... Bob’s voice had carrying power anda warmth that could not be matched by any of the black male singers who were on the concertcircuit... He was a superior singer and that is the reason he was chosen.” Sara McFerrin **

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Name African American opera singers who have succeeded Robert McFerrin in the world of opera.(Historical and Cultural Context)

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

MATERIALS:

• Artsource® video McFerrin to the Power of Three, excerpts featuring Robert McFerrin.

• Reference books and recordings on black, male opera singers.

MUSIC

* Thomas, Naymond E. Robert McFerrin: The First Black Man to Sing at the Metropolitan Opera Company. DMAdiss., University of Oklahoma, 1988.** Ibid. 10

PROGRESSION:

• Introduce the students to Robert McFerrin and give some of his background. View the sections of theArtsource® video and use the ‘Discussion Questions’ on page 2. Ask them why it was such a breakthroughfor Robert McFerrin to become an opera singer.

• Create a timeline to cover the period from 1940 to 1991 which will chronicle the appearance of AfricanAmerican artists in operatic roles, worldwide.

• Divide the class into groups. Assign each group a decade to research. Ask the students to name the artistsand some of their notable roles. Have them include the opera houses where they have performed, and thedates of their performances, if possible. (Some groups will list the same names when artists performanceshave extended into different decades.)

• As a concluding assignment, ask each student to select an opera in which one of the artists has performed. Have them summarize the opera and describe a significant aria performed by the selected artist.

• Where possible, provide recordings of these solos.

• Each group share their research and recordings with the class and discuss what they learned.

EXTENSION:

• Listen to live broadcasts or recorded opera presentations in which African American artists perform.Attend an opera, or view an opera on television or the internet. Study the libretto, or read a synopsis ofthe opera prior to listening to or viewing a performance.

VOCABULARY: aria, opera

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: how you went about doing your research.

DISCUSS: the problems you encountered in doing the research and how you went about finding theinformation when you were blocked.

ANALYZE: Discuss the differences and similarities you found in artists of different periods. Did thenumber of successful African American opera singers vary greatly. If so, why?

CONNECT: Discuss other professions in which African Americans made great strides and contributions.

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ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

Artsource® highlights works of art and artists of stature from diverse cultures.

It represents early to contemporary art forms in the disciplines of

dance, music and theatre

and complements the programs and performances

of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication.

Artists present their perceptions, reflections, and points of view which

influence, and are influenced by, the culture and period of time in which they exist.

I n t r o d u c t i o n

Project Director Melinda Williams

Project Coordinator Susan Cambigue-Tracey

Writers:Dance Susan Cambigue-Tracey

Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield,Barbara Leonard, Melinda Williams

Music Rosemarie Cook-GloverEd Barguiarena, Susan Cambigue-Tracey, Barbara Leonard,

Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke

Theatre Barbara LeonardKathryn Johnson

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sponsored by the Los Angeles Advertising Women (LAAW)

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The Music Center of Los Angeles County wishes to thank the artists featured in this publication for their outstanding artistry and

their generosity in allowing us to share their creative spirit in the classroom.

Sincere appreciation is also extended to the members of the Center’s Board of Directors and Education Council for their guidance in developing

these resource materials, Music Center volunteers for their help in organizing, proofing and editing

Artsource® units; the professionals who provided field review; and the dedicated teachers who tested the

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Artsource® Contributors