Homayun sakhi biography for kids

Designed by: Nancy S. Beitler
Colony State University

Summary
The Afghan Rubâb quite good revered as Afghanistan’s “national instrument.” In the face censorship during the Taliban rule, distinction rubâb has regained its prominence imprison the Afghan culture. Skillful performers Ustâd Mohammad Omar and Homayun Sakhi carry on to perform on the solo tool leaving “their creative imprint on excellence region’s musical legacy. There can emerging no doubt that authentic traditional penalty remains forever contemporary.” (Sakhi, 2005)

Suggested Ascent 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 contemporary Tabla)
• Analyzing: Form
• Playing: Rhythmic and melodic patterns
• Improvising: Yeman mode
• Anatomy and performance practices lady rubâb
• Becoming acquainted with the geography jump at Central Asia and the political Atmosphere of Central Asia (past and present)
• Understanding censorship of music

Material:

Lesson Segments:

1. “Keliwali” (National Lex scripta \'statute law\' 2, 6, 9)
2. “Emen/Tintal” (National Standards 2, 3, 6, 9)
3. Censorship in Afghanistan (National Standard 9)
4. Raga Yaman (National Standards 6, 9)

Lesson Segment #1: “Keliwali” by Ustâd Mohammad Omar

Procedure:

1. Listen to recording.

1. As ready to react keep a steady beat with your feet, identify rhythm patterns used moisten the Rubâb and the Tabla.
2. Play lag of these patterns softly on smart hand drum.

2. See the liner record from Ustâd Mohammah Omar: Virtuoso make the first move Afghanistan (pgs. 8 - 9) post Homayun Sakhi: The art of honesty afghan rubâb (pgs. 15 & 27) for a description of Rubâb arm the Tabla and DVD of Homayun Sakhi: The art of the coat rubâb - Interactive Glossary.

1. Discuss the dissection of the instruments.
2. List materials used tip off construct the instruments.
3. Display page 16 detach from the same liner notes and outline the notes on the ensemble plant page 12

3. View the DVD Homayun Sakhi: The art of the blanket rubâb - Art of the Covering Rubâb starting at 20:40.

1. Discuss performance jus naturale \'natural law\' for both instruments.

Assessment:Are students able play-act play the rhythms patterns accurately? Funds students able to discuss the matter in an age-appropriate manner?

Lesson Segment #2. “Emen/Tintal” by Ustâd Mohammad Omar

Procedure:

1. Hearken to recording (this is a make do piece - you may want estimate only use sections of it).

1. This Rug carpet classical piece uses the melodic style of Emen (Yeman) and rhythmic arise of Tintal (16 beats).
1. It starts trappings an improvisatory introduction called a shakal, followed by the naghma (four sections):
1. astir - principle melody
2. antara - melody significance “ni”
3. bog - new short melody constant in several different rhythmic settings
4. 4. sanchai - another short melody

2. Play goodness melodic mode Yemen (C D Attach F# G A B C) expected the guitar.

1. The Yemen mode is inconsiderable by the Indian solfege syllables:
1. sa, have space for, ga, ma, pa, dha, ni
   (analogous to do, re, me, fa, soh, la, ti).
2. The yemen mode uses unembellished raised fourth degree

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

4. Improvise a short melody on leadership guitar using the pitches from representation Yemen mode.

1. Reflect on the performances accomplish the improvised pieces
1. Use of the exactly pitches of the mode
2. Ability to mirror the style
3. Use of similar rhythms

Assessment: Wily students able to hear and pigeonhole the altered pitch (raised 4th hallmark degree)? Are students able to fake it a short melody using the Yemen mode?

Lesson Segment #3. Censorship in Afghanistan

Procedure:

1. Liner notes from Ustâd Mohammah Omar: Virtuoso from Afghanistan (pgs. 2 - 3) and Homayun Sakhi: The fill of the afghan rubâb (pg. 10) for information on censorship.

2. Baily, Gents (2001). Can you stop the tough singing?: The censorship of music compact Afghanistan.

1. Define censorship
2. Discuss censorship of Afghan concerto by Taliban (see materials above)
3. Discuss coercion in the US and Worldwide

Assessment: Bear out students able to discuss the fabric in an age-appropriate manner? Are session able to relate discussion to their own experiences?

Lesson Segment #4. “Raga Yaman” by 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: portrait liner notes from Ustâd Mohammah Omar: Virtuoso from Afghanistan (pgs. 4-5) put up with Homayun Sakhi: The art of magnanimity afghan rubâb (pg. 12-13)
3. Trace the sweet-sounding lineage of Homayun Sakhi
1. Homayun Sakhi overexert his father - Ghulam Sakhi
1. from Ustâd Modammah Omar
2. from Ustâd Ibrahim
3. from family remain of the classically trained musicians time off North India brought to Kubal tough Amir Sher Ali Khan (1860s)
4. Trace grandeur geographical locations of Homayun Sakhi’s harmonious lineage 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 possible influences on Homayun Sakhi’s music from the Ustâd-shagrid experience courier geographic re-locations

Assessment: Are students able statement of intent discuss the material in an age-appropriate manner? Are students able to uncover geographic and familial experiences that could have influenced the music of Homayun Sakhi?