The Arts Unit and Taikoz give insight into a fusion of Australian and Japanese cultures and rhythm, an exciting and dynamic artform that appeals to all ages.
'Become' was originally part of a larger work that was loosely composed for taiko, electric guitars, drum set, and electronic sounds. It was inspired by the thought of "becoming the other side of you". By challenging yourself, undertaking a difficult task, or putting yourself in extreme situations you can access or ‘become’ that other side.
View Attachment 1: 'Become' composer notes for more information.
To print out the following activities and attachments, please select the 'Print this page' button at the bottom of this page.
performs in a range of musical styles demonstrating an understanding of musical concepts
performs repertoire with increasing levels of complexity in a range of musical styles demonstrating an understanding of the musical concepts
performs music using different forms of notation and different types of technology across a broad range of musical styles
performs repertoire in a range of styles and genres demonstrating interpretation of musical notation and the application of different types of technology
demonstrates an understanding of musical concepts through exploring, experimenting, improvising, organising, arranging and composing
demonstrates an understanding of the musical concepts through improvising, arranging and composing in the styles or genres of music selected for study
demonstrates an understanding of musical concepts through listening, observing, responding, discriminating, analysing, discussing and recording musical ideas
demonstrates an understanding of musical concepts through the analysis, comparison, and critical discussion of music from different stylistic, social, cultural and historical contexts
demonstrates an understanding of musical concepts through aural identification and discussion of the features of a range of repertoire
demonstrates an understanding of musical concepts through aural identification, discrimination, memorisation and notation in the music selected for study
demonstrates musical literacy through the use of notation, terminology, and the reading and interpreting of scores used in the music selected for study
demonstrates an understanding of musical literacy through the appropriate application of notation, terminology, and the interpretation and analysis of scores used in the music selected for study
demonstrates a developing confidence and willingness to engage in performing, composing and listening experiences
demonstrates a developing confidence and willingness to engage in performing, composing and listening experiences
observes, reads, interprets and discusses simple musical scores characteristic of topics studied
recognises and identifies the concepts of music and discusses their use in a variety of musical styles
observes and discusses concepts of music in works representative of the topics studied
demonstrates a willingness to participate in performance, composition, musicology and aural activities
reads, interprets, discusses and analyses simple musical scores that are characteristic of the topics studied
demonstrates a willingness to participate in performance, composition, musicology and aural activities
demonstrates an understanding of the concepts of music, by interpreting, analysing, discussing, creating and notating a variety of musical symbols characteristically used in the mandatory and additional topics
composes, improvises and analyses melodies and accompaniments for familiar sound sources in solo and/or small ensembles
analyses and discusses compositional processes with stylistic, historical, cultural and musical considerations
observes and discusses in detail the concepts of music in works representative of the mandatory and additional topics
demonstrates a willingness to participate in performance, composition, musicology and aural activities
demonstrates an understanding of the relationships between combinations of the concepts of music, by interpreting, notating, analysing, discussing, composing and evaluating combinations of musical symbols reflecting those characteristically used in the mandatory and additional topics
demonstrates a developing confidence and willingness to engage in performing, composing and listening experiences
demonstrates a willingness to participate in performance, composition, musicology and aural activities
Students identify the relationship between the vocals and drum part and identify the type of drum being played.
Students move when they recognise rhythmic unison in vocals and drums; students follow the score and comment on the mimicry between voice and drum; students identify the type of taiko drum.
Watch the introduction of 'Become' (41:00-43:25)
Students research and experiment with French rhythm names applied to Taikoz rhythms and score.
Students understand the connection between French rhythm names and written Taikoz rhythms
Students can research and use French time names, which are commonly used in teaching music in European and Australian music schools. Here is an example of a short rhythm and accompanying French time names, as well as taiko kuchi shoga (Japanese vocal sounds), followed by an example of the same rhythm with an accompanying ‘rhythm poem’.
Students research and experiment with French rhythm names applied to Taikoz rhythms and score.
Students understand the connection between French rhythm names and written Taikoz rhythms
Students learn and perform Ian’s piece Play The Taiko Taiko!, which uses a range of percussion instruments and percussive vocalise. See attached score: Play The Taiko Taiko! and accompanying reference MP3, Become (Play The Taiko Taiko! Vocalise & Percussion Piece audio)
Students can change the name of the instrument in the text to another. This instrument can also be incorporated into the performance of the piece.
Students compose a short rhythm and add vocal sounds.
Students create an interesting rhythm with matching vocal syllables and lyrics.
Students compose a short rhythm and then make up vocal sounds (syllables) to imitate the sound of the rhythm. Students can also compose a poem to match the rhythm. Divide students into two groups – one to play the rhythm on instruments of their choosing (including body percussion) and the other to recite the vocal sounds (or poem).
Composed by Anton Lock
'Become' was originally part of a larger work that was loosely composed for taiko, electric guitars, drum set, and electronic sounds. The part that Taikoz performs in The Beauty Of 8 was always intended as the ‘dance’ part. It was inspired by the thought of "becoming the other side of you". The idea that everyone has ‘two sides’ is fascinating to me – by challenging yourself, undertaking a difficult task, or putting yourself in extreme situations you can access or ‘become’ that other side.
The choreography was largely inspired by the Onikenbai dance of Iwate Prefecture in Japan. It is a traditional art form of that I have loved and studied for many years. However, I did not want to copy the dance exactly so I experimented a lot, came up with new choreography, and adapted what I believe to be the same language as Onikenbai but with my own ‘twist’.
I really like the combination of the female energy (Chieko) with the male energy (3 male dancers). Cheiko's character has what the male dancers ‘crave’ – through their desire for that ‘thing’, she is able to ‘control’ them... I think the idea of desire and what you are capable of doing for that desire is fitting with the theme of ‘becoming’ something.
As taiko players we always learn rhythms and melodies firstly by singing. I wanted to use that idea to show people how we sing and how that translates onto the taiko, yet I also wanted to show the entire progression by starting from the breath, to the singing, to the taiko, and finally to the dance, which subsequently demonstrates the motif of ‘becoming something’ through the structure of the piece.
* bachi is the Japanese word for drumstick and take is the Japanese word for bamboo (i.e. bamboo drumstick)