Information Age

This is the third song in the musical revue, Education Rocks! (The first two songs of the revue were published in Music K-8, Vol. 9, No. 1, Sept./Oct. 1998.) Having said that, we would also like to say that you can use this song however you like, in the revue or not. The topic - information - could have a number of uses in your music program and indeed, across-the-curriculum. Science and math teachers, librarians, and administrators alike (among others) may well be interested in plugging this song into their respective programs and special interest studies. Be sure to let them know what you've got and watch your music program become more appreciated!

Cool tracks

The song is techno rock. It utilizes a number of synthesizer voices, beginning with the sequenced synth bass that starts the piece. Truly, the only way to perform this song is with the Performance/Accompaniment compact disc (or cassette). We recommend that you play the full performance version for your students first so they can hear the entirety of it (and what their parts will eventually sound like). However, to fully appreciate all the textures and layers of sound under the singing, you should take the time to play just the instrumental accompaniment tracks, too.

If you do this, your students will be able to discern many things, such as the electronic voice saying the robotic "information" which comes and goes throughout the tune, and which is doubled by the "group robots." They will also be able to distinguish the sixteenth note synthesizer solo that begins at measure 43 more clearly. Eight measures after it begins, it is joined by electric guitar (played by a real human - our guitarist, Sandy Williams - amazing, ain't he?) and both of them reappear at the end of the song during the coda.

Vocal fun

The robot voices are indicated on part 2 and actually enter at measure 9 before part 1, which is sung. If you have any young men in your classes who are not keen on singing, this part is made for them. It allows them to participate from their own "comfort zones."

During the section at measure 43, each of the solos should be spoken by a different solo robot. You could use several, or just a few, and let them alternate their monotone "pitches" so that they sound like different robots.

The melody in part 1 is deliberately pitched low most of the time to allow for comfortable chest voice belting. The exception to this is at measure 35. The performers on the recording provide a very good example of style in all cases.

You will notice that there is a divisi part in part 2 which is the response, "Get information." The divisi is, of course, optional. You could use higher voices only (your more mature females might enjoy this), or you could use lower voices only (your more mature males with changing or changed voices might enjoy this part). Consider selecting only a few singers for this part and note that it is the sound that will also complete the piece after everything else has stopped. It is doubled by a synthesizer voice each time it occurs.

The same two voices (higher and lower), though they are not indicated in part 2 only, occur at measure 35. The style of the song is abruptly altered, the sixteenth note pattern disappears and the voices are spotlighted for eight bars. Again, you could use either the high voices only or the low ones, depending on your situation.

The second time at measure 43, part 1 enters on the syllable, "ooh." Four measures later, it divides into two notes (optional). This texture is critical to this section and rather than double it on a synthesizer for the instrumental tracks, we decided to use the recorded voices as a permanent part of those tracks. Consequently, you will hear two pre-recorded voices on the tracks: the robot voice and the background vocals at measure 43.

Movement

Want to add movement? We can't imagine that we can suggest anything that your students haven't already thought of. Obviously, with the robotic voices, static motion in a robotic manner would be most appropriate. Our guess is that your students will be moving naturally throughout the song, so the worst problem you may have is the coordination of when to let them move and when not to let them move.

If you really want to spotlight movement, you could have a group of dancers separate from your singers and have them move in formation. (Get it? In formation? Ouch...) They could be costumed as robots or as tech workers in a computer facility, not unlike a certain commercial with which they may be somewhat familiar...