to the teacher pack

Transcription

to the teacher pack

Educational Materials to go with the Video
& extra materials for preparation and extension of the concert
Prepared by Valerie Trollinger (trolling@kutztown.edu, or vtrollin@earthlink.net ) October 2012 Discovery Concert Series The Science of Sound Reading Symphony Orchestra Discovery Concert Series October, 2012 The Thrill of Resonance (Grades 4 , and above; Grade 3 with help) Teacher Quick-‐Start Guide The video is the second one in our sequence about the Science of Sound. There are three (3) ways to use this series at this point: 1) For students to get the full benefit of the science behind the sounds, then viewing the first video “The Science of Sound” is strongly recommended. a. Show the first video in the sequence (The Science of Sound) with the accompanying worksheet, go over the worksheet as needed. When the students are familiar with the meaning of the words Frequency, Amplitude, Time, Dynamics, and the rest of the terms on the worksheet, then go on to the second video (The Thrill of Resonance) with that accompanying worksheet. From there you can continue with activities that are relevant to your curriculum. There are a lot of other activities that go with both of these videos, addressing STEM technology ( adding the arts ) and building on creative thinking, problem solving, critical thinking, reading, writing, and even engineering. 2) If you don’t have time for the first video at this point and want to only show the second-‐-‐ a) The students still need to be familiar with the terms Frequency, Amplitude, and Time. Definitions will follow in the teacher pack. Students can use the worksheet. 3) If you are really pressed for time… a) You can Use ONLY The Thrill of the Orchestra segment to reinforce what you have already taught about Tone Color. This contemporary work for children is the showpiece of our concert. The worksheet that accompanies this video can’t be used only with this segment. AFTER THE CONCERT: We have a follow-‐up reflection activity and we would like the students to send us their ideas of Resonance. There are two possible selections: 1) Students send us a drawing of their favorite instrument, and include a paragraph on the science of that instrument makes sound. OR 2) Students send us a drawing of an instrument they would like to invent, and a paragraph on the science of how that instrument makes sound. We will make these reflections available online and draw special attention to the schools and the students! Please send them to Valerie Trollinger at vtrollin@earthlink.net. Video Running Length: Video 1: The Science of Sound (separate download from the website) – runs about 20 minutes. It features students of the RSY0. Video 2-‐ the Thrill of Resonance—goes about 25 minutes. Teacher’s definitions if you forgot them since college…… Frequency: Is the objective mathematical measurement of how many pressure waves occur in a second. The pressure waves are what are perceived by our ears, and from there, transduced to electrical energy that our brains interpret into sound. Pitch, on the other hand, is the subjective human experience of frequency. For example, the frequency of the tuning Pitch A is 440 sound pressure waves per second. The Pitch is named A, but the frequency is 440 vibrations per second. 442 vibrations, and 445 vibrations can also be interpreted to be the pitch A. Amplitude : is the power of the vibrations, also known as pressure. Pressure is measured objectively by decibels. Subjectively, we experience amplitude as degrees of loudness and softness. Time: is objectively measure by milliseconds, seconds, minutes, hours, and so forth. Humans subjectively experience time by estimations of duration. In acoustics, especially for instruments, over a period of time frequencies ( of not only the fundamental, but also all of the harmonics of the frequency) interact at different levels of amplitude over a period of time ( often in milliseconds) and affect something that vibrates in response to that ( for example, instruments, vocal bands, vegetables, glass, and so forth) that create sound waves and shapes that our ears interpret as resonance, or, for our purposes, are identified as having a particular tone color. The students need to be familiar with Frequency, Amplitude and Time to be able to see the video The Thrill of Resonance” and have it make sense to them. The introductory video, the “Science of Sound,” can take care of that very easily. The Science of Sound, Part 2: The Thrill of Resonance RSO 2012 12
TABLE OF CONTENTS
TOPIC
PAGE
Table of Contents
1
BACKGROUND
Introduction
3
Objectives
5
The RSO
6
Brief background of the
Music (For Teachers)
6
Quick Guide for
Teachers
12
Welcome to our
Concert!
(For Students)
13
LESSON IDEAS
Lesson 1:
Experimenting with
with Resonance
Lesson 2: Is it noise
or is it music?
Lesson 3: Make
your own sound
pieces.
Lesson 4: Wild and
wacky animal
voices.
Lesson 5: Exploring
the music of the
universe.
15
The Science of Sound, Part 2: The Thrill of Resonance RSO 2012
**Lesson 6:
Following up on the
concert-students
send essays and
pictures to the RSO
for the website!
USEFUL LINKS AND
RESOURCES
WORKSHEET TO
ACCOMPANY THE
VIDEO “THE SCIENCE
OF SOUND”
20
21
2
3
INTRODUCTION
Dear Teacher:
We are so very pleased that you and your students will be joining us for a performance of the
music from “The Science of Sound Part 2: The Thrill of Resonance.” We know you will find it
entertaining, enjoyable, and educational. Our large work for the concert is The Thrill of the
Orchestra” by Russell Peck.
This year the RSO offers students and teachers a continuing innovative experience in
investigating the science behind the sound of music. The teacher Quick Start guide allows you to
select the way you want to go about preparing your students for the concert.
Starting with the first introductory video (The Science of Sound) featuring members of the
Reading Symphony Youth Orchestra and using the accompanying worksheet, the students will
become familiar with the basic scientific acoustical properties of Frequency, Amplitude and Time
and the psycho-acoustical correlates of Pitch, Loudness and Duration. The video component has
an accompanying worksheet that provides the impetus for further exploration and
experimentation in the acoustical properties of sound and music. This video was available for the
2011 Discovery Concert Experience. Continuing the sequence for this year, the student can view
the second video (The Thrill of Resonance) which further reinforces the concepts of the first
video and extends student knowledge by focusing on Russell Peck’s The Thrill of the Orchestra
in addition to additional footage of the Tacoma Narrows Bridge collapse, the introduction of
Chaldni patterns, and showing how liquid also reacts to sound vibrations. The concert this year is
a capstone experience, or can continue to serve as a doorway to further study, experimentation,
and inquiry. While designed for grades 4 and 5, the video and the accompanying materials
encourage and provide further age appropriate enrichment activities for older students.
Education standards addressed by the videos, accompanying worksheet and activities are the
National Standards in Music Education, the Grades 4-5 standards in the National Science
Education Standards, and the NCTE/IRA standards for the English Language Arts grades 4-5.
STEM education is also addressed. Due to time constraints, the RSO will only be able to perform
the music in the concert, therefore the sequence of before and after concert activities outlined in
this pack will serve as the instruction.
We offer lessons that are also more geared toward music class, although a general classroom
teacher may be able to use them. Above all, feel free to manipulate, modify, or tweak any of the
lesson materials to meet your and your students’ needs. You should need to spend no more than
three 30-minute music classes (or the equivalent) preparing your students for this concert,
however, there are plenty of materials in here that can be used both before and after the concert,
and any time during the school year. These materials are designed to work with PA Arts
Education Standards and also the National Standards in Music Education, S.T.E.M. curricula,
National Standards in Science Education and National Standards in Language Education, and will
allow the students to be actively immersed in the topic rather than passively sitting and listening
without any guidance or engagement.
At the end of this packet is a resource page with links to other sites that can further your
understanding of the science of sound. If you are interested in finding non-music activities and
more information on composers for this concert, please check this link for the Dallas Symphony
4
Orchestra (http://www.dsokids.com/2001/rooms/musicroom.asp), as they have some excellent
interactive materials that are of a more general nature. Because there is so much available on
composers and their lives online, we won’t include that information here, although other websites
are listed in the Useful Links and Resources at the end of this pack.
Have fun preparing your students, and we look forward to seeing you at our concert very soon!
If you have any questions or concerns, PLEASE don’t hesitate to contact Valerie Trollinger at
either trolling@kutztown.edu or vtrollin@earthlink.net
5
OBJECTIVES
The purpose of these materials are to:
•
•
•
•
•
•
•
Provide music teachers relevant musical materials to help them prepare students
to see and hear the concert.
Provide materials that work within the structure of the general music class.
Familiarize students with the backgrounds and characteristics of the music.
Familiarize students with musical & scientific aspects of acoustics and
psychoacoustics.
Promote creative engagement with the music.
Provide materials consistent with the National Standards for Music Education and
the Pennsylvania Standard for Arts and Humanities, National Science Education
Standards, NCTE Language Standards, and S.T.E.M. curricula.
Encourage the use of music in the classroom.
Before attending the performance, students should [be able to]:
•
•
•
•
•
•
•
•
Aurally recognize the main melodic and rhythmic themes leading to the form of
the music.
Identify conflict, tension, resolution and relaxation as indicated not only in music
but in other arts, and in daily life.
Have had experiences with various acoustical aspects of instruments, voice, and
found objects.
Be able to identify tone colors of instruments.
Be able to identify the components of resonance.
Be able to describe the power of resonance.
Be familiar with the terms frequency, amplitude, duration, pitch, dynamics, and
time tone color and resonance.
Be familiar with concert behavior and etiquette.
6
The RSO—a brief history
It's easy to think of the Reading Symphony Orchestra as a perennial favorite, but
there was a time when the organization was downright subversive! In 1913, a group of
music-loving citizens, headed by Harry Fahrbach, banded together in a symphony
organization. While that may not seem particularly subversive, the concert time was:
Sunday afternoons. It was an era of rigid enforcement of Blue Laws - statutes
preventing business or entertainments on the traditional Sabbath day. The early Reading
Symphony organizers were brought before the Mayor, where they were chastised for
their irreverent symphonic activities. It was only after the early members of the Reading
Symphony invited the Mayor to a patriotic concert - and provided a generous collection
of free passes for his entourage - that the group could proceed unencumbered by statute.
Fahrbach was the Reading Symphony Orchestra's first music director, leading the group
for ten years. He was succeeded by a number of eminent musicians, including Saul
Caston, Alexander Hilsberg, and Hans Kindler, all alumni of the legendary Philadelphia
Orchestra during Leopold Stokowski's reign. Louis Vyner followed preceding the
remarkable thirty year tenure of Sidney Rothstein. A national search of nearly three
hundred conductors brought the RSO Andrew Constantine now in his second year
following an opening season that brought critical and box office acclaim.
Today the Reading Symphony Orchestra looks toward its 100th season as one of the
longest continuously-operating symphonies in the United States. For a complete
overview of the orchestra's performance history, visit the orchestra's archives at
www.readingsymphony.org/archives.asp.
(This information is from Reading Symphony Orchestra website:
http://www.readingsymphony.org).
Background & Focus
(For Teachers)
The music for this concert was selected to work with aspects of the science of sound, also
known as acoustics. As music educators and musicians, it offers us an opportunity to
delve into the multiple arts understanding, which meet the National Standards in Music
Education and also the Pennsylvania Standards for Arts and Humanities, and into the
scientific and mathematical aspects of sound, which meet the National Science Education
Standards. Activities are also geared to meet S.T.E.M. standards, for schools that are
using those.
The first activity we ask you to engage in is using the videos and the accompanying
worksheets to help focus the students on the science of sound, with this year’s theme the
Thrill of Resonance. The completed worksheet serves as the impetus for further
experimentation and listening. A number of links to outside resources are provided in this
packet to further encourage experimentation and inquiry into the science of sound. These
7
materials can be used both before or after the Youth Concert. The materials to the
original Science of Sound from 2011 are a good introduction to this year’s (2012)
materials for The Thrill of Resonance.
After viewing the video, students can be engaged in experiencing the music scientifically
and aesthetically. There are some post-concert activities included in this pack as a
follow-up to the concert performance.
The second part of these materials addresses the music for the concert. The pieces
included are:
Peck—The Thrill of the Orchestra
Dvorak—Slavonic Dance #8
The Youth Audition Winners and their music pieces this year are:
Mendelsson
Grieg
Violin Concerto, Mvt 1
JiWon Lee, Violin Soloist
Piano Concerto, Mvt 1
Nicolas Agia, Piano Soloist
There will be one soloist performing for each concert this year.
The Thrill of the Orchestra, by Russell Peck (1945-2009)
The Thrill of the Orchestra serves as a more contemporary work to introduce musical
instruments to children. The rhythms and melodies are very catching and very listenable,
and the work is narrated (this year by Count Dracula!) to guide the live listening. The
recording on the DVD is narrated by the composer.
Musically, this work introduces a main theme that is played by each family of the
orchestra. The theme gets multiple treatments from traditional styles to jazz and rock, and
each instrument family “introduces” the next family. The first version of the theme is
played in 8 bar measures all in 4. Later, the rhythm of the theme is generally an 8 bar
rhythmic phrase with 6 measures of 4 followed by one of 6. You will hear this version
take over when the brass first introduce the full version of the theme while introducing
the woodwinds.
Acoustically, this piece introduces the instruments by (1) showing how the sounds are
made and (2) helping students become familiar with the tone colors produced. The
different ways we perceive the power of resonance are what helps humans identify
different sounds that we consequently process as music. Part of the video shows the
Apple iTunes visualizer presenting a visual interpretation of the tone colors, and some
students may see the patterns in which they go (generally, louder creates brighter and
8
more energized visuals).
For older students, this work serves as a good musical contrast to Britten’s Young
Person’s Guide to the Orchestra.
About the Composer:
Russell Peck's orchestral compositions have received thousands of performances by hundreds of orchestras in the United States, Canada, Europe, Asia, Latin America, and Africa. These include the major American orchestras of Boston, Pittsburgh, Atlanta, Milwaukee, etc., Britain's London Symphony and Royal Philharmonic, and orchestral performances at Lincoln Center and Kennedy Center, and in Berlin, Warsaw, Barcelona, Kiev, Montreal and Singapore. Peck's music is notable for colorful and idiomatic orchestration and an exceptionally accessible personal style combining the classical idiom with a recognizable influence of popular American musical language. An Albany Records compact disk of four of the composer's orchestral works (TROY 040) features recordings by the London Symphony. Other recordings are on Koch International and Channel Crossings (Netherlands). His Peace Overture was among the first serious contemporary American orchestral works played in the People's Republic of China (Shanghai Symphony). In 2000-‐2001 a consortium of 39 American orchestras -‐ the largest in history -‐ commissioned Dr. Peck's new Timpani Concerto Harmonic Rhythm. The premiere performances began in September 2000 with the Louisville Orchestra and include orchestras throughout the country. The best known works by Dr. Peck include his percussion trio concerto, The Glory and the Grandeur; Signs of Life for string orchestra; and The Thrill of the Orchestra, a narrated orchestral instrument demonstration piece which was recorded for the Discovery video series by the Royal Philharmonic Orchestra of London, and has been translated into French, German, Spanish, Hebrew, Korean and Cantonese. Russell Peck (born Detroit, Michigan) is a graduate of the University of Michigan, where he also received Master and Doctoral degrees in composition. His teachers have included Clark Eastham, Leslie Bassett, Ross Lee Finney, Gunther Schuller, and George Rochberg. The Science of Sound, Part 2: The Thrill of Resonance RSO 2012
Dr. Peck also performed extensively as narrator of his own orchestral works for young (and adult) audiences, and appeared as guest artist with orchestras throughout the United States. ( Below was sent from his wife, Cameron-‐-‐) Regarding Russell and what instrument he played: Russell began piano and composition lessons in late grade school I believe (what we here in NC would call middle school.) He continued with those lessons through high school. His teacher's name was Clark Eastham. Russell admired and respected him, and enjoyed studying with him very much. When Russell started high school he realized that he wanted to be in the orchestra, not just listening and studying about it. He wanted to hear and learn about it from the inside. He started playing trombone, and continued with that through high school and for a couple years at the University. Actually, now that I think about it some more, I'm pretty sure he played bass trombone in college. And I sort of think he played bass trombone in high school also. Russell didn't continue with the trombone after his undergraduate degree. But he played piano all his life. He used it as part of his composing process. The video for The Thrill of Resonance is dedicated to Dr. Peck’s memory. His tragic death in Greensboro, NC at the young age of 64 was a terrible loss, especially for music education. His wife, Cameron, provided the RSO the special permission needed to make this video. LINKS: To learn more about the piece: http://www.russellpeck.com/thrill_of_the_orchestra.html Illustrated listening map (no music) http://www.fwsymphony.org/education/materials/thrill_listening_map.pdf 9
The Science of Sound, Part 2: The Thrill of Resonance RSO 2012 10
Slavonic Dance #8 by Antonin Dvorak
This piece was originally written for piano 4 hands, but translated easily and beautifully
for the symphony orchestra. The melodies are repetitive, with the main refrain (the A
section) identifiable by the strong hemiola, and moving from minor to Major at the end of
the section.
The most pervasive acoustical aspect is the interaction of the instruments—the more
instruments that play, the stronger the acoustical power and also the louder the sound. It
also features pairings of woodwind instruments.
Mendelsohn: Violin Concerto first movement & Grieg: Piano Concerto first movement Both of these works are characteristic of the Romantic Period of music. Visually, the students will see a great amount of energy expended by our young soloists ( which will increase or decrease the amount of resonance in the instruments) as they physically play. Aurally, the students will hear sudden changes in tempo, dynamics, and instrumentation. A cadenza may or may not be included in these performances. As is typical of most concertos of this time, the form of the first movements are sonata-‐ allegro. Links: Click here to see Julia Fischer play the first movement of the Mendelssohn: http://www.youtube.com/watch?v=SJUQD6Rr2M8 Click here to see a Julia Fischer play the first movement of the Grieg piano concerto http://www.youtube.com/watch?v=dK5jWbI-‐hOk Click here to learn who Julia Fischer is: http://www.juliafischer.com/index.php/en/ Best Approaches for preparing your students: As the focus of this concert is to hear and listen, having students listen for how amplitude, frequency, and time work together in different ways to make different tone colors that illustrate resonance in music. Using this music as the foundation of the unit, playing the pieces and having students tie the pieces into the various activities will help the preparation and also help them focus on and retain what they hear at the concert, which will help them write their response essays to the orchestra. Having the students engage in at least some of the activities in this pack before the concert (especially the video activities), and then following up after the The Science of Sound, Part 2: The Thrill of Resonance RSO 2012 11
concert will round out the experience and hopefully lead to new directions in looking at music and connecting it with science, math, and technology. Activities follow the “Quick look at the pieces” (for the teacher) and the “Welcome to our Concert” that you can copy for your students. The Science of Sound, Part 2: The Thrill of Resonance RSO 2012 12
Quick-Look at the pieces:
The Thrill of the
Orchestra
Orchestra
Slavonic Dance #8
Mendelssohn Violin Concerto, mvt 1
Grieg Piano concerto, mvt 1
Orchestra
Solo violin and orchestra
Solo Piano and Orchestra
Program music,
educational
Mostly in 2, but can vary
sense of 2 to 3.
Dance
Concerto
Concerto
In 3 and 2, prominent use of
hemiola in the A section
In 2, may be occasional changes ( use of
triplets) that can change the perception
In 2, may be occasional changes ( use of
triplets) that can change the perception
Mostly fast
Moderately fast
Fast, but has moments of slower
Flowing, moderate
Form
Through composed, a
loose theme and
variations.
Rondo
Sonata Allegro
Sonata Allegro
Period of Music
History
20th Century
19th century
19th Century
19th Century
Young person’s Guide to
the Orchestra, Color
spectrum in visual art.
Frequency, duration,
amplitude, human
perception of sound,
resonance and tone color
Any other dance music
Grieg Piano concerto, Violin concerti of
Mozart
Piano concerti by Mozart, Rachmaninoff,
Brahms
Frequency, duration,
amplitude, human
perception of sound, timbre
Frequency, duration, amplitude,
human perception of sound, resonance, tone
color
Frequency, duration, amplitude, human
perception of sound, resonance, tone
color
Literary and/or
Geographical
Connections
Any kind of or story that
requires the use of
different voices, accents
or sound effects
Life of the soloist in literature: webblogs,
for example :
http://kidsmusicthatrocks.blogspot.com/200
8/12/view-from-inside-kids-musicianswho.html
Life of the soloist in literature: webblogs,
for example :
http://kidsmusicthatrocks.blogspot.com/2
008/12/view-from-inside-kidsmusicians-who.html
Language Arts
connections
The vocabulary word “
resonates” is used frequently
when one says “ that
resonates with me, for
example. Students can
explore the different ways
the word is used in English.
Poems of Croatia
http://www.studiacroatica.org/jc
s/28/2808.htm ( they are
translated) also considering
requirements for the use of
different voices, accents or
sound effects
Formal structures of essays,
poems, and so forth( for
example cinquains)
Students can write about their own instruments
they would like to create or how the instruments
they like work scientifically.
If they study music, they can also start a blog as a
young musician.
Students can write about their own instruments
they would like to create or how the
instruments they like work scientifically.
If they study music, they can also start a blog
as a young musician.
Genre
Program
Meter (simplified
into 2’s or 3’s by
how they feel)
Tempo:
Cross connect with:
Scientific
connections
Welcome to our Concert!
The members of the Reading Symphony and our conductor, Mr. Andrew
Constantine, look forward to your visit with us this year. This year is
different than other years. The concert is part of a special unit called the
“Science of Sound,” and you will be learning about science of sound and the
new word RESONANCE before the concert day. Before you come to see
us, we also want to let you know more about the music you are going to
hear, what you will see on the stage, and how to show us your best listening
manners. Many of us who play in this orchestra once sat where you are
going to sit for the concert, and for us, it helped us learn how much we love
music. We hope that you will learn to love the music, too.
The music that we are performing for this concert focuses on the tone colors
of the instruments in the orchestra. In science, we call tone color Resonance.
You will need to listen very carefully to how resonance works in different
ways to make different kinds of musical sounds, and different kinds of noise.
When you see the orchestra, you can look for some special things. You will
see that we wear black clothes. We don’t do this because all our other
clothes are dirty and in the wash. We wear black because it goes back
hundreds of year and is our tradition in all orchestras. We don’t want you
looking at our clothes. We want you to listen to the music. That is why we
all wear black.
You can also see where all the instrument families sit in the orchestra. The
stringed instruments sit in the front, and the woodwinds, brass and drum
family all sit in the back. The string instruments sit in the front because they
don’t play as loudly as the woodwinds and brass and percussion instruments
do. You will also see us playing when you come into the theater. We do this
to warm up our muscles. Playing a musical instrument is just like being in
gym class. We need to stretch our finger, arm and breathing muscles just like
you do when you will run around or play. If you watch and listen carefully,
you will be able to see and hear who is playing.
When we are ready to start the concert, then it’s time for you to make sure
you are very quiet. We need to have quiet when we play, because if you
talk, we can hear you on the stage because we have very good hearing.
Besides, we have very important musical stories to tell you, but if you are
talking you may miss them! This year we also want you to write about the
concerts after they are over to tell us what you learned about resonance and
tone color of the instruments.
Two people are the last ones to come on to the stage. One is our
concert master, who sits right at the front of the violin section. When he
comes out on the stage, he will bow, and then you will see him turn around
and quietly ask the oboe player to play a note, which we will tune our
instruments to. After we are done tuning, the concert master will sit down.
Finally, Mr. Constantine will come on the stage, and he will conduct
us as we play the music. If you watch him carefully, you will see how he
moves his arms. He doesn’t do this to be funny. He is talking to us with his
hands (like you, he cannot talk when we are playing), and that helps us all
play together so we tell our musical stories well. He uses special patterns to
lead us. If you watch him carefully, you will able to see what they are. Your
teacher may even show you these before the concert!
After we finish a song, we like to hear you clap. That tells us that you
liked the music. So please clap a lot for us!
Lesson Suggestions
These lesson suggestions may help you create activities to better acquaint your students
with the music for this concert.
Lesson 1: Experimenting with Resonance
There are a number of online videos and activities to help students engage in
experimenting with frequency and what they hear.
For 4th-5th graders:
Introductory activities:
http://www.gcse.com/waves/sound_detail.htm --this is a basic presentation of
looking at sound, and addresses both frequency and amplitude
http://www.smm.org/sound/nocss/activity/handson.htm --this site from the
Science Museum of Minnesota presents hands-on activities concerned with making
sounds with nails, rulers, wood and metal, making a model eardrum, using a slinky to
show how soundwaves work, and working with strings to make sounds, including vocal
bands. For the rest of the site, which has activities concerning multimedia presentations
of sound, you will need a plugin for your browser and can download and easily install it.
http://library.thinkquest.org/5116/sound.htm --this is a site on sound by students
for students.
http://scifiles.larc.nasa.gov/text/kids/D_Lab/acts_sound.html --there are a number
of activities here for students, from NASA.
Videos:
http://www.professorgizmo.com/01highlowsounds.html --the sequence of
demonstrations by Professor Gizmo can be found here.
Activities the address Resonance:
Sympathetic Resonance: http://www.cmhoustonblog.org/2012/01/25/singing-glassesand-sympathetic-resonance/. Sympathetic resonance results when something is set into
motion but is not directly touched by a stick or blown into. Resonance occurs as a
reaction to other vibrating objects nearby. The word “tone” the narrator is referring to is
the “pitch.” The water that you see in the glass is resonating to the movement of the
glass, and you will see the slow-motion movement of the actual glass.
Sound Resonance Tubes : http://www.ehow.com/info_12031872_science-project-ideassound-resonance-tubes.html . This site offers several activities using boomwhackers, soda
bottles (plastic will work), and resonance tubes ( which imitate the way wind instruments
work).
Making a Carrot Clarinet (or use another vegetable if it will work!)
Here is the complete video as sampled in the Thrill of Resonance Video:
http://www.youtube.com/watch?v=LWbj7FYEi3M Here are the directions on how to
make a carrot clarinet ( video) http://www.youtube.com/watch?v=zrme04RIsE8 and here
are verbal/written out directions: http://www.ehow.com/how_10033745_make-carrotclarinet.html. Making these will require a LOT of teacher prep and supervision. You will
need large carrots, so turnips may actually work better. The carrot works like a PIPE or
TUBE that resonates in direct response to air being blown through it.
Making a Drumbone: Popularized by the Blue Man Group, the video demonstrates how
PVC tubes can be made in to resonance chambers that when shortened or lengthened, can
change frequency. http://www.youtube.com/watch?v=M-VgW4Knb5s . Here are the
directions on making a drumbone: http://www.ehow.com/how_2238950_builddrumbone.html This activity also requires a great amount of teacher prep and
supervision.
Animusic Animation for Resonance Chamber : This activity uses the entire video that was
sampled in the Thrill of Resonance video. Here, the resonance is activated by the strings
that vibrate by the act of plucking. Students can watch this video and describe the
different resonance chambers, and how the sound is being communicated into those
chambers. Having experience with the activities in the original Science of Sound (from
2011) will help. This activity requires critical thinking. An extension of this activity
would be for students to create their own instrument that uses different resonance
chambers ( tubes, for example). Here is the link to Animusic’s YouTube site:
http://www.youtube.com/watch?v=toXNVbvFXyk
http://www.physicsclassroom.com/Class/sound/ --this is a comprehensive site geared for
Junior High & High School students.
Activities and ideas you won’t find on the web:
Students and teachers can download several apps for Android, iPhone, and iPads that
allow their phones or iPad to work as a mini- sound processor. For Android, you can get
the Spectral Audio Analyzer
(https://market.android.com/details?id=radonsoft.net.spectralview&feature=related_apps)
for iPhone and iPad, the programs by Faber Acoustical are excellent, however, they
aren’t free nor cheap. The program soundview http://www.rareworksllc.com/soundviewv2.html is available for iPad for 99 cents. Even if you don’t know how to interpret the
numbers, just the visual representations of any sound you record will show how
resonance is occurring. For example, if you record a bird and compare it to a clarinet,
you’ll see just by looking that the patterns are very different. Children can go around the
classroom tapping anything ( book, wall, desk) and record the sound to see how it
resonates. This is a good beginning activity to introduce children to how sound works,
since they will want to know why the book, wall and desk make those patterns when they
resonate.
For class computer (PC, not Mac, or Mac running windows software)
http://userpages.chorus.net/cspeech/ --this is a free program that will allow students to
record sounds into the computer, then see how they look graphically.
Digital tuners: You can download digital eTuners that will show frequencies of sound,
for example , eTuner from the iPad and iPod apps store.
To use the spectral analyzer programs mentioned above:
The key skill is to have students notice, in the spectral analysis, where the
strongest frequencies are (often near the bottom, but with some animal voices, you will
see that the darker areas are higher on the spectrum). Overall, they simply get to see how
sounds look like. You can also show the students ( by following the simple directions)
what the frequency of the sound is.
To use the eTuner programs: Students can play an instrument, sing, make another
sound, and the tuner will show what the frequency is in Hz ( also known as Cycles per
second). They can compare and contrast high and low sounds and their numerical values
using this program.
Sound identification game: Teachers can play mystery sounds, animal voices, or
mystery instrument sounds for the class, as a game. The student can identify the
instrument /sound/animal voice, but then needs to identify if it is an
instrument/sound/animal voice that plays mostly high frequencies or mostly low
frequencies. Here are a couple links to download animal voice and other sounds:
http://www.vtk.com.hk/sound_v.html --these use 32 bit. Your browser may ask to reopen
using this setting, and it only takes a few seconds. There are many sounds available here.
http://www.animal-sounds.org/animal-sounds-free-download.html --these are free
downloads.
Lesson 2: Is it noise, or is it music?
This can be an extended writing activity. Students can listen to several sounds in class, or,
respond to the Space Music segment of the video, elaborating on the question of noise vs.
music. Including questions about why and how is something noise or music will help
students develop critical thinking skills. From a S.T.E.M. standpoint, they can also
address the manner in which noisy sounds are made and how they resonate in space vs
the manner in which musical sounds are made and how they resonate in instruments.
Lesson 3 : Making your own resonance sound pieces
Students can use classroom found sounds and with the teacher’s help, create a sound
piece using whatever mapping format the teacher uses ( rhythm box, sound box, linear
representation, and so on). A student conductor can lead the performances, for example,
if the class is divided into 1) book closing sounds 2) pencil tapping sounds and 3) drum
sounds, the conductor can point to a group to have them play, show dynamics by raising
and lowering hands, and also cut off certain groups. Adding recordings of animal voices
or other sounds are also possible, and they can also all be performed at various decibel
levels through-out the pieces.
Lesson 6: Wild and wacky animal and human voices.
This activity expands upon the first two lesson suggestions . Students can compare
animal voices for not only how they sound, but how they look on the spectrogram.
Students can also compare the sound of a real donkey voice with the musical donkey
voice in Carnival of Animals (COA), the real sound of an aquarium with the musical
sound in COA, and the real cuckoo sound with the musical cuckoo in COA. They can
compare and contrast how their own voices look on the spectrogram when they speak
using the phrase How Now Brown Cow (a directed speech activity), when they discuss
the clothes they are wearing that day (spontaneous speech activity), and when they sing
Twinkle Twinkle Little Star. At this level, just noticing where there are differences
visually in the spectrograms (illustrating resonance) are important. However, hopefully
it will lead to further interest that can be developed as they get older and can deal with all
of the mathematics involved in explaining the color differences.
Lesson 6: Exploring the Music of the Universe.
This activity can tie into the Lesson 3 above. Many composers have written music that
we associate with outer space—John Williams, Gustav Holst, Richard Strauss
(accidentally), and others. NASA has recorded sounds of outer space, and these are
available to download and listen to, and perhaps serve as an inspiration for student
compositions of any kind (musically notated, iconically notated, mixed with instruments
sounds, as part of a sound piece, and so on) dealing with outer space. The sounds
recorded in space are not really audible to humans in space, so the computers that record
and process the pressure waves turn them into audible sounds for us to hear.
A further and more interesting activity is to subscribe to the SETI-at-home project
http://setiathome.ssl.berkeley.edu/ . The SETI project started in 1996 at Berkeley in
California. Since the project was downloading a large number of data sets from the
largest radio telescope in the world (Arecibo Observatory in Puerto Rico) they began a
program in which computers from all over the world can subscribe to the project,
download a data set, have it analyzed by having the analysis program running while the
home computer was not in use, and then have it sent back. All of this happens
automatically. What Arecibo records are the sounds from the stars. SETI particularly
looks for patterns in the sounds that suggest that it may be receiving information from
another world, no unlike what was portrayed in the movie “Contact.” What is cool about
this project is that the screensaver it generates, which is easy to pull up, shows spectrum
analysis and also the strengths and frequencies of the sound over time. It is particularly
exciting when you notice that your computer is identifying a pattern (SETI tells you how
to see this when it happens). This is a real science project, and since then, there are other
projects dealing with astronomy and physics that require the processing of sound waves.
I have been attached to this project since its inception, and it’s really a blast to see what I
come up with on my computers (I have 4 running the analyses). I have also used this to
help introduce the various spectrums of sound to my college students, because visually,
they understand it very easily from the graphics. Engaging in this activity will allow your
students to be engaged in music of the spheres but also applying all of the S.T.E.M
knowledge and skills components.
Lesson 7: Following up on the concert
Students are invited to write their reactions to the music in the concert addressing the
following areas:
Which instrument family did you like best in The Thrill of the Orchestra? Can you tell us
how the instrument makes a sound by drawing a map or writing a paragraph about it?
If you could create any instrument in the universe, what would it be and how would it
make sound? What would it sound like?
Please send these essays/illustration to me (Valerie Trollinger ) at either
vtrollin@earthlink.net or trolling@kutztown.edu. If you scan them as PDF, I can simply
post them, but some of them I may just retype and that’s no problem. We would like to
put the students’ writings on a special webpage, and they will be identified by first name
(last name if the teacher and parent say it is OK) and school. Students who submit
drawings as a reflection component of the concert can have those scanned and sent to me
as well, and we’ll get them up there.
Useful Links and Resources-Teachers and Students
Musical Acoustics, and the Science of Sound Videos:
Need a really basic approach? Click here:
http://www.nationalstemcentre.org.uk/dl/a495f9c90f483110265d247a3e4b6ea7d13772ce
/6689-KS1%20Sound%20and%20music%20teacher%27s%20guide.pdf
This shows how pressure waves move in a water tank, just like sound waves. The visual
is larger and easier to see. The particular wave generated is a standing wave, because it
looks like it is standing or walking down the tank. Music waves work just like this,
particularly for instruments that play sustained sounds with the bow or breath. At the
end you see it starts to slosh as the pressure stops.
http://www.youtube.com/watch?v=NpEevfOU4Z8
Bill Nye, the Science guy….”I love your wave, baby” Seems very popular, and it’s
another good and short reinforcement of the concepts:
http://www.youtube.com/watch?v=77slIdkkQWg&feature=related
How sound works, and how it travels :
http://www.youtube.com/watch?v=_ovMh2A3P5k&feature=related
Make your own Chladni Plate: http://makeprojects.com/Project/ChladniPlate/790/1#.UEeY32ie7ns :
Other resources and activity links:
Acoustics of Music Intro: http://en.wikipedia.org/wiki/Musical_acoustics
University of Southern Wales ( Australia) excellent, but more advanced website:
http://www.phys.unsw.edu.au/music/
Acoustics of musical instruments: http://hyperphysics.phyastr.gsu.edu/hbase/music/musinscon.html
Acoustics for Kids: http://encyclopedia.kids.net.au/page/ac/Acoustics
Good resource for more age appropriate videos and projects:
http://www.neok12.com/Sound.htm
Mores sound for kids http://www.historyforkids.org/scienceforkids/physics/sound/
Music and sound from the PBS Dragonfly series for kids:
http://pbskids.org/dragonflytv/show/musicandsound.html
Reading Symphony Orchestra
The Thrill of Resonance (Science of
Sound, part 2)
Fall, 2012
New vocabulary words: Resonance, Resonate,
Ernst Chladni, Node, Antinode, Tone Color,
Trumpet, Clarinet, Orchestra, Woodwinds,
Percussion, Strings, Brass, Mouthpiece, Bow,
Pluck, Hit, Strike, Reeds, Lip Buzz.
Worksheet to use with the video, The Thrill of Resonance.
Remember, when you see the icon and hear the sound on the video, it is time to
write on your worksheet!
1. When we put frequency, amplitude, and time all together at once, their combined
energy can cause materials around it to vibrate or shake. We call this shaking
___________________________________________.
2. _________________________ _________________________ was the scientist who
found that sand put on metal plates vibrated into interesting patterns depending upon the
speed of the vibration. Scientists call these patterns “ Chladni Patterns” after him.
3. Places on a vibrating metal plate where there are no vibrations are called
______________. Places that vibrate are called ____________________________. Not
only do metal plates vibrate, but tubes of wood and metal do, too.
4. CIRCLE YOUR ANSWERS TO THE QUESTIONS BELOW.
a. What sound do you hear? BIRDS
CLARINET
b. What sound do you hear this time? BIRDS
TRUMPET
CLARINET TRUMPET
c. What is the last sound you hear? BIRDS CLARINET TRUMPET
5. Resonance in music is what we call _____________________
_________________________.
AFTER THE VIDEO, ANSWER THESE QUESTIONS:
1. Which instruments start to resonate when they are hit or struck?
_______________________.
2. Which instruments start to resonate when the player buzzes his or her lips into a
mouthpiece? ____________________________.
3. Which instruments start to resonate when they are plucked or bowed?
____________________________.
4. Which instruments start to resonate when their reeds vibrate?
_________________________.

to the teacher pack

Transcription

Similar documents

Church of Sweden in Los Angeles proudly presents a Swedish

The BBC and Albright...The Best of the Year

tv hosts louis aguirre and maria regina bustamante to narrate britten

Sat. March 5th, 2016

RON DELSENER - City Parks Foundation

Invitation Oct 7 CCVG FINAL **ENGLISH

Francesco and Stefano Parrino

Orchestra KlangVerwaltung - Künstlersekretariat Buchmann GmbH

Dedication Merriweather Post Pavillion of Music, Columbia

“ecstatic...thrilling sound” –The Washington Post

An Investigation of Spin-Orbit Resonance Effects About