docent manual - Huntsville Symphony Orchestra

Transcription

DOCENT MANUAL
Property of the Huntsville Symphony Orchestra Guild
Compiled in 1992 for the Education Committee of the Huntsville Symphony
Orchestra Guild by Lu Downey and Frances Schwemmer who are grateful for the
help given by:
Susan Anderson
Jean Berry
Mackie Bethay
Hoyt Farquhar
Joanne Horn
Martha Sue Hutchens
Evelyn Loehrlein
Linda Maccubbin
Eugenia McCoy
Patrick Richardson
Lynda Staggs
Betsy Stevenson
Revised in 1997, 2001, 2004, 2006 by Lu Downey and Frances Schwemmer
TABLE OF CONTENTS
Copyright © Huntsville Symphony Orchestra Guild,
P.O. Box 2400, Huntsville, AL 35804
1
PURPOSE OF A DOCENT...........................................................................................................................3
CHECKLIST FOR DOCENT.......................................................................................................................4
TEACHER CHECKLIST..............................................................................................................................6
SAMPLE SCRIPT FOR DOCENT'S INTRODUCTION TO THE STUDENTS....................................7
CONCERT MANNERS.................................................................................................................................9
A SYMPHONY ORCHESTRA...................................................................................................................11
A SAMPLE SCORE USED BY THE CONDUCTOR...............................................................................13
THE SEATING ARRANGEMENT OF THE HUNTSVILLE SYMPHONY ORCHESTRA...............14
FACTS ABOUT THE HUNTSVILLE SYMPHONY ORCHESTRA AND ITS PLAYERS.................15
MUSIC...........................................................................................................................................................17
STYLES OF “CLASSICAL” MUSIC.......................................................................................................19
WHY TEACH MUSIC?...............................................................................................................................21
WHY WE TARGET THE 4TH GRADE....................................................................................................22
THE PROGRAM..........................................................................................................................................23
THE COST....................................................................................................................................................24
THE YOUNG ARTISTS AUDITION.........................................................................................................25
CONCERTO................................................................................................................................................26
VOCABULARY............................................................................................................................................27
GAMES..........................................................................................................................................................28
ANSWER SHEET FOR DOCENTS...........................................................................................................32
THE ART CONTEST FOR THE STUDENT BOOKLET.......................................................................33
USHERS AT YOUNG PEOPLE'S CONCERT.........................................................................................34
HSOG'S INSTRUMENT COLLECTION.................................................................................................35
2
PURPOSE OF A DOCENT
The purpose of a docent is to teach. The docent prepares students and their
teachers for the annual Young People's Concerts by the Huntsville Symphony
Orchestra.
The docent lets them know about our community’s orchestra, teaches them the
concept of a formal concert, familiarizes them with orchestral instruments,
introduces them to the Young Artist Winners, and imbues them with his/her love
and appreciation of classical music.
The docents go to all fourth grade classrooms in the Huntsville City and Madison
City and County schools (as well as to some private schools) during the month
prior to the concert. Each presentation lasts 30 minutes to 1 hour. The
Huntsville Symphony Orchestra Guild has been sponsoring this program since
1968.
Preparation for this concert involves over 7,700 students from more than 103
schools. Many students know little about classical music or the Symphony
Orchestra. Most students have been to the Von Braun Center; others have been
in the Concert Hall. In many cases the classroom teachers have never attended
one of our orchestra's concerts.
These schools are invited: Huntsville City, Madison County, Madison City,
students who are enrolled in private schools and students who are home
schooled. Other schools invited to the Young People’s Concerts are: Decatur,
Hartselle, Morgan County, Athens, Limestone County, Scottsboro, Jackson
County, and Marshall County in Alabama, and Giles County, Franklin County, and
Lincoln County in Tennessee.
In the one short visit that the docent makes to the classroom, he/she is at once a
teacher, an entertainer, and a GOODWILL AMBASSADOR.
The Huntsville Symphony Orchestra Guild provides classroom teachers
background material for the total presentation that includes a CD with selections
from the music to be played at the Young People’s Concert. Symphony players
are scheduled to go into the classrooms with the docents to give the students a
hands-on introduction to the music. The orchestra members also familiarize the
students with their particular instrument and give a close up view of this orchestra
member. This project is funded in part by a grant with matching funds from the
Huntsville Symphony Orchestra Guild.
3
CHECKLIST FOR DOCENT
The school should be contacted in advance to set up the lecture time. Initial
contact with the school should be made prior to the HSOG’s orientation session.
A follow-up call should be made to the school a few days before the lecture is
scheduled to confirm that the school is ready for the presentation and confirm the
number of fourth grade students so that sufficient booklets for the students and
teachers can be provided. Many teachers prefer to be contacted by email.
Orchestra members used to go into the schools on a voluntary basis, but are now
paid to go into the schools with docents. This part of the Guild’s education
program started in 1997 when the Huntsville Symphony Orchestra Association
made money available for musicians to go into a few schools to complement the
docent’s presentation. The following year this was expanded by the award of a
grant with matching funds furnished by the Guild. This arrangement continues to
be available.
The musician (possibly more than one) is scheduled by the Huntsville Symphony
Office to go into the school. The musician should be prepared to talk about
his/her instrument, play it for demonstration, present composers and program,
play some of the themes, tell the different families of the orchestra, give
information about himself/herself, and take questions. The docent must
remember that many things can happen the day of the presentation sickness, traffic jams, etc. Therefore, the docent needs to be prepared on
these topics.
When contact is made with the school ascertain:
Length of time for lecture (suggest 45 min.)
Size of room where lecture will be
Number of classes and students in the 4th grade
How many classrooms may be comfortably accommodated at each
presentation
Address and directions to the school
When preparing to go to the school:
Count your booklets (one per student and teacher)
Take concert posters
Take instrument cards if the school does not have them
Take watch or clock
Take VBC bus route and time for your school
Take “Reminders for the Classroom Teacher” which is a separate piece of
paper from the manual to give to the teacher
Allow plenty of time to arrive early--at least 30 minutes. When you arrive at the
school, check in at the office. It would be nice for you to introduce yourself to the
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principal and, when you leave, to thank the principal for letting you come to the
school.
When you get to the classroom, introduce yourself to the teacher and go over the
“Reminder for the Classroom Teacher” with him/her.
Write the school a thank you note for letting you share your interest in our
orchestra and your love of music with them. Schools with addresses are listed in
the blue pages of the telephone book.
Students may be encouraged to write a thank you to the sponsors of this concert
and to the Huntsville Symphony. The addresses of the sponsors are listed in The
Student Booklet. The address of the HSO is P. O. Box 2400, Huntsville, AL
35804.
5
TEACHER CHECKLIST
Date and time for the concert______________________________.
The Conductor will announce the program; therefore, there will be no need for
the students to bring the booklets to the concert.
Have the students practice singing the "Star Spangled Banner" before attending
the concert. Be sure that they know the words to our national anthem.
Have students use water fountains and restrooms before getting on the bus, not
at the VBC.
Teachers and/or principals need to order the bus for their concert and confirm
which entrance to the VBC their school will use.
Each bus will be met at the VBC and the lead teacher will be given further
instructions.
Each seat on each row in the Concert Hall must be filled. No seat may be
skipped because of the number of students attending the concert.
Handicapped seating is reserved. Kits are available for the hearing impaired. Be
sure the school system is aware of these needs before the concert.
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SAMPLE SCRIPT FOR DOCENT'S INTRODUCTION
TO THE STUDENTS
I am delighted to be here today at (name of school) Elementary School to tell you
about the Huntsville Symphony Orchestra and to invite you to attend the Young
People's Concert presented by the Orchestra for all fourth grade students in
Huntsville and Madison County and surrounding counties. You will be going to
the concert at (day and time). (School scheduled for which concert should have
been available at the Guild Orientation Meeting.) You will be going by bus during
the school day.
This concert will be in the Concert Hall of the Von Braun Center. Have you been
there? (Most will have been to The Nutcracker in the Concert Hall in the third
grade. If you are at a school that did not go, it is good to talk a little bit about the
difference in the Concert Hall and the Arena, where most have been. This helps
emphasize better manners, better decorum.) Do you know where the name Von
Braun came from? Dr. Wernher von Braun, a noted German rocket scientist,
who was brought to the United States after World War II and worked in Huntsville
from 1950 -1971. You will notice his portrait hanging above the Concert Hall
steps as you enter.
As I have said, the Symphony puts this concert on for fourth graders only so
there will be over 2,000 fourth graders at your concert. The Symphony Orchestra
Association spends approximately $30,000 just to present this concert to you.
When you get into the Concert Hall you will see chairs and music stands
arranged on the large stage. There may be a few people sitting in the chairs
playing their instruments. Gradually all of the chairs will fill and you will hear a
cacophony of sound (that is a lot of different sounds that do not go together). No
two musicians will be playing the same thing. Some will be tuning their
instruments, some will be practicing passages of a piece that might be especially
difficult, and some might be limbering their fingers by playing before the concert
begins.
Suddenly they will all stop playing when a person holding a violin will stride to
center stage. This is the orchestra's concertmaster and first violinist. The
concertmaster will bow to the audience and you will clap. The concertmaster will
then turn to the orchestra and point to the oboe. The oboe player will play the
Note A, which is located above the note Middle C. All instruments will then play
an A until they are all in tune. The oboe maintains the truest sound. Heat and
humidity cause no noticeable difference in its sound. The entire orchestra listens
to the oboe note because that instrument has the least ability to change its
length, and consequently its pitch. The string players can tighten or loosen the
strings on their instruments, the wind players can pull or push parts of their horns
together to alter the length (and the pitch), but the oboe’s length is determined
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when the musician creates the instrument’s double reed. That's why the
orchestra tunes to the oboe. However, when an orchestral piece includes a solo
instrument (for instance, a piano), the orchestra tunes to that solo instrument's
note A instead of to the oboe.
After the orchestra is all in tune, the concertmaster will sit in the vacant chair to
the left of center stage. Now the conductor enters and will come to center stage
and bow. You will clap. The conductor will turn toward the orchestra, step up on
the podium, and pick up a baton. That is the signal that the concert will begin.
 Docent should next cover all points in the following CONCERT
MANNERS.
 Docent should cover the information in THE YOUNG ARTISTS
AUDITION, paragraphs one and three.
 If the docent wishes, this information may be enhanced with information
from CONCERTO.
 The final subject for the docent to cover is the Young Artists themselves.
A two or three sentence biography of the artists, their instrument, and the
piece the soloist will play at the concert this school will attend should be
covered. Especially emphasize how close in age the soloists are to the
fourth graders (Work hard and you, too, could be on this stage in a few
years!)
 Docent should cover these points using questions and involving students
in dialogue as much as possible.
 Docent should introduce the musicians by name and instrument.
This introduction in outline form is available as a handout at the HSOG
Orientation meeting.
8
CONCERT MANNERS
This concert is a formal concert. Come into the hall quietly and be seated before
the concert begins. This is not like a sports event, or a rock concert, or even a
movie. You don't get up to go to the restroom or to get refreshments. We do not
eat and drink or chew gum during the concert. Please disconnect electronic
signals on watches, pagers or cell phones before the performance begins. Out of
courtesy to your neighbor and the orchestra, you should not talk during the
performance. In a formal concert you give the performers your undivided
attention. You don't do anything that would distract the performers or the
audience. Sometimes the music gets very quiet; sometimes there are even
pauses in the music. No one would want to be talking, rattling paper, or even
coughing at that time. That is the reason for NOT taking the booklets you will be
given to the concert.
The concert is not quite an hour long, so everyone needs to remain seated
throughout the performance unless there is an emergency, in which case,
students must be accompanied by a teacher or chaperon. It is not difficult to
remain in your seat. You want to be as polite for the musicians as they are for
you. This is your opportunity to look while you listen.
The musicians will come on stage with their instruments before the concert
begins and rehearse parts of the music they will play. When the concertmaster
comes on stage, it is customary to applaud. The concertmaster will tune the
orchestra to a certain pitch, called “concert A (440 vibrations per second)” located
above Middle C. The conductor will come on stage. The audience will applaud
as a sign of welcome.
Clapping is important to a performer because it lets him/her know how much you
enjoyed the performance. Applause is your way of showing the performers your
appreciation. In a formal concert you have to know when to applaud. You may
notice several breaks in the music, enough to make you think the piece is over;
however, there are sections or movements of music between which you do not
applaud. It is better to watch the conductor. When the conductor lays the baton
down and/or puts his/her hands down, then that is a clue that the piece is over
and it is time to applaud
To help you listen...close your eyes, just let the music be all that you are focusing
on...then perhaps try watching...look at the conductor, see which instruments are
getting ready to play next, notice the body movements of the different instrument
players...notice how the bows of the strings are all going in the same
direction...notice who is turning the pages...feel the beat...is the music dying
away?...is the music building tension?...can you guess what is coming next?...
9
The Star Spangled Banner is our national anthem. When it is played by the
orchestra we all stand and sing, looking toward the American flag that is on the
stage. Be sure to practice singing it and memorize the words.
When the concert is over, everyone should remain seated until your school
makes its exit.
10
A SYMPHONY ORCHESTRA
A symphony orchestra is large and has all the instruments needed to play
symphonies. It doesn't march and it has a string section, thereby making it
different from a band. There are four major families of instruments: strings,
woodwinds, brass, and percussion.
Strings -- The largest family is made up of stringed instruments. Many of the
stringed instruments are several hundred years old. The stringed instruments
and the piano have remained unchanged since the 1700s. The sound of each of
these instruments is made by moving a bow across its strings or by plucking the
strings. The strings are made of gut or sometimes steel; the bows are slender
sticks strung with horsehair, which may be tightened by a screw at the end. The
string instruments are tuned by tightening or loosening the tuning pegs located at
the end of the narrow part of the instrument. Instruments in this family include
violin, viola, cello, bass, and harp. The harp has 47 strings, which are colorcoded, and seven foot pedals, which change the pitch. Other instruments, which
are usually played by themselves, are banjo, ukulele, mandolin, and guitar. In
classical music the strings are the backbone of the orchestra because they are
used throughout most compositions with only short interruptions. Generally, the
first violins play melody and the second violins play harmony.
Woodwinds -- The second family is grouped together because at one time they
were all made of wood. These instruments are called woodwinds, or winds.
Today they are also made of metal or plastic. Woodwinds produce tones when
air is blown through a tube either directly or past a vibrating reed. Covering holes
in the tube with the fingertips makes different notes. Air must be blown across
the hole in the tube of the flute to produce sound. The clarinet and saxophone
have a single reed which air makes vibrate against a slot in the mouthpiece. The
oboe, bassoon, and English horn are double reed instruments, which means they
have two thin pieces of reed, vibrating together when air is blown into them. Each
woodwind has its own tone color or timbre (rhymes with amber, meaning sound).
Brass -- All instruments in the brass family are made of brass and have long
tubes, or bores, with mouthpieces at one end and flaring bells at the other. They
produce sound when air is blown into the mouthpiece. Many brass instruments
have valves that serve to lengthen or shorten the tube, therefore lowering or
raising the pitch. The trombone has a slide instead of valves to lengthen the
tube, or bore. Other brass instruments are the trumpet, bugle, French horn,
baritone, and tuba. If the tuba were uncoiled it would be about 15 feet long. The
brass group is the "heavy artillery" of the orchestra and is used as a
reinforcement for the larger climaxes of sound. The brass section has different
pitch registers. The trumpets are the soprano brasses, horns are the alto or
tenor, the trombones are the tenor or baritones, and the tuba is the true bass.
Percussion -- The percussion family consists of instruments that are struck, or
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hit, to produce sound. Some of these instruments can be tuned to a specific
pitch; they are the kettledrums, or timpani, chimes, glockenspiel, marimbas,
tubular bells, and xylophones. Indefinite-pitch instruments include the rest of the
drum family, castanets, cymbals, gongs, tambourines, triangles, and many
others. The percussion instruments have changed in recent years because some
contemporary compositions require exotic instruments beyond the scope of the
percussionist’s collection. When unable to locate a comparable instrument, the
percussionist will craft it from various media including metal, wood, or gourds!
The percussion family gives rhythmic background and special tone color effects.
This group is fun to watch as well as to listen to. The percussion family can be
divided into another part or a fifth family, which is the keyboard instruments which
have keyboards connected with a mechanism for producing tones. The
harpsichord, piano, celesta, and organ are in this family. These next instruments
make a sixth family. They are the accordion, concertina, harmonica, bagpipe,
and ocarina. They produce a sound by various methods.
Facts in General -- Sound is caused when something moves back and forth in
quivering motions called vibrations. When an object vibrates, it makes the
surrounding air vibrate. When you listen to music you are hearing special kinds
of vibrations made by instruments. The speed of the vibrations determines the
sounds produced. A very slow vibration produces a low, deep sound while a
quick vibration produces a high shrill sound. The lowness or highness of a sound
is called pitch.
The instruments in the orchestra are built differently. The differences are in the
size, the material of which they are made, and the manner in which they are
played. The strings are the easiest examples of the principle that the larger the
instrument the lower the sound, the smaller the instrument the higher the sound.
Another example is the piccolo, which is half the length of the flute and is 2
octaves higher (15 notes). Each composition for the orchestra is scored (or
written) for different instruments; therefore, you notice some players are not
playing in all pieces. Orchestra members will leave the stage if they are not
needed for an entire piece. The composer who writes the music determines the
number of instruments needed. Musicians do not always play during the entire
composition, but never think that musicians are just sitting idly. They are
counting, 1 2 3 4, 2 2 3 4, 3 2 3 4, etc., so that they know the exact place in the
music at all times.
Recognition of the instrument playing at any given time is easier during a live
performance because you not only hear the instrument, but also can see it being
played. There is also the added thrill of seeing the players at their work--the
great body of violinists with arms and bows working in unison, the brass and
woodwinds making their entrances with precision and clarity, and the conductor
producing seeming magic by the slightest movements of the baton or hands.
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A SAMPLE SCORE USED BY THE CONDUCTOR
13
THE SEATING ARRANGEMENT OF THE
HUNTSVILLE SYMPHONY ORCHESTRA
The Orchestra may or may not be seated on stage according to the “Seating
Arrangement” picture in the student booklet and in our Docent Manual. Our
present conductor is experimenting with the placement of the instruments
according to the piece performed. He is also considering the acoustics of our
concert hall.
THE PLACEMENT OF THE INSTRUMENTS IS CHANGED BY THE
CONDUCTOR ACCORDING TO THE MUSIC BEING PLAYED.
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FACTS ABOUT THE HUNTSVILLE SYMPHONY
ORCHESTRA AND ITS PLAYERS
The Huntsville Symphony Orchestra had its beginning in 1955 under Dr. Arthur
Fraser, founding conductor. Forty players attended the first rehearsal. In 1959
Russell Gerhart became the first resident conductor. Upon his retirement in
1971, Dr. Marx Pales succeeded him. In 1989, Dr. Taavo Virkhaus became the
conductor. From 2003 to 2011, Carlos Miguel Prieto was our conductor. In May of
2011, Gregory Vajda became the Huntsville Symphony’s newest conductor.
The conductor chooses the music to be played, chooses the musicians by
audition each year, rehearses the orchestra, and conducts the orchestra during
the actual performance. He/she has a “full score” in front of him/her, which
contains all of the players’ parts. Sometimes he/she conducts without the score,
which means the entire score has been memorized. The conductor leads by
means of the baton, hand gestures, facial expressions, and body movements.
The concertmaster (man or woman) is the first violinist whose duties include
tuning the orchestra, marking the music for bowing for the strings, and being
available to help other orchestra members interpret the conductor’s instructions.
This position is obtained by audition.
The principle is the first chair orchestra member of each instrument section.
The principle plays most of the solos or leads for his/her instrument section. The
principle marks bowing and, if needed, writes in fingering and makes suggestions
to other players to solve technical problems. Principles are chosen by audition in
August before the concert season begins in September.
The players audition for their chair, or seating, in the orchestra. If there are 5
French horns, all 5 may or may not play the same notes; however, in the string
section usually all of the players in one section (for an example, all cellos) play
the same notes. Each orchestra piece is scored differently (for an example,
some music is scored for less than 5 horns) so it is not unusual to see symphony
players leave the stage and others return between pieces. There are several
rehearsals before each classical concert. Absences are reported to the
Symphony Manager.
The musicians come from all over Alabama and parts of Tennessee. Music is the
full-time occupation for many of the orchestra members. Most of the musicians
take lessons themselves during the year. There is an average of 82 players for a
formal classical concert by the HSO. Usually there are 64 players at the Young
People’s Concert.
15
The instruments for a Classical Concert are:
12 first violins
9 second violins
9 violas
9 cellos
7 string basses
46 strings in all
Sometimes 1 harp, or 2 harps,
3 percussionists, and 1 timpani
At times piano, celesta, harpsichord,
and organ are used
3 flutes, or 2 flutes, 1 piccolo
2 oboes
2 clarinets
2 bassoons
Sometimes an English horn,
bass clarinet, and/or contrabassoon
3 trumpets
3 trombones
5 French horns
1 tuba
With the exceptions of the percussion, timpani, and keyboard instrument players,
the musicians in our orchestra own their own instruments. The typical string
instrument costs about $20,000 to $30,000. There is an additional expense of
buying a bow, which can cost in the thousands of dollars range. The woodwinds
and brass instruments range in price from about $4,000 to over $12,000. Some
of the best bassoons cost about $20,000 or more. Good instruments can be
found in the low thousands of dollars, but most instruments are quite expensive.
Some concert artists have instruments that are valued in the million-dollar range.
A musician who plays a large instrument has an extra expense. He/she must
own a vehicle into which the instrument will fit. When a harpist, cellist, or string
bass player travels a great distance, he/she must buy a ticket for the instrument
as well as himself/herself because the instrument is too delicate to travel in a
baggage compartment.
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MUSIC
When we snap our fingers, tap our feet, clap our hands, hum, or sing a tune, we
are making music. When we turn on the radio, watch television, go shopping, go
to a baseball or football game, we hear music. We hear music every day and the
music can make us feel many different ways.
Music has been called a language of emotions, for music (like language) aims to
communicate meaning. It has a grammar, syntax, rhetoric, but it is a different
kind of language. Words are concrete; tone is fluid and intangible. A word taken
by itself has a fixed meaning; a tone in music assumes meaning only when it is in
association with other tones. Words convey specific ideas; music suggests
elusive states of mind. It will heighten our perception if we know something
about the elements of which music is composed. How do composers go about
organizing tones into patterns or forms?
1. MELODY
Melody is that part of music which has the most direct appeal. This is the part of
music that we remember and whistle and hum. A melody is a succession of
tones which has a particular arrangement. There are just 12 different tones and
7 alphabet letter names with which to work when composing music. We hear the
words of a sentence in relation to the thought as a whole. So we hear melody
tones in a relationship with each other within a pattern. Tones move up and
down --- they may skip, step, or repeat. They may move faster or slower in time.
This interaction of musical space and time emerges as the total unit which is
melody. The musical line guides our ear through a composition. Aaron Copland
said, "The melody is generally what the piece is about."
2. HARMONY
The tones that are not melody are classified as harmony. Melodies are usually
heard against a background of supporting tones which adds another dimension
--- depth. It gives richness and color along with weight and body to the musical
sound. Harmony is to music what perspective is to painting. It clarifies direction
and creates meaning. An example would be a singer and an accompanist.
3. RHYTHM and METER
Rhythm organizes and regulates the duration of the tones. Rhythm is the
element of music closely allied to body movement, to physical action. Rhythm
has been called the heartbeat of music. We hear rhythm in regular pulsations of
strong and weak beats. Tones are rhythm in regular pulsations of strong and
weak beats. Tones are organized into a pattern of musical time. Examples
would be: MY coun try 'TIS of thee = One two three, One two three (meter) and
TWIN kle TWIN kle LIT tle STAR = One two, One two, One two, One two
(meter).
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4. TEMPO
The flow of music in time involves three matters: meter, which organizes musical
time into measures; rhythm, which organizes time values within the measure; and
tempo, which determines the speed of the beats, their duration in actual time.
We respond to musical tempo physically and psychologically. Our pulse, our
breathing, our entire body adjusts to the rate of movement in music. Composers
use Italian words to indicate the pace. Largo, Lento, and Adagio are rather slow.
Moderato and Andante (ahn DON tay) are at a walking pace, while Allegretto,
Allegro and Presto are quite fast. These are only a few of the words that are
used to indicate a rate of speed as well as a mood. An example of this would be
-- a lullaby to put a baby to sleep -- not a RAP song!
5. TIMBRE (rhymes with amber)
This is the musical color. A tone produced by a trumpet will have a certain
quality; the same tone on a violin will sound quite differently. The difference lies in
the characteristic color (or timbre) of each instrument. An example might be our
voices. Why can we recognize a certain person on the telephone? -- by the
coloration of his/her voice. Amplification changes the sound or timbre of all
instruments. During the last few years advances in technology have produced a
wealth of electronic instruments and music written for them. The instruments in
the symphony orchestra are classified as acoustic instruments. Acoustic
instruments do not have power cords, nor are they amplified.
How these five essential elements of music are combined into a particular piece
is a work of art. In the early 1700s orchestras probably had around 20 players; in
the early 1800s there were 30 or so players; and in the modern orchestra there
could be more than a hundred players.
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STYLES OF “CLASSICAL” MUSIC
(The 5 Periods of Music History)
1. The Baroque Style of music was from 1600-1750, which was a time of
glittering royal courts in Europe. This music was often highly ornate and the
melodies were ornamented with trills and other embellishments. It was also
known for its use of counterpoint, which is the technique of interweaving two or
more melodies together that imitate and support each other. During this time the
men wore wigs and the colonization of America was taking place. Johann
Sebastian Bach was the most famous of all of the Baroque composers.
2. The Classical Style of music was from 1750 to around 1830. In this period
the American Revolution in 1776 and the French Revolution in 1789 were fought
and Thomas Jefferson and Napoleon were two important political figures. The
men still wore wigs and lace on formal occasions, the women curtsied and men
bowed as they politely danced the minuet. Music of this period was elegant,
balanced, proportioned, and melodic. These composers valued simplicity, thus
avoiding the fancy ornamentation of the previous period. Three major composers
of the classical period were Haydn, Mozart, and Beethoven.
3. The Romantic Style of music was from about 1830 -1910. Writers,
composers, and artists used their imaginations to highlight their feelings and
create their art based on legends, folk songs, and fanciful tales of romance. This
was in stark contrast to the balanced, formal writing of the classical period. The
instruments changed and they were capable of a much wider range of dynamics
and beautiful color effects. This was a time of industrial growth in Europe and
America; the United States fought the Civil War and Queen Victoria reigned over
the British Empire. Important Romantic composers were Tchaikovsky,
Schumann, Brahms, Liszt, and Chopin.
4. The Impressionistic Style was between the Romantic and Contemporary
periods of musical history, around 1890 -1910. This music has much to do with
color, imagination, rhythm, and whole tone and pentatonic scales. Two of the
most important composers of this period were Ravel and Debussy.
5. The Contemporary Style of music extends from 1900 to the present time. It
was the time of World War I, World War II, the development of the automobile,
the telephone, putting man on the moon, and the computer. The music is wide
and varied. Characteristics include dissonant harmonies, exciting rhythms, and a
wide range of dynamics. Composers experimented with different harmonies,
complex rhythms, percussive effects, and abrupt changes of mood. Some major
composers of this time were Bartok, Gershwin, Ives, Stravinsky, and Copland.
19
Popular Music includes folk music, jazz, rock, country, and music written for
musicals and motion pictures. Another classification of music is the sacred or
church music. Secular or popular music is generally much simpler than classical
music and few popular songs keep their appeal for many years. The music that
J. S. Bach wrote has survived over 300 years and is played often by young
musicians as well as by symphony orchestras. Jazz became popular around
1900 and is an important contribution from America. Technology has created
electronic equipment that can imitate sounds from traditional instruments such as
the violin, saxophone, organ, symphony orchestra, steel drums, and many other
combinations. The General MIDI (Musical Instrument Digital Interface) chart of
sounds numbers 128 different instruments. In today’s musical world the acoustic
and electronic instruments are used together according to the composers wishes.
20
WHY TEACH MUSIC?
I.
Music Is Science
It is exact, specific, and it demands exact acoustics. A conductor's full score is a
chart, a graph which indicates frequencies, intensities, volume changes, melody, and
harmony all at once and with the exact control of time.
II. Music Is Mathematical
It is rhythmically based on the subdivisions of time into fractions, which must be
done instantaneously, not worked out on paper, and often in multiple combinations
simultaneously.
III. Music Is A Foreign Language
Most of the terms are in Italian, German, or French. The notation is certainly not
in English, but a highly developed kind of shorthand that uses symbols to represent
ideas. The semantics of music is the most complete and universal language.
IV. Music Is History
Music usually reflects the environment and times of its creation and often even
the country and/or racial feelings.
V. Music Develops Insight and Demands Research
Patterns are analyzed, similarities and differences identified, and style and period
characteristics observed.
VI. Music Is Physical Education
It requires fantastic coordination of fingers, hands, arms, feet, lips, cheeks, and
facial muscles, in addition to extraordinary control of the diaphragmatic, back, stomach,
and chest muscles, which respond instantly to the sound the ear hears and the mind
interprets.
VII. Music Is All These Things -- but most of all, Music Is Art
It allows a human being to take all these dry, technically boring (but difficult)
techniques, and use them to create emotion. That is one thing science cannot duplicate:
humanism, feeling, and emotion -- call it what you will.
THIS IS WHY WE TEACH MUSIC!
Not because we expect you to major in music...
Not because we expect you to play or sing music all your life...
Not only so you can relax or just have fun...
BUT ...so you will be human
...so you will recognize beauty
...so you will be sensitive
...so you will have something to retain for enrichment
...so you will have more love, more compassion, more gentleness...in short, more
LIFE!
Of what value will it be to make a prosperous living unless you know how to live?
Reprinted by permission and this may explain why we volunteer as docents!
21
WHY WE TARGET THE 4TH GRADE
Copyright 1997, USA TODAY. Reprinted with Permission.
22
THE PROGRAM
The program may change each year. A paragraph will be written about each
piece to be performed at the Young People's Concert and this information will be
in the student booklet.
PROGRAM NOTES will include:
1. The name of the piece.
a. When was it written?
b. Why was it written? Perhaps for a certain occasion?
c. What is it about?
d. Does it tell a story?
e. What is the form or structure?
f. What is the mood or character (happy, sad, majestic)?
2. The name of the composer, the person who wrote the piece of music.
a. When did he/she live?
b. Where did he/she live?
c. A biographical sketch relating this time period to an
historical event (perhaps this composer lived
during George Washington's presidency, etc).
3. The Young Artist Winners – Biographical Information
a. Age
b. School
c. Teacher
d. Length of study
e. Number of instruments played
f. Honors and activities
* Pronunciation guidelines for the Composers and the Music will be included.
23
THE COST
(FOR YOUR INFORMATION)
The Young People's Concerts are presented for city and county students at great
cost to the Orchestra Association. The Von Braun Center has to be rented for
the performances and rehearsals, the music from which the players play must be
rented, and the players and conductor have to be paid. The musicians are paid
for each individual rehearsal and performance. The number of players and the
number of instruments vary with each piece of music. The cost of hiring these
musicians is around $20,000 for each concert. Certain pieces require more
instruments; therefore, the cost will be more. In addition the concert hall must be
rented and security personnel must be hired for each rehearsal and concert.
These expenses round out to about $30,000 to put on this concert for fourth
graders. {Dues are paid to the composers' union, ASCAP, and the broadcasters
union, BMI, yearly. These dues pay for the right to use the music played and are
based on a percentage of the orchestra's annual budget. A program of every one
of the orchestra’s concerts is sent to ASCAP.}
Musical scores are expensive to rent. Although our orchestra owns some
orchestral scores, it is more practical to rent them. All music written in modern
times has been copyrighted. The first copyright law in the United States was
enacted in 1790. There are now international copyright laws. Copyright laws are
complicated. The United States has passed several laws since 1950 that change
the length of a copyright. Currently, a creator holding a copyright as of January
1, 1978 has the copyright for life plus fifty years.
To play a Beethoven or Mozart work will cost about $1,000 for rental of the
musical score, but to play a popular piece written recently would cost several
thousand dollars for rental of the music alone.
Another factor is the VOLUNTEER time. This time is unpaid and given freely by
people who love music. Volunteers serve as docents and ushers. Other
volunteer efforts produce the student booklets, compile the docents' manuals,
coordinate the Young Artists Audition, sponsor the art contest for the student
booklets, and handle publicity donated by local radio, TV, and newspapers. More
than 700 volunteer hours are required for these activities to support the Young
People's Concerts. The list below is an estimate by category of this volunteer
time.
Preparation of Docent Manual
30 hours
Young Artist Audition Time
20 hours
Preparation for Orientation
80 hours
Orientation Meeting 40-45 people x 2 hours
90 hours
Trip to school -- 1 ½ hours for 1 lecture
2 ½ hours for 2 lectures at 1 school
110 hours
Preparation to lecture in school
4 hours per lecturer
160 hours
Ushers at concerts, 30 for 8 hours
240 hours
TOTAL-----------------------------------------------------------------------------------730 HOURS
24
THE YOUNG ARTISTS AUDITION
This event is scheduled for a Saturday in the Fall before the concert. Music
students who live in this area and are of elementary through high school age are
eligible to enter this audition. A movement from a concerto is committed to
memory and performed for qualified judges. A concerto is a piece of music
written for a solo instrument and the symphony orchestra. Each contestant is
responsible for securing his/her accompanist and extra scores are given to the
judges for this audition.
An application form and a list of rules is available at www.hso.org (click on YAA
link) or by calling the Huntsville Symphony Office at 256.539.4818. There is a
listing of approved repertoire from which to choose the audition piece. If the
piece is not on this list, the Symphony Conductor must approve the piece before
the audition. The pieces performed are usually between 6 and 12 minutes in
length.
Out of town judges choose several Finalists at this audition. These students
perform at a Winners’ Recital soon after the audition. The Winners, who will
perform at the Young Peoples Concert, are chosen by the conductor and other
judges.
The main prize is the honor of performing with an orchestra instead of performing
with a piano accompanist who plays an orchestral reduction. Each Finalist
receives a cash award at the Winners’ Recital and the Young Artist Winners
receive yet another cash award at the Young Peoples Concert.
25
CONCERTO
The Huntsville Symphony Orchestra's Young Artist Winners perform a movement
of a concerto at the Young People's Concert. The information about the concerti
(concerto is singular and concerti is plural) to be performed is provided in the
Program Notes and is an insert in this docent manual.
The concerto is a large-scale work in several movements for solo instrument and
orchestra. The attention is focused upon the solo performer. Most concerti are in
three movements, but our Young Artists will play only one movement, which will
last approximately 6 -12 minutes. There is usually an introduction by the
orchestra, followed by the soloist playing alone, and then there are times when
the soloist and the orchestra play separately and together.
The form is usually called a Sonata-allegro form which has certain elements:
Exposition, Development, and Recapitulation, followed by a Cadenza (a solo
passage without the orchestra) which is the opportunity for the soloist to "show
off ” his/her technical virtuosity. This cadenza should sound improvised and
spontaneous. There may be trills (two fast repeated notes -- ededededcdc),
arpeggios (broken chords), and fast passagework. The cadenza is written for the
end of the piece in a Classical concerto. In some Romantic and/or Contemporary
concerti the cadenza could be in the middle or at the end of the piece. The
orchestra usually concludes the piece with a short closing statement. A cadenza
can be written for any instrument -- harmonica, drum, harp, oboe. If a particular
orchestra player gets to play a solo in the middle of a large work -- that is a
cadenza!
We might compare a concerto to a book -- it has a beginning, a plot,
development of the plot, and a conclusion with a purpose to us the reader. Music
is written in phrases, paragraphs, and sections. Composers agonize over their
writing by writing, re-writing, editing, and finally, after much hard work, they
produce a finished, completed piece.
26
VOCABULARY
APPLAUSE - handclapping by people expressing approval
AUDIENCE - the people who attend a concert to listen and enjoy
AUDITION - a trial performance to test the ability of the prospective performer
BATON - the stick used by the conductor to direct the ensemble
BOW (rhymes with no) – a piece of wood with horsehair stretched between its
ends used for playing the violin, viola, cello, and string bass
BOW (rhymes with now) - bending the body and head in greeting the audience
CACOPHONY - harsh, discordant sounds
CADENZA (kuh DEN za) - a solo passage in the style of a brilliant improvisation,
giving the performer an opportunity to exhibit technical skill
CELESTA (che LES ta) - a keyboard instrument resembling a small upright
piano, with the hammers striking small steel bars
CODA - the concluding passage to heighten the impression of finality
COMPOSER - the person who writes the music
CONCERTMASTER - the first violinist
CONDUCTOR - the person who directs the orchestra
COUNTERPOINT - music consisting of two or more melodies sounding
simultaneously
CRESCENDO (cre SHIN dough) - gradually getting louder
CUE - a signal from the conductor to the orchestra to do something
DIMINUENDO (dee min u EN dough) - gradually getting softer
DYNAMICS - louds and softs in music indicated in Italian words by the composer
FAMILIES OF INSTRUMENTS
Brass = French horns, trumpets, tuba, trombone
Percussion = timpani (TEMP uh nee), bass drum, snare drum, cymbals,
chimes, piano, harp, celesta, triangle
Strings = violins, violas (vee OH las), cellos (CHEL los), string basses, or
double basses
Woodwinds = flutes, oboes, clarinets, bassoons
FIRST CHAIR - the principle of that group of instruments
FORTE (FOR tay) - a dynamic indication for loud
HARMONY - a vertical succession of musical tones
MELODY - a horizontal succession of musical tones
MOVEMENT - a general term for single pieces forming part of a whole
(such as a Symphony has 3 or 4 movements, or parts) which
may be played separately or all together
OPERA - a drama or play in which the text is sung rather than spoken
ORCHESTRA - a large ensemble of instrumentalists
PIANO - a dynamic indication for soft, or quiet (also a keyboard instrument)
PITCH - the high-low quality of a musical sound, which is determined by the
number of vibrations per second ... USA standard concert A is 440
vibrations per second for the A above middle C
PIZZACATO (pits uh KAH toe) - plucking a string instrument with the fingers
27
PODIUM - the platform where the conductor stands to conduct
RHYTHM - everything pertaining to the duration of sound (long - short)
RITARDANDO (ree tar DAHN dough) - gradually get slower
RONDO - a musical form used for the last movement of sonatas and
symphonies, which is A B A C A, and usually played quite fast
SCORE - the written music, includes parts for all instruments
SOLO - any performance for one person alone
SYMPHONY - a long musical composition for a full orchestra
TEMPO - the rate of speed
TEXTURE - the combination of the horizontal and vertical relationship of tones,
a comparison would be to woven fabric (thick - thin)
TIMBRE (rhymes with amber) - tone color (compare the sound of a flute to a
violin)
VIBRATO (vuh BRA toe) - a shaking motion to create a minute fluctuation of
pitch
28
GAMES
These are suggestions of activities to use during the presentation to the students.
Use your own discretion as to what you'll use and how you want to present it.
There are 2 copies of the game Instrument Bingo, which are owned by the
HSOG, and these games may be checked out at the Orientation meeting.
Be a CONDUCTOR!
Listen to several kinds of music -- a waltz, a march, a slow atmospheric selection,
and/or a percussive, rhythmic piece. Discuss the different moods and emotions
expressed. Ask the students to clap the strong beat and snap the weaker beats.
An example would be a waltz -- clap, snap, snap, for strong, weak, weak.
Students can learn about the downbeat -- a strong downward motion with the
arm, an upward motion for weaker beats. You might want to discuss down beats
and up beats. An example would be: "My Country 'Tis Of Thee" and "Jingle
Bells" -- these pieces begin on a definite down beat; "The Star Spangled Banner"
-- this piece begins on an up beat, as does the song, "Happy Birthday."
MY coun try TIS of thee SWEET land of LIB er ty
JIN gle bells JIN gle bells JIN gle all the WAY
Hap py BIRTH day to YOU Hap py BIRTH day to YOU
O--Oh SAY can you SEE by the DAWN'S early LIGHT
INSTRUMENT IDENTIFICATION
A cassette tape recorder is necessary for this activity. Instrument Bingo can be
played without the "bingo cards" by asking the students to raise their hands when
they think they can identify the instrument being played. Play an example -- stop
the tape -- call on a student for the answer, or divide the class into 2 groups or
teams and keep score as to which team can come up with the most correct
answers. Possibly, take a box of "stickers" for the winning team to select one as
they leave for their "prize." With small groups play the "bingo" game and the first
one to win receives a prize.
29
INSTRUMENT MIX-UP
Write the letter of the instrument on the line after the
mixed-up word that matches it.
Answers
1. utriga
_____ A. violin
1. D
2. aponi
_____B. piano
2. B
3. lolce
_____C. oboe
3. K
4. copolci
_____D. guitar
4. O
5. teful
_____E. harp
5. H
6. nivoli
_____F. organ
6. A
7. shicem
_____G. viola
7. J
8. slebl
_____H. flute
8. L
9. eboo
_____I. tuba
9. C
10. momtot
_____J. chimes
10. M
11. grano
_____K. cello
11. F
12. remtupt
_____L. bells
12. N
13. ovial
_____M. tom tom
13. G
14. prah
_____N. trumpet
14. E
15. batu
_____O. piccolo
15. I
ANOTHER IDEA FOR A GAME – Fill drinking glasses with different levels of
water and tap them with a pencil. Do you hear the different notes (tones)?
30
TRUE or FALSE
_____1. Instruments produce different sounds because they are built differently.
_____2. There are two main families of instruments in the orchestra.
_____3. Pitch is the lowness or highness caused by vibrations.
_____4. Sounds made by instruments are caused by vibrations.
_____5. The size of an instrument affects its sound.
_____6. All instruments are played in the same way.
_____7. Each instrument has its own musical sound.
_____8. All instruments produce the same pitch.
_____9. Slow vibrations produce high sounds.
_____10. The kettle drum or timpani can be tuned.
PLACE THE LETTER OF THE CORRECT FAMILY OF INSTRUMENTS IN THE
BLANK BEFORE THE STATEMENT THAT DESCRIBES IT. Some letters may
be used more than once.
A. strings
B. woodwinds
C. brass
D. percussion
_____1. Produce sound by blowing air into them.
_____2. Are made of metal.
_____3. Produce sound by plucking
_____4. May be made of plastic.
_____5. Produce sound by hitting
_____6. Were all made of wood at one time.
_____7. Produce sound by scraping.
This could be done after attending the Young People’s Concert.
31
ARRANGE THE FOLLOWING PHRASES IN THE ORDER IN WHICH THEY
HAPPEN. Write the correct number in each blank.
_____a. The concertmaster signals the orchestra to tune.
_____b. The audience applauds.
_____c. The conductor raises his baton.
_____d. Musicians respond.
_____e. The conductor bows.
_____f. The orchestra tunes.
_____g. The hall is filled with music.
_____h. Music lovers arrive at the concert hall.
_____i. The oboe player sounds concert A.
_____j. The conductor steps onto the podium.
_____k. The conductor brings his arm down.
_____l. The musicians wait for the conductor.
_____m. The people are shown to their seats.
_____n. The musicians warm up.
32
ANSWER SHEET FOR DOCENTS
True or False (page 31)
1. True
2. False
3. True
4. True
5. True
6. False
7. True
8. False
9. False
10. True
Place the letter of the correct family of instruments in the blank …(page 31)
1.
2.
3.
4.
5.
6.
7.
B and C
B and C
A
B
D
B
A
Arrange the following phrases in order – after the concert…(page 32)
a.
b.
c.
d.
e.
f.
g.
h.
i.
j.
k.
l.
m.
n.
4
13
9
10
14
6
11
1
5
8
12
7
2
3
.
33
THE ART CONTEST FOR THE STUDENT
BOOKLET
Each year a contest is held to select art work to be included in the student
booklet which is given to each fourth grader and each fourth grade teacher when
the docent goes to the school.
The First Placed Winner’s artwork appears on the cover of the student booklets.
The 2nd, 3rd, 4th, and 5th place winners’ artwork is on the inside pages of the
student booklet. Four honorable mention winners are selected also.
In the Fall the HSOG's Education Committee sends information on the Young
People's Concerts and the art contest to the schools that are invited to the
concert. This information is distributed by the elementary school principals to the
fourth grade teachers.
All fourth grade students are eligible to enter. They are asked to render a
drawing depicting a symphony orchestra or a drawing with a musical theme.
Each entry must be drawn in black on an 8½”x11" sheet of white paper.
The deadline for entries is stated in the information given to the fourth grade
teachers. Winners are notified through the heads of instruction and the
principals. The entries are not returned. Art winners are recognized and given
rewards at the concert.
34
USHERS AT YOUNG PEOPLE'S CONCERT
The Symphony Guild provides approximately 30 ushers for each of the Young
People's Concerts. The Ushers guide the students to and from the Concert Hall
of the VBC.
Ushers are hostesses. They are the "front line." They are patient and cheerful
with each group. They elicit enthusiasm for and add graciousness to the concert.
It is important to set an example during the concert of listening carefully to the
concert.
Before the concert VBC security goes over emergency procedures. The ushers
remain on duty at portal doors during the Young People's Concerts. As a bonus
for those who volunteer to usher for both concerts on one day, lunch is provided
by the Guild to those ushers.
HSOG'S INSTRUMENT COLLECTION
The Symphony Guild has a collection of instruments used in symphonic music.
The purpose of this collection is to give children a hands-on experience with
symphonic musical instruments.
The slogan for this collection is "Strike or Blow...Pluck or Bow." All four families
of instruments are well represented.
Check with HSOG Instrument Collection Chairman about using these
instruments.
The instrument collection was started in 1986 by donations and was first used at
Panoply in 1987. This has been a star attraction at Panoply each year. There is
great demand for making a sound on every one of these instruments. This
creates a need for many volunteers, so all who wish may "Strike or Blow...Pluck
or Bow."
35

docent manual - Huntsville Symphony Orchestra

Transcription

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