What makes music, - North Carolina Symphony

Transcription

2014/15
What makes music,
music?
Made possible by
2014/15 TEACHER WORKBOOK
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1
NORTH CAROLINA SYMPHONY EDUCATION SUPPORTERS
These concerts are made possible by a generous grant-in-aid from the State of North Carolina,
the Honorable Pat McCrory, Governor; the Honorable Susan Kluttz, Secretary N.C. Department of Cultural Resources
Table of Contents
Letter from Sarah Gilpin2
Director of Education, North Carolina Symphony
Education Sustainers
($100,000+)
Information about the 2014/15 Education Concert Program3
Education Benefactors
($50,000+)
Education Patrons
($10,000+)
Education Programs of the North Carolina Symphony4
Author Biographies6
The Bastian Family Charitable Foundation; William C. Ethridge Foundation; A. J. Fletcher Foundation;
Ann and Gordon Getty Foundation; Robert P. Holding Foundation, Inc.; The Thomas S. Kenan Foundation, Inc.;
William R. Kenan, Jr. Charitable Trust; The McLean Foundation; John William Pope Foundation
Education Partners ($1,000+)
Alamance County
APPlause! K-12 Performing Arts Series (ASU)
Arts Council of Fayetteville and Cumberland County
Bank of America
The Harold H. Bate Foundation
Bell Family Foundation
Big Rock Foundation
The Borden Fund, Inc.
R. A. Bryan Foundation
Thomas B. and Robertha K. Coleman Foundation
Craven County Community Foundation
Edna Williams Curl & Myron R. Curl
Charitable Fund of the Cumberland County
Community Foundation
Dr. Albert Joseph Diab Foundation
The Dickson Foundation
Dominion North Carolina Power
Enterprise Holdings Foundation
The T.H. Maren and S.K. Fellner Fund
of the Triangle Community Foundation
Foster Family Fund
George Foundation
Gipson Family Foundation
Iredell County Community Foundation
Jones County Arts Council
Kinston Community Council for the Arts
The Kyser Foundation
The Landfall Foundation, Inc.
Morgan Stanley Foundation
Orange County Arts Commission
Poole Family Foundation
Prescott Family Foundation
The Florence Rogers Charitable Trust
The Rolander Family Foundation
E.T. Rollins, Jr. and Frances P. Rollins Foundation
Salisbury Symphony
The Norman and Rose S. Shamberg Foundation
The Shore Fund
Silverback Foundation
Simple Gifts Foundation
The Eddie and Jo Allison Smith Family
Foundation, Inc.
Southern Bank Foundation
SunTrust Foundation
The Travelers Companies, Inc.
WCPE Education Fund
Youths’ Friends Association
Music Education Endowment Funds
The Ruby and Raymond A. Bryan Foundation Fund
The Mary Whiting Ewing
Charitable Foundation Fund
The Hulka Ensemble and Chamber Music
Programs Fund
The Janirve Foundation Fund
The Elaine Tayloe Kirkland Fund
The Ina Mae and Rex G. Powell Wake County
Music Education Fund
School System Supporters
Carteret County Schools
Cumberland County Schools
Edgecombe County Schools
Harnett County Schools
Lee County Schools
Lincoln County Schools
Martin County Schools
New Hanover County Schools
Sampson County Schools
Wake County Public Schools
Wilson County Schools
Supporters are current as of June 2014
Aram Khachaturian (1903–1978)7
Galop from Masquerade Suite
Claude Debussy (1862–1918)12
Nuages from Nocturnes
Franz Joseph Haydn (1732–1809)24
Symphony No. 94 in G Major, “Surprise”
Mvt. II. Andante
Léo Delibes (1836–1891)29
Entr’acte and Waltz from Coppélia
Sergei Prokofiev (1891–1953)33
Classical Symphony, Op. 25 [Symphony No. 1]
Mvt. II. Larghetto
Scott Joplin/ arr. Gunther Schuller (1868–1917)40
Maple Leaf Rag from The Red Back Book
Traditional/ arr. Terry Mizesko (b. 1946)53
“When Johnny Comes Marching Home”
Johannes Brahms (1833–1897)57
Academic Festival Overture, Op. 80
Authors: Melissa Poraczky, Sue Reynolds, Jenni Sonstroem, Wynette Wilson
Design: Jennifer Blackman, Graphic Designer, North Carolina Symphony
Editors:Sarah Gilpin, Director of Education, North Carolina Symphony
Amy Russell, Artistic Administrator, North Carolina Symphony
Natalia Perez, Education Intern, North Carolina Symphony
Additional Classroom Resources60
“Your Elephant, The Orchestra” A story by Jackson Parkhurst, to be read in the classroom before your concert
64
North Carolina Symphony, 3700 Glenwood Avenue., Suite 130, Raleigh, NC 27612, 919.733.2750, toll free 877.627.6724
www.ncsymphony.org/educationprograms
Bibliography and Selected Sources
66
Sarah Gilpin, Director of Education: sgilpin@ncsymphony.org or 919.789.5461
Selections are listed in program order.
North Carolina Symphony Student and Teacher Handbook © 2014 by North Carolina Symphony Society, Inc.
Reproduction of this book in its entirety is strictly prohibited.
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Information about the
2014/15 Education Concert Program
Dear Friends and Colleagues,
Welcome to the 2014/15 North Carolina Symphony teacher workbook! Thank you to the authors of this year’s materials,
who contributed countless hours of their time during the busiest part of the year in order to make these curriculumbased materials such a valuable resource to teachers statewide: Melissa Poraczky of Cumberland County Public Schools
and Sue Reynolds, Jenni Sonstroem and Wynette Wilson of Wake County Public Schools.
This year’s concert program has been designed to serve as inspiration for your students as many attend their first full
orchestra concert and continue to develop a lifelong love of orchestral music. Works by Khachaturian, Debussy, Haydn,
Delibes, Prokofiev, Joplin and Brahms will be featured as students learn “What Makes Music…Music?” Of special note is
this year’s melody feature, “When Johnny Comes Marching Home”, commemorating the 150th anniversary of the end of
the Civil War. The resources in the following pages have been crafted to help teach the concepts of texture, dynamics,
tempo, form, rhythm and melody as they relate to these pieces.
Each year, the North Carolina Symphony strives to educate, engage, and inspire students who will one day create the
future North Carolina. In order to ensure that we are continually reaching these high standards, we ask that you and
your students provide us with feedback. Please take a moment to locate the (fun!) assessment on page 61. Have your
students fill it out, and either mail or scan/email it back so that we can continue to improve our programs and continue
to meet the needs of you and your students.
Thank you for all that you do to enrich the lives of students across North Carolina.
Sincerely,
Sarah Gilpin
Director of Education, North Carolina Symphony
Education Concert Workshop
Playing on Recorders
The best way to prepare for your concert is to attend the
Education Concert Workshop each August. This six-hour
workshop features presentations by the authors of the
student and teacher handbooks. There you will see each
activity and lesson plan from the books presented by
the authors, their students and other participating
educators. For your registration fee of $30.00, you will
receive a copy of both handbooks, a CD of the concert
program and printouts of all PowerPoint presentations
in addition to free access to the online workshop. You
will also be treated to lunch. All who participate will also
receive a certificate that they can use to obtain 0.5 CEU
credit from their district. This year’s workshop takes
place on Thursday, August 14, 2014, from 9:00 am–
3:00 pm at Fletcher Opera Theater in the Duke Energy
Center for the Performing Arts, Raleigh, N.C.
At your concert, you may notice other groups playing
the song on recorders. Playing the song “When Johnny
Comes Marching Home” on recorder is an opportunity
we extend to all school groups that attend and is
completely optional. If you are planning to have a
student group perform on instruments, here are a few
things to know:
If you are unable to attend the workshop in August,
you can view it online. The North Carolina Symphony
Education Concert Workshop will be videotaped and
made available on a private classroom site. To download
these videos you must register, after which you will be
sent the same materials as all of the workshop participants
and be given a unique username and password to log in
to the classroom site. Upon completion of your online
workshop you will be issued a certificate that can be
used to obtain 0.5 CEU credit from your district. The
cost of registration is just $30.00. You can access these
resources anytime throughout the school year. Visit
http://www.ncsymphony.org/education/education.
cfm?ssid=4&sid=1.
•Please let North Carolina Symphony Education staff
members know before your concert if you plan to
perform on recorder. Please contact Sarah Gilpin,
Director of Education, at sgilpin@ncsymphony.org or
919.789.5461 or ask whomever is coordinating your
concert trip to do so. Performing groups will be seated
in a special section and acknowledged from the stage,
so it is critical that we know you are preparing to play.
•Schools will play on their own, unless you make
arrangements with another school to perform together.
•We may have too many individual groups performing
on instruments at one concert, in which case you may
be asked to perform with another school.
•Any groups performing on recorders will do so before
the full orchestra plays “When Johnny Comes Home.”
•This opportunity is open to other instruments such as
violins, Orff instruments, boomwhackers, etc.
•Please remind your students, whether they are
performing or not, to be courteous and respectful of
other students’ performances at their concert.
“When Johnny Comes Marching Home”
Contact the North Carolina Symphony Education Department
Sarah Gilpin
3700 Glenwood Ave., Suite 130
Director of Education
Raleigh, NC 27612
North Carolina Symphony
919.789.5461 Office
919.781.6066 Fax
sgilpin@ncsymphony.org
Recordings of the Education Concert Program
Recordings of the pieces heard on the Education Concert Program will be available for CD purchase by teachers for
classroom use on the North Carolina Symphony Education website: www.ncsymphony.org/educationprograms.
2•
NORTH CAROLINA SYMPHONY
At your concert, the conductor will ask everyone to
stand and sing “When Johnny Comes Marching Home”
with the orchestra. He or she will cue the students after
a brief introduction, when it is time to start singing.
Although we encourage students to memorize the
lyrics, we understand that this is not always possible.
At your discretion, decide whether or not to bring song
sheets or books from which your students can read.
If you do choose to bring the lyrics, please be sure
students take with them all materials they bring into the
auditorium as a courtesy to our venues’ clean-up crews.
And remember, it’s a treat for our orchestra and
conductors to hear your students singing. Your students
should be encouraged to sing loudly so our musicians
can hear them!
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Education Programs Overview
Programs for preschool
students and teachers
Programs for middle, high, and
collegiate students and teachers
NORTH CAROLINA SYMPHONY MUSIC DISCOVERY:
In partnership with PNC’s Grow Up Great Initiative,
North Carolina Symphony Music Discovery provides
educational and artistic activities with a focus on
symphony, to pre-school age children in Raleigh,
Fayetteville, Southern Pines, New Bern, and Wilmington.
This program seeks to broaden the experiences of
young children in ways that will last their lifetime.
FRIDAY FAVORITES CONCERTS: This Friday afternoon
concert series is perfect for young adult audiences.
These 60-minute performances feature great classical
music in a fun and informal setting. Discounted student
group rates will be offered with pre-registration.
Programs for elementary school
students and teachers
OPEN DRESS REHEARSALS: Middle school, high school
and college students are invited to orchestra open dress
rehearsals where they will have the opportunity to
observe the North Carolina Symphony at work.
Conductors and artists meet with students during the
break for an interactive Q&A session.
EDUCATION CONCERT WORKSHOP: Offering an
annual teacher training workshop in Raleigh and
supplemental classroom resources for teachers through
the North Carolina Symphony website. The Symphony’s
professional development programs and resources aim
to address North Carolina curriculum standards in
education, offer best practices in the classroom and
discuss important issues facing music educators in our
state. The education workshop is also available for video
download on the North Carolina Symphony website.
Competitions and Awards
ONLINE RESOURCES: Interactive website pages are
dedicated to the North Carolina Symphony’s Education
programs. Here, teachers can reserve seats for their
education concert or open dress rehearsal experience,
order resource materials online or even participate in
professional development activities for credit. Visit
http://www.ncsymphony.org/education/education.
cfm?ssid=2&sid=1.
INSTRUMENT ZOOS: A hands-on activity where
musicians demonstrate instruments and give children
the opportunity to try them out. Instrument Zoos are
held one hour prior to Young People’s Concerts and
select Summerfest concerts and can also be scheduled
for private educational or community-based events.
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OVATIONS: 30-minute recitals given by local young
artists and chamber ensembles in advance of Classical
Series concerts in Raleigh, Chapel Hill and Southern Pines.
MAXINE SWALIN AWARD FOR OUTSTANDING MUSIC
EDUCATOR: An award and $1,000 cash prize is given
annually in honor of Maxine Swalin to an outstanding
music teacher in North Carolina who makes a lasting
difference in the lives of students of all backgrounds,
positively affects his or her community in a lasting way
and is a role model among music educators. Individuals
are nominated by their peers and colleagues who write
letters of support on their behalf.
Phantoms
of the Orchestra
Sat, Nov 1, 2014 | 1pm & 4pm
MEYMANDI CONCERT HALL, RALEIGH
Designed for families and children
ages 4-12, these concerts are a perfect
introduction to an essential art form,
including the chance to try out many
of our instruments.
Peter and the Wolf
Sat, Jan 3, 2015 | 1pm & 4pm
KATHLEEN PRICE AND JOSEPH M. BRYAN YOUTH
CONCERTO COMPETITION: An annual competition
open to musicians between the ages of ten and twentyone in both junior and senior divisions with a cash prize
awarded to the first and second place winners in each
division. The first place winner of the senior division will
be offered an opportunity to perform his or her
concerto movement with the North Carolina Symphony
in an upcoming season. Nearly 100 students audition
annually.
YOUNG STRINGS OF THE TRIANGLE: Provides free
private string lessons for economically disadvantaged
string players. Students are partnered with North
Carolina Symphony musicians and community teachers
for private instruction and mentorship. Program
participants have access to the breadth of educational
activities of the orchestra, including free access to most
Classical Series performances and special concerts.
For more information about the education programs of the
North Carolina Symphony, please visit our website at www.
ncsymphony.org/educationprograms, or contact Sarah
Gilpin, Director of Education, at sgilpin@ncsymphony.org.
YOUNG PEOPLE’S
CONCERTS
MASTER CLASSES: Young instrumentalists perform and
are coached by visiting guest artists. Artists such as Leila
Josefowicz, violin; Yo-Yo Ma, cello; Alexander
Mickelthwate, conductor; Zuill Bailey, cello; Noriko
Ogawa, piano; Catrin Finch, harp; and Johannes Moser,
cello, have recently given classes.
EDUCATION CONCERTS: Approximately 45 fullorchestra concerts given annually throughout the state
to audiences of third through fifth grades. Printed
materials with a specifically designed curriculum for the
music education program are given to teachers at the
start of each school year.
ENSEMBLES IN THE SCHOOLS: An in-school program
that brings North Carolina Symphony small ensembles
into classrooms for an intimate learning experience. A
string quartet and woodwind quintet are available for
booking. Our musicians teach the elements of music
and listening through this interactive program.
Performances can be adapted for grade levels K-12.
Community programs and
education partnerships
Mozart’s
Magnificent Voyage
Sat, Mar 7, 2015 | 1pm & 4pm
Series Sponsor
SUN, MAR 8, 2015 | 3PM
Riverfront Convention Center, New Bern
Tickets
just $23
!
New Bern: The Thomas B. and
Robertha K. Coleman Foundation
ncsymphony.org | 919.733.2750 | 877.627.6724
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Author Biographies
Jenni Sonstroem, Laurel Park Elementary School,
Wake County Public Schools, Apex, N.C.
Melissa Poraczky, Grey’s Creek Elementary School,
Cumberland County Public Schools, Hope Mills, N.C.
Jenni Sonstroem has been teaching music in North
Carolina since 1999. Jenni graduated from the University
of North Carolina at Greensboro with a Bachelor of Music
in Jazz Piano Performance. After graduation, she traveled
to Mali, West Africa, to study the traditional African
instruments djembe and balafon with Malian master
musicians. She taught for three years at Rainbow Mountain
Children’s School in Asheville, N.C. and was an active jazz
musician, performing regularly at the Biltmore Inn as well
as traveling throughout the East Coast/Southeastern U.S.
with other musicians. She earned her Master of Music in
Jazz Piano Performance and teaching certification from
East Carolina University. Jenni taught middle school and
primary school general music in Greenville, N.C., for four
years. While teaching in Pitt County, she began grantwriting, facilitated music education workshops, and also
served on the Textbook Adoption Committee. In 2008, she
moved to Wake County to establish the music program at
Laurel Park Elementary. She is certified in World Music
Drumming and received her National Board Certification
in Early and Middle Childhood vocal music in 2009. Jenni
has presented World Music Drumming, SMART Board, and
Marketing and Fundraising workshops for educators in
Wake County, and has been the United Arts Council
representative at her school. In 2012, she received a Bright
Ideas grant and certification for her school’s Yamaha Music
in Education (MIE) program. Her school was featured on
Wake County Public Schools social media outlets and in
the News and Observer publication for their Yamaha MIE/
music technology/piano keyboard program and was
chosen for WNCN’s “Cool School of the Day” in May 2014.
She continues to collaborate with local musicians and
music educators to bring the rich resources of her
community to her students as often as she can.
Melissa Poraczky currently teaches elementary general
music. She was born and raised in Pennsylvania before
moving to Georgia after college graduation. She received
her Bachelor of Science in Music Education from West
Chester University in West Chester, Pa. In Georgia she
taught preschool for several years before moving to North
Carolina to teach her current love, elementary music. While
teaching in North Carolina she was a Teacher Assistant in
2nd grade and part-time middle and high school chorus
director before landing her first full time music teaching
position. Her current school is in the VIF passport program,
which means that each grade level has a different area of
geographical focus and a teacher from that section of the
globe! This presents many challenges, as well as rewards.
She also had the opportunity to prove her “chops” as a
well-rounded educator by starting a GOFAR run club at her
school! This club provided students an opportunity to set
goals, meet challenges and run in a 5K race. Melissa just
completed the years under her provisional license and has
earned her standard professional status! She is currently a
member of TIME, Technology for Music Education. She
looks forward to many more years to come in her public
education career.
Sue Reynolds, Millbrook Elementary Magnet School,
Wake County Public Schools, Raleigh, N.C.
Susan Reynolds started her music career in Fairfax County,
Va. and later moved to Northern California where she was
a nanny for ten years. She missed teaching and was hired
to start an Elementary Orff Program in the Ross Valley
School District in San Anselmo, Calif., where she taught for
five years. After the birth of her daughter, Sofia, she
wanted to be closer to her roots so she and her husband
moved to Wake County where she has been teaching for
the past seven years. Sue earned her Bachelor of Arts in
Music Education and Flute Performance from Virginia
Polytechnic Institute and State University. She holds Orff
Level I and Level II certification from the San Francisco
Mills Course and works in hospitality for the Central
Carolina Chapter of the American Orff-Schulwerk
Association. Throughout her tenure in Wake County she
has served on the leadership team, been nominated for
teacher of the year, presented several workshops, is
cultural arts chair, served as a PTA board member, and is
now PTA President at Millbrook Elementary where her
daughter also attends. Her students have had the honor of
participating in Pieces of Gold and other community
events. In addition to her teaching responsibilities she also
teaches private flute and piano lessons and serves as
President of her neighborhood HOA. She hopes to receive
her National Board Certification in the fall.
Wynette Wilson, Carver Elementary School,
Wake County Public Schools, Wendell, N.C.
Wynette Wilson is beginning her 25th year of teaching in
public schools. She has taught in Columbus, Miss., as well
as Johnston, Nash and Wake counties in North Carolina.
She is presently in her 16th year at Carver Elementary
School in Wendell. She has taught pre-school through
community college students. She holds a bachelor’s
degree in music education from Campbell University and a
master’s degree in music education from East Carolina
University. A National Board Certified Teacher in Early and
Middle Childhood Music, she is Orff Level I certified
through East Carolina University. Her favorite thing to
teach is recorder! Wynette is married, has three sons and
daughters-in-law and in December her 1st grandchild,
Wade, was born. She also has three canine children and
four “granddogs”.
Want to become an author for the North Carolina Symphony?
Contact us!
Sarah Gilpin, Director of Education, at 919.789.5461 or
sgilpin@ncsymphony.org
6•
Aram Khachaturian
Born: June 6, 1903, Tbilisi, Georgia
Died: May 1, 1978, Moscow, Russia
Biography (in Student Book)
Aram Khachaturian's music is performed all over the world, on renowned theater and concert stages, and on radio,
television, and in movies.
He was born in Kodzhori (now called Tbilisi) to an Armenian family of bookbinders. At that time in Tbilisi, there was
a musical school, and an opera theatre that were visited by celebrated artists, including the famous pianist and
composer Sergei Rachmaninoff, and many other famous musicians who lived in the city. This environment greatly
influenced Khachaturian.
Despite his interest in music, he did not study it until he was nineteen in 1922, when he moved to Moscow in Russia.
He enrolled in a cello class at Gnesin Music School, and he received a degree in biology from the Department of Physics
and Mathematics at Moscow State University. Then, he took classes in composition, and his musical abilities grew
quickly. He soon became a top student and was accepted into the Moscow Conservatory, which was the university for
students who wanted to study music.
Khachaturian composed in many styles of music, including folk song, dance, symphony, ballet, and more. His first
published composition, Dance for Violin and Piano, included his characteristic style: improvisation, beautiful melodies,
and colorful orchestrations. In 1933, his new composition, called Dance Suite, for Symphonic Orchestra was performed,
launching his career.
Khachaturian was a member of many important arts societies around the world. He was also a professor and won
many awards.
Fun Facts about Khachaturian (in Student Book)
•Khachaturian thought of becoming a doctor or
engineer before he became a professional musician.
•Khachaturian was one of the few composers whose
first instrument was the tuba.
•Khachaturian “Russianized” his name to Khachaturov
for eighteen years.
•Khachaturian taught music in Mexico.
•Khachaturian wrote a lot of music for movies.
Khachaturian’s Life:
•Khachaturian was commonly recognized as a composer
of symphonies, concertos, ballets, symphonic suites
and film music.
•He was celebrated as a cellist.
•He was greatly influenced by his Armenian upbringing.
•Khachaturian enjoyed nationalistic genres including
folk song.
•He studied at multiple schools, including Moscow
State University, Gnesin Music School, and the
Moscow Conservatory.
•Khachaturian wrote music for theater, including
“Baghdasar Akhpar” (1927), “Oriental Dentist” (1928),
“Debt of Honor” (1931), “Masquerade” (1941),
“Macbeth” (1955), “King Lear” (1958).
•He also wrote music for films including “Pepo” (1935),
“Zangezur” (1938), “The Garden” (1939), “Battle of
Stalingrad” (1949), “Othello” (1956) and “Combat” (1957).
•He was a distinguished professor, teaching at the
Mexican Conservatory.
•
7
Featured Work: Galop from Masquerade Suite
Masquerade is a play by Russian poet and playwright Mikhail Lermontov. Khachaturian wrote incidental music for the
play and it premiered June 21, 1941, in the Vakhtangov Theatre in Moscow, the day before the German Invasion. The
1956 production of the play ran for 73 performances. Like many of Khachaturian’s other works, his music for
Masquerade is known for its colorful orchestration, singing melodic lines, and its integral rhythmic drive. The character
of Khachaturian’s five-movement suite demonstrates an ironic contrast to the grimness of the Lermontov version.
Page 12 of 81 What Do You Hear? What Do You Like?
Brief Plot Synopsis:
Masquerade tells the tragic story of a woman who is killed by her husband over a false accusation of adultery. Beginning
at the grand masquerade ball, Baroness Schtral bestows upon the prince, with whom she is secretly in love, a bracelet
as a token of her affection. The prince does not know who she is because she is wearing a mask. He asks his
acquaintance, Arbenin, to search for the mysterious woman. However, Arbenin notices that his own wife, Nina, is
missing her bracelet, which suspiciously resembles the one the Prince carries. Nina tells her husband that she must
have lost it at the masquerade, and decides to search the baroness’ home. She accidentally happens upon the prince
there, who also seems to think that she is his mystery woman. Arbenin finds out, and becomes enraged and begins
plotting his revenge on his wife because he thinks she is in love with the prince. The baroness hears about this and
rushes to confess to the prince that it was she, not Nina, who had given him the bracelet. At the next ball, the prince
gives the bracelet to Nina and warns her of her husband’s animosity. Later that night Nina falls gravely ill, because
Arbenin poisoned her ice cream. As a final plea, Nina assures her husband that she is innocent and that it had all been a
big misunderstanding, but it is too late, and she dies. It is not long thereafter that Arbenin realizes the extent of his
mistake—the prince confirms Nina’s dying words that there was no affair, and as proof, he gives Arbenin a letter from
the baroness that says the same.
Student Introduction to Khachaturian’s Galop from
Masquerade Suite
Fundamental of Music: Introduction
Name
of Piece
Type of Piece Style of Piece
(instrumental/vocal)
Do you like
this piece?
(Why or why not?)
CLASSROOM ACTIVITY #1: Describe What You Hear
North Carolina Essential Standards:
4.MR.1.1
Illustrate perceptual skills by moving to, answering questions about, and describing aural examples
of music of various styles and cultures.
Objective: Students will listen to Galop, composed by Aram Khachaturian, without an introduction. Students will
share an adjective, describing what they heard and record their words using Wordle. Students will then be introduced
to the composer and find where Armenia is located.
Materials: Wordle: http://www.wordle.net/show/wrdl/7915208/Khachaturian, North Carolina Symphony Education CD,
Google Earth.
Process:
1. Tell the students they will be listening to a short piece of instrumental music.
2. Ask them for one adjective each and create a Wordle. Go to http://www.wordle.net/ and click “create” from the
top toolbar. The more times a word is typed, the bigger (thicker) it becomes. You do not need to use commas
or quotations.
3. Introduce the composer, Aram Khachaturian.
4. Give an informal assessment. Provide each student with the following table and ask them what instruments they
hear in the recording.
8•
•
9
CLASSROOM ACTIVITY #2: Introducing Khachaturian
4.CR.1.2 Understand the relationship between music and concepts from other areas.
Objective: Students will look at several pictures of Aram Khachaturian. Students will compare and contrast which art
form they prefer and explain why. Students will understand that through his compositions Khachaturian became
beloved by his fellow countrymen and honored by the government.
Materials: Pictures of Aram Khachaturian (photos, paintings, paper money and postage stamps), North Carolina
Symphony Education CD.
Process:
1. Allow the students to watch a short picture file of portraits of this composer while listening to Galop.
2. Have the students choose their favorite representation of the composer and explain why.
3. Show them that Khachaturian was placed on postage stamps and paper money.
Process:
1. Introduce students to the simple rhythm for the A section.
A
@nq\nq|qQ\QQ\
nq\nq|qQ\QQ\
nq\nq|qQ\QQ\QQ|
nq\nq|qQ\QQ\
n q \ n q | q Q \ Q Q}
2. After the students are confident at a slower pace, pick up the tempo to a lively presto!
A postage stamp issued on January 1, 1983
to mark the 80th anniversary of Khachaturian’s
birth. He died on May 1, 1978.
3. Have the students listen to just the A Section
•
•
•
Introduction (measures 1–8)
A (measures 9–29)
Repeat A
The form is:
Introduction – A – A – B – A – Bridge – C – C – Solo (clarinet/flute) – A’ – B – A” – Coda
CLASSROOM ACTIVITY #3: Form!
The incidental music for the Masquerade Suite was:
4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, and eighth notes and rests
in 2/4, 3/4 and 4/4 meter signatures.
2.Nocturne
Objective: Students will be able to identify the A theme and perform a simple rhythm each time it is heard.
Students will understand the overall form of the piece.
Materials: North Carolina Symphony Education CD, simple accompaniment performed with either
clapping or instruments
10 •
1.Waltz
3.Mazurka
4.Romance
5.Galop
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11
Featured Work: Nuages from Nocturnes
Debussy’s Nocturnes is a piece of impressionist music. Nocturnes was inspired by a set of 1870 American paintings by
James McNeill Whistler. These artworks, also entitled Nocturnes, are impressions of landscapes and objects in light and
shade. Debussy’s Nocturnes depicts various impressions and special effects of light. Debussy composed Nocturnes
between 1897 and 1899. The first two movements premiered in Paris on December 9, 1900, while the first complete
performance premiered almost a year later on October 27, 1901. The work was not well received, and as a result
Debussy spent the rest of his life revising the last three movements.
Nuages (Clouds) illustrates images of the sky and the slow and solemn motion of clouds, painted in different shades of
grey and white. Debussy creates two themes in Nuages, one slow, comprised of vertical harmonies and strict harmonic
motion, and another that is more luminous and light (with the inclusion of the flute).
Claude Debussy
Born: August 22, 1862, Saint-Germain-en-Laye, France
Died: March 25, 1918, Paris, France
Claude Debussy was the oldest of five children. His father owned a china shop and his mother was a seamstress. His
family moved to his aunt’s house in a town called Cannes when he was five. When he turned ten, Debussy started going
to the music school in Paris, and started taking piano lessons there. During this time, he studied composition, music
theory and history, harmony, piano, organ, and much more.
He became a great pianist and composer. When he was 22, he won a prize for a piece of music he had written. That
prize money allowed him to go to Rome, Italy, for four years to study music. He had a disagreement with the teachers
there so he left after just two years. He continued to write music, though, including symphonic poems and suites,
ballets, concertos, chamber music, and works for solo piano.
Fun Facts about Debussy (in Student Book)
•Debussy only wrote one opera, called Pelléas
et Mélisande.
•Debussy’s musical style is called impressionism,
which is also a style of painting.
•Debussy would often not reveal the title of the work
until the end of the piece. He liked listeners coming
to their own conclusions about the work.
Student Introduction to Debussy’s Nuages
Fundamental of Music: Texture
Texture is the aspect of music that involves tone color, or the way each instrument sounds. Composers choose and
combine these individual sounds much in the way an artist chooses colors. There may be an instrument playing alone
or many parts being played at the same time. These choices influence the mood or feeling of a piece of music. A “light”
texture may be just when the clarinet plays a simple melody. A “heavy” texture might be when the brass and percussion
play complex lines simultaneously. The texture usually becomes “heavier” or “thicker” when more instruments play
together and when their parts are more complex or dense.
Please see the North Carolina Symphony website (Education Concert Addtional Resources) for a SMART Notebook file
that corresponds to these activities.
CLASSROOM ACTIVITY #1: Imagery Discussion/Writing/Description
4.ML.1.1 Apply expressive qualities when singing or playing a varied repertoire of music representing genres and
styles from diverse cultures.
4.MR.1.1
Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of
music of various styles and cultures.
4.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.
Grade 4 ELA Common Core State Standards:
Writing (W)
4.3d
Use concrete words and phrases and sensory details to convey experiences and events precisely.
Debussy’s Life:
•Eldest of five children, Claude was baptized two years
after his birth.
•His music was experimental and tended to include
dissonances and harsh harmonies and intervals.
4.4 •When Debussy was seven years old, his aunt paid for
him to take piano lessons.
•His only opera, Pelléas et Mélisande, was written in
1902. The initial run lasted fourteen performances.
It premiered at the Opéra Comique in Paris on
April 30, 1902. It became a staple part of theater
repertory, reaching its hundredth performance on
January 25, 1913.
Speaking and listening (SL) Comprehension and Collaboration
1.d Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with
diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly.
Review the key ideas expressed and explain their own ideas and understanding in light of the discussion.
•At age 17, he wrote his first composition, Ballade à lune:
C’était dans la nuit brune (1879); In 1884, at age 22,
he won the Prix de Rome with L’enfant Prodigue.
•Debussy is famous for writing symphonic poems,
suites, piano music, and concertos.
Produce clear and coherent writing in which the development and organization are appropriate to task,
purpose, and audience.
Language (L) Vocabulary Acquisition and Use
6.
Acquire and use accurately grade-appropriate conversational, general academic, and domain-specific
words and phrases, including those that signal precise actions, emotions, or states of being and that are
basic to a particular topic.
Objective: Students will listen to Nuages and use their imagination to describe what they hear. Students will use
adjectives and images/drawings to depict images inspired by Debussy’s music. Students will also write a short story
and work in groups to prepare a storyboard to share with the class.
Materials: North Carolina Symphony Education CD, ”Notes on Debussy’s Nuages” handout (opposite), pencils,
http://www.storyboardthat.com/ website, YouTube videos, Compare and Contrast visual map
12 •
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13
Process:
1. Have students listen to Debussy’s Nuages before instructing about the piece.
Name:______________________________________________Date:____________________________
2.
Teacher:_______________________________________
Ask them what they imagined the music to be about and write some ideas on the board. Students may complete
activity #1 on the “Notes on Debussy’s Nuages” handout (opposite). You may choose to display these YouTube video
links of Nuages: https://www.youtube.com/watch?v=Li5d4r7Yt00 and/or https://www.youtube.com/
watch?v=e1XSJHTOFAI
3. Have students listen to the music again. Upon listening the second time, encourage students to create their own
short story outline. Students can complete the short story activity #2 on the handout (opposite).
4. Once students have had a chance to record their own ideas about the music through drawing images and writing
about it, tell students the story behind the music, as noted previously (Debussy’s inspiration and intentions for
Nuages). Have students share their ideas together in small groups or with the whole class.
Notes on Debussy’s Nuages from Nocturnes
1. Listen to the piece of music. Think about what you’re hearing and describe the sounds you hear.
Include the names of instruments you hear or the way the music makes you feel and images that
come to mind. You may draw these images as well.
Assessment:
Try the storyboard generator at http://www.storyboardthat.com/
Decide on criteria for evaluating each group’s storyboard and organize the presentations into categories such as most
creative, most unexpected, most common theme, etc. This should bring an interesting discussion on how Debussy’s
Nuages can be interpreted.
This short story can be used as a guide: http://www.storyboardthat.com/userboards/jsonstroem/nuages
2. On the second listening, outline a short story using the sounds of Debussy’s music as
your inspiration. Consider elements such as setting, plot, characters, conflict, and theme.
Please write using complete sentences.
Setting (place):
Characters (who):
Plot (action):
Conflict (struggle):
Theme (main idea):
14 •
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15
Ask students whether their ideas were close to the intent that Debussy had for his music. Refer to James McNeill
Whistler’s paintings for Debussy’s visual inspiration. How are students’ ideas different from or similar to his? Compare
and contrast using the Nuages thinking map:
Debussy’s use of color
Painter James McNeill Whistler, who lived in France for a period of time, had a profound influence on Debussy. In 1894,
Debussy wrote to violinist Eugène Ysaÿe describing his Nocturnes as “an experiment in the different combinations that
can be obtained from one color—what a study in grey would be in painting.” Although it is not known what is meant by
this statement, one can observe in his music a careful use of orchestral, textural, and harmonic ‘shading.’
Colorful Clouds
Process:
1. Read the above information about texture and have students listen to Nuages. Would students describe this
music as thick or thin? Simple or busy?
CLASSROOM ACTIVITY #2: Tone Color/Timbre
4.ML.1.1 Apply expressive qualities when singing or playing a varied repertoire of music representing genres
and styles from diverse cultures.
4.ML.3.2 Create compositions and arrangements using a variety of traditional and non-traditional sound sources.
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of
4.MR.1.4 Classify instruments into Western orchestral categories of wind, string, percussion, and brass.
4.CR.1.2 Understand the relationships between music and concepts from other areas.
Ask: “Are there places in the music when the texture is more thin/thick? What instrument(s) did Debussy choose
to feature when the music is thin and sparse-sounding? What instruments do you hear being added to the mix as
the texture thickens?” (more strings and/or woodwinds, louder volume) You may want to pause the recording
when the texture becomes more dense and when it becomes thinner, with the English horn carrying the melody.
Compare the thicker instrumental texture to a darker or heavier shade in a cloud formation such as a cumulonimbus.
Compare thinner instrumentation to the image of thin, wispy, cirrus clouds.
Objective: Students will understand the relationship between texture in visual art and texture and tone color in music.
Students will identify differences in texture/timbre while listening to Nuages. Students will also apply these differences
by using visual aids to perform on selected classroom percussion instruments. Additionally, students will learn about
various cloud formations.
Materials: North Carolina Symphony Education CD, Whistler paintings, cloud pictures (provided), Recordings of Prelude
to the Afternoon of a Faun, Bizet’s Mvt. 1, “Pastorale,” from L’Arlesienne Suite No. 2 (2013/14) or (Stravinsky’s Dance of the
Young Maidens from Rite of Spring), tri-color visual aids from Notebook file on Debussy, percussion instruments, http://
www.wordle.net/ website, adjective/instrument template
16 •
Cirrus Clouds
Cumulonimbus Clouds
•
17
2. Have students discuss why the changes of thickness in the music help set the imagery. Ask: How does Debussy
accomplish the image of thicker clouds and thinner clouds through in Nuages? (Answer: Thicker texture- by adding
more instruments and, thus, more volume/ Thinner texture- by featuring fewer instruments and softer dynamics).
3.
Explain to students that this is called texture in music. Composers use texture to convey the idea of the music to
the listener. For contrast, play Prelude to an Afternoon of a Faun, Bizet’s Mvt. 1, “Pastorale,” from L’Arlesienne Suite
No. 2 or Stravinsky’s Dance of the Young Maidens from Rite of Spring. How does the texture of these pieces differ?
How does the composer accomplish that?
4.
Once students have created a list of adjectives to describe what they hear in the music, ask them to pair those
words with instrument sounds. Refer to the class Wordle in the same manner as the tri-color visual aids by having
students play the instrument(s) that correspond to the paired word when the teacher points to that word on the
Wordle. Allow students to take turns being the “conductor!”
Example
Assessment:
Divide students into three percussion instrument groups: Woods, Metals, and Skins. Explain to students that during this
activity their groups will be represented by various colors that correspond to the sound/tone best set to the color/
timbre of their instruments. For example, red may symbolize the woods, yellow= metals, and blue= skins. You may want
to engage in a discussion about what colors students think correspond to which instruments. This could open up some
interesting ideas about associations with color and sound. Explain to students that there are no “correct” answers.
Similarly, composers make decisions about different representations in their music. Why did Debussy choose certain
instruments to represent clouds? Was it because of qualities such as soft tone, shaded/muted tone, darkness, coolness?
Direct students to the tri-color visual aids (pictures with red, blue, and yellow colors) for this activity. Both interactive
visual aids for this activity can be found in the “Debussy” SMART Board file contained in the Education Concert
Addtional Resources on the North Carolina Symphony webpage. Students simply play their instruments together when
the teacher points to the corresponding color on the board for the purpose of hearing the differences in timbre
between the woods, metals, and skins. The teacher can also lead students in using fewer instruments in the middle of a
color and adding more instruments when the colors overlap to demonstrate how Debussy added more instruments to
create a thicker texture in Nuages.
Words to describe clouds: Wordle
Instrument sounds that are similar
soft
finger cymbals
fluffy
frame drum
fading
glockenspiel
floating
triangle
thin
xylophone/bells
wispy
egg shaker
thick
woodblocks
heavy
thunder tube
Have students refer back to the descriptive words they came up with for Classroom Activity 1 and/or brainstorm more
words as a class to use to create a Wordle. Go to http://www.wordle.net/ and click “create” from the top toolbar. The
more times a word is typed, the bigger (thicker) it becomes. You do not need to use commas or quotations.
CLASSROOM ACTIVITY #3: Thick or Thin
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples
4.CR.1.2 Understand the relationship between music and concepts from other areas.
Grade 4 ELA Common Core State Standards:
Speaking and listening (SL) Comprehension and Collaboration
1.d. Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with
diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly.
Review the key ideas expressed and explain their own ideas and understanding in light of the discussion.
Language (L) Vocabulary Acquisition and Use
6. Acquire and use accurately grade-appropriate conversational, general academic, and domain-specific
words and phrases, including those that signal precise actions, emotions, or states of being and that are
basic to a particular topic.
Objective: Students will determine whether the texture of the sections of Nuages from Nocturnes are thick or thin.
Students will identify instruments of the orchestra by their sound. Students will create a sketch or painting (using
ArtPad at www.art.com) using varying thickness and colors of lines to demonstrate their understanding of the texture
of the music.
Materials: North Carolina Symphony Education CD, “Thin”/”Thick” cards, ArtPad website: http://artpad.art.com/
artpad/painter/
18 •
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19
Process:
1. Discuss texture and the terms “thin” and “thick.”
2. Give students Thin/Thick cards. Listen to Nuages and have students hold up the card of the texture they hear
occurring in the piece as they listen.
"
3. Listen again and stop after each section. Have students identify what instrument(s) is/are playing in each section.
4.
Using the SMART Board, or working in the computer lab, access the ArtPad at http://artpad.art.com/artpad/
painter/ Play the music again and invite students to paint along as they listen. Encourage students to make
appropriate selections of brush size, line thickness, opacity, and value of color to represent the texture of the music.
Students may redo their drawings, frame them, and hang them in the gallery on the website. (You may choose to
have students create a different painting for each section of the music due to the size of the canvas on the website.)
5.
As an assessment, ask students to share with a partner their rationale for selecting the brush size, line thickness,
opacity, and value of color for their painting. Encourage students to use music and art-specific vocabulary when
explaining their ideas. Ask the student partners to compare and contrast their paintings and the connections they
heard to the texture of the music.
Extension Activity: Texture in Art
Invite students to visit the kids’ section of the website for the Art Institute of Chicago to explore the concept of texture
in visual art. In the “Curious Corner,” students can click on the “Match Up” section to play a game matching texture
samples to their location within a famous piece of art. http://www.artic.edu/aic/education/CC/
The “Thick or Thin” activity is used by permission from Kathy Hopkins who originally shared the idea for the 2013/14
educational concert materials.
Thin
Thin
Activity on Impressionism and Texture
Reflect on characteristics of Debussy’s impressionist music, in particular his use of timbre (tone color) and unusual
melody. Listen to Debussy’s Nuages, focusing on the timbre, the instruments, and the melodies.
Add Movement While Listening
Remind students about Nuages and Debussy’s inspiration—clouds. Tell students that they’re now preparing to move as
if they were clouds. Have one or more students be the “wind” gently blowing the clouds within the area designated by
the teacher. Instruct students to match their movements with the expressive qualities of the music, listening for tempo,
dynamics, and timbre. For this activity you may choose to use classroom scarves, which provide a great visual for
texture. Or you may use cotton “snow cover” (quilt batting that is stretchy and stays together). Allow students to be
creative but quiet as they move so they can listen.
CLASSROOM ACTIVITY #4: Composing with the Pentatonic Scale
4.ML.1.3 Use voice and/or instruments to execute melodic movement through pentatonic melodies on the treble staff.
4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, and eighth notes and rests in
2/4, 3/4, and 4/4 meter signatures.
4.ML.2.2 Interpret through voice and/or instruments simple pitch notation in the treble clef in major keys.
4.ML.2.4 Use standard symbols to notate rhythm, meter, and dynamics in simple patterns.
4.ML.3.1 Use improvisation to create stylistically appropriate answers to given rhythmic and melodic phrases.
Thick Thick
Objective: Students will learn about and experiment with the pitches of the pentatonic scale. Students will practice
improvising on a given pentatonic scale while accompanied by an ostinato. To demonstrate further understanding of
the pentatonic scale, students will compose their own short piece of music.
Materials: Orff instruments and/or piano keyboards, examples of Orff arrangements, student composition template.
Process: Student introduction
Debussy’s music is often described as impressionistic and is heavily influenced by the literature and paintings of the
period. Although he was well-educated in music composition, he was known for breaking the rules of traditional
composing techniques for the sake of what sounded good to him. He liked to use parallel fifths and thirds in his
compositions, as well as unusual scales such as the pentatonic and whole tone.
20 •
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21
1.
Assessment:
Extend this activity by having students compose their own piece of music using various melodic and/or harmonic
ideas. Students can use simple rhythms or repeated notes. Have students play their ideas and then notate them using
the template below. You may want to set parameters for students to make the composing process manageable.
Examples include writing four measures of music in 4/4 time and adding repeats. You can choose to expand the
parameters based on the students’ knowledge and skill level. Students may work independently or in small groups.
Once the compositions have been written and rehearsed, students may perform for the class.
Have students practice patterns using the pitches of the
C pentatonic scale on Orff instruments or keyboards.
If playing on piano/keyboard, you may want to begin by
instructing students by using only the five black keys:
Resources for Impressionism and Scales
2. Encourage students to experiment with various pitches and combinations of pitches to discover what sounds
pleasant to them. After several minutes of experimenting, ask for student volunteers to play their ideas for the class.
3.
http://www.studymusic.org.uk/page14/page58/index.html
Debussy’s use of scales (pentatonic, octatonic, and chromatic)
Have students improvise on a pentatonic scale. You may also choose to use the examples below for ideas on
possible ostinatos (see piano part). Either teacher or student can play an ostinato using the pentatonic scale, and
students can add their improvised pentatonic melody. Try out different ways to create a classroom Orff ensemble.
Any combination of xylophones/glockenspiels/bells may be used.
http://andrewbaxter.macmate.me/school/key-stage-3/year-9/impressionism/lesson-2/info-sheet-2---how-did.pdf
Untitled Composition based on Debussy’s Nuages
Debussy: Nuages-Inspired Orff Activity #1
flowing q=100
q=100
J. Sonstroem
Soprano
Soprano or
Alto xylophone
q=100
q
flowing =100
PIano
Piano or
Bass xylophone
S
Debussy: Nuages-Inspired Orff Activity #2
q
flowing =100
Soprano or
Alto xylophone
q
flowing =100
J. Sonstroem
Pno.
Piano or
Bass xylophone
22 •
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23
Featured Work: Symphony No. 94 in G Major, “Surprise,”
Mvt. II. Andante
Symphony No. 94 is the second of the twelve “London” Symphonies. It begins with a sudden fortissimo at the end
of a piano opening theme. This is how it received its nickname, the “Surprise” Symphony. It premiered in London on
March 23, 1792 with Haydn himself conducting. The symphony is scored for flutes, oboes, bassoons, horns, paired
trumpets, timpani, and strings. Haydn composes a collection of variations, with fluctuations from simpler themes
to more dramatic and complex themes. The second movement ends with a marching climax.
Franz Joseph Haydn
Student Introduction to Symphony No. 94 in G Major,
“Surprise” Mvt. II. Andante
Born: March 31, 1732, Rohrau, Austria
Died: May 31, 1809, Vienna, Austria
Fundamental of Music: Dynamics
Classroom Activity #1: What Are Dynamics?
Haydn's mother was a cook and his father was the village mayor and an enthusiastic folk musician, who taught himself
how to play harp. Haydn and his father would frequently sing together with their neighbors. Haydn was a very good
young musician and his father sent him to study music with a distant relative in Hainburg when he was six years old.
Haydn’s life in Hainburg was not easy; he was often hungry and could not afford new clothes. His musical abilities
continued to flourish despite these conditions. In 1739, Haydn impressed the director of music at St. Stephen’s
Cathedral in Vienna, who just happened to be visiting Hainburg to look for new choirboys for the church's school.
Haydn auditioned for the director and won a place at the school.
Haydn did not learn music theory and composition, but he did learn Latin, singing, violin, and keyboard. As he grew
older, his voice matured and he was no longer able to sing soprano (high) choral parts. So, Haydn began his career as
an instrumental musician and composer. He wrote his first work, an opera called The Limping Devil in 1753. After that,
he became the director of music in a royal court.
Fun Facts about Haydn (in Student Book)
•Haydn did not have much money when he was young
and could not afford fancy meals, so he did his best to
sing well so that he would be invited to sing for wealthy
audiences, where singers were served refreshments.
•Haydn was a prankster. Before he was expelled from
the Cathedral in Vienna, Haydn committed a prank,
cutting off someone’s ponytail!
•He was nicknamed “Papa Haydn,” because he was
considered to be the father of classical music.
•Haydn and Mozart were friends. Mozart even
dedicated a series of string quartets to him,
known as “The Haydn Quartets.”
•Haydn was also friends with Beethoven.
Haydn’s Life:
•Haydn enrolled into St. Stephen’s Cathedral in 1740.
•Haydn lived a relatively difficult life, frequently surviving
without ample food or clothing.
•Though never formally trained, he learned the basics of
music theory and composition as a chorister in Vienna.
•He achieved fame as music director for
professional groups.
24 •
4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo, and articulation while
performing music.
Objective: Students will learn the meanings of music symbols for dynamics through interactive games.
Materials: SmartBoard or another interactive board or computer, Song for passing game, bowl or drum, cards with
dynamics and meanings, North Carolina Symphony Education CD
Endunda Instructions: Endunda is a folk song from Uruguay. You can play the game with any item while passing it to
the steady beat. Play this game with a bowl and use it to introduce new concepts or class expectations. Start by filling
the bowl with dynamic cards and definitions. Sing the song and pass the bowl around to the beat. When the song is
complete the child holding the bowl should pick a card. The card they pick they should say either the word that goes
with the definition or give the meanings for the symbol.
You can also teach the students a fun dance to do with the song and each time change the tempo to make the
movements more challenging. View video here: http://www.youtube.com/watch?v=9Gsu91IB6Ys, choral
arrangement: http://www.youtube.com/watch?v=cI-Q01xcZu8
Closet Key Instructions: One student hides their eyes while another student hides a key. The key must be visible and
not hiding under an object. Once the key is hidden the class begins to sing the song. The student walks around the
room trying to find the key and follows the directions according to the dynamics the students are singing the song.
Forte means you are close to the key and piano means you are not going in the right direction. The dynamics can
vary between pianissimo and fortissimo. Students must be reminded to use their singing voices at all times. Yelling
is not permitted!
Another version of the game can be found on The American Folksong Collection at Holy Names University:
http://kodaly.hnu.edu/Song_Return_ADAM.cfm?key_num=676
•Haydn would frequently travel to London to direct
symphonies. These visits were a huge success, and
launched his career. Haydn eventually returned
to Vienna and worked as a music director and
freelance composer.
•As he became increasingly infirm in his old age, he
was unable to compose. His final triumph, March 27,
1808, a performance of The Creation (1798), was
organized in his honor, where he was greeted by
Beethoven, Salieri, and others. He lived for an
additional year, and died at age 77 on May 31, 1809.
•
25
Process:
1. Listen to the Surprise Symphony. Have students respond to what they noticed about the dynamics.
2. Play matching game on interactive SmartBoard.
3. Play the passing game, Endunda to help reinforce dynamic symbols and meanings. Flash cards can be found
on the website. Another fun game, “Closet Key”, can be played to reinforce how to use dynamics.
4. Use the call chart below (also a Smartboard file) to add dynamics as the students listen.
Assessment: Rubric
4 The students demonstrated an understanding of dynamics by using more advanced terms during their
presentation such as crescendo, decrescendo, sforzando. They may have extended the activity to include
other music elements such as tempo and form.
3
The students demonstrated an understanding of dynamics by using the following terms correctly when
performing their poem: p, f, mp, mf, pp, ff. The students also included instruments in their presentation.
2
The students struggled to use the correct dynamics during the presentation.
1
Students were unable to demonstrate dynamics in the presentation.
Phrase
Dynamic
Phrase
Dynamic
Phrase
Dynamic
00:00-00:19
p
00:55-1:12
mf
1:30-1:45
mp
00:20-00:35
pp
1:13
F
1:46-1:54
F
Classroom Activity #3: What Do You Hear?
00:36
Sfz or ff
1:14-1:20
mp
1:55-2:02
P
00:37-00:54
mp
1:21
f
2:03-2:30
f-ff
4.MR.1.1
Assessment: “Ticket out the Door” or “Ticket in the Door”—As students are walking out the door, show them a
dynamic card and have them tell you the meaning of one of the dynamic symbol that you show them. You can also
modify this to be a matching game…one side can be before the lesson and the other side can be after the lesson. For
more advanced students you could add Tier 3 vocabulary such as: crescendo, decrescendo and diminuendo.
This is just an example of how you could design “Ticket out the Door.”
Objective: Students will learn the main theme of The “Surprise” Symphony and learn about the life of Haydn.
Materials: North Carloina Symphony Education CD, word chart
Process:
1. Read the biography of Haydn in the student book. Discuss life during that time. Locate Austria on the map and
determine his age when he died.
2. Sing the first theme and then have the students echo each phrase.
3. Listen to the North Carolina Symphony Education CD and have the students sing along each time they hear
the first theme.
Name________________________________
Name________________________________
What do you know about dynamics?
Match the symbols to the meanings.
What did you learn about dynamics?
Match the symbols to the meanings.
4. Questions to think about:
a)
How many times does Haydn use the surprise chord?
P moderately soft
P mezzo piano/moderately soft
b)
What instruments are playing each time the theme is repeated?
Floud
Fforte/loud
5. At the end of class, invite the teacher in and have them sit in a chair in the middle of the room. The students will
tip toe around during the beginning of the piece and at the surprise say “BOO!” (ti-ti-ti-ti-ti-ti, ta) (Tip-toe, tip-toe,
tip-toe, look)
mf very loud
mf fortissimo/very loud
mp very soft
mp pianissimo/very soft
ppsoft
pppiano/soft
ff moderately loud
sfz suddenly loud
ff mezzo forte/moderately loud
sfz sforzando suddenly loud
Common Core Connection: Quick Write:
A quick write is a versatile strategy used to develop writing fluency, to build the habit of reflection into a learning
experience, and to informally assess student thinking. The strategy asks learners to respond in 2–10 minutes to an
open-ended question or prompt posed by the teacher before, during, or after reading.
How would you feel if you were sent away to live with a relative or to attend school? How did Haydn’s life experiences
influence his music? What would you do if you were to create a piece of music that included some sort of musical joke?
Classroom Activity #2: Using Dynamics
4.ML.2.3
Interpret standard symbols and traditional terms for dynamics, tempo, and articulation while
performing music.
Name ________________________________
Name ________________________________
Why do you think Symphony Number 94
is nicknamed “The Surprise?”
How did Haydn use dynamics to enhance
Symphony Number 94?
Objective: Students will perform a speech piece that incorporates dynamics.
Materials: Poems, dynamic cards, non-pitched percussion instruments
Process:
1. Review dynamic markings and their meanings.
2. Divide students into learning groups of 4-5 students.
3. Each group should choose a poem they want to work with.
4. Add dynamics markings to the poem and perform it for the class.
5. Add rhythm instruments to either accompany the poem or play the rhythm of the poem.
6. Perform final presentation for the class using dynamics.
26 •
•
27
Surprise Symphony
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Born: February 21, 1836, La Fléche, France
Died: January 16, 1891, Paris, France
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Delibes’ father was a mailman, and his mother was a talented amateur musician. His grandfather was an opera singer.
His father died an early death, so Delibes was raised by his uncle and mother. When he was eleven years old, he started
to learn to write music at a school in Paris where he also took voice and organ lessons. He had many jobs, including
rehearsal accompanist, chorus master and organist.
He also started to write music. The first pieces he wrote were short and many of them were funny. Later, he wrote a
ballet which was very successful and made him famous.
ff
Fun Facts about Delibes (in Student Book)
•Delibes loved to write music for singers.
•Delibes went to school to study singing, but he was
actually much better at the organ.
•He liked to write funny operas, including opera’s
greatest comedy, Coppélia.
Delibes’ Life:
•In his early life, Delibes learned a lot of music from
his mother and grandfather.
•It has been suggested that Delibes wrote the ballet
music for Gounod’s Faust (1859).
•He studied at the Paris Conservatoire.
•His operas include Lakmé (1883), Deux Vieilles Gardes
(1856), Le Boeuf Apis (1865) and Le Serpent à Plumes (1864).
•Delibes became concert leader for the Théâtre-Lyrique.
•He was second concert leader for the Paris Opera in 1864.
Featured Work: Entr’acte and Waltz from Coppélia
Coppélia premiered May 25, 1870 at the Theatre Imperial de I’Opera in Paris. Coppélia was choreographed by
Arthur Saint-Léon, composed by Delibes, with a libretto by Charles Nuitter. Coppélia is based on E.T.A. Hoffman’s
“Der Sandman” (1817), which illustrates a dark story of obsession and madness. Nuitter and Saint-Léon recognized the
story’s hints of comedy and re-wrote it into a happily ever after-style fantasy. The ballet took nearly three years to finish,
but upon its completion, it was very well received. The element of comedy, which was a new experience in Romantic
ballet, intrigued viewers. It ran for three months until it closed due to the Franco-Prussian War and the siege of Paris.
28 •
•
29
Brief Plot Synopsis:
Questions to think about:
There is a young village couple, Swanhilde and Franz. Franz likes the weird Dr. Coppelius and his even weirder daughter,
Coppélia. In a jealous rage, Swanhilde, with all of her friends, decides to sneak into his laboratory to look around;
however, determined to meet Coppélia, Franz has also sneaked into the lab. Swanhilde finds all of Dr. Coppelius’ dolls
and realizes that Coppélia is also actually a doll. Dr. Coppelius finds them in his lab and orders them to leave. While the
others leave, Swanhilde stays hidden behind a curtain. Dr. Coppelius finds Franz and tries to trick him into giving his
soul to Coppélia so she will come alive. After this, Swanhilde reveals herself from behind the curtain and pretends to be
a newly animated Coppélia, and she rescues Franz.
i.
Franz and Swanhilde are about to get married, when Dr. Coppelius, angry at the damage done to his lab, interrupts.
Swanhilde offers him her dowry in exchange of his forgiveness, but the mayor intervenes and gives him a large sum of
money, which appeases him. The young couple is married.
Student Introduction to Delibes’ Entr’acte and Waltz from Coppélia
Fundamental of Music: Tempo
CLASSROOM ACTIVITY #1: What is Your Music Mood Today?
4. ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, and eighth notes and rests
in 2/4, 3/4, and 4/4 meter signatures.
Do you know any other stories where a doll comes to life?
ii. Would you drink something if you didn’t know what it was?
iii. In the story, the brides wave a wheat branch (corn husk) near their ear to see if they can hear a rattle or a whisper
of their true love’s name
iv. The wheat is a symbol of love in many cultures; does your family have any symbols or traditions such as this one?
v. Where do you see pantomime in everyday life?
vi. Why do you need pantomime in the ballet?
vii. Why would a composer create music for costume and stage changes?
Extension Ideas:
This Birmingham Royal Ballet website has a storybook and some printable activity sheets.
http://www.brb.org.uk/coppelia-storyguide.html
http://www.brb.org.uk/printable-activity-sheets.html
pantomime info: http://www.pbt.org/sites/default/files/page_uploads/AUDIENCE%20PRODUCTION%20
GUIDE%20Coppelia--web.pdf
Here are some YouTube links for sharing the ballet with your students.
4. ML. 2.3 Interpret standard symbols and traditional terms for dynamics, tempo, and articulation while
performing music.
Swanhilde’s Waltz
4. MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples
revised: http://www.youtube.com/watch?v=wsC_hBA6X-Q
Objective: Students will experience tempo through movement and listening.
original: http://www.youtube.com/watch?v=Ygx07AvTPeo
in modern day setting: http://www.youtube.com/watch?v=Lw2KoZ6sDRc
Materials: North Carolina Symphony Education CD, drum or temple blocks, tempo terms and definitions, note value cards
Coppélia-Doll-Pantomine
Process:
1. Have students move through the space using different tempos. You can use a drum, temple blocks or recorded
music and have the students move their feet to the tempo you suggest. Have the students add emotions while
they are moving…largo; sad, presto; excited, etc. This activity has been done with the poem “Doctor Foster
Went to Gloucester” (pr. Gloster) in 4/4 time.
Act 2 of Coppélia—see how much of the mime you can translate:
http://www.youtube.com/watch?v=p4jAiHM_lQc
2. Change the meter to include 4/4, 3/4, and 2/4. Use the cards to show students the note values for each meter.
Have the students practice conducting or having student conductors change the cards or play the drum to
change the tempo.
Classroom Activity #2: Exploring the Ballet
4. CR. 1
Understand the relationships between music and concepts from other areas.
introduction to ballet mime: http://www.youtube.com/watch?v=2UtQAoLVu2A
Kate Mior playing Coppélia: http://www.youtube.com/watch?v=9xUd7LrfO4c
another example of mime: http://www.youtube.com/watch?v=FPMBV3rd_hI
Classroom Activity #3: Call Chart to Explore Melody, Form, and Tempo
4. MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples
of music of various styles and cultures
4. MR.1.2
Use musical terminology when describing music that is presented aurally.
Objective: Students will become familiar with the story of Coppélia and terms associated with the ballet.
Objective: Students will analyze the Entr’acte and Waltz for tempo and form.
Materials: North Carolina Symphony Education CD, Story of Coppélia
Materials: North Carolina Symphony Education CD, Listening Chart on interactive board or projector, pantomime
website/info
1. Read the story of Coppélia.
2. What is an Entr’acte: it is the music played in between two acts of the ballet or play. The curtains are closed and
it allows time for costume changes without changing the mood of the audience.
3.
What is Ballet Pantomime: Pantomime is a term used to describe ballets created at the Paris Opera during the
Romantic period. Pantomime is storytelling without words that relies on gestures to communicate feelings, ideas
and information. Often, these gestures have universal meanings that can be understood in many languages and
cultures. Have students create their own pantomime to go with a section of the waltz.
Process:
1. Listen to Entr’acte and Waltz and describe the changes in tempo. Review the tempo words you explored
during the movement activities in Activity #1.
2. Listen again and follow the listening chart and add the tempo markings to each section. You can do this as a whole
class first by stopping and adding the tempos markings to each section.
3. Have students explore pantomime and add to the B section of the Waltz.
4. What is a Waltz: The waltz is a ballroom and folk dance in 3/4 time. Dancers move around the room in circles to a
moderately fast tempo. Its origins began in Germany but the most popular of waltzes are from Vienna, Austria.
Later the waltz was used on the stage, in ballet and the opera.
30 •
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31
Sergei Prokofiev
Born: April 23, 1891, Sontsovka, Russia
Died: March 5, 1953, Moscow, Russia
Sergei Prokofiev was born in the rural town of Sontsovka, Russia, in 1891. When he was little, his mother realized that he
had a talent for playing the piano and writing music, so she decided to give him lessons. When he was thirteen, he
started going to the music school in St. Petersburg, where his teachers included the famous composer, Nikolai RimskyKorsakov. While there, he received prizes for both playing the piano and writing music.
Prokofiev spent a lot of time travelling throughout the world. He lived in France, Bavaria and even in the United States,
but he always missed Russian life. He eventually moved back to Russia, which was called the Soviet Union at the time,
because he was so homesick.
Prokofiev was great at telling stories through his music. His best known work is Peter and the Wolf, a traditional Russian
children’s tale about a boy and his friends the duck, cat and the bird, who accompany him as he sets out to hunt a
fierce wolf.
Fun Facts about Prokofiev (in Student Book)
•Prokofiev was the youngest student to go to the music
school in St. Petersburg.
•Walt Disney wanted Prokofiev to write music for the
movie Fantasia.
•He loved playing chess.
•He wrote his first symphony, nicknamed the
Classical Symphony, when he was just 26 years old.
Prokofiev’s Life:
•After moving to St. Petersburg in 1904, he began
studies in music composition and piano; although,
he was less than satisfactory on the piano, he excelled
in composition. When he left the academy, he did so
with highest marks. As a result he was rewarded with
a grand piano.
•Prokofiev’s time in America was far from successful:
the premiere of his opera, The Love for Three Oranges,
was cancelled due to illness and death of the conductor.
When it finally premiered in Chicago in 1921, it was
unsuccessful, and Prokofiev was forced to leave
America without a triumph.
32 •
•In Russia, he had slight success with The Love for
Three Oranges, The Fiery Angel and his Third Symphony.
A car accident in 1929 prevented him from touring in
Russia, but he took this time to enjoy contemporary
Russian music. Once his hands healed, he attempted
a new tour in the U.S., and at long last his music was
received warmly.
•In 1936 he moved permanently back to Russia with
his family. At this time Prokofiev began composing
music for children such as Three Songs for Children
and Peter and the Wolf.
•
33
Featured Work: Classical Symphony, Op. 25, Mvt. II. Larghetto
In 1916, Prokofiev had already earned a reputation as the “bad boy” of Russian composers. He had shocked his
audiences with his first two Piano Concertos and with a symphonic work, Scythian Suite, an adaptation of music he
composed to accompany a ballet. His friend and former teacher, Glazunov, attended the premier of Scythian Suite and
walked out in the third movement. Aside from Prokofiev’s radical musical ideas, he had a deep respect for the forms of
the 18th century, especially the symphonies of Haydn, which he had studied in conducting classes at St. Petersburg
Conservatory. He wrote this symphony in the style of Haydn, even though the harmonies certainly are 20th century.
Prokofiev had always admired composers of the late Classical Era such as Haydn and Mozart. He sought to compose
music in a similar style as these composers, but he desired to give it a touch of modern flair. He debuted it as the
Classical Symphony both because of its simplicity and to jest, to “tease the ‘geese,’” as he would say.
As he began work on this symphony in 1916, he decided to move away from his dependence on the piano and went to
the country to compose. He felt the thematic material would be better on the piano, the instrumental colors clearer and
cleaner. The result was a “little jewel” of a symphony with four movements in the time of 15 minutes.
Larghetto is the second movement, with only 71 measures. It is widely considered to be the ultimate test for any violin
section—“it is both jaw-droppingly virtuosic and ruthlessly exposed.” The movement is in ¾ time and is in ABA form.
Larghetto features a high, transparent, violin melodic line over a mournful accompaniment, very typical of slow
movements in Viennese Classic symphonies. It has a stealthy and secretive tone, which is further demonstrated
by the light staccati, played in the woodwind sections.
It did not take long for the Classical Symphony to become one of Prokofiev’s most famous works. It premiered on April 21,
1918, in Petrograd, conducted by Prokofiev himself.
Student Introduction to Prokofiev’s Classical Symphony
Fundamental of Music: Form
Classroom Activity #1 (in two parts): Understanding Form
4.ML.1.1
Apply expressive qualities when singing or playing a varied repertoire of music representing genres and
styles from diverse cultures.
4. MR.1.3
Design a set of criteria for evaluating music performances and compositions.
Objective: Students will use a simple folk song to understand musical form.
Materials: A copy of a simple folk song in ABA form (this lesson uses “Shoo Fly”), two types of contrasting sounding
percussion instruments, such as sticks and tambourines, a parachute, a copy of the theme song to Star Wars (can be
found online).
UNDERSTANDING FORM - Part 1
Process:
1. Play a CD or sing with piano accompaniment the folk song “Shoo Fly”. Ask students to raise their hands if they
know this song. Most of them will have heard it. Play song again and encourage students to sing along.
2. Divide class in half. Pass out tambourines to half and sticks to the other half. Instruct students to play in this manner:
i.
Tambourines - “Shoo fly don’t bother me” – shake tambourine until the syllable “bo” on bother –
tap tambourine on “bo” – then tap the beat on “for I belong to somebody”.
ii.
Sticks – say the phrase “I feel just like a star” to the rhythm - ti tah ti ti ti tah – eighth note – quarter note – eighth – eighth –eighth- quarter (have the tambourine section sing this part as they play).
iii.
Tambourines shake on the “Oh” to begin the shoo fly section again. Make the “oh” as if there
was a fermata.
Repeat the “Shoo Fly” – section – this creates an ABA form.
iv.
3. Ask the following questions:
i.
How many parts did this song have?
34 •
ii.
What were the two parts?
•
35
iii.
Say: “In music, when describing how a song or piece of music is organized, we use letter names,
beginning with A. Who can think for a moment and tell me what letters would best describe how this song
is put together?” Lead students to discover that the form is ABA.
4. Define the term, “form.”
The term musical form (or musical architecture) refers to the overall structure or plan of a piece of music. It describes
the layout of a composition as divided into sections. In kid friendly terms, it is the way music is put together – like a
puzzle. The puzzle can be simple or complex. Tell the students that for this lesson, they will come to understand
simple forms.
Concluding Activity
Have students sit around a parachute – if you do not have one, many P.E. teachers are willing to share.
Play the theme from Star Wars – even though this is an old movie, many students will recognize the music. Show the
students the two actions for this activity.
Action 1 – students hold on to the parachute with two hands. It does not matter if they hold a loop or just the
parachute. Hold parachute low during the introduction. When they hear tune 1, the students should take two or three
steps forward quickly, trying to trap air in the parachute to make a big bubble. Hold the bubble for a few seconds and
take a few steps back to their starting position. They should do this each time they hear tune 1.
Action 2 – when tune 2 is heard, students turn and hold the parachute with one hand. Students usually face counter
clockwise, but it doesn’t matter as long as they are all facing the same way. Tune 2 is more legato than tune 1, so the
movement is, after turning, to lightly jog around until tune 1 returns.
Concluding Activity
Listen to the entire movement and have students indicate when they hear the different sections of the music. You
could do this in many different ways such as giving each student two squares of construction paper, two different
colors. Have the students hold up one color for the A section and the other color for the B section. You could also create
cards with a feather on one and a bassoon on the other to represent the two contrasting sections.
Writing Extension
Tell the students about the story of Peter and the Wolf by Prokofiev. Many teachers expose students to this work in
Kindergarten, 1st or 2nd grades. Although a symphony does not always tell a story, ask the students to imagine the
Larghetto of this symphony is part of a story. Think about how the music sounds and write a short story that will reflect
the music.
Prompts: Give the instruments a character as did Prokofiev in Peter and the Wolf.
Classroom Activity #2: Identifying Types of Tempo
4.MR.1.1
Objective: Students will understand musical terms for tempo.
If a visual is needed, use this YouTube address: http://www.youtube.com/watch?v=O8ni7TT2wME.
Process:
1. Begin lesson by introducing a metronome. One may be found at http://a.bestmetronome.com. You can also go to
http://www.sfskids.org/classic and have fun with tempo and the tempo drummer.
When the activity is over, pass out exit tickets and have students write what they thought the form of the Star Wars
theme was. Play the music as they fill out exit tickets, if there is time.
2. Define tempo as the speed of the beat. Use “kid friendly language” by saying tempo is how fast or slow music
is played or sung.
Form: A B A B A
3. Brainstorm with students words that describe fast and slow – write their responses on chart paper or the board.
This could also be a small group activity such as “write as many words describing fast and slow as you can in
two minutes”.
UNDERSTANDING FORM- Part 2
Objective: The students will use previous knowledge and apply it to the Larghetto from Classical Symphony No. 1
by Prokofiev.
Materials: Prokofiev PowerPoint or student handbooks, small lightweight feathers (you can buy a cheap boa from
Michaels or the Dollar Tree and cut off small pieces), hand drums
Process:
1. Begin the class by reviewing form from Part 1 of this lesson.
2. Repeat Parachute activity.
3. Show the Prokofiev PowerPoint or have students read through information in the student handbook.
4. Have students listen to Larghetto from Classical Symphony No. 1.
5.
Pass out small lightweight feathers. Ask students to hold the feather as high as they can and then drop it. As the
feather floats down, have the students blow it gently to keep it afloat. Play section A of Larghetto and have
students drop the feathers and keep them afloat until the theme is played through once. Stop music and tell the
students that what they just heard was the theme from Section A of the movement Larghetto from Classical
Symphony No. 1 by Prokofiev. Play the music again and tell students that this time that you will not stop the music
until the end of the movement. They must do the feather drop each time they hear the theme of section A.
6.
Pass out hand drums or other percussive instruments. You could also use paper plates and tap with a pencil and
cups or sticks to tap on the floor. Play Section B from Larghetto. Have students describe what they hear. This part is
very different from the legato first section. The bassoons and low strings play 16th staccato notes, making this
section seem bouncy. As section B is played, have students tap fingers on drums (or use other options) to imitate
the sound of the bassoons. Tell the students this is section B. Again, play the entire movement and direct students
to only play on section B.
4.
Explain to the students that because of traditions from long ago, many musical directions are written in Italian.
When composers wrote music with different sections, like a symphony, the sections or movements were given
names that described how fast or slow they were to be played. Explain that the sections in Prokofiev’s Classical
Symphony did this as well. The movements/sections are given the following “names”: Allegro con brio,
Larghetto, Gavotte: Non troppo allegro, Finale: Molto vivace
Show other symphonic examples that use this method for naming movements, such as Symphony No. 41
by Mozart (Allegro, Andante, Scherzo: Allegretto, Molto Allegro) or Symphony No. 1 by Haydn (Presto,
Andante, Presto).
5. Introduce and explain the following terms for tempo: Presto, Allegro, Andante, Adagio, Largo.
i.
Presto - extremely fast (180–200 BPM)
ii.
Allegro - fast, quickly, and bright (120–160 BPM)
iii.
Andante - at a walking pace (84–90 BPM)
iv.
Adagio - slow and stately (literally, “at ease”) (55–65 BPM)
v.
Largo - broadly (45–50 BPM)
You may also explain “etto” (an Italian diminutive meaning “less”; so, larghetto is slightly faster than largo,
but slower than adagio).
7. Play Larghetto again. Have half the class blow feathers on the A section and the other half tap the drum in
imitation of the bassoons. Encourage students to listen closely so that they respond to the correct section of
the music. Switch parts.
8. Ask students what they heard. Lead them to understand that this music is in ABA form.
36 •
•
37
Classroom Activity #3: Matching Tempo
4.MR.1.1
Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of
Objective: Students will be able to recognize different tempos.
Materials: Tempo cards, two or three flyswatters, five examples of music of varying tempos.
Process:
1. Divide the class into two or three teams. Have the team choose a name for their group and have them
choose a point keeper.
2. Give each team a flyswatter and instruct them that one person from their team will use the flyswatter to hit the
tempo card that matches the music being played. All students on each team must play and when it is their turn,
their team cannot help them. This is to avoid any one student on a team from “sharing” all of the answers.
3. Tape the tempo cards to the board.
PRESTO
ALLEGRO
4.
Play an example of music and instruct students to listen until you say “GO”. When you say “GO”, a student from each
team will run to the board (at the same time) and “swat” the correct tempo. To make the game challenging, have
only the tempo word on the board. Use the side with the picture when teaching, and have the other side with only
the word written on it.
5. Students will get points for correct answers. If all three students “swat” the correct term, the one who swatted it first
gets the point.
This can also be used as an informal assessment, such as making notes regarding which students understood tempo by their
responses to the game.
Andante
ADAGIO
LARGO
38 •
•
39
Featured Work: “Maple Leaf Rag” from The Red Back Book
Scott Joplin, son of a former slave, had music in his blood. His father played the violin and his mother sang and played
the banjo. While his father labored at odd jobs, his mother cleaned houses in the newly established town of Texarkana
to give young Scott access to pianos. He was largely self-taught until he drew the notice of a local music teacher, Julius
Weiss at age 11. His German-born teacher introduced him to new rhythms, classical pieces and the polkas of his
homeland. By the age of 23, Joplin was leading a band in Chicago, traveling with a vocal group, the Texas Medley
Quartette, and working in Sedalia, Missouri, as a pianist in the Maple Leaf and Black 400 clubs. Within a few years he
had published several songs, rags and waltzes.
“The Maple Leaf Rag,” likely named for the short-lived Sedalia, Mo., club in which he played piano, became the iconic
and genre-defining tune. Written in 1899, it was ragtime’s biggest hit and had sold a half million copies by 1909. Its
success sparked a nationwide craze and suddenly everyone was writing and publishing ragtime tunes. Ragtime
incorporated march tempos, minstrel show melodies, “ragged” or syncopated rhythms, and jazz elements, and it was
heard wherever African-American musicians gathered. Joplin went on to compose many other rags, but none became
as popular as Maple Leaf. Although musicologists recognize that Joplin’s later tunes increased in lyrical beauty and
complex syncopation, they were to remain largely unheralded during his lifetime. While hoping that his music would
make him “King of Ragtime Composers,” he realized that he was ahead of his time. He told a friend, “When I’m dead 25
years, people are going to recognize me.”
Scott Joplin
Born: circa 1867, Eastern Texas
Died: April 1, 1917, New York, New York
Scott Joplin was born in Texas to parents who were both former slaves. His father was a musician and realized quickly
that his son had musical talent, so he gave him piano lessons. By the age of 14, Joplin was able to make a living for
himself playing piano in music clubs. As a performer, he was best known for his piano rags.
Student Introduction to Joplin’s “Maple Leaf Rag” from
The Red Back Book
A “rag” is a piece of music with a unique rhythm. Instead of emphasizing the main beats, composers accent the offbeats. In music, we call this syncopation. In a rag, it is as if the composer took a piece of regular music and “ragged” it or
tore it up, because when the pieces are all put together, in this case the right and left hand of the piano part, they don’t
quite match! This music was exciting and new to listeners and is why Joplin remains one of the most celebrated
African-American composers of all time.
Fundamental of Music: Rhythm
Fun Facts about Joplin (in Student Book)
Scott Joplin’s “Maple Leaf Rag” and the style of Ragtime music
•Joplin’s nickname was the “King of Ragtime,” but he
actually called himself “The Entertainer.”
• He played piano, violin and cornet, and sang with
the Texas Medley Quartette.
•Joplin had perfect pitch, or the ability to sing any pitch
without having to hear it first.
What is Rhythm?
Rhythm is the pattern of musical movement through time, the grouping of musical sounds, the arrangement of sounds
(long/short) and silences, or the pattern of beats in music. Rhythm is generally felt as a movement in music. It drives the
music forward and can be simple or complex.
What is Ragtime?
Ragtime is a style of music that is mostly played on piano and was popular around the turn of the 20th century.
Ragtime is characterized by its heavily syncopated rhythm. The left hand, or bass part, usually features a steady marchlike rhythm. The right hand, or treble part, typically plays a melody that accents the up-beat.
Guided listening activities on Ragtime and Rhythm
Please see the North Carolina Symphony Webpage (Education Concert Addtional Resources) for a SMART Notebook file
that corresponds to these activities.
Joplin’s Life:
•He studied but never completely mastered
musical notation.
•Long after his death, Joplin was awarded a Pulitzer Prize
(1976) for his contribution to American Music.
CLASSROOM ACTIVITY #1: Rhythm and Syncopation
•Joplin was quiet but expressed his thoughts through
the music he wrote and played.
•Joplin’s song “The Entertainer” gained new popularity
in 1973 when it was used in the Academy Award winning movie The Sting.
•He wrote many kinds of music: ragtime, waltzes,
marches, opera and a ballet of African-American Dances.
Objective: Students will practice feeling and understanding the syncopated rhythm in “Maple Leaf Rag.”
Materials: North Carolina Symphony Education CD, notation for syncopation exercise, rhythm sticks
Process:
1. Demonstrate for students. Begin snapping on the “2” and the “4” saying, “1, 2, 3, 4” (accent on beats 2 and 4).
Then, while continuing to snap on beats 2 and 4, say, “syn-co-pa-tion” on the up-beat, starting on beat 2
(see example next page). Do this several times to reinforce the syncopated rhythm heard in “Maple Leaf Rag.”
Have students listen for how the rhythm goes against the beat, or pulse, of the music.
40 •
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41
CLASSROOM ACTIVITY #2: Compare and Contrast
4.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.
Objective: Students will listen to at least three different recordings of “Maple Leaf Rag,“ including one for orchestra,
piano, and a piano roll recording. Students will compare and contrast the three versions of “Maple Leaf Rag.”
Materials: North Carolina Symphony Education CD, notation for syncopation exercise, “Music Detective” handout,
rhythm sticks
2. Listen to the whole piece asking students to keep a steady beat using body percussion (i.e., using bubble hands
to tap on legs, shoulders, floor). Ask, “What instrument do you hear playing the main theme/melody?” (trumpet)
Have students continue to listen to how different instrument families take turns in their prominence in the music:
Form for “Maple Leaf Rag”
A section- Whole orchestra (changes in dynamics- p<f ), repeats
B section- Coronet has lead melody, repeats (support from the whole orchestra on repeat)
C section- Woodwinds (clarinet, piccolo) have melody (changes in dynamics- p<f ), repeats
D section- Clarinet and Strings call and response with melody, repeats
E section- Strings have melody (p, first time), repeats (f-louder)
3. Have students listen once more, this time focused on just the rhythm, not the melody (listen for snare drum
and bass lines). Ask students to raise their hand when they hear this rhythm toward the end of the music:
Process:
1. Introduce the history of the various arrangements of “Maple Leaf Rag” (for piano and orchestra):
Scott Joplin originally composed his rags for piano and later arranged many of them for orchestra. In this context,
it’s instructive to listen to both the piano and orchestral versions to compare and contrast each.
Scott Joplin’s “Maple Leaf Rag”:
i.
ii.
iii.
Joplin’s Orchestration: https://www.youtube.com/watch?v=WD1P4q9W5ZE (North Carolina
Symphony version)
YouTube (piano roll version): https://www.youtube.com/watch?v=pMAtL7n_-rc&feature=kp
Piano recording: https://www.youtube.com/watch?v=G-HTaBdUkUE
2. Compare and contrast the orchestral version with the piano versions (the piano roll or the piano recording).
Have students describe the differences they hear by being listening detectives. (See Listening Detective file)
Name:_________________________________________________Date:____________________
Teacher:_______________________________________
Listening Detective: Joplin’s “Maple Leaf Rag”
4. Ask students what instrument family they hear playing the rhythm (percussion/snare drum). Have students tap out
rhythm of the melody and practice performing snare drum part on body percussion or classroom instruments.
As you listen to each version of Scott Joplin’s “Maple Leaf Rag,” be a music detective by listening to what is
different in each recording. Think about featured instruments, recording quality, tempo, dynamics,
ornamentation (more notes, complex rhythms) as you listen.
Recording
Joplin’s Orchestration
Piano Roll version
Piano Recording
Instrument(s)
ex. piano, strings,
brass, woodwinds,
percussion
Recording Quality
ex. clear, muddled
Tempo
ex. fast, slow
Dynamics
ex. piano p, forte f,
mezzo forte mf
Ornamentation
ex. simple, complex
42 •
•
43
You can also search on iTunes for various recordings of “Maple Leaf Rag, “using “Scott Joplin piano rolls ‘Maple Leaf
Rag’” in the iTunes store search window. This is a great resource for comparing/contrasting various piano recordings
with students using the guidelines above, because students will have only an audio version to listen to, with no
visuals (like what you see on YouTube videos). “Elite Syncopations–Classic Ragtime” is one of the most standard
versions played when referencing Joplin’s “Maple Leaf Rag.”
Ask students to share which version they like most and why. Encourage students to discuss their answers to see
how their peers responded and what they heard differently.
CLASSROOM ACTIVITY #3: Form and Movement
4. ML.1.1 Apply expressive qualities when singing or playing a varied repertoire of music representing genres
4. ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, and eighth notes and rests in
4. ML.2.4 Use standard symbols to notate rhythm, meter, and dynamics in simple patterns.
4. ML.3.1 Use improvisation to create stylistically appropriate answers to given rhythmic and melodic phrases.
4. ML.3.2 Create compositions and arrangements using a variety of traditional and non-traditional sound sources.
4. MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of
Objective: Students will learn about the 4 Sections (or Themes) in “Maple Leaf Rag.” Students will practice identifying
these themes by listening to each section and using visual aids for reinforcement. Movement will be added for greater
understanding.
Materials: North Carolina Symphony Education CD; A, B, C, D visual cue cards (double-sided); rhythm sticks or other
non-pitched percussion instruments; scarves.
Students may further their listening skills to compare and contrast both piano versions to listen even more intently for
slight differences. Differences could include tempo, recording quality, extra notes (more ornamented style of playing).
Process:
1. Share with students the following information about the history and form of ragtime:
i.
Ragtime music could be altered depending on the unique playing style of the composer or musician.
ii.
Certain rags, however, especially those written by Scott Joplin and other composers who published
with John Stark & Son, can be categorized as “classic.”
These instrumental rags fit a certain musical structure.
iii.
iv.
The “classic” piano rag has three or four sections, each featuring a different 16-measure musical theme,
or melody. In turn, these equal sections are divided into four lines of four measures each. Once a theme
is played through, it is generally repeated at some point in the piece. Scott Joplin’s “Maple Leaf Rag” serves
as a great example of this “classic” form.
2. Have students listen to “Maple Leaf Rag “and pay attention to the four different sections of music (or themes).
Students may need to listen to the recording several times.
3. Divide students into four groups and designate a leader for each section.
4. Pass out the visual cue cards for each section leader. Have the group leader hold up the cue card for their section
when that theme is heard beginning with Theme A and ending with Theme B.
5.
When each theme is repeated, have students act out their symbol. For example, students in the Theme A section
can pretend to play piano on the repeat of Theme A. Students in Theme B section can use scarves to act out the
wind blowing through a maple leaf tree. Theme C students can “take a stroll” either in place or in a designated
area of the room during their section of music. And students in the Theme D section can dance or march in place
during Theme D.
Form of “Maple Leaf Rag”
AABBACCDD
The form of “Maple Leaf Rag” resembles a John Philip Sousa march. Each section consists of 16 measures. Joplin calls
the C and D sections a “trio.” Except for the C section in D-flat Major, the piece is in A-flat Major.
Suggested symbols for each theme. When making visual cue cards for students to use, create double-sided images.
Pictures can be mounted on both front and back of heavy card stock so images can be seen from front and back.
44 •
•
45
A. Piano
46 •
B. Wind Blowing
•
47
C. Couple Walking
48 •
D. Dancing or Parade
•
49
Extension:
Have all students tap the steady beat using percussion instruments (such as rhythm sticks) during section A. Then have
all students wave scarves to keep time for section B. Ask students to create various movements and/or rhythmic
accompaniments to differentiate Themes A, B, C and D.
CLASSROOM ACTIVITY #4: Theme A and B—Two student groups
4.ML.1.1 Apply expressive qualities when singing or playing a varied repertoire of music representing genres
4.ML.3.1
Use improvisation to create stylistically appropriate answers to given rhythmic and melodic phrases.
4.MR.1.3 Design a set of criteria for evaluating music performances and compositions.
Objective: Students will review the main melodic themes in “Maple Leaf Rag“ (from Classroom Activity #3). Students
will listen and respond to the rhythms heard in these themes. They will sing and practice playing the melodic rhythms
on classroom instruments and body percussion. Students will then add percussion parts (ostinati) by both reading
notated rhythms and improvising their own and play independently in 2 parts. Students will self-assess their
performance as a group.
Materials: North Carolina Symphony Education CD; A, B, C, D visual cue cards (double-sided); rhythmic excerpts for
body percussion and melody; piano, rhythm sticks or other non-pitched percussion instruments; metronome; selfassessment rubric; videotaping device (such as an iPad); scarves
Process:
1. Display the melodic and rhythmic excerpts, along with the Theme A, B, C, D visual cue cards for” Maple Leaf Rag”
by Scott Joplin. Guide students in listening to “Maple Leaf Rag.”
2. Play the main themes (melodies), especially Theme A (opposite page)
•
On the piano (see if you have a student who can play the main melody)
•
On another instrument
3. Play at least the first two themes until the class easily differentiates between them.
50 •
Encourage students to sing the first theme, then create or perform an ostinato using body percussion to
complement the melodic rhythm of Theme A. (Refer to notated Body Percussion rhythms for Group 1.)
Ask students to read/listen to the rhythm again, performing different body percussion movements such as:
•
Patting thighs for sixteenth notes
•
Tapping quarter notes on shoulder or clapping to keep the steady beat
•
51
4. Transfer the body percussion to non-pitched percussion.
Group 1 represents the bass line during theme A. This can be done using rhythm sticks to accentuate the bass
rhythm or by having students tap, clap, or stomp using body percussion. You will also need to have the STEADY
BEAT being played either by at least one student or small group of students, a metronome, or the teacher.
Group 2 represents the rhythm of the melody. Group 2 can either use both hands (alternating) on drums or using
body percussion (legs) to tap out the melodic rhythm.
Assessment:
After practicing several times at a slow tempo, see if students can perform both Group 1 and 2 parts with the recording.
Then practice switching parts. Have students self-assess as a group based on the 5-1 rubric below (5 being the most
successful):
5.
Play that Ragtime Music!
4. Jazzy
3. Keep marching
2. A little rough around the edges
1. Really ragged
Offer teacher guidance and suggestions as needed and try again. If time allows, videotape the class performing in two
groups. A Flip video camera or iPad can be used to videotape. Students will love seeing themselves perform and can
learn to assess the quality of their work from the outside in.
Examples of Composer Posters can be found on the North Carolina Symphony Webpage (Education Concert
Additional Resources).
“When Johnny Comes
Marching Home”
Arr. Terry Mizesko
Born: September 21, 1946, Morehead City, NC
Terry Mizesko is a composer from North Carolina. He has been a member of the North Carolina Symphony’s trombone
section since 1971, and he is also a conductor.
He was born in Morehead City, N.C., and he studied music at East Carolina University in Greenville. He has taught
trombone lessons for more than 20 years at several schools including Duke University, UNC-Chapel Hill and St.
Augustine’s College.
Fun Facts about Terry Mizesko (in Student Book)
•Despite being from the coast, his favorite
North Carolina city is Asheville.
•He enjoys minor league baseball, especially the
Durham Bulls and Carolina Mudcats.
•His favorite pastime is spending time with his family.
•He's played with every conductor the North Carolina
Symphony has ever had, with the exception of
its founder.
•Mizesko’s two children are his inspiration for
writing music for kids.
•He loves cooking.
Mizesko’s Life:
•Terry Mizesko has been Principal Bass Trombone for
the North Carolina Symphony for 43 years!
•The North Carolina Symphony has performed
Mizesko’s compositions and orchestrations for the
last several seasons in classical, pops and education
concerts throughout the state.
Featured Work: “When Johnny Comes Marching Home”
The most famous souvenir of the American Civil War, “When Johnny Comes Marching Home” was published in 1863,
with words and music credited to Louis Lambert. However, Patrick S. Gilmore is said to have written the piece, inspired
by an African American folk song. He is said to have written this for his sister Annie as she prayed for the safe return of
her fiancé, Union Light Artillery Captain John O’Rourke. The first sheet music publication was entered into the Library of
Congress in September, 1863. Gilmore later remarked that the music was not original to him, but that he heard
someone whistling the tune during the early days of the rebellion and “taking a fancy to it, wrote it down, dressed it up,
gave it a name and rhymed it into usefulness for a special purpose suited to the times”. It became a Civil War favorite,
even altered with verses titled “To Bales” by a Confederate author, a pun on the failed attempt of Union soldiers to
capture bales of cotton from the Red River. “When Johnny Comes Marching Home” resurfaced during the SpanishAmerican War and World War I. Described as “unique, vital, and stimulating,” “When Johnny Comes Marching Home” is a
patriotic, history-laden work, which stood the courses of time and journeyed through many decades.
The song has been used in many movie soundtracks such as Gone with the Wind (1939), The Great Dictator (1940),
Yankee Doodle Dandy (1942), and Stalag 17 (1953). A parody of the song’s melody is the children’s song “The Ants
Go Marching”.
52 •
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53
Student Introduction to “When Johnny Comes Marching Home”
Fundamental of Music: Melody
Objective: The students will play an Orff arrangement to accompany the song “When Johnny Comes Marching Home.”
Classroom Activity #1: Let’s Sing
Process:
1. Review the song – sing with booklet or prepared PowerPoint presentation
4. ML.1
Apply the elements of music and musical techniques in order to sing and play music with accuracy
and expression.
Materials: North Carolina Symphony Education CD
2. Teach the Orff instrument parts as follows:
i.
The score is written for bass xylophones, alto xylophones, recorder, temple blocks
4. ML.2
Interpret the sound and symbols of music.
ii.
Teach the bass xylophone part
4. CR.1.2
Understand the relationships between music and concepts from other areas.
iii.
Teach alto xylophone part
Vocabulary
Hearty: Sincere and heart felt
iv.
Teach temple block part
v.
Teach the recorder part
“Ladies will all turn out:” The ladies will be present to welcome soldiers home
This lesson may cover multiple lesson sessions
Gay: In the 1860s, this word meant happy
Special Note – this song and the lessons here can be an integration tool for 5th grade social studies when they are
learning about the Civil War.
Peal: Ring out
Lads and lassies: Boys and girls respectively, relate that the tune for “When Johnny Comes Marching Home” is thought
to be of Irish origin and these words for girls and boys are an Irish expression
Strew: Scatter
Jubilee: A season or an occasion of joyful celebration
Laurel Wreath: A crown of leaves from the laurel tree/plant – treated as a crown of victory
Objective: The students will be able to sing with expression the song, “When Johnny Comes Marching Home.”
Materials: North Carolina Symphony Education CD, PowerPoint (Education Concert Addtional Resources),
student booklets
Process:
1. Using notes from the teacher or student booklet, give a brief history of “When Johnny Comes Marching Home”.
2. Play the song and have students follow along in their student booklets. As students listen, have them listen
or look for words that they may not understand.
3. Go over the vocabulary and any other lyrics that may be new or unfamiliar.
4. Remind students of form – how the song is put together. Ask the students to look at the music of the song
and find any repeated sections. The musical form is, by phrases, A A B A1
54 •
Classroom Activity #2: Now Let’s Play
Singing with your North Carolina Symphony
At your concert, students will be asked to stand and sing “When Johnny Comes Marching Home” with the orchestra.
Although we encourage students to memorize the lyrics, we understand that this is not always possible. At your
discretion, decide whether or not to bring song sheets or books from which your students can read. If you do choose to
bring the lyrics, please be sure students take with them all materials they bring into the auditorium as a courtesy to our
venues’ clean-up crews.
Playing with Instruments at Your Concert
At your concert, you may notice other groups playing the song on recorders. Playing the song “When Johnny Comes
Marching Home” on recorders is an opportunity we extend to all school groups that attend and is completely optional.
However, if you are planning to have a student group perform on instruments, here are a few things to know:
•
North Carolina Symphony Education staff members need to know that you plan to perform on recorders before
your concert. Please contact Sarah Gilpin, Director of Education, at sgilpin@ncsymphony.org or 919.789.5461
or ask whomever is coordinating your concert trip to do so. Performing groups will be seated in a special section
and acknowledged from the stage, so it is critical that we know you are preparing to play.
• Schools will play on their own, unless you make arrangements with another school to perform together.
5. Sing with the music from the student booklets
• We may have too many individual groups performing on instruments at one concert, in which case you may be
asked to perform with another school.
6. Use a PowerPoint and sing song while playing the slide show.
• Any groups performing on recorders will do so after the orchestra plays “When Johnny Comes Marching Home.”
7. Dance to the song! Couples should be facing, scattered around the room.
• This opportunity is open to other instruments such as violins, Orff instruments, boomwhackers, etc.
8. Each couple joins hands and step right (girls – left for boys) 2 times, then do a turn on each “hurrah”–
options: ring the dishrag double turn, boy can turn girl, or girl can turn boy
• Please remind your students, whether they are performing or not, to be courteous and respectful of other students’
performances at their concert.
Phrase 1 – “When Johnny comes marching home again, hurrah, hurrah”
Phrase 2 – same in opposite direction
Phrase 3a – “The men will cheer and the boys will shout” – boys take slow steps away from partner and stop
3b – “The ladies they will all turn out” – girls take two slow steps back and freeze
Phrase 4 – “And we’ll all feel gay when Johnny comes marching home”
Partners walk 4 small steps forward and perform one more turn on “Johnny comes marching home.”
•
55
When Johnny Comes Marching Home
Traditional/Arranged by Terry Mizesko
Lyrics by Louis Lambert
=
Johannes Brahms
Born: May 7, 1833, Hamburg, Germany
Died: April 3, 1897, Vienna, Austria
Johannes Brahms was born on May 7, 1833, in Hamburg, Germany. His father was a musician, and his mother was a
seamstress. He respected famous composers throughout history, including Haydn, Mozart and his favorite, Johann
Sebastian Bach.
Brahms began playing piano at age seven, and helped to earn money for his family playing in restaurants and theaters.
Brahms also learned to play cello, but had to stop when his cello teacher stole his instrument! As a teenager, he was
already conducting choirs and later became a successful choral and orchestra conductor. By the age of 19, Brahms was
well-known as a pianist and played a concert tour of Europe.
Brahms met many famous musicians while traveling on his concert tours, including the composers Franz Liszt and
Johann Strauss, Jr. Brahms loved Hungarian folk music and its gypsy rhythms and melodies. Brahms used them in his
music, including his 12 Hungarian Dances, which were very popular and made him famous.
Fun Facts about Brahms (in Student Book)
•Brahms’ appearance was very recognizable as he had a
long beard and large frame.
•Brahms never went to college!
Take note: When singing with the North Carolina Symphony, observe the 10 measure rest.
When performing on instruments, ignore the 10 measure rest.
The old church bell will peal with joy, hurrah, hurrah,
To welcome home our darling boy, hurrah, hurrah!
The village lads and lassies say with roses they will strew the way,
And we’ll all feel gay when Johnny comes marching home.
Get ready for the jubilee, hurrah, hurrah,
We’ll give the hero three times three, hurrah, hurrah!
The laurel wreath is ready now to place upon his loyal brew,
56 •
•Although Brahms was quiet and shy, he had many friends,
and even though he was not married, he was known
as a favorite “uncle” to many of his friends’ children.
Brahms’s Life:
•Brahms’ family learned that he could hear a tune and
play it immediately on his flute, when at age six, he
played all the tunes he had heard from an organ grinder.
•When Brahms was nine, he accidently discovered a
piano factory during the Great Fire of Hamburg, when
the fire blocked his path to Mr. Cossel’s house and he
couldn’t get to his piano lesson. The owner of the
factory invited him to play, and then offered Brahms
the opportunity to practice on the pianos in his factory.
•Brahms’ father played double bass in cafes and inns,
but the family never had enough money.
•Brahms played dance music on the piano in taverns as
a youth to help support his family.
•Brahms wanted to learn to play the piano, but his
father told him to forget about this idea because he
thought pianos were only for rich people.
•At age ten, Brahms won a piano competition even
though he could not practice due to an accident in
which a heavy wagon had run over his legs. He did not
accept his prize of traveling to America to give
concerts, but instead began piano and composition lessons with Mr. Cossel’s teacher, Professor Marxsen.
•Brahms’ family was very poor and lived in a house
with many other families. His most precious possession
was his flute, which he kept under his pillow.
•When Brahms’ father took him to see one of his
musician friends, they discovered that Brahms had
perfect pitch and could name any note that was being
played on the piano.
•At age seven, Brahms started taking piano lessons
from Otto Cossel, who did not charge his family for
the lessons and let Brahms practice at his house.
•Brahms toured through Northern Germany. He worked
as Director of Concerts for a prince and as Director for
a singing school in Vienna.
•Although he was a composer of the Romantic Period,
compared to his contemporaries his music seemed
closer to the Classical Period.
•
57
•He wrote four symphonies, many songs and
choral pieces, various piano pieces, a Requiem,
and a famous lullaby.
•He was friends with Robert and Clara Schumann and
spent two years helping with their children. Mrs.
Schumann advised him in many areas of his life.
•He liked to go on walks in the woods.
Featured Work: Academic Festival Overture, Op. 80
Brahms’ Academic Festival Overture was written as a “thank you” for the University of Breslau for conferring upon
him the degree of Doctorate of Music. This work features a very elaborate orchestration as well as an interesting
conglomeration of styles. Brahms describes the piece himself as “a very boisterous potpourri of student songs.” The
primary theme is an adaption of the Rakóczy March, one of Brahms’ longtime favorite tunes. It is combined with
elements of a Thuringian folk song, giving violin and viola melodic lines a sweeping and lyrical rendition. The animato
section is known as The Fox-Ride (“Was komm dort von der Höh”—what comes from afar), laden with an accented
syncopation in the bassoons, violas, and cellos, giving the piece a humorous touch. The grand finale is a high-spirited
version of “Gaudeamus igitur” (Therefore, let us be merry), ending the piece with a jolly and stirring conclusion, full of
brass fanfares and a full orchestration.
CLASSROOM ACTIVITY #2: Understanding Melody
4.ML.3.1 Use improvisation to create stylistically appropriate answers to given rhythmic and melodic phrases.
Objective: Have students create a four measure answer in 2/4, using a set of criteria, and play for the class.
Materials: Orff Instruments (G pentatonic) and Boomwhackers (G and C)
Process:
1. Ask the students to read the rhythm.
2. Once the rhythm is sturdy, ask the students if the melody is going up or down?
3. Have the students identify the time signature and “do.”
4. Without writing the solfeggio words under the notes, have the students slowly sight read through the four
measures with hand symbols.
5. Use the Boomwhackers to keep the beat between G and C (half notes), and have half the class pat the rhythm.
6. Create a four-measure answer in 2/4 that ends on "do" (G).
Student Introduction to Brahms’ Academic Festival Overture, Op. 80
Fundamental of Music: All Elements/ Finale
CLASSROOM ACTIVITY #1: Identifying Meter and Rhythm
4.ML.1.3 Use voice and/or instruments to execute melodic movement through pentatonic melodies on the
treble staff.
Objective: Students will recognize the final melody of the Academic Festival Overture. Students will learn the time
signature, rhythms and melody and then identify the melody in the context of the Academic Festival Overture.
Materials: Melody from the coda of Gaudeamus igitur (Therefore, Let Us Rejoice), North Carolina Symphony Education
CD, lyrics to one verse of several.
Process:
1. Have the students identify the meter (2/4) and the rhythms while speaking them to the beat.
2. Have the students write the solfeggio syllables of the song on the board and slowly read through them.
3. After they are comfortable with the melody, play the last part of the Brahms, from
Long live the university,
Long live the teachers,
Long live each male student,
Long live each female student;
May they always flourish!
Extension Activity: Have the class create lyrics to the melody!
58 •
•
59
I will:
4. Name four tempo markings and describe them.
#4
guidelines during the North Carolina Symphony Concert:
3. Would you like to play an instrument?
If so, which one?
I, _________________________________, promise to abide by these following
2. Name the instrument families and list as many
instruments as you can that belong in each family.
Concert Etiquette Student Contract
1. Name four dynamics and describe their meanings.
The following form is intended to be a tool for teachers to use with students when discussing proper
performance etiquette. Completion of this form is not required to attend your North Carolina Symphony
Education Concert.
•Sit and remain in my seat at all times.
#3
•Be a good listener by staying silent when the conductor is speaking and
when the Symphony is playing.
•Show how much I enjoyed the music by clapping and not shouting!
•Only applaud when the music is completely over (when the conductor’s
hands go down).
•Only play my instrument (if I have one) when it is my turn and listen carefully
to the conductor’s instruction.
60 •
North Carolina Symphony
Reflection/Assessment Template
Date ____________________
Student’s Name
#1
________________________________________
#2
•Be respectful of the Symphony, the conductor, the concert hall, my fellow
classmates, audience members, all adults and all teachers at ALL TIMES.
Name: ___________________
•Only sing along to the music when I am invited to sing. I will remember
that I may have learned words to a musical theme that I shouldn’t sing
during the concert!
•
61
Let’s Go to the North Carolina Symphony!
Teacher Checklist
 Register for the awesome teacher workshop August 14, 2014, and order any materials
that you need.
 As soon as you learn the date(s) that you will be attending the North Carolina
Symphony Concert, send the date(s) to your administrator and homeroom teachers.

Secure your funding for transportation. Ask your school bookkeeper how you will
pay for the buses. PTA funds? School funds? Students pay? Field trip grant? etc.
Double check the mileage rates and make sure that you have enough money.
If students are paying for their own, calculate the price per student so that you
have the rate ready for your field trip letters and permission slips.
 Complete your field trip request form and reserve the buses with your administrator.

Create a letter to send home, email, or post on your website that lets your students
and their parents know that you are going to be teaching the students about the
North Carolina Symphony in preparation for their visit. In addition to the field trip
details, include the concert program and North Carolina Symphony website so that
parents and students can learn more together at home.
 Ask your administrator and your classroom teachers if you can be a guest at their
grade level PLT to discuss the details of the field trip and ask how you can integrate
any cross-curricular connections into your music lessons.
 Plan your lessons! Use the North Carolina Symphony Teacher Workbook, student
booklet, CD, the North Carolina Symphony http://www.ncsymphony.org/education/
education.cfm?ssid=4&sid=1, and ask your colleagues for lesson plan
ideas. Be creative and have fun!

One month before your trip, create another letter with field trip details, cost, and
attach the permission slip to send home with all students. Make the classroom teachers
a spreadsheet with student names and columns to check as permission slips and
money are turned in. Tape the spreadsheet and letter to a large envelope and give
to your teachers to collect the permission slips.
What Does The Conductor Do?
In the performance, it may look like the conductor is simply waving a wand from the Harry Potter movies in
his or her hands as the orchestra plays the music. However, there is more to the job than waving a baton.
The conductor's work usually starts months before the performance and can take a lot of time and study.
They are responsible for:
A. Selecting the music
The selection of the music is based on the type of program the conductor would like to present to the
audience. The program can be a collection of show tunes, a collection of works from one composer, or a
program that is thematic, following some idea like Nature or Science Fiction. The selection of the music is
also based on if the orchestra currently owns the piece and has the right instruments to perform it.
B. Preparing to rehearse
Once the music is selected, conductors will begin studying the music so they are ready to lead and rehearse
the orchestra. They usually do some analysis (looking at the details of the music) of the melody and the
different instruments that present it, the harmony and the structure or how the music is put together to
present the idea the composer had when they wrote it. The conductor will look at the individual parts or at
each line from each instrument to see if there are any difficult parts that may require more attention in
rehearsal. They will begin to establish an interpretation of the work…in other words, how fast or slow, the
tone color to use, the dynamics to use in different sections, etc. Just as artists choose colors and use
deliberate brushstrokes to create a painting, conductors use sound and how that sound is presented to
paint their musical picture for the audience. Conductors may listen to some recordings of other conductors/
orchestras to hear how they performed the piece and then decide if they would like to perform it like they
did or differently, creating their own interpretation. Occasionally, conductors have the opportunity to look at
copies or rarely, the original of a score penned by the composer to see what the composer noted as far as
the dynamics and the tempo settings.
C. Rehearsing the orchestra
Conductors will spend the most time rehearsing the orchestra. They watch the score as they listen to each of
the sections/instruments play the parts, then they will stop and give the orchestra directions on how to play
the music. Perhaps it should go faster here, or slower here, or maybe the strings need to be louder here
because they have the melody and the conductor wants the audience to hear the melody clearer.
Conductors have the chance to stop the piece and make corrections during rehearsal.
D. Conducting the performance
During the performance, the conductor visually reminds the orchestra of those things covered in rehearsal.
He or she keeps the group together by conducting the meter and the spirit of the piece encouraging the
musicians to perform their very best.
Vocabulary
Baton: A handled stick the conductor uses to conduct the orchestra
Thematic: How pieces are related to each other based on a common theme or idea
Analysis: To closely examine and understand the piece of music Melody: The primary tune(s) of the work
 If you are going to be missing lunch be sure to notify your cafeteria manager at least
two weeks in advance of your trip.
Harmony: The music supporting the melody
 One week before the trip, be sure to review concert etiquette with your students.
Interpretation: Based on the understanding of the composer and the particular piece,
the conductor will decide on tempos and dynamics to best represent the composer
 Finally, on the day of your trip be a great model for your students and enjoy the music!
Dynamics: How loud or soft the music is played
Structure: How the piece is constructed or its form
Tempo: How fast or slow the beat goes
Meter: How the beat is divided into groups of notes
62 •
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63
“Your Elephant, The Orchestra”
A story to read in class before your North Carolina Symphony Education Concert
Seating Chart
by Jackson Parkhurst
Seating Chart
Three blind men were asked to describe an elephant. The first felt the elephant’s trunk and said, “An elephant
is like a fire hose!” The second felt the elephant’s side and said, “No, an elephant is like a wall!” The third felt
the elephant’s tail and said, “You are both wrong. An elephant is like a rope!”
Describing the North Carolina Symphony is somewhat like trying to describe that elephant. It is a jumble of
trunks and tails, all of which come together to be what you will hear and see when it comes to visit you.
percussion
Okay, what is the North Carolina Symphony? Well, for sure it’s people. But that’s too simple. Well, how about
this, then? It is people who make music together. That’s true, but there is more. Wait! I think I have it now. An
orchestra is a group of people who make music together, but it’s also people who work at desks to help
organize the music makers, and others who help by doing jobs like driving the buses and setting up the
stage for concerts.
timpani
trumpets
horns
Well, there are the parts of our creature, but how do these parts work? The North Carolina Symphony cannot
perform without the people who work in the office. These people do an important job. They help raise the
money that pays for the orchestra. Also, when the orchestra travels they make sure that the musicians get to
the right town and that everyone has a place to eat and sleep. Since our elephant, the orchestra, travels
more than 18,000 miles a year (which is halfway around the earth!), you can see why the office workers are
so important. Like the tail of the elephant, the office staff is not often noticed.
Now a trunk is a different matter entirely. Without one an elephant couldn’t eat peanuts or wash his back
very well. Neither can our orchestra work well without the people who help them when they travel. One of
these people is the stage manager who is responsible for setting up the necessary equipment before each
concert. The North Carolina Symphony plays 175 concerts a year, and each chair and music stand has to be
in its own special place every time. The stage manager has a crew of workers who help him do this.
There are other musicians in disguise who do extra jobs. One of them is the librarian who puts the music on
each music stand. Every player must get the correct musical part, or the orchestra will sound crazy. Then
there is the personnel manager who gets to listen to everyone’s problems, but also gets to give out the
paychecks! There are two more people who are the official bus drivers complete with uniforms and licenses.
Without these two the orchestra couldn’t go anywhere. Oh yes, there is another musician who doesn’t have
a musical instrument at all. That person is the conductor, and their job is to start and stop the music and help
keep all the musicians playing together. They are also the one who talks to you during the concert.
Now, what are we missing on our elephant? Oh yes, the body. When we assemble all of our music makers,
we have the main body of the orchestra. This body is organized into smaller groups of instruments which we
call families, and these are arranged in a special way on the stage so that you, the audience, get the most
wonderful sound possible. This is a chart showing how the orchestra is arranged on the stage.
An orchestra can, of course, only sound beautiful if each of these musicians works hard to play his or her
best. The musicians of the North Carolina Symphony have been practicing and playing music since they
were your age. If you add up all the years of practice of all of them, you will have a total of over 1,500 years!
These individual musicians are the heart of our orchestra. Trunks and tails would be pretty useless without a
heart, you know.
trombones
clarinets
bassoons
flutes
first
violins
tuba
second
violins
oboes
basses
cellos
violas
Sections
Sections
conductor
Percussion
Brass
Woodwind
String
So now we have described with words our elephant, the orchestra. Just as an elephant can best be
understood by seeing it, an orchestra can best be known by hearing it—and you have one of your very own
coming to play for you. Remember, the North Carolina Symphony is your elephant.
Jackson Parkhurst was for many years the Director of Education for the North Carolina Symphony.
64 •
•
65
Sources and Selected Bibliography
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66 •
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67
Mizesko
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68 •
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