the swingles - Harris Center

SCHOOL MATINEE SERIES
STUDY
GUIDE
THE SWINGLES
FRI ● FEB ● 13 ● 10 AM
HARRIS CENTER FOR THE ARTS
ARTS EDUCATION & COMMUNITY PROGRAMS
1 | Arts Education and Community Programs
2015
WELCOME TO THE HARRIS CENTER
Dear Educators,
We are excited to offer your students a challenging, inspiring and entertaining theater
experience! As part of the Harris Center's goal to integrate arts into the classroom, we are
providing this resource study guide to educators to use before and after attending a school
matinee performance. This guide includes activities and suggestions that will stimulate
discussions and explore a variety of concepts related to a live theater performance. It will also
serve as a vehicle for cross-cultural and language arts learning related to the academic core
curriculum.
ENJOY THE SHOW!
Harris Center for the Arts
Sponsored by
Arts Education and Outreach Staff
About the Harris Center for the Arts
The Harris Center for the Arts seeks to enrich the lives of people throughout California’s capital region
by providing venues and opportunities to experience artistic work, celebrate cultural traditions and
participate in the creative process.
Inside the Guide
Theater Etiquette
Information for Teachers
About the Artist
About Vocal Music
Elements of a Performance
pg. 3
pg. 4
pg. 6
pg. 6-8
pg. 8
Activities and Discussion Questions
California Content Standards
Resources
Performance Evaluation
For more information please contact:
Outreach Coordinator, Laura Hunter
laura.hunter@harriscenter.net
925-323-4420
Ticket Office@harriscenter.net
916-608-6888
10 College Parkway | Folsom, CA 95630
www.harriscenter.net
916-608-6888
pgs. 9-11
pg. 11
pg. 12
pgs. 13-14
THEATER ETIQUETTE
A performance is a shared experience between the actors and the audience.
Get ready to play your part!!
Attending a live performance is very different than going to a movie... The
performers onstage can see and hear what goes on in the audience, so practicing
appropriate theater etiquette will help make your visit an enjoyable and
memorable experience for everyone.
Here are some things to remember:
•
Arrive promptly.
•
Visit the restrooms drinking fountain before entering the theater.
•
Enter the seating area quietly and in an orderly manner.
•
TURN OFF ALL cell phones, pagers, beepers, alarms, anything that can disturb the production,
actors and the audience members during the performance.
•
While waiting for the performance to begin, talk quietly and stay seated.
•
At the beginning of a performance, or during certain scenes, the lights are dimmed. It is okay to be
excited, but limit your voice and actions to reflect appropriate "indoor" behavior.
•
Demonstrate your knowledge of this theatrical convention by sitting calmly when the lights go out.
•
A live performance is a shared experience between the actors onstage and the audience.
Laughter, tears, gasps of surprise, and appreciative applause are all common and welcome
reactions. Whistling and shouting are not polite.
•
Avoid leaving your seat during a performance unless it is an emergency situation.
•
Show respect for the actors by giving them your full attention during the performance.
•
Taking photographs is distracting to the other members of the audience. Taking flash photography
is prohibited during a performance. The flash may cause serious accidents to the performers who
may be momentarily blinded or distracted.
•
Tape recording or video recording a live performance without written permission from the theatre
company is a serious violation of copyright law.
•
Show your appreciation for the work of the actors and technicians by applauding at the end of
the performance and when the actors take their bows.
•
When the performance is over, wait patiently for your turn to exit.
3 | Arts Education and Community Programs
INFORMATION for TEACHERS
Planning your visit...
Arrive early.
Plan to arrive at least 30-40 minutes before your
performance time. Schools will be seated as a group once
the full group has arrived.
Address Info. Harris Center is located on the campus of
Folsom Lake College at 10 College Parkway in Folsom,
California.
Bring your confirmation. On the day of the performance,
be sure to bring your confirmation sheet showing proof of
payment and attendee detail. Have an accurate head
count of student, teachers and chaperones.
Parking. Ample event parking is available in Lots C and D,
near the front entrance to Harris Center. Parking is free and
no permit is required on Friday evenings after 5 PM and all
day on Saturday and Sunday. Parking permits are required
for events taking place Monday through Thursday, and
Friday before 5 PM. A parking permit is provided with ticket
orders for events during those times. To inquire about
permit requirements for a specific event, speak with a
Customer Service Representative at 916-608-6888.
Bus Drop-Off. No buses in the circle. Drop off of buses will
be directed by Harris Center staff in lot D. To view parking lot maps, click here.
Car Drop-Off Zone. A drop-off zone for guests is available in the traffic circle directly in front of the facility
main entrance.
Seating Assignments. General admission seating is standard for school matinees. No reserved seating or
special priority given except for special needs. Please see Accessibility information below. Seating for these
programs is directed by house staff. Groups are generally seated from front to back once your full group has
arrived. Chaperones are to be seated with students to assure proper supervision.
Seating Maps. To view seating maps for each of the Harris Center theaters, please visit our website at
harriscenter.net.
Accessibility. The Harris Center is accessible to patrons with special needs. Accessible seating locations are
available for patrons in wheelchairs or with limited mobility in all theaters. Wireless Assisted Listening Devices
(ALD) are available for check-out at the Kirklin Coat Check. To assist our staff in serving you to the best of our
ability, please mention any special needs or questions to our Customer Service Representatives when placing
your ticket order.
4 | Arts Education and Community Programs
Planning your visit, continued...
Late Seating. In order to limit any disturbance to fellow audience members, late-arriving patrons will be
seated at the discretion of the House Management Staff at the next suitable break during a performance. In
some cases, late-arriving patrons may be seated in alternate seats. Occasionally, late seating or readmission
may not be possible once a performance has started.
Cellular Phones, Beepers, and Watch Alarms. Use of cameras, recording equipment, and cellular phones are
not permitted. All pagers and cell phones must be silenced before the start of the performance.
Photography & Video Recording. Due to copyright laws and in consideration of the performers, the use of
photographic or recording devices of any kind inside the theatre is strictly prohibited. If you bring a camera
with you, we will politely ask you to check it at the Kirklin Coat Check before entering the theatre.
Children. Children over age 5 are welcome at most events, and regardless of age, must have a ticket. Infants
on laps are not permitted unless specified. Inquire when purchasing tickets on age appropriateness for
specific events.
Campus Limits for Visiting Schools. Students are not permitted on the Folsom Lake College campus beyond
the Harris Center unless an approved tour is coordinated by the FLC Outreach Coordinator. For more
information, contact Holly Larson, Event Services Specialist, at holly.larson@harriscenter.net or 916-608-6847.
Food and Drinks. Food and drink, except for bottled water, are not permitted in the theater and should be
left in cars or on buses. Lunches need to be consumed off-site, in buses, or in front of the Harris Center. Local
parks nearby include: John Kemp Community Park, 1322 Bundrick Dr., Folsom, CA 95630; Livermore
Community Park, 6004 Riley St., Folsom, CA 95630; Amos P. Catlin Park, 825 Russi Rd., Folsom, CA 95630.
Photography Disclaimer. Photographs may be taken at this event for use on the Harris Center website and in
the press, Harris Center marketing materials, and all other Harris Center publications. By attending this event,
you consent to the Harris Center photographing and using your image and likeness. Parents of students who
are minors, who do not wish to comply with this policy must notify the Harris Center in writing prior to the date
of the event at ArtsEd@harriscenter.net.
Lost & Found. Please call the Ticket Office at 916-608-6888.
Additional Questions?
For more complete program information, please contact us at ArtsEd@harriscenter.net or call the Ticket Office
at 916-608-6888, Monday through Saturday, 10 am to 6 pm.
5 | Arts Education and Community Programs
ABOUT THE ARTISTS
For more than half a century The Swingles have pushed the
boundaries of vocal music. The seven young singers that make up
today’s London-based group are driven by the same innovative
spirit that has defined the five-time Grammy® winners since they
first made waves in the 1960s. With their forthcoming album Deep
End (due early 2015), The Swingles celebrate that legacy by
starting a whole new chapter.
In 1963, American-born Ward Swingle first assembled a group of
Parisian session singers to sing Bach’s keyboard music. The resulting
album, Jazz Sebastian Bach, launched the Swingle Singers to fame. Since then their repertoire has grown to
include a huge variety of music, as well as new original songs. They have released more than 50 recordings,
winning five Grammy® awards and appearing on numerous film and TV soundtracks including Sex and the
City and Glee.
The group’s versatility has led to collaborations with artists as diverse as the Modern Jazz Quartet, Jamie
Cullum and Labrinth. Luciano Berio was one of the first composers to explore the sound of the Swingles’
amplified voices in an orchestral setting, and the group continues to perform his groundbreaking Sinfonia
around the world, including recent performances at the Royal Festival Hall and La Scala.
In addition to a busy touring schedule that regularly takes them to North and South America, Europe and Asia,
The Swingles present their own London A Cappella Festival at Kings Place each January in partnership with
Ikon Art Management. The festival is the first of its kind in the capital, welcoming the finest vocal talent from
around the world.
ABOUT VOCAL MUSIC
Vocal music is a genre of music that can be performed by one singer, or many singers. Solo artists work alone
during the performance, and choirs or groups perform with a group. Vocal music may be accompanied by a
piano or other instruments, or without instruments (a cappella) where the voice or collection of voices provide
the entire range of singular or multiple parts of a musical arrangement.
VOCAL RANGE
There are many different ways that the voice can be classified. Vocal Range is used to define the differences
in range that the voice can span- from the lowest note to the highest note. From that point, voices can be
broken down from within the range to a type of classification with their own group names or "voice types".
There are seven different major voice categories that are generally acknowledged across all types of voice
classification. These include:
• Soprano - highest female voice
• Alto - lowest female voice
• Tenor - highest male voice
• Bass - lowest male voice
These voice classifications are commonly called SATB.
6 | Arts Education and Community Programs
A CAPPELLA
Meaning singing without musical accompaniment, is the oldest form of music. TribalChant, Gregorian chant,
Gospel, Jazz, Barbershop, doo-wop, and Contemporary music all trace their roots to a cappella.
ENSEMBLES
There are many different types of vocal ensembles.
ARRANGING
In music, an arrangement is
a musical reconceptualization of a previously
composed work. It may differ from the original work by
means of reharmonization, melodic paraphrasing,
orchestration, or development of the formal structure.
STYLE
There are many different styles associate with Choral
music. Here are just a few!
• Classical - music written in the European tradition
during a period lasting approximately from 1750 to 1830, when forms such as the symphony, concerto,
and sonata were standardized.
• Popular - music appealing to the popular taste, including rock and pop and also soul, country, reggae,
rap, and dance music.
• Ethnic - A kind of music originating from the ordinary people of a region or nation and continued by oral
tradition. The ballad is a typical form of folk music. Music is also called “folk” when it is made by artists and
composers who are inspired by, or imitate, true folk music.
• Folk - music that originates in traditional popular culture or that is written in such a style. Folk music is
typically of unknown authorship and is transmitted orally from generation to generation.
• Opera - is an art form in which singers and musicians perform a dramatic work combining text (called a
libretto) and musical score, usually in a theatrical setting.
DYNAMICS
How dramatic is the music? Are there loud and soft sections? The music terms (and symbols) are:
• pianissimo (pp) – very soft
• piano (p) – soft
• mezzo piano/mezzo forte (mp, mf) – medium soft/medium loud
• forte (f) – loud
• fortissimo (ff) – very loud
7 | Arts Education and Community Programs
PERCEPTION OF MUSIC
We appreciate music on different levels.
•
Cultural Conditioning - We appreciate what we have been taught to appreciate. Major influences are
parents, later peers.
•
Sensory Level - reaches us through sense of hearing, appeals to kinesthetic sense (the sense of
movement)
•
Associative Level - imagination and memories, film and television scores.
•
Associative level appeal is utilized by advertisers.
•
Personal symbolism - sad or happy memories are associated with songs.
•
“Musical” or Intellectual Level - few people reach this level. Requires knowledge of music in analytical
terms.
MUSICAL ERAS
• Medieval 900-1400
•
Renaissance 1400-1600
•
Baroque 1600-1750
•
Classical 1750-1800
•
Romantic 1800-1900
•
20th Century Pre-War 1900-1950
•
Contemporary 1950-present
A CAPPELLA,
Meaning singing without musical accompaniment, is the oldest form of music. TribalChant, Gregorian chant,
Gospel, Jazz, Barbershop, doo-wop, and Contemporary music all trace their roots to a cappella.
ELEMENTS OF A
PERFORMANCE
Creating a theater performance of any genre requires a
number of trained professionals hired to participate in
the creation and ultimately the presentation to the
audience. Here are just a few examples of the different
career opportunities for theatrical production:
Choreographer: artist who creates with the movement of humans as material. In dance terms though, a
contemporary dance choreographer is usually considered as a general director of scenic art pieces that
include several aesthetic languages (music, visual fine arts, architecture…), all under his creative judgment.
Composer: A musician who writes the music for performance.
Designers: the artists who create and plan the designs for a production.
8 | Arts Education and Community Programs
Director: the person responsible for the interpretive aspects of a stage production; the person who supervises
the integration of all the elements, such as dancing, staging, and lighting.
Musical director: the person who is responsible for rehearsal and performance of all music in the play.
Producer: the person who provides the general supervision of a production and is responsible for raising
money, hiring technicians and artists, etc., required to stage a performance.
Stage manager: the person in charge of supervising the backstage and cueing all dancers and stage crew
members.
Public relations/business director: the people who advertise and publicize the production and have oversight
for royalties, press releases, photos, public service announcements, ticket sales, box office management,
house management and even ushering.
Technicians: skilled theater artists, working prior to the production to create the sets, costumes, props, special
effects, lights, sound, and make-up for a production.
Stage Crew: skilled theater technicians who work during the performance to ensure that all elements of the
production appear on stage as planned by the director and designers (lights, sound, costumes, make up,
props, and special effects).
ACTIVITIES and DISCUSSION QUESTIONS
Below are a some activities to use in your classroom that will help your students understand dance and
connect it to the California Content Standards and Common Core Standards. Student who come prepared
are more engaged during the performance and have a greater connection to the content and how it relates
to the school curriculum.
ENGAGE
Pre Performance Discussion Questions and Activities
Begin by listening to a familiar piece of music. Discuss with your students some of the terms and concepts
below that relate to the music you heard.
BEAT
Is there a strong pulse (like walking), or little sense of a beat, (like floating)?
(allegro), medium (moderato), or slow (adagio)?
Is the speed (tempo): fast
METRE/TIME SIGNATURE – 2/4, 3/4, 4/4, 6/8 are most common.
Listen for the strong beat, then find the grouping of beats in 2s, 3s 4s. Try conducting in 2 (down/up) or
3 (triangle) to feel duple or triple time.
RHYTHM
Are sound patterns simple, or complex? Are they fast patterns (like eighth notes) or long notes (like
whole notes)? Is the rhythm jazzy and syncopated (on the off‐beat)? Is the playing smooth (legato) or
detached playing, like hot potato (staccato)?
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SING
Find your range! Have each student sing as high and low as they can. Ask them if they think they are
(from lowest to highest) a bass, baritone, tenor, alto or soprano. Who sings lowest? Who sings highest?
LISTEN AND SING
Recognize and list songs that contain nonsense lyrics. Substitute original nonsense syllables into familiar
songs. Sing these songs a capella.
Post Performance Discussion Questions
Following the music performance, discuss the different ways that vocal music can be presented.
•
How did the music make you feel? Did it make you want to dance or sing along? Did it bring to mind
an image of a specific place?
•
Were the voices accompanied by instruments? Or, were they a cappella - without instruments.
•
What different ways did the singers use they voices to mimic sounds like instruments? Drums, horns,
bells?
BUILD KNOWLEDGE
Research and learn more about vocal composers and listen to their music. Report back on the differences
between the artists, the eras and the sound.
•
J.S. Bach
•
George Frederic Handel
•
Milton Babbitt
•
John Cage
VOCABULARY
ACCOMPANIMENT—Instrumental music that supports a vocal part
ARIA—A musical piece for solo voice focusing on emotional expression
BARITONE—The middle-range male voice
BASS—The lowest male voice
CHORUS—A group of singers who sing and act in a group, never as soloists
COMPOSER—The person who wrote the music
CONDUCTOR—The person who leads the orchestra
DUET—A musical piece for two performers
ENSEMBLE—Two or more singers singing and expressing their emotions at the same time
10 | Arts Education and Community Programs
FINALE—The last musical number of an act or show, it usually involves most of the cast and often repeats
musical themes from the show
MEZZO-SOPRANO—The middle female voice, usually darker and fuller than a soprano’s
PROPS—Objects placed on the stage and used by the actors; an abbreviation of the word “properties”
QUARTET—A piece written for four performers, or a name for the performers themselves
SCORE—The printed page upon which all the vocal and instrumental music of an opera is written
SET—The scenery used on the stage to show location
SOPRANO—The highest female voice
STAGE DIRECTOR—The person who decides how the singers will move on stage and how they will act while
they are singing their parts
TENOR—The highest male voice
TRIO—A name for a group of three performers or a piece written for three instruments or singers
CALIFORNIA CONTENT STANDARDS
COMMON CORE STANDARDS
1.0 ARTISTIC PERCEPTION
Processing, Analyzing, and Responding to Sensory Information Through the Language and Skills Unique to Music
Students read, notate, listen to, analyze, and describe music and other aural information, using the terminology of music.
Listen to, Analyze, and Describe Music
•
•
•
1.4 Analyze the use of music elements in aural examples from various genres and cultures.
1.5 Identify vocal and instrumental ensembles from a variety of genres and cultures.
1.6 Identify and describe music forms, including theme and variations and twelve-bar blues.
2.0 CREATIVE EXPRESSION
Creating, Performing, and Participating in Music
Students apply vocal and instrumental musical skills in performing a varied repertoire of music. They compose and arrange
music and improvise melodies, variations, and accompaniments, using digital/electronic technology when appropriate.
Compose, Arrange, and Improvise
•
2.3 Compose, improvise, and perform basic rhythmic, melodic, and chordal patterns independently on classroom
instruments.
3.0 HISTORICAL AND CULTURAL CONTEXT
Understanding the Historical Contributions and Cultural Dimensions of Music
Students analyze the role of music in past and present cultures throughout the world, noting cultural diversity as it relates to
music, musicians, and composers.
Role of Music
•
3.1 Describe the social functions of a variety of musical forms from various cultures and time periods (e.g., folk
songs, dances).
4.0 AESTHETIC VALUING
Responding to, Analyzing, and Making Judgments About Works of Music
Students critically assess and derive meaning from works of music and the performance of musicians according to the
elements of music, aesthetic qualities, and human responses.
11 | Arts Education and Community Programs
Analyze and Critically Assess
• 4.1 Identify and analyze differences in tempo and dynamics in contrasting music selections.
Derive Meaning
•
4.2 Develop and apply appropriate criteria to support personal preferences for specific musical works.
5.0 CONNECTIONS, RELATIONSHIPS, APPLICATIONS
Connecting and Applying What Is Learned in Music to Learning in Other Art Forms and Subject Areas and to Careers
Students apply what they learn in music across subject areas. They develop competencies and creative skills in problem
solving, communication, and management of time and resources that contribute to lifelong learning and career skills.
They also learn about careers in and related to music.
Connections and Applications
• 5.1 Explain the role of music in community events.
Careers and Career-Related Skills
•
5.2 Identify ways in which the music professions are similar to or different from one another.
RESOURCES
http://artsedge.kennedy-center.org/interactives/jazzintime/timeline.html
http://en.wikipedia.org
http://en.wikipedia.org/wiki/The_Swingle_Singers
http://www.hearchoirs.net/
http://www.musiccenter.org/documents/education/artsource/publications/the-alley-cats
unit/html/files/assets/common/downloads/publication.pdf
http://www.naxos.com/education/brief_history.asp
12 | Arts Education and Community Programs
Program Evaluation
Dear Educators and Parents,
One of the most valuable tools for assessing the effectiveness of our educational programs is feedback from
teachers and parents! We would greatly appreciate it if you could spend a few minutes completing the
evaluation below.
Thank you for your participation and help!
This evaluation is also available in a survey style form online at www.surveymonkey.com/s/classACTS
School Name:
Evaluator's Last Name:
Evaluator's First Name:
Evaluator's Email Address:
Name of program you are evaluating
Swingle Singers
Grade level(s) of students that attended performance:
Did the performance you attended begin on schedule?
Yes
No
Was the performance appropriate for the age level of the students?
Yes
No
For some, but not all
Was the online study guide helpful in preparing your students for the performance?
Extremely helpful
Somewhat helpful
13 | Arts Education and Community Programs
Not at all helpful
Other (please specify):
Please rate the quality of the performance you attended:
Excellent
Fair
Good
Poor
Which choice below best describes your student's engagement in the performance?
Extremely engaged
Not at all engaged
Other (please specify):
Somewhat engaged
Was the program coordinator helpful in providing assistance?
Extremely helpful
Not at all helpful
Somewhat helpful
Not applicable to our experience
How easy was the ticketing process for this performance?
Extremely easy
Slightly easy
Quite easy
Not at all easy
Suggestions welcome (please specify):
Moderately easy
We strive to continuously update and improve our program. Please help us achieve this goal by sharing your
suggestions or comments in the space below.
Thank you for taking the time to participate in our survey. We truly value the information you have provided. Your
responses are vital in helping the Harris Center to provide an arts education experience that meets the highest
standards of excellence.
Please email a copy of your evaluation to:
Outreach Coordinator
Laura Hunter
laura.hunter@harriscenter.net
925-323-4420
10 College Parkway | Folsom, CA 95630
www.harriscenter.net
916-608-6888
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15 | Arts Education and Community Programs