Musical Families Teacher`s Guide.pub

Transcription

The Dallas Symphony Orchestra Presents:
Musical Families
February 2, 4, 23 & March 2, 2010
For young children, learning is experiential and multi-sensory. A concert at the Morton H.
Meyerson Symphony Center provides a rich and stimulating sensory environment.
The preparation and follow-up lessons suggested in this guide are designed to help teachers
capitalize on this exciting learning experience with their students.
Recognizing that learning progresses from the known to the unknown, and that repetition is
essential to comprehension, the lessons and activities in this guide are based on experiences
that are accessible to the child both at school and at home. The accompanying CD will be of
enormous help here, so feel free to use it in any way that will allow your students to become
both familiar and comfortable with the music they will hear at the concert.
Young children are naturally responsive to music. Because of this, attending a Dallas
Symphony Orchestra Youth Concert offers a wide variety of learning opportunities, and every
lesson in this guide will help young listeners be attentive to, and develop an understanding of,
the music performed, so take advantage of it. I look forward to seeing both you and your
students in February!
Musically Yours,
Jamie Allen
Director of Education
Dallas Symphony Orchestra
The Teacher Evaluation Survey for Musical Families is available online at
http://www.surveymonkey.com/s/N3MVF72. By taking this survey, you will help us both to program
future concerts and to receive funding to continue our outreach. We appreciate your help!
Activities for the Musical Families teacher’s guide were prepared by the Dallas Symphony Orchestra’s
Curriculum Development Team: Linda Booth and Gloria Lett. This volume of the teacher’s guide was
produced and edited by Dallas Symphony Orchestra Education Staff Members Kristin Carpenter and
Jamie Allen. Materials in this teacher’s guide can be photocopied for classroom use. If you have any
questions about the concerts or material in this guide, please call Kristin Carpenter at 214.871.4006.
Volume Two, “Musical Families”
Page 1
Table of Contents
Concert Specific Information
Repertoire & CD Track List
Who’s Who
Meet the Composers
Resources
p. 3
p. 4
p. 5
p. 7
1. Music in the Air
2. Going to the Meyerson: A Picture Story
p. 8
p. 22
1. Musical Puzzle
2. Getting to Know the Percussion Family
3. Instrument Family Song
4. Who am I?
5. Listen and Move!
6. Families of Instruments
7. Role of the Conductor
8. Symphony Strings
p. 24
p. 29
p. 31
p. 33
p. 34
p. 35
p. 36
p. 38
Pre-Concert Activities
Concert Activities
Orchestra Seating Chart
p. 39
Student Evaluation Form
p. 40
Teacher Evaluation Form
Available online at http://www.surveymonkey.com/s/N3MVF72
Concert Logistics
Concert Guidelines for Teachers
Arriving and Departing
Map of the Arts District
About the Meyerson Symphony Center
p. 41
p. 42
p. 43
p. 44
Amazing Music Order Form
p. 45
Thanks!
p. 46
Page 2
Repertoire & Youth Concert CD Track List
1. Bizet
Prelude to Carmen
2. Vivaldi
“Spring” from The Four Seasons
3. Berlioz
Roman Carnival Overture
4. Villa-Lobos
“Aria (Cantilena)” from Bachianas Brasileiras No. 5
5. Saint-Saëns
“Elephant” from Carnival of the Animals
6. Britten
“Frolicsome Finale” from Simple Symphony for
String Orchestra
7. Dvořák
First Movement from Serenade for Winds in D Minor
8. Tchaikovsky
“Dance of the Mirlitons” from The Nutcracker
9. Gershwin
“Promenade” from Shall We Dance
10. Mussorgsky
“Ballet of the Chicks in Their Shells” from Pictures at
an Exhibition
11. Britten
“Variation M” (percussion) from Young Person’s
Guide to the Orchestra
12. Ellington
Caravan
13. Wagner
“Ride of the Valkyries” from Die Walküre
14. Tchaikovsky
Fourth Movement from Symphony No. 4 in F minor
Musical recordings under license from Naxos of America, Inc. www.Naxos.com
(P) 2007 HNH International Ltd. All rights reserved. Unlawful duplication, broadcast or performance of this disc is
prohibited by applicable law.
Page 3
Who’s Who
Rei Hotoda,
Conductor
Conductor and pianist, Rei Hotoda is one of America’s most dynamic
classical musicians. She has guest conducted orchestras throughout
North America and Europe including the Winnipeg Symphony
Orchestra, Calgary Philharmonic, Thunder Bay Symphony, Hamilton
Philharmonic, Greater Bridgeport Symphony Orchestra, the
Staatskapelle Weimar Orchestra and the International Contemporary
Ensemble. Ms. Hotoda is the newly appointed Assistant Conductor of
the Dallas Symphony Orchestra and began the position in
September 2009. Music Director of the Dallas Symphony Orchestra
Jaap van Zweden said, “She seems to be a very intelligent and strong
musician. We look forward to having her with us.” President of the
Dallas Symphony Orchestra Doug Adams added, “Rei Hotoda made a
strong impression during the final round of auditions. She was the
unanimous choice, and we are delighted that she will be joining the
DSO team.”
Ms. Hotoda has held positions such as Assistant Conductor of the 2005
Cabrillo Festival of Contemporary Music in California and the 2005 Hot
Springs Music Festival. Other appointments include principle conductor
of Chicago's new music group Noamnesia and Ensemble N_JP. She
has conducted many famous touring groups including Five by Design,
Platypus Theater Group, Dan Kamin and Jeans’ n Classics. Ms. Hotoda
studied conducting with Gustav Meier at the Peabody Institute in
Baltimore, Maryland. She holds a doctorate in piano performance from
the University of Southern California and a bachelor of music in piano
performance from the Eastman School of Music.
Gary Levinson,
Concertmaster
Page 4
Violinist Gary Levinson joined the Dallas Symphony Orchestra as its
senior associate concertmaster in 2001 after 13 years with the New
York Philharmonic. He earned his master's degree at Juilliard. Born in
St. Petersburg, Russia, and immigrating to the United States in 1977,
Levinson made his US solo debut at the age of 13 with the Minnesota
Orchestra. Levinson appears as a regular recitalist in Western Europe,
Carnegie Hall, Merkin Concert Hall, the Bohemians at the Kosciuszco
Foundation and various music festivals.
Meet the Composers
Georges Bizet (1838-1875)
Born into a musical family, Bizet was trained in music by his parents, and entered the music
conservatory before his 10th birthday. His Symphony in C, written in 1855, won him a prize offered by
Jacques Offenbach. His opera Carmen, wasn’t a success at first, and he died not knowing it would
become one of the best-loved operas ever written.
Antonio Vivaldi (1678-1741)
Born in Venice, Italy Antonio Vivaldi was a famous Baroque composer, virtuoso violinist, and even an
ordained Venetian Priest! During his lifetime, Vivaldi became head of the music school at an orphanage
which housed over 6,000 orphaned girls. Vivaldi wrote over 400 concerti, sacred music, and cantatas for
his students at the orphanage. One of his most well known works is The Four Seasons, a set of four
violin concerti. Vivaldi’s nickname was the Red Priest due to both his red hair and fiery temperament!
Hector Berlioz (1803-1869)
Hector Berlioz was the son of a doctor. His father educated him at home and centered his studies
around the Latin classics and elementary medical training, thinking that Hector would follow in his
footsteps and become a doctor. As a boy, Berlioz studied piano from a neighborhood music teacher but
preferred playing the guitar and flute. As a composer, Berlioz chose to write using the musical forms of
overture, symphony, and opera. He is most known for developing symphonic program music and the
"idee fixe" where a melody or theme is used over and over to represent a person or a programmatic idea
throughout an entire musical composition.
Heitor Villa-Lobos (1887-1959)
Heitor Villa-Lobos is one of the most celebrated South American composers in the history of music. As
he grew up, he traveled Brazil and absorbed the many musical influences of the country. As a
composer, he is known for writing music that represented the many musical influences and the folklore
of his native Brazil. He is also known for the work that he did in Brazil to reform music education in local
schools. Villa-Lobos composed over 1,000 works of music, and is especially known for writing duets that
paired a high voiced instrument (such as a flute) with a low voiced instrument (like a cello).
Camille Saint-Saëns (1835-1921)
When Camille Saint-Saëns was just a toddler, his mother and his great-aunt began teaching him music.
He was only five years old when he gave his first public piano performance. In his older years, SaintSaëns also liked to write poetry, scientific papers, and essays about music. Sometimes he made
enemies because he insulted his fellow musicians when he wrote about them. One of Saint-Saëns' most
well known compositions The Carnival of the Animals was originally written to make fun of some of his
friends. Now, it is enjoyed by children all over the world for the pictures it paints of animals.
Benjamin Britten (1913-1976)
Benjamin Britten was the son of a dental surgeon and an amateur singer. He loved music and began to
compose at the age of 5. He studied the piano and the viola, then began composition lessons. He came
to America during the years of 1939-1942 but returned to England. He was exempted from military
service and allowed to continue his composition work if he agreed to perform as a pianist at the wartime
concerts promoted by the Council for the Encouragement of Music and the Arts. The next years were
spent performing the compositions he had already written as well as writing for opera. Britten's work as
an opera composer gained him an international reputation. He was the first musician to be gifted with
the title of "Lord" by the Queen.
Page 5
Meet the Composers
Antonin Dvořá
ák (1841-1904)
Dvořák was a country boy, one of seven children of a butcher/innkeeper in a small village in Bohemia.
Bohemia was full of music and young Antonin took violin lessons and fiddled with his father in the
village band. In 1892, Dvořák came to America to be the head of the National Conservatory of Music.
While he was in the United States, he wrote the famous "New World Symphony" and other pieces which
suggest American folk tunes. He even slipped a little of "Yankee Doodle" into one of his pieces!
Piotr Ilych Tchaikovsky (1840-1893)
At the age of 6, he began piano lessons. When he was 8, he was sent to a boarding school and missed
his family greatly. His mother died when Piotr was 14 and this loss brought great sorrow to Piotr. By 19,
he completed his law studies and was appointed to a job with the Ministry of Justice. The pull of
music never left him and he consequently gave up his government job and turned to the study of music
at the age of 23. After two years of study he was appointed a professor of composition at the St.
Petersburg Conservatory and began writing music in earnest.
George Gershwin (1898-1937)
George Gershwin first discovered music when he was 10 years old and heard a friend's violin recital in a
school auditorium in lower East Side Manhattan. He began taking piano lessons and after several poor
teachers, he finally began taking lessons from Charles Hambitzer. He was one of the first composers to
incorporate the characteristics of Jazz into classical music. It was through his efforts that Jazz achieved
a high status as a vital and important American style. Gershwin's music is still heard in concert halls all
over the world.
Modest Mussorgsky (1839-1881)
Modest Mussorgsky was one of the five Russian nationalist composers known as the "Russian Five." He
was born to a well-to-do landowner and began taking piano lessons from his mother around the age of
six. In 1852, Mussorgsky entered the Cadet School of the Guards in St. Petersburg . While at school, he
showed interest in history and German philosophy, and he sang in the school choir. It was during his
first year at school that he wrote Porte-enseigne polka which he dedicated to his school friends. Through
music, Mussorgsky wanted to portray life however rough and beautiful but when Mussorgsky died, he
left many of his works unfinished. Russian composer Rimsky-Korsakov took on the task of editing and
publishing Mussorgsky's music.
Edward Kennedy “Duke” Ellington (1899-1974)
American composer, musician, and big band leader Edward “Duke” Ellington was born in Lincolnton,
North Carolina on April 29, 1899. He began piano lessons at the age of 7 and started composing music
by ear in his early teenage years. He went on to take piano and composition lessons to further his music
abilities, and in 1917 launched his music career as a solo performer and big band leader. In the 1930’s
Ellington put out his most famous hits such as Caravan, Mood Indigo, It Don’t Mean a Thing, and Take
the “A” Train. Ellington was nominated for the Nobel Peace Prize in 1965, awarded the Presidential
Medal of Freedom in 1969, received the Grammy Lifetime Achievement Award in 1966, and is one of
only 5 jazz musicians to have been featured on the cover of Time magazine.
Richard Wagner (1813-1883)
Richard Wagner is known as one of the most progressive composers in history. At age 15 he wrote a
play and at 16 his first music compositions. His first symphony was written and performed in 1832. While
his very first opera, Die Feen was never heard, very soon he was considered the master of German
opera! At the age of 27 Richard Wagner began work on his monumental cycle of four musical dramas:
Der Ring des Nibelungen (The Ring of the Nibelungs). It is made of four separate operas and about 18
hours of music that includes themes that have specific meanings. In his operas, he liked to create tension between good and evil. It took Wagner 22 years to complete The Ring! It remains one of the most
remarkable opera compositions of all time
Page 6
Resources for Teachers
Books
Apel, Wili. Harvard Dictionary of Music. Harvard University Press, 1967.
Ardley, Neil. A Young Person’s Guide to Music, 1995.
Baines, Anthony. The Oxford Companion to Musical Instruments, 1992.
Barber, Nicola. The World of Music. Silver Burdett Press, 1995.
Blackwood, Alan. The Orchestra: An Introduction to the World of Classical Music. Milwood Press, 1993.
Hays, Ann. Meet the Orchestra. Gulliver Books, Harcourt Brace Jovanovich, 1991.
Hoffer, Charles. Concise Introduction to Music Listening. Wadsworth Publishing Co., 1984.
Hoffer, Charles. The Understanding of Music. Wadsworth Publishing Co., 1981.
Kruckenberg, Sven. The Symphony Orchestra and its Instruments. Crescent Books, 1993.
Krull, Kathleen. Lives of Musicians. Harcourt Brace Jovanovich, 1993.
Moss, Llyod. Zin! Zin! Zin! A Violin. Simon & Schuster, 1995.
Nye, Robert & Bergethon, B. Basic Music. Prentice Hall, Inc. 1983.
Van der Meer & Berkeley, Michael. The Music Pack. Alfred A. Knopf, Publisher, 1994.
Video
The Dallas Symphony Orchestra’s television series for children. Amazing Music, features Music
Director Emeritus Andrew Litton as your guide to “Emotions in Music”, “Pictures in Music”,
“Families of the Orchestra”, and “Jazz”. (See p. 48 for order form)
Classroom Materials
Sources for pictures of instruments, books, audio, and videotapes can be found at:
• DSO Symphony Store; call 214-871-4058 for information
• Friendship House; call 1-800-791-9876 for a free catalog
• Music Educator’s National Conference (MENC); call 1-800-828-0229 for a free catalog.
• Music in Motion; call 1-800-445-0649 for a free catalog.
Online
www.DSOkids.com
The Dallas Symphony’s website for teachers and students
www.playmusic.org
A children’s website from the American Symphony Orchestra League
www.nyphilkids.org
The New York Philharmonic’s website for teachers and students
www.artsalive.ca
An education website sponsored by the National Arts Centre in Canada
www.sfskids.org
The San Francisco Symphony’s educational website for children
Page 7
Music in the Air
My Trip
to the Dallas Symphony Orchestra
© 2001 Dallas Symphony Orchestra
Page 8
I traveled with my class
to the Morton H. Meyerson Symphony Center.
We went to hear a concert of music played by many
instruments.
Page 9
I walked with my class up the steps
to the place where we would sit.
Page 10
Here we are sitting in our seats
waiting for the concert to begin.
Can you tell which seat is for me?
Page 11
Out come the musicians.
They carry their instruments with them.
The musicians are all on stage now.
Page 12
Look! Here comes the Concertmaster.
His job is to make sure the orchestra is in tune.
He plays a violin. We clap for him.
Page 13
Now the musicians are ready.
They wait for their conductor.
Here he comes. We clap for him.
We know the concert will now begin.
Page 14
FLUTE
C
L
A
R
I
N
E
T
OBOE
BASSOON
I hear such beautiful music.
This is what I hear:
Woodwind Instruments
Page 15
HORN
T
R
U
M
P
E
T
TUBA
TROMBONE
Brass Instruments
Page 16
SNARE DRUM
CYMBALS
TAMBOURINE
T
I
M
P
A
N
I
Percussion Instruments
Page 17
VIOLIN
DOUBLE BASS
VIOLA
CELLO
String Instruments
Page 18
My friends and I clap after each piece we hear.
There is music all around us.
There is music in the air.
Page 19
Music in the Air
Pre-Concert Activity
Introduction
The purpose of the Music in the Air black line masters is to prepare students for the actual
concert experience. As the students read (or are read to) from the Music in the Air book, they
will “walk through” the concert day step by step. Knowing what to expect and how to respond
will enable the students to more fully enjoy their symphony experience. Choose any or all of
the following activities to prepare your class for this special event.
Teaching Objective
Students will prepare for their concert experience by learning what to expect and how to
respond.
Resources
Blackline master drawings of book
Overhead transparencies
Recordings of music which will be performed at the concert
Pencils, crayons, markers
Activity 1- Are you ready?
Use the black line master drawings to make overhead transparencies. Use these
transparencies to introduce the students to the idea of going to a concert and what occurs at a
concert. As each transparency is placed on the overhead, read the script and discuss where
the class will soon be going and what they will do when they arrive.
Activity 2 – “My Class Goes to the Symphony”
Make a class book. Make one hard copy of each blackline master drawing. Each child in the
class should be given the chance to draw themselves going up the steps in the picture found
on p. 10. The children may use stick figures, fingerprint “people,” or any other way they can
draw themselves. Read the book aloud to the class so that students will understand the
sequence of events that will occur on concert day. Bind the book in some way so the children
can look through it on their own and tell each other what will happen. Keep the book on display
in your classroom so that the children can enjoy “reading” it before and after the concert trip.
Activity 3 – Music in the Air individual books for each student
Make a copy of the Music in the Air book for each student in your class. As you read aloud
through the pages, allow your students the opportunity to draw themselves on the steps on
p. 10 and also in their seat on pp. 11 and 19. This will personalize the story for each child.
Page 20
Music in the Air
Post-Concert Activities
Introduction
Music in the Air can also be used to enhance the student’s post-concert experience and help
them assimilate many of the things they learned in the concert. Choose any or all of the
following activities to review the concert experience with your class.
Teaching Objective
Students will review their concert experience to assimilate and reaffirm what they have
learned.
Resources
Blackline master drawings of book, Music in the Air
Overhead transparencies
Youth Concert CD recordings
Pencils, crayons, markers
Activity 1 – Creative Writing
After the concert experience, post one drawing from the book Music in the Air on the board
and encourage your class to write about the drawing using creative writing or journaling skills.
Or, allow each student to choose a page from their individual book and practice their writing
skills. You may play the accompanying CD during this activity to help remind them how the
music made them feel.
Activity 2 – Sequencing the Event
The line drawings can be presented/displayed in a random order (choose an appropriate
number depending on the age of your students.) The students, either alone, or working with a
partner, must place the drawings depicting their concert day back in the correct order.
Page 21
Going to the Meyerson
A Picture Story
Directions: Read the picture story. Translate the pictures by using the picture bank at the
bottom of page 23.
When you go to the
to hear
become a member of the
look around at the beautiful
play in a concert, you
.When you get to your
.
When the concert is almost ready to start,
You will hear them warming up their
will appear on the
. The
next. His job is to play the tuning pitch for all to hear. The
their
. When the
, sit quietly and
are in tune, the
.
will come on
will then begin to tune
will appear.
His job is to lead the orchestra.
Page 22
The
’s job is to
People in the
very carefully and enjoy the
.
may not be able to listen if you talk or make noises. At the
end of each piece the
members
they liked the
.
such beautiful
to let the
know
is also a way to say thank you for making
.
Fine
Picture Bank
Audience
Meyerson Symphony
Center
Concert hall
Musicians
Seat
Concert
-master
Stage
Instruments
Conductor
Fine
Listen
Music
Applaud
The End
Page 23
Musical Families Activity 1
Musical Puzzle
Teaching Objective
The students will identify members of the woodwind, brass, string, and percussion families by
completing a puzzle.
Resources
• Instrument drawings located on the pp. 25-28
• Recorded excerpts: available on the Youth Concert CD or at www.DSOkids.com
•
•
•
Vivaldi
Tchaikovsky
Britten
•
Wagner
“Spring” from The Four Seasons (string Feature)
“Dance of the Mirlitons” Dance from the The Nutcracker (wind feature)
“Variation M” from Young Person’s Guide to the Orchestra (percussion
feature)
“Ride of the Valkyries” from Die Valküre (brass feature)
Pre-Assessment
Determine if the students are familiar with the musical instruments by showing pictures of the
instruments and asking them if they can recognize and name the instruments in the pictures.
Teaching Sequence
1. Copy the instrument outlines from pp. 25-28 on colored paper so that there are enough for each
child to have one of each instrument. Make sure the instruments are different colors. For
example, trumpet=yellow, flute=blue, snare drum=green, violin=red. Teacher note: the
woodwind, brass, percussion, and string instruments will be color coded at the Youth Concert.
The string section will be red, wind section blue, brass section yellow, and percussion section
green.
2. If students are able, have them cut on the dotted lines. If cutting is too advanced, cut out the
instruments before students arrive.
3. Show the students a picture of a trumpet, flute, violin, and snare drum. Explain that each of
these belong to a different family represented by different colors.
4. While students are looking at each instrument, play an example of the instrument for them to
hear what it sounds like. Instrument sounds are available at http://www.dsokids.com/listen/
instrumentlist.aspx
Culminating Activity
Give students the puzzle pieces to one instrument. Have them put the puzzle pieces together while
listening to the appropriate musical example on the Youth Concert CD (see resources above). See if
students can put the puzzles together correctly according to what they hear.
Evaluation
Were the students able to identify each instrument after completing the puzzle?
Page 24
SNARE DRUM
Page 25
MP
TRU
ET
Page 26
FLUTE
Page 27
VIOLIN
Page 28
Getting to Know the Percussion Family
Teaching Objective
Students will demonstrate an understanding that musicians produce sounds on instruments in
the percussion family by striking, scraping, or shaking them.
Vocabulary
Vibration– rapid movement of an object up and down, or back and forth.
Resources
• Objects around the classroom
• Pictures of percussion instruments (available in this Teacher’s Guide and at
www.DSOkids.com)
• A picture of the orchestra (on p. 39 of this guide or on the web at http://www.dsokids.com/
visitthesymphony/seatingchart/default.aspx)
Pre-Assessment
Determine if students are familiar with the percussion family of instruments by showing them
pictures of percussion instruments and asking the students if they recognize them.
Ask students how they think one might make a sound on each instrument.
Teaching Sequence
1. Tell students that all sounds are produced through vibration. Vibration is when something
moves up and down, or back and forth. For example, if you hold your ruler flat on your desk
with a few inches of it extending off the side, you can then cause the end of the ruler to
vibrate by plucking it with your finger. The sound that you hear is the result of the vibration.
2. Tell students that instruments of the orchestra are grouped according to how their sounds
are produced. These groups are called instrument families. Instrument families are a lot
like families of people. Meeting them is easy, but getting to know them takes a little longer.
Tell them today they will meet the percussion family. This family contains the largest variety
of instruments in the orchestra. Show students a picture of an orchestra and point out he
percussion section. Have students describe the visual appearance of the instruments in a
discussion format. Tell students that percussion players play their instruments by striking,
shaking, or scraping them.
1. Have students look at a picture of the percussion family and then find “percussion
instruments” by looking around the classroom. Suggest objects that they can strike, shake,
or scrape to make sound. Allow students to experiment with various sizes of objects. How
do hollow objects sound different from solid objects? Which objects around the classroom
make long sounds? Short sounds? Loud sounds? Soft sounds? Low sounds?
2. Allow older students to create a percussion ensemble and perform for the class. If
classroom percussion instruments are available, allow students to use them to create a
musical arrangement.
3. Other questions for discussion:
• How are instruments like people?
• Why are certain groups of instruments like families?
• Why is getting to know an instrument like getting to know a person?
• What are some ways that you could get to know an instrument? (Suggestions:
holding it, taking lessons, practicing, etc.)
Page 29
Getting to Know the Percussion Family
Evaluation
Did students demonstrate an understanding that percussion instruments are played by striking,
shaking, or scraping?
Extension Activity
Create a xylophone by cutting PVC pipe into various lengths. Place them side-by-side on a
frame from the longest to the shortest. Two boards cut to the appropriate length to
accommodate all the pipes will make a good supporting frame. The best sound will be
achieved by allowing a little less than a third of the each pipe to extend off the frame. You can
tune your xylophone by cutting the pipes shorter for higher notes and leaving the pipes longer
for the lower ones. When you have the pipes the way that you want, tie them on the frame with
string. Play the xylophone by striking the pipes with a mallet of some kind.
Note: This could make for a great science fair project!
PVC pipes
Frame
Page 30
Instrument Family Song
Teaching Objective
Students will become familiar with the physical appearance of symphony orchestra instruments
and will correctly group the instruments into families.
Resources
• Pictures of at least four instruments from each of the orchestral families: strings,
woodwinds, brass, and percussion (available in this Teacher’s Guide and on
www.DSOkids.com)
• Familiarity with the tine “The More We Get Together” (audio clip available at http://
www.songsforteaching.com/jimrule/themorewegettogether.htm; video clip available at
http://www.youtube.com/watch?v=HsaQxghTavY).
Pre-Assessment
Determine if the students are familiar with the four instrument families of the symphony
orchestra by showing them pictures of the different families and asking them if they recognize
the instruments in the pictures.
Page 31
Instrument Family Song
Teaching Sequence
1. Using the pictures, review the four instrument families of the symphony orchestra and the
instruments in each family.
2. Using the tune “The More We Get Together”, sing for and teach the students the words
printed above.
3. Repeat the song at least once for each family of the orchestra, adapting the words as
follows:
“Oh here we are together, together, together,
Oh here we are together, the string (or brass, woodwind, or percussion) family.
With violin and viola and cello and bass (replace with names from appropriate
instrument family),
Oh here we are together, the string family.”
1. Give each student one instrument picture to hold (two or more students may hold pictures
of the same instrument, provided there are four pictures for each family of instruments).
Have the students stand in a circle.
2. Announce the family which the class will name as they sing the song. As the group sings,
the students holding the pictures of the instruments named will step forward into the circle.
When that verse is over, have them step back into the circle and the next group step
forward.
Evaluation
Were students able to recognize the different instruments in the orchestra? Were they able to
group them into families?
Extension Activity
Have the students add appropriate motions while they are singing (imitating the motions of
playing an instrument from their “family”).
Page 32
Who Am I?
Teaching Objective
Students will demonstrate an understanding that orchestra instruments are grouped into
families based on their similarities.
Vocabulary
Family– Webster’s New World Dictionary of the American Language lists several definitions for
the word “family”. The one that is most applicable to this lesson is “a group of things having a
common source or similar features”. To lead young children to an understanding of the
concept, it will be helpful to begin their experience of family: “all the people living the same
house, “ or “a group of people related by blood or marriage relatives”. (Recognizing that there
are different definitions, the teacher should use his/her discretion in choosing the one that best
fits his/her students.)
Resources
• Pictures of orchestra instruments (available at www.DSOkids.com or check with your
library of music specialist)
• Small pieces of paper or card with instrument names and/or pictures on them
• CD of concert repertoire included with this guide
• Musical examples of instrument sounds (available at www.DSOkids.com)
Pre-Assessment
Ask students how they define a family. Discuss the definitions of family that are listed above.
Ask how musical instruments could be grouped into families.
Teaching Sequence
1. Ask students to think of different kinds of animal families: i.e., dog, bear, cat. If possible,
show pictures of mother and babies.
2. Talk about the qualities within each family that are the same or different.
3. Talk about he children’s families having the same qualities as the animals.
4. Tell students that musical instruments are also divided into families based on how their
sounds are generated. Brass instruments are played by “buzzing” into a mouthpiece.
Woodwinds are played by blowing into a mouthpiece with a reed or across a hole.
Percussion instruments are played by shaking, scraping, or striking the instrument. String
instruments are played by plucking or pulling a bow across a string.
5. Over several days, look at pictures of the instrument families and listen to examples of their
sounds (from CD or DSOkids.com). Pictures may be downloaded. Talk about how they
look similar or different.
Give each student a piece of an instrument with the name written on it. Have students stand
throughout the classroom. Play an excerpt of one of the instruments. Have everyone in that
family gather in a predetermined spot. Excerpts should be chosen from the concert repertoire.
Suggestions: Strings-Britten’s Frolicsome Finale, Woodwinds– Mussorgsky’s Ballet of the
Chicks in Their Shells, Percussion-Britten’s, “Variation M” from Young Person’s Guide to the
Orchestra, Brass– Wagner’s, Ride of the Valkyries.
Evaluation
Did students demonstrate an understanding that orchestral instruments are grouped into families based on their similarities?
Page 33
Listen and Move!
Teaching Objective
Students will listen and react to the various timbres and styles of music.
Resources
Youth Concert CD
Pre-Assessment
Determine if children can move in various ways: i.e., like a bird, like a lion, like a fairy, like a
monster.
Teaching Sequence
1. Tell students that in the symphony concert that they will go to soon, they will hear
instruments that produce different kinds of sounds. Some are high. Have students make
high sounds. Some are low. Have students make low sounds. Some are in the middle. The
big instruments produce the low sounds while the small instruments produce the high
sounds.
2. Ask students to guess what kind of animal or thing might be shown by a big instrument or a
small instrument.
3. Play at least three different pieces from the upcoming concert. Suggestions: “Elephant”
from Carnival of the Animals, “Dance of the Mirlitons” from The Nutcracker, “Ballet of the
Chicks in Their Shells” from Pictures at an Exhibition, and “Ride of Valkyries” from Die
Valküre. Direct students that movement for each piece should be different. Do culmination
activity after each listening.
Discuss with the children what they thought he music was portraying.
Evaluation
Did students react in various ways to the pieces played?
Page 34
Families of Instruments
Teaching Objective
The students will be able to group orchestra instruments into families.
Vocabulary
Family– Webster’s New World Dictionary of the American Language lists several definitions for
the word “family”. The one that is most applicable to this lesson is “a group of things having a
common source or similar features”. To lead young children to an understanding of the
concept, it will be helpful to begin their experience of family: “all the people living the same
house, “ or a group of people related by blood or marriage: relatives. (Recognizing that there
are different definitions, the teacher should use his/her discretion in choosing the one that best
fits his/her students).
Resources
• Pictures of family members that the students supply
• Pictures of instruments. Pictures may be found on www.DSOkids.com, grouped into
instrument families
• Cards or small pictures of instruments and/or names of instruments
Pre-Assessment
Ask students how they define a family. Discuss the definitions of family that are listed above.
Ask how musical instruments could be grouped into families.
Teaching Sequence
1. Ask students to show the class their family pictures and discuss what makes them
members of their family. What characteristics do they have in common? What are their
differences?
2. Tell students that instruments are grouped into families based on how their sound is
produced. Go over the four families of instruments and discuss how the sound is made in
each family.
3. Have the class list musical instruments and write them on the board. Write brief descriptive
words about each instrument. Discuss similarities and differences.
4. Group listed instruments into their proper families.
Ask an individual student to choose an instrument card. Ask that student to devise clues by
looking at the descriptive words to have the other students guess which instrument and
instrument family the card belongs to. Ex. “My family has very long necks. Although my family
gets played two different ways, they are very similar in appearance. I am the smallest member
of my family. I have the highest voice in my family, etc.”
Evaluation
Did the students demonstrate an understanding that orchestral instruments are grouped into
families based on their similarities?
Page 35
Role of the Conductor
Teaching Objective
Students will demonstrate an understanding of the role of the orchestra leader; the conductor.
Vocabulary
Conductor– the person who directs a group of musicians.
Baton– the conductor’s stick
Resources
• Unsharpened pencils; one for teach student in the class
• A display of the two (2) vocabulary words
• Dry erase board or Overhead projector
• Orchestra Seating Chart
Pre-Assessment
Ask the students whether they have seen (in person or on TV) a band or orchestra
performance. If so, how did the musicians know when to begin and stop playing? How did they
know when to play fast or slow; loud or soft?
Teaching Sequence
1. Tell the students that at the orchestra concert they will see a woman standing in front of the
orchestra waving her arms; usually using a baton in the right hand. That person is the
conductor. The way she uses her arms and baton tells the musicians when to begin and
when to stop playing; when to play louder or softer, etc. The conductor also shows the beat
of the music.
Page 36
Role of the Conductor
3. Provide class time to rehearse how a conductor might indicate the following musical terms;
loud, soft; fast and slow while the class is singing the song.
4. Using the orchestra seating chart on p. 39, show the class where the conductor is located.
Encourage volunteer students to use their pencil batons to conduct the class singing
indicating a gesture to
A. get loud and then soft
B. get fast and the slow
C. encourage creativity
1. Rehearse the singing of “Are You Sleeping” in unison
2. Encourage several student volunteers to conduct the singing and indicate when to sing
loud, soft, fast, and slow.
Evaluation
Did student responses and behavior indicate a basic understanding of the role of the orchestra
conductor?
Extension
Using the CD provided, select “Elephant” from Carnival of the Animals and play it for the entire
class to hear. Before listening a second time, have the students place a pencil baton in their
right hand, listen to “Elephant” and conduct the composition. If time permits, select and use
another composition for students to conduct.
DSO Assistant Conductor Rei Hotoda
Page 37
Symphony Strings
Teaching Objective
Students will learn the basic characteristics of orchestra string instruments and how they
produce sound.
Vocabulary
Bow– a wooden stick, strung with horsehair that’s pulled across the strings of instruments to
make them produce sound.
Pizzicato– the use of fingers to pluck the strings of an instrument
Resources
• Pictures of string instruments (can be found on p. 18 or on www.DSOkids.com) or actual
instruments
• Labeled picture of a string instrument
• Lineless paper
• Pencils, crayons, or markers
• An actual bow, if available, if not pictures of a bow.
Pre-Assessment
Determine the level of the student’s familiarity with orchestra string instruments. Ask if they, or
a family member, play a string instrument; encourage the sharing of experiences. Welcome the
inclusion of guitars, fiddles, and harps in the discussion. Ask students to share what they know
about how these instruments produce sound.
Teaching Sequence
1. Show the students pictures of string instruments and ask them to name the instruments;
violin, viola, cello, and double bass.
2. Show a picture of bow and talk about its use with string instruments.
3. If there are classmates who play string instruments, encourage them to assist with
demonstrations on how the instruments are played.
Have each student create a picture of a string instrument. Their drawings must have the major
characteristics of string instruments such as a resonating chamber, a way to change the
pitches, and a way to tune the strings. As they share their creations, challenge them to
describe how they might want their instruments to be played; by bowing or plucking the strings.
Evaluation
Did students understand the basic characteristics of string instruments and how they produce
sound?
Page 38
ORCHESTRA SEATING CHART!
Page 39
Concert News
Featuring Reviews Written by Students
*~Student Review~*
Student:
School:
Concert Attended:
Age:
Grade:
Date:
Describe your concert experience. (What happened first, second, next, etc.)
Name one of the musical pieces you heard at the concert and describe it.
Choose two musical instruments you heard at the concert and compare their appearance and
their sound.
What did you enjoy the most and what did you enjoy least at this concert?
Please have your teacher send your review to:
Kristin Carpenter
2301 Flora St., Schlegel Administrative Suites
Dallas, TX 75201
Or Fax to: 214.953.1218
E-mail to: [email protected]
Page 40
Concert Guidelines for Teachers
Before the Concert
Please contact Kristin Carpenter at least one week prior to your Youth Concert experience
if you need to confirm or make changes to a reservation.
• Please prepare your students by using materials in this book or on the www.DSOkids.com
website.
• Students should be briefed on concert etiquette in advance.
• Please contact Kristin Carpenter at 214.871.4006 at least one week before the
• concert if your group includes any students or teachers with special needs, including
wheelchairs, or if you are in need of infra-red headsets for the hearing impaired.
•
The Day of the Concert
• Before leaving school, please allow time for students to visit the restroom.
• Learn your bus driver’s name and be sure you can recognize him/her
• Plan to arrive at the Meyerson at least thirty minutes before concert time.
Upon Arrival at the Meyerson
• If you arrive by bus, please DO NOT UNLOAD YOUR BUSES UNTIL YOU ARE
GREETED BY A DSO STAFF MEMBER. Also, please be sure you and your driver have
been given matching numbers by a DSO staff member.
• Check in with a volunteer in the main lobby; a volunteer will guide your group to your
seating area. (Seating sections are assigned on the basis of group size).
• All students should be in their seats at least five minutes before the concert time
• No food or drink, including chewing gum, is permitted in the concert hall.
• An organ demonstration starts 7 minutes before the concert-you won’t want to miss that.
It’s always a favorite with the students!
During the Concert
The use of cameras and recorders is prohibited
Please turn off cellular phones and any other electronic devices.
Students and teachers should remain in their seats for the entire concert.
Restrooms are located on all levels and should be used for urgent needs only.
If students must visit the restroom, please have an adult accompany them.
Students not maintaining acceptable standards of behavior will be asked to leave, and
may jeopardize their school’s future attendance at DSO events.
•
•
•
•
•
•
After the Concert
• Please remain in your seats until your school is dismissed.
• Upon dismissal, listen carefully and follow instructions for departing the building.
Back at School
• Refer to this guide or www.DSOkids.com for follow-up activities.
• Student letters/artwork expressing reactions to the concert are appropriate.
Mailing Address:
Attn: Youth Concerts
2301 Flora St., Schlegel Administrative Suites
Dallas, TX 75201
Fax Number: 214.953.1218
E-mail Address: [email protected]
Page 41
Arriving and Departing the Meyerson Symphony Center
Buses: You will be given a DSO Bus Number by a DSO Staff Member. Please memorize your
DSO Bus Number and be sure you know your bus driver!
Arrivals: Buses unloaded in front of the Meyerson Center on westbound Flora Street. After
students disembark, buses should proceed to the designated parking area.
Please follow instructions from Symphony personnel.
Departures: Buses are called to the Meyerson in order of school dismissal. Please follow
directions from DSO Staff Members for dismissal.
Cars and Vans: Cars and vans park in the Arts District Garage which is entered from Ross
Avenue between Leonard and Pearl Streets. You will be provided with parking vouchers in this
packet. These vouchers will allow you and your group to park for free.
If you are parking without the voucher, take ticket, (parking is $10.00/hour), and proceed to
levels four through seven. The Arts District Garage has an overhead clearance of 7 feet. On
level 3 of the parking garage, there is a walk-through into the lower level of the Symphony
Center. After parking, take the Symphony Center elevators to the Lower Lobby. Assemble your
group in the Lower Lobby, then take the stairs to Main Lobby. An elevator is available for the
physically challenged.
A Note to schools arriving in carpools: Please provide all of your drivers with a map and
clear instructions on where to park (Arts District Garage Only). Following identical routes is
recommended so that your group arrives at the Meyerson at approximately the same time.
Be sure all drivers and chaperones know to meet in the Lower Lobby. Please do not come
upstairs until your entire group has assembled.
Bus Directions to the Meyerson Symphony Center
From Southbound I-35E Stemmons, east on Woodall Rodgers Freeway (exit marked “to
Houston, I-45 and US-75”), exit at Griffin Street. Take Griffin Street to Ross and turn left. Take
Ross to Routh Street and turn left. Take Routh to Flora Street, turn left and pull up in front of
the Meyerson to unload.
From Northbound I-35 Stemmons, east on Woodall Rodgers Freeway (exit marked “to
Sherman I-45 and US-75”), exit at Griffin Street. Take Griffin Street to Ross and turn left. Take
Ross to Routh Street and turn left. Take Routh to Flora Street, turn left and pull up in front of
the Meyerson to unload.
From Central (US-75), I-30 or I-45, west on Woodall Rodgers (366), take the Pearl Street exit
and stay in the far left lane. U-turn onto Woodall Rogers Access Road going east. Turn right on
Routh, turn right on Flora and pull up in front of the Meyerson to unload.
From downtown or East Dallas, north on Pearl Street, turn right onto Ross Avenue. Then turn
left on Routh, and left on Flora. Pull up in front of the Meyerson to unload.
From the Dallas North Tollway, south on the Tollway, after the main toll plaza, stay in the left
lane and take the Hines Blvd. exit on the left towards downtown. Continue to follow signs
downtown, Pearl Street and the Arts District. Turn slightly left to access Pearl Street, then stay
on Pearl to Ross Ave. Turn left on Ross to Routh. Turn left on Routh, turn left on Flora and pull
up in front of the Meyerson to unload.
Cars: Access the Arts District Garage from Ross Avenue, near the corner of Ross and
Crockett.
Page 42
Meyerson Area Map
Page 43
About the Morton H. Meyerson Center
One of the world’s greatest concert halls, the Meyerson Symphony Center was made possible
through the efforts of the citizens of Dallas. Over ten years were spent in the planning and
construction of the Meyerson, which opened on September 6, 1989.
World-renown architect and major arts supporter I.M. Pei was chosen to design the building,
working closely with acoustician Russell Johnson. Pei’s design combines basic geometric
shapes, with a rectangle (the concert hall) set at an angle within a square (the outer walls.)
Segments of circles also enclose the building.
In the concert hall, every detail was designed to make the sound or acoustics as perfect as
possible for orchestral music. For example, the heating and air conditioning system is located
in a different building so that no vibrations from the machinery can be felt in the concert hall.
Acoustical features include:
•
•
•
•
•
•
•
Double sets of doors at all entrances
Terrazzo and concrete floors
Mohair fabric on the seats
Walls covered with African cherrywood
Sound-absorbing curtains which can be drawn over the walls
A reverberation chamber with 72 acoustical doors used to “tune” the hall
The canopy over the stage, which can be raised and lowered to enhance the
sound
Fun Facts about the Meyerson!
The Meyerson Symphony Center has:
•
•
•
•
•
•
•
•
•
•
•
•
•
Page 44
2,056 seats
30,000 sq. ft. of Italian travertine marble
22,000 limestone blocks from Indiana
35,130 cubic yards of concrete
918 panels of African cherrywood around the concert hall
216 panels of American cherrywood around the stage
62 acoustical curtains
4 canopies with a combined weight of 42 tons
72 concrete acoustical doors, each weighing up to 2.5 tons
50 bathrooms
An 85 foot high ceiling in the concert hall
A 40 foot hollow area under the stage to increase resonance
An organ with 4 keyboards, 61 keys, 32 pedals, 84 ranks, 65 stops and 4,535
pipes
Amazing Music Videos!
The Dallas Symphony Orchestra’s Amazing Music concerts are the perfect introduction to the
orchestra, featuring fast-paced explorations led by Music Director Emeritus Andrew Litton.
Litton, who was inspired to become a conductor by Leonard Bernstein’s Young People’s Concerts, is a
strong advocate for music education as well as a charming host for the concerts.
Designed to be educational as well as entertaining, Amazing Music programs are a natural for the
classroom, especially in the light of current research that validates music as an effective teaching tool.
Therefore, the Dallas Symphony Orchestra has developed Classroom Editions of Amazing Music for the
educational market, supplementing a special time-coded version of each video with a booklet
containing lesson plans developed by educators. The activities support in-school use of the programs
with curriculum that integrates music with other classroom subjects. The Dallas Symphony Orchestra’s
Amazing Music programs have been broadcast on A&E and PBS.
Order Form
Name
Address
City
State
Zip
(evening)
Telephone (daytime)
Please send me the following “Classroom Editions”
Volume 1
Volume 2
Volume 3
Volume 4
Number of Videos
Emotions in Music
Pictures in Music
Families of the Orchestra
Jazz
Total number of Classroom Editions
x $40.00=
Texas residents add 8.25% sales tax
x .0825
(Tax exempt? Please include a copy of your tax exempt certificate)
Shipping:
1-3 Classroom Editions
4+ Classroom Editions
+ $6.50=
+$8.50=
Total:
$
□Enclosed is a check payable to Dallas Symphony Orchestra
-Or□Mastercard/Visa
Card Number:
□Discover
Expiration Date:
□American Express
Signature:
Mail form to Dallas Symphony Orchestra Store, 2301 Flora St., Suite 300, Dallas, TX 75201.
Fax to: 214.871.4505 Attn: Symphony Store
Page 45
Thanks!
The Dallas Symphony Orchestra gratefully acknowledges the following contributors who
support the Youth Concert Series and Education Outreach programs
Youth Concert Series Sponsor
Cecil and Ida Green Foundation
Symphony YES! Sponsor
Citi
Cecil and Ida Green Youth Concert
Sponsors
ExxonMobil
EDS Foundation
Harry W. Bass Jr. Foundation
Texas Commission on the Arts
Sprint Foundation
Young Strings Sponsors
Bank of America
Chase
Dean Foods
EDS Foundation
Fossil
Ebby Halliday, REALTORS
Endowed Concert Sponsors/
Annual Concert Endowments
Dr. Anson L. Clark Endowment Fund
Mr. and Mrs. Sanford P. Fagadau
The Meadows Foundation
The Meyerson Family
Wendy and Emery Reves Endowment Fund
Anne J. Stewart
The Carl and Susan Summer Foundation
K-12 Education Program Sponsors
Aetna Foundation
Brinker International
David Crowley Foundation
Harold Simmons Foundation
Hawn Foundation
Kraft Foods
Potts and Sibley Foundation
SAP America, Inc.
Sprint Foundation
TACA
WACHOVIA
Special Students at the Symphony Sponsor
Junior Symphony Ball
DSOkids.com Sponsor
Verizon Foundation
A big round of applause to the Dallas Symphony Orchestra League
Volunteers who so graciously serve as ushers for Youth Concerts.
Page 46

Musical Families Teacher`s Guide.pub

Transcription

Similar documents

Rob Gallagher starred on Broadway as Javert in Les Misérables and

Naturally Yours! - League of American Orchestras

Symphonics - FSG Australia

Russian Rhapsody

tv hosts louis aguirre and maria regina bustamante to narrate britten

Dedication Merriweather Post Pavillion of Music, Columbia

Javier Perianes

Maitland Symphony Orchestra

August 2015 - Sedona Charter School

Cumberland Weihnachtsmarkt