Teacher Workbook - North Carolina Symphony

Transcription

Teacher Workbook
TABLE OF CONTENTS
Letter from North Carolina Symphony Education Department......................... 2
Information about the 2013/14 Education Concert Program............................. 3
Education Programs of the North Carolina Symphony....................................... 4
Author Biographies............................................................................................... 6
Leonard Bernstein (1918-1990)............................................................................. 7
Overture to Candide
Georges Bizet (1838-1875).................................................................................. 13
Mvt. 1, “Pastorale”, from L’Arlesienne Suite No. 2
Nikolai Rimsky-Korsakov (1844-1908)................................................................ 19
Flight of the Bumblebee
Wolfgang Amadeus Mozart (1756-1791)........................................................... 25
Mvt. 1 from Symphony No. 35
Johannes Brahms (1833-1897)............................................................................ 27
Mvt. III from Symphony No. 3
AUTHORS
Giuseppe Verdi (1813-1901)................................................................................ 35
Ballet Music from Aida
Christine Eason
Brier Creek Elementary School,
Raleigh, NC
Traditional/arr. Terry Mizesko (b. 1954)............................................................. 43
“Comin’ Roun’ the Mountain”
“The Products of Our State” - Words by Madge McCannon Patton (b. 1949)
Kathy Hopkins
Aversboro Elementary School,
Garner, NC
Mikhail Glinka (1804-1857)................................................................................. 49
Overture to Ruslan and Ludmila
Bill Rashleigh
Jones Dairy Elementary School,
Wake Forest, NC
Additional Classroom Resources........................................................................ 56
“Your Elephant, The Orchestra,”........................................................................ 62
A story by Jackson Parkhurst, to be read before your concert
Jennifer Riggert
York Elementary,
Raleigh, NC
Bibliography and Selected Sources.................................................................... 64
Selections are listed in program order.
2013/14 TEACHER WORKBOOK •
1
Dear Friends and Colleagues,
We would like to thank this year’s authors: Christine Eason, Kathy Hopkins,
Bill Rashleigh and Jennifer Riggert of Wake County Public Schools. Each of these
individuals contributed countless hours of their time (and much of their summer vacations)
to the creation of these curriculum guides and in preparation for our August Education
Concert Workshop, for which we are truly thankful.
These books are tools for preparing your students to attend their North Carolina Symphony
Education Concert. It is our intention that the Education Concert experience supports your
goal of promoting music as a core subject that is essential to North Carolina’s curriculum.
We encourage everyone involved with the Education Concerts to take just five minutes
to complete our surveys when they are sent to you. The information you provide on that
survey will help us evaluate the success of our programs and make changes for following
seasons. We value your opinions and we put your ideas into action. Thank you for sharing
your expertise with us!
We are grateful for all that you do to enrich the lives of students across North Carolina.
North Carolina Symphony Education Department
CONTACT the North Carolina Symphony Education Department
David Albert, Director of Education
3700 Glenwood Ave., Suite 130
Raleigh, NC 27612
919.789.5461 Office
919.781.6066 Fax
[email protected]
RECORDINGS of the Education Concert Program
The 2013/14 Education Concert program was recorded by the North Carolina Symphony before a live audience at
Meymandi Concert Hall, Duke Energy Center for the Performing Arts, Raleigh, NC in May, 2013. This recording is
available for purchase on the North Carolina Symphony Education website: www.ncsymphony.org/educationprograms,
under education concert resources.
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• NORTH CAROLINA SYMPHONY
Information
ABOUT THE 2013/14 EDUCATION CONCERT PROGRAM
Education Concert Workshop
The best way to prepare for your concert is to attend the Education Concert Workshop each August. To attend the
workshop, please register under the Workshop and Professional Development section of the North Carolina Symphony
Education website: www.ncsymphony.org/educationprograms. 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.
You will also be treated to lunch and entered to win prizes from North Carolina Symphony sponsors. All who participate
will receive a certificate that they can use to obtain 0.5 CEU credit from their district. This year’s workshop takes place on
Tuesday August 13, 2013, from 9:00 am – 3:00 pm at Meymandi Concert Hall in Raleigh, NC.
If you are unable to attend the workshop in August, you can view it online on a private classroom site. To download
these videos please register under the Workshop and Professional Development section of the North Carolina Symphony
Education website: www.ncsymphony.org/educationprograms, 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 $30.00. You can access these resources anytime throughout the school year.
Performing with the North Carolina Symphony at the Education Concert
Singing:
At your concert, the conductor will ask everyone to stand and sing “Comin’ Roun’ the Mountain” (“The Products of Our
State”) with the orchestra. The conductor 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!
Playing an instrument:
Playing the song “Comin’ Roun’ the Mountain” (“The Products of Our State”) on recorders is an opportunity we extend
to all schools 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 David Albert, Director of
Education, at 919.789.5461 or [email protected]
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.
• 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. You may also
make your own plans in advance to play with another
school.
• Any groups performing on recorders will do so after the
orchestra plays “Comin’ Roun’ the Mountain
(The Products of Our State).”
• 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.
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EDUCATION PROGRAMS OVERVIEW
Programs For Preschool Students
PNC GROW UP GREAT/MUSIC DISCOVERY DAYS: Throughout the 2013/14 season, the North Carolina Symphony will present “Music Discovery” days at select libraries and preschools in Wake County, Fayetteville, New Bern,
Southern Pines, and Wilmington. These events will feature a North Carolina Symphony musician reading a musicthemed book and presenting an accompanying musical performance, followed by an instrument zoo, all specially
designed for a preschool audience. For more information regarding dates and locations, please visit the North
Carolina Symphony’s website.
PNC GROW UP GREAT/MUSIC MAKERS: Throughout the 2013/14 season, the North Carolina Symphony will
present “Music Maker” events at children’s museums at select locations in Wake County, Fayetteville, New Bern,
Southern Pines, and Wilmington. These programs will include features like presentations by North Carolina Symphony musicians, music-themed crafts and activities, and instrument zoos, all specially designed for a preschool audience. For more information regarding dates and locations, please visit the North Carolina Symphony’s website.
Programs For Elementary School Students and Teachers
EDUCATION CONCERTS: Approximately 40 full-orchestra concerts are 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.
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.
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.
ONLINE RESOURCES: Interactive website pages are dedicated to the North Carolina Symphony’s Education
programs. Here, teachers can reserve their education concert or open dress rehearsal experience, order resource
materials online or even participate in professional development activities for credit.
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.
Programs For Middle, High School and College Students and Teachers
FRIDAY FAVORITES CONCERTS: A Friday afternoon concert series perfect for young adult audiences. These
90-minute performances feature great classical music in a fun and informal setting. Discounted student group
rates will be offered with pre-registration.
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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.
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.
Community Programs and Education Partnerships
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.
Competitions and Awards
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.
JOSEPH M. BRYAN AND KATHLEEN PRICE YOUTH CONCERTO COMPETITION: An annual competition
open to musicians between the ages of ten and twenty-one 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 David Albert, Director of Education, at (919) 789-5461
or [email protected].
2013/14 Young People’s Concerts
See all 3
for $39
Individual tickets are $20 each.
Save $21 over single ticket
prices with a series package.
Nov 2, 2013 | HALLOWEEN SPOOKTACULAR!
Jan 4, 2014 | CARNIVAL OF THE ANIMALS
Mar 3, 2014 | MUSIC, NOISE & SILENCE
Meymandi Concert Hall, Raleigh | Two Series Available: 1pm & 4pm
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.
ncsymphony.org/kids | 919.733.2750
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AUTHOR BIOGRAPHIES
Christine Eason
Bill Rashleigh
Brier Creek Elementary School, Wake County Public
Schools, Raleigh, NC
Jones Dairy Elementary School, Wake County Public
Schools, Wake Forest, NC
Christine Eason is the music teacher at Brier Creek YearRound Elementary in Raleigh. Originally from Troy, Michigan, she has been teaching elementary school general
music in North Carolina since 2001. She has a Bachelor of
Arts degree in Music Therapy from Michigan State University and a Master of Arts degree in Music Education from
the University of Michigan. She earned her Orff-Schulwerk
Level I certification from the University of North CarolinaWilmington and National Board Certification in Early and
Middle Childhood vocal music. She has been Teacher
of the Year at both schools where she has established
the music program. She has served as a mentor teacher,
county staff development co-chair, and helped to write the
county-wide common formative assessments for elementary music. Besides serving as teacher author and presenter
with the North Carolina Symphony, she was a recipient
of the 2013 Wake Education Partnership Innovative Ideas
grant for her Gettin’ Jazzy With It. She has been blessed
with an amazing husband and two beautiful daughters,
Evelyn Hope and Autumn Grace.
Bill Rashleigh is the music specialist at Jones Dairy Elementary and is completing his thirtieth year of teaching. Earning a bachelor of music degree in voice in 1983 from the
University of Nebraska at Omaha (UNO), he taught vocal
and instrumental music at Roncalli High School in Omaha
for two years, then returned to UNO as a graduate assistant and assistant conductor to the choirs. He completed
his Master of Music degree in Conducting Performance
in 1988 and was employed by the Barbershop Harmony
Society as a music specialist for 19 years. In this capacity,
he wrote materials regarding music education for directors
and music teachers as well as travelled extensively around
North America presenting workshops, festivals, conducting
clinics, and concerts. In 2006, he moved with his wife and
two small children to Raleigh and started conducting the
General Assembly Chorus (a men’s barbershop chorus) taking them to international competition in 2011 and 2012.
He joined the Jones Dairy staff in 2009. Bill is a published
composer and recently began work as Director of Music
for Hillyer Community Christian Church where he also
conducts the Hillyer Community Chorus. The Community
Chorus performs two concerts a year focusing on major
works of Mozart, Vivaldi, Schubert, Berlioz, Faure, as well
as other Classical and Romantic composers.
Kathy Hopkins
Aversboro Elementary School, Wake County Public
Schools, Garner, NC
Kathy Hopkins earned her Bachelor of Music degree in
Music Education, specializing in voice, in 1980 from the
State University of New York at Fredonia. She spent her
junior year abroad studying voice at the Konservatorium
der Stadt Wien in Vienna, Austria. During her undergraduate years, she spent two summers studying voice at The
Chautauqua Institution in Chautauqua, New York. She
taught elementary music for one year in the Glens Falls
School District in upstate New York before moving to Gaston County, North Carolina. She taught chorus and drama
for a year and a half at Southwest Junior High in Gastonia
before moving to Raleigh. Kathy has been the elementary
music specialist at Aversboro Elementary School in Garner
since 1987. Kathy earned a Master of Music degree in Vocal Performance and Pedagogy from Meredith College in
1992. In 2008, she achieved her National Board Certification in early and middle childhood music. She was awarded the 2008 Business Support of the Arts Award in the
category of Arts Education, presented jointly by the United
Arts Council of Raleigh and Wake County and the Greater
Raleigh Chamber of Commerce. She has been nominated
twice as Teacher of the Year at her school. Kathy teaches
general music to students in Pre-K through fifth grade,
directs the Aversboro Elementary Fourth and Fifth Grade
Chorus, serves as grade chair for the specialists’ team, and
mentors with the Beginning Teacher Support Program.
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Jennifer Riggert
York Elementary School, Wake County Public Schools,
Raleigh, NC
Jennifer Riggert has been the music specialist at York
Elementary School for sixteen years. She graduated from
Trenton State College (now The College of New Jersey) in
1993 with a Bachelor of Music degree in Music Education.
After teaching in various positions K-12 in New Jersey,
she moved to Wake County in 1997. She served as chair
of Elementary Music staff development for five years,
taught/facilitated various workshops, and worked on the
textbook adoption committee. In 2004 she graduated
from UNC-Greensboro with a Masters of Music Education
degree in the inaugural class of the Summers and Distance
Learning program. She holds Orff Level I certification, and
works in hospitality for the Central Carolina Chapter of the
American Orff-Shulwerk Association. She currently serves
as Director of Instrumental Music and Chimes at Benson
Memorial United Methodist Church in Raleigh. She enjoys
playing horn, piano, chimes, and singing as part of her
school and church communities.
Want to become an author for the
North Carolina Symphony? Contact us!
David Albert, Director of Education
919.789.5461
[email protected]
Leonard Bernstein
Born: August 25, 1918, Lawrence, Massachusetts
Died: October 14, 1990, New York, New York
Overture to Candide
Biography (in Student Book)
Leonard Bernstein was one of the most talented musicians of the 20th century. He wrote both popular and classical
music, and he was a great pianist, conductor, author, lecturer, and teacher.
He was born in Lawrence, Massachusetts, but he grew up in Boston. His parents did not approve when, at age eleven,
Bernstein began to show a passion for music. They wanted him to take over the family business, instead of being a musician. He tried to play an instrument for the first time when his aunt sent her old piano to be stored at his parents’ house.
He took to the instrument like a duck to water and used his allowance to pay for piano lessons. His teacher recognized
how talented Bernstein was and he encouraged him to keep playing. He also took Bernstein to attend his first orchestra
concerts.
Bernstein graduated from high school with honors in 1935 and then went to Harvard to study business and music. Since
he didn’t want to take over the family business, he moved to New York City and tried to make a living as a musician.
Then, a friend helped him get a scholarship to the Curtis Institute of Music in Philadelphia. At that school, his teachers
and peers realized that he was a great conductor. In 1943, when he was 25 years old, he stepped in at the last minute
to conduct a performance by the New York Philharmonic when their usual conductor became ill. There was no time for
rehearsal, but Bernstein knew the difficult music so well that he conducted it from memory and became an overnight
success. He spent the next year travelling around the world conducting more than 100 concerts.
In 1957, he became the Music Director of the New York Philharmonic. While working there, he created a series of special
concerts just for children. Those concerts were watched by kids all over the world on television. He was also a famous
composer of symphonies, ballets, concertos, and even Broadway musicals (including West Side Story and Candide).
He won many awards and medals for his musical work. When he died in 1990, he was one of the most respected musicians in the world.
Fun Facts about Bernstein (in Student Book)
• As a child, he had asthma and allergies that
kept him indoors.
• North Carolina Symphony Music Director Grant
Llewellyn worked with Bernstein and was given the
maestro’s baton box after he died.
• During his career, Bernstein was elected to the
American Academy of Arts and Letters, received a
Kennedy Center Honor, a Grammy Award for Lifetime
Achievement, nine other Grammys, two Tonys and
eleven Emmys.
Bernstein’s Life
• Studied at Harvard University, Curtis Institute of Music,
and the Berkshire Music Center in Tanglewood.
• Known affectionately as Lenny.
• Became Assistant Conductor of the New York Philharmonic at 25. Became well known when he filled in for
an ailing Bruno Walter.
• Music Director of the New York City Symphony Orchestra 1945-47, Music Director of the New York Philharmonic 1958-69 (Laureate Conductor 1969-90).
• Greatly influenced by his Jewish upbringing.
• Known as a composer, conductor, pianist, music educator, and activist.
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FEATURED WORK: Overture to Candide
Candide is a comic operetta based on the book by Voltaire (1759). The libretto for the operetta was originally written by
Lillian Hellman and later revised by Hugh Wheeler. Bernstein composed the music. Lyrics were written by Richard Wilbur,
John Latouche, Dorothy Parker, Stephen Sondheim, Hellman, and Bernstein. The 1956 production of the show ran for
73 performances. In 1973, after rewrites, it was revived and ran for 740 performances and received four Tony Awards.
In 2005 PBS’s Great Performances aired a “semistaged” version performed by the New York Philharmonic and starring
Broadway stars Kristin Chenoweth and Patti LuPone.
The Overture premiered under Bernstein’s direction of the New York Philharmonic on January 26, 1957. The Overture
begins with a fanfare. The triplet rhythm in the transition comes from “The Best of All Possible Worlds”. The rest of the
piece is made up of four distinct themes. The main theme is original to the Overture. The second theme comes from
the battle scene in Act I. The third theme is the main melody from “Oh, Happy We”. The fourth theme comes from the
coloratura section of “Glitter and Be Gay”. The Overture was used as the theme song for the 1970s Dick Cavett Show.
Brief Plot Synopsis:
The satire begins in 1759 in Westphalia, Germany at the castle of Baron Thunder-Ten-Tronck where Dr. Pangloss teaches his students “all is for the best in this best of all possible worlds”. His four students are Cunegonde and Maximillian,
the Baron’s daughter and son, Paquette, a servant girl, and the hero Candide, the Baron’s nephew. When the Baron
and Maximillian discover that Candide and Cunegonde have fallen in love, they send Candide away. Candide is forced
into the Bulgarian Army which attacks the castle and kills most of the inhabitants except for Cunegonde who is taken
away by the soldiers. Eventually she is taken to Paris, France and becomes mistress to two rich men: Don Issachar and
a Grand Inquisitor of the Spanish Inquisition. Candide and Dr. Pangloss travel to Lisbon, Portugal where they are put
on trial by the Spanish Inquisition for heresy. Pangloss is seemingly killed, and Candide is whipped. An old woman
rescues Candide and brings him to Cunegonde. This angers the two men, and Candide ends up killing them both.
The two lovers and the old woman flee. First they travel to Cadiz, Spain and then to Columbia. They find Maximillian
and Paquette who have been sold into slavery. They escape and find refuge with the priests in a monastery. Candide,
Cunegonde, and the old woman leave on a ship that is attacked by pirates, who kidnap the women. Candide finds his
way to Montevideo, Uruguay, where he again runs into Maximillian and Paquette. When Maximillian finds out what
has happened to his sister, he runs after Candide and a statue falls on him. Candide and Paquette wander to Eldorado
where they find enough gold to continue looking for Cunegonde. They discover that the pirates have taken her to
Constantinople, Turkey to sell her into slavery. After their boat sinks, they spend a brief time on an island, are rescued,
and come to Constantinople. There they find Cunegonde working as a dancing girl, and buy her freedom. They find
that Maximillian has survived the statue accident and has become a slave, and they buy his freedom as well. In addition, they find that Dr. Pangloss has also survived. They ask their teacher for advice, and he tells them, “only work
makes life endurable.” The teacher and his four students decide to work on a farm together.
STUDENT INTRODUCTION to Bernstein’s Overture to Candide
CLASSROOM ACTIVITY 1: Let’s Introduce Ourselves
North Carolina Essential Standards:
4.CR.1.2
Understand the relationships between music and concepts from other areas.
Grade 4 ELA Common Core Standards:
Writing
4.3d
Use concrete words and phrases and sensory details to convey experiences and events precisely.
4.4
Produce clear and coherent writing in which the development and organization are
appropriate to task, purpose, and audience.
Objective: Students will understand what aspects are important when introducing themselves.
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Materials: paper, pencils
Process:
1. Introduce yourself to students. Include information such as a greeting, name, how long you have been at the
school, instruments you play/voice, interests/activities, what you did over summer vacation, etc.
2. Divide class into groups of 4-5 students. Have them discuss and record a list of information they think is important
when introducing themselves to others.
3. Have each group report back to the class and create a master list of items. Tally the number of times an item is
repeated. Have students determine the top five items.
4. Have each student write an introduction using these five items.
5. Have students introduce themselves to two other people they may not know well.
CLASSROOM ACTIVITY 2: Introducing Bernstein
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.
4.CR.1.2
Objective: Students will recall information about Leonard Bernstein, aspects of his professional life (including being a
composer, conductor, pianist, and educator), and some of his compositions.
Materials: NC Symphony Student Booklet, NC Symphony Teacher’s Book, videos of Bernstein speaking/conducting,
Young People’s Concert video, recordings of various Bernstein compositions, What Do You Hear? What Do You Like?
Worksheet, pencils
Process:
1. Have students read about Leonard Bernstein from the NC Symphony Student Booklet.
2. Give students additional information from the NC Symphony Teacher’s Book.
3. Discuss the jobs of composer, conductor, pianist, and music teacher.
4. Show students video(s) of Bernstein speaking and/or conducting.
Suggestions:
Conducting Overture to Candide (http://www.youtube.com/watch?v=422-yb8TXj8)
On Beethoven’s Ode to Joy (http://www.youtube.com/watch?v=nZJ1Tgf4JL8)
Conducting Beethoven’s 5th Symphony (http://www.youtube.com/watch?v=zM3y09RjKLs)
5. Show students video of Young People’s Concert.
Suggestions: What Does Music Mean? on DVD of Young People’s Concerts
(http://www.youtube.com/watch?v=rxwWlQNGeKE)
6. Have students listen to recordings of four very different pieces by Bernstein.
Suggestions: Mambo, Somewhere, Quintet from West Side Story, On the Town: Three Dance Episodes-III Times
Square, Chichester Psalms-Adonai Roi (Section with boy soprano), Symphony No. 2 (Age of Anxiety)-Part 2,
Mvt. II The Masque
7. Have students complete the What Do You Hear? What Do You Like? Worksheet.
8. Have students share what they recorded with the class.
9. Have students discuss and explain their preferences of the pieces.
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CLASSROOM ACTIVITY 3: Musical Introductions, Overtures, and Operettas
4.MR.1.1
4.MR.1.2
4.MR.1.4
4.CR.1.2
Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of
music of various styles and cultures.
Explain personal preferences for specific musical works and styles, using appropriate music terminology.
Classify instruments into Western orchestral categories of wind, string, percussion, and brass.
Objective: Students will demonstrate understanding of vocabulary related to musical introductions and various forms
of musical theatre. Students will become familiar with Bernstein’s Overture to Candide and be able to explain how it
introduces the operetta.
Materials: NC Symphony Education CD, NC Symphony Teacher’s Book, world map, Overture to Candide Call Chart,
recordings of Battle Music and the songs “Oh, Happy We” and “Glitter and Be Gay” from Candide
Process:
1. Review how students previously introduced themselves.
2. Explain the term “overture”.
3. Have students listen to the Overture to Candide for the following:
How does the Overture introduce the play that is to follow?
What mood does the Overture set?
How many separate melodies are heard?
4. Have students respond to the above questions.
5. Review vocabulary list below.
6. Explain that Candide is an operetta.
7. Read the Plot Synopsis of Candide from p.8 of Teacher’s Book to students.
8. Using a world map, trace Candide’s journey.
9. Ask students if they think the overall feeling of the drama is captured in the Overture.
10. Have students listen to sections of the songs Act I: Battle Music, “Oh, Happy We” and “Glitter and Be Gay” from the operetta. Note that the melodies of these two songs are used in the Overture.
11. Listen again to the Overture using the call chart.
12. Review new vocabulary.
Vocabulary:
Introduction: a section of music at the beginning of a work or movement that prepares the main section of the piece
of music
Overture: a composition for orchestra most often intended as an introduction to an opera or other vocal drama
Musical: a form of musical theater from the 20th and 21st centuries incorporating spoken dialogue, solo and ensemble songs, and dance
Satire: a literary work that mocks or attacks the evil behavior and foolishness of humans
Operetta: a form of musical theater incorporating spoken dialogue, song, and dance characterized by comedy including satire, parody, and farce
Opera: a musical drama that is primarily sung, accompanied by an orchestra, and presented theatrically
Fanfare: a musical piece often using brass (and sometimes percussion) for ceremonial purposes, especially to announce an important person(s)
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What do you hear? What do you like?
Name of Piece
Type of Piece
(instrumental/vocal)
Style of Piece
Do you like this piece?
(Why or why not?)
11
12
“Oh, Happy
We”
Fanfare
Main
Theme
Main
Theme
Fanfare
Fanfare
Fanfare
TTHemeThe
me
Main
Theme
Battle Music
Battle Music
Main
Theme
“Oh, Happy
We”
“Oh, Happy
We”
Battle Music
Overture to Candide Call Chart
“Glitter”
Main
Theme
Georges Bizet
Born: October 25, 1838, Paris, France
Died: June 3, 1875, Bougival, France
Mvt. I, “Pastorale”, from L’Arlesienne Suite No. 2
Georges Bizet grew up in a very musical household. His aunt was a famous singer, his father was a singer and composer,
and his mother was a pianist. Bizet loved to play the piano, and could already read and write music by the age of four!
He was a child prodigy and, shortly before his tenth birthday, he enrolled at the music school in Paris. While he was a
student there, he wrote his first symphony - he was just 17 years old!
When he graduated, he won a prestigious award called the Prix de Rome (Prix sounds like “pree”), which gave him
enough money to live and write music in Rome for three years. Although he enjoyed his time in Italy, he eventually grew
homesick and returned to Paris. Bizet really loved writing operas, but he got bad reviews from the opera critics in Paris.
The last opera he wrote, called Carmen, became his most famous masterpiece. Sadly, he died before it became as
popular as it is today.
Fun Facts about Bizet (in Student Book)
• Bizet was considered a “master pianist” by
the age of 14.
• Bizet married the daughter of his music teacher.
• His first symphony was written as an assignment at his
music school in Paris. It was not ever performed until 80
years later, in 1935! Now, it is considered a masterpiece.
Bizet’s Life
• Originally named Alexandre César Léopold Bizet, but he
was nicknamed “Georges” by his godfather.
• Famous for writing operas, piano music, and orchestral
pieces used as background music for plays.
• Father was a singing teacher and his mother was an
amateur pianist. Bizet’s parents wanted him to become a
composer.
• Even though he was a great concert pianist, he refused to
perform in public. He made his living by teaching piano
lessons and sending his compositions to publishers.
• When he was four years old, his parents taught him
notes on the piano at the same time they taught him
the letters of the alphabet.
• Married Geneviève Halévy in 1869 and had one son.
• Loved reading so much that his parents had to hide his
books so he would spend more time working on his
music.
• His most famous opera, Carmen, was written in 1875,
near the end of his life. The reviews for the first performances of Carmen in Paris stated that there were no
good melodies in the opera, so the early performances
were not well attended. Bizet died at age 36 before
Carmen opened in Vienna, Austria, where it was a huge
success. Bizet died a broken-hearted man, without
knowing that audiences would someday consider this
opera his greatest masterpiece.
• Began studying at the Paris Conservatoire at age 10. He
excelled at playing the piano. At age 17, he wrote his
Symphony in C, which was not performed in public until
sixty years after his death. In 1857, at age 19, he won
the Prix de Rome for the cantata Clovis et Clotilde. This
award gave him a three-year pension and a chance to
study at the French Academy in Rome.
• Served in the national guard during the siege of Paris in
the Franco-Prussian War.
13
FEATURED WORK: Mvt. I, “Pastorale” from L’Arlesienne Suite No. 2
L’Arlesienne Suites No. 1 and 2 are collections of incidental music composed by Bizet in 1872 for the play L’Arlesienne
(The Girl from Arles) by Alphonse Daudet. The play ran for less than three weeks and has long been forgotten. Bizet
reorchestrated four pieces for Suite No. 1. Suite No. 2 was compiled and reorchestrated after Bizet’s death by his friend
Ernest Guiraud. Mvt. IV (Farandole) from Suite No. 2 is also known as “March of the Kings,” the tune of which has been
used in a Christmas/Epiphany carol.
The play L’Arlesienne (The Girl from Arles) is set in the Provencal countryside of France. The Pastorale depicts the rolling
landscape of the countryside and begins slowly and rhythmically in a manner that suggests the rowing of a boat. The
middle section is faster, with a definite Spanish flavor. The music then returns to the mood of the beginning.
STUDENT INTRODUCTION to Mvt. I, “Pastorale”, from L’Arlesienne Suite No. 2
Fundamental of Music: Texture
Texture is the aspect of the music that involves tone color, or the way each instrument sounds. Composers choose and
combine these individual sounds much 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 when just the flute plays a simple melody. A “heavy” texture might be when the brass and percussion
play complex rhythms all at once. The texture usually becomes “heavier” or “thicker” when more instruments play at
once, and when their parts are more complex, or dense.
CLASSROOM ACTIVITY 1: Thick or Thin
4.MR.1.1
4.MR.1.4
4.CR.1.2
Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music
of various styles and cultures.
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 Mvt. I, “Pastorale”, from L’Arlesienne Suite
No. 2 are thin or thick. Students will identify instruments of the orchestra by their sound. Students will create a painting
using varying thicknesses and colors of lines to demonstrate their understanding of the texture of the music.
Materials: NC Symphony Education CD, Thin/Thick Cards, ArtPad website: http://artpad.art.com/artpad/painter/
Process:
1. Discuss texture and the terms “thin” and “thick”.
2. Give students Thin/Thick Cards. Listen to Mvt. I, “Pastorale”, from L’Arlesienne Suite No. 2 and have students hold
up the card of what they hear occurring in the piece.
3. Listen again and stop after each section. Have students identify what instrument(s) is/are playing in each section.
14
4. Using the SmartBoard, or working in the computer lab, access the ArtPad at www.art.com at http://artpad.art.com/
artpad/painter/. Play the music again and invite the 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 replay their drawings, frame them, and hang them in the gallery on the website. (You may
wish 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 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 web site 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 in a piece of famous artwork. http://www.artic.edu/aic/education/CC/
CLASSROOM ACTIVITY 2: Write the missing story for
Bizet’s music using the Storybird website
4.MR.1.1
4.CR.1.2
Writing (W) Text Types and Purposes
3. Write narratives to develop real or imagined experiences or events using effective technique, descriptive details, and
clear event sequences.
3.a.Orient the reader by establishing a situation and introducing a narrator and/or characters; organize an event sequence that unfolds naturally.
3.d. Use concrete words and phrases and sensory details to convey experiences and events precisely.
Writing (W) Production and Distribution of Writing
6. With some guidance and support from adults, use technology, including the Internet, to produce and publish writing as well as to interact and collaborate with others; demonstrate sufficient command of keyboarding skills to type
a minimum of one page in a single sitting.
Objective: Students will creatively describe what is happening in Mvt. I, “Pastorale”, from L’Arlesienne Suite No. 2 by
selecting artwork and writing a short story inspired by the music.
Materials: NC Symphony Education CD; Call Chart for Mvt. I, “Pastorale”, from L’Arlesienne Suite No. 2; Storybird website http://storybird.com/
15
Process:
1. Listen to the music and follow the form by using the call chart. Note that the form has a distinct beginning, middle, and
end, with contrasting sections in between. (Rondo form)
2. Ask students to brainstorm other types of pictures that could be used to illustrate the music. Record their answers on
the board.
3. Explain that Bizet wrote the ”L’Arlesienne Suite” as background music for a play, but the play has long been forgotten.
Challenge the students to write a story following the form of the music by creating one page of the story for each of
the five sections depicted on the call chart. They will use a webtool called Storybird, where they will select artwork from
the gallery and create their own story.
4. Using the SmartBoard, visit http://storybird.com/. Navigate to the published story “The Symphony of Sounds” by khopkins in the “Tween” category to display an example of a Storybird story based on the music by Bizet that will be played
at the symphony concert. You may challenge the students to let you know when it is time to turn the pages based on
the form of the images in the call chart we have studied. (You will need to create an account as a teacher to login to
the site. You will have the opportunity to create student accounts in the “classes” section of the private learning space
on the Storybird platform. Please see the technology contact staff member at your school if you need assistance accessing the site or setting up your student accounts.)
5. Create a class story by choosing artwork and writing a story as a whole group activity around the SmartBoard. Play the
music again while the students are suggesting ideas for the class story. Use this time to model for the students how to
use Storybird while the music plays in the background.
6. In the computer lab, play the music again and invite students to create their own story based on the form of the music,
with the same illustration in the beginning, middle, and end and contrasting illustrations in between. Encourage the
students to connect the ideas for their stories to the texture of the music. If time permits, invite students to share their
illustrations and story ideas with a partner.
7. If settings have been created to allow students to share and comment on each other’s stories, invite the students to
read three other stories created by their classmates and provide a peer reflection as a comment to the author of the
story.
Additional Resources:
How to pronounce “L’Arlesienne”: You tube clip from www.emmasaying.com
http://www.youtube.com/watch?v=C5aHSAgAJg4
Bizet – L’Arlesienne suite no. 2: Pastorale – You Tube. Instrumental performance illustrated
with paintings of ballet dancers by Degas.
http://www.youtube.com/watch?v=J_ONywctcNk
“Bizet’s Dream” DVD from the Devine Entertainment Video Series
The Composers’ Specials, distributed by Hal Leonard Publishing.
The Composers’ Specials Teacher’s Guide from The Devine Entertainment Video Series. Listening Guides,
Discussion Topics and Cross Curricular Activities, pp. 82-97. Copyright 2000 by Hal Leonard Corporation and
Devine Entertainment, Milwaukee, WI.
16
17
Mvt.
I, “Pastorale”,
from
L’Arlesienne
Suite No. 2Call
call Chart
L’Arlesienne
Suite
No.
2 Mvt I Pastorale
Chart
Thin
"
Thin
Thick Thick
18
Nikolai Rimsky-Korsakov
Born: March 18, 1844, Tikhvin, Russia
Died: June 21, 1908, St. Petersburg, Russia
Flight of the Bumblebee from The Tale of Tsar Saltan
When Nikolai Rimsky-Korsakov was a young student, he was much more interested in all of his classes than he
was in music. He began taking music lessons when he was six, but he didn’t start to really love music until he was 17.
Mily Balakirev, a famous composer at that time, realized how talented Rimsky-Korsakov was and encouraged him
to start a career in music.
Rimsky-Korsakov took a job as a teacher at the music school in St. Petersburg, but he didn’t like it very much, so he quit
and became a full-time composer, instead. He joined a group of Russian Composers called “The Five.” They formed a
group because they all wanted to write very Russian-sounding music.
Fun Facts about Rimsky-Korsakov (in Student Book)
• Nikolai Rimsky-Korsakov once served as the band director of the Russian Navy.
• “The Five” (the group of composers he belonged to) as
also called “The Mighty Handful” because you have five
fingers on each hand.
• Rimsky-Korsakov was a mentor and teacher of another
famous composer - Igor Stravinsky. Stravinsky’s masterpiece is called “The Rite of Spring.”
Rimsky-Korsakov’s Life:
• Enrolled into the College of Naval Cadets in
St. Petersburg in 1856
• While still in the Navy, wrote his first symphony which
was conducted by his pal, Mily Balakirev.
• Worked to edit and complete the composition Night on
Bald Mountain by Modest Mussorgsky.
• Though never formally trained, became a professor of
composition at St. Petersburg Conservatory.
• Married Nadezhda Nikolayevna Purgold in 1872 with
Mussorgsky as his best man. (I bet they had pretty amazing music at their wedding!)
• The St. Petersburg Conservatory was named Rimsky-Korsakov St. Petersburg State Conservatory and is the oldest
academy of music in Russia. Top grads include: Pyotr
Tchaikovsky, Sergei Prokofiev, and Dmitri Shostakovich.
• Died at age 64, most likely of a heart attack.
19
FEATURED WORK: Flight of the Bumblebee from
The Tale of Tsar Saltan
• The opera was based on the poem written by
Alexander Pushkin in 1831.
• The characteristic elements of this music are quick
tempo and chromatic notes.
• The full title for this poem is The Tale of Tsar Saltan, of
His Son, the Glorious and Mighty Knight Prince Guidon
Saltonovich, and of the Fair Swan-Princess
• The melodic contour of bouncy but small highs and lows
depict the flight pattern of the bumblebee.
• The Russian librettist Vladimir Belsky, collaborated
later with Rimsky-Korsakov on the opera The Golden
Cockerel.
• This music was composed for part of the opera where
the prince is turned into a bumblebee so that he can fly
to his father.
• Keeps with the Russian Nationalistic tradition of using a
Russian folktale for subject matter.
• Today this piece is often played by virtuosic soloists
rather than a full orchestra.
• This piece is popular in commercials and movies for
providing a fast-paced and frantic effect.
• The opera was first performed at the Solodovnikov
Theatre in Moscow by the Mamontov Opera in
November, 1900.
Plot Synopsis for The Tale of Tsar Saltan
Characters:
• Tsar Saltan
• Tsaritsa Militrisa, the
younger sister
• Tkachikha (Court
Weaver), the middle sister
• Povarikha (Royal Cook),
the oldest sister
• Old Matchmaker Barbarikha, their mother
• Prince Guidon* (he gets
turned into the
bumblebee!)
• The Swan Princess
• Messenger
• Court Jester
• Three Sailors
• An Old Man
Prologue: One evening the three sisters are at their spinning wheels talking about their dreams of happiness. The Tsar,
while eavesdropping on their conversation, hears the youngest sister say that she would marry the Tsar and give him a
son. The Tsar Saltan marries the young princess and she soon becomes pregnant with a son. Much to their dismay, the
two older sisters become the royal cook and court weaver. After the marriage the Tsar heads off to war before the child
is born. The mother, Barbarikha, seeks revenge for her two older daughters by planning to send the Tsar a message that
his son was born a monster.
Act I: With the Tsar Saltan off at war, the fair queen gives birth to a handsome baby boy, Prince Guidon. Worried that she
has not yet heard from her husband, she decides to send a messenger to share the good news. The mother and her two
older daughters kidnap him, intercept the message, replacing it with one saying the son is “neither son nor daughter,
nor have we seen its like before.” Overwhelmed with emotion, the Tsar demands that Militrisa and her baby must be
placed in a barrel and thrown into the sea. The people mournfully obey.
Act II: The Tsaritsa and her son survive their watery journey and land ashore on an island where they escape from the
barrel. The prince has grown up into a strong young man along the way and while searching for food rescues a beautiful
swan caught up in a kite’s string. In gratitude, the swan gives him a magic city over which to reign.
Act III: The island is visited by none other than Tsar Saltan’s merchant ships, so impressed by the island that they sail back
to tell the Tsar. Prince Guidon longs to see his father so the magic swan transforms him into a bumblebee to remain incognito. The merchant sailors return to describe the beautiful Island of Buyan to the Tsar Saltan who is in constant company with the “the royal cook, and weaver, and their mother, sly deceiver.” While Babarikha and the sisters try to distract
the Tsar with a tale of a magic squirrel, Guidon stings each of the sisters in the brow and in the mother’s eye causing her
to become blind. The Tsar Saltan’s curiousity gets the best of him and he decides that he must see the island.
Act IV: Back on the Island of Buyan, the prince longs to find a bride, so the magic swan transforms herself into a princess
so that he can marry her. The Tsar Saltan finally arrives at the island, reunites with his long-lost wife Militrisa and forgives
Barbarikha and her two daughters. The opera finale is a joy-filled celebration of the marriage of Prince Guidon and the
Swan Princess.
20
STUDENT INTRODUCTION to Rimsky-Korsakov’s
Flight of the Bumblebee
Fundamental of Music: Tempo
Tempo is the speed at which music is played. Listen to feel the pulse and how fast and slow the music is moving. The
pulse is the strong beat of the music that begins each measure and makes you want to tap your toes or clap your hands.
Feel your own pulse of your heart keeping you moving!
CLASSROOM ACTIVITY 1: Feeling the Pulse
4.ML.2.1 4.ML.2.3
4.MR.1.1
Interpret rhythm patterns, including whole, half, dotted half, quarter, and eighth notes and rests in 2/4, 3/4,
and 4/4 meter signatures.
Interpret standard symbols and traditional terms for dynamics, tempo, and articulation while performing
music.
Objective: Students will be able to demonstrate the note value with body percussion movement and on instruments
within the tempo of the music.
Materials:
• Cards with a picture identifying the following: whole note, half note, quarter note, two eighth notes with a beam.(ti-ti)
• 4 music stands
• A variety of small unpitched percussion instruments (Suggested instruments: A variety of hand drums for whole note,
a variety of triangles for half notes, and a variety of small wooden instruments for quarter note, and drum sticks or
rhythm sticks for eighth notes.)
• NC Symphony Education CD
Process:
1. Review the note values on each card with the students by reviewing their names and how long to hold each note.
2. Assign a motion to each note value: Whole note=stomp, half note=snap, quarter note=clap, and eighth
notes=alternating pat.
3. Keeping the cards stacked one behind the other, play the The Flight of the Bumblebee and ask the students to
respond by doing the movement associated with each note value to the pulse of the music. *Note – because the
tempo of the music is so rapid, facilitate movement to equal one beat per measure of music!
4. Divide the class into four groups. Place a music stand with one of the cards facing each group. Play the music again,
this time facilitating each group moving to a different note value.
5. Once the students have demonstrated their ability to keep the beat with the appropriate note value you can distribute the percussion instruments.
6. Allow each group to practice their note value with their instruments alone before combining all of the groups together.
7. Distribute instruments and perform with the recording and small percussion instruments.
21
CLASSROOM ACTIVITY 2: Eggs in Tempo
4.MR.1.1
Objective: Students will work as an ensemble to demonstrate the tempo.
Materials: A class set of egg shakers, NC Symphony Education CD
Process:
1. Have the entire class sit in a large circle, cross-legged with hands palm-up on each knee.
2. Ask students to get out their imaginary super glue, squirt on the top of their left hand, and then glue it down to
their left knee. It can no longer move!
3. Ask students to wave at you with their right hand and tell them that it is the only hand that is allowed to move.
Using a rainbow motion pretend to take something out of your left palm and place it in your right neighbor’s open
left hand.
4. While saying the words, “take one, pass one,” practice passing imaginary eggs around the circle. Always practice
without instruments first.
5. Distribute eggs and have each student rest their egg in their open left palm. Practice passing the eggs with no
music first. My rule is that once an egg falls down, you cannot touch it unless it is right in front of you. Eggs can be
reclaimed when the music stops.
6. Practice passing the eggs at different tempi with the music. First, try letting each word of “take one, pass one” = 2
measures of music, and pass the eggs slowly. Next, just say “take, pass” giving each word one measure of music.
Finally, choose a small group to see if they can take and pass without saying anything at all, and pass within one
measure. If they can do it you can increase that circle by just a few students at a time. The ultimate challenge will be
if all students can join in the super fast group!
7. An extension of this activity would be to have concentric circles passing the eggs at different tempi.
CLASSROOM ACTIVITY 3: “Bee” a Conductor with a Conducting “Bee-ton”
3.MR.1.1
Illustrate the corresponding response to conductor gestures for meter, tempo, and dynamics.
4.ML.2.3
Interpret standard symbols and traditional terms for dynamics, tempo, and articulation while
performing music.
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 conduct using a two beat pattern to a variety of music.
Materials: NC Symphony Education CD, a class set of recorder cleaning rods, scissors, white and yellow paper, black
markers.
Preparation: To make the conducting “bee-tons,” take some white paper and cut it into long 1 inch wide strips. Next
cut the strips into 3 inch pieces. Take the yellow strips and round off the ends with scissors so that you have a nice
rounded edge and cut a dip in the center. Now your paper should look like an old fashioned ice cream spoon. Perfection
is not necessary! Fold your paper into three fan folds and thread it into your rod. (My rods are from Peripole recorders, so
yours may be different.) Once through, unfold your wings and move to the next step. Cut out your bee body by cutting
an oval shape about 1 ½ inch long and ¾ inch wide. Draw two little eyes on the front and two black stripes on the body.
Use a small piece of scotch tape to make a roll and tape the body onto the wings. Voila!
22
Process:
1. Review the Italian tempo words and meanings with your students
Largo = slow
Adagio = leisurely
Andante = walking speed
Moderato = a brisk walking pace
Allegro = quickly
Presto = fast
2. Distribute the prepared “bee-tons” to your students and tell them to be careful since they are just paper. *You may
also have your students make them with their own recorder cleaning rods at home.
3. Give an example of a two beat conducting pattern. Let the students explore conducting with their “bee-tons.”
4. Using the NC Symphony Education CD, play excerpts of the Bizet Overture to Candide, Rimsky-Korsakov Flight of
the Bumblebee, Mozart Symphony No. 35, Mvt. I, Verdi Ballet Music from Aida, and Glinka Overture to Ruslan and
Ludmila selections. Allow the students to feel the pulse and conduct to each of the different pieces of music.
5. Write the titles of each piece of music on the board and discuss what the correct tempo marking is that they would
associate with each piece and why.
CLASSROOM ACTIVITY 4: Showing and Feeling Dynamics in Music
4.ML.2.3
Interpret standard symbols and traditional terms for dynamics, tempo, and articulation
while performing music.
4.ML.2.4
Use standard symbols to notate rhythm, meter, and dynamics in simple patterns.
4.MR.1.1
Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music.
Objective: Since music is constantly in motion dynamically, this lesson is an opportunity for the students to experience
that concept physically. The eventual objective is to have the students visually and physically show the motion of the
music as the dynamics change.
Materials: NC Symphony Education CD
Process:
1. Align the students based on height, the shortest student to the tallest student.
2. Divide the sorted group into 6 subgroups identified in sections labeled as pp, p, mp, mf, f, ff.
3. Sit the students in their dynamic order from pp to ff.
4. Play an excerpt of the music and have the students lift their hands to show the loudness or softness of the music.
(Students should show a pp at their waist and a ff at the top of their head).
5. Show the example of a black to white gradient scale to show how music can easily change dynamics smoothly and
evenly throughout the piece.
6. Explain about subito and how it can change dynamics very suddenly.
7. Explain about the “wave” and how this can visually represent a gradual change of dynamics in the music, such as in
the end of “The Flight Of The Bumblebee.”
8. Now that the students understand the concept of movement to the dynamics, take “The Flight Of The Bumblebee”
and use this example to have them stand when the music is at their appropriate dynamic level.
9. When the dynamic level increases or decreases different students will stand or sit accordingly.
23
Terms to review/explain:
Pianissimo
Piano
Mezzopiano
Mezzoforte
Forte
Fortissimo
Subito
Additional Resources for Flight of the Bumblebee
Noteworthy YouTube Videos
1. Bobby McFerrin singing with Yo-Yo Ma on cello: http://www.youtube.com/watch?v=eLZGr3CIAMA
2. Canadian Brass: http://www.youtube.com/watch?v=xZO5KTJTwhE
3. On Boomwhackers by Plastic Musik: http://www.youtube.com/watch?v=3gve3S-XrTI
Just for Fun!
Check out http://www.vidrhythm.com and watch their trailer, featuring Flight of the Bumblebee.
Download this free app, and make your own on your iPad.
24
Wolfgang Amadeus Mozart
Born: January 27, 1756, Salzburg, Austria
Died: December 5, 1791, Vienna, Austria
Mvt I from Symphony No. 35
Wolfgang Amadeus Mozart was a very gifted musician, even when he was a very young child. He started to write his
own music when he was just five years old, and just a few years after that, he was performing for kings and queens,
famous composers and some of the most important people in Europe. By the time he was eight, he had written three
symphonies! By the end of his lifetime, he had written hundreds, and hundreds of pieces of music.
He wrote music in all of the musical styles that were popular at the time, including operas and concertos. Unlike most
other composers, Mozart was great at writing just about any type of music he tried. He is still thought of as one of music’s great geniuses.
Fun Facts
about Mozart (in Student Book)
• Mozart had perfect pitch. That means that he could
hear any note and name it without having to play it on
the keyboard first.
• Like many men in the 1700s, Mozart wore a powdered
wig. A wig was considered very fashionable, and it also
kept people from having to wash their hair every day.
• As an adult, Mozart enjoyed playing billiards and
dancing. He also had several pets including a canary, a
dog and a horse.
• Mozart was writing music at the same time the
American Revolution was taking place.
Mozart’s Life:
• His father, Leopold, taught the young prodigy much
about music in his early years and was a famous violinist
and teacher. He wrote an instruction manual on bowing
for the violin which is still used today.
• Went on tour with this father and his sister,
Nannerl, from 1763 to 1766 playing for kings and
emperors all over Europe. During this time continued to
compose violin sonatas and by the time he was 9 years
old, had composed his first 5 symphonies.
• Commonly known by the names Wolfgang Amadeus
Mozart, but at birth the composer was given a name
quite a bit longer than the first names people are given
in the 21st century: he was called Johannes Chrysostomus Wolfgangus Theophilus Mozart. The Wolfgangus part of Mozart’s name was later shortened to just
Wolfgang by Mozart’s father, while the Amadeus comes
from the Latin translation of another part of the name:
Theophilus.
• His abilities and experiences as a child are legendary;
During his travels as a child, Mozart picked up plenty of
foreign words, and could eventually speak as many as
15 languages.
• Could compose music entirely in his head, only putting it
on paper after it was completed.
25
FEATURED WORK: Mvt I from Symphony No. 35
In the summer of 1782, Mozart had just finished his opera The Abduction from The Seraglio and the success of that
music really sealed his status as a prominent composer in Vienna. After that, he received a letter from his father Leopold
asking Mozart to write some music to celebrate the rise to nobility of a man names Sigmund Haffner. Leopold needed
Mozart to finish the symphony very quickly. Mozart was busy at the time, but could not disappoint his father and promised to start work on it right away.
Mozart finished the first part in just a few days and the rest within just a few weeks after that. He sent his work, piece
by piece, to Leopold. Some believe that this assignment was just a trick on Leopold’s part – there isn’t a definitive record
of Haffner ever rising to the nobility, so it might be that Leopold made the whole thing up. He did not approve of
Mozart’s fiancé Constanze and wanted to keep Mozart too busy writing music to be able to actually marry her. If that is
what Leopold was up to, he failed. Mozart and Constanze were married in August of 1782.
The next year, Mozart was tasked with presenting a concert at the Burgtheater in Vienna. He liked the music he had sent
his father so much, that he decided to turn it into a symphony, and he premiered his Haffner Symphony at that concert.
It was a huge success.
Melodic Analysis of Mvt. I from Symphony No. 35
I. Allegro con spirito
Allegro con spirito means a brisk and lively tempo with spirit and the first movement of Mozart’s Haffner Symphony uses
many dramatic octave leaps. He also adapts his main theme rather than introducing an second theme. This was due
to the influence of Franz Joseph Haydn and his string quartets. The development section is rich and bold and Mozart is
quoted in a letter to his father saying, “this allegro must be played with great fire.”
STUDENT INTRODUCTION to Mvt. I from Mozart’s Symphony No. 35
Fundamental of Music: Dynamics
Dynamics are how loud or soft the music is played. The symbols for dynamics include: pianissimo (very soft), piano (soft),
mezzo-piano (medium soft), mezzo-forte (medium loud) forte (loud), fortissimo (very loud).
CLASSROOM ACTIVITY 1: Class Orchestra
4.MR.1.1
Illustrate perceptual skills by moving to answering questions about, and describing aural examples of music
4.MR.1.2
Objective: To listen for their assigned orchestra section (i.e., winds, strings, percussion, brass), and respond by standing
when their respective section is playing based on cues from the conductor (teacher).
Process: Divide the students into the different sections of the orchestra, using the diagram shown in this book for their
positions in front of the conductor. Listen to the first movement of Symphony No. 35 and have the students stand when
they hear their instrument(s). You may act as conductor and cue them to stand. This will help them listen objectively and
carefully to the score, increasing their concentration and critical listening skills.
26
Johannes Brahms
Born: May 7, 1833, Hamburg, Germany
Died: April 3, 1897, Vienna, Austria
Mvt. III from Symphony No. 3
Johannes Brahms’s father was a musician and his mother was a seamstress. Brahms was a very talented musician, even
as a little boy. He began playing the piano when he was seven years old, and he helped to pay his family’s bills by working as a musician in restaurants and theaters.
When he was a teenager, he started to conduct choirs and he later became a very good orchestra conductor, too. By the
time he was 19 he was also a well-known pianist and played a concert tour around Europe.
Brahms met many famous musicians while traveling, including the violinist Joseph Joachim and the composers Franz
Liszt and Johann Strauss, Jr. He also met the Hungarian violinist Eduard Remenyi who introduced Brahms to Hungarian
folk music and gypsy tunes. Brahms loved those sounds and included them in many of the pieces he wrote.
Fun Facts about Brahms (in Student Book)
• Brahms was his own toughest critic. He destroyed many
of his own musical scores – sometime throwing them in
the fireplace – because he didn’t think they were good
enough.
• Although Brahms was quiet and shy he had many good
friends and he was thought of as a favorite “uncle” to
many of his friends’ children.
• Brahms learned to play cello when he was young, but he
had to stop when his cello teacher stole his instrument!
Brahms’ Life
• 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.
• 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’ 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 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.
• 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.
• Brahms played dance music on the piano in taverns as a
youth to help support his family.
• 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.
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FEATURED WORK: Mvt. III from Symphony No. 3
Brahms composed Symphony No. 3 in F Major in 1883. Hans Richter conducted the premier. Movement III, Poco Allegretto, is in the key of C minor and is in ternary form, with a minor-major-minor modal shift. Specifically, the form is A
(aaba) B (ccdcd) A (aaba) Coda. It has been described as “a wistful and melancholy waltz.” The A section begins with a
yearning cello melody, which is then passed to the violins and then to the woodwinds; the B section is in A-flat Major;
with the A section featuring French horns playing the opening theme with richer orchestration.
STUDENT INTRODUCTION to Mvt. III from Symphony No. 3
Fundamental of music: Form
Form is the structure of a piece of music. It is the composer’s blueprint or map for organizing and arranging the sections
of music. Can you follow the composer’s master plan for the design of this music?
CLASSROOM ACTIVITY 1: A Walk in the Woods
(This activity could be used as an introduction to the piece or as an extension or
review of the piece close to concert time.)
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. CR.1.2 – Understand the relationships between music and concepts from other areas.
Grade 4 ELA Common Core State Standards
1. 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.
Objectives: Students will draw a listening map inspired by the music to show what they see on a walk through the
woods; students will discuss their listening maps with a partner.
Materials: NC Symphony Education CD, drawing paper, crayons, pencils
Process:
1. For the first listening, tell students that Brahms loved to go for walks in the woods. Pass out drawing paper and
crayons and invite students to listen to the piece and draw a listening map reflecting what they imagine they see as
they walk through the woods.
2. On the back of their papers, ask students to write a sentence about why people enjoy connecting to nature while
walking in the woods.
3. Have students exchange listening maps with a partner. Invite students to share their reflections of what they saw on
their walk in the woods with their partner. Encourage them to connect their reflections to elements of the music.
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Fundamental of Music: Melody
The melody is the primary tune in a piece of music. Often, a composer will write more than one melody, or melodic
theme, and develop those themes throughout a piece of music. For instance, in the Overture to Ruslan and Ludmila by
Glinka, the first melodic theme is a swiftly played tune by the strings, the second melodic theme is played at a slower
pace by the brass and woodwinds. The melody is what audience members would be humming or whistling after the
concert is over – it is often the most memorable, or “catchy”, part of the music.
CLASSROOM ACTIVITY 2: Who’s Got the Melody? Identifying the Form
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.MR.1.1
4.MR.1.4
Reading-Informational (RI) Key Ideas and Details
1. Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences
from the text.
Craft and Structure
5. Describe the overall structure (e.g. chronology, comparison, cause/effect, problem/solution) of events, ideas, concepts,
or information in a text or part of a text.
Integration of Knowledge and Ideas
7. Interpret information presented visually, orally, or quantitatively (e.g. in charts, graphs, diagrams, time lines, animations, or interactive elements on Web pages) and explain how the information contributes to an understanding of the
text in which it appears.
Objectives: Students will sing the main melody of Brahms Symphony No. 3, Mvt III, identify each occurrence, identify
which instrument is playing this melody and the family to which it belongs. Students will identify the overall form of this
piece.
Materials: Who Has the Melody? Worksheet, pencils, Call Chart for Brahms’ Symphony No. 3, Mvt. III
Process:
1. Pass out Who Has the Melody? Worksheet and pencils.
2. Teach students to sing Theme A on neutral syllables (la, da). Ask students to follow the notation provided for Theme
A at the top of the worksheet.
3. Listen to Brahms’ Symphony No. 3, Mvt III and have students sing along each time the hear Theme A. Have students
count how many times they sing the theme.
4. Listen again and have students determine what instrument is playing the theme for each occurrence. Have students
also identify to which family the instrument belongs.
5. Lead students to notice that there is a large section in the music between Occurrences #3 and #4. Observe that this
large section in the middle is a contrasting section made up of new themes. Have students identify the form as ABA.
6. Show the students the Call Chart for Symphony No. 3, Mvt III to show the overall form of the piece as ABA Coda.
Discuss what is the same about the two A sections (the pattern of aaba themes) and what is different (the instrumentation of the themes.) Challenge students to analyze the B section to determine how it contrasts the A sections
(modality of major versus minor of A sections, the introduction of two new themes of C and D, and the addition of
a fifth section with the last D theme.)
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CLASSROOM ACTIVITY 3: Experiencing the Form
4.MR.1.1
4.MR.1.4
4. CR.1.2
Reading-Informational (RI) Key Ideas and Details
1. Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences
from the text.
Craft and Structure
5. Describe the overall structure (e.g. chronology, comparison, cause/effect, problem/solution) of events, ideas, concepts,
or information in a text or part of a text.
7. Interpret information presented visually, orally, or quantitatively (e.g. in charts, graphs, diagrams, time lines, animations, or interactive elements on Web pages) and explain how the information contributes to an understanding of the
text in which it appears.
1. 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. 1. b. Follow agreed-upon
rules for discussions and carry out assigned roles.
Objectives:
1. Students will experience the form of the piece by following a call chart to conduct and to pantomime playing the
instruments with prominent roles in Movement III;
2. Students will work in learning teams to create movements with props corresponding to the form of the music as
denoted in the call chart and reflecting the expressive qualities of the music. They will name their movements and notate
them on a call chart key.
3. Students will experience the form of the music by moving their props as they follow the call chart and their call chart
key.
Materials: NC Symphony Education CD, Call Chart for Brahms’ Symphony No. 3, Mvt. III, conductors’ batons, call chart
key, and props like ribbon streamers, individual scarves, large pieces of fabric, parachutes, etc.
Process:
1. Review the Call Chart for Brahms’ Symphony No. 3, Mvt. III and choose a student to explain to the class how to read
it. Teach the class the conducting pattern for beats moving in 3’s. Show the students how to conduct a crescendodecrescendo swell marking. Pass out several batons for student conductors, play the music, and invite the rest of the
class to experience the form by following the call chart and becoming the orchestra by pantomiming the playing of
the prominent instruments featured in each theme.
2. Ask students to describe the expressive qualities of the music and record their descriptive words on the board.
3. For the final listening, create learning teams to represent the melody of the main theme (all “A” sections,) the
strings and winds (“B” sections,) the winds (“C” sections,) and the strings (“D” sections.)
4. Give each learning team some type of prop to use. Ribbon streamers in various colors would work well for the
melody being passed to various instruments during the “A” sections. One color or shape of individual scarves would
work well with the strings, with another color or shape of individual scarves working well for the winds. You may
prefer for the students in the “A” section to have individual props, while students in the “B,” “C,” and “D” sections
could share a parachute or a large piece of fabric.
30
5. Allow students the opportunity to experiment with types of movements they can make with their props. Encourage students to give their movement a name. Challenge them to use levels of high, medium, and low, and to draw
shapes with their props in the air, like rainbow arches, swirls, figure 8’s, and waves. Make sure that the “A” group
has decided who will move as the melody is passed from instrument to instrument.
6. Before performing their movements with the music, challenge the students to create a “key” to the call chart by
writing out the assignment of props to the “A,” “B,” “C,” and “D” sections on the board and sending a representative from each group to the board to write the name of their group’s movement ideas underneath the letter name
of their sections. An example might look something like this:
Call Chart Key
A = melody with ribbon streamers
(red – cello, green – violin, pink – flute, purple – oboe, yellow – horn)
high and low swirls, large rainbow arches, small circles
B = strings and winds with silver and gold scarves
ripples, overhead circles
C = winds with gold scarves
slithering snakes
D= strings with silver scarves
up and down waves
7. Play the music and invite the students to experience the form by following the call chart and their call chart key,
moving their props according to their plan to reflect not only the form, but also the instrumentation, melodic line,
and expressive qualities of the music.
1. Brahms Symphony No.3 (3rd movement) - Barbirolli
Published on YouTube on Apr 26, 2012
The 3rd movement (Poco allegretto) from Johannes Brahms’ Symphony No.3, Op.90, with the Vienna Philharmonic Orchestra conducted by Sir John Barbirolli, recorded December, 1967. Illustrated with photographs from Brahms’ life.
<http://www.youtube.com/watch?v=2tB2SLLnPZg>
2. Brahms Symphony No. 3 – Poco Allegretto
Uploaded to You Tube on Jan 11, 2008
The third movement of the Symphony No.3 by Brahms, in a recording by the Berlin Philharmonic under the legendary
conductor Wilhelm Furtwangler. Illustrated with photographs depicting scenes from various landscapes.
<http://www.youtube.com/watch?v=1trE3ms3AGo>
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Engaging the Multiple Intelligences
These three classroom activities engage all nine of the Multiple Intelligences identified
by Howard Gardner. The following chart defines each intelligence, and identifies
its engagement in the activities designed to teach this piece.
Multiple Intelligence
32
Definition
Engagement in Lessons
Verbal-Linguistic
(Word Smart)
Knows words and how to use them; uses
language to express ideas and understand others;
strong in learning new vocabulary and in investigating word origins
Student explanation of call chart, student descriptions of expressive qualities of music, creation of
names for movement ideas and the writing of the
names of the movement ideas on the call chart key
Logical-Mathematical
(Math Smart)
Loves problem solving; strong in using numbers,
logic, and reasoning; able to understand underlying principles of a system
Discerning the form of the piece by identifying
themes and discovering their location in a call chart.
Organization of beats into groups of 3 for conducting. Use of a call chart for form to pantomime playing of the instruments featured in this piece. Use of
call chart key to organize movement ideas.
Musical-Rhythmic
(Music Smart)
Able to hear patterns, recognize and manipulate patterns; strong in using rhythm, melody,
harmony, and understanding how these elements
come together
Ability to respond to music through the connection
to nature, drawing of a listening map, singing the
theme, identifying which instrument is playing, conducting in a pattern of 3 with a swell, pantomiming
the playing of instruments, and moving with a prop
to show the form and expressive qualities
Bodily-Kinesthetic
(Body Smart)
Knows body and how to use it; able to use the
whole body or parts of the body to solve a problem, make something, or put on a production
Conducting the music in a pattern of 3 with a swell,
moving with a prop to show the form and the
expressive qualities of the music
Visual-Spatial
(Art Smart)
Understands art and the space around it; learns
through use of maps, pictures, and puzzles
Drawing a listening map to reflect the connection to
nature; reading the notation of the a theme; analyzing a call chart to discover the form of the music,
referring to the call chart to visualize the instrumentation and form of the music; manipulating a prop
to show a visual representation of the form and the
expressive qualities of the music
Naturalist
(Nature Smart)
Studies the natural world of plants, animals, and
the environment
Creating a listening map inspired by the music and
reflecting a walk in the woods
Intrapersonal
(Self Smart)
Self aware, has sense of identity; critical thinking
and analysis skills
Creating a listening map reflecting a solitary walk
in the woods; writing a sentence about why people
enjoy connecting to nature; creating a moving idea
reflecting the expressive qualities of the music
Interpersonal
(People Smart)
Able to understand others; excellent listener;
empathizes with others; disdain for injustice; connects to people
Discussing student-created listening map with a
partner, conducting and pantomiming the playing
of instruments interacting in the music; working in
groups to experiment with moving ideas and giving
the moving ideas a name; adding ideas to the call
chart key; performing the piece with group members
and manipulating the props together
Existential
Able to pose questions about life, death, and
realities of life; wonders how and why we exist
Writing a question on the back of the listening map
reflecting on the connection between people and
nature
Name __________________________________________
Who Has the Melody?
Theme a
Listen and count how many times you hear this melody played. ___________________
Listen again and determine which instrument(s) has the melody
and the family from which it comes.
Occurrence #
Instrument
Family
33
34
Giuseppe Verdi
Born: October 10,1813, Le Roncole, Italy
Died: January 27, 1901, Milan, Italy
Ballet Music from Aida
Giuseppe Verdi was born in a very small town in Italy where his family owned an inn. Giuseppe started taking music lessons with the village organist when he was just four years old. He was a very good musician and whenever his teacher
was sick Giuseppe filled in for him and played the organ at church services. In fact, when he was just nine years old he
took over the job officially and even earned a small salary.
When he was 11 he moved to the slightly larger town of Busseto to study at the music school there. At the same time
he started to write his own music which he performed at the local church. He even got to take piano lessons from the
pianist at the famous opera theatre called La Scala. When he graduated from music school he returned to Busseto and
became the conductor of the local orchestra. He wrote his first opera, called Oberto, there and it was performed at La
Scala.
He went on to write many more successful operas. He became very famous and rich, and his music was performed all
over the world. Some of his most well-known operas are Rigoletto, Il Trovatore, La Traviata, and Aida.
Fun Facts about Verdi (in Student Book)
• Verdi was a very smart businessman and a politician. He
was even elected as a member of the Italian Parliament.
• Verdi donated a large sum of his own money to start a
retirement home for elderly musicians.
• Verdi was a national hero in Italy. His funeral was
attended by more people than any other event in the
history of the nation up to that date.
• Verdi admired Shakespeare and wrote operas based on
his plays Macbeth, Othello and Falstaff.
Verdi’s Life:
• Grew up in the village of Le Roncole in northern Italy;
Parents were innkeepers.
• Giuseppi Verdi’s name translates to “Joseph Green” in
English.
• Soon after he was born, his mother had to hide with
him in the belltower of a local church to escape Russian
troops. This incident had a profound effect on his life.
• By the time he was twelve, he had become an organist
at the church where he had hidden with his mother and
was taking formal music lessons in nearby Busseto.
• At age 18, he was not accepted at the Milan Conservatory because they said he was not gifted enough
musically. He was not strong at playing the piano and he
didn’t know much about music theory. Verdi received his
musical education by studying privately. He found work
as a conductor.
• As a young man was described as short and pale, quiet,
moody, and intense. He was later described as blunt and
without a sense of humor.
• Married in his early twenties, but lost his wife, son,
and daughter when he was 27. He remarried when he
was 46.
• His first opera, Oberto, was produced at La Scala when
he was 27 years old. His last opera, Falstaff, was produced at La Scala when he was 80. By age 40, he had
written three of his most famous operas, Rigoletto, La
Traviata, and Il Trovatore, making him the greatest opera
composer of his time.
35
FEATURED WORK: Ballet Music from Aida
Aida, (pronounced Eye-ee’-dah,) is grand opera at its best, complete with pageantry, intimacy, a compelling story, triumphant choruses, memorable arias, and in some performances, even live elephants! It is one of the most popular operas
ever written. In 1865, the ruler of Egypt, Ismail Pasha, commissioned Verdi to write an opera on an ancient Egyptian
subject for his new opera house opening in Cairo. Verdi asked to be paid $20,000 to do this job – a huge sum of money
then, and now – and was given the money without question. Verdi was adamant about producing an opera “in a strictly
Egyptian style,” and spent a great deal of time studying about Egyptian history, geography, and religion. He wanted authentic Egyptian instruments for the ritual scenes and commissioned the construction of “Egyptian” flutes and trumpets
for this purpose.
The first performance was presented on December 24, 1871 at the Cairo Opera House. Librettos were printed in Italian,
Arabic, French, and Turkish for the members of the first audience. The conductor, Giovanni Bottesini, paid for a whole
menagerie of animals to appear in the “Triumphal March” – 12 elephants, 15 camels and zebras, giraffes, lions, ostriches, jackals and baboons! The ruler of Egypt and his harem were seated in three boxes. Verdi missed the premiere
because he hated travelling by sea and disliked such “glitzy occasions.” The opera was so well received, with the audience interrupting the performance so many times, that the conductor turned around to the audience and shouted in an
angry voice, “That isn’t done!” The ruler’s assistant wired Verdi that “We have had a success beyond belief.” When Verdi
conducted the first performed of Aida in Italy at La Scala, in 1872, he was given an ivory baton and a diamond- and
ruby-studded star.
Even though Verdi wrote a lot of ballet music for his operas, the Ballet from Act II of Aida is the only one that is performed regularly. To view a You Tube clip of a Metropolitan Opera performance of the ballet, with full set and costumes,
go to: Metropolitan Opera Ballet danca Aida de Verdi at http://www.youtube.com/watch?v=dgshWUHUKcI
A DVD of the full production of Aida performed by the Metropolitan Opera House is available from the Met Opera Shop.
Ordering information is in the Additional Resources section. The ballet follows the famous “Triumphal March” in Act II,
Scene 2.
1. You may choose to introduce the story of Aida by reading the following books to your students:
Sing Me a Story: The Metropolitan Opera’s Book of Opera Stories for Children by Jane Rosenberg (ordering information in Additional Resources section)
Aida (Children’s Book) by Monica E. Lapenta with illustrations by Ilaria Tellatin. Available through the Met Opera
Shop (ordering information in Additional Resources section)
2. Here is a brief plot description from the Classics for Kids website:
Aida is the story of an Ethiopian princess being held captive by Egyptians. One of the Egyptian generals is desperately in love with her, and she’s in love with him -- but so is the daughter of the Egyptian king.
3.The Classics for Kids website featured the opera Aida in its June 2013 radio program from WGUC in Cincinnati,
hosted by Naomi Lewin. Visit this page to share a 30 second promo clip and an outstanding six and a half minute
radio broadcast with your students. The radio broadcast includes a simplified, age-appropriate character introduction
and plot line, and features short excerpts of the opera as part of the storyline.
http://www.prx.org/pieces/97205-classics-for-kids-june-2013-giuseppe-verdi-progr
STUDENT INTRODUCTION to Verdi’s Aida
Verdi’s Aida is Grand Opera at its best – an integrated art form featuring exotic places, riveting stories, strong emotions,
exciting music, and energizing dances. Let’s explore these elements in the lessons that follow!
Fundamental of music: Rhythm
Rhythm is the pattern of sounds and silences of various lengths that moves the music forward. Notes can be grouped
into accented and unaccented beats. Rhythm patterns can be very simple or highly complex. Listen as the rhythm makes
the music move and flow!
36
CLASSROOM ACTIVITY 1: Global Awareness: Egypt
4.MR.1.1
4.CR.1.2
Objective: Students will watch a travelogue about Egypt to gain background knowledge about the setting of the opera,
Aida.
Materials: access to website for John Jacobson’s Musical Planet from Music Express Magazine at http://www.youtube.
com/watch?v=aU-2ZtK4EJI
Process:
Explain to students that many composers of the Romantic period were fascinated by people of faraway times and places.
In 1865, the ruler of Egypt asked Verdi to write an opera for the opening of his new opera house in Cairo. He wanted
the opera to be set in ancient Egypt, so Verdi spent a lot of time studying about Egyptian history, geography, and religion. Let’s take a tour of Egypt with John Jacobson’s Musical Planet from Music Express Magazine to learn more about
this exotic country. http://www.youtube.com/watch?v=aU-2ZtK4EJI
CLASSROOM ACTIVITY 2: Aida Productions from Around the World
4.MR.1.1
4.CR.1.2
Reading Standards for Informational Texts (RI) Craft and Structure
4. Determine the meaning of general academic and domain-specific words or phrases in a text relevant to a grade 4
topic or subject area.
9. Integrate information from two texts on the same topic in order to write or speak about the subject knowledgeably.
Objective: Students will play a creative dramatics game to show what they know about Egypt; students will compare
and contrast the set designs and costumes for Aida productions from around the world.
Materials: access to a slideshow presentation in a shared file on Google Drive at http://tinyurl.com/njsxnlu
37
Process:
1. Ask students to assess what they know or have learned about ancient Egypt by playing “The Magic Box” creative
dramatics game. Invite students to draw a “magic box” in front of them from which they can pull out anything they
are imagining. Give students 60 seconds to pull anything out of the box that reminds them of ancient Egypt and the
time of the Pharoahs. Encourage students to name out loud the objects they are pulling out of the box.
2. After completing the activity, ask students to share what they pulled out of the box. Record their ideas on a web on
the board.
3. Ask students what they would create if they were designing the sets and costumes for an opera that takes place in
ancient Egypt at the time of the Pharoahs (around 2000 BC.)
4. Navigate to the following address to watch a slideshow presentation featuring images from productions of the opera Aida at several opera houses in the United States and around the world: http://tinyurl.com/njsxnlu
5. Ask students to notice the details in each scene and discuss with a partner the 5 W questions- Who, What, When,
Where, Why, as well as How – about each image. How are the productions similar? How are they different? Which
production would you like to see? Why?
CLASSROOM ACTIVITY 3: Introduction to the Characters and Plot
4.MR.1.1
4.CR.1.2
Reading Standards for Literature (RL.4) Key Ideas and Details
3. Describe in depth a character, setting, or event in a story or drama, drawing on specific details in the text (e.g. a character’s thoughts, words, or actions.)
7. Make connections between the text of a story or drama and a visual or oral presentation of the text, identifying where
each version reflects specific descriptions and directions in the text.
Objective: Students will follow a character map and listen to the plot of the opera explained on a radio show for kids.
Materials: Aida character map at http://tinyurl.com/ormv56t and Classics for Kids radio show archives at http://www.
prx.org/pieces/97205-classics-for-kids-june-2013-giuseppe-verdi-progr
Process:
1. Introduce students to the characters of the opera by showing them the character map at: http://tinyurl.com/ormv56t. Remind the students that the story takes place in Egypt during the time of the Pharoahs, around 2000 BC,
when the Egyptians were at war with the Ethiopians.
2. Read the story to the students from one of the children’s books in the Additional Resources section or invite them
to listen to the six minute introduction to the opera on the Classics for Kids radio show at http://www.prx.org/
pieces/97205-classics-for-kids-june-2013-giuseppe-verdi-progr
38
CLASSROOM ACTIVITY 4: Introduction to the Emotions of the Characters
4.MR.1.1
4.CR.1.2
Objective: Students will act out the emotions expressed by the characters in the opera.
Materials: Aida character map at http://tinyurl.com/ormv56t
Process:
1. Show the students the character map at http://tinyurl.com/ormv56t. Invite the students to draw “The Magic Box” in
front of them again.
2. This time, ask the students to pull words out of the box that they think describe the emotions of the characters in
the opera. Ask students to name the emotions and act them out at the same time. (All students are engaged in this
brainstorming activity simultaneously.)
3. Remind students that a riveting story is one in which the characters experience strong emotions. Create a list on the
board of some of the emotions the students identified. Ask all students to pull the identified emotions out of their
“magic boxes” and say them and act them out in unison. Here are some emotions to include in the list: Characters
feel powerful, love, jealousy, pride, confusion, sadness, sneaky, guilty, safe, loyalty, hatred.
4. Ask students to work with a partner to see if they can identify which characters felt which emotions in the story. Do
they have any connections with these emotions? Have students experienced any of these emotions in a different setting?
CLASSROOM ACTIVITY 5: Introduction to Ballet Scene in Aida
4.MR.1.1
4.CR.1.2
Objective: Students will view an excerpt from the opera and will identify movements that help to tell the story.
Materials: Excerpts from Act II, Scene 2 of the opera Aida which include both the Triumphal March and the Ballet Music.
39
Process:
1. Explain to the students that the ballet scene takes place immediately following the famous Triumphal March in Act
II, Scene 2. The setting is outside the gate of the city of Thebes, when Radames returns to Egypt as a conquering
hero of the Ethiopians. Trumpets sound as the Egyptian troops march past the king, followed by war chariots, banners, sacred vessels, and images of the gods. The king is watching the grand procession from his throne, surrounded
by his ministers, priests, captains, slaves, Amneris and Aida. The people are singing about glory to Egypt, glory to
the gods, glory to the king, and glory to the warrior hero, Radames. During the ballet, dancers appear, and as they
dance, they carry the spoils of war to show to the king.
2. Show students an excerpt of both the Triumphal March and the Ballet from the DVD available through the Met Opera Shop (ordering information in the Additional Resources section) or show them a YouTube clip from the Metropolitan Opera Production.
3. Ask students to identify movements that help to tell the story. Remind them that a ballet is a story told through
movement.
CLASSROOM ACTIVITY 6: Introduction to Rhythmic Changes
in the Ballet Music from Aida
4.MR.1.1
4.CR.1.2
Objective: Students will identify rhythmic changes in the ballet from the opera Aida; students will demonstrate this
understanding by changing their movements as the rhythmic ideas change.
Process:
1. Invite students to listen to the Ballet from Aida while in a seated position. Challenge them to create a rhythm pattern with their bodies inspired by the first section of the music. Ask several students to share their patterns with the
class. Invite the students to join in with the student leaders’ patterns.
2. Play the entire Ballet for the students. Challenge them to create a repeating rhythm pattern with their bodies that
is inspired by the music. Challenge the students to change their rhythm pattern each time they hear the rhythm
change in the music.
3. When students are comfortable changing their body percussion pattern to each new section of the music, ask
students to find a partner and designate themselves A or B. If there is an odd number of students, ask the student
without a partner to signal the rhythmic changes with a bell.
4. Listen to the piece again, this time partner A leads a rhythm pattern until the music changes. Then, partner B takes
over by leading a new rhythm pattern until the music changes again. Partners continue to alternate being the leader
while they create rhythm patterns to reflect the rhythmic changes in the music.
40
5. If time allows, and students feel comfortable taking turns leading a rhythm, challenge students to continue working
in pairs, but this time, partners begin in a standing position and use their entire bodies to create a rhythm pattern
inspired by the music. Partner A performs the pattern alone until the rhythm changes. When the rhythm changes,
partner B becomes the performer, and performs a rhythm pattern until the music changes again and partner A takes
over. The dance continues in this manner until the music ends.
6. At the end of the activity, ask students to reflect with their partner how the constantly changing rhythms affected
the energy and excitement of the music.
Extension Activities for Verdi’s Ballet Music from Aida
Wildlife Wonders
1. Play the music and ask the students to close their eyes and imagine they can travel to any habitat in the world.
Where does the music take them? What animals do they imagine as they listen to the music? What do the animals
look like? How are they moving?
2. Show students the segment from the DVD “Wildlife Symphony: A Musical Celebration in Nature” featuring the Ballet music from Aida. Invite students to stand up as they watch and move their bodies along with the animals in the
DVD. Challenge students to brainstorm a list of words that describes the synchronized movements of the animals.
3. Divide the students into learning teams and play the music for them. Challenge the students to choose an animal
and create a new movement for their animal every time the rhythm changes. If students are responsive to this activity, challenge them to change the leader of the movements whenever the rhythm changes. Another variation is to
challenge students to become a new animal each time the rhythm changes. Ask students to reflect on the connection between the elements they heard in the music and the movements of their animals. Ask them to consider why
people are fascinated with the movement of animals.
Elephants, Anyone?
In some productions of Aida, there are live elephants on stage during the “Triumphal March,” which comes right before
the Ballet we have been studying. Invite students to write a letter or have a debate with a partner about why there
should or should not be live elephants on stage in this scene.
Treasures from Ethiopia
During the Ballet scene, the dancers are showing the King of Egypt the “spoils of war” that the Egyptian soldiers have
brought back from Ethiopia. “Spoils of war” are anything of value that a conquering army would seize from its fallen
enemies. Research the natural resources and products of Ethiopia to determine what the “spoils” would be – exotic
animals, spices, building materials, foods? What would the soldiers bring back to give to their King?
Aida (Children’s Book) by Monica E. Lapenta with illustrations by Ilaria Tellatin. Available through the Met Opera Shop.
Ordering information at:http://www.metoperashop.org/shop/aida-childrens-book-3859
Aida – Live in HD (2 DVD set) Performance by the Metropolitan Opera available through the Met Opera Shop
http://www.metoperashop.org/shop/aida-live-in-hd-2-dvd-8293
Sing Me a Story: The Metropolitan Opera’s Book of Opera Stories for Children by Jane Rosenberg.
Ordering information at:http://www.amazon.com/Sing-Me-Story-Metropolitan-Children/dp/0500278733
DVD entitled “Wildlife Symphony: A Musical Celebration in Nature” featuring 15 classical selections “choreographed”
with imagery of wild animals moving in a synchronized fashion to the music.
(An excerpt of Verdi’s Ballet Music from Aida is one of the selections on this DVD)
http://www.musicmotion.com/Classics-for-Children/wildlife-symphony-dvd.asp
41
Character Map for Verdi’s Aida
EthiopiansEgyptians
King of Egypt - bass
Amonasro - baritone
King of Ethiopia
Aida - soprano
Princess from Ethiopia
Secretly in love with Radames
Slave to Amneris
Amneris - mezzo-soprano
Egyptian princess
In love with Radames
Radames - tenor
Captain of the Egyptian Guard
Secretly in love with Aida
42
Traditional
Arr. Terry Mizesko
Born: September 21, 1954, Morehead City, NC
“Comin’ Roun’ the Mountain”
“Products of Our State” - Words by Madge McCannon Patton
Biography
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, North Carolina 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
• Terry Mizesko has been Principal bass Trombone for the
North Carolina Symphony for 42 years!
• His two children are his sources of inspiration for the
educational music he writes.
FEATURED WORK:
“Comin’ Roun’ the Mountain” (“Products of Our State”)
Many of you probably sang this song around the campfire or at sing-a-longs growing up. This song is an old American
folksong, which is thought to have originated around 1800. It was based on a spiritual called When the Chariot Comes,
with a similar form and melody. The song was printed in The American Songbag, a 1927 collection by Carl Sandburg,
who spent the last 22 years of his life in Flat Rock, NC. The lyrics have been updated to highlight the wonderful products
produced in our great state of North Carolina.
STUDENT INTRODUCTION
to “Comin’ Roun’ the Mountain” (“Products of Our State”)
Fundamental of Music: Melody
The melody is the primary tune in a piece of music. Often, a composer will write more than one melody, or melodic
theme, and develop those themes throughout a piece of music. The melody is what audience members would be humming or whistling after the concert is over – it is often the most memorable, or “catchy”, part of the music.
43
CLASSROOM ACTIVITY 1: She’ll Be Comin’ Roun’ the Mountain
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.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.CR.1.1
Understand how music has affected, and is reflected in, the culture, traditions,
and history of North Carolina.
5.ML.1.3
Use instruments to perform rhythmic, melodic, and chordal patterns accurately and independently
on classroom rhythmic, melodic, and harmonic instruments.
Objective: Students will be able to sing the music with expression and chant the various ostinato rhythms accurately.
Students will also learn about North Carolina products.
Materials: NC Symphony student booklet, various small unpitched percussion instruments.
Process:
1. Teach the students the melody and lyrics for the song. Practice until the students are able to sing with confidence
and expression.
2. Teach the students each of the three rhythmic ostinati, first with just chant, and then add clapping.
3. Divide the class into three groups and assign a student conductor for each group. Give the students a few minutes
to practice each ostinato. Next, allow each group to perform their rhythm for the rest of the class.
4. Tell the students that only one group at a time will be chanting while the rest of the class sings. Lead the singing for
verse one, while the first group performs chanting ostinato 1. They will repeat it four times total. Repeat with the
next two verses and rhythms.
5. For the fourth verse have each group perform their ostinato just once, and all sing on the final phrase.
If you’ve listened to the words of our fun song – Rhythm 1
You know the list of products from our state is long – Rhythm 2
Furniture and things that grow, bricks to build and cloth to sew – Rhythm 3
North Carolina is the greatest state we know! – ALL sing
6. If the students are able to sing and perform the song by chanting the rhythms, allow them to play the rhythms on
various small percussion instruments, or without words and just body percussion.
44
Performing with the North Carolina Symphony at the Education Concert
Singing:
At your concert, the conductor will ask everyone to stand and sing “Comin’ Roun’ the Mountain” (“The Products of Our
State”) with the orchestra. The conductor 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!
Playing an instrument:
Playing the song “Comin’ Roun’ the Mountain” (“The Products of Our State”) on recorders is an opportunity we extend
to all schools 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 David Albert, Director of
Education, at 919.789.5461 or [email protected]
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.
• 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. You may also
make your own plans in advance to play with another
school.
• Any groups performing on recorders will do so after the
orchestra plays “Comin’ Roun’ the Mountain
(The Products of Our State).”
• 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.
45
Products of Our State
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Mikhail Glinka
Born: June 1, 1804, Smolensk, Russia
Died: February 15, 1857, Berlin, Germany
Mikhail Glinka took piano, violin, and voice lessons as a child, but his first job was working for the government in the
Department of Highways. He did not like that very much, though, so then he decided to study music in Italy and Germany. He fell in love with opera in Italy and then returned to Russia to be a full-time composer.
He wrote operas, songs, and music for solo piano, and for orchestra, and for chamber ensembles – those are small
groups of instruments, like string quartets.
Fun Facts about Glinka (in Student Book)
• Glinka was very fond of folk music and used folk songs
from Russia, Finland, Poland, Italy, Spain, and the Middle
East in his music.
• He was the first Russian composer to become very famous in his own country.
• There are three music schools in Russia that are named
after Glinka.
• Glinka’s music was a strong influence on another composer on our concert program, Nikolai Rimsky-Korsakov.
Glinka’s Life
• Born in to Russian aristocracy, Glinka spent much of his
childhood with his grandmother.
• His early musical training was provided by his governess,
who taught him piano.
• He wanted to create music that would reflect the Russian culture and history so his first opera was “A Life For
The Tsar.”
• He so admired the French and Italian styles of music that
he spent a good deal of time in Italy and became friends
with the French composer Hector Berlioz.
49
FEATURED WORK: Overture to Ruslan and Ludmila
First performed in 1842 at the Bolshoi Theatre, St Petersburg, this opera is
based on a poem by Russian poet Alexander Pushkin.
Characters:
Svetozar, Grand Prince of Kiev: bass
Ludmila, his daughter: soprano
Ruslan, a Kievan knight, Ludmila’s betrothed: bass
Ratmir, a Khazar prince: contralto
Farlaf, a Varangian knight: bass
Gorislava, a captive of Ratmir (and in love with him): soprano
Finn, a good sorcerer: tenor
Naina, an evil sorceress: mezzo-soprano
Bayan, a bard: tenor
Chernomor, an evil sorcerer, dwarf: non-singing role
A Giant Head: chorus (inside)
Act One
The opera begins at the wedding feast for Ludmila and her beloved Ruslan. Bayan sings a wedding song predicting bad
fortune for the happy couple. After her father Svetozar gives his blessing, the wedding guests fall under a spell and the
bride is taken away. Svetozar promises his daughter’s hand and his kingdom to the man who can rescue her. Ruslan sets
off for his bride Ludmila, and so do her former suitors Ratmir and Farlaf.
Act Two:
Ruslan enters the cave of the kindly wizard Finn, who tells him that the evil sorcerer Chernomor has Ludmila as his captive and that Ruslan will destroy him. Ruslan asks Finn to tell him why he lives in a cave. Rejected by Naina, he decided
to study magic to win her love. Naina who transformed into an ugly old woman is actually in love with Finn. Repulsed by
her appearance he ran away from her and now she hates him. Naina finds Farlaf and promises to help him find Ludmila.
Ruslan finds a shield and a spear in and old battlefield. A giant head blows a storm at him, and Ruslan spears the head in
response, revealing a sword underneath. While the head slowly dies, he tells Ruslan of his evil dwarf brother, the sorcerer
Chernomore and asks Ruslan to take the sword and avenge his death.
Act Three:
At Naina’s magical castle, young beautiful maidens set out to lure passing travelers. They take in Ratmir and also Ruslan
with their dancing. Finn appears on the scene and sets everyone straight on the course to rescue Ludmila.
Act Four:
Chernomor receives a warning that Ruslan is coming to fight him, so he puts a magical sleeping spell on Ludmila. Ruslan
arrives and chops off Chernomor’s beard, which is the source of his powers. The still-sleeping Ludmila is rescued and
along with Ratmir, Gorislava, and Chernomor’s freed slaves they head to Kiev in an effort to wake her.
Act Five:
The group of travelers stops to camp for the night and Ludmila is once again abducted and Ruslan leaves to find her.
Finn gives Ratmir, who was supposed to be guarding her, a magic ring that will wake her up when she returns to Kiev.
It turns out that it was Naina and her cowardly accomplice Farlaf who took Ludmila and then returned her back to Kiev
in order to get their reward. Ludmila, however was still asleep and could not be woken up. Ruslan arrives, presents the
magic ring to Ludmila who wakes instantly. Everyone rejoices in celebration of the young couple and in their kingdom.
50
Listening Guide for Overture to Ruslan and Ludmila
0:00
0:15
0:45
1:03
1:38
2:55
3:40
4:36
Starts off with a driving rhythmic motif played by the entire orchestra; the strings soaring with ascending runs.
The first melodic theme is led by the violins.
The clarinet and flute exchange phrases, followed by the trumpet and oboe.
The strings introduce a smooth, legato second theme that grows.
The low brass instruments emerge and create a mood change as the music becomes more forceful, followed by
a transitional section leading back into the first theme.
Theme one returns with full orchestra.
Theme two returns in the low strings followed by a transition to the ending music.
Ending: A variation of theme one complete with strong timpani rhythm and a triumphant brass fanfare.
STUDENT INTRODUCTION to Glinka’s Overture to Ruslan and Ludmila
CLASSROOM ACTIVITY 1: Introduction to Glinka
4.MR.1.1
Illustrate perceptual skills by moving to, answering questions about and describing aural examples of music
4.MR.1.2
Explain personal preferences for specified musical works and styles, using appropriate music terminology.
Objective: To introduce the students to the composer.
Materials: NC Symphony Teacher book, NC Symphony Student booklet, NC Symphony Education CD
Process:
1. Introduce Glinka to the students. Share date of birth, place of birth and some fun facts about the composer.
2. Introduce the students to the featured work: Overture to Ruslan and Ludmila.
3. Ask students if they can identify a particular melody or tune within the piece. Are there more than one?
CLASSROOM ACTIVITY 2: Name That Tune
3.MR.1.2
Use musical terminology when describing music that is presented aurally.
4.MR.1.1
Illustrate perceptual skills by moving to, answering questions about and describing aural examples of music
5.MR.1.2
Use music terminology in explaining music, including notation, instruments, voices, and performances.
Objective: Students will be able to identify the two principle themes in the Overture to Ruslan and Ludmila. They will be
able to express the differences between the two themes using musical terms.
Materials: NC Symphony Student booklet, NC Symphony Education CD
Process:
1. Play Theme 1 from the Overture on the piano a few times so the students can identify its shape and melodic line.
2. If you have an electronic keyboard, play it using different instruments, such as strings.
3. Instruct the students to raise their hands when they hear that same theme played in the Overture.
4. Ask if the theme is played in its entirety all the time or if the students hear smaller segments of the theme.
5. Do the same with Theme 2.
6. Ask the students to describe the differences between Theme 1 and Theme2 using musical terminology.
51
CLASSROOM ACTIVITY 3: Listening Response Sheet
4.MR.1.1
4.MR.1.2
4.MR.1.3
Design a set of criteria for evaluating music performances and compositions.
Grade 4 ELA Common Core Standards:
Writing - Text Types and Purposes
4.1b Provide reasons that are supported by facts and details.
4.1c Link opinion and reasons using words and phrases (e.g., for instance, in order to, in addition).
4.2d Use precise language and domain-specific vocabulary to inform about or explain the topic.
4.3d Use concrete words and phrases and sensory details to convey experiences and events precisely.
Objective: Students will learn musical terms and describe the music with appropriate terminology.
Materials: Music Element Terms and Definitions, Music Listening Response Sheet, NC Symphony Education CD,
pencils, clipboards.
1. Using the music terms and definitions provided, display the words and discuss the meaning of each word.
Have students think of examples and synonyms for the terms.
2. Display the listening guide for the featured piece. Play the music in its entirety while you point to the appropriate
sections.
3. Lead a discussion on the overall response to the music using some of the questions from the Music Listening Response Sheet in order to prepare students for the writing.
4. Pass out the Music Listening Response Sheets, pencils and clipboards. Tell students that you will be listening to the
music again, but this time they will be writing a short response to each section of the music. Encourage them to use
appropriate music terminology and do their best writing.
Music Elements
Texture – The combination of different instruments, tone colors, pitches, and rhythms and they way that they are arranged in the music. A “light” texture may be when just the flute or woodwinds play, a “heavier” texture would be
when the brass play and the texture is usually increased with the number of instruments added to the sound.
Dynamics - Dynamics is how loud or soft the music is played. The symbols for the volume used in music include Pianissimo (very soft), Piano (soft), Mezzo-Piano (medium soft), Mezzo-Forte (medium loud) Forte (loud), Fortissimo (very loud).
Form – The way that the music fits together in sections. Just like a puzzle has pieces, so does music. You can listen to
parts that sound the same and different by paying attention to different melodies and different rhythms.
Melody - The melody is the primary tune or “song” of the piece. The melody is what audience members would be humming or whistling after the concert is over; it is the most memorable part of the piece. Many times a composer will have
more than one melody or melodic theme and then use those themes to expand the piece. For instance, in the Overture
to Ruslan and Ludmila, the first theme is a swiftly played tune by the strings, the second theme or melody is played at a
slower pace by the brass and woodwinds.
Rhythm – The pattern of long and short sounds and silences in music. Rhythms can be simple or very complex. As you
listen to music, try to find the beat first, and then experiment by tapping out the rhythm that is being played by a solo
instrument, or instrument section such as the violins.
52
Tempo – Tempo is the speed at which music is played. This piece of music fast! Try to feel the strong pulse of the music
and try to tap out the beat. Composers will write tempo marking on the music so that other musicians can play it just as
the composer had imagined. The words are in Italian and lots of fun to say. Slow (40-50 bpm) is Largo, leisurely (66-76
bpm) is Adagio, a walking pace (76-100 bpm) is Andante, moderately (106-116 bpm) is Moderato, quickly (120-146 bpm)
is Allegro, and fast (168-200) is Presto.
Listening Guide for Overture to Ruslan and Ludmila
0:00 – Starts off with a driving rhythmic motif played by the entire orchestra; the strings soaring with ascending runs.
0:15 – The first melodic theme is led by the violins.
0:43 – The clarinet and flute exchange phrases, followed by the trumpet and oboe.
1:00 – The strings introduce a smooth, legato second theme that grows.
1:38 – The low brass instruments emerge and create a mood change as the music becomes more forceful, followed by
a transitional section leading back into the first theme.
2:54 – Theme one returns with full orchestra.
3:40 – Theme two returns in the low strings followed by a transition to the ending music.
4:36 – Ending: A variation of theme one complete with strong timpani rhythm and a triumphant brass fanfare.
Violin
6
&
Mikhail J. Glinka
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53
NAME:_____________________________________
Teacher’s Name:_____________________________________
Music Listening Response Sheet
Directions: Listen carefully to the music from the Overture to Ruslan and Ludmila by Mikhail Glinka. Do your best writing to answer the following questions and try to use the correct music terms as you describe the music. Your teacher
will stop the music and give you time to write your answer. You will hear this music as part of the North Carolina Symphony Education concert. Enjoy!
Beginning 0:00 to 0:15
1. Rhythm is the pattern of long and short sounds in music. Describe the rhythm in this beginning section of the music. What do
you think of when you hear this music by the strings?
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
0:15 to 0:42
2. The melody is the tune or the part you could sing along with in the music. In this section it is played by the strings. If you were
going to paint a picture of this melody, what would your picture look like and why? Would your lines be long and smooth, or
wiggly and jagged? What colors would you use?
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
0:42 to 0:59 – Woodwinds and Brass transition
3. Texture is the layering of different tone colors, rhythms and instrument sounds. In this section, you hear short phrases played
by the clarinet, oboe, and flute, followed by the trumpet and trombone. It is almost as if they are chasing one another. Describe the difference of the woodwinds’ (clarinet, flute, oboe) sound or tone color, and the brass (trumpet, trombone) sounds.
How do the different sounds make you feel?
54
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
1:00 to 1:38 - The low strings play the lead melody
4. In this section it is easy to hear a smooth, clear melody played by the string family. Listening for different sections of the music
helps you understand the form, or how the music is organized. If you were to create a cartoon for this section of the music,
what would be happening in your cartoon? Why does this part of the music make you think of your cartoon?
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
1:39 to 2:53 – Transitional section with a lot of dynamic and texture changes
5. Wow, this part is very different from the rest. You can hear a great variety of dynamic (loud/soft) changes as well as the
interplay of different instruments (timbres). Can you make a connection to something you have experienced before with this
part of the music? Does it make you think of a movie or video game? What effect do you think that the composer wanted to
create here?
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
2:54 to 3:39 – Theme one returns with full orchestra
6. By now you should be able to recognize some of the melodies from earlier in the piece. Listen carefully, and write down as
many instruments as you can hear in this section. Don’t worry if you don’t spell them correctly.
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
3:40 to 4:35 - A return of theme two followed by transition music to the ending
7. Listen to this melody carefully. This time, don’t write anything, just try to hum along.
4:36 to end – the full orchestra together with accents on the percussion
8. Now that you have heard the full recording, describe the mood of this piece. Would you say that it is joyful, sad, majestic or
dreamy? Does it make you want to hear more, or what is coming up next?
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
___________________________________________________________________________________________________________
Thank you for your participation! You will hear more music like this at our upcoming
North Carolina Symphony field trip. Have a great day.
55
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.
Concert Etiquette Student Contract
I, _________________________________________________________, promise to abide by
these following guidelines during the North Carolina Symphony Concert:
I will:
• Sit and remain in my seat at all times.
• 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 to the conductor’s careful instruction.
• 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!
• Be respectful of the Symphony, the conductor, the concert hall, my fellow classmates,
audience members, all adults and all teachers at ALL TIMES.
___________________________________________________
Student’s Name
56
Name:_________________________________
Date:__________________________________
Teacher:________________________________
North Carolina Symphony Concert Review
Remember when you went to see the North Carolina Symphony. Think about the music that you heard the symphony
play. Tell me about your favorite part of the symphony’s performance. Try to include details such as the title or composer
of the piece of music that you are describing. Include the names of your favorite instruments or the way that the music
made you feel. You may want to also include elements of the performance such as the texture, tempo, dynamics, form,
rhythm, melody, etc. Please write using complete sentences.
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
______________________________________________________________________________________________________
57
Let’s Go to the North Carolina Symphony!
TEACHER CHECKLIST
o Register for the awesome teacher workshop and order any materials that you need.
o 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.
o 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 their own way, calculate the price per student so that
you have the rate ready for your field trip letters and permission slips.
o Complete your field trip request form and reserve the buses with your administrator.
o 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.
o Ask your administrator and your classroom teachers if you can be a guest at their grade level PLT to dis-
cuss the details of the field trip and ask how you can integrate any cross-curricular connections into your
music lessons.
o Plan your lessons! Use the North Carolina Symphony Teacher Handbook, Student Booklet, CD, the
North Carolina Symphony website: www.ncsymphony.org, and ask your colleagues for lesson plan ideas.
Be creative and have fun!
o 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.
o If you are going to be missing lunch be sure to notify your cafeteria manager at least 2 weeks in advance
of your trip.
o One week before the trip, be sure to review concert etiquette with your students.
o Finally, on the day of your trip be a great model for your students and enjoy the music!
58
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 hands
as the orchestra plays the music. However, there is more to his 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, the conductor will begin his study of that music so he is ready to lead and rehearse the
orchestra. He usually does 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. He 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. Like an artist about to paint a painting chooses his/her colors and style of brush to use in applying
those colors, a conductor uses sound and how that sound is presented to paint his musical picture for the audience.
The conductor may listen to some recordings for other conductors/orchestras to hear how they performed the piece
and then decide if he would like to perform it like they did or differently, creating his 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
The conductor will spend the most time rehearsing the orchestra. He watches the score as he listens to each of the
sections/instruments play the parts and then he will stop and give the orchestra directions on how to play the music
better. Perhaps it should go faster here, or slower here, or maybe the strings need to be louder here because they
have the melody and he wants the audience to hear the melody more clearly. The conductor has the chance to stop
the piece and correct a part of it during rehearsal.
D. Conducting the performance
During the performance, the conductor visually reminds the orchestra of those things covered in rehearsal. He 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: All pieces would be related to each other based on a common theme or idea
Anaylsis: To closely examine and understand the piece of music Melody: The primary tune(s) of the work
Harmony: The music supporting the melody
Structure: How the piece is constructed or its form
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’s wishes
Dynamic: How loud or soft the music is played
Tempo: How fast or slow the beat goes
Meter: How the beat is divided into groups of notes
59
When the conductor looks at an orchestral score, along the left side of the first page, there are the names of the instruments used in the piece. Sometimes these instrument names will be shown in a language other than English. They are
usually listed in the primary language of the composer. Here is a list of common orchestral instruments and how they are
shown in the languages of French, German, and Italian.
Instruments in Different Languages
60
EnglishFrench German
Italian
flute grande flûte Flöte; Querflöte flauto
oboe hautbois Oboe
oboe
clarinet clarinette Klarinette clarinetto
bass clarinet clarinette basse Bassklarinette clarinetto basso
bassoon basson Fagott fagotto
english horn cor anglais Englischhorn corno inglese
horn
cor Horn corno
trumpet
trompette Trompete tromba
trombone trombone Posaune trombone
bass trombone basse-trombone Bass Posaune trombono basso
tuba tuba Tuba
tuba
baritone baryton; bariton Bariton baritono
euphonium euphonium Euphonium eufonio
violin
violon Violine; Geige
violino
viola
alto Viola; Viole; Bratsche viola
cello
violoncelle Violoncello; Cello violoncello
bass; double bass contrebasse Kontrabass contrabasso
guitar guitare Gitarre chitarra
harp
harpe Harfe arpa
piano
piano Klavier piano
bass drum grosse caisse Grosse Trommel cassa; grancassa
drum tambour
Trommel tamburo
snare drum caisse claire Leinentrommel
tamburo militare
Symphony Word Search
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Bassklarinette Harpe Tromba
Bratsche Hautbois Trumpet
Corno Klarinette Tuba
Euphonium Klavier Violino
Fagotto Kontrabass Violoncelle
Flute Posaune Grosse caisse Tambour B
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“Your Elephant, The Orchestra”
A story to read before your North Carolina Symphony Education Concert
by Jackson Parkhurst
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.
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.
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 12,000 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.
62
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 his or her job is to start
and stop the music and help keep all the musicians playing together. The conductor is 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. There is a chart showing how the orchestra is arranged on the stage on the next page.
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.
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.
Seating Chart
percussion
timpani
trumpets
horns
trombones
clarinets
bassoons
flutes
first
violins
tuba
second
violins
oboes
basses
cellos
violas
conductor
Sections
Percussion
Brass
Woodwind
String
63
Sources and Selected Bibliography
Grout, Donald Jay and Claude V. Palisca. A History of Western Music. New York: Norton & Company, 1988.
“Nikolai Rimsky-Korsakov.” 8notes.com. 8notes.com, 2000-2013. <http://www.8notes.com/biographies/rimsky-korsakov.asp>
“Nikolai Rimsky-Korsakoff.” Classical Net.Classical Net 1995-2013. <http://www.classical.net/music/comp.lst/rimsky-korsakov.php>
“Nikolai Rimsky-Korsakov.” Making Music Fun. Wave Music Studio, 2012. <http://makingmusicfun.net/htm/f_mmf_music_library/hey-kids-meetnikolai-rimsky-korsakov.htm>
“Opera Nikolay Andreyevich Rimsky-Korsakov “The Tale of Tsar Saltan, of His Son the Renowned and of the Beautiful Swan-Princess” BalletandOpera.
Com. Ballet and Opera, Ltd. 1995-2013. <http://www.balletandopera.com/?perfomance=701&page=catalog>
“The Tale of Tsar Saltan, of His Son, the Glorious and Mighty Knight Prince Guidon Saltonovich, and of the Fair Swan-Princess.”
Marxist Internet Archive. December, 2001. < http://www.marxists.org/subject/art/literature/children/texts/pushkin/tsar.html>
“The Tale of Tsar Saltan.” Naxos.com. Classic Cat, 2011. http://www.classiccat.net/rimsky-korsakov_n/57.php
http://www.library.yale.edu/cataloging/music/instname.htm
“She’ll Be Coming ‘Round the Mountain.” Scribble Street. Jonathan Emmett 2007.
<http://www.scribblestreet.co.uk/pictures/mountain/mountain.html>
“She’ll Be Coming Round the Mountain.” Making Music Fun. Wave Music Studio 2012
<http://www.makingmusicfun.net/htm/f_mmf_music_library_songbook/shell-be-coming-round-the-mountian-history-and-lyrics.htm>
“Terry Mizesko” Mizesko Music. <http://terrymizesko.com/Bio.htm>
“Terry Mizesko” Meet the Musicians. North Carolina Symphony 2001-2013.
<http://www.ncsymphony.org/about/index.cfm?subsec=people&peoplecat=musicians&catid=15&person=19>
“Opera Mikhail Glika ‘Ruslan and Lyudmila.’” Balletandopera.com. Ballet and Opera Ltd. 1995-2013.
<http://www.balletandopera.com/?perfomance=1022&page=catalog>
“Overture to Russlan and Ludmilla.” Fascinating Rhythms Young People’s Concert Teachers Guide. Oregon Symphony. 2012-2013.
<http://www.orsymphony.org/edu/12-13_EdCom_YPC_TeachersGuide.pdf>
Bernstein, Leonard. Ed. Jack Gottlieb. Young People’s Concerts. New York, Doubleday, 1992.
Filichia, Peter. Let’s Put on a Musical! How to Choose the Right Show for your School, Community or Professional Theater.
New York, Avon Books, 1993.
Hutchins, Michael H., Compiler. “A Guide to Leonard Bernstein’s Candide.” The Stephen Sondheim Reference Guide. Sondheimguide.com, 2013.
<http://www.sondheimguide.com/Candide/>
“Leonard Bernstein.” The Leonard Bernstein Office, Inc., 2008-2009. <http://www.leonardberstein.com>
“Leonard Bernstein’s Candide in Concert.” Great Performances. PBS.org, 2013. <http://www.pbs.org/wnet/gperf/shows/candide/>
Randel, Don, Ed. The New Harvard Dictionary of Music. Cambridge, MA, The Belknap Press of Harvard University Press, 1986.
Venezia, Mike. Leonard Berstein (Getting to Know the World’s Greatest Composers). New York, Children’s Press, 1997.
Webster’s Pocket Dictionary of the English Language. Nichols Publishing Group, 2000.
“The Biography of Georges Bizet.” Classics for Kids, Cincinnati Public Radio, Inc. 2013.
< http://www.classicsforkids.com/composers/bio.asp?id=7>
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Brahms Symphony No.3 (3rd movement) - Barbirolli
Published on You TubeApr 26, 2012
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The 3rd movement (Poco allegretto) from Johannes Brahms’ Symphony no.3, Op.90, with the Vienna Philharmonic Orchestra conducted by Sir John
Barbirolli, recorded December 1967. Illustrated with photographs from Brahms’ life.
<http://www.youtube.com/watch?v=2tB2SLLnPZg>
The third movement of the Symphony No.3 by Brahms, in a recording by the Berlin Philharmonic under the legendary conductor Wilhelm Furtwangler.
Illustrated with photographs depicting scenes from various landscapes.
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< http://www.youtube.com/watch?v=aU-2ZtK4EJI>
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“I am Eric Carle! Connecting Literacy and the Visual Arts” Visual Arts Workshop presented by Barbi Bailey-Smith at the United Arts Council Summer
Arts Integration Institute, June 24, 2013, Cary Arts Center, Cary, NC.
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“Teaching the ‘Bread and Butter Curriculum’ Through Drama and the Arts” Theater Arts Workshop presented by Ian Bowater at the United
Arts Council Summer Arts Integration Institute, June 25, 2013, Cary Arts Center, Cary, NC.
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<http://www.classicsforkids.com/composers/bio.asp?id=60>
“We’re Smart in So Many Ways: A Hands-on Workshop in Multiple Intelligences and Arts Integration” Workshop presented by Mimi Herman at the
United Arts Council Summer Arts Integration Institute, June 24, 2013, Cary Arts Center, Cary, NC.
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Teacher Workbook - North Carolina Symphony

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