Bach to the Future Teacher`s Guide

Transcription

The Dallas Symphony Orchestra Presents:
Bach to the Future
March 26, 31 & April 1, 13 2010
Music’s progress through the ages is fascinating. From the Baroque era, through the
Classical, Romantic, and Modern periods, music has always reflected (and often
anticipated) the course of human history and culture. This Dallas Symphony Youth
Concert, “Bach to the Future”, explores how music has developed over the past few
centuries through the lens of one of its greatest masters: Johann Sebastian Bach.
During the concert, students will not only get to know a bit about this legendary
composer, but they will also gain some first-hand experience of how music has
changed from Bach’s time to today, illustrated by some of the most beautiful and
exciting pieces in the orchestral repertoire. In order for your students to get the most
out of their concert experience, please use the lessons in this book. They have been
designed especially for this series of concerts, and use the music in the concert as
inspiration for substantial learning experiences. Also, be sure to use the accompanying
CD to familiarize yourself and your students with all the music featured on this concert.
The more your students know, the more they will enjoy and learn!
I look forward to seeing you at the Meyerson!
Musically Yours,
Jamie Allen
Director of Education
Dallas Symphony Orchestra
The Teacher Evaluation Survey for Bach to the Future is available online at
http://www.surveymonkey.com/s/N3MVF72. By taking this survey, you will help us both to program
future concerts and to receive funding to continue our outreach. We appreciate your help!
Activities for the “Bach to the Future” Teacher’s Guide were prepared by the Dallas Symphony
Orchestra’s Curriculum Development Team: Jane Aten, Linda Arbolino, and Tony Driggers. This volume
of the Teacher’s Guide was produced and edited by Dallas Symphony Orchestra Education Staff
Members Kristin Carpenter and Jamie Allen. Materials in this Teacher’s Guide can be photocopied for
classroom use. If you have any questions about the concert or material in this guide, please call
Kristin Carpenter at 214.871.4006.
Volume Three, “Bach to the Future”
Page 1
Table of Contents
Concert Specific Information
Pre-Concert Activities
Repertoire & CD Track List
Who’s Who
Meet the Composers
Resources
p. 3
p. 4
p. 5
p. 7
1. Concert Etiquette
2. Instrument ID
p. 8
p. 10
1. A Day in the Life of Bach and You
2. Sound Color
3. Instruments of the Future
4. Music-Past, Present and Future
5. Music Detective
6. Composer Clipboard
7. Night at the Improv
p. 12
p. 15
p. 17
p. 18
p. 22
p. 27
p. 29
Concert Activities
Orchestra Seating Chart
p. 31
Student Evaluation Form
p. 32
Teacher Evaluation Form
Available online at http://www.surveymonkey.com/s/N3MVF72
Concert Logistics
Concert Guidelines for Teachers
Arriving and Departing
Map of the Arts District
About the Meyerson Symphony Center
p. 33
p. 34
p. 35
p. 36
Amazing Music Order Form
p. 37
Thanks!
p. 38
Page 2
Repertoire & Youth Concert CD Track List
1.
G. F. Handel
Music for the Royal Fireworks, La Réjouissance
2.
J. S. Bach
Suite No.3 in D major, Aria
3.
Vivaldi
Concerto for Violin, 2 oboes, 2 horns and Bassoon in F, RV. 569, Allegro
4.
Mozart
Fourth Movement from Symphony No.36, “Linz”
5.
Grieg
Aften på høyfjellet (Evening in the Mountains), lyric piece for oboe, horn &
string orchestra (note: the selection on the CD is played by a brass en
semble, while the selection on the Youth Concert will be performed by a full
orchestra)
6.
Tchaikovsky
Scherzo from Symphony No.4
7.
Copland
“Hoe Down” from Rodeo
8.
Leroy Anderson
Jazz Pizzicato
9.
Vincent Ho
Excerpt from Red Zen
The following selections on the CD are lesson resources only, and will not be performed on the
concert:
10.
J. S. Bach
Toccata in D Minor, BWV 565, for Organ
11.
J. S. Bach
Toccata in D Minor, BWV 565, transcribed for Full Orchestra
12.
12-bar Blues Accompaniment Track
Musical recordings under license from Naxos of America, Inc. www.Naxos.com
(P) 2007 HNH International Ltd. All rights reserved. Unlawful duplication, broadcast or performance of this disc is
prohibited by applicable law.
Page 3
Who’s Who
Rei Hotoda,
Conductor
Conductor and pianist, Rei Hotoda is one of America’s most dynamic
classical musicians. She has guest conducted orchestras throughout
North America and Europe including the Winnipeg Symphony
Orchestra, Calgary Philharmonic, Thunder Bay Symphony, Hamilton
Philharmonic, Greater Bridgeport Symphony Orchestra, the
Staatskapelle Weimar Orchestra and the International Contemporary
Ensemble. Ms. Hotoda is the newly appointed Assistant Conductor of
the Dallas Symphony Orchestra and began the position in September
2009. Music Director of the Dallas Symphony Orchestra Jaap van
Zweden said, “She seems to be a very intelligent and strong musician.
We look forward to having her with us.” President of the Dallas
Symphony Orchestra Doug Adams added, “Rei Hotoda made a strong
impression during the final round of auditions. She was the unanimous
choice, and we are delighted that she will be joining the DSO team.”
Ms. Hotoda has held positions such as Assistant Conductor of the 2005
Cabrillo Festival of Contemporary Music in California and the 2005 Hot
Springs Music Festival. Other appointments include principle conductor
of Chicago's new music group Noamnesia and Ensemble N_JP. She
has conducted many famous touring groups including Five by Design,
Platypus Theater Group, Dan Kamin and Jeans’ n Classics. Ms. Hotoda
studied conducting with Gustav Meier at the Peabody Institute in
Baltimore, Maryland. She holds a doctorate in piano performance from
the University of Southern California and a bachelor of music in piano
performance from the Eastman School of Music.
Jamie Allen
Jamie Allen has twenty years of experience as a composer, conductor,
performer, and music educator. He received his bachelor's degree in
music from the University of Chicago and his master's degree in
composition from the University of Texas at Austin. In 1992, he was
named "Composer of the Year" by the New Mexico Music Teachers
Association, and was hailed as "the most inventive young composer in
the state" in 1997 by The Santa Fe Reporter. Allen has won awards
from both ASCAP and the American Music Center, as well as
commissions from numerous ensembles and arts organizations. His
articles about music and cultural issues have appeared in many
national and regional magazines and newspapers, including THE,
Hemispheres, SOMA, and High Performance.
He has served on the music faculty of both the College of Santa Fe and
Collin College. He has also conducted children’s choruses for the Santa
Fe Opera and The Desert Choral. A passionate teacher, as well as
artist, he has served as a presenter and educational consultant for
many arts organizations, including the Santa Fe Opera, The Dallas
Opera, The Living Opera, and The Dallas Symphony Orchestra. He is
currently the Education Director for The Dallas Symphony Orchestra.
Page 4
Meet the Composers
George Frideric Handel (1685-1759)
German born George Frideric Handel shares the same birth year as another great German born
composer, Johann Sebastian Bach! Born in the Duchy of Madgeburg, Handel became a talented
organist and harpsichordist at the young age of seven and began composing keyboard music at the age
of nine. Handel is known as a leading Baroque period composer, whose operas, oratorios, and concerti
influenced the compositions and styles of composers who lived after him. In 1749, Handel was
approached by George II of Great Britain, and was asked to compose a piece for the London Green
Park fireworks display on April 27, 1749. Handel composed Music for the Royal Fireworks for the event.
Music for the Royal Fireworks was supposed to provide background music for the beautiful fireworks
display, but eventually “stole the show” after a building caught on fire during the display. The
composition recieved rave reviews around Europe and is still performed today with great success.
Johann Sebastian Bach (1685-1750)
Bach, a dazzling organist and church musician, had to compose all kinds of original pieces for every
church service including pieces for choir, organ, harpsichord and orchestra. Since most of his music was
written to be performed in a church service only once and then thrown out, very little of his music was
published during his lifetime. It was for this reason that Bach composed more music than almost any
other composer. However, his musical genius was not recognized until about one hundred years after
his death. Bach was famous for his music and for something else - Bach had twenty children! Five were
named Johann, two Johanna and four grew up to become famous composers. He may be remembered
long after other composers because, in 1977 the Voyager spacecraft was launched into space carrying
recordings of three pieces by Bach.
Antonio Vivaldi (1678-1741)
Born in Venice, Italy, Antonio Vivaldi was a famous Baroque composer, virtuoso violinist, and even an
ordained Venetian Priest! Nicknamed the "Red Priest" because of his red hair, Vivaldi was trained for
music and the priesthood by his father. He left the priesthood in 1703 because of ill health, but continued
to pursue a musical career. He became head of the Conservatory of the Ospedale della Pieta which
housed over six thousand orphaned girls. Music was an integral part of their training at the Conservatory
and Vivaldi wrote over four hundred concertos for his students. His personality was one of contrasts quickly changing from irritated to very calm. His music reflected this trait. It also showed contrasts in
dynamics, harmony and varied rhythms. The Four Seasons was his most popular work for which he
wrote sonnets to match the seasons.
Wolfgang Amadeus Mozart (1756-1791)
Mozart was no doubt the greatest child star that ever lived. He was traveling all over Europe playing
music by the time he was six. Because of his constant travels, Mozart eventually learned to speak fifteen
different languages. He wrote his first sonata for the piano when he was four and composed his first
opera when he was twelve! Mozart could compose anywhere - at meals (he loved liver dumplings and
sauerkraut), while talking to friends, while playing pool, and even while his wife was having a baby. He
composed very quickly and wrote huge amounts of music. It would take over eight days to play all of his
music, one piece after the next, without stopping. One famous piece that he wrote was Variations on
"Twinkle, Twinkle Little Star." During his lifetime, Mozart was very well-known but spent money faster
than he could earn it. He was poor and in debt when he died of kidney failure at the age of thirty-five and
was buried in a poor man's grave. Mozart is considered by some to be the greatest composer who ever
lived. While most composers specialize in certain kinds of pieces, Mozart created masterful works for
almost every category of music - vocal music, concertos, chamber music, symphonies, sonatas, and
opera.
Edvard Grieg (1843-1907)
Grieg's first music lessons were from his mother, and he began composing when he was nine years old.
A famous Norwegian violinist, Ole Bull, encouraged him to go to the Leipzig Conservatory when he was
fifteen. When he graduated four years later, he was an accomplished pianist and composer. Although he
lived a number of years in Copenhagen, Denmark, and he and his wife, a singer, toured Europe
performing his music, his last years were spent in his beloved Norway. In 1885, Mr. and Mrs. Grieg
moved to a villa called Troldhaugen, which means "Hill of the Mountain Men". He built a little cabin,
overlooking the mountains and a fjord, with a piano and a writing desk, where he wrote some of his most
famous compositions.
Page 5
Meet the Composers
Piotr Ilych Tchaikovsky (1840-1893)
At the age of six, he began piano lessons. When he was eight, he was sent to a boarding school and
missed his family greatly. His mother died when Piotr was fourteen and this loss brought great sorrow to
Piotr. By nineteen, he completed his law studies and was appointed to a job with the Ministry of Justice.
The pull of music never left him though, and he consequently gave up his government job and turned to
the study of music at the age of twenty-three. After two years of study he was appointed a professor of
composition at the St. Petersburg Conservatory and began writing music in earnest.
Aaron Copland
Aaron Copland did not grow up in a musical family. His parents were Russian immigrants who never
even went to a concert. After several attempts to obtain musical instruction including a correspondence
course, he eventually went to a school in Europe where a young teacher named Nadia Boulanger
influenced him to become a composer. By his mid twenties his work was known by other composers.
Copland borrowed from American legends and folk music, and incorporated them into his music. Such
musical pieces include: Billy the Kid and Appalachian Spring, for which he won a Pulitzer Prize.
He was one of the first composers to successfully incorporate jazz rhythms into symphonic
music. He was very helpful and generous to other young composers, often promoting their music along
with his own. Because Copland had a habit of composing at night with the help of his noisy piano, he
had to move several times. Interestingly, Copland actually conducted the Dallas Symphony Orchestra
twice.
Leroy Anderson (1908-1975)
Leroy Anderson was born on June 29, 1908 in Cambridge, Massachusetts, and fell in love with music at
a very young age. His musical gifts were so great that in 1919 (at age eleven) he began piano and
music studies at the New England Conservatory of Music. In 1925 he composed, orchestrated and
conducted the Cambridge High and Latin School orchestra in the class song for his graduation. He was
in high school when his father bought him a trombone so that he could play in the front row of the
Harvard University Band where he would be going to college. In 1938 the Boston Pops performed his
first original composition for orchestra, Jazz Pizzicato, which is featured in this concert. It was an
immediate hit, and Fiedler encouraged him to write more original compositions for the orchestra, many
of which are now famous and played by orchestras across the globe. Anderson received a star on the
Hollywood Walk of Fame in 1976, and was elected posthumously to the Songwriters Hall of Fame in
1988. His music is frequently used to entertain visiting dignitaries at the White House as well as to greet
U.S. Presidents when visiting foreign countries.
Vincent Ho (born 1975)
Born in Ottawa, Ontario in 1975, Vincent Ho began his musical training through the Royal Conservatory
of Music. He received his Associate Diploma in Piano Performance from the Royal Conservatory of
Music (Toronto) in 1993, his Bachelor of Music from the University of Calgary in 1998, his Master of
Music degree from the University of Toronto in 2000, and his Doctor of Musical Arts degree from the
University of Southern California (2005). In 1997, he was awarded a scholarship to attend the
Schola Cantorum Summer Composition Program in Paris, France. His music has also been featured at
numerous festivals throughout North America, China, France and Italy. He is currently the Composer-InResidence to the Winnipeg Symphony Orchestra, and his self-titled album has been nominated for Best
Classical Composition at the Western Canadian Music Awards two years in a row (2007-08).
Page 6
Resources for Teachers
Books
Apel, Wili. Harvard Dictionary of Music. Harvard University Press, 1967.
Ardley, Neil. A Young Person’s Guide to Music, 1995.
Baines, Anthony. The Oxford Companion to Musical Instruments, 1992.
Barber, Nicola. The World of Music. Silver Burdett Press, 1995.
Blackwood, Alan. The Orchestra: An Introduction to the World of Classical Music. Milwood Press, 1993.
Hays, Ann. Meet the Orchestra. Gulliver Books, Harcourt Brace Jovanovich, 1991.
Hoffer, Charles. Concise Introduction to Music Listening. Wadsworth Publishing Co., 1984.
Hoffer, Charles. The Understanding of Music. Wadsworth Publishing Co., 1981.
Kruckenberg, Sven. The Symphony Orchestra and its Instruments. Crescent Books, 1993.
Krull, Kathleen. Lives of Musicians. Harcourt Brace Jovanovich, 1993.
Moss, Llyod. Zin! Zin! Zin! A Violin. Simon & Schuster, 1995.
Nye, Robert & Bergethon, B. Basic Music. Prentice Hall, Inc. 1983.
Van der Meer & Berkeley, Michael. The Music Pack. Alfred A. Knopf, Publisher, 1994.
Video
The Dallas Symphony Orchestra’s television series for children. Amazing Music, features Music
Director Emeritus Andrew Litton as your guide to “Emotions in Music”, “Pictures in Music”,
“Families of the Orchestra”, and “Jazz”. (See p. 37 for order form)
Classroom Materials
Sources for pictures of instruments, books, audio, and videotapes can be found at:
• DSO Symphony Store; call 214-871-4058 for information
• Friendship House; call 1-800-791-9876 for a free catalog
• Music Educator’s National Conference (MENC); call 1-800-828-0229 for a free catalog.
• Music in Motion; call 1-800-445-0649 for a free catalog.
Online
www.DSOkids.com
The Dallas Symphony’s website for teachers and students
www.playmusic.org
A children’s website from the American Symphony Orchestra League
www.nyphilkids.org
The New York Philharmonic’s website for teachers and students
www.artsalive.ca
An education website sponsored by the National Arts Centre in Canada
www.sfskids.org
The San Francisco Symphony’s educational website for children
Page 7
Bach to the Future Pre-Concert Activity 1
Concert Etiquette
Teaching Objective
Students will demonstrate an understanding of appropriate audience behavior in a variety of
settings.
Pre-Assessment
Ask students how they would behave at a symphony concert.
Teaching Sequence
1. Ask students to describe places where they were members of an audience. Answers could
include attending a movie, a theater, a sports arena, at home watching television, a concert
hall, etc. List the answers on the chalkboard.
2. Discuss the appropriate audience behavior for each of the settings listed above. For
example, how would audience behavior at a golf tournament be different from a football
game? How would the audience behave at a rock or rap concert compared with a classical
concert or a recital by a single person?
3. Choose students to act as performers in at least three of the settings listed above. For
example, they may pretend to be playing a sport like golf or ice hockey; or they could
pretend to be playing instruments in an orchestra or a rock band. Allow the students to
perform while the rest of the class pretends to be in the audience.
4. Before and after each performance, review with the class where they are pretending to be
and help the class evaluate the appropriate audience behavior for each location. Point out
that some behaviors that are fine in one setting are considered inappropriate in another.
Ask performers if they felt that the audience’s behavior was appropriate for their
performance and why.
Culminating Activity
Tell students that they will soon be going to a concert where they will see and hear a
symphony orchestra. Show them pictures of the Meyerson Symphony Center. Help students
create a rubric for correct behavior at a symphony concert. See example on next page. Have
students use their rubric to evaluate their behavior after the concert.
Evaluation
Did student responses indicate an understanding of appropriate audience behavior in a variety
of settings?
TEKS Connections
English Language Arts and Reading: 110.5 2-4; 110.6 1-5; 110.7 1-5; 110.22 1-5
Music/Fine Arts: 117.12 3.6; 117.15 4.6; 117.18 5.6; 117.33 6.6
Theater/Fine Arts: 117.13 3.1, 3.2, 3.3; 117.16 4.1, 4.2, 4.3; 117.19 5.1, 5.2, 5.3; 117.34 6.1,
6.2, 6.3
see chart on next page
Page 8
Concert Etiquette
Talking
Action
Talks softly before and after concert, but does
not talk once the performance begins
Ideal Behavior
Actively listens during performance
Keeps body quiet with little movement during
the performance
Listening
Body
Clapping
Claps when the concertmaster and conductor
enter and at the end of each piece of music.
Clapping can be enthusiastic; but yelling,
shouting, whistling and stomping are not
appropriate.
Needs Improvement————–Outstanding
1——————————————–10
Page 9
Instrument ID
Teaching Objective
Students will demonstrate an understanding that orchestral instruments are grouped into families
based on their similarities and differences.
Resources
• Pictures of orchestral instruments (may be downloaded from DSOkids.com)
• Small pieces of paper or cards with instrument names and/or pictures on them.
Pre-Assessment
Show students a picture or a seating chart of an orchestra. Be sure that the chart shows pictures
of the instruments of the orchestra (see p. 31 or download a chart from the internet at
DSOkids.com.) Ask students to look at the chart and tell you what they know about the
orchestra. Answer the following questions:
-Name the instruments you recognize.
-Who leads the orchestra?
-How are the instruments of the orchestra grouped?
-Why are they arranged in this manner?
Teaching Sequence
1. Tell or remind students that orchestra instruments are divided into four groups or families
based on how their sounds are generated. Brass instruments are played by “buzzing”, or
vibrating one’s lips into a mouthpiece; woodwind instruments are played by blowing into a
mouthpiece with a reed, between two reeds, or across an opening in the instrument;
percussion instruments are played by shaking, scraping or striking the instruments; and
string instruments are played by plucking or pulling a bow across a string. (For a more
in-depth explanation, visit www.DSOkids.com.)
2. Tell students that even though each instrument has distinct characteristics, it also resembles
the other instruments in its family– much like you resemble the other members of your family.
Have students take turns describing similarities and differences they see in the instruments in
that family.
3. Give each student or team of students, a picture of an orchestra instrument (pictures can be
downloaded from www.DSOkids.com.) Ask the students or teams to identify their instrument
and determine the family to which their instrument belongs.
Play a short excerpt of symphonic music as the students move into instrumental family groups.
If appropriate for your students, designate a place in the room for each family to stand,
otherwise allow students to work that out on their own. This game can be played several times
until students become proficient with all instruments.
Page 10
Instrument ID
Evaluation
Did students demonstrate an understanding that orchestral instruments are grouped into
families based on their similarities and differences?
Extension Activities
1. Play the Instrument “Who am I” game– Tell students that they are to pretend that they are
the instrument pictured on a piece of paper. Have students take turns giving clues to the
other students or teams in the class. Remind students that they are pretending to be that
instrument. Some examples of clues could be, “My family has very long necks. Although
my family gets played two different ways, they are mostly very similar in appearance. I am
the smallest member of my family. I have the highest voice in my whole family, etc.”
Answer: violin. Allow students to play until everyone has shared their clues.
2. Have students bring pictures of their own family and discuss in class how they are similar
in appearance to other family members as well as the characteristics that make them
individuals.
TEKS Connections
English Language Arts and Reading: 110.5 3.3C, 3.4; 110.6 4.23B; 110.7 5.23B; 110.21
6.22B
Social Studies: 113.5 3.16A,B,E; 113.6 4.22B,C; 113.7 5.25B,C; 113.22 6.21B,C
Music/Fine Arts: 117.12 3.1A, 3.1B; 117.15 4.1A, 4.1B; 117.15 5.1A, 5.1 B; 117.33 6.1A,
6.1B
Page 11
Bach to the Future Activity 1
A Day in the Life of Bach and You
Teaching Objective
Students will draw comparisons between their lives and the life of Johann Sebastian Bach as a
young boy.
Resources/Materials
• A Day in the Life of Johann Sebastian Bach on p. 13
• A Day in the Life of
on p. 14
Pre-Assessment
Tell students that Johann Sebastian Bach, the narrator in the DSO “Bach to the Future” Youth
Concert lived in Germany from 1685 to 1750. In 1696 he was eleven years old. Ask what life
might have been like for an eleven year old in Europe in 1696.
Teaching Sequence
1. Read A Day in the Life of Johann Sebastian Bach on p. 13 to the class. Discuss
differences in life in the 17th century and the life of students today.
2. Tell students they will write a short description of a day in their own life. Display or
distribute A Day in the Life of _______________________Writing Guide on p.14.
Circulate and offer assistance as needed.
3. Lead a class discussion comparing Bach’s boyhood experience with individual
experiences in the student’s descriptions.
Let students share their descriptions with the class by reading aloud or displaying them on a
bulletin board. Make this an option; some descriptions could include information the student
prefers not to share with the group.
Extension Activity
Challenge students to explore and compare music, art, literature, sports, etc., from the 17th
century and today.
Evaluation
Did student stories demonstrate an understanding of differences in daily life in the 17th
century and today?
TEKS Connections
English Language Arts and Reading:110.14 19, 110.15 17, 110.16 17, 110.18 16
Page 12
A Day in the Life of Johann Sebastian Bach
Ohrdruf, Germany, 1696
Johann Sebastian Bach was born in Eisenach, a village in Germany. He was the
youngest of his father’s four surviving children. Doctors in the 17th century did not have many
of the medicines we use now, so many children died when they were very young. When he
was not quite ten years old, both his mother and his father died, and he and his brother went to
live in another village, Ohrdruf, with their oldest brother, Johann Christoph, who was twentyfive and newly married. Early in the morning Johann Christoph called to the boys to get up—
there were lots of chores to be done before they went to school— little Johann may have had
to walk to the village well and carry water back to the house, or it may have been his turn to
bring in firewood for the small stove that heated their home.
After a breakfast of coarse black bread and cheese, Johann walked to school. On the
way he had to step out of the way for horse-drawn carriages driven by some of the richer
people in Ohrdruf. Since automobiles were not invented until many years later, walking and
traveling by horse were the only two choices.
At school he studied Latin, history, mathematics, geography, Greek, and composition
(we call this subject writing), plus four or five hours a week devoted to music. After walking
home and probably doing more chores, he had more music lessons. His brother Johann
Christoph was a musician—as most of the Bach family had been for at least 150 years—and
he taught Johann clavier lessons. (The clavier was the instrument at that time that was most
like a modern piano.) If he had any time for fun—there couldn’t have been much!—he might
have played outdoor games like rolling a hoop, hide and seek, or nine pins (an outdoor game
much like bowling). Since there was no electricity, there were no radios, TV’s, video games,
telephones, or computers.
But Johann Sebastian loved music so much that he spent most of his time with it. His
brother, who was an organist, had a special collection of music that he kept locked in a
bookcase Johann wasn’t allowed to open. He wanted so badly to copy this music that, after his
brother was asleep, he reached through an opening in the cabinet doors, got the music, and
copied it by moonlight. Doing this damaged his eyes, and he was almost blind when he was an
old man.
By the time Johann Sebastian Bach was fifteen, his older brother and his wife had two
children, with another on the way, and they could no longer afford to have him live with them.
So he had to find a way to take care of himself. There was a cathedral at Lunenberg, about
200 miles away, that needed good singers. Johann and a friend went there, probably walking
much of the way, and he was able to support himself and complete his education by singing in
the choir there. Johann Sebastian Bach became one of the greatest musicians and composers
in history.
Page 13
A Day in the Life of
Writing Guide
To write about a day in your life compared to that of Johann Sebastian Bach when he was your
age, think about answering these questions:
Where do you live?
Who is in your family?
What are your favorite foods?
Do you have chores at home? What are they?
How do you get to school?
What subjects do you study? What is your favorite subject? Why?
Do you love any subject as much as Bach loved music? If you do, what is it?
What do you do in your free time?
At what age do you think you can make your own living?
What do you want to be when you grow up?
What else is important about your everyday life?
Page 14
Sound Color
Teaching Objectives
Students will hear how instrumental sound color can affect a musical piece.
Vocabulary
Timbre– the sound color of an instrument
Pizzicato– plucking the strings with a finger
Resources/Materials
• Youth Concert CD
• Recordings of organ and orchestral versions of Bach’s Toccata and Fugue in D minor
(tracks no. 10 and 11 on the Youth Concert CD)
• Color photos and their black and white copy
• Drawing paper
• 1 black marker plus a full spectrum of additional colors
• Download the Baroque and Romantic period orchestra charts from www.DSOkids.com
• Picture of an organ (can also be downloaded from www.DSOkids.com)
Note to Teacher
Preparation: Take several color photos and photocopy them so you have a black and white
version.
Pre-Assessment
1. Ask students how many of them take pictures of their friends and family with their cameras
or cell phones? Display some of the black and white photo copies and share with the
students that originally photos were only able to be developed in black and white. Then
share the colored photos. Ask the students, what does adding color do? Which do they
prefer and why?
2. Give each student a sheet of 8 x 11 drawing paper. Have the students fold the paper into
thirds. On the first third, they are to draw an image of anything they wish by only use pencil
or black marker. One the second third they are to redraw the image but include the
primary colors red, blue and yellow. On the third section, they are to redraw the image
using the full spectrum of colors they have available to them. Answer the question “what
did adding color do to your original drawing?”
Teaching Sequence
1. Discuss the fact that in the early days of silent films, all films were produced in black and
white. In 1929, the first color appeared in movie films. Broadway Melody (104 minutes),
directed by Harry Beaumont, contained a few sequences shot in two-color (red/green)
Technicolor. As technology developed, it expanded the available color spectrum. Now we
not only have colors from every part of the color spectrum, but with digital broadcasting,
expanded computer graphics, and the production of 3-D movies, there are even more ways
to enhance and enrich our move watching experiences.
2. Show a picture of the organ. Tell the students that during the Baroque period of music,
1600-1750, Johan Sebastian Bach performed and composed pieces for the organ. Using
its many settings, the organ was able to produce a variety of sounds, but they were all still
organ sounds. The organ had two to four keyboards and a full range of foot pedals to
expand its range of pitch. Today we will listen to an excerpt of a very famous piece of
music written by J.S. Bach called Toccata and Fugue in D minor. Listen to the music and
describe the sound you hear. This piece of music is still being played today on the organ.
You may even have heard it at church, in a concert, or at the movie theater.
Page 15
Sound Color
3. With the introduction of sound color, composers could create more expressive pieces of
music. Some composers even arranged pieces written for a specific instrument for the
orchestra. Now listen to this very same piece performed by a full orchestra in an
arrangement using all the sound colors of the orchestra instruments. What changed? What
do you hear now?
4. Tell the students that sound color, called timbre, developed in a variety of ways:
a. Instruments began to be used in place of and/or in addition to the organ. They were
more portable and could be played anywhere, whereas the organ had to remain in one
place due to its massive pipes and inner workings.
b. New instruments and sounds were being invented.
c. Current instrument sounds were being explored and developed through the use of
additional keys, longer and shorter length of tubing, new fingerings to change the
sound color, and new materials to use in the making of the instrument. Adolf Sax, a
Belgian musician and inventor, created a hybrid instrument which used brass tubing
and the mouthpiece of a clarinet. It was named the saxophone after its inventor. Today
we have an entire family of saxophones, each with its own unique sound color.
d. New ways of playing instruments were being explored: For the strings, the choice of
using pizzicato for a complete movement and later for an entire piece of Jazz music
rather than for just the accompaniment, as heard in Bach’s day. For the woodwinds,
playing of harmonics, double pitches, and humming into the instrument while
blowing through it at the same time are some ways timbre was being explored.
e. New combinations of instruments led to additional sound textures and timbres rather
than always having like instruments grouped together to play a melody.
5. Show the seating charts of the Baroque orchestra and compare it to the seating chart of
the Romantic period orchestra to see which instruments and timbres were available to
composers during the Romantic period.
Culminating Activity:
Listen to the Toccata and Fugue in D minor in its original version, and then in the arrangement
for orchestra. Compare the timbres and describe the difference. Which do you prefer and why?
Extension Activities
1. Listen to Bach’s “Aria” from Suite No.3 in D Major and compare the timbre in this piece with
that of Evening in the Mountains for Oboe, Horn, and String Orchestra by Edvard Grieg.
(On the Youth Concert CD this piece is played by a brass ensemble.) Write a paragraph
comparing and contrasting the timbre used in each piece. Share with the class.
2. After the concert, listen to Evening in the Mountains for Oboe, Horn, and String Orchestra
by Edward Grieg played by a brass ensemble on the CD and write a paragraph comparing
and contrasting the timbre of this piece with the orchestra version performed in the concert.
Share with the class.
Evaluation
Did the students demonstrate increased awareness of how instrumental timbre can affect
a musical piece?
TEKS Connections
Fine Arts: 117.3 1A, 31B, 3.5 A, 3.6 117.15 4.1A,4.1B, 4.5A, 4.6A, 4.6B 117.18 5.1A,.5.1B,
5.5A, 5.5E, 5.6A, 5.6B 117.33 6.1B, 6.5A, 6.5D, 6.6A
Page 16
Instruments of the Future
Teaching Sequence
Students will discuss their knowledge about the past to make predictions about the future of
music.
Pre-Assessment
In the DSO Youth Concert “Bach to the Future”, Johann Sebastian Bach suddenly finds
himself transported into our time. He is able to not only hear the music that developed four
hundred years in the future, but also see that his music has survived and even contributed to
that development. Using the lesson A Day in the Life of Bach and You on p. 12 in this guide as
a resource, discuss with the students what they might have seen (or not seen) if they lived in
the time of Bach. Ask students to speculate how changes in culture, technology, social
conventions, etc., might have contributed to changes in music.
Teaching Sequence
As a class discussion or in small groups, ask students to make predictions about the world in
the year 2410 (400 years into the future.) What will people wear, talk about, see and hear? Will
musical instruments function based on the physics of sound like traditional orchestral
instruments or will they be electronic? Perhaps they will use an energy source we don’t even
know about yet. What will the music of the future sound like and what will the instruments look
like?
Have student groups make a model of a musical instrument of the future and in a class
presentation, describe how their instrument works and sounds.
Evaluation
Did students discuss their knowledge about the past and make predictions about the future of
music?
Extension Activity
Have students write a story about being transported into the future in which they not only
describe their experience but also how people of the future react to their appearance in their
time.
TEKS Connections
Fine Arts: 113.5 3A, B, C; 17A, B, C; 113.6 22C, D; 23C, D, E; 113.7 22A, B; 25C, D; 26C, D,
E; 113.22 17; 18; 19; 21D; 22C, D, E;
Page 17
Bach to the Future 4
Music– Past, Present and Future
An Oral History Project
Teaching Objective
Students will compare the favorite music from their grandparents’ generation, their own favorite
music, and music they imagine in the future.
Resources/Materials
• Oral History Interview Guide on p. 19, 1 per student
• My Favorite Music on p. 20, 1 per student
• Music in the Future on p. 21, 1 per student
Pre-Assessment
Ask students to tell what music is currently their favorite. Lead a class discussion comparing
responses, exploring what it is about the pieces they name that make them their favorites.
Teaching Sequence (to be implemented over several days)
1. Tell the class that, like many other things—technology, styles in clothes, movies, etc.—
music changes from one generation to the next. Ask whether they know what music their
grandparents, or someone their age, liked when they were the age the students are now.
2. Distribute and review the Oral History Interview Guide on p. 19. Assign students to use the
guide to explore the favorite music of their grandparents, or someone their age. When the
interviews are completed, share the results with the class.
3. Distribute and review My Favorite Music on p. 20. Circulate and offer assistance as needed
as students answer the questions.
4. Lead a class discussion comparing the students’ favorite music with that of their
grandparents’ generation. How are their choices similar or different? Were the songs faster
or slower? Did they use different instruments? Where was the music usually heard
5. Create a chart listing similarities and differences in the students’ choices and that of their
grandparents’ generation.
1. Distribute and review copies of Music in the Future found on p. 21. Challenge students to
imagine what the music of the generation after them may sound like.
2. Discuss the responses, and how the music they imagined is similar or different from the
music they most enjoy.
Extension Activity
Challenge students to determine which was their favorite selection in the DSO “Bach to the
Future” performance, and describe some of the musical characteristics that made them choose
it.
Evaluation
Did student responses demonstrate an understanding of commonalities and differences in
music played and sung from one generation to the next?
TEKS Connections
Music: 117.12 (b) 1A; 117.15 (b) 2A; 117.17 (a) 2; 117.33 (a) 2
Page 18
Oral History Interview Guide
As you interview your parent, or a friend about your parent’s age, ask these questions, and
write down the answers. As you talk with them, you may think of other questions. Add them
on the back of the page.
What music did you like when you were my age?
Was it vocal or instrumental, or both? What instruments did it use?
Where did you hear it?
What about the music made you like to hear (or play or sing) it?
Did your parents like it? Why? Or why not?
Do you ever still sing or hear the same songs you loved when you were growing up?
Page 19
My Favorite Music
What is your favorite music?
Is it vocal or instrumental, or both? What instruments does it use?
Where do you hear it?
What do you like best about it?
Do your parents like it? Why? Or why not?
Do you ever sing or play the songs you like best?
Page 20
Music in the Future
Imagine what kind of music might be your children’s or your grandchildren’s favorite.
How would it be like your favorite music?
How might it be different?
Would it be vocal or instrumental, or both? Might there be a different style of singing? Could
new instruments be invented-perhaps using technology?
Where would it be played and heard?
Do you think you will like it?
Page 21
Music Detective
Teaching Objectives
Students will discover characteristics of each musical style and identify musical time period by
listening to and comparing musical works featured in the “Bach to the Future” Youth Concert.
Vocabulary
Forte – loud
Piano – soft
Legato – smooth
Staccato – short and detached
Pizzicato – strings plucked with the finger
Resources/Materials
• Clue Chart for each student, pp. 24-25
• Music Style Period Resource sheet, p. 26
• Pencils
• Download the Baroque, Classical, Romantic, and Modern period orchestra charts from
www.DSOkids.com website
Note to Teacher
This lesson will include five listenings per musical selection. The lesson will be successful
either by choosing one selection to explore, or all, as time permits.
Pre-Assessment
Ask the students to name their favorite song. Ask them if they can name the favorite song of
their mom, dad, or grandparents. We each have our favorite music and ways that we
respond to it. If we were to play each of these pieces of music, could we relate the piece of
music with the person whose favorite it is? Many times, because we know music history and
musical styles, we can correctly distinguish your favorite piece from your grandparents’ favorite
by listening to the instruments used and the style of music played.
Teaching Sequence
1. Explain to the students that today we are going to begin our exploration of the music we
will hear at the upcoming youth concert in April. Tell students that their job, as a Music
Detective, will be to make discoveries about the music. These discoveries will help them
solve the mystery of which historical period the piece belongs. First, listen to the music
and list the adjectives which describe the piece to us. Then share your descriptors with
each other. With each listening you will learn more about this composition, unlocking a little
more of the musical puzzle. Then, by looking at the Music Style Period Resource Sheet
plus the orchestra seating charts, you can determine where that particular piece of music
falls in relation to its historical period. Each detective will have his or her own Clue Chart on
which to list the findings. As a class, you will have access to orchestra seating charts and
style characteristics for each period. Place these on the board, overhead, or have a
computer ready to display them.
Page 22
Music Detective
2. Gathering Preliminary Data: Choose a musical selection on the Youth Concert CD. Find
the corresponding composer and title of work on the student chart. Listen to the excerpt.
As you listen, list as many words as possible to describe this piece of music. Is it powerful?
heroic? calming? relaxing? energizing? comical? fun? Share your words with the class.
3. Scoping Out the Composers’ Game Plan: As you listen this time, what can you tell about
the design of the music from the excerpt you hear? Is there an introduction? Does the
music feature one instrument in conversation with the orchestra, or does the entire
orchestra play at the same time? Are there any special themes which stand out? Share
with the class.
4. Uncovering Detail: Listen to the music again. Can you distinguish any of the featured
instruments? List them on your chart. Share with the class.
5. Supporting Evidence: Listen one more time to focus on the background to the piece.
What do you hear in the accompaniment? What instruments are playing? What dynamic
level are they using? (forte? piano? accents?) What articulations do you hear? (legato?
staccato? pizzicato?) List these on your chart and share with the class.
Culminating activity:
The Stake Out Continues: Divide the class into smaller groups based on the number of
compositions studied. Have each group research the life and times of a different composer. By
using the descriptive words and the facts gathered on the Clue Charts, determine the musical
period of each composition. Share your solution with the class and give supporting evidence.
Extension Activity:
Place all composers and their musical pieces within an overall time line. Be prepared to
support your decision.
Evaluation
Were the students able to discover the characteristics of each musical style and identify the
musical time period?
TEKS Connections
Fine Arts: 117.12b 1A,B,C; 3.5A 117.15b 4.1A,B,C; 4.5 A 117.18b 5.1B,C; 5.5A 117.33b
6.1B,C; 6.5A
Page 23
Page 24
4. Symphony
No.36, Mvt. 4 by
W.A. Mozart
3. Concerto for
Violin, 2 oboes, 2
horns and Bassoon
in F, Allergo by
Antonio Vivaldi
2. Suite No.3 in D
Major, Aria by
J.S. Bach
1. Music for Royal
Fireworks by G.F.
Handel
Title of work
Composer
Adjective description
Gathering Preliminary Data
Gathering Preliminary Data
Overall design
Scoping out the
Game Plan
Featured instruments
Uncovering Detail
Musical background
Supporters
Evidence
Musical Style ~
Time Period ?
Page 25
9. Red Zen
by Vincent Ho
8. Jazz Pizzicato
by Leroy Anderson
7. “Hoe Down” from
Rodeo by Aaron
Copland
6. Symphony No.4
by Piotr
Tchaikovsky
5. Evening in the
Mountains by
Edvard Grieg
Music Style Period Resource Sheet
Early Baroque (1600-1710)
Melodies are inspired by virtuoso singers and often use large leaps from one
note to another. Harmonies are stable, with clearly defined chord
progressions. Rhythms are regular, repeating, and often driving. Sudden
shifts from one volume to another (called Terraced Dynamics) are used.
Late Baroque (1710-1750)
Melodies grow longer and more expansive. Harmonies move
purposefully from one chord to the next. Rhythms are
generally energetic. There is a focus on instrumental sounds,
especially the violin, the harpsichord, and the organ. One
tone color (or timbre) predominates throughout a movement or
section, but variety and contrast are often achieved through
counterpoint (two or more melodies occurring at the same
time).
Who is this Late
Baroque composer?
Who is this Early Baroque
composer?
Classical (1750-1820)
Short, balanced phrases create tuneful melodies. Frequent cadences
produce a light and airy feeling. Harmonies tend to be simple, but they
are made more active by separating the notes of the chord with figures
like the “Alberti” bass. Rhythms tend to be more stop-and-go, with
greater rhythmic variety within a single movement. The orchestra grows
larger, particularly in the winds, and the piano replaces the harpsichord as
the principal keyboard instrument. Counterpoint is used sparingly for
contrast
Romantic (1820-1920)
Melodies are often long, singable lines, with powerful climaxes,
and lots of expressiveness. Music is often used to paint pictures
or tell stories. Complex harmonies add richer colors to the
music, and dissonance is used to convey anxiety or longing.
Rhythms are flexible and speeds can fluctuate enormously.
More brass and winds are added, making the size of the
orchestra huge, so orchestral textures tend to be dense.
Traditional forms are used, extended, and applied to new
genres, such as the symphonic poem.
Who is this Classical era
composer?
Who is this Romantic era
composer?
Modern (1920-present)
Melodies often use wide-ranging, angular lines. Harmonies experiment with
greater dissonances, which are often unresolved. Traditional keys are sometimes
abandoned altogether. Rhythms are often vigorous, energetic, and complex. Color
and texture are sometimes more important than melodies and harmonies.
Percussion instruments play a greater role in the orchestra. Composers seek new
sounds from traditional instruments and begin to incorporate the use of electronic
instruments and computers. Forms range from the traditional to the entirely
improvisational. Jazz and popular music become important influences.
Who is this Modern era
composer?
Page 26
Composer Clipboard
Teaching Objectives
Students will explore biographical information about each of the composers featured in the “Bach to the
Future Youth Concert.”
Resources/Materials
• Boombox or stereo
• Download the composer bios from the www.DSOkids.com website for the following composers:
Leroy Anderson, Johann Sebastian Bach, Aaron Copland, Edvard Grieg, George Frideric Handel,
Vincent Ho, Wolfgang Amadeus Mozart, Piotr Tchaikovsky, and Antonio Vivaldi.
• Composer Clipboard Worksheet (one per student for each composer studied), p. 28
• Concert Repertoire List, p. 3
Note to Teacher
This lesson includes all composers who will be featured in the DSO “Bach to the Future”
Youth Concert. The lesson will be successful whether choosing one composer to explore, or all, as time
permits.
Pre-Assessment
Ask the students to name their favorite book. Ask them if they can also name the author. Tell students
that a composer writes music much like an author writes novels and books.
Teaching Sequence
1. Tell the students that they will be learning about the composers who wrote the music they will hear
at the “Bach to the Future” Youth Concert. Pass out the Composer Clipboard Worksheet and
pencils.
2. Chose one composer from the Concert Repertoire List and place his name on the board. Ask if any
students know anything about this composer. Draw answers from the class. List the year of birth and
death (if applicable) on the board. As you begin a discussion about this composer, list his city and
country of residence, his education and the important jobs he held. List at least two of his
compositions on the board. Have students copy this information onto the Composer Clipboard
Worksheet.
3. Ask students to put down their pencils and listen. Tell the students they will need to remember at
least two things about this composer and ask them to include those comments on their Composer
Clipboard Worksheet. Read the composer bio to the class. After students are finished writing, ask
them to share which composer facts they felt were most interesting.
4. On another day, repeat the teaching sequence with information about a different composer.
Culminating activity
Listen to the specific piece of music written by that composer and discuss what is heard. Review
information gathered about the composer.
Teacher Note
After exploring several of the composer’s bios and music in this way, include all composer facts in the
final review.
Extension Activity
Play Composer Baseball by dividing the class into two teams. Have specific locations for the bases. As
each team comes “up to bat,” the student must answer a question asked by the teacher based on
information they have learned about the composer(s) they have studied. You may even want to play a
brief segment of the music for identification purposes. As students answer correctly, they advance to the
next base. Or, create a historical time line by placing all composers in the correct chronological order.
Research world events and include them in the time line.
Evaluation
Were the students able to remember distinguishing facts about each of the composers studied?
TEKS Connections
Music: 117.12 (b) 5(A); 117.15 a(1,2) b(1), 5(a), 6(a,b); 117.18 a(1,2) 5(a,b), 6 (a,b); 117.3 b(2), 5(a,b), 6(a,b)
Page 27
Composer Clipboard Worksheet
Composer’s name:
Year of birth:
Year of death:
City and country of residence:
Education:
Name of two (or more) compositions written:
Important jobs held:
Something I learned about this composer:
Page 28
A Night at the Improv
Teaching Objective
Students will develop an understanding of improvisation in music.
Vocabulary
Percussion instrument– any musical instrument that is played by scraping, shaking or striking.
Musical improvisation– spontaneous musical composition; creating music on the spot, either
accompanied or unaccompanied.
Resources/Materials
• Pencils or anything in the class that can be used as a percussion instrument
• Youth Concert CD track no. 12
Pre-Assessment
Read the definition for music improvisation. Ask students to discuss what they think it means to
improvise in music. Have they ever seen musicians improvise in a certain style of music? Have
they ever improvised? Tell them that humming or whistling a tune that they made up is also
improvising.
Teaching Sequence
1. Tell students that improvising in music is much like a conversation in which one person
makes decisions about what they will say in response to what is heard. Even if that person
already has a plan for what they will say, they might omit or add their comments at the last
minute as they deem it appropriate. A speaker might also include parts from the previous
comments in their response. For example,
Question: “What is your favorite color?”
Answer: “My favorite color (part of the question) is green because it reminds me of a
quiet nature scene (your answer.)
Notice that this example, the speaker not only answered the question, but also
elaborated by including a reason for the answer. In addition, the person answering
responded using the same tone, volume and mood as the questioner. When musicians
improvise well, they also elaborate as well as try to match style, volume and mood of the
music that is being played with them.
2. Tell students that you are going to play some music for them. As they hear the recording,
ask students to pretend they are musicians playing with the music. For instruments, have
them use pencils or other objects around the room to make up rhythms. Tell them to have
fun and make up whatever they want, but be sure they don’t play too loud so that they can
hear the recording!
3. Play the recording again asking the students not to play, but to listen for any specific
rhythms that occur. Pause the recording occasionally and ask student volunteers to clap or
tap any short rhythm patterns that they remember from the music. Play the recording again
as necessary.
4. Have one more group practice. Encourage students to make up new rhythm patterns, but
also to add a level of complexity by including some of the rhythms from the recorded music
in their solos, much like including part of a question in an answer.
Page 29
A Night at the Improv
Ask for student volunteers to improvise for the class. Arrange volunteers in groups of four.
Have them take turns switching soloists every so often. Tell them that if they listen closely, the
repetitions in the music will tell them when to switch players. Vary the activity by having two
soloists switch back and forth. Challenge them to add a level of difficulty by including parts
from the accompaniment and their peer’s solos.
Evaluation
Did student responses demonstrate an understanding of improvisation in music?
Extension Activity
1. Have two students improvise a story by making up one line at a time. When they get better
at it, try the activity doing only one word at a time. If they are feeling especially brave, have
two students use suggested story subjects from the audience.
2. Using the recording again as an accompaniment, have students improvise a rap.
TEKS Connections
Music: 117.12 (b) 1A; 117.15 (b) 2A; 117.17 (a) 2; 117.33 (a) 2
Page 30
ORCHESTRA SEATING CHART!
Page 31
Concert News
Featuring Reviews Written by Students
*~Student Review~*
Student:
School:
Concert Attended:
Age:
Grade:
Date:
Describe your concert experience. (What happened first, second, next, etc.)
Name one of the musical pieces you heard at the concert and describe it.
Choose two musical instruments you heard at the concert and compare their appearance and
their sound.
What did you enjoy the most and what did you enjoy least at this concert?
Please have your teacher send your review to:
Kristin Carpenter
2301 Flora St., Schlegel Administrative Suites
Dallas, TX 75201
Or Fax to: 214.953.1218
E-mail to: [email protected]
Page 32
Concert Guidelines for Teachers
Before the Concert
• Please contact Kristin Carpenter at least two days in advance if you need to confirm or
make changes to your reservation.
• Please prepare your students by using materials in this book or on the www.DSOkids.com
website.
• Students should be briefed on concert etiquette in advance.
• Please contact Kristin Carpenter at 214.871.4006 at least one week before the concert if
your group includes any students or teachers with special needs, including wheelchairs, or
if you are in need of infra-red headsets for the hearing impaired.
The Day of the Concert
Before leaving the school, please allow time for students to visit the restroom.
Learn your bus driver’s name and be sure you can recognize him/her
Plan to arrive at the Meyerson at least thirty minutes before concert time.
•
•
•
Upon Arrival at the Meyerson
• If you arrive by bus, please DO NOT UNLOAD YOUR BUS(ES) UNTIL YOU ARE
GREETED BY A DSO STAFF MEMBER. Also, please be sure you and your driver have
been given matching numbers by a DSO staff member.
• If you are arriving by car or van, please park in the Arts District Parking Garage. The
parking fee for Youth Concert events is $6.00.
• Assemble your group before you check in with a volunteer.
• Check in with a volunteer in the main lobby; a volunteer will guide your group to your
seating area. (Seating sections are assigned on the basis of group size).
• All students should be in their seats at least five minutes before the start of the concert.
• No food or drink, including chewing gum, is permitted in the concert hall.
• An organ demonstration starts seven minutes before the concert-you won’t want to miss
that. It’s always a favorite with the students!
During the Concert
• The use of cameras and recorders is prohibited
• Please turn off cellular phones and any other electronic devices.
• Students and teachers should remain in their seats for the entire concert.
• Restrooms are located on all levels and should be used for urgent needs only.
• If students must visit the restroom, please have an adult accompany them.
• Students not maintaining acceptable standards of behavior will be asked to leave, and
may jeopardize their school’s future attendance at DSO events.
After the Concert
• Please remain in your seats until your school is dismissed.
• Upon dismissal, listen carefully and follow instructions for departing the building.
Back at School
• Refer to this guide or www.DSOkids.com for follow-up activities.
• Student letters/artwork expressing reactions to the concert are encouraged.
Mailing Address:
Attn: Youth Concerts
2301 Flora St., Schlegel Administrative Suites Dallas, TX 75201
Fax Number: 214.953.1218
E-mail Address: [email protected]
Page 33
Arriving and Departing the Meyerson Symphony Center
Buses: You will be given a DSO Bus Number by a DSO Staff Member. Please memorize your
DSO Bus Number and be sure you know your bus driver!
DO NOT UNLOAD YOUR BUS(ES) UNTIL
YOU ARE GREETED BY A DSO STAFF MEMBER
Arrivals: Buses unloaded in front of the Meyerson Center on westbound Flora Street. After
students disembark, buses should proceed to the designated parking area. Follow instructions
from DSO staff members.
Departures: Buses are called to the Meyerson in order of school dismissal. Please follow
directions from DSO Staff Members for dismissal.
Cars and vans: Cars and vans park in the Arts District Garage, which is accessible from Ross
Avenue, between Leonard and Pearl Streets. Take ticket, (parking is $6.00) and proceed to
levels 4 through 7. The Arts District Garage has an overhead clearance of 7 feet. On level 3 of
the parking garage there is a walk-through into the lower level of the Symphony Center. After
parking, take the Symphony Center elevators to the Lower Lobby. Assemble your group in the
Lower Lobby. Check in with volunteer only after your entire group is assembled, then take the
stairs to Main Lobby. An elevator is available for the physically challenged.
A note to schools arriving in carpools: Please provide all of your drivers with a map and
clear instructions on where to park (Arts District Garage Only). Following identical routes is
recommended so that your group arrives at the Meyerson at approximately the same time.
Be sure all drivers and chaperones know to meet in the Lower Lobby. Please do not come
upstairs until your entire group has assembled and checked in with a volunteer.
Bus Directions to the Meyerson Symphony Center
From Southbound I-35E Stemmons, east on Woodall Rodgers Freeway (exit marked “to
Houston, I-45 and US-75”), exit at Griffin Street. Take Griffin Street to Ross and turn left. Take
Ross to Routh Street and turn left. Take Routh to Flora Street, turn left and pull up in front of
the Meyerson to unload.
From Northbound I-35 Stemmons, east on Woodall Rodgers Freeway (exit marked “to
Sherman I-45 and US-75”), exit at Griffin Street. Take Griffin Street to Ross and turn left. Take
Ross to Routh Street and turn left. Take Routh to Flora Street, turn left and pull up in front of
the Meyerson to unload.
From Central (US-75), I-30 or I-45, west on Woodall Rodgers (366), take the Pearl Street exit
and stay in the far left lane. U-turn onto Woodall Rodgers Access Road going east. Turn right
on Routh, turn right on Flora and pull up in front of the Meyerson to unload.
From downtown or East Dallas, north on Pearl Street, turn right onto Ross Avenue. Then turn
left on Routh, and left on Flora. Pull up in front of the Meyerson to unload.
From the Dallas North Tollway, south on the Tollway, after the main toll plaza, stay in the left
lane and take the Hines Blvd. exit on the left towards downtown. Continue to follow signs
downtown, Pearl Street and the Arts District. Turn slightly left to access Pearl Street, then stay
on Pearl to Ross Ave. Turn left on Ross to Routh. Turn left on Routh, turn left on Flora and pull
up in front of the Meyerson to unload.
Cars: Access the Arts District Garage from Ross Avenue, near the corner of Ross and
Crockett.
Page 34
Meyerson Area Map
Page 35
About the Morton H. Meyerson Center
One of the world’s greatest concert halls, the Meyerson Symphony Center was made possible
through the efforts of the citizens of Dallas. Over ten years were spent in the planning and
construction of the Meyerson, which opened on September 6, 1989.
World-renown architect and major arts supporter I.M. Pei was chosen to design the building,
working closely with acoustician Russell Johnson. Pei’s design combines basic geometric
shapes, with a rectangle (the concert hall) set at an angle within a square (the outer walls.)
Segments of circles also enclose the building.
In the concert hall, every detail was designed to make the sound or acoustics as perfect as
possible for orchestral music. For example, the heating and air conditioning system is located
in a different building so that no vibrations from the machinery can be felt in the concert hall.
Acoustical features include:
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Double sets of doors at all entrances
Terrazzo and concrete floors
Mohair fabric on the seats
Walls covered with African cherrywood
Sound-absorbing curtains which can be drawn over the walls
A reverberation chamber with 72 acoustical doors used to “tune” the hall
The canopy over the stage, which can be raised and lowered to enhance the
sound
Fun Facts about the Meyerson!
The Meyerson Symphony Center has:
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2,056 seats
30,000 sq. ft. of Italian travertine marble
22,000 limestone blocks from Indiana
35,130 cubic yards of concrete
918 panels of African cherrywood around the concert hall
216 panels of American cherrywood around the stage
62 acoustical curtains
4 canopies with a combined weight of 42 tons
72 concrete acoustical doors, each weighing up to 2.5 tons
50 bathrooms
An 85 foot high ceiling in the concert hall
A 40 foot hollow area under the stage to increase resonance
An organ with 4 keyboards, 61 keys, 32 pedals, 84 ranks, 65 stops and 4,535
pipes
Amazing Music Videos!
The Dallas Symphony Orchestra’s Amazing Music concerts are the perfect introduction to the
orchestra, featuring fast-paced explorations led by Music Director Emeritus Andrew Litton. Litton, who
was inspired to become a conductor by Leonard Bernstein’s Young People’s Concerts, is a strong
advocate for music education as well as a charming host for the concerts.
Designed to be educational as well as entertaining, Amazing Music programs are a natural for the
classroom, especially in the light of current research that validates music as an effective teaching tool.
Therefore, the Dallas Symphony Orchestra has developed Classroom Editions of Amazing Music for the
educational market, supplementing a special time-coded version of each video with a booklet
containing lesson plans developed by educators. The activities support in-school use of the programs
with curriculum that integrates music with other classroom subjects. The Dallas Symphony Orchestra’s
Amazing Music programs have been broadcast on A&E and PBS.
Order Form
Name
Address
City
State
Zip
(evening)
Telephone (daytime)
Please send me the following “Classroom Editions”
Volume 1
Volume 2
Volume 3
Volume 4
Number of Videos
Emotions in Music
Pictures in Music
Families of the Orchestra
Jazz
Total number of Classroom Editions
x $40.00=
Texas residents add 8.25% sales tax
x .0825
(Tax exempt? Please include a copy of your tax exempt certificate)
Shipping:
1-3 Classroom Editions
4+ Classroom Editions
+ $6.50=
+$8.50=
Total:
$
□Enclosed is a check payable to Dallas Symphony Orchestra
-Or□Mastercard/Visa
Card Number:
□Discover
Expiration Date:
□American Express
Signature:
Mail form to Dallas Symphony Orchestra Store, 2301 Flora St., Suite 300, Dallas, TX 75201.
Fax to: 214.871.4505 Attn: Symphony Store
Page 37
Thanks!
The Dallas Symphony Orchestra gratefully acknowledges the following contributors who
support the Youth Concert Series and education outreach programs
Youth Concert Series Sponsor
Cecil and Ida Green Foundation
Symphony YES! Sponsor
Citi
Cecil and Ida Green Youth Concert
Sponsors
ExxonMobil
EDS Foundation
Harry W. Bass Jr. Foundation
Texas Commission on the Arts
Sprint Foundation
Young Strings Sponsors
Bank of America
Chase
Dean Foods
EDS Foundation
Fossil
Ebby Halliday, REALTORS
Endowed Concert Sponsors/
Annual Concert Endowments
Dr. Anson L. Clark Endowment Fund
Mr. and Mrs. Sanford P. Fagadau
The Meadows Foundation
The Meyerson Family
Wendy and Emery Reves Endowment Fund
Anne J. Stewart
The Carl and Susan Summer Foundation
K-12 Education Program Sponsors
Aetna Foundation
Brinker International
David Crowley Foundation
Harold Simmons Foundation
Hawn Foundation
Kraft Foods
Potts and Sibley Foundation
SAP America, Inc.
Sprint Foundation
TACA
WACHOVIA
Special Students at the Symphony Sponsor
Junior Symphony Ball
DSOkids.com Sponsor
Verizon Foundation
A big round of applause to the Dallas Symphony Orchestra League
Volunteers who so graciously serve as ushers for Youth Concerts.
Page 38

Bach to the Future Teacher`s Guide

Transcription

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