Teacher`s Guide for Discover/neXt Generation Concerts

Transcription

Atlanta Symphony Orchestra
Listen!
A Guide to the ATLANTA
SYMPHONY ORCHESTRA
2004-2005
Young People’s Concerts
Laura Jackson, ASO conducting fellow
CLASSICAL
MUSIC:
Matter
A
of
Style
Orchestral Suite #3, Gigue
J. S. Bach
Symphony No. 25, 1st Movement
Mozart
Finlandia
Sibelius
What’s your style? Do you wear jeans and sneakers? Do you
Prelude to the Afternoon of a Faun
prefer khakis and a button-down shirt? Or do you like to dress
up? We use the word style to mean many things. It can mean
the way you dress, the cars you like or the way you behave.
Five Pieces for Orchestra, Mvt. #1
Debussy
Webern
Suite No. 2 for Small Orchestra,
Galop
Stravinsky
H
We will ask you to listen for the things that create musical style. Ask
yourself: Do you hear violins or electric guitars? Do you hear just one
melody over and over? Or do you hear several different melodies? Is
the orchestra small or large? What is the most important thing in the
music – the melody, the rhythm, the harmony or the form?
ave you ever seen a picture of your mom or dad when they were
teenagers? Why do they look different? Their hairstyles and their
clothing styles have probably changed.
In music, style also means many things. Music can be in a rock
style. It can be in a Spanish style. Or maybe it’s in a church style.
You will hear classical music from four hundred years ago. You’ll also
hear music that was written in the 20th Century. A lot of changes
have happened in that time. We hope you discover your favorite style
of classical music.
When we talk about classical music, we also use the word style. All
classical music is not the same. Classical music styles have changed
a lot over the years. In the ASO Young People’s Concert at
Symphony Hall, you will learn how the styles have changed.
Timpani
Percussion
Trumpets
French Horns
Piano
Clarinets
Trombones
Tubas
Bassoons
Harp
Second Violins
Flutes
Basses
Oboes
Violas
First Violins
Cellos
2
2
The Teacher’s Guide
Classroom Internet Resources
THE ARTIST’S TOOLBOX
In school year 2004-2005, we will explore
Classical Music: A Matter of Style. Style is defined
as “a characteristic way of using the elements of
music.” The evolution of style is a subject that
pervades our society.
Style is the result of critical decisions made by
the composer. These decisions concern how each
of the elements of design is used to create the
finished product. The elements of the arts – line,
color, rhythm and form – are the material out of
which all designed things are created. In music,
we call line melody and we call color tone color.
Tone color refers to the characteristic sounds of
the instruments and how those sounds are
combined. We think of rhythm as a purely musical
concept. There is visual rhythm as well. When
lines and shapes are repeated in a visual artwork,
the result is visual rhythm. Form is present in all
designed things. Form is the structure,
organization or arrangement of the materials of
music, visual art, dance, architecture, etc. In
previous years, the Atlanta Symphony Orchestra
Young People’s Concerts have explored some of
the elements of music. This year, we will see how
they each help create style in music.
Your students will hear classical music from a
four-hundred-year period. We will learn how the
elements of classical music have evolved over
that time. We will explore some of the greatest
music of those centuries. Each piece was chosen
because it is typical of its stylistic period.
Explain to your students that the word classical is
used in two ways. When we say “classical music,”
we’re talking about music that has stood the test of
time. We use the term to designate concert music
over a period from the Middle Ages to the present.
It might be useful to point out that people did not
always make the strict distinction we make today
between “popular” music and classical music.
Classical music was the popular music of the
middle and upper classes in pre-twentieth century
Europe. There were other genres of music – sacred
music, dance music, folk music, etc. – but nothing
to compare with 20th century popular music.
Today’s popular music is very much a product of
electronic media. Prior to the advent of those
media, “popular” music was whatever people
happened to like. For many people, their favorite
music was what we now call “classical” music.
We use the term Classical (usually capitalized) to
describe European music of around 1750-1820.
Music of the Classical Period is characterized by a
graceful and light quality. Artists of all kinds
idealized the Classical Greek and Roman cultures
with their emphasis on balance, purity of form
and ordered beauty.
We will also examine classical music from other
periods of history: the Baroque Period (1600-1750),
the Romantic Period (1820-1900), the Impressionist
Period (1890-1915) and the 20th Century. The dates
of these periods often overlap, because new styles
emerge while old styles continue for a while.
This concert lesson
provides ample opportunity for connections
with the other parts of
the curriculum. Please
refer to the Curriculum
Connections page for
ideas. Especially encourage students to
examine the historical
events of each period.
Music and the other
arts often reflect the
attitudes of the time.
These websites will help you and your students
explore this topic further. You might want to
familiarize yourself with them as you prepare to
teach these lessons.
This website can be used for a learning center.
Kids can explore the elements of music on
their own:
http://www.stthomas.edu/cmd/musicpreview/
For an introduction to music of every style
period, see http://www.essentialsofmusic.com
Explore the elements of music: melody, rhythm,
harmony, texture, form, tempo and dynamics.
http://www.wwnorton.com/college/music/
enj9_lessons/Part_1/uniti.htm
This website has visual and auditory files
spanning music history from medieval times
through the present:
http://www.ipl.org/div/mushist
After students hear a
piece of music from
each period, we will
This timeline is useful for every subject in the
curriculum: http://wcpe.org/timeline
ask how the music
elements have changed
Another good timeline:
in contrast to the
http://library.thinkquest.org/22673/timeline.html
previous period. Use
this as an opportunity
to hone students’ skill of comparing and contrasting.
We are happy to welcome you to this year’s ASO
Young People’s Concerts. Please let us know if we
can assist you in any way to prepare your
students for the concert.
Teacher A
H OW T O U S E T H I S G U I D E
T
he teacher’s guide to Classical Music: A Matter of Style is organized around the Atlanta Symphony
Orchestra concert your students will hear at Symphony Hall. For each music selection on the
program you will find a copy of the student materials for that piece, and, on the facing page,
strategies for presenting the student material and extending the lesson. Each lesson is correlated with
Share the Music (McGraw-Hill) textbook series and with the Georgia Quality Core Curriculum.
Supplementary activities for visual art, language arts, social studies, mathematics and science appear in
the back of the book.
We believe that music is essential to a complete education. We hope you will take full advantage of this
guide and the other materials provided so that your students can in turn be knowledgeable and eager
participants in the wider culture of their city and their world.
Students will receive the maximum benefit from their concert experience if the abundant connections
between music and the other parts of the curriculum are emphasized. The materials in this guide will
help you to make those connections. We urge you to share these materials with all of your colleagues
who teach the students attending the concert. Share the teaching and multiply the results! Additional
copies of the Teacher’s Guide videotape and audiotape are available by calling 404-733-4871.
Alternatively, you may download the print materials from www.atlantasymphony.org/education.
We welcome your comments and questions. After using these materials and attending the concert,
please take a moment to complete the evaluation form you will receive at Symphony Hall. Staff
assistance with these materials is available by calling the ASO Education Department at 404-733-5038.
LESSON OUTLINE
Each student lesson includes the following components:
• Background information about the music
• Background information about the composer
• Activities to do after viewing a section of the video or hearing the CD
The teacher pages provide:
• Further interesting background on the music and/or composer
• Strategies for presenting the student activities
• Correlation with music textbooks
• Correlation with the Georgia Quality Core Curriculum
• Other Resources, including websites, books and recordings for further study
The Curriculum Connections section includes visual art, science, social studies, language
arts and mathematics activities to support the musical style theme.
Teacher B
RECOMMENDED SEQUENCE
OF INSTRUCTION
T
hese materials were designed for use in many different
instructional settings. Whether you are a 3rd grade classroom
teacher, a middle school orchestra or general music teacher or a
home-school instructor, the lessons are designed so that anyone can
teach them. Adaptations may be necessary. The important thing is that
students have an opportunity to explore all of the materials in
preparation for the concert. Their enjoyment and yours will be greatly
enhanced.
1. Teacher preparation: Read all of the materials. Preview the 30-minute
videotape.
2. Have students read the introduction in their booklet first.
3. View the videotape. You might show a section of the videotape (it’s
clearly divided) each day over several days or you may play it all in
one day. The videotape indicates where to pause and play the entire
composition on the CD. Follow each videotape section with the
reading and activities in the student booklet. Each lesson should take
no more than 15 minutes and (for grades 3-5) provide good transition
time between other subjects. If you teach middle school music
classes, an entire class might be devoted to the videotape and
activities, or use the lessons as a beginning or closing activity for
several classes. Several activities require additional opportunities to
hear the entire composition. You might also use the CD for casual
listening any time.
4. The integrated curriculum activities in each subject area might be
taught at the same time you present the music activities or after the
entire videotape and all music activities are presented. You will
probably see possibilities for incorporating these activities into other
subject lessons, creating stronger connections among the parts of the
curriculum. Be sure to share the integrated curriculum activities with
the students’ other teachers.
5. Please send the student booklet home for parents to see. It includes
a note to parents regarding other concert opportunities for the
whole family.
CURRICULUM CONNECTIONS
Objective: 9
Science and Mathematics
There are many ways to integrate learning in music with learning across the
curriculum. The most effective method organizes learning around themes. The
choice of theme will dictate the depth and value of the integrated learning.
Style is an excellent theme for organizing integrated learning.
Topic: Motion/Force/ Machines
Standard: Explains and infers with everyday examples that objects in motion
stay in motion and those at rest stay at rest.
The evolution of style is evident through a study of history. The style choices
people make are in large part influenced by the social attitudes of the day.
Connecting the evolution of politics, philosophy, science and the visual and
literary arts to the evolution of musical style is an excellent scheme for
integrating the curriculum. We hope you make use of this valuable learning
tool and consider the following lesson ideas.
Visual Arts
The visual arts and music are closely linked in the evolution of style over history.
Ask students to choose a style period and research the development of painting
during that period. Compare and contrast the use of color, line, rhythm and
structure in both art forms. Have students look at this website to learn about the
elements of art: http://www.sanford-artedventures.com/study/study.html. Use a
Venn diagram to indicate similarities and differences.
Ex: In the Baroque Period, painting emphasized dramatic contrast in light and
dark colors and large and small masses in the subject matter. This compares to
the use of sudden and dramatic contrasts in loud and soft dynamics or between
larger and smaller groups of instruments in various sections of Baroque music.
Further, line in painting and architecture was elaborate – often using “fast
curves” (lines that change direction frequently). Baroque melody lines reflect this
exuberant, highly decorated use of line. Go to this website for examples of
Baroque painting: http://www.metmuseum.org/toah/ho/08/eusts/ho_52.81.htm
Listen to the Bach Orchestral Suite #3 while viewing the artworks. Ask your art
teacher to expand on this activity.
Paint on
canvas
has
subject:
Musicians
wavy lines
big
contrasts
Topic: Reference Skills
Standard: Uses encyclopedias, science reference magazines, books and other
media to obtain information related to science concepts.
Topic: Science Inquiry, Process Skills and Problem Solving
Standard: Asks questions, makes and keeps records of observations,
classifies objects and events, communicates with others, makes inferences and
predictions, uses estimation and measurement, uses evidence to construct
explanations, makes sketches and diagrams to explain ideas, organizes data
into tables and charts for interpretation, reads and interprets various types of
graphs, formulates simple hypotheses, identifies and controls a limited number
of variables, and designs a simple experiment.
1. Science plays a big part in the invention and improvement of instruments
throughout history. Ask students to research ancient instruments, then
choose one or two. Track the evolution of the instrument. How has it
changed? Why has it changed? How did the changes affect the style of
music? Great links to websites surveying the history of musical instruments
can be found at http://www.oae.co.uk/links.htm
2. An understanding of the science of acoustics enabled us to improve
instruments. Ask students to research the science of acoustics and explain
how the principles of acoustics operate in one of the wind instruments
(flute, oboe, bassoon, French horn, trumpet, trombone or tuba). This
website is a good place to start: http://en.wikipedia.org/wiki/Acoustics .
3. Ask students to choose a stylistic period, read about the scientific or
mathematical developments of the period, then discuss their impact on
the attitudes of the time. For science topics, begin at
http://www.crimsonbird.com/science/timeline.htm . For mathematics topics,
try http://www.math.sfu.ca/histmath/math380notes/math380.html . How is
this attitude reflected in the music, the development of instruments and
the status of composers and musicians of the period?
musical
sound
Language Arts
has no
subject
Topic: Reading
Standard: Draws conclusions, makes predictions, compares/contrasts, and
makes generalizations.
Topic: Reference/Study
Standard: Uses research processes
Topic: Writing
Standard: Writes in a variety of genres to include: content area pieces
Have students choose a stylistic period and research the poetry and prose of
the period. How do the themes and moods of the literature compare with the
themes and moods of the music? Is the ideal “classical” (more interested in
form than emotion) or is it “romantic” (concerned with high emotions and
exotic themes)? Trace the alternation of romantic and classical ideals from the
Baroque period through the 20th century.
Social Studies
Topic: Culture
Standard: Gives examples of and demonstrates how culture in the United
States is reflected through art, music and literature during different historical
periods
Topic: Information Processing
Standard: Determines adequacy, relevancy and consistency of information for
justifying conclusions or generalizations.
Topic: Time and Chronology
Standard: Makes timelines sequencing a series of events.
Standard: Develops and interprets charts, tables, timelines, graphs, diagrams
and other graphic aids.
Standard: Determines sequences of events and identifies cause and effect
relationships.
1. Make a timeline beginning with 1600 and ending with 2004. Note the
scientific, political, artistic, scientific and musical events of importance
during each period. Choose one period for an essay, a story or a play about
the characters and events of the day. Imagine a conversation between
Newton and J.S. Bach. What would they talk about? Would they know about
each other’s work? What can they tell us about living in their time?
2. Have students research fashion over a specific period. Ask them to stage a
fashion show of the period, creating costumes from materials at hand.
3. Ask, “How has transportation (or communication, or sound reproduction,
movies, etc.) changed over time? How have those changes affected the way
we listen to music or perform music?” Have students design a research
project or create a scrapbook of clippings, drawings or photocopied
examples with captions.
Teacher C
T H E B A RO Q U E P E R I O D 1 6 0 0 - 1 7 5 0
Johannes Sebastian Bach (1685-1750)
e call the years from 1600 to 1750 the Baroque Period. It was a
very exciting time. People were coming up with new ideas in
science. People were getting rich selling things from the New World.
W
Here are some things to notice about Baroque music. In each section,
the music stays at one speed. It has only one melody. It also has just
one mood. The orchestra was small. It had no more than twenty
players. You can hear each instrument clearly.
You may think that Baroque music is simple. It is not. Sometimes the
melody is very decorated. The music makes us have strong feelings.
The rhythms are full of energy. The volume changes suddenly by
taking away or adding instruments.
Activity: Listen to Bach’s “Gigue”. Think about what you hear. Decide which
answer is correct for each element of the music on the left side of the chart.
Circle the right answer.
MUSIC ELEMENT
CHOOSE ONE
MELODY
One melody
More than one melody
Changes
TEMPO (speed)
Stays the same
DYNAMICS (volume)
Stays the same
Changes suddenly or gradually
BEAT
Easy to hear
Hard to hear
RHYTHM
Simple
Complex
MOOD
One mood
Many moods
HARMONY (scales and chords)
Simple
Complex
FORM (structure)
Simple
Complex
(one melody or “theme”)
(contrasting themes)
ORCHESTRA
Small or medium
Very large
TONE COLOR (use of instruments)
Dark and heavy
Light
INSTRUMENTS (circle the ones you hear)
Strings
About the
COMPOSER
Woodwinds
Brass
Percussion
Keyboard
Violin
Flute
Trumpet
Timpani
Harpsichord
Viola
Oboe
Trombone
Snare drums
Piano
Cello
Bassoon
French horn
Cymbals
Organ
Tuba
Bass drum
Double bass
Harp
Johannes Sebastian Bach
became an orphan at age 10.
His older brother took care
of him. His brother taught
him to play the organ. Bach
walked many miles to learn from
great organ players in other towns.
Bach also learned to play the violin.
Bach worked as a church organist. He was also a
music director and teacher. We think of Bach as a very famous
composer. He wasn’t famous while he was alive. It was just his job to
write new music every week for his bosses.
4-5
A “suite” is a group of dances. Suites aren’t really
meant for dancing. They are meant for listening. Their
style and rhythm is the same as real dances, though.
A gigue (zheeg) is a lively dance. Does “gigue”
remind you of the word “jig?” You dance a jig when you are happy.
About The
Music
T H E B A RO Q U E P E R I O D 1 6 0 0 - 1 7 5 0
Johannes Sebastian Bach
(1685-1750)
Objectives: 1, 2, 3, 4, 5, 8, 9, 10, 12, 13, 14, 15
Resources: http://baroquecds.com/musamples.html Website contains over 2 hours
of listening examples for Baroque music
http://library.thinkquest.org/22673/orchestra.html An interactive survey of the
instruments. See and hear each of the instruments.
Text Correlations: Gr. K: T292, T259; Gr. 1: T275; Gr. 2: pp. 42, 132; Gr. 3: p. 103;
Gr. 5: pp. 280, 391C; Gr. 6: pp. 52, 102
More About the Baroque Period
The Baroque Period was a time of great change. Descartes, Newton, Galileo and
Copernicus were creating the foundations for modern math and science. The
middle class was emerging to rival the power of the aristocracy. Religion was in
turmoil. The Protestant Reformation and the Catholic Counter-Reformation were
boiling. The world was expanding. The conquest of the New World stirred the
romantic imagination of the age.
Much was new in Baroque music, as well. In contrast to the preceding Renaissance
Period, instrumental music in many new forms became as important as vocal music.
The music itself is all about action and movement. The beat is relentless. The
orchestra (a completely new idea in music) was a flexible group of up to 20
musicians.
The new system of major and minor keys was devised. For the first time, keyboards
were tuned in equal temperament, meaning that you could play in all of the 24
major and minor keys without re-tuning the harpsichord. The harpsichord was the
primary keyboard instrument.
Harpsichord players improvised based on a shorthand method of notating the
harmony called figured bass. Printing was slow and expensive. Music was written
“to order” for the week’s festivity or church service, so time was short. Figured bass
saved time and money.
More About the Music
The Baroque suites are sets of dance-inspired movements from one to several
minutes long. The movements have a variety of national origins, including France,
Germany, Spain, England and Ireland. Some of the dances are formal, while others
were originally folk dances. The movements are usually in two-part form, with each
part repeated: AABB. The B section is the completion of the A section and is based
on the same melodic material.
Baroque suites begin with an overture, usually a slow movement that is not
dance-inspired. In Bach’s time, the whole suite was called an “overture.” Baroque
oratorios and operas also began with an overture. The gigue movement is fast
and rollicking. It comes from the English/Irish “jig.” By the 18th century, the
gigue had been standardized as the last of the four regular dances of the suite.
More About the Composer
Johannes Sebastian Bach came from generations of musicians. Composition wasn’t
his pastime. Like other Baroque composers, it was his daily work as a church and
civic musician. He wrote nothing for the stage. All of his music had an immediate
use and purpose in the setting of his work.
Activity #1:
MUSIC ELEMENT
ANSWERS
MELODY
One melody
TEMPO (speed)
Stays the same
DYNAMICS (volume)
Stays the same
BEAT
Easy to hear
RHYTHM
Complex
MOOD
One mood
Complex
FORM (structure)
Simple
ORCHESTRA
Small or medium
Light
Strings
Violin
Viola
Cello
Woodwinds
Oboe
Brass
Trumpet
Percussion
Timpani
Keyboard
Harpsichord
Teacher D
THE CLASSICAL PE RIOD 1750-1825
Symphony No. 25, 1st Movement – Allegro con brio
Wolfgang Amadeus Mozart
(1756-1791)
Activity #1: Listen to Mozart’s Symphony #25, 1st movement. Think about what
you hear. Decide which answer is correct for each element of the music on the
left side of the chart. Circle the correct answer.
MUSIC ELEMENT
There were new forms of music in the Classical
Period. The symphony was one type of new music.
A symphony is a long piece of music. It has four
sections. The sections are called “movements.” The
first movement is lively. It has two melodies. A whole Classical symphony
is about 30 minutes long.
About The
CHOOSE ONE
MELODY
One melody
TEMPO (speed)
Stays the same
Changes
DYNAMICS (volume)
Stays the same
BEAT
Easy to hear
Hard to hear
RHYTHM
Simple
Complex
MOOD
One mood
Many moods
You hear each theme at the beginning of a symphony. Then the
composer changes the two themes. Sometimes the tune is broken into
small parts. Sometimes the composer adds notes. Usually, the key is
changed. Finally, you hear the first two themes again.
Simple
Complex
FORM (structure)
Simple
Complex
Mozart’s 25th Symphony is the first one he wrote in a minor key. He was
trying out a new way of writing. He was only 16 years
old. He wrote Symphony #25 in just two days.
Music
ORCHESTRA
Small or medium
Very large
Dark and heavy
Light
Strings
Woodwinds
Brass
Keyboard
Flute
Trumpet
Timpani
Harpsichord
Viola
Oboe
Trombone
Snare drums
Piano
Cello
Bassoon
French horn
Cymbals
Organ
Tuba
Bass drum
Double bass
About The COMPOSER
Harp
Mozart played the piano very well. When he was
six years old, his father took him all over Europe to
show off his talent and make money.
Mozart could also write music. He wrote his first piece at five years old.
He wrote his first two symphonies at ages eight and nine. He and his
talented sister were called “miracle children.”
Wolfgang lived a very
short life. He died
when he was only
thirty-five years old.
He wrote over 600
pieces of music in
that short time.
Activity #2: Now compare and contrast Bach’s and Mozart’s musical styles. When
you say that two things are alike, you are comparing. When you say that two
things are different, you are contrasting. Decide how the styles are different or
alike. Look at the charts on page 5 and 7 to make your decisions.
MUSICAL ELEMENT
TEMPO (speed)
DYNAMICS (volume)
BEAT
RHYTHM
MOOD
FORM (structure)
ORCHESTRA
INSTRUMENTS
6-7
Percussion
Violin
Bach Only
(different)
Both
(alike)
Mozart Only
(different)
THE CLASSICAL PE RIOD 1750-1825
Symphony No. 25, 1st movement - Allegro con brio
Wolfgang Amadeus Mozart
Objectives: 1, 2, 3, 4, 5, 7, 8, 9, 10, 12, 13, 14, 15
Resources: http://www.mozartproject.org The best website on Mozart and his music.
www.stringsinthemountains.org/m2m An interactive story of Mozart’s life for grades 3-6.
http://library.thinkquest.org/22673/symphonies.html Hear Mozart’s “Great” G Minor Symphony #40
http://library.thinkquest.org/22673/forms.html A full discussion of the symphonic form.
Mike Venesia, Wolfgang Amadeus Mozart (Getting to Know the World’s Greatest Composers)
Text Correlations: Gr. 1: T322; Gr. 2: pp. 266, 343A; Gr. 3: pp. 22, 148, 359E; Gr. 4: p. 361C;
Gr. 5: p. 391E
More About the Classical Period
The Classical Period is marked by both a sense of order and great upheaval. In the midst of political
revolution, composers, artists and sculptors returned to the ideal of the Classical Greek and Roman
cultures – seeking to create balance, order and poised beauty in their works of art. A balance
between intellect and emotion was the ideal of the age.
The great Classical composers, Mozart, Haydn and Beethoven, all changed their styles over their
lifetimes – gradually emerging at the end of the period with Beethoven’s last works, which ushered
in the Romantic Period.
Mozart and his sister Nannerl can be compared with musical prodigies of today. That doesn’t capture
the extraordinary quality of Mozart’s gifts, however. He was a true genius. He was not only a brilliant
performer, but also a composer of enormous ability at an unusually young age. Lead your students
in a discussion of the kind of education and practice it takes to play an instrument well or compose
great music. Mozart was born with the skills other composers work a lifetime to acquire.
Activity #1:
MUSIC ELEMENT
Answers
MELODY
TEMPO (speed)
DYNAMICS (volume)
Changes
BEAT
RHYTHM
MOOD
FORM (structure)
ORCHESTRA
Easy to hear
Simple
Many moods
Simple
Complex (contrasting themes)
Small or medium
Light ones you hear)
(1756-1791)
INSTRUMENTS
Strings
Violin
Viola
Cello
Double bass
Woodwinds
Flute
Oboe
Bassoon
Brass
French horn
Mozart’s last years were difficult. He was always paid well for his work, but he managed the money
badly and was in constant need. Just as it appeared he was entering an easier time with an annual
stipend from a patron, Mozart died. He left his current project, his brilliant Requiem, unfinished. He
was buried in an unmarked grave in Vienna.
In 1773, Mozart was working as the music director at the Prince Archbishop’s court in Salzburg.
His relationship with his patron was not a happy one. His 25th Symphony was written during
a period when Mozart had just traveled to Vienna in search of a better job. He returned
disappointed. It is one of only three symphonies Mozart wrote in a minor key. This one is
dubbed the “Little G Minor Symphony” to differentiate it from the “Great G Minor Symphony”
#40. Both were written during a time of great stress for Mozart. Perhaps that accounts for the
choice of a minor key. In any case, the completion date for the 25th Symphony is just two
days after the completion date of the 24th
The “Little G Minor” is, in fact, small – both in length and in complexity. The first movement is in
typical Classical style. The form of the movement is sonata-allegro. Two themes are presented at
the beginning (Exposition). The first theme is bombastic, the second, calmer and less aggressive.
The themes are then very briefly developed. Fragments of the themes modulate to new keys
(Development). Then, the first two themes are presented again in their original form
(Recapitulation). The movement is simple and straightforward. The Development section is brief,
and it is easy for the students to hear the slight changes made to the themes. A coda, which
draws on the first theme material, concludes the movement.
Activity #2:
If you prefer, allow
the students to do
“team listening.”
Ask each student to
listen for one
element, i.e.
rhythm, melody, etc.
Then ask the
students to work
together to
complete a Venn
diagram comparing
and contrasting the
two pieces.
Bach
Mozart
Same tempo
Tempo changes
Same volume
Volume changes
Complex rhythm
Beat easy to hear
Simple rhythm
Small to med. Orchestra
One Mood
Many moods
Complex harmony
Simple harmony
Light
One Melody
Harpsichord
Oboe
All string family
French horn
Bassoon
Teacher E
T H E RO M A N T I C P E R I O D 1 8 2 5 - 1 9 0 0
Finlandia
Jean Sibelius (1865-1957)
Activity #1: Listen to Finlandia. Decide how each element of music is used
in this piece. Circle the correct choice below.
MUSIC ELEMENT
T
he Romantic Period was another time of change. Once again, the
people got tired of the old music. They wanted music that expressed
lots of feeling. Many countries were trying to free themselves from
foreign control. Some people needed music that expressed their love for
their country.
When Sibelius wrote Finlandia in 1899, Finland
was controlled by Russia. The music made the
Finnish people feel brave. The Russians didn’t
like the music. The Finns played
it anyway. They just called it a different name.
Finlandia was Finland’s favorite piece of
music. People wrote words to the music.
People sang the melody. Finlandia
made Sibelius a hero.
About The
Music
CHOOSE ONE
MELODY
One melody
TEMPO (speed)
Stays the same
Changes
DYNAMICS (volume)
Stays the same
BEAT
Easy to hear
Hard to hear
RHYTHM
Simple
Complex
MOOD
One mood
Many moods
Simple
Complex
FORM (structure)
Simple
Complex
ORCHESTRA
Small or medium
Very large
Dark and heavy
Light
Strings
Violin
Viola
Cello
Double bass
Woodwinds
Flute
Oboe
Bassoon
Brass
Trumpet
Trombone
French horn
Tuba
Percussion
Timpani
Snare drums
Cymbals
Bass drum
Harp
Keyboard
Harpsichord
Piano
Organ
Activity #2: Now compare and contrast the Classical and Romantic pieces
you have heard.
About The COMPOSER
Jean Sibelius was born in Finland. He
loved to write music. His family did not want
him to be a composer. They wanted him to be a
lawyer. He went to law school. He also went to music school.
He finally became a composer.
Sibelius loved his country. He
wrote beautiful music about
Finland. He based his music
on old Finnish stories.
MUSICAL ELEMENT
Mozart Only
(different)
Both
(alike)
Sibelius Only
(different)
TEMPO (speed)
DYNAMICS (volume)
BEAT
RHYTHM
MOOD
FORM (structure)
ORCHESTRA
INSTRUMENTS
Activity #3: Romantic Period music is all about feelings. Describe the
feelings you have as you listen to Finlandia. Do your feelings change as
you listen?
8-9
T H E RO M A N T I C P E R I O D 1 8 2 5 - 1 9 0 0
Finlandia
Jean Sibelius
(1865-1957)
Objectives: 1, 2, 3, 4, 5, 7, 8, 9, 10, 12, 13, 14, 15
Resources:
http://www.abo.fi/fak/hf/musik/Sibelius/EN/1.html A Sibelius family album.
http://library.thinkquest.org/22673/sibelius.html Another good biography.
http://virtual.finland.fi/finfo/english/finlandia.html This site contains the first lyrics written
for the Finlandia hymn.
Text Correlations: Gr. 5: pp. 118-119, 133; Gr. 6: p. 29
More About the Romantic Period
The 19th century was a time of new social order. Nationalism was on the rise. Italy and
Central Europe remained under the yoke of other countries. The time of impersonal,
rational Classical music was over. People wanted music to express their strong feelings.
Emotional depth became the most important criterion for the arts.
The term romanticism comes from the romances of medieval times. The stories and poems
about exotic places, chivalrous deeds and unattainable love became the new subject
matter of 19th century artists and composers.
Romantic composers retained the old forms of the Classical Period, but they were hardly
recognizable in their new guise. Every musical element was used to its extreme. The
dynamic range was greater. Tempos varied tremendously within a single work. The
emotional content was dramatic and exotic. Gone were the cool, detached melodies and
harmonies of the early Classical period. Restraint was not to be found.
Jean Sibelius was truly a national hero in his native Finland. He was a fierce nationalist.
He began life speaking Swedish, as did the majority of Finns. His parents had the foresight
to send him to the only school teaching Finnish at the time. It was because of that
education that he was able to access the myths and legends of his native country.
His seven symphonies, a violin concerto and a number of symphonic poems are part of
the standard orchestra repertoire. His beautiful Finlandia is regarded as the national hymn
of Finland.
Sibelius was forced to leave Finland during the Russian Revolution. He returned when
Finland was finally granted independence from Russia in 1917. He retired into silence at
60 and died at age 91 in 1957.
It’s no wonder that Finlandia had the effect it did on the people of Finland. A more
transparently nationalist piece of music could hardly be written. One immediately senses
the malevolence of the Russian threat and the determined resistance of the people. When
the piece finally resolves into the sweeping hymn to the Finnish homeland, tears come to
the eyes of those who have never set foot on Finnish soil.
The piece is framed in a succession of brief tableaux. The trombones begin with an ominous
two-note figure. Finland’s innocence is proclaimed by the contrasting woodwinds and is
followed by the tragic sound of the strings. (It’s impossible not to attach such emotion-laden
words to the music.) Slowly, the rising dynamic and the rising pitch level create a stirring
impression of the determination of the Finnish people to overcome the oppressor.
The tempo changes dramatically as the belligerent brass section battles against the first
ominous two-note figure in the strings and woodwinds. The strings then stir to life and begin
a slowly rising line culminating with the thrilling trill of the flutes in their highest range. A
pulsating syncopated figure repeats to a climax that then fades into the background.
Out of the near silence, the measured simplicity of the hymn tune emerges. It expands to
include the strings and timpani in a sweeping repeat of the melody. The piece ends with
a return to the triumphal march. Excitement and fervor increase in a concluding section
reprising a fragment of the hymn tune and the final cadence.
Activity #1:
MUSIC ELEMENT
Answers
INSTRUMENTS
MELODY
TEMPO (speed)
DYNAMICS (volume)
BEAT
RHYTHM
MOOD
FORM (structure)
ORCHESTRA
Changes
Easy to hear
Complex
Many moods
Complex
Very large
Light ones you hear)
Strings
Violin
Viola
Cello
Double bass
Woodwinds
Flute
Oboe
Bassoon
Brass
Trumpet
Trombone
French horn
Tuba
Percussion
Timpani
(Triangle)
Activity #2:
MUSICAL ELEMENT
TEMPO (speed)
DYNAMICS (volume)
BEAT
RHYTHM
MOOD
FORM (structure)
ORCHESTRA
INSTRUMENTS
Mozart Only
Both
Sibelius Only
(different)
(alike)
(different)
Changes
Changes
Easy to hear
Complex
Many moods
Simple
Sonata-allegro
Small to medium
Light
All strings
All woodwinds
French horn
Complex
Tone poem
Very large
Dark and heavy
Timpani
Trombone
Tuba
Triangle
Teacher F
T H E I M P R E S S I O N I ST P E R I O D 1 8 9 0 - 1 9 1 5
Prelude to the Afternoon of a Faun (L’apres-midi d’un faune)
Claude Debussy (1862-1918)
Activity #1: Listen to Afternoon of a Faun. Decide on the correct answers for
each element of the piece. Circle the correct answers.
MUSIC ELEMENT
About the Impressionist
Period
The new century was beginning. The world was changing. Composers wanted
a change, too. They were tired of those big Romantic orchestras. They were
tired of all the drama.
Artists were already making a big change. The new paintings looked blurry.
Artists didn’t try to copy the scene exactly as they saw it. They tried to give an
“impression” of the things they saw. They wanted to show how different light
changes the scene. Many people didn’t like the new art style at first.
Composers began to break the old rules, too. They used new scales. The old
major and minor scales were not enough. They tried scales from Eastern
countries. They used the whole-tone scale. They also blurred the beat. The
melodies seemed to “float.” They gave the listener an “impression” of the mood.
The pieces were shorter. The orchestra was smaller. Impressionist composers
loved to use the harp in their music. The instruments sounded light and airy.
About The
Prelude to The Afternoon of a Faun is Debussy’s musical
impression of a story. The story was in a poem written
by a friend. In the story, a mythical creature – a faun
(half human and half animal) –
dreams he falls in love with
two beautiful girls. Debussy gives the flute the main solo.
The sounds seem to drift like a dream. It’s very hard to
hear the beat. This music is called a “tone poem” – a
poem in sound. The audience loved the piece. So did
Debussy’s poet friend.
Music
About the COMPOSER
Claude Debussy said, “The age of the airplane needs its own
music.” He created music like no one had heard before. His style
set the stage for 20th century music.
Claude was born near Paris. Other children teased him. He looked a little different
from most people. He was often angry. He rebelled against his music teachers.
He did things his own way. Now we see him as the greatest composer of the
Impressionist Period.
10-11
CHOOSE ONE
MELODY
One melody
TEMPO (speed)
Stays the same
Changes
DYNAMICS (volume)
Stays the same
BEAT
Easy to hear
Hard to hear
RHYTHM
Simple
Complex
MOOD
One mood
Many moods
Simple
Complex
FORM (structure)
Simple
Complex
ORCHESTRA
Small or medium
Very large
Dark and heavy
Light
Strings
Violin
Viola
Cello
Double bass
Woodwinds
Flute
Oboe
Bassoon
Brass
Trumpet
Trombone
French horn
Tuba
Percussion
Timpani
Snare drums
Cymbals
Bass drum
Harp
Keyboard
Harpsichord
Piano
Organ
Activity #2: Compare and contrast Romantic music with the music of
Impressionism.
MUSICAL ELEMENT
Sibelius Only
(different)
Both
(alike)
Debussy Only
(different)
TEMPO (speed)
DYNAMICS (volume)
BEAT
RHYTHM
MOOD
FORM (structure)
ORCHESTRA
INSTRUMENTS
Activity #3: After you listen to the music, use crayons, markers or paint to
make a picture of the faun and his dream. Will you use bright colors or pale
colors? Will you use square shapes or rounded shapes? Try to imitate the
mood of the music.
T H E I M P R E S S I O N I ST P E R I O D 1 8 9 0 - 1 9 1 5
Prelude to the Afternoon of a Faun, (L’apres-midi d’un faune)
Claude Debussy
(1862-1918)
Objectives: 1, 2, 3, 4, 5, 7, 8, 9, 10, 12, 13, 14, 15
Resources:
http://public.srce.hr/%7Efsupek/ A site with pictures of Debussy and midi files of music.
http://bbc.co.uk/music/profiles/debussy.shtml This site has several links to other information on Debussy.
http://www.dieu-soleil.net/impressionist.html Compare the visual arts with the music of Impressionism.
Text Correlations: Gr. 3: p. 359G; Gr. 4: pp. 309, 361G
More About the Impressionist Period
Impressionism marks the end of total reliance on the major-minor system in music. In that
tonal system, the harmony gravitates to the “tonic” note – the note upon which a scale is
based. This expectation of resolution to the tonic was (and is) so ingrained in Western ears
that any departure from it is at first unsettling.
Debussy took the big leap into a new tonal language. He explored unresolved dissonance,
Eastern tonality, parallel motion, whole-tone scales. In other words, he broke nearly every
prevailing rule of harmony established since the time of Bach.
Debussy was fascinated with pure sound. He didn’t rely on rhythmic pulse, harmonic motion
and distinct melody. He blurred the line between melody and harmony. He allowed the
harmony to “float” in a static state. He abandoned the strict forms of previous periods,
creating shorter compositions that were almost like dream-states.
The Impressionist Period was brief, but it was the line drawn between the past and the future
of music. From this period to the present, experimentation with the elements of music has led
in many directions, some embraced by the public, some not.
Afternoon of a Faun captures the atmosphere of Stephane Mallarme’s poem by the same title.
Debussy associated with poets and painters of the period. One can easily see the influence that
other arts had on the music of Debussy.
The flute solo representing the faun is one of the favorite flute solos of all orchestral music. The piece
is a long variation on one theme. The whole-tone scale, the pentatonic scale and even major and minor
scales are used. The tone color can only be described as “iridescent,” with a predominance of flute and
other woodwinds, harp and strings. The subtle French horn is the only representative of the brass family.
Percussion is absent except for the gentle tinkle of the tiny antique cymbal.
The meter shifts back and forth between duple and triple meters. This hardly impacts the listener, however.
Meter seems to be almost absent except in parts of the middle section. The return of the flute solo in the
final A section begins a decrease in energy. The pulse can only be described as languorous.
Activity #1:
MUSIC ELEMENT
Answers
INSTRUMENTS
MELODY
TEMPO (speed)
DYNAMICS (volume)
BEAT
RHYTHM
MOOD
FORM (structure)
ORCHESTRA
Changes (slightly)
Hard to hear
Complex
One mood
Complex
Small or medium
Light ones you h
Strings
Violin
Viola
Cello
Double bass
Woodwinds
Flute
Oboe
Bassoon
Brass
French horn
Percussion
Cymbals
(small antique)
Harp
Activity #2:
Claude Debussy’s family recognized his talent very early in his life. At ten years of age, he was
accepted into the Paris Conservatory to train as a concert pianist. After both success and
failure as a performer, he changed his focus to composition. At 32 he wrote his first important
orchestral work, the tone poem Prelude to the Afternoon of a Faun.
Debussy loved everything French. He saw his compositional style as an expression of French
sensibilities, in contrast to the heavier Germanic expression of Wagner, Mahler and Strauss. He
wrote, “The primary aim of French music is to give pleasure.” This attention to the purely
sensuous quality of music led him to break tradition to achieve his aim.
Afternoon of a Faun was well received by its first audience in 1894. In 1912, Serge Diaghilev,
impresario of the Ballet Russes, presented Vaslav Nijinsky’s choreographed version of the
music. The ballet is now a staple of the dance repertory.
MUSICAL ELEMENT
TEMPO (speed)
DYNAMICS (volume)
BEAT
RHYTHM
MOOD
FORM (structure)
ORCHESTRA
INSTRUMENTS
Sibelius Only
Both
(different)
(alike)
Changes a little
Changes a little
Easy to hear
Debussy Only
(different)
Changes a lot
Changes a lot
Hard to hear
Complex
Many moods
One mood
Complex
Tone poem
Very large
Dark and heavy
Trumpets,
Trombones
Tuba
Timpani
Triangle
Small to medium
Light
All strings
All woodwinds
French horn
Harp
Antique cymbal
English horn
Activity #3: After the students have created their art works, show them examples of Impressionist
paintings by Monet and Renoir. Ask them to compare and contrast their work to the Impressionist
masters in their use of color, line and shape. Note that Impressionist painting might have influenced
Impressionist music. Ask: Can Impressionist music influence Impressionist visual art?
Teacher G
T H E 2 0 T H C E N T U RY 1 9 0 0 - 1 9 9 9
Anton Webern (1883-1945)
COMPOSERS
and THEIR MUSIC
About the
Suite #2 for Small Orchestra, Galop
Igor Stravinsky (1882-1971)
About the
20TH CENTURY
The 20th century saw more change than any other century. There were two
World Wars. As a result, even the boundaries of countries changed.
Technology changed the way we live. We went from the first cars to space
travel. We went from the first telephone to e-mail. We went from the first
phonograph to CDs.
At the very beginning of the century, Debussy broke a lot of the old rules in
music. Now composers could do anything they wanted. Some of them did
some odd things. Many people loved that. A lot of people didn’t.
Some 20th century music sounded strange to our ears. Some composers did
not use the scales we were used to. Some of them composed music by
mathematics. Some ignored all of the old rules. Anton Webern was one of
those composers.
Other 20th century composers kept most of the old harmony rules. They played
around with rhythm a lot. They used instruments in new ways. Their music
does not seem so strange. Igor Stravinsky was that kind of composer.
Activity #1: Listen to both 20th century pieces. Compare and contrast
the music of Webern and Stravinsky.
MUSICAL ELEMENT
TEMPO (speed)
DYNAMICS (volume)
BEAT
RHYTHM
MOOD
ORCHESTRA
INSTRUMENTS
12-13
Webern Only
(different)
Both
(alike)
Stravinsky Only
(different)
Anton Webern grew up in Austria. The first music he wrote
sounded like Romantic music. Then he learned a new way to
think about music. In his new style, each piece is very, very
short. It is atonal. That means the melody and harmony don’t
have a “home.” This confuses our ears. The melodies leap
around a lot. You would have a hard time singing them!
The 1st movement of Five Pieces for Orchestra is only 37 seconds long. The music is
very soft. It never gets loud. You hear many different instruments. It’s hard to hear a
melody. The result is spooky and strange.
Igor Stravinsky was born in Russia. He had a long career and
became very famous. He wrote in many different styles. At first,
he wrote music for the ballet. He always loved to write dance
music. His rhythms were very exciting. It changed the way
dancers danced. He used lots of different instruments.
Sometimes he used folk tunes in his music.
Stravinsky’s Suite No. 2 for Small Orchestra was first composed
for his children to play on the piano. It is a group of dances like
waltzes and polkas. The Galop was the most “Russian” of the dances in the Suite.
Stravinsky was thinking about the dancing in Russian dance halls. Stravinsky was
using an old form (remember the Bach Orchestral Suite?). He added his own bright
instruments and exciting rhythms to give it a modern feel.
Activity #2: After hearing both 20th century pieces, compare and contrast them
with music of the Impressionist Period.
1. What is the biggest difference between the music of Debussy and Stravinsky?
How are they the same?
2. How are the pieces by Debussy and Webern alike? How are they different from
each other?
T H E 2 0 T H C E N T U RY 1 9 0 0 - 1 9 9 9
Anton Webern (1883-1945)
Suite #2 for Small Orchestra, Galop
Igor Stravinsky (1882-1971)
Objectives: 1, 2, 3, 4, 5, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16
Resources: http://www.antonwebern.com An interactive and thorough website on Webern and
his work.
http://www.time.com/time/time100/artists/profile/stravinsky.html A Time Magazine article on
innovators of the 20th century. Includes Stravinsky’s Time Magazine cover picture.
http://www.island-of-freedom.com/STRAV.HTM Includes midi files of Stravinsky’s music.
Also has links to composers of every period since the middle ages.
Text Correlations:
Gr. 2: p. 71; Gr. 3: p. 359K; Gr. 4: p. 238; Gr. 5: p. 282; Gr. 6: pp. 123, 411
More About 20th Century Music
It is difficult to assign a label to the music of the present and immediate past. That is
especially true of the 20th century. The variety of styles and genres of that century resist
neat categorization. Debussy created a new sound world using both old and new materials.
From that point forward, experimentation with the elements of music resulted in
compositions we listeners are still striving to understand and appreciate. As in the visual
arts, the elements themselves became the subject of music. Tone color, harmony and
rhythm were exploited for their own value, not just in service to a programmatic idea.
More About Anton Webern and
Five Pieces for Orchestra
Beginning his work in the highly chromatic late Romantic style, Webern soon took harmony
and melody to their logical limits. Venturing away from tonality altogether, Webern, his
teacher Arnold Schoenberg and his fellow student Alban Berg (collectively known as the
“Second Viennese School”) finally arrived at the ordering of melodic pitches in a series of
tones extracted from the complete chromatic scale. Before that “twelve-tone row” method
evolved, they wrote in a free atonality in which key and tonal center were no longer
relevant. Webern himself called it “a fierce struggle…” He said, “[there was] a panic fear as
to whether it was possible… .”
Webern’s mature works are known for their brevity, lack of repetition and ingenious use of
tone color. His entire compositional output is recorded on just four CDs. The 1st movement
of Five Pieces for Orchestra is typical of the free atonal period. It is a “bare essentials” piece
– minimal dynamics, minimal melodic development, minimal orchestral tone color, expressed
in the minimum amount of time.
More About Igor Stravinsky and Suite No. 2
Igor Stravinsky is perhaps the most influential composer of the 20th century. The extent of his
experimentation, the variety of his styles, his insatiable curiosity about the limits of classical music,
and the length and success of his career put him on a par with Picasso. Firebird and the other ballets
he produced in the early part of the century are often referred to as part of his “primitive period.”
Later, he wrote in a “neo-classical” style, adhering to the familiar forms of the classical period. He
introduced new harmonic and rhythmic ideas into those forms. Finally, after the death of Schoenberg,
he experimented with 12-tone composition.
Written just a few years after Webern’s Five Pieces, this suite and Stravinsky’s other dance music
took composition down a completely different path. The orchestra is usually large and varied in its
tone color. The harmonies, though not traditional, are certainly not atonal. The earthy melodies are
taken in part from Russian folk music. The rhythms are the truly experimental element during this
period of Stravinsky’s career. They are the driving force to the listener, introducing an element of
energy and pounding insistence that is almost hypnotic. Coupled with dance, Stravinsky’s music
revealed the power of rhythm.
Activity #1:
MUSICAL ELEMENT
TEMPO (speed)
Webern Only
Both
(different)
(alike)
Moderate
Stravinsky Only
(different)
Fast
DYNAMICS (volume)
Always soft
Varied
BEAT
Hard to hear
Very Prominent
RHYTHM
Uneven
MOOD
One mood
Atonal
Mood changes briefly
Tonal, dissonant
ORCHESTRA
Small to medium
Varied
INSTRUMENTS
Entire orchestra
Activity #2: After hearing both 20th century pieces, compare and contrast them with music
of the Impressionist Period.
1. The biggest differences between the music of Debussy and Stravinsky are the tone color and the rhythm. Debussy’s
tone colors are very muted: no percussion and no brass instruments to speak of. The beat is hard to find in
Debussy’s music, whereas, in Stravinsky’s Galop, the rhythms and the beat are inescapable. Stravinsky and Debussy
are alike in that they experimented with harmony, but they were both tonal in their approach.
2. Debussy and Webern both experimented with harmony. Webern just went farther in his experimentation. They
are the same in their smaller orchestras and in their limiting of tone color. Their rhythms are not the most
prominent element. Though experimental, Debussy’s music was still tonal. Webern’s was not.
Teacher H
G U I D E TO AU D I E N C E B E H AV I O R
Meet the Conductor
Laura Jackson is a new conductor with the ASO this year.
She will conduct our Young People’s Concerts. The
conductor is the person who stands in front of the
orchestra and leads the music. The conductor’s
instrument is the whole orchestra! The musicians follow the conductor’s
arm movements in order to play together. The conductor reads from the
score. The score helps the conductor see what each instrument should be
playing at any moment. The conductor starts and stops the orchestra and
sets the speed (tempo) of the music. She keeps the beat and shows the
players how the music should be played.
Below, Laura answers some questions to help you get to know her.
Where were you born and raised? I was born in Roanoke, Virginia, but
spent much of my childhood in Plattsburgh, New York. There was a 112mile-long lake in our back yard. I did a lot of swimming, sailing and water
skiing in the summer. I would sled and skate in the winter. I even trained
for a short time with Olympic coaches for the luge, a small racing sled.
How did you get interested in music? I started playing violin when I was
very young, and I loved it. I still play the violin, but now my first love is
conducting. Sometimes the music is so beautiful when I am conducting
that I almost forget to keep moving my arms. I just want to stand there
and listen to the music all around me.
How did you learn to conduct? I have had some wonderful teachers. I am
working on my doctorate degree right now at the University of Michigan
with Kenneth Kiesler. I also have studied with Michael Morgan and with
Robert Spano, the ASO’s Music Director. I have conducted a lot of
orchestras in Michigan, Maine, Massachusetts and New Hampshire.
What excites you about moving to Atlanta? I am very excited to work with
Maestro Spano again and with the wonderful Atlanta Symphony Orchestra.
I am looking forward to these concerts for young people. We will have a
lot of fun exploring music together. And I am really happy to leave my big,
heavy winter coat back in Michigan! Also, I can’t wait to eat grits again like
I did as a little girl!
14-15
ATLANTA SYMPHONY ORCHESTRA • YOUNG PEOPLE’S CONCERTS
Objective: 16
Your students will learn many things by attending the Young People’s Concerts. Not the least of these
is concert etiquette. Please review these guidelines thoroughly with your students. This knowledge
of the expectations in a formal concert situation will increase their comfort in this new environment –
and increase their enjoyment!
• Upon arriving inside the Galleria (lobby) of the Woodruff Arts Center, everyone is expected to speak
in a moderate tone of voice. It’s fine to talk, but no yelling, please.
• Upon entering Symphony Hall it’s time to whisper only. Ushers will be seating your class, and they
need to be heard when they direct you to your seat. The orchestra will be warming up on the stage.
The musicians need to be able to hear themselves, too.
• When the lights dim, all whispering should stop. The concertmaster is about to tune the orchestra
and the conductor will be entering next.
• When the conductor enters the stage, everyone applauds. No whistling or stamping feet, please.
Just polite applause is fine.
• Once the music begins, everyone should concentrate on the music. Between pieces of music, the
conductor will speak. Listen carefully.
• Noisemakers to avoid (things you didn’t think about!):
Velcro fasteners on wallets and purses
Beepers, cell phones and the alarm on your watch
Jingling jewelry
Any kind of electronic toy
• Show your appreciation for the music at the end of each piece by applauding. Watch the conductor
carefully to make sure the music has really ended. Sometimes it seems like the end, then the music
starts again. The conductor usually puts her hands down by her sides when the piece is over.
• Avoid yelling on the way out of the hall or the Galleria. This is the moment when your teacher and
the ushers need your attention most. Watch and listen!
A Note to Parents:
We are delighted that your child will have an opportunity to visit Symphony Hall to hear the Atlanta
Symphony Orchestra. This student guide is part of the extensive preparation materials provided for
educators to use in preparing young people for the concert. The teacher materials are available for
your perusal on the Internet at http://www.atlantasymphony.org/education/index.html.
The theme of the 2004-2005 ASO Young People’s Concerts is Classical Music: A Matter of Style.
Students will explore musical style – how it is created and how it has changed over time. In
subsequent years, students will learn about other aspects of music. We hope you will encourage your
school leaders to take advantage of these future concerts.
The Atlanta Symphony Orchestra provides other opportunities for you to share the joy of music with
your child. The Sunday afternoon Family Concert series is designed to be an entertaining learning
experience for the whole family. Also on Saturday or Sunday afternoons, you and your children may
enjoy concerts performed by the Atlanta Symphony Youth Orchestra. This talented group of student
musicians ranging in age from 13 to 18 performs three subscription concerts a year. We hope you’ll
take advantage of these and other concerts to instill in your child a love of orchestral music – a
lifelong gift that your child will treasure.
Georgia Quality Core Curriculum Objectives
Each lesson is correlated with QCC standards. Refer to the Objective Numbers in the first column as your guide to the correlated QCC Strand and Standard.
OBJECTIVE #
GRADES
QCC STRAND
QCC STANDARD
1
3, 4, 5
General Music
Responds to music in a variety of instrumental and vocal styles
through listening, moving, singing, and playing instruments.
2
3, 4, 5, 6, 7, 8
General Music;
Music Appreciation,
History, and Literature
Demonstrates growth in knowledge of music vocabulary appropriate to the level.
3
3, 4, 5, 6, 7, 8
General Music
Describes personal response to listening selections.
4
3
General Music
Participates in musical activities representing a variety of cultures, focusing on
stylistic concepts.
5
4
General Music
Recognizes how melody, rhythm, timbre, and texture affect the style of music.
6
5
General Music
Understands and explains that other art forms may inspire musical compositions.
7
5
General Music
Compares music of an era or a nation with other art forms or that era or nation.
8
4, 5, 6, 7, 8
Music Appreciation,
Expands knowledge of selected famous composers and their music.
9
6, 7, 8
Music Appreciation,
Integrates many elements of the study of music with other art forms and other
curricular areas, and related use of technology.
10
6, 7, 8
Music Appreciation,
Demonstrates knowledge of the historical and cultural context of Baroque,
Classical, Romantic and 20th century music.
11
6, 7, 8
Music Appreciation,
Demonstrates an aesthetic understanding of music and its relationship
to the other arts.
12
6, 7
General Music
Listens critically to music in a variety of instrumental and vocal styles and
origins and describes with attention to time, place, composer, and performance.
13
6, 7, 8
General Music
Identifies composers, performers, small ensembles, and large performing groups
representing a variety of styles of music.
14
6, 7, 8
Chorus, Band, String Orchestra
Demonstrates knowledge of composers of selected music repertoire and the
historical/cultural context of works being performed.
15
6, 7, 8
Music Appreciation,
Recognizes the various roles of music in society.
16
6, 7, 8
Music Appreciation,
Demonstrates proper audience etiquette.
Teacher I
AT L A N TA S YM P H O N Y
YO U T H O R C H E S T R A C O N C E R T S
T H E A S O C O C A - C O L A F A M I LY C O N C E R T S
October 3, 2004
February 20, 2005
May 29, 2005
The Firebird
Peter and the Wolf
The Mozart Experience
Jere Flint, conductor
Enchantment Theatre Company
1:30 & 3:30pm
Robert Kapilow, conductor
PickleShoes, guest dancers
1:30 & 3:30pm
Magic Circle Mime Company
1:30 & 3:30pm
October 31, 2004
April 3, 2005
Side by side with the
Carnival of the Animals
Atlanta Symphony Orchestra
Underground Railway
Theatre Company
Atlanta Symphony Youth Orchestra
1:30 & 3:30
and the ASO Chorus
A Classic Halloween
Count Dracula, Conductor
Lee Harper & Dancers
1:30 & 3:30pm
Sponsored by:
Fall Concert
Winter Concert
Spring Concert
November 21, 2004 • 3:00pm
March 12, 2005 • 3:00pm
May 22, 2005 • 8:00pm
30th Anniversary Celebration!
Robert Spano & Jere Flint, conductors
with support from Publix Super Markets Charities
Sponsored by:
with support from Equifax, the Halle Foundation
and the Lanie & Ethel Foundation
ASO YOUNG PEOPLES CONCERTS ARE SPONSORED BY:
with additional support from
The Goizueta Foundation, the Arthur M. Blank Family Foundation Education and Outreach Fund,
and the William Randolph Hearst Endowed Fund
ATLANTA SYMPHONY ORCHESTRA EDUCATION STAFF:
Susan Merritt, Director of Education
Brenda Pruitt, Assistant Director of Education
Melanie Darby, Coordinator of Youth and Family Programs

Teacher`s Guide for Discover/neXt Generation Concerts

Transcription

Similar documents

Maitland Symphony Orchestra

Guest artist to offer taste of ProMusica Chamber Orchestra`s future

Dedication Merriweather Post Pavillion of Music, Columbia

Russian Rhapsody

Melody Barnett Deusner `99

Naturally Yours! - League of American Orchestras

Orchestra KlangVerwaltung - Künstlersekretariat Buchmann GmbH

Tedd Joselson

Summer Symposium Flyer_2015_v1.pub