WINSTON-SALEM SYMPHONY
January 3, 2014
Authored by: Jessica Munch-Dittmar
Discover the Orchestra!
Concert Curriculum Guide based on The Young Person’s Guide to the Orchestra by Benjamin Britten
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Discover the Orchestra! Concert Curriculum Guide based on The Young Person’s Guide to the Orchestra by Benjamin
Britten
TABLE OF CONTENTS
FRO M T HE C ONDU CTOR
Introductory letter from Matthew Troy, Associate Conductor of the Winston-Salem Symphony
2
CONC ERT PRO GRA M
An introduction to the pieces and composers featured on the 2014 Mary Starling performance
3
CURRICU LU M S TAND AR D EQU IV A LE NCI E S
A list of the Core Curriculum and Music Curriculum standards met through this guide and concert experience.
4-7
LE S SO N P LAN #1
Introduction to the Sounds and Members of the Orchestra – Gather a basic understanding of the instruments and
how they are organized in the orchestra.
8-11
LE S SO N P LAN #2
Music History – Learn about the lives of Benjamin Britten and Henry Purcell. Recognize different musical styles,
periods and themes.
12-15
LE S SO N P LAN #3
Theme and Variation – Obtain a deep understanding of theme and variation, and apply that to today’s culture.
16-18
LE S SO N P LAN #4
Fugues – Engage in the recognition of a fugue, and create a fugue using the class as an ensemble.
19-21
RES OURC E MAT ERIA L S
Additional teacher resources, including a symphony diagram, instrument descriptions and concert etiquette
guide
22-30
WIN ST ON - SAL E M SY MP H ONY CON TACT IN FOR MAT IO N
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SP ON SOR R EC OG NIT IO N 32
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FROM THE CONDUCTOR
Dear Teachers:
Welcome to a very special season of the
Winston-Salem Symphony’s Education
Concerts! The materials in this handbook are
designed to prepare you and your students for
the full orchestra concert, Discover the
Orchestra! in March 2014.
Let me begin by welcoming any teachers that
are new to this event. If you have attended
these concerts in previous years you are
already familiar with this wonderful occasion.
This exciting concert will lead you and your
students through the joy of orchestral music by offering them an in-depth introduction to the different
families of instruments in the orchestra. We hope that this will spark the interest of students to get
involved in a music program as they register for middle school classes.
The intent of the Discover the Orchestra! concert is to offer students the opportunity to explore great
music, learn about composers, and practice how to intelligently listen, identify, analyze, and describe
the music. A wide variety of repertoire and styles are going to be covered throughout this project and
you will find this information in the corresponding materials.
The primary goals in the following lessons concern the music portion of the North Carolina Standard
Course of Study, this program will enable students to “listen to, analyze and describe music,” and
“understand music in relation to history and culture,” giving them a broader understanding of the world
in which we live. The programs for the Education Concert Series have been carefully chosen to address
several points on the Music and Guidance Curricula of the North Carolina Standard Course of Study and
Common Core Standards.
Thank you for being a part of this year’s program. We know this will add to the wonderful experiences
your students are already having in your classrooms.
Best wishes, Matthew Troy Associate Conductor | Winston-Salem Symphony [email protected] • 336.725.1035, ext. 209
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CONCERT PROGRAM
Written in 1946, Benjamin Britten’s “The Young Person’s Guide to the Orchestra” was originally commissioned for an educational documentary film called “The
Instruments of the Orchestra.” This is one of Britten’s most famous pieces and it is often used in children’s music education. The structure of the piece makes it ideal
for teaching many musical terms and ideas. The theme of the composition is based on Henry Purcell’s “Abdelazar” and incorporates many variations highlighting a
different instruments or instrument families in the orchestra.
Young Person’s Guide to the Orchestra (Intro)
Benjamin Britten 1913-1976
Rumanian Folk Dances
Joc cu bâtă (1), Poargă Românească (5), Mărunţel (6), Mărunţel (7) Bela Bartók 1881-1945
Nimbus 2000
John Williams 1932 -
Ogoun Badagris
Christopher Rouse 1949 -
Fanfare from “La Peri”
Paul Dukas 1865-1935
UNCSA Composer Piece
TBD
“Pops” Hoe-Down
Richard Hayman 1920 –
Young Person’s Guide to the Orchestra (Fugue Finale to END)
Benjamin Britten
Main Title
John Williams
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STANDARD EQUIVALENCIES The Winston-Salem Symphony strives to incorporate the concert going experience into the classroom. Below,
please find a reference of how each activity corresponds with multiple standards, both in core and music
curriculum.
Lesson #1: Introduction to the Sounds and Members of the Orchestra
Activity #1: The Conductor: Follow the Leader Exercise
(Page 8-9 )
Core Curriculum: Listening and Speaking: uses active listening skills to follow non-verbal directions
Music Curriculum: Standard 2 Playing Instruments, Expansion- Imitate steady beat using body percussion or instruments; 3 Improvising melodies, variations and accompaniments.
Activity #2: Make-up of an Orchestra: Orchestra Coloring Diagram
(Page 9-10)
Core Curriculum: Listening and Speaking: uses active listening skills to follow non-verbal directions; Math GLE 0006.1 Sort objects and use one or more attributes to solve problems; Reading 7.0 Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words.
Music Curriculum: Standard 6 Listening and Analyzing, Expansion – Identify by sight and sound, classify instruments into families.
Activity #3: The Instrument Concentration Game
(Page 10-11 )
Core Curriculum: Listening and Speaking: uses active listening skills.
Music Curriculum: Standard 2 perform rhythmic and/or melodic accompaniments using correct technique.
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STANDARD EQUIVALENCIES
Lesson #2: Music History
Activity #1: The Life of Benjamin Britten
(Page 12-13)
Core Curriculum: History 1.1 Indentify instances in which language, art, music, belief systems, and other cultural elements facilitate an understanding or create misunderstanding; Writing 3.15 Use language that conveys the writers point of view; Writing 2.0 Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately; Language 1.0 Demonstrate command of the conventions of standard English, grammar and usage when writing or speaking.
Music Curriculum: Standard 8 Interdisciplinary connections. Expansion – Explain the relationship between music and other academic disciplines; Standard 9 Historical and cultural relationships, Expansion – Explore the characteristics of music genres and style within their historical and cultural settings.
Activity #2: Henry Purcell and Themes (Page 13-14)
Core Curriculum: Listening and Speaking: Uses active listening skills; Reading 7.0 Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words; Reading 2.0 Determine central ideas or themes of a text and analyze their development; summarize the key supporting details.
Music Curriculum: Standard 1.0 Singing Expansion - Demonstrate the ability to sing in an ensemble selected musical examples; 6.0 Listening to, analyzing, and describing music; Standard 7.0 Evaluating Expansion - Listen to and analyze a music performance using teacher given criteria.
Activity #3: Musical Styles Through the Ages
(Page 14)
Core Curriculum: History Standard 1.0: 1.2 Identify examples of how language, literature, the arts, architecture, traditions, beliefs, values or behaviors contribute to the development and transmission of culture.
Music Curriculum: Standard 6 Listening and analyzing, Expansion – listen to a varied repertoire of music representing diverse genres and cultures, analyze aural examples of a varied repertoire of music representing diverse genres and cultures, describe listening examples using music vocabulary; Standard 9 Historical and cultural relationships.
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STANDARD EQUIVALENCIES
Lesson #3: Theme and Variation
Activity #1: What is a Theme and Variation?
(Page 16-17)
Core Curriculum: Standard 2.0 Language Arts: GLE 0601.2.8 Participate in work teams and group discussions; Reading 7.0 Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words; Language 1.0 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
Music Curriculum: Standard 7.0 Evaluating: Expansion - Listen to and analyze a music performance using teacher given criteria.
Activity #2: Three Changes Game
(Page 17)
Core Curriculum: Listening and Speaking: Displays an understanding of subject matter.
Activity #3: Popular Music Variations (Page 18)
Core Curriculum: Writing: 0502.3.16 Use precise language, including vivid words and figurative language; Reading 7.0 Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words; Writing 2.0 Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately; Language 1.0 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.
Music Curriculum: Standard 6.0 Listening and Analyzing: Expansion - Compare and contrast music examples using appropriate music vocabulary.
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STANDARD EQUIVALENCIES
Lesson #4: Fugues
Activity #1: What is a Fugue? (Page 19)
Core Curriculum: Writing: Domains (Creative), Reading 7.0 Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words.
Music Curriculum: Standard 6.0 Listening and Analyzing: Students will listen to, analyze, and describe music.
Activity #2: J.S. Bach Fugue Game (Page 20)
Core Curriculum: Listening and Speaking: Uses body language and behavior appropriate to the listening situation; Reading 7.0 Integrate and evaluate content presented in diverse formats and media, including visually and quantitatively, as well as in words.
Music Curriculum: Standard 6.0 Listening and Analyzing: Students will listen to, analyze, and describe music.
Activity #3: Student Performance of a Fugue
(Page 20-21)
Core Curriculum: Listening and Speaking: Participates respectfully in the exchange of ideas; Language 1.0 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking
Music Curriculum: Standard 1.0 Singing: Expansion-Demonstrate the ability to sing in an ensemble selected musical examples.
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LESSON PLAN #1 INTRODUCTION TO THE SOUNDS
AND MEMBERS OF THE ORCHESTRA
Overview of Lesson Activity 1- The Conductor: Follow the Leader Exercise (10 minutes)
Activity 2- Make-up of an Orchestra: Orchestra Coloring Diagram (20 minutes)
Activity 3- The Instrument Concentration Game (20 minutes)
Lesson Plan #1 Comprehension Check
Time needed 35-45 minutes
Materials needed “The Conductor” pg. 27 Orchestra coloring diagram pg. 23
Crayons or markers Listening excerpts Sound Pyramid
Objective Students will gather a basic understanding of the make-up of a
symphony orchestra, the role the conductor plays, and the classification of instruments by use of visual, aural and kinesthetic skills.
Activity #1: The Conductor: Follow the Leader Exercise
Time needed 10 minutes
Materials needed No materials are needed for this activity
Objective To highlight the role of the conductor in an orchestra To enrich students’ understanding of rhythm
To engage students in listening and taking direction
This is a “get up and move” activity !
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TEACHER’S GUIDE / LESSON PLAN #1, ACTIVITIES #1-2
1. Review page 27 (The Conductor) of the Resource Materials. You can also print copies for your class to
review.
2. With the children standing, explain you are the “conductor" and that students should follow what you do.
3. Divide the students into different “instrument families.” In this exercise, each family will be represented by a different mode of body rhythm (clapping, snapping, lap patting). Show the students with conducting gestures how you will signal increasing or decreasing the tempo, as well as the dynamics of getting louder and softer.
4. Begin with a steady rhythm, which you will set with conductor gestures. Students must follow you as you
speed up, slow down, get louder, and get softer.
5. Once students understand the exercise, choose a student to lead the activity. Explain that this student is now the conductor. Several different students can be given the opportunity to conduct.
Activity #2: Make-up of an Orchestra: Orchestra Coloring Diagram
Time needed 20 minutes
Materials needed One copy of the Orchestra Seating Diagram (page 23) for each student listening excerpts
Objective To recognize the different families within the orchestra aurally To identify where each instrument family sits in the orchestra
This is a participatory, sit -down activity
1. Review page 28 (Meet the Instruments) of the Resource Materials. You can print copies of this page for your students.
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TEACHER’S GUIDE / LESSON PLAN #1, ACTIVITIES #2-3
2. Play the instrument sound excerpt from WSS Resource Website, under “DSO Kids: Listen By Instrument” Ask students to identify to which family the instrument sound belongs. Have students make a case supporting their answer. Welcome a friendly debate if the opportunity presents itself.
3. Once the correct answer has been given, move on to the next instrument example and repeat the
process, being sure to pick at least one instrument from each family (strings, woodwinds, brass, and percussion).
4. Make sure students are using the diagram as an aid in identifying the instruments and where they are
located in the orchestra.
5. Play the first 2 minutes from this listening example of Benjamin Britten’s Young Person’s Guide to the Orchestra from WSS Resource Website and allow students to watch as each instrument family is illuminated in a different color when it plays. Invite the students to color the corresponding section on their Orchestra Coloring Diagram on pg 23.
Activity #3: The Instrument Concentration Game
Time needed 20 minutes
Materials needed Instrument pictures or paper labeled with instrument names Instrument Gestures Guide, p. 24, which contains movement ideas
Objectives To identify individual instruments and increase focus and concentration
This is a “get-up and move” activity.
1. Place 16 chairs in a circle leaving one chair designated as the conductor's chair and continuing in order with the violin as the first chair all the way around through the instrument families, with harp as last. Either copy individual orchestral instrument pictures and tape one to each chair back, or just write the instrument names on paper.
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TEACHER’S GUIDE / LESSON PLAN #1, ACTIVITIES #3 – COMPREHENSION CHECK
2. Demonstrate a gesture specific to each instrument that represents how it is played (this gets tricky with clarinet, oboe, and bassoon, so be clear when demonstrating gestures). For suggestions, see “Instrument Gestures Guide” on p. 24. Practice the gestures together as a class. To play the game, the conductor starts each round with two leg pats and a thumbs up, repeating this twice (titi ta titi ta).
3. When everyone's got the rhythm, the conductor puts his gesture in place of the first thumbs up, then an instrument gesture on the 2nd thumbs up, like the violin. The control is passed to the violin, who does his or her own gesture and then someone else’s of his or her choosing. For example: pat pat conductor, pat pat violin. Then the person assigned to violin goes: pat pat violin, pat pat clarinet (or another instrument of their choosing). The players must also say the instrument name as they do each gesture.
4. Try to keep a steady beat. If anyone flubs by breaking the rhythm, messing up a gesture, or not doing a
gesture, they move to the last seat in the orchestra and everyone behind him in the seating moves up. That means their instruments change (so they can look on the chair back to see what instrument “they are”). If more than 16 participants exist then the player that is disqualified is replaced by a new player.
Lesson Plan #1 Comprehension Check Did students understand the status of conductor as the “leader?”
Did students follow directions effectively?
Were students able to correctly identify instrument families by their sounds? If not, were students able to give reasons as to why they chose incorrectly?
Did students grasp an understanding of individual instruments and how they look when played?
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LESSON PLAN #2: MUSIC HISTORY
Overview of lesson : Activity #1– The Life of Benjamin Britten (15 minutes)
Activity #2– Henry Purcell and Themes (15 minutes)
Activity #3– Musical Styles through the ages (10 minutes)
Lesson Plan #2 Comprehension Check
Time 40-45 minutes
Materials Listening excerpts
Objective Students will gain a knowledgeable background in history for the life of Benjamin Britten, as well as gather a broad
understanding of the different musical styles and how periods of history shaped him and his music. The student will also recognize and be able to point out musical and literary themes.
Activity #1: The Life of Benjamin Britten
Time 15 minutes
Materials Pencil and paper for notes
This is a sit-down activity
1. Begin by giving a brief lecture on Benjamin Britten’s life: Benjamin Britten was born on November 22, 1913 in England. He composed in a style known as
“modern.” This particular style thought to have begun during the 1920s. Other composers who wrote during that time were Aaron Copland, George Gershwin, and Igor Stravinsky.
Britten began composing at the age of five! First, he studied piano and viola, and then began formal composition lessons. By the age of 18 he had written a number of full length compositions.
After graduating school, he made his living as a composer. He wrote music for many documentary films and plays such as Night Mail in 1936.
Britten moved to America during the beginning of World War II, during the years of 1939-1942, but returned to England after the war was over.
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TEACHER’S GUIDE / LESSON PLAN #2, ACTIVITIES #1-2
Upon his return to England, he composed his famous War Requiem. It was written in 1962 for the newly reconstructed Coventry Cathedral in England, since the first cathedral was destroyed during World War II.
He was the first musician to be given the title “Lord” by the Queen of England.
Britten’s “Young Person’s Guide to the Orchestra” is one of his best-known pieces. It showcases each instrument family (string, woodwind, brass, percussion) as a section as well as solo instruments. This piece was composed for a documentary film as a way to show the tone colors and abilities of the various sections of the orchestra.
Some American historical events that occurred during Britten’s lifetime include The Great Depression, the assassination of President John F. Kennedy and the astronaut’s first landing on the moon.
2. After this brief explanation of Britten’s life, ask students the following:
Britten started composing when he was younger than you are now. If you were to start writing music, what style would you choose, and why? Some styles include Classical, Rock, Country, Hip Hop, R&B.
Britten wrote a piece called War Requiem inspired by World War II. If you could compose a musical piece that honors, memorializes, or celebrates an historical event, which event would you choose and why? Would the piece be happy or sad? Fast or slow?
Which instruments would be featured during the piece? Britten wrote for orchestras and for operas. What are some differences between these two styles? If you
could choose between composing for a musical band or composing for a film, which would you choose and why?
Once they have written down their answers, ask for volunteers to share their answers with the class.
_____________________________________________________________________________
Activity #2: Henry Purcell and Themes
Time 15 minutes
Materials Listening excerpts
This is a participatory, aural sit -down activity
1. Explain to students that Henry Purcell is a Baroque composer of the
17th century, which is different from Britten’s modern style. The reason he is important to Britten’s “Young People’s Guide to the Orchestra” is because Britten’s work is based on the “Rondeau” from Abdelazar, which Purcell wrote. Purcell’s theme is so prominent in Britten’s piece that it is subtitled “Variations and Fugue on a Theme of Purcell.”
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TEACHER’S GUIDE / LESSON PLAN #2, ACTIVITY #2-3
2. Provide each student with a copy of Purcell’s Theme from page 25. Play the first minute of Britten’s “The Young Person’s Guide to the Orchestra” multiple times. An online version is available at the WSS Resource Website. Ask the children to follow along with the sheet music to help identify all occurrences of the theme. Play the excerpt one more time and ask students to sing along with the theme.
3. Once students have a good grasp of Purcell’s theme, explain that a musical theme is similar to a literary theme. In books, a theme is a message that one can take from the overall story, such as a moral lesson. For instance, the theme in children story The Boy Who Cried Wolf is that you should never lie, because then people will not trust you. Similarly, in music there are typically musical phrases that a piece revolves around. Often times, the theme remains with the listener, and he or she is able to sing the theme after the piece ends, just like a reader is able to state the overall theme of a book after completion.
4. To confirm students’ understanding of musical and literary themes provide them with a short story, such
as “The Lion and the Mouse” from page 26 and ask them to identify the theme. Or reference a story your class has read together. Then, play the listening excerpt from Edvard Grieg’s Peer Gynt Suite No. 1., In the Hall of the Mountain King and ask students to sing back the musical theme. You may access the listening example on the WSS Resource Website.
Activity #3: Musical Styles through the Ages
Time 10 minutes
Materials Listening Excerpt
This is a participatory, active listening, sit down activity
1. Refer to page 29 of the Resource Materials. Describe the different musical style periods to the students and play a portion of the corresponding excerpt for each category.
2. Play the excerpts out of order and ask students to identify to which style periods the excerpts fit. Ask the
students which style period they like the best, and why?
3. Remind students that Britten worked in the modern style, while Purcell, who composed the theme, wrote
in the Baroque style.
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Lesson Plan #2 Comprehension Check
Do students have a basic knowledge of the lives of Benjamin Britten and Henry Purcell?
Are the ideas of a musical themes and literary themes clear to the students?
Are students able to successfully identify each?
Can students recognize which style different musical works fall into?
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LESSON #3: THEME AND VARIATION
Overview of Lesson
Activity 1– What is a theme and variation?
Activity 2– Three Changes Game Activity 3– Popular Music Variations
Time needed to complete lesson 50-55 minutes
Materials Listening excerpts
Objectives To establish a deep understanding of the musical term “theme and variations” To allow students to connect the term “theme and variation” to today’s pop culture
Activity #1: What is a Theme and Variation?
Time 25 minutes
Materials Listening Excerpt TV/Computer, Projector, Speakers
Objectives To introduce the term “theme and variation” To relate “theme and variation” to other arts
This is a participatory, discussion -based sit down activity.
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TEACHER’S GUIDE / LESSON PLAN #3, ACTIVITY #1-2
1. Explain to students that, in music, a “theme” is a melody that serves as the main idea for a composition. When the theme is altered, a variation occurs. Such alterations can be a change in rhythm, different harmonies, different keys, or added notes. In Britten’s The Young Person’s Guide to the Orchestra each instrument family (strings, woodwind, brass, and percussion) plays the theme and then individual instruments present a variation on that theme.
2. Access a recording and visual guide of Britten’s piece on the WSS Resource Website. Project the website
onto a screen or TV where the students can see. Ask students to be actively listening and watching as the theme is stated and variations begin with the woodwinds. A little red arrow will guide you through the piece. Press play! Stop the recording when it reaches the end of each section.
3. Engage in a guided discussion through the following questions:
Were you able to identify the theme? The theme is easily identifiable in Britten’s piece because of its reoccurrences. The whole orchestra plays it and then the individual families play it.
What alterations to the theme did you notice in the variations? There were many added notes, changes in rhythm, dramatic tempo changes from fast to slow and vice versa, dynamic changes, etc. The possibilities for variation are endless.
Were you able to sing the theme after all of the variations? All the variations included the theme, but some may have been more recognizable than others. Some may have found the percussion variation to be particularly hard to follow. Why do you think that is?
Activity #2: Three Changes Game
Time needed 10 minutes
Materials None
Objectives To apply the idea of theme and variation to sources outside the
realm of music
This is a “get-up and move” activity
1. One at a time, have students go outside the classroom (or somewhere where other students cannot see them) and change three things about their appearance. When they come back in, have the class try to guess the three things that changed. Allow a number of students to take a turns as time permits.
2. Point out to students that before they leave the room they represent the theme. After they return, they represent a variation.
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TEACHER’S GUIDE / LESSON PLAN #3, ACTIVITY #3
Activity #3: Popular Music Variations
Time 15-20 minutes
Materials Pencil and Paper Listening excerpts
Objectives To recognize theme and variations in today’s pop culture Use aural skills to analyze two similar works
To think creatively about a theme and individually develop a variation
This is a “sit down” activity
1. Ask students if they can think of any examples of theme and variations in today’s music culture.
Explain that a cover song or a mash-up is similar to a variation because it takes the original song (theme) and alters it to make a new version (variation).
2. Allow students to listen to “Little Boxes” by Malvina Reynolds . Direct students to listen closely to the
next selection, “Little Boxes” by Walk off the Earth, and determine the differences from the first selection. Ask students what differences they heard in the second version. An alternative listening example that may be used is “Somebody That I Used to Know” by Goyte and “Somebody That I Used to Know” by Pentatonix. All of these examples can be found on the WSS Resource Website.
3. Tell students to choose a song that they are particularly familiar with and create a variation on that
song by writing down specific details conveying what they would change or add to the song. Look for changes in tempo, dynamics, key, instrumentation, and performer. Students should feel free to be as creative as they desire with this activity.
4. Once students have completed their variation have a select few share their ideas for compositions
with the class.
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LESSON PLAN #4: FUGUES
Overview of Lesson Activity 1- What is a fugue?
Activity 2– J.S. Bach Fugue Game
Activity 3– Student Performance of a Fugue
Time Needed 35-45 minutes
Materials Listening Excerpts
Objective To engage students’ understanding of a fugue To put the definition of a fugue into performance practice
Activity #1: What is a Fugue?
Time Needed 10 minutes
Materials Listening Excerpts
Objective To challenge students to analyze and extract different musical elements from a selection of music aurally
This is a participatory “sit down” activity
1. Explain to students that a fugue is a composition with two or more voices or parts, in which the melody
(called the subject), is played by one voice or instrument and then replayed and modified by the other voices or instruments. Between statements of the subject, an episode may be heard. An episode is a connecting passage developed from previously heard material. The listener must be careful not to get the subject and episode confused.
2. Play the concluding section from “Young Person’s Guide to the Orchestra” for the students from WSS Resource Website. Explain to students that this section is a fugue and that the piccolo states the subject first and is followed by the flute. See if students can guess which instrument states the subject next and so on throughout the concluding section (flute, then oboe, then clarinet and finally bassoon).
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TEACHER’S GUIDE / LESSON PLAN #4, ACTIVITY #2-3
Activity #2: J .S. Bach Fugue Game
Time needed 10 minutes
Materials Listening Excerpt
Objectives To deepen students’ understanding of a fugue
1. This game promotes the active search for pattern and
structure, which not only increases musical enjoyment, but is also a great brain exercise. Students will be focusing on one of the most basic elements of the fugue, the repetition of the subject (main theme) in different voices (e.g. sometimes high, sometimes low). In a sense, this game is a musical version of “Where’s Waldo,” and you must spot the subject no matter how hidden it is! Click on “Listen to Subject” from the Bach Fugue Game located on the WSS Resource Website so that students may hear the subject of the piece. Play this example a couple of times so that students are very familiar with it.
2. Explain to students that you are now going to play the whole fugue. Whenever they hear the subject
they should raise their hand, but they must be careful! Don’t let Bach trick you, there are “episodes” throughout the piece that sound like the subject, but are actually just short snippets of the subject interspersed with other material. Have students keep track of how many times they raise their hand.
3. At the end of the fugue collect a count of how many students heard the subject 1-4 times, 5-8 times, and 9 times. Congratulate those that heard it nine times. This is how many statements of the subject there are in Bach’s piece.
Activity #3: Student Performance of a Fugue
Time needed 15 minutes
Materials None needed
Objectives Students engage in their own performance of a fugue while developing
group interactive skills
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TEACHER’S GUIDE / LESSON PLAN #4, ACTIVITY #3
This is a participatory, sit -down activity
1. Divide students into 3 groups, and make sure the groups are sitting together. Assign a number to each group from 1-3.
2. Explain to students that they are going to create a fugue of their own with the subject being “Row, Row, Row Your Boat.”
3. Have the whole class sing “Row, Row, Row your Boat” one time through. Assign Group 1 to sing in high
voices, Group 2 to sing in very low voices, and Group 3 to sing in normal voices. The reason the groups sing the subject in different ranges is because, unlike a round, voices in a fugue enter on higher and lower pitches. They also continue to play new material (known as episodes) while the other voices make their entrance.
4. Explain that Group 1 will begin with the statement of the subject (“Row, Row, Row Your Boat”). Once they
sing it one time through they are to sing “Twinkle Twinkle Little Star” to represent the playing of an episode. Group 2 will then enter with one statement of the subject (“Row, Row, Row Your Boat”). After completion of the subject, Group 2 will sing “Twinkle, Twinkle Little Star” to represent another entrance of an episode. Group 3 then enters with a statement of the subject as soon as Group 2 finishes singing the subject. After one statement of the subject, Group 3 ends by singing “Twinkle, Twinkle Little Star.” Once all three groups have sung the subject, have children stop singing.
5. Begin an open discussion with students talking about their performance of the “Row, Row, Row Your
Boat” fugue. Lead the discussion with the following questions:
What made your version of “Row, Row, Row Your Boat” a fugue?
What was it like trying to work together as a small group within a larger ensemble?
Was it obvious when the subject was being stated?
Were you actively listening to your peers around you?
6. If there is time left in class, visit: “Lady Gaga Fugue” located on the WSS Resource Website and play this popular culture example of a fugue. The students will get a kick out of this! (Please note, the video is not actually of a symphony performing the piece, but a very convincing illusion).
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RESOURCE MATERIALS
TABLE OF CONTENTS
Student Activity Sheets
23-26
The Conductor
27
The Instruments of the Orchestra
28
Musical Style Periods
29
Concert Etiquette
30
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RESOURCE MATERIALS/ STUDENT ACTIVITY
SHEETS- ORCHESTRA COLORING DIAGRAM
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INSTRUMENT GUIDE (FOR ACTIVITY ON PG. 10)
Conductor (finger conducting)
Violin (using your right hand, move an imaginary bow across your bent left arm)
Viola (using your right hand, move an imaginary bow across your straight left arm)
Cello (using your right hand, move an imaginary bow across the front of your body)
Bass (using your right hand, move an imaginary bow across the front of your body while elongating your left arm above you)
Flute (twiddle your fingers to the right of your head)
Clarinet (twiddle your fingers out in front of your body)
Oboe (fingers extended but frozen out in front of body like “jazz hands” with palms to belly and chest)
Bassoon (jazz hands like oboe, but off to the right side)
Trumpet (fist near mouth, other hand fingering valves)
Trombone (fist near mouth, other hand moving the slide)
French Horn (fist near mouth, other arm in arched shape as if hand is placed inside horn)
Tuba (fist near mouth, other arm extended away from body as if holding a beach ball)
Snare (index fingers tapping)
Cymbals (bring both hands together in a crashing gesture)
Harp (wave hands toward and away from body as if stroking the strings)
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RESOURCE MATERIALS/ STUDENT ACTIVITY
SHEETS- PURCELL THEME SHEET MUSIC
(Taken from “Share the Music –Grade 4, p. 269” Copyright 2000, McGraw-Hill School Division)
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RESOURCE MATERIALS/ STUDENT ACTIVITY
SHEET-THE LION AND THE MOUSE
The Lion and the Mouse
Once upon a time, when a Lion was asleep, a little Mouse began running all around him, up and down and over him. This woke up the sleeping Lion, who placed his huge paw upon the Mouse
and opened his big jaws to swallow him.
“Pardon, my King!” cried the little Mouse, “Forgive me this time. I shall never repeat it and I shall never forget your kindness. And who knows, I may be able to do something for you in
return someday.”
The Lion was so tickled at the idea of the Mouse being able to help him that he laughed out loud and lifted up his paw to let the Mouse go.
Sometime later, a few hunters captured the Lion King and tied him down with ropes while they
went in search of a wagon to carry him away.
Just then, the little Mouse happened to pass by, and seeing the sad plight of the Lion, ran up to him and began gnawing away at the ropes that bound the Lion to the ground. “Was I not
right?” said the little Mouse. Amazingly, one of the smallest animals in the forest had set the Lion free!
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RESOURCE MATERIALS/ THE CONDUCTOR
The Conductor
Have you ever wondered who the person is standing in front of the orchestra during a concert? That person is the conductor, and he or she is in charge of interpreting the music and keeping the orchestra together as they play. The conductor serves as the orchestra’s leader or guide. He or she will study the music score, making certain adjustments and clearly relaying ideas to the musicians. The conductor also plans rehearsals, chooses guest artists and, most importantly, decides what the orchestra will play! He or she must know about all the instruments in the orchestra and be able to direct all of the musicians. The conductor’s job is very challenging and very important!
Reflection Questions before the Concert
Have you ever seen a conductor of an orchestra or marching band? What were they doing?
How would you feel if you were in front of a whole orchestra? Would you be excited or nervous? Or maybe both?
Can you think of another job where you must be able to lead or direct a big group of people?
Reflection Questions after the Concert
Why do you think the job of the conductor is important?
What do you think would happen if the conductor were not there?
What did you think of the conductor?
How would you describe the conductor? Were they expressive, passionate, controlled, excited?
How do you think it feels to stand in front of 80 musicians and conduct them?
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RESOURCE MATERIALS/ INSTRUMENT
FAMILIES OF THE ORCHESTRA
Instrument Families There are many different instruments in the orchestra, each with a different sound. When we
talk about musical instruments, we often talk about them as being part of a family. That's because, just like in human families, the instruments in a particular family are related to each other. They are often made of the same types of materials, look similar to one another, and
produce sound in comparable ways. Below is general information on each of the main instrument families in the orchestra.
Strings: violin, viola, cello, and bass. The string family makes up half of the
orchestra. Although many of the string instruments look similar in shape and color, they vary greatly in size and sound. To produce a sound on a string instrument the player draws a bow across the strings. The player can also pluck the strings with his or her finger, which is a style of playing called pizzicato.
Woodwinds: flute, piccolo, clarinet, oboe, English horn, and bassoon. Woodwinds produce a sound by blowing air through the instrument. The flute and
piccolo blow air across the mouthpiece while the other woodwinds use a thin piece of wood called a “reed.” The clarinet uses a single reed which is one thin piece of wood. The oboe, English horn, bassoon, and contrabassoon use a reed made of two pieces of wood joined together called a “double reed.” When air is blown across the reed, the wood vibrates and a sound is produced.
Brass: trumpet, trombone, tuba, and horn. All members of the brass family are made of brass. They all produce sound the same way, the musician vibrates his lips together and against the mouthpiece forcing air through the instrument. The trombone is the only brass instrument that uses a slide instead of valves to change tones.
Percussion: snare drum, timpani, bass drum, cymbals, marimba, glockenspiel, vibraphone, triangle, and more. The percussion family includes many instruments, from small to large, from simple to complex. To create a sound on a percussion instrument, the player typically strikes, bangs, shakes, or scrapes it. Percussion instruments can typically be played with the hands or with mallets.
*The bigger the instrument, lower the sound. The smaller the instrument, higher the
sound.
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RESOURCE MATERIALS/ MUSICAL STYLE
PERIODS
Renaissance: 1450-1600 A.D. – The word “Renaissance” is defined as a “rebirth” or “reconstruction.” This period marked the revival of cultural achievements in all forms of art and the rebirth of humanism, a philosophy that focuses on human values and concerns. Musical works displayed more artistic freedom and individuality than the previous period, which was called the Medieval Period. New printing techniques were established and this allowed music to be preserved and distributed. Instrumental music began to flourish as composers used instruments to accompany choral music more and more. The compositional technique of imitation also came into common practice. Imitation is a method where one melodic line shares, or “imitates,” the same material from a previous melodic line.
Listening example WSS Resource Website: Giovanni Pierluigi da Palestrina: Agnus Dei
Baroque: 1600-1750 A.D.– Baroque music features spontaneous expression, whereas the period of Renaissance music was more rigid and structured. One of the most important musical characteristics established in the Baroque period was the concept of contrast. Music could be loud and soft, fast and slow, and could feature solo instrument or larger ensembles. Music written in this period commonly features a
melodic line, a keyboard part, and a bass line called basso continuo. Musical instruments were enhanced in
this era to allow greater ranges and dynamics. There were also new compositions written for new
instruments, such as the horn and clarinet. Instrumental music rose to great heights and began to rival vocal music.
Listening Example WSS Resource Website: Antonio Vivaldi: Spring, 1st movement from The Four Seasons
Classical: 1750-1820 A.D. – The Classical period is known for its structural clarity. Long unbroken melodies found within the Baroque Period were replaced by phrases and themes that were much shorter musical fragments. Often these phrases appear in an antecedent (question) and consequent (answer) relationship. Many different moods are portrayed in a Classical piece of music allowing the listener to be both entertained while experiencing a wide array of emotions.
Listening Example WSS Resource Website: Ludwig van Beethoven: Symphony No. 6, Movement 4
Romantic: 1820-1910 A.D. – The Romantic Period is characterized by increased expression and deepened emotion. It was an era of championing the new, the curious, and adventurous features of music. The length and size of the symphony was extended, often substantially, in the Romantic Period. Key features of the period are dramatic passion, movement, and pursuit of the unattainable. The Romantic period in music coincides with the Romantic Movement in all arts. There was an increase in tone colors, rhythmic complexity, and a heightened emotional intensity.
Listening Example WSS Resource Website: Richard Wagner: Ride of the Valkyries
Modern: 1920-Present– This musical period, in which we currently live, is hard to define due to the many different styles and diverse array of new sounds within this period. Modern music broke free of the styles and traditions of the previous periods by exploring new ways to produce sound, both acoustically and electronically. Apart from the atonality and serialism that dominated the early to mid- 1900’s, no single style has dominated this period. As a result there are many styles of music that are each labeled “Modern.” Wide and varying influences expressed in new previously unheard sounds may well be the lasting description of the music of this period.
Listening Example WSS Resource Website: Igor Stravinsky, The Rite of Spring, “Sacrificial Dance”
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RESOURCE MATERIALS/ CONCERT
ETIQUETTE
Discovering Concert Etiquette You and your classmates are about to embark on a great adventure to the R.J. Reynolds Auditorium to hear the Winston-Salem Symphony perform. Making this trip the best it can be requires each person to display certain types of behaviors or etiquette. Read the information below before you come to visit and talk about it with your teachers and friends. As you enter the concert hall, this is the time to chat with your friends, read the concert program (if provided), make a last minute run to the restroom and turn off cell phones or pagers (you don’t want yours to go off in the middle of the concert!). Look around, what do you see?
How many seats do you think there are in Reynolds Auditorium?
How many musicians are there on the stage? Where are the emergency exits?
Where do the violin players sit? The horn players, the tuba player, etc.
Just before the concert begins, the lights in the concert hall will dim and the stage lights will become brighter. Many times, you will also hear safety or concert announcements made at this time, so listen carefully. It is important to remember that you, as an audience member, are a vital part of the performance. What you do and don’t do during a concert not only affects you, but also those round you and the musicians on the stage. Here are some points to remember:
Once the lights dim, or the safety/concert announcement ends, it’s time to stop talking. Not only does talking disturb the people around you, but it can be distracting to the musicians on the stage. Even the quietest whisper can carry easily throughout a concert hall (remember concert halls are specifically designed to enhance and relay sound).
If you need to get up during the performance, try to wait to do so between pieces. Think how distracting it is when you are at the movies, and all of a sudden someone gets up in front of you, and you get distracted watching them shuffle through the aisle. It’s the same thing at a symphony concert. Timing is everything!
Applause (clapping) is welcome at the end of each musical selection, but how do you know when that is? Sometimes when you think a piece is over, it really is just a pause or quiet section. Here’s a hint, keep an eye on the conductor and 1st violin player (the concertmaster). At the end of a piece you will see the conductor lower his/ her hands and the concertmaster will lower his/her instrument. When you see both these things happen, it is a good sign the piece is over and you can applaud.
However, once the concert is over, clap away. Performers love the sound of applause! Sometimes you might even see an audience stand up and give a standing ovation. This is something the audience does to tell the performers that they really, REALLY liked the performance. As you leave, make sure to gather your belongings and look to the adults for any special exiting information.
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WS SYMPHONY CONTACT INFORMATION
Box Office (336) 464.0145 [email protected]
Joshua Moyer
Artistic Operations Director
(336) 725.1035, x214
E. Merritt Vale President & CEO (336) 725.1035, x204 [email protected]
Jessica Munch-Dittmar
Education and Community Engagement Director
(336) 725.1035, x221
Robert Moody
Music Director
(336) 725.1035, x202
Carole Ott
Symphony Chorale Director
Selina Carter, C.P.A.
Finance Director
(336) 725.1035, x212
Peggy Smith
Interim Assistant to the President
(336) 725.1035, x205
Michael Di Trolio
Orchestra Librarian
(336) 725.1035, x207
Matthew Troy
Associate Conductor
(336) 725.1035, x209
Brian French
Orchestra Personnel Manager and Webmaster
(336) 725.103, x216
Latonya Wright
Ticket Sales and Donor Administration Manager
(336) 725.1035, x201
Casie Hammons
Development Manager
(336) 725.1035, x225
Website: www.WSsymphony.org Facebook: facebook.com/wssymphony
Twitter: @wssymphony
John Horsman
Youth Orchestras Program Manager
(336) 725.1035, x211
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TEACHER’S GUIDE / SPONSOR RECOGNITION
The Winston-Salem Symphony would like to thank its In-School Education Program sponsors:
ARTS COUNCIL OF NORTH CAROLINA
ARTS COUNCIL OF WINSTON SALEM
FIRST TENNESEE BANK
JOHN W. AND ANNA HODGIN HANES FOUNDATION
NORTH CAROLINA ARTS COUNCIL
REYNOLDS AMAERICAN FOUNDATION
