Musical Storytelling: Create Your Own Adventure

Inside the MusicThe Philadelphia Orchestra2013-14 School Concert Curriculum Guide

Musical Storytelling: Create Your Own Adventure

Yannick Nézet-Séguin Music Director

Sound All AroundAges 3-5 Held in the Academy of Music Ballroom, this series of interactive programs features members of The Philadelphia Orchestra and award-winning storyteller Charlotte Blake Alston. Each concert introduces a member of the string, woodwind, brass, and percussion families and the fi nal concert features all the musicians playing in an ensemble. Concerts are 45 minutes long and are held on Saturdays and Mondays at 10:00 and 11:15 AM.

November 9 and 11, 2013Anthony Orlando Percussion

January 11 and 13, 2014Kerri Ryan Viola

February 8 and 10, 2014Darin Kelly Trumpet

March 1 and 3, 2014Loren Lind Flute

March 29 and 31, 2014Ensemble

Family ConcertsAges 6-12 Family Concerts are an essential fi rst step in introducing children to the lifelong pleasures of music through a captivating blend of storytelling and classical music.

Magical Musical HalloweenSaturday, October 26, 2013 11:30 AMCristian Măcelaru ConductorCirque de la Symphonie

Christmas Kids Spectacular!Saturday, December 14, 2013 11:30 AMCristian Măcelaru ConductorMichael Boudewyns Actor Sara Valentine Actor

Young Person’s Guide to the OrchestraSaturday, February 1, 2014 11:30 AMCristian Măcelaru ConductorMichael Boudewyns Actor Sara Valentine Actor

Pinocchio and Cartoon ClassicsSaturday, March 22, 2014 11:30 AMCristian Măcelaru ConductorCharlotte Blake Alston Narrator

Mr. Mozart: Musical GeniusSaturday, April 26, 2014 11:30 AMYannick Nézet-Séguin ConductorDan Zanes HostJan Lisiecki Piano

The Philadelphia Orchestra Education and Community Partnerships DepartmentThe Philadelphia Orchestra has distinguished itself as one of the leading orchestras in the world

through over a century of acclaimed performances, historic international tours, best-selling recordings,

and its unprecedented record of innovation in recording technologies and outreach. The programs

described below support the Orchestra’s mission to transform its relationship with Philadelphia and

reach new, young, and diverse audiences.

Visit www.philorch.org/education to learn more about the following programs.

Presented by Presented by

Open Rehearsals for StudentsHigh School and College Students Go behind the scenes and watch The Philadelphia Orchestra at work in Verizon Hall. Students observe the artistic collaboration between world-class musicians and conductors fi rst-hand.

French MastersThursday, October 24, 2013 10:30 AMRafael Frühbeck de Burgos ConductorAugustin Hadelich Violin

Yannick and YujaThursday, November 7, 2013 10:30 AMYannick Nézet-Séguin ConductorYuja Wang Piano

The Glorious Sound of ChristmasThursday, December 19, 2013 10:30 AMSarah Hicks Conductor

Tchaikovsky Week 2Thursday, January 16, 2014 10:30 AMCristian Măcelaru ConductorHai-Ye Ni Cello

Yannick’s “Eroica”Thursday, February 20, 2014 10:30 AMYannick Nézet-Séguin ConductorTruls Mørk Cello

Cirque de la SymphonieFriday, January 3, 2014 8:00 PMSaturday, January 4, 2014 8:00 PMCristian Măcelaru Conductor

Two great art forms, both requiring agility, creativity, and a lifetime of practice, come together in this thrilling evening featuring Cirque de la Symphonie. Breathtaking acrobatics fl y above the Orchestra, accompanied by stunning symphonic repertoire including Sibelius’s soaring Finlandia, Wagner’s “The Ride of the Valkyries,” Chabrier’s España, and selections from Tchaikovsky’s Swan Lake, plus many new orchestral showpieces you will surely love. The program features aerialists, contortionists, dancers, strongmen, and special surprises. The high-wire acts of stunning virtuosity on the stage and up in the air will be like nothing you’ve seen before in Verizon Hall.

Philadelphia Orchestra in the CommunityThe Philadelphia Orchestra extends its reach into the community on an ongoing basis with the goal to be an active, energetic, and musical participant in the lives of area residents, students, organizations, and community partners. “Philadelphia Orchestra in the Community” comprises a number of programs that engage multiple constituencies in the Greater Philadelphia area: Musicians in the Schools, Neighborhood Concerts, the Martin Luther King Jr. Tribute Concert, the School Partnership Program, and the College Performance Series.

Photo: Pete Checchia

Program to be selected from the following:

Badelt/arr. Ricketts Suite from Pirates of the Caribbean

Beethoven Excerpt from fourth movement from Symphony No. 5 in C minor, Op. 67

Beethoven Excerpt from second movement from Symphony No. 7 in A major, Op. 92

Berlioz “March to the Scaffold,” from Symphonie fantastique, Op. 14

E. Bernstein Theme from The Magnificent Seven

Dukas Excerpt from The Sorcerer’s Apprentice

Holst “Mars, the Bringer of War,” from The Planets

Mozart Overture to The Marriage of Figaro, K. 492

Prokofiev “Montagues and Capulets,” from Romeo and Juliet, Op. 64

J. Strauss, Jr. “Tritsch-Tratsch” Polka, Op. 214

Stravinsky “Infernal Dance of King Kastcheï,” from The Firebird

Wagner “Ride of the Valkyries,” from Die Walküre

Williams “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone

2013-14 Philadelphia Orchestra School ConcertsAll performances in Verizon Hall at The Kimmel Center for the Performing Arts

Tuesday, February 4, 2014 12:15 PMTuesday, February 11, 2014 10:30 AM and 12:15 PMWednesday, February 26, 2014 10:30 AM and 12:15 PMTuesday, March 4, 2014 10:30 AM and 12:15 PM

Inside the MusicThe Philadelphia Orchestra2013-14 School Concert Curriculum GuideMusical Storytelling: Create Your Own Adventure

AcknowledgementsThe Philadelphia Orchestra is grateful to the area teachers who have collaborated with the Education

and Community Partnerships department on this year’s curriculum guide, Inside the Music.

2013-14 Philadelphia Orchestra School Concert Collaborative Group

Elizabeth McAnally, Choral/General Music Teacher, Woodrow Wilson Middle School, School District of Philadelphia, PA Lead Teacher

Helene Furlong, Choral/General Music Teacher, Henry C. Lea School, School District of Philadelphia, PALisa Tierney, Choral/General Music Teacher, James Dobson School, School District of Philadelphia, PA

The Philadelphia Orchestra is pleased to recognize the following major donors who support the School Concert program.

Wells Fargo is proud to be the Lead Underwriter of the “Raising the Invisible Curtain” initiative. Additional funding comes from the Annenberg Foundation, the Pennsylvania Department of Community and Economic Development, and the Presser Foundation.

School ConcertsSchool Concerts are funded in part by the Julius and Ray Charlestein Foundation in memory of Morton and Malvina Charlestein, the Dolfinger-McMahon Foundation, the Christian Humann Foundation, the Billy Joel Fund for Music Education, the Rosenlund Family Foundation, the Volunteer Committees for The Philadelphia Orchestra, the Wells Fargo Foundation, and the Zisman Family Foundation.

School Partnership ProgramMajor funding for the School Partnership Program is provided by the Annenberg Foundation, the Dorothy V. Cassard Fund at the Philadelphia Foundation, the Dolfinger-McMahon Foundation, GlaxoSmithKline, the Hamilton Family Foundation, Lincoln Financial Foundation, the Loeb Student Education Fund, the McLean Contributionship, the Presser Foundation, the Rosenlund Family Foundation, Christa and Calvin Schmidt, the Target Corporation, the Verizon Foundation, and the Wells Fargo Foundation.

©2013 The Philadelphia Orchestra Association. This material is the property of The Philadelphia Orchestra Association and may not be duplicated or reproduced without written consent from the Department of Education and Community Partnerships.Cover photo: Jessica Griffin

Get the Most from Your Philadelphia Orchestra School ConcertAbout School Concerts, About the Program, Essential Questions, Learning Concepts, and Additional Resources

Curriculum ConnectionsNational and State Standards for Music EducationPennsylvania’s Standards Aligned System and this Curriculum Guide

Meet The Philadelphia OrchestraLearn More about The Philadelphia Orchestra

Unit #1: Let’s Go to the Orchestra!Two Introductory Lessons Designed to Introduce Students to the Orchestra

Unit #2: Musical Beginnings and EndingsOverture and Encore: Mozart Overture to The Marriage of Figaro, K. 492; J. Strauss, Jr. “Tritsch-Tratsch” Polka, Op. 214

Unit #3: Musical PlacesSoundtracks: Badelt/arr. Ricketts Suite from Pirates of the Caribbean; E. Bernstein Theme from The Magnificent Seven; Williams “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone

Unit #4: Musical ActionDramatic Music: Prokofiev “Montagues and Capulets,” from Romeo and Juliet, Op. 64; Stravinsky “Infernal Dance of King Kastcheï,” from The Firebird; Wagner “Ride of the Valkyries,” from Die Walküre

Unit #5: Musical StoriesProgram Music: Berlioz “March to the Scaffold,” from Symphonie fantastique, Op. 14; Dukas Excerpt from The Sorcerer’s Apprentice; Holst “Mars, the Bringer of War,” from The Planets

Unit #6: Musical MoodsEmotional Music: Beethoven Excerpt from fourth movement from Symphony No. 5 in C minor, Op. 67; Beethoven Excerpt from second movement from Symphony No. 7 in A major, Op. 92

AppendicesAppendix A: Academic StandardsAppendix B: Philadelphia Orchestra School Partnership ProgramAppendix C: Recorder Fingering ChartAppendix D: Conducting PatternsAppendix E: Guide to Audience Behavior

Glossary of Terms

Credits

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Contents

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About School ConcertsEngagement with music challenges students to achieve their full intellectual and social potential, and it empowers them to become lifelong learners deeply invested in supporting the arts in their communities. The Philadelphia Orchestra, considered one of the best in the world, reaches nearly 12,000 elementary and middle school students and teachers through the School Concert program. We are strongly committed to supporting both discipline-centered and arts-integrated learning in our local schools, and we celebrate the dedicated teachers who shape our children’s futures. School Concerts have been commended by the Pennsylvania Department of Education as a model program in alignment with the state’s Standards Aligned System.

Research and experience tells us that the arts are crucial to developing effective learners. We know that the nature of arts learning both directly and indirectly develops qualities of mind and character essential to success such as self-discipline, self-articulation, critical thinking, and creativity. The value found in the connections between the arts and other subject areas has led to the encouragement of an arts-integrated approach to learning in all classrooms.

In a report released in May 2011, Reinvesting in Arts Education: Winning America’s Future through Creative Schools, the President’s Committee on the Arts and the Humanities powerfully states that “experiences in the arts are valuable on their own, but they also enliven learning of other subjects, making them indispensable for a complete education in the 21st Century” (p. 2). The Philadelphia Orchestra School Concert program embraces this philosophy and incorporates a focus on arts-integrated learning in this curriculum guide.

About the ProgramStorytelling exists not only in literary forms but also through means of musical expression. In this interactive program, students direct the action by designing their own concert experience and choosing what music is performed and how the story is told. They’ll use elements of a story—like setting, conflict, and resolution—to create an adventure while exploring key categories of orchestral music designed to communicate stories, such as program music, soundtracks, and music written for ballet and opera.

Students become the hero as the program’s host leads them through several choices, asking them to vote on which storyline to take and which music will be performed. The audience is in the driver’s seat, and no two performances will be alike! Programs will be created from the music listed below, with one piece from each category being performed at each concert. However, all pieces have been included in this supplemental curriculum guide.

Program FormatOne piece from each category will be performed at each concert.

IntroductionMozart Excerpt from Overture to The Marriage of Figaro, K. 492

Setting and ExpositionBadelt Suite from Pirates of the CaribbeanE. Bernstein Theme from The Magnificent SevenWilliams “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone

ConflictProkofiev “Montagues and Capulets,” from Romeo and Juliet, Op. 64Stravinsky “Infernal Dance of King Kastcheï,” from The FirebirdWagner “Ride of the Valkyries,” from Die Walküre

Turning PointBerlioz “March to the Scaffold,” from Symphonie fantastique, Op. 14Dukas Excerpt from The Sorcerer’s Apprentice Holst “Mars, the Bringer of War,” from The Planets

ResolutionBeethoven Excerpt from fourth movement from Symphony No. 5 in C minor, Op. 67Beethoven Excerpt from second movement from Symphony No. 7 in A major, Op. 92

ConclusionJ. Strauss, Jr. “Tritsch-Tratsch” Polka, Op. 214

About this Curriculum GuideCreated in collaboration with area teachers, Inside the Music and its resource materials are intended for use in many different instructional settings. Whether you are a fourth-grade teacher, middle school orchestra director, general music teacher, or home

Get the Most from Your Philadelphia Orchestra School ConcertTake full advantage of this curriculum guide, developed to accompany the School Concert program, and

prepare your students to get the most out of their concert experience with The Philadelphia Orchestra.

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school leader, the information and activities in this guide are designed to be integrated as part of a comprehensive education for your students that includes the understanding and appreciation of orchestral music. Lessons have been designed for use in grades four and five with adaptations and extensions to meet the learning needs of grades two through eight, as well as special learners.

In addition to a lesson unit designed to introduce students to the orchestra, this curriculum guide contains six units that correspond with the music that will be performed at the School Concert. These units include the following components:

1. Correlation with national and Pennsylvania state standards

2. Introduction describing connections between the integrated musical category and literary element

3. Background information about the composers and the music

4. Listening guides for each of the pieces

5. Arts-integrated lesson with objectives focused on exploring the connections between the music and another content area in a way that is mutually reinforcing and leads to greater understanding in both

What’s the Big Idea?: Essential Questions for Integrated InstructionAs an inseparable part of the human experience, music provides an ideal opportunity to explore connections between various disciplines and examine a range of diverse experiences and knowledge. The Philadelphia Orchestra School Concert program and this accompanying guide have been designed to encourage the use of orchestral music in your existing curriculum through interdisciplinary study. To this end, three essential questions connected to the theme of the School Concert have been established to support the integration of music with various subject areas across different grade levels.

To maximize the benefit of the concert experience for your students, use the following questions to frame student inquiry, guide open-ended discussion, and promote critical thinking in your classroom.

1. In what ways do composers tell stories and convey messages in their music?

2. How can various elements of music (e.g. rhythm, melody, dynamics, tempo, and texture) be used to communicate specific themes and ideas, particularly when telling stories?

3. Does your listening experience change when you know the

music’s story? Can music have more than one story?

Learning Concepts as a Framework for InstructionInstruction in music engages students in many forms of learning—broadening a foundation of knowledge, encouraging practical and collaborative behaviors, and shaping analytical thinking and aesthetic attitudes. The School Concert program and supplemental resources support these fundamental domains of learning and provide a framework to achieve specific learning objectives. The following learning concepts outline what your students should know and be able to do as a result of their concert experience and exposure to the instructional materials and strategies contained in this guide.

Through their participation in the Philadelphia Orchestra School Concert program Musical Storytelling, students will be able to:

1. Identify key categories of orchestral music designed to communicate stories, such as program music, soundtracks, and dramatic music that accompanies ballet and opera

2. Recognize specific musical characteristics that create meaning, convey emotion, and/or tell a story and describe at least two examples from the music presented in the program

3. Apply knowledge of literary elements, specifically the elements of a story, to build understanding of the methods composers use to communicate musical stories (e.g. conflict and use of dissonance)

4. Discover and develop various strategies to listen and respond critically to musical excerpts, cultivating positive inquiry and thoughtful individual choice

5. Demonstrate understanding of rhythm, melody, dynamics, tempo, texture, and sound colors through singing, playing classroom instruments, composing, conducting, moving, analyzing aural examples, and using appropriate music vocabulary

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Additional Resources from The Philadelphia OrchestraResource Materials OnlineVisit www.philorch.org/resources to access additional instructional resource materials referenced in this guide.

Professional DevelopmentDeepen your understanding of the music presented at the School Concert and investigate specific strategies for integrating orchestral music into your classroom at a Teacher Workshop. View workshop dates and learn more at www.philorch.org/schoolconcerts under the Professional Development tab.

Orchestra Docent ProgramEnhance the quality of the School Concert experience with a classroom visit from an Orchestra Docent. These enthusiastic volunteers help prepare students to attend the concert with a presentation designed to increase their knowledge and understanding of the music, musicians, and the concert hall. Docent visits are free of charge and available to school groups who purchase 25 tickets or more. Send an e-mail request to [email protected] if you did not indicate your interest when ordering your tickets.

National Standards for Music EducationPublished in 1994 by the National Association for Music Education, the national standards for music education offer a valuable framework for what students should know and be able to do in music at various levels in their education. Nine content areas, listed below, and their subsequent achievement standards define specific competencies students should reach at three educational levels: K-4, 5-8, and 9-12. Each lesson in this curriculum guide lists the corresponding national content and achievement standards .

1. Singing, alone and with others, a varied repertoire of music2. Performing on instruments, alone and with others, a varied repertoire of music3. Improvising melodies, variations, and accompaniments4. Composing and arranging music within specified guidelines5. Reading and notating music6. Listening to, analyzing, and describing music7. Evaluating music and music performances8. Understanding relationships between music, the other arts, and disciplines outside the arts9. Understanding music in relation to history and cultureView a complete list of achievement standards for each educational level by visiting the Teacher Resources Page at www.philorch.org/resources.

Pennsylvania Academic Content Standards for MusicLike the national standards for music education, Pennsylvania’s Arts and Humanities Standards, which include music, were generated by what students should know and be able to do at the end of different grade levels (in this case, grades 3, 5, 8, and 12). Because the arts and humanities are interconnected through the inclusion of history, criticism, and aesthetics, they are divided into the same four standards categories, shown below:

9.1 Production, Performance, and Exhibition of Dance, Music, Theatre, and Visual Arts9.2 Historical and Cultural Contexts9.3 Critical Response9.4 Aesthetic Response

As with the national standards, each of the categories also contains a set of achievement standards that provide a basis of learning for sustained study in the arts. View the complete list of Pennsylvania academic standards for the arts and humanities by visiting the Department of Education website at www.pdesas.org/Standard/StandardsBrowser.

Curriculum ConnectionsThe Philadelphia Orchestra works to align its School Concert program and supplemental materials

with national and state academic content standards, especially those outlined by Pennsylvania’s

Standards Aligned System.

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Pennsylvania Standards Aligned System: Curriculum FrameworkThe Department of Education recognizes that great school systems tend to have common characteristics, including clear standards for student achievement (outlined previously) and a framework for curricular activities built around those standards. As an extension of the already-established academic content standards, the Standards Aligned System (SAS) contains these components as well as several others. Visit www.pdesas.org to become more familiar with this comprehensive approach to support student achievement in Pennsylvania.

The curriculum framework of the SAS specifi es the topics in each subject area and at each grade level that should be taught to provide a sequential foundation of learning for students. Various elements form the structure of this framework and are defi ned below. Each of the lesson units in this curriculum guide outline the SAS components (and corresponding academic standards) satisfi ed by the information and activities in that section.

SAS Curriculum Framework ComponentsBig Ideas: Declarative statements that describe concepts that transcend grade levels and are essential to provide focus on specifi c content for all students

Concepts: Describe what students should know, key knowledge, as a result of instruction, specifi c to grade level

Competencies: Describe what students should be able to do, key skills and behaviors, as a result of instruction, specifi c to grade level

Essential Questions: Questions connected to the SAS framework that are specifi cally linked to the big ideas; they should assist in learning transfer

Vocabulary: Key terminology linked to the standards, big ideas, concepts, and competencies in a specifi c content area and grade level

Exemplars: Performance tasks that can be used for assessment, instruction, and professional development; exemplars provide educators with concrete examples of assessing student understanding of the big ideas, concepts, and competencies

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Artistic LeadershipMusic Director Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth artistic leader of The Philadelphia Orchestra in the fall of 2012. He follows an extraordinary history of artistic leaders in the Orchestra’s 113 seasons, including music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, who served as chief conductor from 2008 to 2012. Under such extraordinary guidance The Philadelphia Orchestra has served as an unwavering standard of excellence in the world of classical music—and it continues to do so today.

Yannick’s highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble … has never sounded better.” He is embraced by the musicians of the Orchestra, audiences, and the community itself. His concerts of diverse repertoire attract sold-out houses, and he has established a regular forum for connecting with concert-goers through Post-Concert Conversations.

Philadelphia is HomePhiladelphia is home and the Orchestra continues to discover new and inventive ways to nurture its relationship with its loyal patrons who support the main season (September-May) in Verizon Hall at the Kimmel Center for the Performing Arts. The Kimmel Center, for which the Orchestra serves as the founding resident company, has been the ensemble’s performance hall since 2001. The Philadelphia Orchestra Association also owns the Academy of Music—a National Historic Landmark and the oldest operating opera house in the nation—as it has since 1957. Each year the Orchestra returns to the “Grand Old Lady of Locust Street”—where it performed for 101 seasons before moving to the Kimmel Center—for the Academy Anniversary Concert and Ball, one of the city’s most highly anticipated and attended events.

Beyond its robust concert offerings at the Kimmel Center, the Orchestra also performs for Philadelphia audiences during the summer months at the Mann Center for the Performing Arts, as well as in venues across the region, including Penn’s Landing,

Longwood Gardens, and the Philadelphia Navy Yard. Many of these performances are part of the ensemble’s free Neighborhood Concert Series as well as its educational and community partnership programs—all of which create greater access and engagement with classical music as an art form.

Commitment to EducationThe Philadelphia Orchestra continues its decades-long tradition of presenting learning and community engagement opportunities for listeners of all ages across the Delaware Valley—a tradition dating back to 1921 when Leopold Stokowski initiated concerts exclusively for children. Today the Orchestra introduces orchestral music to a new generation of listeners through programs for children and adults, from Sound All Around (designed for children ages 3-5) to Family Concerts (aimed at children ages 6-12 and their families) to eZseatU (allowing full-time college students to attend an unlimited number of Orchestra concerts for a $25 annual membership fee). The Orchestra engages adult audiences more deeply in its performances through learning programs, including free PreConcert Conversations, which occur before every subscription concert, and Lecture/Luncheons with guest speakers. Musician-led initiatives, including recent highly-successful Cello and Violin Play-Ins, shine a spotlight on the Orchestra’s musicians, as they spread out from the stage into the community, and serve a key role in growing young musician talent and a love of classical music in their own dedicated roles as teachers, coaches, and mentors.

The Orchestra connects with the youth of Philadelphia through its Billy Joel School Concert Program, which improves access to the Orchestra’s School Concerts for underserved city schoolchildren and serves elementary and middle schools chosen from within the School District of Philadelphia. The Orchestra’s School Partnership Program also offers students incomparable exposure and access to The Philadelphia Orchestra and its musicians inside the classrooms of five selected schools in the Philadelphia region. The program’s teaching artists work side-by-side with classroom teachers using curriculum and materials created by the Orchestra’s education department. Finally, The Philadelphia Orchestra collaborates with schools interested in having Orchestra musicians work with their students through the Musicians in the Schools program. These school visits take the form of assembly programs, performances or demonstrations, clinics, and master classes or sectionals.

Meet The Philadelphia OrchestraThe Philadelphia Orchestra has been entertaining and educating youth audiences for generations,

beginning in 1921 when conductor Leopold Stokowski began his series of Children’s Concerts. The

tradition continues with this year’s School Concert series and the talented musicians and guest artists

who will inspire your imagination.

Meet the Philadelphia Orchestra

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A Cultural Ambassador AbroadThrough concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the United States. Outside of Philadelphia, the Orchestra performs annually at Carnegie Hall and enjoys a three-week summer residency at the Saratoga Performing Arts Center in New York—a venue that was built for the Orchestra—as well as a strong partnership with the Bravo! Vail music festival, which brings the world’s fi nest orchestras to Colorado each summer.

The Orchestra also has a long history of touring, having fi rst performed outside of Philadelphia in the earliest days of its founding. The Philadelphia Orchestra was the fi rst American orchestra to perform in the People’s Republic of China in 1973. In 2012 the ensemble reconnected with its historical roots in China and more deeply embraced its role as a cultural ambassador by launching a new partnership with the National Centre for the Performing Arts (NCPA) in Beijing, a pilot residency that united the Orchestra with talented young Chinese musicians and composers to further develop their orchestral skills. The residency also served to bring orchestral music, through performances and master classes, not only to China’s major cities but also further into the provinces, and to connect through the hearts of local musicians to their supporting communities, through the sharing of musical talents between its own musicians and Chinese musicians, engaging in music education, and spreading the joy of classical music with citizens in residential neighborhoods and at landmark historic sites. The success of this pilot program was confi rmed when the Orchestra and the NCPA signed a long-term agreement to extend this partnership into future residency programs, and in May-June 2013 the Orchestra triumphantly returned for its Residency and Fortieth Anniversary Tour of China—with over 50 activities in 15 days.

An Orchestra that Understands the

Power of Innovation in its Art Form

The Philadelphia Orchestra has long pushed the boundaries of convention in the classical music realm. Signature to such a reputation are world or American premieres of such important works as Mahler’s Symphony No. 8 (“Symphony of a Thousand”), Stravinsky’s The Rite of Spring, Schoenberg’s Gurrelieder, and Rachmaninoff’s Symphonic Dances. The Orchestra maintains a strong commitment to collaborations with cultural and community organizations on a regional and national level. Since Orchestra President and CEO Allison Vulgamore’s arrival in 2010, The Philadelphia Orchestra has reinvigorated and launched new partnerships with Pennsylvania Ballet, Philadelphia Live Arts (Fringe Festival), Philadanco, Opera Philadelphia, the Curtis Institute of Music, Ridge Theater Company, and stage director James Alexander, among others.

As part of its commitment to bringing classical music to audiences where they are listening, the Orchestra returns to recording under Yannick’s leadership with a newly-released CD on the prestigious Deutsche Grammophon label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions of three of Bach’s most famous organ works—his Passacaglia and Fugue in C minor, Fugue in G minor (“Little”), and Toccata and Fugue in D minor—as well as his transcription of Stravinsky’s “Pastorale.” This continues the Orchestra’s remarkable history in this area, having made its fi rst recording in 1917 and having amassed an enormous discography in the intervening years. The Orchestra also currently makes live recordings available on popular digital music services such as iTunes and Amazon, among others. In Yannick’s inaugural season the Orchestra has also returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.

These recent initiatives carry on a legacy that boasts an extraordinary record of media fi rsts, including being the fi rst symphonic orchestra to make electrical recordings (in 1925), the fi rst to perform its own commercially sponsored radio broadcast (in 1929, on NBC), the fi rst to perform on the soundtrack of a feature fi lm (Paramount’s The Big Broadcast of 1937), the fi rst to appear on a national television broadcast (in 1948, on CBS), and the fi rst major orchestra to give a live cybercast of a concert on the internet (in 1997). The Orchestra also became the fi rst major orchestra to multi-cast a concert to large-screen venues through the Internet2 network.

For more information on The Philadelphia Orchestra, please visit www.philorch.org.


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The Homes of The Philadelphia OrchestraThe Kimmel Center for the Performing Arts hosts the Orchestra’s home subscription concerts, as well as its concerts devoted to youth and family audiences. The Center includes two performance spaces, the 2,500-seat Verizon Hall, designed and built especially for the Orchestra, and the 650-seat Perelman Theater for chamber music concerts. Designed by architect Rafael Viñoly along with acoustician Russell Johnson of Artec Consultants Inc., the Kimmel Center provides the Orchestra with a state-of-the-art facility for concerts, recordings, and education activities.

The Academy of Music opened in 1857 and is the oldest grand opera house in the United States still used for its original purpose. Modeled on Italy’s famous La Scala in Milan, the Academy quickly became America’s most prestigious opera house, for a time rivaling New York’s competing offerings. Designated a National Historic Landmark in 1963, the Academy of Music has benefi ted from millions of dollars raised by the Restoration Fund for the Academy of Music for various renovations and restorations during the past 50 years.

The Kimmel Center for the Performing Arts and the historic Academy of Music (where the Orchestra performed for 101 seasons) are operated together as a single cultural facility by Kimmel Center, Inc. The Philadelphia Orchestra Association continues to own the Academy of Music, as it has since 1957, and the Orchestra performs there at the highly anticipated Academy Anniversary Concert and Ball every January.


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Charlotte Blake Alston Writer and Host on February 4 and 11Charlotte Blake Alston is a nationally acclaimed storyteller, narrator, instrumentalist, and singer who performs in venues throughout North America and abroad, breathing life into traditional and contemporary stories from African and African-American oral and

cultural traditions. She has made multiple appearances at the Smithsonian Institution, the John F. Kennedy Center for the Performing Arts, the Kimmel Center for the Performing Arts, the National Storytelling Festival, and the National Festival of Black Storytelling. In September 2010 she was the sole American invited to perform at the Cape Clear Island Storytelling Festival in Ireland.

Ms. Alston is the host of Sound All Around, The Philadelphia Orchestra’s concert series for preschool children, and has appeared as host or narrator on the Orchestra’s Family and School Concerts since 1991. She has also been a featured host, storyteller, and narrator on the Carnegie Hall Family and School Concert series since 1995. Ms. Alston has worked with the Opera Company of Philadelphia (now Opera Philadelphia), Singing City Choir, and has appeared as a narrator for several other orchestras around the country, including the Cleveland Orchestra, the Saint Louis Symphony, the Baltimore Symphony, and the Indianapolis Symphony. Her latest libretto, The Children’s March, commissioned by Singing City Choir for the 2013 Philadelphia International Festival of the Arts, premiered on April 26, 2013.

In recognition of her work, Ms. Alston has received numerous honors including a prestigious Pew Fellowship in the Arts and the Commonwealth of Pennsylvania’s “Artist of the Year” award, which recognizes individual artists for their excellence. She holds two honorary Ph.D.’s and received the Circle of Excellence Award from the National Storytelling Association. In 2009 Ms. Alston was named recipient of the Zora Neale Hurston Award, the highest award bestowed by the National Association of Black Storytellers.

Michael Boudewyns Host on February 26 and March 4Michael Boudewyns made his Philadelphia Orchestra debut in 2000, and since 2004 has been a frequent guest artist with the Orchestra’s popular Family Concerts and Beyond the Score presentations. This season Mr. Boudewyns is excited to debut two new performances: ’Twas the Night

before Christmas (December 2013) and The Remarkable Farkle McBride (February 2014).

Mr. Boudewyns regularly performs family concerts with other orchestras across North America, including Winnipeg, Des Moines, Milwaukee, Charlotte, Richmond, Princeton, Illinois, Annapolis, Lincoln, New Haven, Richmond, Harrisburg, Kennett, Newark, Tulane University, the University of Delaware, and the Westchester Philharmonic. Several upcoming orchestra debuts include the Singapore Symphony, the Indianapolis Symphony, the Victoria Symphony in British Columbia, and the Richardson Symphony.

In the 2013-14 season Mr. Boudewyns will present Dr. Seuss’s Green Eggs and Ham with soprano Kimberly Schroeder (Kansas City Symphony, Delaware Theatre Company, Texarkana Symphony, Victoria Symphony); Peter and the Wolf (National Symphony, Indianapolis Symphony, Richardson Symphony, Symphony in C); The Story of Babar, the Little Elephant (Singapore Symphony, Delaware Theatre Company, James Madison University); Carnival of the Animals (Symphony in C); Tubby the Tuba (Victoria Symphony); and Mozart’s Toy Symphony (Kansas City Symphony, Texarkana Symphony, James Madison University). Mr. Boudewyns is a graduate of the Professional Theatre Training Program at the University of Delaware and is cofounder of www.ReallyInventiveStuff.com.

Meet the ArtistsCharlotte Blake Alston Writer and Host on February 4 and 11

Charlotte Blake Alston is a nationally acclaimed storyteller, narrator, instrumentalist, and singer who performs in venues throughout North America and abroad, breathing life into traditional and contemporary stories from African and African-American oral and

cultural traditions. She has made multiple appearances at the

Michael Boudewyns Host on February 26 and March 4Michael Boudewyns made his Philadelphia Orchestra debut in 2000, and since 2004 has been a frequent guest artist with the Orchestra’s popular Family Concerts and Beyond the Score presentations. This season Mr. Boudewyns is excited to debut two new performances:

before Christmas (December 2013) and before Christmas (December 2013) and before Christmas


16

Musicians of The Philadelphia OrchestraSeason 2013-14

Yannick Nézet-Séguin

Music Director

Walter and Leonore Annenberg Chair

Charles Dutoit

Conductor Laureate

Cristian Măcelaru

Associate Conductor

First Violins

David Kim, Concertmaster

Dr. Benjamin Rush Chair

Juliette Kang, First Associate

Concertmaster

Joseph and Marie Field Chair

Ying Fu, Associate Concertmaster

Marc Rovetti, Assistant Concertmaster

Herbert Light

Larry A. Grika Chair

Barbara Govatos

Wilson H. and Barbara B. Taylor Chair

Jonathan Beiler

Hirono Oka

Richard Amoroso

Robert and Lynne Pollack Chair

Yayoi Numazawa

Jason DePue

Lisa-Beth Lambert

Jennifer Haas

Miyo Curnow

Elina Kalendarova

Daniel Han

Second Violins

Kimberly Fisher, Principal

Peter A. Benoliel Chair

Paul Roby, Associate Principal

Sandra and David Marshall Chair

Dara Morales, Assistant Principal

Anne M. Buxton Chair

Philip Kates

Mitchell and Hilarie Morgan Family

Foundation Chair

Booker Rowe

Davyd Booth

Paul Arnold

Lorraine and David Popowich Chair

Yumi Ninomiya Scott

Dmitri Levin

Boris Balter

William Polk

Amy Oshiro-Morales

Violas

Choong-Jin Chang, Principal

Ruth and A. Morris Williams Chair

Kirsten Johnson, Associate Principal

Kerri Ryan, Assistant Principal

Judy Geist

Renard Edwards

Anna Marie Ahn Petersen

Piasecki Family Chair

David Nicastro

Burchard Tang

Che-Hung Chen

Rachel Ku

Marvin Moon

Jonathan Chu*

Cellos

Hai-Ye Ni, Principal

Albert and Mildred Switky Chair

Yumi Kendall, Acting Associate Principal

Wendy and Derek Pew Foundation Chair

John Koen, Acting Assistant Principal

Richard Harlow

Gloria dePasquale

Orton P. and Noël S. Jackson Chair

Kathryn Picht Read

Winifred and Samuel Mayes Chair

Robert Cafaro

Volunteer Committees Chair

Ohad Bar-David

Catherine R. and Anthony A. Clifton Chair

Derek Barnes

Mollie and Frank Slattery Chair

Alex Veltman

Basses

Harold Robinson, Principal

Carole and Emilio Gravagno Chair

Michael Shahan, Associate Principal

Joseph Conyers, Assistant Principal

John Hood

Henry G. Scott

David Fay

Duane Rosengard

Robert Kesselman

Some members of the string sections

voluntarily rotate seating on a periodic basis.

Flutes

Jeffrey Khaner, Principal

Paul and Barbara Henkels Chair

David Cramer, Associate Principal

Rachelle and Ronald Kaiserman Chair

Loren N. Lind

Kazuo Tokito, Piccolo

Oboes

Richard Woodhams, Principal

Samuel S. Fels Chair

Peter Smith, Associate Principal

Jonathan Blumenfeld

Edwin Tuttle Chair

Elizabeth Starr Masoudnia, English Horn

Joanne T. Greenspun Chair

Clarinets

Ricardo Morales, Principal

Leslie Miller and Richard Worley Chair

Samuel Caviezel, Associate Principal

Sarah and Frank Coulson Chair

Paul R. Demers, Bass Clarinet

Peter M. Joseph and Susan Rittenhouse

Joseph Chair


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Bassoons

Daniel Matsukawa, Principal

Richard M. Klein Chair

Mark Gigliotti, Co-Principal

Angela Anderson

Holly Blake, Contrabassoon

Horns

Jennifer Montone, Principal

Gray Charitable Trust Chair

Jeffrey Lang, Associate Principal

Jeffry Kirschen

Daniel Williams

Denise Tryon

Shelley Showers

Trumpets

David Bilger, Principal

Marguerite and Gerry Lenfest Chair

Jeffrey Curnow, Associate Principal

Gary and Ruthanne Schlarbaum Chair

Anthony Prisk

Robert W. Earley

Trombones

Matthew Vaughn, Acting Principal

Neubauer Family Foundation Chair

Eric Carlson

Blair Bollinger, Bass Trombone

Drs. Bong and Mi Wha Lee Chair

Tuba

Carol Jantsch, Principal

Lyn and George M. Ross Chair

Timpani

Don S. Liuzzi, Principal

Dwight V. Dowley Chair

Angela Zator Nelson, Associate Principal

Patrick and Evelyn Gage Chair

Percussion

Christopher Deviney, Principal

Mrs. Francis W. De Serio Chair

Anthony Orlando, Associate Principal

Ann R. and Harold A. Sorgenti Chair

Angela Zator Nelson

Piano and Celesta

Kiyoko Takeuti

Keyboards

Davyd Booth

Michael Stairs, Organ**

Harps

Elizabeth Hainen, Principal

Patricia and John Imbesi Chair

Margarita Csonka Montanaro,

Co-Principal

Librarians

Robert M. Grossman, Principal

Steven K. Glanzmann

Stage Personnel

Edward Barnes, Manager

James J. Sweeney, Jr.

James P. Barnes

* On leave

** Regularly engaged musician


18

Unit #1: Let’s Go to the Orchestra!Before your students visit The Philadelphia Orchestra in person, introduce them to the instruments

of the orchestra, essential elements of music, and proper concert etiquette with the lessons and

activities in this unit.

Big Ideas• The skills, techniques, elements, and principles of the arts can be learned, studied, refi ned, and practiced (Gr. 2-8)• Artists use tools and resources as well as their own experiences and skills to create art (Gr. 2-8)

Essential Questions• How do people talk about music? (Gr. 2) • Who can create music? (Gr. 3)• How can music tell a story? (Gr. 4)• How can music communicate themes and ideas? (Gr. 5)

Concepts• Musicians use the process of creating/recreating, rehearsing, refl ecting, and revising to improve their skills (Gr. 3)• Many different groups of voices and/or instruments can create music (Gr. 3)• Different groups of voices and/or instruments have different sounds (Gr. 4)• People use the elements and principles of music as tools for artistic expression (Gr. 6)

Competencies• Articulate personal opinions of musical works using appropriate vocabulary (Gr. 2-3)• Students will describe themes and ideas through listening and performance of a variety of musical styles (Gr. 5)

Pennsylvania Standards Aligned System for Music EducationThe lessons and activities in this unit satisfy the following components of the SAS music education curriculum framework for the following grades (Gr.):

Lesson Unit #1: Let’s Go to the Orchestra!

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Orchestra Family PortraitLisa Tierney, Choral/General Music Teacher, James Dobson School,

School District of Philadelphia, PA

Duration of Lesson30 minutes

Lesson ObjectivesAs a result of this lesson, students will be able to:• Name and describe the four instrument families of the orchestra and at least two instruments from each family• Choose accurate adjectives to describe the timbre of instrument families• Analyze how composers can use instrument families to create different characters or moods• Use music as inspiration for a story

Lesson Materials• Chalk/white board or chart paper• Paper (or music journal) and pencil for every student• Recordings of School Concert repertoire• CD/mp3 playback deviceSee www.philorch.org/resources:• Orchestra Instrument Cards• Instrument Family Signs (optional)

Academic StandardsNational Content Standards for MusicK-4: 6 b, c, dPennsylvania Content StandardsArts: 9.1.5 a, c, e / 9.3.5 a, b, d / 9.4.5 dOther Disciplines: 1.4.5 a / 1.5.5 a / 1.6.5 d, e

Introduction1. Prior to the start of class, draw a tree on the chalk/white board or chart paper with four large branches and label it, “Orchestra Family Tree.” Then as they enter the classroom, have each student take a randomly-selected picture of an orchestral instrument.

2. Once everyone is seated, ask the students, “What makes a family? We know that there are many different types of families and each is unique.” Record student responses on the board. Answers may include physical appearance, shared character traits, similar ways of speaking, etc.

3. Have the class work together to create a definition of a family. A simplified answer might be: A group of adults and children in a household that share something in common. (Sometimes they live all together; sometimes they don’t.)

4. Then, tell students to look at the instrument on their card. Share that each of these instruments belongs to one of four instrument families on the Orchestra Family Tree: strings, woodwinds, brass, and percussion. Label each branch of the tree on the chalk/whiteboard with these terms.

5. Designate four different areas of the room for each family (signs optional) and ask students to sit with the family to which they feel their instrument belongs.

6. Once in their groups, ask students to discuss with each other what they think makes their instrument family unique. Is it a special feature? A material from which they are made? Or something else?

7. Allow each group a few minutes to share their conclusions with the class. Students should identify the following characteristics of each family: •Strings: Made of wood, strings are bowed or plucked •Woodwinds: Uses air blown into a reed or mouthpiece •Brass:All made of metal, player buzzes lips into a mouthpiece •Percussion:Instruments are either struck, scraped, or shaken

Help students determine if they are seated with the correct instrument family and make any necessary adjustments.


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Development8. Explain that composers use the instrument families to portray different characters and moods throughout all kinds of music. Have students listen to the short excerpts below that feature each family, and instruct them to do the following: • Stand if they think their group’s instrument family is being featured • Choose an adjective to describe the character or mood of the music

9. Play the following excerpts for the students: • Brass: Suite from Pirates of the Caribbean, 1:04-1:16, sample adjectives: triumphant, adventurous • Strings: “Montagues and Capulets,” from Romeo and Juliet, 2:59-3:17, sample adjectives: dark, gloomy, threatening • Percussion (also brass): Suite from Pirates of the Caribbean, 2:24-2:43, sample adjectives: urgent, frantic, angry • Brass (also woodwinds): “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone, 1:13-1:52, sample adjectives: mysterious, hurried • Woodwinds: Fourth movement from Symphony No. 5 in C major, 3:45-4:05, sample adjectives: sad, sorrowful, weeping • Strings: Theme from The Magnifi cent Seven, 0:08-0:45, sample adjectives: heroic, daring • Woodwinds: Excerpt from The Sorcerer’s Apprentice, 0:00-0:46, sample adjectives: mischievous, playful • Percussion: “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone, 1:52-2:05, sample adjectives: magical, enchanted

Discuss and record the appropriate adjectives on the board under the corresponding family on the tree.

Refl ection/Conclusion10. Have students return to their seats, and using paper and pencil (or in their music journals), ask them to complete the following: • Label their paper with their name and the instrument family of their group • Using three adjectives from the Orchestra Family Tree for their chosen family, create a short story (4 or 5 sentences) with two instruments from that family as the main characters • Possible topics: family argument, where the family might have come from, celebration

11. Encourage volunteers to share their stories with the class, and following selected stories, play corresponding excerpts again. Ask students to consider how well the story fi ts the character that the composer tried to create.

Ideas for Differentiated InstructionAdaptations: • Designate specifi c students to be the “recorders” and allow students with special needs to be their partner during writing tasks. • Allow students to provide answers in multiple formats, such as writing a sentence, writing a list of keywords, or drawing images/diagrams.

Extensions: • Allow students to turn their stories into short skits to be performed for the class and use the recording as “end titles” music. • Create a bulletin board display using pictures of instrument families and stories created by the students. • Encourage students to draw a “family portrait” of the members of their instrument family (e.g. Mama Flute, Papa Clarinet, etc.) and display them next to the stories.


21

A Virtual Trip to the OrchestraElizabeth McAnally, Choral/General Music Teacher, Woodrow Wilson Middle School,


Lesson ObjectivesAs a result of this lesson, students will be able to:• Demonstrate and describe appropriate audience behavior for an orchestral concert• Define vocabulary such as concert etiquette, conductor, concertmaster, usher, tuning

Lesson Materials• Chalk/white board or chart paper• Recordings of School Concert repertoire• CD/mp3 playback device

Academic StandardsNational Content Standards for MusicK-4: 6 c / 9 d, ePennsylvania Content StandardsArts: 9.1.5 c, i / 9.2.5 h, k / 9.4.5 c

Introduction1. Explain to students they will soon be attending a field trip to hear The Philadelphia Orchestra present its School Concert. Remind students the date of their trip and the deadline for returning permission slips.

2. Allow students to work in pairs to make predictions about one or more of the following questions about the concert they’re attending: A. What will you see? B. What will you hear? C. What will you do? Using the board/chart paper, record the responses and save for the end of the lesson.

3. Help students create a list of questions they have about the Orchestra and/or the concert. Post the questions in the classroom so students can add the answers they discover during preparatory and follow-up lessons.

Development4. Discuss with students that different events and locations have different standards and expectations of behavior. Ask students to pantomime or describe appropriate behavior for the lunchroom, the schoolyard, a football or baseball stadium, and their own living room.

5. Explain to students that they will be acting out proper concert etiquette, or appropriate behavior, for an orchestra concert. Divide the class into two equal groups and assign the role of audience to one group and orchestra to the other group. Arrange desks/chairs so that the audience and orchestra are facing each other.

6. Choose a volunteer to be the conductor (person who leads a performing ensemble) and another to be the concertmaster (leader of the first violin section). Ask those students to stand offstage. Select one or two other students to be ushers and have them stand at the door.

7. Ask the audience to line up at the door and imagine they have just left their school bus and have arrived at the Kimmel Center. Have the ushers show the audience to their seats. Remind the audience they may only whisper or speak very quietly while waiting for the concert to begin.

8. Explain that before the concert begins, the orchestra members will be onstage, warming up on their instruments. Encourage the orchestra to choose an instrument and pantomime playing it.

9. Ask the ushers to turn the classroom lights off and on, and remind students that when the lights in the concert hall are lowered, the concert is about to begin. Talking is no longer appropriate.

10. Direct the concertmaster to enter the stage and bow, while the audience applauds politely. Explain that the concertmaster will give the signal to the first chair, or principal, oboe player to begin the tuning process, so that all of the notes of the orchestra will match and sound good when they play together. The musicians need to be able to hear each other while tuning, so it’s important for the audience to be very quiet.


22

11. Have the conductor enter the stage and bow, while the audience again applauds respectfully. Remind students that a conductor uses gestures to lead the orchestra, and the music is not completely fi nished until the conductor lowers his/her arms.

12. Ask the conductor to pantomime leading the orchestra while students listen to a short excerpt from the end of a piece from the School Concert playlist. Challenge the audience not to be tricked into applauding before the conductor lowers his/ her arms.

13. Remind students when the concert is over, they should remain quietly in their seats and wait for instructions about exiting the concert hall to fi nd the bus.

14. Congratulate students for learning appropriate behavior for an orchestra concert and remind them they will demonstrate their knowledge during the fi eld trip.

Refl ection/Conclusion15. After returning desk/chairs to their places, choose students to read aloud the predictions generated to questions A, B, and C at the beginning of the lesson. Ask the class to determine if their predictions were accurate and help them make any corrections or additions as needed.

16. Ask another student to read aloud the list of questions they created. Write in any answers they discovered during the lesson. Tell students they can add answers during other preparatory lessons and after they return from the concert. You may also decide to challenge students to fi nd the answers to questions by asking parents, going to the library, or researching on the internet.

Ideas for Differentiated InstructionAdaptation: • Pair struggling students with a partner while answering questions A, B, and C.

Extensions: • Using a computer and projector OR interactive whiteboard, help students become familiar with The Kimmel Center for the Performing Arts by taking a virtual tour:

www.kimmelcenter.org/facilities/tour/. If appropriate, allow volunteers to choose an area of the Kimmel Center and use the mouse to explore. • Encourage students to write a short story or draw a picture that describes a trip to the orchestra and display their work in the classroom. • Help students apply concert etiquette to assembly programs or performances at your school.


23

Unit #2: Musical Beginnings and EndingsMozart Overture to The Marriage of Figaro, K. 492

J. Strauss, Jr. “Tritsch-Tratsch” Polka, Op. 214

Big Ideas• Artists use tools and resources as well as their own experiences and skills to create art (Gr. 2-8)• The arts provide a medium to understand and exchange ideas (Gr. 2-8)• Art is created for a variety of purposes; artists create for a variety of reasons (Gr. 2-8)

Essential Questions• Where do we experience music? (Gr. 2-3)• How do people use music? (Gr. 2-3)• Why do people create music? (Gr. 2-5)• How can music communicate a theme? (Gr. 4-5)• How do artists tell stories and/or convey messages in their work? (Gr. 4-5)• What factors inspire or influence an artist’s work? (Gr. 6-8)• How do people express meaning through music? (Gr. 6-8)• How do people interpret meaning in music? (Gr. 6-8)

Concepts• Musicians use the elements and principles of music as tools for artistic expression (Gr. 2)• An artist’s use of themes and/or ideas can affect the way an audience perceives the work (Gr. 4)• Music can communicate moods or emotions (Gr. 5)• There are styles of music that are specifically written to communicate themes and ideas (Gr. 5)• The choices that an artist makes can affect the way an audience perceives the work (Gr. 6)• Music may be performed as a singular art form or in combination with dance, theater, or the visual arts (Gr. 7)

Competencies• Students will use appropriate music vocabulary to describe musical works (Gr. 2)• Students will categorize musical works based on the works’ historical and cultural context (Gr. 4)• Students will experience music written to communicate different themes and ideas and explain how these themes and ideas affect an audience’s perception of the works (Gr. 4)• Students will describe themes and ideas through listening and performance of a variety of musical styles, e.g. program music, theatrical music (Gr. 5)• Students will analyze the role of music in their own culture (Gr. 5)• Students will identify artists’ choices and explain how those choices affect a person’s response to musical works (Gr. 6)


Lesson Unit #2:Musical Beginnings and Endings

24

Overture and EncoreJust as stories have a beginning (an introduction) and an ending (a conclusion), orchestra concerts often feature music that serves a similar purpose. Overtures fi rst appeared as instrumental openings to operas and ballets, and these pieces—like the overture from Mozart’s opera The Marriage of Figaro—are now often heard at the beginning of an orchestra’s performance. Conversely, an encore (French for “again”) occurs at the end of a concert after an audience ovation, is typically not printed in the program, and is usually high-spirited with a quick and lively tempo. Johann Strauss, Jr.’s “Tritsch-Tratsch” Polka, Op. 214, serves as an excellent ending to the School Concert especially for this last reason. We challenge you to stay still in your seat as the Orchestra ends the program with this animated and enthusiastic dance.

About the Composers and MusicWolfgang Amadè Mozart and His Operas

Wolfgang Amadè Mozart (1756-91) was no ordinary kid. By the age of 11 he had toured Europe playing for royalty, composed his fi rst six symphonies, and written his fi rst opera. A boy prodigy and musical genius, Mozart (“MOAT-zart”) became one of the world’s master composers

of Western music, writing an incredible amount during his short lifetime of 35 years. But, for all his talent, Mozart had a diffi cult life, struggling with fi nancial worries and illness during his later years.

To support the extravagant life Mozart and his wife attempted to live, success in the court opera house of Austrian ruler Joseph II was important. Mozart partnered with Lorenzo Da Ponte, a talented poet and librettist, to create several operas, including The Marriage of Figaro (1786), a comic opera in four acts. Based on a revolutionary play by Pierre Beaumarchais, Mozart’s Figaro removes much of the criticism of aristocratic privilege from the original. However, Mozart’s music makes the social distinctions between the characters clear, especially as Count Almaviva’s personal servant Figaro learns that his master is pursuing the favor of his bride-to-be, Susanna.

The atmosphere at the outset of the opera is fi lled with expectation and excitement, as Figaro and Susanna prepare for their wedding. The presto Overture to The Marriage of Figaro successfully sets the stage for the comic (mis)adventures to come, including blundering eavesdropping, mistaken identity, and sneaky deception. Even though there are no direct musical connections between the Overture and the opera itself, the fl urry of motion from beginning to end—heard fi rst in the strings, then in the woodwinds and horns, and then including the brass—prepares

the audience for the frantic, conspiratorial story that follows. The Overture is an especially famous work for orchestra and is played often as a separate concert piece.

Johann Strauss, Jr., and His DancesComposing dance music was in the blood of Austrian composer Johann Strauss, Jr. (1825-99), as his father, Johann, Sr., was also famous for his waltzes—dances written in 3/4 time, where each measure of music has three beats and the fi rst beat is accented. However, Johann the elder wanted

his son to become a banker, not a musician, so Johann the younger was forced to study the violin in secret. Once his passion for music was revealed (and his father abandoned the family for a mistress), Johann, Jr. went on to study composition privately, and an intense rivalry grew between the two.

Although Strauss, Jr. (“STROUSE”), overshadowed his father in popularity as the “Waltz King,” he also helped develop other kinds of dance music, particularly polkas, of which he composed over 100. The title of the “Tritsch-Tratsch” Polka can be translated as “Chit-Chat” and may refer to the Viennese people’s fondness for gossip. Often added to the end of a concert as an encore, this jaunty and high-spirited polka has also been used in popular culture, including video games, Tom and Jerry cartoons, and the fi lms Moonraker and Star Trek IV: The Voyage Home.

Wolfgang Amadè Mozart and His Operas Wolfgang Amadè Mozart (1756-91) was no ordinary kid. By the age of 11 he had toured Europe playing for royalty, composed his fi rst six symphonies, and written his fi rst opera. A boy prodigy and musical genius, Mozart (“MOAT-zart”) became one of the world’s master composers

of Western music, writing an incredible amount during his short

Johann Strauss, Jr., and His DancesComposing dance music was in the blood of Austrian composer Johann Strauss, Jr.as his father, Johann, Sr., was also famous for his waltzes—dances written in 3/4 time, where each measure of music has three beats and the fi rst beat is accented. However, Johann the elder wanted

his son to become a banker, not a musician, so Johann the


25

Listening GuidesUnderlined terms can be found in the glossary at the back of this guide.Mozart Overture to The Marriage of Figaro, K. 492

0:00 Exposition: Bassoons and strings begin with a quiet, agitated melody with unbalanced phrases (Theme 1a)0:07 Woodwinds and horns play a broad melody that comprises the second part of the theme (Theme 1b)0:28 Transitional passage, with rapidly-moving notes0:47 Static melody in the violin and viola, with accented, uneven rhythms1:07 Closing theme (fi rst part) in the lower voices, a motive that rises and then turns downward1:25 Closing theme (second part) in bassoons and fi rst violins, a lyrical melody1:49 Skipping the traditional development section, Mozart moves right to the recapitulation and the fi rst theme returns2:15 The second theme returns2:36 The fi rst part of the closing theme returns2:54 The second part of the closing theme returns3:26 Coda: Descending scale passages and forceful chords lead to the end

J. Strauss, Jr. “Tritsch-Tratsch” Polka, Op. 2140:00 Introduction 0:02 A section, fi rst theme0:13 A section, second theme0:27 A section, fi rst theme returns0:48 B section (“trio”), fi rst theme1:12 B section (“trio”), second theme1:24 B section (“trio”), fi rst theme returns1:37 A section returns, fi rst theme1:49 A section, second theme2:13 A section, fi rst theme returns2:23 Coda


26

Once Upon a Time They Lived Happily Ever AfterElizabeth McAnally, Choral/General Music Teacher, Woodrow Wilson Middle School,



Lesson ObjectivesAs a result of this lesson, students will be able to:• Discuss the role of beginnings and endings in establishing boundaries to both musical and non-musical events• Demonstrate understanding of steady beat, rhythm, and dynamics through movement to music• Compare and contrast two pieces of music• Express and defend a musical opinion using appropriate musical and non-musical vocabulary

Lesson Materials• Chalk/white board or chart paper• 3” x 5” index cards• Pens or thin markers• Clear or masking tape• Recordings of School Concert repertoire• CD/mp3 playback device• Space for movementSee www.philorch.org/resources:• Venn diagram handout (optional for extension)

Academic StandardsNational Content Standards for MusicK-4: 6 b, c, d, e / 7 b / 8 bPennsylvania Content StandardsArts: 9.1.5 a, c, e, f, I / 9.2.5 k / 9.3.5 a, d / 9.4.5 bOther Disciplines: 1.6.5 d

Introduction1. Before the lesson, post two pieces of chart paper, one labeled “Beginning” and one labeled “Ending.” (Or, create two columns on the board.)

2. Divide students into partners or small groups and provide each group with six 3” x 5” index cards and a pen or thin marker.

3. Ask students to think of three words, phrases, or images that are associated with the beginning of something, e.g. the beginning of a story, a movie, an essay, the school year, or a football game. Record each idea on an index card. Responses might include: introduction, once upon a time, theme song, September, or kick-off.

4. Next, ask students to think of three words, phrases, or images that are associated with the end of something, and record each of those ideas on an index card. Responses might include: conclusion, end credits, take a bow, happily ever after, or final buzzer.

5. Ask each group to send one person to the front of the room to tape their three beginning cards to the chart paper labeled “Beginning.” Then, each group should send a different person to tape their ending cards to the chart paper labeled “Ending.”

6. Choose a student to read aloud the responses posted under “Beginning.” Discuss how the answers are the same and different. Ask students if there is anything they feel should be added, and write those responses on the chart paper. Repeat this step with the responses posted under “Ending.”

7. Share with students that the beginnings and endings show the boundaries of that event, separating the special nature of the event from the ordinary nature of life. Remind students that the theme of this year’s Philadelphia Orchestra School Concert is Musical Storytelling: Create Your Own Adventure. An adventure has a beginning and an ending, and since this is a musical adventure, the beginning and ending will be music carefully chosen to separate the imaginary world of the story from the real world outside the concert hall.

8. Ask students to consider how the music used at the beginning and ending of a movie, television show, musical, or opera could be similar to the descriptions of beginnings and endings posted on the chart pages.


27

Development9. Introduce students to Johann Strauss, Jr.’s “Tritsch-Tratsch” Polka, Op. 214. Have students engage with the music by choosing one or more of the following movement activities to accompany multiple listenings: • Keep the steady beat through a follow-the-leader game, with students taking turns choosing a motion or action to show the beat • Teach students the basic “hand jive”: pat knees twice, clap twice, slice right hand over left twice, slice left hand over right twice, tap right fist on left fist twice, tap left fist on right fist twice, right thumb over right shoulder twice, and left thumb over left shoulder twice. Then, have students work in pairs to create and demonstrate their own hand jive pattern • Teach this adaptation of the polka step: 1. Stand in a circle around the classroom 2. Step forward on the right foot, bring the left foot partway up to the right, step on the right foot again. Step forward on the left foot, bring the right foot partway up to the left, step on the left foot again. (Feet will move to the rhythm two eighths-quarter, two eighths-quarter) 3. Repeat this step toward the center of the circle for four measures, raise arms, and shout, “Hey!” 4. Reverse direction, moving backward toward the outside of the circle for four measures, raise arms, and shout, “Hey!” 5. You may wish to perform the steps in half-time since the tempo of the “Tritsch-Tratsch” Polka is very quick.

10. Next, introduce the Overture to The Marriage of Figaro by Wolfgang Mozart, with one or more movement activities during repeated listenings: • Help students discover the duple meter and teach them how to conduct it (see Appendix D) • Encourage students to respond to the changing dynamics by crouching down for pianissimo and standing tall with arms raised for fortissimo • Have students experience the melodic rhythm by standing in place and “putting the rhythm in your feet.” For a lower- energy alternative, use two fingers to tap the rhythm on a desktop

11. Draw a large Venn diagram on the board/chart paper. Help students compare and contrast the two pieces, and choose a student to record the class’s observations on the diagram. Encourage students to use appropriate musical vocabulary in their discussions.

Reflection/Conclusion12. Provide two more index cards for each partnership or small group and have students label the cards with the titles of the pieces. Ask each group to decide which piece seems more like a beginning and which seems more like an ending. Have students post their cards on the “Beginning” and “Ending” chart pages from earlier in the lesson.

13. Provide each group an opportunity to share and defend their choice, and then add up the votes to see how the class votes as a whole.

14. Explain that the word “overture” refers to music played at the beginning of an opera, ballet, or concert, and that for this reason, Mozart’s Overture to The Marriage of Figaro will be performed first at the School Concert, and the Polka will be played last.

Ideas for Differentiated InstructionAdaptations: • Pair/group students so that special learners can benefit from the assistance of other students. • For students with limited mobility, the polka rhythm from step 9 may be demonstrated as follows: 1. Tap right hand on right knee while holding left hand above it 2. Lift right hand and tap top of right hand on the palm of the left hand 3. Tap right hand on right knee again 4. Tap left hand on left knee while holding right hand above it 5. Lift left hand and tap top of left hand on the palm of the right hand 6. Tap left hand on left knee again

Extensions: • If time allows, have each students create a Venn diagram comparison of the two pieces on their own, and then share answers to create a class version. • Provide pencil and paper for students to create a listening map of one or both pieces, and display them in the classroom. • Experience other musical beginnings and endings by listening to the opening and closing pieces from a movie soundtrack. • Allow students to conduct an internet search for overtures and finales, and choose one of each to explore together.


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Unit #3: Musical PlacesBadelt/arr. Ricketts Suite from Pirates of the Caribbean

E. Bernstein Theme from The Magnificent Seven

Williams “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone


Essential Questions• Where do we experience music? (Gr. 2-3)• How do people use music? (Gr. 2-3)• Why do people create music? (Gr. 2-5)• In what ways are people consumers of music? (Gr. 4-5)• How can music communicate a theme? (Gr. 4-5)• How do artists tell stories and/or convey messages in their work? (Gr. 4-5)• In what ways do the elements and principles of music influence what we see, hear, and touch every day? (Gr. 6-8)• What factors inspire or influence an artist’s work? (Gr. 6-8)• How do people express meaning through music? (Gr. 6-8)• How do people interpret meaning in music? (Gr. 6-8)• How does music reflect the time and place in which it was created? (Gr. 6-8)

Concepts• Musicians use the elements and principles of music as tools for artistic expression (Gr. 2)• People can use music to express details of their lives (Gr. 4)• An artist’s use of themes and/or ideas can affect the way an audience perceives the work (Gr. 4)• Music can communicate moods or emotions (Gr. 5)• There are styles of music that are specifically written to communicate themes and ideas (Gr. 5)• Music plays an important role in culture (Gr. 5)• The setting of a musical work can affect an audience’s response to that work (Gr. 5)• Musicians can use music to influence the way people view the world (Gr. 6)

• The choices that an artist makes can affect the way an audience perceives the work (Gr. 6)• Music may be performed as a singular art form or in combination with dance, theater, or the visual arts (Gr. 7)

Competencies• Students will use appropriate music vocabulary to describe musical works (Gr. 2)• Students will categorize musical works based on the works’ historical and cultural context (Gr. 4)• Students will experience music written to communicate different themes and ideas and explain how these themes and ideas affect an audience’s perception of the works (Gr. 4)• Students will describe themes and ideas through listening and performance of a variety of musical styles, e.g. program music, theatrical music (Gr. 5)• Students will analyze the role of music in their own culture (Gr. 5)• Students will identify artists’ choices and explain how those choices affect a person’s response to musical works (Gr. 6)


Lesson Unit #3: Musical Places

29

SoundtracksImagine what it would be like to watch a movie or television show that didn’t have any music. Could the writer and/or director tell the story as well without a soundtrack to establish the story’s setting? For instance, what is it about the sound of an accordion that instinctively takes us to a café along the Avenue des Champs-Élysées in Paris? Film soundtracks are excellent examples of how composers tell stories with musical sounds that describe particular places and situations. When we hear John Williams’s “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone, we are taken instantly to a magical world fi lled with adventure and excitement. The themes from The Magnifi cent Seven and Pirates of the Caribbean achieve a similar effect by transporting us to specifi c locations in our imaginations. Which soundtrack would provide the best setting for our School Concert adventure?

About the Composers and MusicKlaus Badelt and Music of the Pirates

Born in Frankfurt, Germany, Klaus Badelt (b. 1967) moved to the United States in 1998 when Academy Award-winning fi lm composer Hans Zimmer (The Lion King) invited Klaus Badelt (“clouse BAH-delt”) to work at his studios in Santa Monica, California. He has composed music for more than

70 fi lms and is best known for writing the score to Pirates of the Caribbean: The Curse of the Black Pearl. Telling a beautiful story matters a lot to Badelt, and he believes, “If you come out of the theater moved and inspired, I couldn’t have done better.” In 2008 Badelt was the only Western composer invited to write music for the closing ceremonies of the Olympic Games in Beijing, China.

Originally fi lm composers Alan Silvestri and then Hans Zimmer were asked to compose the score to Pirates, and unable to do so, Zimmer recommended Badelt for the assignment. Due to a tight three-week schedule, eight other composers—including Zimmer—helped orchestrate the music and create additional material. When the soundtrack album was released, Badelt was credited as the composer. Within the suite arranged by Ted Ricketts for symphony orchestra, portions of six of the album’s tracks are included: Fog Bound, The Medallion Calls, To the Pirates’ Cave!, The Black Pearl, One Last Shot, and He’s a Pirate.

Elmer Bernstein and Music of the WesternElmer Bernstein (1922-2004) composed music for more than 200 major fi lm and television scores, and although the two were friends, he was not related to famed conductor and composer Leonard Bernstein. Born in New York City, Elmer Bernstein (“BURN-steen”) was a gifted

pianist who, at the age of 12, had the chance to perform several of his improvisations for revered composer Aaron Copland. Upon the recommendation of Copland, Bernstein began studying with renowned teacher Israel Citkowitz, and spent his life as a concert pianist, conductor, and composer around the world. He received 14 Academy-Award nominations, including for The Magnifi cent Seven, and he won the coveted Oscar in 1967 for his score to Thoroughly Modern Millie.

As a fi lm genre, westerns arose from an oft-fi ctionalized history of the expansion of the American West in the 1800s, with lore that included gambling, gun fi ghting, cattle driving, and bank robberies. The music that accompanied early westerns was considered grandiose and colorful, but it was written mostly in a classical European style. With the score to The Magnifi cent Seven (1960), Elmer Bernstein is credited with bringing vibrant, wide-open melodies driven by thundering, syncopated percussion to the western and infl uencing the work of other composers. The defi nitive score to this movie was named number eight on the American Film Institute’s Top 25 Film Scores of all time in 2005.

John Williams and Music of the Magical WorldBest known for his fi lm scores and ceremonial music, John Williams (b. 1932) was born in Long Island, New York, and moved with his family to Los Angeles at age 16. He studied composition at the University of California, Los Angeles (UCLA), before serving several years in the Air Force, after

which he moved to New York and attended the Juilliard School. After working as a jazz pianist for a short time, Williams returned to Los Angeles and began his career in the fi lm industry.

Williams has written the music for nearly 80 fi lms and composed some of the most famous motion picture themes ever, including those to Jaws (1975), Star Wars (1975), Raiders of the Lost Ark (1981), E.T.: the Extra Terrestrial (1982), Jurassic Park (1993), A.I. Artifi cial Intelligence (2001), and Harry Potter and the Sorcerer’s Stone (2001). He’s received 48 Academy Award nominations in his career and won fi ve times, and his Oscar-winning score to

Klaus Badelt and Music of the PiratesBorn in Frankfurt, Germany, BadeltUnited States in 1998 when Academy Award-winning fi lm composer Hans ZimmerKing)BAH-delt”) to work at his studios in Santa Monica, California. He has composed music for more than

70 fi lms and is best known for writing the score to

Elmer Bernstein and Music of the WesternElmer Bernsteincomposed music for more than 200 major fi lm and television scores, and although the two were friends, he was not related to famed conductor and composer Leonard Bernstein. Born in New York City, Elmer Bernstein (“BURN-steen”) was a gifted

pianist who, at the age of 12, had the chance to perform several

John Williams and Music of the Magical WorldBest known for his fi lm scores and ceremonial music, WilliamsLong Island, New York, and moved with his family to Los Angeles at age 16. He studied composition at the University of California, Los Angeles (UCLA), before serving several years in the Air Force, after

which he moved to New York and attended the Juilliard School.


30

Star Wars was named the American Film Institute’s number one fi lm score of all time in 2005. Williams is a past conductor of the Boston Pops (1980-1993) and has appeared as guest conductor with many major orchestras, including The Philadelphia Orchestra.

The fi rst choice of the fi lm’s director, Christopher Columbus, John Williams created a large symphonic, bold, colorful score for Harry Potter and the Sorcerer’s Stone that matches the fanciful, story-book cinematography and compelling characters of J.K. Rowling’s novel. He accomplishes this, in part, through the use of leitmotifs, which are short, recurring musical themes associated with a particular character, place, idea, or mood. “Hedwig’s Theme” contains one such leitmotif, a whimsical waltz melody to represent Harry’s snowy owl that features the unique quality of the celesta. The music captures a world of weightlessness and fl ight, and the theme became the foundation of the score throughout the entire series. Williams said the following about the use of this musical device, “So much of successful fi lm scoring relies on a gratifying melodic identifi cation for the characters. I try to draw on something that marries very well with what I’m seeing.” In this way, the music becomes as important of a storyteller as the camera or the script.

Listening GuidesUnderlined terms can be found in the glossary at the back of this guide.

Badelt Suite from Pirates of the Caribbean0:00 “Fog Bound,” lilting jig theme in compound meter0:38 Film’s love theme0:59 “The Medallion Calls,” Captain Jack Sparrow’s theme2:10 “To the Pirates’ Cave!,” music that accompanies the climactic battle of the fi lm2:44 “The Black Pearl,” another main theme used at various points throughout the fi lm3:47 “One Last Shot,” music that accompanies the fi nal scenes of the fi lm

4:28 “He’s a Pirate,” music that accompanies the beginning of the fi lm’s credits

E. Bernstein Theme from The Magnifi cent Seven0:00 Introduction, tutti syncopated chords0:08 The Magnifi cent Seven main theme0:28 Main theme repeats0:55 Variation 1 of main theme1:18 Variation 2 of main theme, solo trumpet1:50 Secondary theme2:02 Secondary theme repeats2:21 B section, slower tempo, rhythmic motives2:54 Variation 3 of main theme, solo trumpet3:14 Leitmotif for Caldara, the villain 3:25 Main theme returns3:50 Main theme repeats4:16 Variation 4 of main theme4:37 Coda

Williams “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone0:00 Hedwig’s theme, A phrase, celesta0:17 Hedwig’s theme, B phrase, celesta0:42 Hedwig’s theme, French horns1:12 Hedwig’s theme, A phrase only, French horns1:27 Primary fl ying theme, staccato woodwinds1:39 Primary fl ying theme repeats, trumpets2:06 Variation of primary fl ying theme, violins2:24 Primary fl ying theme, tutti2:40 Secondary fl ying theme, violins3:04 Primary fl ying theme, brass and woodwinds3:19 Secondary fl ying theme3:38 Primary fl ying theme returns3:55 Fragments of Hedwig’s theme, A phrase, reappear4:16 Hedwig’s theme, A phrase, trombones4:28 Coda


31

Musical Comic StripLisa Tierney, Choral/General Music Teacher, James Dobson School, School District of Philadelphia, PA

Duration of LessonOne or two 45-minute lessons, depending on student experience with technology

Lesson ObjectivesAs a result of this lesson, students will be able to:• Describe listening selections using musical and non-musical vocabulary• Use music as inspiration for characters, character traits, and plot of an original story• Employ computer software to create and exhibit a story with music• Analyze the role of music in telling a story and describe similarities between music and storytelling

Lesson Materials• Chalk/white board or chart paper• One computer for every one or two students with internet access, iPhoto, iTunes, and Comic Life software (free trial download at http://comiclife.com, or Microsoft Power Point can be used)• Recordings of School Concert repertoire• CD/mp3 playback device• Laptop, projector, and speakers (optional)See www.philorch.org/resources:• Three mp3 files of music excerpts from Pirates of the Caribbean, The Magnificent Seven, and Harry Potter and the Sorcerer’s Stone• Musical Comic Strip handout (and a pencil for each student)

Academic StandardsNational Content Standards for MusicK-4: 6 b 7a / 8b / 9cPennsylvania Content StandardsArts: 9.1.5 c, d, e, j, k / 9.3.5 a, dOther Disciplines: 1.3.5 b / 1.4.5 a / 1.5.5 a, c, d, f / 1.6.5 d, e, f / 3.7.4 d, e

Introduction1. Review the following story elements and have students define and demonstrate their knowledge of each using a tale that’s very familiar to them, such as Goldilocks and the Three Bears. • Setting: The house of the three bears • Characters: Goldilocks, Papa Bear, Mama Bear, Baby Bear • Plot (sequence of events): Goldilocks enters house, tries the porridge in the kitchen, the chairs in the living room, the beds in the bedroom; Goldilocks falls asleep until the three bears return, discover her, and chase her from their home

2. Prompt: “If we had to choose a theme song for our main character, Goldilocks, what music would you choose, and why?” Help students use musical vocabulary to describe their answers.

3. Share that in a movie’s soundtrack, composers often use music to describe a character. Ask students to name any short theme songs they have heard that immediately tells them the character is there. Examples might include the two-note motive from Jaws (John Williams), the jazzy melody of The Pink Panther (Henry Mancini), and the galloping theme of The Lone Ranger (Rossini’s Overture to William Tell).

4. Explain for students they are going to use three pieces of orchestral music from movie soundtracks to create three different characters, and later, they will take these characters and create a short story with a setting and a plot.


32

Development5. Distribute a Musical Comic Strip handout to each student, and explain you will play a portion (or excerpt) of three different (unidentifi ed) pieces of music, twice. As they listen, students should brainstorm fi ve adjectives (review this term as needed) to describe the sounds they hear. These words should be entered into the corresponding boxes. • Excerpt #1: Theme from The Magnifi cent Seven, 0:00-0:27 • Excerpt #2: “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone, 0:00-0:40 • Excerpt #3: Suite from Pirates of the Caribbean, 0:57-1:33 Note: mp3 fi les of these excerpts can be downloaded at www.philorch.org/resources

6. Ask students to choose their favorite adjective for each excerpt and either circle it or place a star next to it. Choose volunteers to share examples with the class.

7. Play each excerpt for the students two more times, and ask them to do the following: • Create a main character that might use this music as his/ her/its theme and enter this information into their handout • List two character traits for each character and write these on the handout as well

8. Direct students to share what they’ve written with a partner, and remind them that there is no correct answer! All responses are valid and important.

9. Ask for volunteers to share character traits for each excerpt and list their responses on the board in three columns, one for each piece.

10. Explain that students will create short movies that will feature each piece of music and each character. They will also decide the setting and the plot, creating a story that is between 5-10 sentences in length.

Optional stopping point for part one.

11. Review the fi rst page of the Musical Comic Strip handout, and then have students write their short stories on page two, incorporating all three characters, including at least one character trait for each, and using the three circled (or starred) adjectives from the musical excerpts. They may choose the setting and storyline.

12. Direct students to open Comic Life (or PowerPoint) on their computers, and under “Page Templates,” select “Built-in Backgrounds.”

13. Click “Page” and then “New Blank Page.” A new page will appear and students should drag a page color over to page 2. Repeat this process until there is a page for each sentence in the story plus an additional page for the title.

14. Instruct students to use Google (or another preferred web search engine) to fi nd appropriate images for each of their characters and for the setting of their stories. Drag or save each image to the desktop.

15. Students can drag and drop each image onto the Comic Life page where the characters will be featured. Explain that images may be used more than once throughout the project. Resize the pictures as needed by dragging the corner to make the image larger or smaller.

16. Have students go to the fi rst page (Title Page), click on “Lettering,” and type the title of the story. If they click the “Style” button, there are many options for how the text will appear on the page.

17. Direct students to go to page 2 on the left column. Have them add the fi rst sentence of the story by choosing a speech bubble and dragging it onto the page. If the bubble needs to be larger, choose the “Bigger” option.

18. Students should continue adding one sentence of the story to each page. Remind them to check their spelling and save their document often.


33

19. Now it’s time to make the comic strip into a movie. Tell students to click “File” and choose “Export to iPhoto.” Be sure the format is a TIFF fi le, then click “Export.” The fi le is now located in the iPhoto program.

20. Have students open iPhoto and click on “Slide Show Options” and then “Select a Theme.”

21. Students may also select music they want to be played during the slideshow. If you’re able to upload the mp3 sound fi les (found at www.philorch.org/resources) to each computer, students can create their own soundtrack by adding the three excerpts in the order that would best fi t their stories.

22. Students may also choose how long each slide should appear. Remind them that the audience will want to read each page, so each slide should be at least fi ve to eight seconds long.

23. Instruct students to select “Export” at the bottom of their screens, select either “Medium” or “Large” size, and then click on the “Export” button. The project will be sent automatically to iTunes and begin to play.

Refl ection/Conclusion24. Have students switch computers with their classmates and view their movies, or choose students to connect their computer to a projector and speakers to show the class.

25. Discuss the students’ thoughts about using music to tell a story using the following questions: • How did the music help tell the story? • Was the music suitable for the character and the storyline? • What other music would you have chosen for your story? • Did this project remind you of the use of music in television and the movies? • How are music and storytelling alike? How are they different?

Ideas for Differentiated InstructionAdaptations: • If technology is not available or students are too young, students may create a fl ipbook using paper, markers, and crayons. The project can be completed in the same manner listed above, just as a hard copy instead of digitally. • Pair/group students so that special learners can benefi t from the assistance of other students.

Extensions: • Students experienced with technology and adept at story writing can expand and extend their comic to a full-length story (incorporating exposition, confl ict, turning point, and resolution). This could be printed out and shared or turned into a more substantial movie using iPhoto or iMovie software. • Other music could be incorporated into the story in addition to the required selections used in the lesson.


34

Unit #4: Musical ActionProkofiev “Montagues and Capulets,” from Romeo and Juliet, Op. 64

Stravinsky “Infernal Dance of King Kastcheï,” from The Firebird

Wagner “Ride of the Valkyries,” from Die Walküre


Essential Questions• Where do we experience music? (Gr. 2-3)• How do people use music? (Gr. 2-3)• Why do people create music? (Gr. 2-5)• How can music communicate a theme? (Gr. 4-5)• How do artists tell stories and/or convey messages in their work? (Gr. 4-5)• What factors inspire or influence an artist’s work? (Gr. 6-8)• How do people express meaning through music? (Gr. 6-8)• How do people interpret meaning in music? (Gr. 6-8)• How does music reflect the time and place in which it was created? (Gr. 6-8)

Concepts• Musicians use the elements and principles of music as tools for artistic expression (Gr. 2)• People can use music to express details of their lives (Gr. 4)• An artist’s use of themes and/or ideas can affect the way an audience perceives the work (Gr. 4)• Music can communicate moods or emotions (Gr. 5)• There are styles of music that are specifically written to communicate themes and ideas (Gr. 5)• Music plays an important role in culture (Gr. 5)• The setting of a musical work can affect an audience’s response to that work (Gr. 5)• Musicians can use music to influence the way people view the world (Gr. 6)

• The choices that an artist makes can affect the way an audience perceives the work (Gr. 6)• Music may be performed as a singular art form or in combination with dance, theater, or the visual arts (Gr. 7)

Competencies• Students will use appropriate music vocabulary to describe musical works (Gr. 2)• Students will create and perform music, focusing on the artistic process, creating/recreating, rehearsing, reflecting, revising (Gr. 3)• Students will categorize musical works based on the works’ historical and cultural context (Gr. 4)• Students will experience music written to communicate different themes and ideas and explain how these themes and ideas affect an audience’s perception of the works (Gr. 4)• Students will describe themes and ideas through listening and performance of a variety of musical styles, e.g. program music, theatrical music (Gr. 5)• Students will identify artists’ choices and explain how those choices affect a person’s response to musical works (Gr. 6)


Lesson Unit #4: Musical Action

35

Dramatic MusicFor hundreds of years, orchestral music has provided the soundtrack for stories of action and adventure—that of opera and ballet. These art forms use dramatic music, along with song or dance, to communicate a theatrical situation with a central confl ict. Prokofi ev’s “Montagues and Capulets” describes the feud between the families in his ballet Romeo and Juliet, based on Shakespeare’s play. The clash in Stravinsky’s “Infernal Dance of King Kastcheï,” from his ballet The Firebird is between the hero Prince Ivan and the evil forces of the magical Kastcheï. Occasionally, music will take on a different meaning outside its original context, as is the case with Wagner’s “Ride of the Valkyries,” from his opera Die Walküre, where the piece is frequently used in fi lmmaking and television productions at moments of brutal confl ict (e.g. military battle).

About the Composers and MusicSergei Prokofi ev and Romeo and Juliet

Russian composer Sergei Prokofi ev (1891-1953) began composing music as early as age fi ve and had composed an opera and a symphony by age 11. He entered the St. Petersburg Conservatory two years later, where he was several years younger than his classmates

and was often viewed as eccentric and arrogant. While in St. Petersburg, Prokofi ev (“pro-COHFF-ee-ehf”) developed a reputation as a musical rebel and his early compositions frequently caused scandals. In his professional life, Prokofi ev would travel and live in the United States and Paris before returning to the Soviet Union permanently in 1936, the same year he completed two of his most famous works: a piece for children, Peter and the Wolf, and the ballet Romeo and Juliet.

As Prokofi ev completed work on Romeo and Juliet—based on the popular play by William Shakespeare—the production encountered problems. Frustrated, the composer created two orchestral suites from the ballet’s score, which were heard in concert form before the music was ever staged. “Montagues and Capulets” is the fi rst movement in the second suite, and with its extreme dynamic range and dissonant harmonies, boldly illustrates the harsh confl ict and violent hostility between the two families of the title characters. With this work and others like Peter and the Wolf, Prokofi ev established himself as one of the master musical storytellers of his time.

Igor Stravinsky and The FirebirdAnother Russian composer Igor Stravinsky (1882-1971), changed the sound of Western classical music in the 20th century with his innovative ideas and creative risks. Recognized as a modern composer for modern times, Igor Stravinsky (“EE-gor strah-VIN-skee”) remains best known for the music he wrote

for impresario Sergei Diaghilev’s Ballets Russes: The Firebird (1910), Petrushka (1911), and The Rite of Spring (1913). Although he continued to explore various styles of composition throughout his career, Stravinsky’s later works never brought him the same degree of recognition as his music for the ballet.

Based on an exotic Russian fairy tale, The Firebird follows the story of Prince Ivan as he fi nds himself lost in the woods while hunting. He encounters an enchanted bird that gives him a magic feather with which he may summon her for help. The following day, in the courtyard of a castle, Ivan comes upon 13 princesses who are being held captive by the wicked King Kastcheï the Deathless who turns anyone who attempts to rescue the princesses into stone. But this does not discourage the heroic Prince.

Ivan enters the castle where he encounters the forces of the evil magician, which is where we hear the “Infernal Dance of King Kastcheï.” As battle ensues, Ivan waves the fi rebird’s feather, and she arrives during the confl ict to protect the young prince, casting a spell that pushes Kastcheï and his minions into an enchanted sleep. The fi rebird leads Ivan to a large egg that contains the magician’s soul, and as he crushes the egg, the castle disappears, those turned to stone come back to life, and the Prince wins the hand of the most beautiful princess.

Richard Wagner and The Ring of the NibelungBorn in Leipzig, Germany, Richard Wagner (1813-83) developed a great interest as a boy in drama and the symphonies of Ludwig van Beethoven, particularly the Ninth Symphony. Richard Wagner (“REE-card VAHG-ner”) believed this monumental work, with its use of voices, pointed to the future of

music as later exemplifi ed by his own operas. Words and music must be combined, Wagner argued, to produce “music drama,” an experience that touched all senses and emotions.

To achieve his ideal, Wagner felt that all elements of “music drama”—music, lyrics, staging—should form a single cohesive unit,

Sergei Prokofi ev and Romeo and JulietRussian composer Prokofi ev composing music as early as age fi ve and had composed an opera and a symphony by age 11. He entered the St. Petersburg Conservatory two years later, where he was several years younger than his classmates

and was often viewed as eccentric and arrogant. While in

Richard Wagner and The Ring of the NibelungBorn in Leipzig, Germany, Wagnergreat interest as a boy in drama and the symphonies of Ludwig van Beethoven, particularly the Ninth Symphony. Richard Wagner (“REE-card VAHG-ner”) believed this monumental work, with its use of voices, pointed to the future of

music as later exemplifi ed by his own operas. Words and music

Igor Stravinsky and The FirebirdAnother Russian composer Stravinskythe sound of Western classical music in the 20th century with his innovative ideas and creative risks. Recognized as a modern composer for modern times, Igor Stravinsky (“EE-gor strah-VIN-skee”) remains best known for the music he wrote

for impresario Sergei Diaghilev’s Ballets Russes:


36

and he created his own passionate librettos set to continuous music. Wagner used the orchestra not simply to accompany the singers, as it so often did in previous operas, but as another character in the action, primarily through the use of “leitmotifs,” or musical phrases associated with a particular character, place, idea, or mood. This recurring thematic material connects different parts of an entire work, and is demonstrated in his cycle of four related operas, Der Ring des Nibelungen (The Ring of the Nibelung), based on a Norse myth of a magic ring.

It took Wagner more than 25 years to create the more than 17 hours of music of the four-part Ring, which includes Das Rheingold (The Rhine Gold), Die Walküre (The Valkyrie), Siegfried, and Götterdämmerung (Twilight of the Gods). One of the most famous selections heard from these operas is the “Ride of the Valkyries,” which opens the third, and final, act of Die Walküre. The music depicts the nine daughters of the chief god, Wotan, as they transport the bodies of fallen heroes to their final resting place in the majestic Valhalla. Although Wagner’s music was loved by some and hated by others, his remarkable musical accomplishments changed the course of opera, and in many ways all music, forever.


Prokofiev “Montagues and Capulets,” from Romeo and Juliet, Op. 640:00 Introduction, no thematic material, Prokofiev creates a dark, foreboding mood with extreme dynamic levels and dissonant harmonies0:22 Subito pianissimo, strings0:45 Woodwinds and brass build layers to fortissimo1:05 Return to pianissimo1:31 A section begins, brass, beats emphasized in pesante style, signifying the start of the Capulet Ball and the family dancing in a slow and dignified manner1:36 Primary theme, strings2:15 Secondary theme, brass2:59 Primary theme returns, strings3:20 Stark contrast in B section, pianissimo, theme played by flutes4:12 Celesta enters4:28 Shortened A section returns, moment where Juliet has laid eyes on Romeo at the Ball4:32 Primary theme, tenor saxophone and clarinet4:52 Theme repeats, strings

Stravinsky “Infernal Dance of King Kastcheï,” from The Firebird0:09 Bassoon and horns introduce the syncopated theme of King Kastcheï in the low range of their instruments0:47 First appearance of dissonant chords played by the tutti orchestra as the wicked magician casts spells against Prince Ivan1:56 Key change to a major key as the firebird arrives to help the prince defend himself against Kastcheï2:33 Subito change back to chromatic sounds at a piano dynamic level as the evil forces begin a dance that leads to their enchanted sleep4:33 At the School Concert, the “Infernal Dance” movement will end at this point on the recording

Wagner “Ride of the Valkyries,” from Die Walküre 0:00 Rushing string figure alternates with fast wavering notes in the woodwinds, creating a scene in the skies0:07 Insistent dotted figure begins in the horns and low strings, representing the magical horses of the Valkyrie sisters0:21 Famous “Ride” leitmotif first heard in minor key by French horns0:33 “Ride” motif repeats, now heard in major key by trumpets0:46 Four-note dotted motif exchanged between high and low instruments, above furious woodwind notes1:04 “Ride” motif heard fortissimo, as the curtain opens on Act III1:20 Four-note dotted motifs heard, as the first Valkyrie sister makes her battle cry1:45 “Ride” motif heard in low brass, first in minor, then major2:15 Climax with timpani and cymbals announcing the cries of the Valkyries to Brünnhilde, as the notes descend3:07 “Ride” motif returns3:25 Four-note dotted motifs return, exchanged between high and low3:46 Tutti statement of “Ride” motif, over fast wavering notes in woodwinds4:18 Coda


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Musical Antonyms: Advancing Drama by Creating Conflict and ResolutionHelene Furlong, Choral/General Music Teacher, Henry C. Lea School, School District of Philadelphia, PA


Lesson ObjectivesAs a result of this lesson, students will be able to:• Define and give examples of antonym, consonance, dissonance, conflict, and resolution• Demonstrate consonance and dissonance on a pitched instrument• Analyze and compare the use of dissonance and consonance in music with conflict and resolution in literature• Use music as inspiration to create an original story

Lesson Materials• 3” x 5” index cards and a pencil for each student• Pitched instruments, such as xylophones, recorders, voices, or piano• Chalk/white board or chart paper• Recordings of School Concert repertoire• CD/mp3 playback device• SMART board/Overhead projector (optional)See www.philorch.org/resources:• Musical Antonyms Story Map template (blank)• Musical Antonyms Story Map models to display or distribute for “Montagues and Capulets,” “Infernal Dance of King Kastcheï,” and “Ride of the Valkyries.”

Academic StandardsNational Content Standards for MusicK-4: 2 b, f / 4 a / 6 b, c, e / 8 a, b / 9 a, ePennsylvania Content StandardsArts: 9.1.5 a, b, c, d, e, f / 9.2.5 k, l / 9.3.5 a / 9.4.5 dOther Content Areas: 1.1.5 e, f / 1.2.5 c / 1.3.5 b / 1.4.5 a / 1.6.5 b, d, e

Introduction1. As they enter the room, hand each student a 3” x 5” index card and a pencil. Write the word “antonym” on the board/chart paper.

2. Help students create a definition of antonym—a word that means the opposite of another word. Model an example of an antonym pair, such as hot/cold, and write it on the board/ chart paper.

3. Have the students do a Quick Write, and when you say “go,” they will have one minute to write down as many antonym pairs as possible on their index card. Play simultaneously the notes C and D on a pitched instrument when you say “go.” Give a warning when 15 seconds remain, and at the end of one minute, play a C and E simultaneously when you say “stop.”

4. Allow students one minute to share their answers with a neighbor, adding additional antonyms to their cards where possible. Afterwards, choose volunteers to share some of their answers with the class, with a student recording answers on the board/chart paper.

5. If students used musical vocabulary, such as piano/forte, highlight (circle or underline) these terms. If they did not, guide the students to translate applicable terms, such as fast/slow, into musical terms (e.g. quiet/loud = piano/forte, fast/slow = presto/largo) and highlight the musical terms.

6. Ask students if they noticed the notes you played on your pitched instrument when you said “go” and “stop” and replay them in the order given (C and D, then C and E). Ask them to describe these sounds and write the descriptions of the board/ chart paper. Answers might include, “the first one sounded like a mistake and the second one sounded nicer.” Share with students that what they’ve just heard is another type of musical antonym: consonance and dissonance.

7. Define consonance as “notes that sound pleasing when played together” and dissonance as “notes that sound unpleasant when played together.” Write these definitions on the board/ chart paper and add consonance and dissonance to the list of highlighted musical antonyms.


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8. Have one student volunteer play the notes C and D at the same time on a xylophone or piano so that other students can see the position of the notes on the instrument. Have the other students signal if they think it is consonance or dissonance by cupping their hand in the shape of a “C” for consonance, or closing their fingers with the index finger raised for a “D.” Students should select dissonance in this example.

9. Ask the volunteer to move from the D to the E and play both notes (C and E) at the same time. Students should signal “C” or “D” (A: consonance).

10. Next, have the volunteer move from the E to the F and play both notes (C and F) together. Again, students should signal “C” or “D” (A: consonance).

11. Ask students what they noticed about the movement of the notes played and the qualities of consonance and dissonance. Responses might include “the closer or side-by-side notes were dissonant, and the notes further apart were consonant.” Share the analogies that as notes get closer together, they “fight” with each other, and as they move apart, they sound more “pleasant” together.

12. Have students translate consonance/dissonance into non-musical antonyms, such as love/hate, pretty/ugly, or friendly/angry.

Development13. Discuss with students why a composer might want to use consonance and dissonance when telling a musical story. Draw a T chart on the board/chart paper with the title “Use in a Musical Story for Consonance | Dissonance.” Choose volunteers to share their answers and write them on the chart under the appropriate column.

14. Ask the students to think about the story Little Red Riding Hood. If a composer wanted to write music to tell this story, when would he or she use dissonance? (Answers might include when the wolf meets Little Red, or when the huntsman fights with the wolf.) When would the composer use consonance in this story? (Answers might include when Grandmother is saved or when Little Red starts on her journey to Grandmother’s house.)

15. Have students think again about the musical antonyms consonance and dissonance and help them discover the literary equivalent, conflict and resolution. Using the Little Red example, discuss how a composer might reflect conflict in a story through musical dissonance, and resolution through consonance.

16. Read aloud the story of Prokofiev’s “Montagues and Capulets” from Romeo and Juliet, Op. 64, from the Story Map model. Display the story either on a SMART board, overhead projector, or on paper.

17. Ask students to predict where they think they will hear dissonance in this music—Part 1, Part 2, or Part 3, and why? Model completing this section on the Story Map. Guide student to identify a dissonance in the first section of the “Montagues and Capulets.”

18. Listen to an excerpt from Prokofiev’s piece, 0:00-1:53, and have students compare their inferences in Part 1 with what they heard in the music. Were they correct? (The music begins with dissonance.) Is this consistent with the action in the story? (Yes, the story begins with conflict.)

19. Challenge students to recognize dissonance when it occurs in two other musical examples. Play the following excerpts without identifying their titles, and ask students to raise their hands when they hear dissonance. • Excerpt A: “Infernal Dance of King Kastcheï,” from The Firebird, 0:00-1:45, dissonances occur at 0:47-0:48 and 1:05 • Excerpt B: “Ride of the Valyries,” from Die Walküre, 0:00- 1:45, dissonances occur at 0:00-0:20 and 1:34

20. Explain to students that they will now complete a Story Map like the one you shared for “Montagues and Capulets.” They will be placed into groups to create their own story and present it to the class. Each group will choose either Excerpt A or Excerpt B to play while they are presenting their story. They must include one dissonance and one consonance by playing them on a pitched instrument during their presentation. Remind students that conflict and resolution in their story can be represented by consonance and dissonance in the music.

21. Move students into groups of three or four and distribute blank Story Map templates and at least one pitched instrument to each group. Start them by saying “go,” playing a dissonance, and allow them about 10 minutes to complete the activity, giving them a five-minute warning before you say “stop” while playing a consonance. Replay Excerpts A and B alternately while they are creating their stories.


39

Refl ection/Conclusion22. Have students present their Story Maps to the class with their chosen music playing in the background. Encourage students to act out their stories, or they can dramatically (with expression) read their stories to the class. They need to remember to include at least one dissonance and one consonance in their presentation.

23. Ask each group to create a title for their story based on the music they selected. List the titles on the board/chart paper under columns labeled Excerpt A and Excerpt B.

24. Show students the Story Maps with the titles and brief descriptions of Excerpt A and B. Discuss how closely each presentation matched the original concept for the music.

25. Have students refl ect on the lesson by sharing their responses to several prompts. Ask them the following questions or have them provide their answers on Exit Slips: • How would you describe consonance? • How would you defi ne dissonance? • How did your group use consonance and dissonance to tell your story? • How can a composer use dissonance to tell a musical story? • If two notes are played side by side on a keyboard, will they sound consonant or a dissonant? (A: dissonant)

Ideas for Differentiated InstructionAdaptations: • Pair/group students so that special learners can benefi t from the assistance of other students. • Allow students to draw pictures on their Story Maps instead of writing.

Extensions: • Allow students to act out their stories, use Garage Band software to create a soundtrack for them, or create an original accompaniment using at least one dissonance and one consonance. • Divide the class into “Montagues” and “Capulets” and create a dance to illustrate Prokofi ev’s music. • Include a discussion of intervals, showing distances between notes using a template of a piano keyboard. • Further review the stories and music of The Firebird and Die Walküre. • Compare and contrast “Montagues and Capulets” with Tchaikovsky’s Romeo and Juliet and Bernstein’s West Side Story. • Compare and contrast “Infernal Dance of King Kastcheï” and the Finale, from Stravinsky’s The Firebird.


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Unit #5: Musical StoriesBerlioz “March to the Scaffold,” from Symphonie fantastique, Op. 14

Dukas Excerpt from The Sorcerer’s Apprentice

Holst “Mars, the Bringer of War,” from The Planets


Essential Questions• How do people use music? (Gr. 2-3)• Why do people create music? (Gr. 2-5)• How can music communicate a theme? (Gr. 4-5)• How do artists tell stories and/or convey messages in their work? (Gr. 4-5)• In what ways do the elements and principles of music influence what we see, hear, and touch every day? (Gr. 6-8)• What factors inspire or influence an artist’s work? (Gr. 6-8)• How do people express meaning through music? (Gr. 6-8)• How do people interpret meaning in music? (Gr. 6-8)

Concepts• Musicians use the elements and principles of music as tools for artistic expression (Gr. 2)• People can use music to express details of their lives (Gr. 4)• An artist’s use of themes and/or ideas can affect the way an audience perceives the work (Gr. 4)• Music can communicate moods or emotions (Gr. 5)• There are styles of music that are specifically written to communicate themes and ideas (Gr. 5)• Musicians can use music to influence the way people view the world (Gr. 6)• The choices that an artist makes can affect the way an audience perceives the work (Gr. 6)• Personal experiences influence a person’s response to works of art. (Gr. 7)

Competencies• Students will use appropriate music vocabulary to describe musical works (Gr. 2)• Students will create and perform music, focusing on the artistic process, creating/recreating, rehearsing, reflecting, revising (Gr. 3-4)• Students will categorize musical works based on the works’ historical and cultural context (Gr. 4)• Students will experience music written to communicate different themes and ideas and explain how these themes and ideas affect an audience’s perception of the works (Gr. 4)• Students will describe themes and ideas through listening and performance of a variety of musical styles, e.g. program music, theatrical music (Gr. 5)• Students will analyze the role of music in their own culture (Gr. 5)• Students will create and perform music that communicates a point of view (Gr. 6)• Students will identify artists’ choices and explain how those choices affect a person’s response to musical works (Gr. 6)


Lesson Unit #5: Musical Stories

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Program MusicThe category of orchestral music in which composers intentionally attempt to describe specifi c images and/or narratives is known as program music, and also includes symphonic poems and orchestral suites. These musical stories often feature characters that experience an important turning point in their adventure. In Dukas’s symphonic poem The Sorcerer’s Apprentice, the novice magician of the title must be saved by his master after casting a spell that leads to chaos. Berlioz’s Symphonie fantastique is often referred to as the model of program music as the composer provided his own notes for each of the fi ve movements, with “March to the Scaffold” describing a tortured artist’s horrifi c opium-induced dream. In the orchestral suite The Planets, Holst depicts the astrological character of the planets, and “Mars, the Bringer of War” portrays the motion and fury of warfare.

About the Composers and MusicHector Berlioz and a Fantastic Symphony

French composer Hector Berlioz (1803-69) had great imagination and his Symphonie fantastique (Fantastic Symphony), Op. 14, shows his remarkable genius for creating musical drama without words. In this programmatic symphony, Berlioz (“BEAR-lee-ohz”) tells the story

of an artist obsessed with a beautiful woman, based on his own preoccupation with winning the affections of Shakespearean actress Harriet Smithson. Giving the symphony fi ve movements rather than the conventional four, Berlioz unifi es the music with a recurring theme (an idée fi xe, or fi xed idea) to represent the beautiful woman, and this melody is heard throughout, representing each time the artist sees or thinks of his love.

Berlioz provided his own program notes for the Symphonie. In “March to the Scaffold,” the artist is so convinced that his beloved will never return the feelings he has for her that he poisons himself with opium. In his drug-induced state he dreams that he has murdered his beloved and is led to execution for his crime. The artist watches as he is escorted to the scaffold accompanied by the sound of a military march and heralded by the brass. The idée fi xe returns at the end, portraying the artist’s fi nal thoughts of his love before the guillotine falls and his head bounces down the steps.

Paul Dukas and The Sorcerer’s ApprenticeBorn in Paris, France, Paul Dukas (1865-1935) is known mostly for composing the symphonic poem The Sorcerer’s Apprentice, which became a part of popular culture with its inclusion in the 1940 Disney animated fi lm Fantasia. Dukas (“Doo-KAH”) fi rst started composing at the age

of 14 while he was recovering from an illness and later studied at the Paris Conservatory, where he would eventually teach as a professor. Not much of Dukas’s music survives as he was extremely self-critical and destroyed many of his compositions before his death so they could not be published.

An instant success at its 1897 premiere, The Sorcerer’s Apprentice continued to enjoy tremendous popularity for the next several decades. The piece is based on a ballad, Der Zauberlehrling, by the great German poet Johann Wolfgang von Goethe. The poem tells the story of a wizard’s assistant (portrayed by Mickey Mouse in Fantasia) who is too lazy to perform his chores. Having observed his master’s magical incantation, he casts a spell to bring a broomstick to life and orders it to fetch water. Soon the fl oor is soaked with water, and not knowing how to control the enchanted broom, the apprentice splits the broom in half and each new piece continues fetching water, now at twice the speed. The sorcerer returns to fi nd his workshop completely fl ooded, and with a wave of his wand, quickly breaks the spell and restores calm. Dukas closely follows the events of Goethe’s poem and uses humor, excitement, and bright orchestral colors to convey the story.

Gustav Holst and The PlanetsGustav Holst (1874-1934) was born in Cheltenham, England, the son of an accomplished pianist. Unfortunately, due to problems with neuritis in his hands, Holst wasn’t able to follow his father’s path at the piano but went on to study composition at the Royal College of Music in London.

Holst composed a large number of works across a wide range of genres, writing two original suites for military band that remain widely performed today.

However, the music Holst is most well-known for is the orchestral suite The Planets, composed from1914-16. Holst’s fascination with astrology inspired the concept of this work, which he called “a series of mood pictures,” and the composer sought to capture

Hector Berlioz and a Fantastic SymphonyFrench composer Berlioz imagination and his fantastiqueOp. 14, shows his remarkable genius for creating musical drama without words. In this programmatic symphony, Berlioz (“BEAR-lee-ohz”) tells the story

of an artist obsessed with a beautiful woman, based on his own

Gustav Holst and The PlanetsGustav Holstborn in Cheltenham, England, the son of an accomplished pianist. Unfortunately, due to problems with neuritis in his hands, Holst wasn’t able to follow his father’s path at the piano but went on to study composition at the Royal College of Music in London.

Holst composed a large number of works across a wide range

Paul Dukas and The Sorcerer’s ApprenticeBorn in Paris, France, Dukas mostly for composing the symphonic poem Apprenticeof popular culture with its inclusion in the 1940 Disney animated fi lm Fantasiastarted composing at the age

of 14 while he was recovering from an illness and later studied


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the corresponding astrological characters of the seven known planets, except Earth. (Pluto, which has since been declassified as a planet, wasn’t discovered until 1930, many years after the piece was finished.) In the first movement, “Mars, the Bringer of War,” Holst uses a combination of musical elements such as dissonance, unconventional meter (5/4 time, with 5 beats—instead of the usual 2, 3, or 4—to a measure), and ostinato to depict the torment and unrest of war.


Berlioz “March to the Scaffold,” from Symphonie fantastique, Op. 140:00 (1:51) Exposition: Opening syncopated motive, foreshadows similar rhythm of march themes (repeated in full)0:22 (2:15) Theme A, energetic downward minor scale, strings1:27 (2:38) Theme B, diabolical march tune, brass and woodwinds3:43 Development: new characterizations of the two march themes4:51 Theme A presented by tutti orchestra 5:51 Clarinet plays idée fixe melody (“a last thought of the artist’s love”)5:59 Fortissimo tutti chord represents the fall of the guillotine blade, followed by pizzicato notes depicting the head falling into a basket6:02 Loud forceful chords close movement, celebrating the artist’s death

Dukas Excerpt from The Sorcerer’s Apprentice The excerpt (extract) provided on the playlist begins after the old sorcerer has departed his workshop, and the apprentice has already cast a spell to enchant a broom to fetch the water for him.0:00 Brief introduction, then solo bassoon states the “Broom” theme0:49 Trumpets state the “Broom” theme as the enchanted broom begins working faster1:36 Brass and bassoons loudly state the “Broom” theme, as the apprentice loses control2:24 As a version of the “Broom” theme continues, a flurry of notes in the woodwinds indicate that the water continues to rise3:32 Fortissimo, staccato notes in the orchestra and the trumpets—the apprentice has tried to control the broom by splitting it into two with an axe3:37 The apprentice’s plan seems to have worked and the music is calm

4:05 However, the “Broom” theme returns as each of the pieces becomes a new broom and multiples, fetching water now at twice the speed5:13 The “Broom” theme becomes louder and more frantic 6:14 The tutti fortissimo orchestra announces the return of the old sorcerer, who breaks the spell and returns everything to normal

Holst “Mars, the Bringer of War,” from The Planets0:00 Holst introduces the ostinato, an incessant repeated rhythm, that will appear throughout the piece, played here by the timpani, harps, and strings col legno (or with the wood of the bow)0:05 Theme 1: a slow-moving motive, heard here in unison bassoons and French horns1:14 Strings, trumpets, snare drum, and timpani play the ostinato in unison against a sustained chord from the other instruments1:20 Theme 2: dotted theme heard in trombones, tubas, horns, and trumpets2:09 Theme 3: military call and response-like melody using triplet figuration3:11 Melodic idea based on theme 2, played first by lower instruments and then joined by upper instruments4:10 Tutti ostinato, fortississimo (ƒƒƒ)4:16 Theme 1 returns4:56 Theme 3 returns5:13 Theme 2 returns6:26 Coda6:33 Return of opening ostinato figure, distorted by the addition of rests

43

Foreshadowing Important Changes:Turning Points in Program MusicHelene Furlong, Choral/General Music Teacher, Henry C. Lea School, School District of Philadelphia, PA


Lesson ObjectivesAs a result of this lesson, students will be able to:• Defi ne musical vocabulary such as program music, ostinato, and time signature• Read and perform an ostinato using body percussion and unpitched percussion instruments• Describe a piece a music using appropriate musical terminology• Analyze and compare the use of turning point in music and literature• Compose and perform music within specifi ed guidelines

Lesson Materials• Chalk/white board or chart paper• Recordings of School Concert repertoire• CD/mp3 playback device• Unpitched percussion instruments• Pitched instruments, such as xylophones, recorders, voices, or piano (optional)See www.philorch.org/resources:• Anticipation Guide handouts (and a pencil for each student)• Reaction Guide handouts (extension only)

Academic StandardsNational Content Standards for MusicK-4: 2 a, b, c, d, e / 4 b, c / 5 a, d / 6 b, c / 8 a, b / 9 ePennsylvania Content StandardsArts: 9.1.5 a, b, c, d, e / 9.2.5 k, l / 9.3.5 a, bOther Disciplines: 1.1.5 f / 1.3.5 b

Introduction1. Have the recording of Holst’s “Mars, the Bringer of War,” from The Planets playing as students enter the room and distribute copies of the Anticipation Guide.

2. Stop the music and have students complete the Anticipation Guide as they listen to an excerpt, 0:00 to 2:06. Students should indicate if they agree or disagree with the following statements: • This music describes a peaceful character • This music has an unusual beat/rhythm pattern • This music has ostinato • A “turning point” in this music happens when the music changes from forte to piano

3. Ask students to compare their answers quickly with a partner. Then, read the questions aloud while students respond using a show of hands. Choose a student volunteer to tally responses on the board/chart paper.

4. Explain for students that they were listening to a piece of orchestral music known as program music, which is defi ned as “music without words that is inspired by or that describes a story or sequence of images.”

5. Work with students to create a defi nition of the word “image,” and guide them to include a mental picture as part of their association with the word.

6. Ask students to consider how a composer might create a musical image. Write the prompt “How does a composer create musical images?” in the center of the board/chart paper and create a word web using the student’s responses. Guide students to discuss terminology such as tempo, rhythm, instrumentation, pitch, and dynamics. Connect answers to the prompt using lines.

7. Select the category “rhythm” from the word web, and have students listen to the fi rst part of the excerpt again, 0:00-0:30. Help them tap the following rhythm softly on their laps in time to the music.

8. Write the rhythm pattern on the board/chart paper, and have students speak the rhythm syllables used in your classroom while they clap it.

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9. Review the defi nition of time signature: “Sign placed at the beginning of a composition that indicates the total number of beats in a measure (top number) and what type of note gets the beat (bottom number).”

10. Help students discover that there are fi ve beats in this measure and that a quarter note gets one beat. Choose volunteers to write the beat numbers on the board/chart paper in the correct location.

11. Ask students if the fi ve-four pattern seems common or unusual, and why. Explain that a lot of western music is written in patterns using two, three, and four beats in a measure.

12. Have students read this pattern and tap it using their fi ngers (index and middle fi ngers) into their other hand, and then transfer it to available unpitched percussion instruments, including any desks or tables in the room. Then, ask them to play the pattern on their instrument while listening to an excerpt of the music, 0:00-0:30.

13. Defi ne ostinato as a short musical phrase that is repeated many times, and help students discover that this rhythm is an example of one.

Development14. Tell students that the music they’ve been listening to was written by English composer Gustav Holst, and is called “Mars, the Bringer of War.” It is the fi rst movement in a piece of many movements called The Planets. Holst used music to describe each of the planets based on their names, and Mars was the god of war in Roman mythology. The god Mars used war as a turning point to secure peace.

15. Explain that the turning point in storytelling is the moment in the action or situation where an important change occurs. Ask students to think back to the story of Little Red Riding Hood and identify what they think is the turning point in that story. Answers will vary.

16. Play an excerpt from “Mars” again, 0:00-2:16, and ask students to raise their hands when they hear a change in the music that indicates a turning point (2:06).

17. On the back of their Anticipation Guide, have students answer the following questions with a partner: • How did the composer create a turning point in this music? Guide students to refer to the items on the word web made earlier. • Do we know if the turning point leads to a positive or a negative result? (A: No.)

18. Prepare for the group activity that follows by telling students you’re going to create a piece of program music for them called, “Bases Loaded.” Perform the “Mars” ostinato by patting it, using alternate hands on your thighs or knees, starting very quietly. Gradually increase the dynamics to forte (performing the ostinato about three times), ending with a sharp hand clap on beat one, followed by silence. Then whistle or make a descending pitched sound with your voice, and cut it off with the vocal sound effect, “thum.”

19. Ask students, “Who thinks the batter hit a home run?” and “Who thinks the batter hit a foul ball?” and “Who thinks the ball was caught by the other team?” Acknowledge their answers, and point out that we really do not know yet the outcome of this turning point.

20. Have students identify which strategy you used to create your turning point. Answers will vary and should include dynamics (crescendo, decrescendo).

21. Assign students to groups of about three or four students. Each group should use the “Mars” ostinato to create a piece of program music that includes a musical turning point. Each group must do the following: • Give their piece a title that includes the image they’re portraying • Use the “Mars” ostinato • Create a musical turning point using one of the techniques/ strategies listed on the word web or on the back of the Anticipation Guide • Perform their piece in one minute or less

22. Allow time for students to complete their project, and make available any classroom instruments that will help them accomplish their goal.


45

Refl ection/Conclusion23. Have each group announce the title of their piece and perform it for the class. After each performance, ask the class to identify the techniques or strategies used to create a musical turning point. Answers will vary and could include adding or subtracting instruments, using dynamics, or changing the tempo.

24. Upon completion of their performances, have students refl ect on the activity. Questions could include: • Was your group able to demonstrate your musical turning point so that the audience could picture it? • Did your group create a turning point using the same or different techniques as Holst? • How would you describe “program music” to someone who didn’t know what it was? (A: Music without words that is inspired by or that describes a story or sequence of images.) • What are some of the techniques that composers use to create musical images and turning points? (A: Dynamics, instrumentation, rhythm, tempo, pitch, etc.) • What is an ostinato? (A: Short musical phrase that is repeated many times.) • What are the two parts of a time signature? (A: Top number tells us the total number of beats in a measure, and the bottom number tells us what type of note gets the beat.) • Can you think of another piece of music that includes a turning point?

Ideas for Differentiated InstructionAdaptations: • For rhythm activities, have students “copycat” the teacher’s model. • Pair/group students so that special learners can benefi t from the assistance of other students. • Have students give verbal answers or hand signals instead of writing responses on Anticipation and Reaction Guides.

Extensions: • In a subsequent lesson, have students listen to other pieces of program music while completing a Reaction Guide handout. For instance, Berlioz’s “March to the Scaffold,” from Symphonie fantastique, Op. 14 (0:00-1:50) and Dukas’s The Sorcerer’s Apprentice (0:00-2:00). • Read and discuss the stories behind “March to the Scaffold” and The Sorcerer’s Apprentice, and have students identify key musical events.

, Op. 14 (0:00-1:50) and Dukas’s

perform it for the class. After each performance, ask the class

Upon completion of their performances, have students refl ect

• Pair/group students so that special learners can benefi t from

• Have students give verbal answers or hand signals instead of


46

Unit #6: Musical MoodsBeethoven Excerpt from fourth movement from Symphony No. 5 in C minor, Op. 67

Beethoven Excerpt from second movement from Symphony No. 7 in A major, Op. 92

Big Ideas• Artists use tools and resources as well as their own experiences and skills to create art (Gr. 2-8)• The arts provide a medium to understand and exchange ideas (Gr. 2-8)

Essential Questions• How do people use music? (Gr. 2-3)• Why do people create music? (Gr. 2-5)• How can music communicate a theme? (Gr. 4-5)• How do artists tell stories and/or convey messages in their work? (Gr. 4-5)• How do people express meaning through music? (Gr. 6-8)• How do people interpret meaning in music? (Gr. 6-8)• How does music reflect the time and place in which it was created? (Gr. 6-8)

Concepts• Musicians use the elements and principles of music as tools for artistic expression (Gr. 2)• People can use music to express details of their lives (Gr. 4)• An artist’s use of themes and/or ideas can affect the way an audience perceives the work (Gr. 4)• Music can communicate moods or emotions (Gr. 5)• The setting of a musical work can affect an audience’s response to that work (Gr. 5)• The choices that an artist makes can affect the way an audience perceives the work (Gr. 6)

Competencies• Students will use appropriate music vocabulary to describe musical works (Gr. 2)• Students will categorize musical works based on the works’ historical and cultural context (Gr. 4)• Students will experience music written to communicate different themes and ideas and explain how these themes and ideas affect an audience’s perception of the works (Gr. 4)• Students will describe themes and ideas through listening and performance of a variety of musical styles, e.g. program music, theatrical music (Gr. 5)• Students will identify artists’ choices and explain how those choices affect a person’s response to musical works (Gr. 6)


Lesson Unit #6: Musical Moods

47

Emotional MusicIn contrast to program music (discussed in the previous unit), absolute music is a term used by some to describe orchestral music that exists for its own purpose (“art for art’s sake”) and isn’t about extra-musical ideas or stories. However, works of absolute music can still be considered emotional music, conveying expressive meanings through its musical materials. Two excerpts from Beethoven’s symphonies serve as examples in the School Concert program and provide resolution to the adventure created by the audience. The heroic and celebratory sounds of the fi nal movement of Beethoven’s Fifth Symphony and the funereal and mournful quality of the second movement of his Seventh Symphony vividly communicate these contrasting emotions and represent good and bad resolutions, respectively, in the story.

About the Composer and MusicLudwig van Beethoven and His Symphonies

A German composer and pianist, Ludwig van Beethoven (1770-1827) is considered one of the most famous and infl uential composers of Western classical music. His compositions, especially the nine symphonies, built upon the foundation laid by master composers Franz Joseph Haydn

and Wolfgang Amadè Mozart. Unlike composers who had served the aristocracy, Beethoven (“BAY-toe-vehn”) composed to please himself, creating art that aimed to communicate a higher purpose.

As he approached the age of 30, Beethoven began to experience a constant humming and buzzing in his ears that made it diffi cult to hear, causing the composer great alarm. He used various methods to adapt to his situation, such as “ear trumpets,” conical-shaped instruments that amplifi ed sound, and he’s even rumored to have removed the legs of his piano so that he could lay it and himself on the fl oor to feel the sound vibrations. Tragically, by his late 40s, Beethoven was completely deaf.

It was as he began to lose his hearing that Beethoven started writing his symphonies, displaying courage in opposition to an imposing personal challenge. With these large-scale musical works, the composer challenged tradition and explored different ways that instrumental music—without the benefi t of lyrics—could communicate ideas, simulate drama, and evoke images for its listeners. The excerpts from the fourth movement from his Fifth Symphony (1808) and the second movement of his Seventh Symphony (1813) illustrate Beethoven’s expert ability to achieve these aspirations.


*Excerpts of these pieces will be performed at the School Concert; however, the entire pieces are included for your use in lesson planning

Beethoven Excerpt from fourth movement from Symphony No. 5 in C minor, Op. 670:00 Written in sonata form, the movement begins with the exposition and theme 1, whose melody outlines a C major chord0:36 Lyrical transition theme in French horns modulating from C major to G major1:03 Theme 2, vigorous melody in G major using triplets, upper strings and woodwinds1:31 Closing theme, featuring clarinets and violas

*Note: Exposition does not repeat in this recording2:00 Development: brings back four-note motive from the fi rst movement (short-short-short-LONG)4:07 Recapitulation: return of theme 1 in C major4:42 Lyrical transition theme, does not modulate5:12 Return of theme 2 in C major5:38 Closing theme6:59 Coda with long extension

Beethoven Excerpt from second movement from Symphony No. 7 in A major, Op. 920:00 Introduction0:06 Theme 1, repeating rhythmic motive (LONG-short-short LONG-LONG), low strings0:55 Theme 1 in second violins, counter-theme in violas and cellos1:43 Theme 1 in fi rst violins, counter-theme in second violins2:30 Theme 1 fortissimo in woodwinds and horns, counter-theme takes over in fi rst violins3:18 Modulation from A minor to A major4:28 Modulation from A major to C major4:48 Theme 1 hidden in low strings, counter-theme in woodwinds, return to A minor5:50 Fugal treatment where the theme enters in different instruments at different times7:09 Modulation to A major7:52 Modulation to C major8:10 Coda

Ludwig van Beethoven and His SymphoniesA German composer and pianist, Ludwig van Beethoven(1770-1827) is considered one of the most famous and infl uential composers of Western classical music. His compositions, especially the nine symphonies, built upon the foundation laid by master composers Franz Joseph Haydn

and Wolfgang Amadè Mozart. Unlike composers who had served


48

Synonymous Words and Interchangeable RhythmsElizabeth McAnally, Choral/General Music Teacher, Woodrow Wilson Middle School,



Lesson ObjectivesAs a result of this lesson, students will be able to:• Create a list of synonyms and use a thesaurus to find synonyms• Create and perform rhythms from notation at varying tempos• Predict how elements of music can be used by a composer to express an emotion• Describe two listening selections using musical and non-musical vocabulary• Express and defend a musical opinion using appropriate vocabulary

Lesson Materials• Chalk/white board or chart paper• Thesaurus for each student, or access to www.thesaurus.com, with a projector to display• Two sheets of unlined paper and a pencil for each student• Class set of safety scissors• Recordings of School Concert repertoire• CD/mp3 playback deviceSee www.philorch.org/resources:• Beethoven interactive listening guide

Academic StandardsNational Content Standards for MusicK-4: 2 a, b, c / 4 b / 5 a / 6 b, c / 7 b / 8 bPennsylvania Content StandardsArts: 9.1.5 a, b, c, e, f, k / 9.2.5 l / 9.3.5 a / 9.4.5 dOther Disciplines: 1.1.5 e, f / 1.5.5 d / 1.6.5 d

Introduction1. Remind students that during their visit to The Philadelphia Orchestra they will help make decisions about a story. One of these decisions will be to determine if the story will have a happy ending or a sad ending. Create a chart on the board/chart paper with the words “happy” and “sad” as the column headings.

2. Using the chart to record their thoughts, help students create a brainstorm list of other words that are synonyms of “happy” and “sad.” When students are finished with their ideas, help them choose several additional words from a thesaurus. Aim for a list of 10-15 words in each column of the chart.

3. Draw a line under the list of synonyms, creating an additional space in each column. Ask students to predict how a composer might create music that expresses each emotion. Lead students to discuss several elements of music, such as tempo (speed), timbre (instrumentation), and dynamics (volume). Explain that just as an author can choose a variety of words to express a particular emotion, a composer has a variety of tools to express an emotion through music.

Development4. Have students create a rhythm flipchart: • Distribute two pieces of unlined paper to each student • While pieces are stacked, have students position the papers horizontally (landscape orientation) and fold the top over the bottom; the folded edge should be at the top • Fold left over right twice, and then unfold to create four equal parts • Use safety scissors to cut the paper on the vertical fold lines, starting at the bottom (unfolded end) and stopping about one-half inch from the top (folded end) • If you wish to make the flipcharts more durable, place a few staples along the top • On the top page of the flipchart, draw a quarter note on each segment • On the second page, draw a quarter rest on each segment • On the third page, draw two eighth notes on each segment • On the fourth (bottom) page, draw a dotted eighth-sixteenth note on each segment (If time or resources are limited, prepare a large rhythm flipchart before the lesson from two pieces of chart paper and display at the front of the class.)


49

5. Help students discover they can create many different rhythm combinations by opening segments to different pages.

6. Encourage students to use the rhythm fl ipcharts to create their own rhythms, and tap or clap them quietly while listening to a short excerpt of the fourth movement from Beethoven’s Symphony No. 5 in C major, Op. 67, 0:00-2:00. Ask students to try different combinations until they are able to choose a favorite.

7. Choose several volunteers to write their favorite rhythm on the board/chart paper, and perform the rhythms as a class while listening to the piece a second time.

8. Next, ask students to perform together the posted rhythms again while listening to an excerpt of the second movement of Beethoven’s Symphony No. 7 in A major, Op. 92, 0:55-2:30.

9. Ask students to consider how the rhythms seem different with the second piece of music and how the class needed to perform the rhythms differently (e.g. more slowly and quietly). Take another look at the list of synonyms from earlier in the lesson and have students choose words that seem to describe the music they heard and the way they needed to perform the rhythms.

Refl ection/Conclusion10. Distribute copies of the Beethoven interactive listening guide. Explain to students that one of these pieces will be performed at the concert, depending on the audience’s choice of a happy ending or a sad ending.

11. Listen fi rst to the excerpt from the second movement of Symphony No. 7 and then the excerpt from the fourth movement of Symphony No. 5. While they listen, have students draw an arrow from each description in the center column either to the left or right column.

12. Have students share their answers and discuss together which piece might represent the happy ending and which one might represent the sad ending. Although students may answer the same way, remember that there are no right/wrong answers, and students should feel free to express their answers in a way that is meaningful to them.

13. Refer to the list of synonyms on the board/chart paper and discuss which words are a good match for the two Beethoven excerpts, circling them on the chart.

14. Referring again to the chart, ask students to determine if their predictions about music conveying each emotion were accurate.

15. Remind students they will have an opportunity to vote for which ending they will hear at the School Concert. Ask students to circle the title of their musical choice on their interactive listening guide and to write a sentence or two that defends their choice.

Ideas for Differentiated InstructionAdaptations: • Allow students to work in pairs or small groups to create rhythm fl ipcharts, perform rhythms, and/or complete the interactive listening guide. • If students are uncomfortable with writing tasks, encourage them to express their musical choice orally instead, and the teacher or student volunteer can record answers on the board/chart paper.

Extensions: • Students with more experience reading and writing rhythm patterns might use four sixteenth notes, or one eighth-two sixteenth notes, or two sixteenth-one eighth notes combination on their rhythm fl ipcharts. Additional pages could be added to the fl ipchart, or other rhythms could be replaced. • Show students how to use resonator bells to improvise a melody for the rhythms they created with their rhythm fl ipcharts. Use notes from the C-major chord (C, E, and G) and play at a fast tempo to simulate the sound of the fourth movement of Symphony No. 5. Use notes from the A-minor chord (A, C, and E) and play at a slower tempo to simulate the second movement of Symphony No. 7. • Help students replace the “kid-friendly” words on the interactive listening guide with standard music vocabulary.


50

Let’s Go to the Orchestra!

Musical Storytelling: Create Your Own Adventure

PA Academic Standards O

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Pro

gram

Mus

ic

Syn

onym

ous

Wor

ds

and

Inte

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ble

Rhy

thm

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9.1 ARTS: Production, Performance, and Exhibition • • • • • • •

9.2: ARTS: Historical and Cultural Context • • • • •

9.3 ARTS: Critical Response • • • • • •

9.4 ARTS: Aesthetic Response • • • • •

1.1 ELA: Reading Independently • •

1.2 ELA: Reading Critically in All Content Areas •

1.3 ELA: Reading, Analyzing, and Interpreting Literature • •

1.4 ELA: Types of Writing • • •

1.5 ELA: Quality of Writing • • • •

1.6 ELA: Speaking and Listening • • • • • •

3.7 TECH: Technological Devices •

Appendix A: Academic StandardsMeet academic standards for Pennsylvania with the lessons in this curriculum guide.

Appendicies

51

Appendix B: Philadelphia Orchestra School Partnership ProgramAbout the School Partnership ProgramIn September 2005 The Philadelphia Orchestra introduced its

School Partnership Program (SPP), establishing ongoing, in-

depth relationships with partnering schools in the Philadelphia

region. Through SPP the Orchestra cultivates students’

knowledge and love of orchestral music, develops students’

perceptive and creative skills, and helps parents and teachers

bring classical music into their homes and classrooms. This

program helps bring a new generation of listeners to the

Orchestra and empowers our city’s youth through the exploration

of their own creativity.

The School Partnership Program offers students incomparable

exposure and access to The Philadelphia Orchestra and its

musicians. At each school a Philadelphia Orchestra Teaching

Artist has a weekly presence in participating classrooms. They

work side-by-side with classroom teachers using a curriculum

and materials created by the Orchestra’s education department

in collaboration with teaching artists and classroom teachers.

Students attend an Orchestra School Concert as well as other

concerts throughout the year. Orchestra musicians visit each

school annually, providing participating students the opportunity

to engage with a range of musicians who they will see onstage in

Verizon Hall.

SPP Student Learning ObjectivesThrough their participation in the School Partnership Program,

which includes attendance at a Philadelphia Orchestra School

Concert, students will:

1. Develop a personal relationship with music as a way of

understanding themselves and the world around them

2. Refine their listening skills

3. Learn the fundamentals of music, such as rhythm, pitch,

dynamics, and melody so that they may successfully talk and

write about music

4. Apply knowledge of these fundamentals through

performance using their voices, recorders, and

percussion instruments

5. Compose and improvise music

6. Reflect upon their own creative process

7. Develop their collaborative skills

8. Use multiple learning modalities to address different

learning styles

Overview of Participating SchoolsFor the 2013-14 season, SPP partner schools include the

following:

Bache-Martin School, School District of Philadelphia

Principal: Mrs. Yvette G. Duperon

Grade levels participating in program: 2, 3, and 4

Joined program: September 2012

Teaching Artist Faculty: Lisa Vaupel (violin)

Cooper’s Poynt School, Camden City Public Schools

Principal: Mr. Stephen Bournes



Teaching Artist Faculty: Susanna Loewy (flute) and

Luigi Mazzocchi (violin)

Gesu School, an independent Catholic school

Principal: Sr. Ellen Convey, IHM



Teaching Artist Faculty: Gabriel Globus-Hoenich (percussion)

Andrew Jackson School, School District of Philadelphia

Principal: Ms. Lisa Kaplan



Teaching Artist Faculty: Rebecca Harris (violin) and

Susanna Loewy (flute)

John Moffet Elementary School, School District

of Philadelphia

Principal: Ms. Carmen Navarro



Teaching Artist Faculty: Rebecca Harris (violin) and

Ryan Seay (trombone)

Appendicies

52

Appendix C: Recorder Fingering Chart

LOW

D

LOW

E

HIGH

D

G

B

F

HIGH

E

A

C

#

#

Appendicies

53

Appendix D: Conducting PatternsAn orchestra’s conductor keeps the beat for the ensemble so that the musicians stay

together. The conductor controls many aspects of the musical performance including

speed (tempo), volume (dynamics), and length of notes (style). Teach your students the

patterns below and have them practice conducting your classroom orchestra!

We’ve Got the Beat!Beats are not all created equal, and we hear and feel that some beats are stronger than others. Generally, the first beat is the strongest and the conductor makes a downward motion in the pattern, so we call this the downbeat. A conductor uses his or her right hand to make the conducting patterns shown here, which are the three most common. The left hand either mirrors the right hand or is used for cueing instruments or communicating expression.

Two Beat Conducting PatternFor music that has the pattern: STRONG-weak, STRONG-weak, STRONG-weak, STRONG-weakMusical examples for practice: • Slow: Beethoven’s Symphony No. 7 in A major, Op. 92: II. Allegretto: 1:43-2:30• Fast: J. Strauss, Jr.’s “Tritsch-Tratsch” Polka, Op. 214, 0:00-0:37

Three Beat Conducting PatternFor music that has the pattern: STRONG-weak-weak, STRONG-weak-weak, STRONG-weak-weakMusical examples for practice: • Slow: Wagner’s “Ride of the Valkyries,” from Die Walküre, 0:21-0:47• Fast (in 1): Williams’s “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone, 0:41-1:11

Four Beat Conducting PatternFor music that has the pattern: STRONG-weak-weak-weak, STRONG-weak-weak-weak Musical examples for practice: • Slow: Prokofiev’s “Montagues and Capulets,” from Romeo and Juliet, Op. 64, 1:31-2:09• Fast: Williams’s “Hedwig’s Theme,” from Harry Potter and the Sorcerer’s Stone, 1:27-1:51

Five Beat Conducting PatternFor music that has the pattern: STRONG-weak-weak-STRONG-weak (3+2)Musical example for practice: 3+2: Holst’s “Mars, the Bringer of War,” from The Planets, 4:10-4:56

Appendicies

54

Appendix E: Guide to Audience BehaviorYour students will learn many things by attending a Philadelphia Orchestra School Concert. Learning

and displaying proper concert etiquette encourages personal responsibility and develops important

social and cultural skills. Please review the following guidelines thoroughly with your students.

Knowledge of the expectations in a formal concert environment will only increase their comfort—and

their enjoyment

• Upon arriving at the Kimmel Center, everyone is expected to speak in a moderate tone of voice.

• Enter the concert hall quietly and whisper only. Ushers will be seating your group and need to be heard as they direct you to your seats.

• Follow the directions of the ushers at all times.

• Please continue to whisper while in the concert hall. Members of The Philadelphia Orchestra will be warming up on stage, and they need to be able to hear themselves.

• As you wait for the concert to begin, take a look around you at the many features of the concert hall.

• When the lights are dimmed, all whispering should stop. The concertmaster is about to enter the stage so the Orchestra can tune.

• Everyone applauds when the concertmaster, and then the conductor, enter the stage.

• Once the music begins, everyone should concentrate on the music. Watch the musicians and conductor closely as they work together.

• When the host is speaking between pieces of music, listen carefully. Talking distracts the musicians and other audience members.

• Show your appreciation at the end of each piece with courteous applause. Watch the conductor carefully! He/she will lower his/ her arms and then face the audience when the Orchestra has fi nished playing.

• At the end of the concert, please remain seated and exit the concert hall quietly when you are instructed. This is the moment your teacher and the ushers will need your attention the most.

Rules to Remember:

• Use of the restrooms is for emergency situations only.

• Food, candy, gum, or beverages are not allowed in the concert hall.

• Cameras, video recorders, mp3 players, or any other electronic devices are not permitted in the concert hall.

• Students who are disruptive may be asked to leave the concert.

See page 21 for a creative lesson plan to share these instructions with your students and teach them proper etiquette in the concert hall.

Appendicies

55

Absolute music: Instrumental music that exists as such and is not meant to be illustrative of extra-musical ideas

Accelerando: Gradually become faster

Accent: To emphasize a note; indicated with a > placed above or below the note

Adagio: Moderately slow tempo

Allegretto: Moderately quick, pretty lively tempo (but not so much as allegro)

Allegro: Moderately fast tempo

Allegro vivace: Extremely fast tempo

Arranger: Person who arranges, changes, or adapts a piece of music

Articulation: Manner (or style) in which notes are performed

Bar line: Vertical line that divides the staff into measures or bars

Beat: Basic underlying pulse and time unit used in music

Celesta: Percussion instrument with a piano-like keyboard in which small felt hammers strike a series of small metal bars, producing a soft bell-like tone

Chord: Simultaneous sounding of two or more notes

Chromatic scale: Scale entirely composed of half steps (distance between a white key and a black key on the piano)

Clef: Sign placed at the beginning of the musical staff to designate the names of pitches

Coda: Ending section of a movement or composition

Composer: Person who writes, or composes, music

Compound meter: Groupings in which each beat is divisible by three rather than two

Concertmaster: Leader of the first violin section of the orchestra

Conductor: Person who leads, or conducts, a performing ensemble

Consonance: Harmonious (stable) sounding together of two or more notes

Contour: Shape of a melody

Crescendo: Gradually becoming louder

Cue: Visual gesture given by a conductor to begin or end playing

Decrescendo: Gradually becoming softer

Development: Second section of sonata form, coming between exposition and recapitulation

Diatonic scale: Seven-note scale made of five tones (whole steps) and two semitones (half steps); major and minor are diatonic scales

Dissonance: Notes that sound harsh or unpleasant when played at the same time, creating tension

Dotted rhythm: Beat is divided unequally into a long and a short note

Duple meter: Beats are grouped in twos or multiples of two

Dynamics: Degree of loudness or softness in a musical composition

Encore: Additional performance added to the end of a concert

Ensemble: Any combination of performers, but especially a small group playing individual parts

Exposition: In sonata form, the first section of a composition in which the principal themes are presented before they are developed

Figure: Shortest idea in music; short succession of notes, often recurring, in the background

Finale: Last movement of a work in several movements

Form: Structure and design of a composition

Forte: Loud volume

Fortissimo: Very loud volume

Fortississimo: Extremely loud volume

Freely composed: Compositional form that does not follow a pre-established structure

Genre: Class, type, or category of composition, sanctioned by convention

Gesture: Movement of a conductor meant to communicate musical expression

Half step: Interval from one pitch to the next adjacent pitch, ascending or descending

Harmony: Texture in which two or more different pitches are sounded simultaneously

Impresario: Person who organizes and often finances concerts, plays, ballets, or operas

Improvise: Practice of acting, singing, talking and reacting, of making and creating, in the moment

Instrument families: Groups of musical instruments that share similar characteristics

Instrumentation: Particular combination of musical instruments employed in a composition

Interlude: Piece of music played between other pieces

Interval: Distance between two pitches

Jazz: Musical tradition introduced and developed early in the 20th century by African Americans

Key: Indicates the tonal center (i.e., final point of rest) of a section, movement, or composition

Largo: Slow tempo

Legato: Connecting notes smoothly and without separate attacks

Leitmotif: Short, recurring musical phrase associated with a particular character, place, idea, or mood

Glossary of Terms

Glossary

56

Librettist: Creator of the libretto

Libretto: Text used in, or intended for, an extended musical work, such as an opera, operetta, oratorio, cantata, or musical.

Lyrics: Words of a song

Major key: Name of the mode of a piece, or a section thereof, having a major scale as its melodic and harmonic basis

Major scale: Seven-tone scale in the sequence of whole-whole-half-whole-whole-whole-half steps

Measure: Group of beats between the bar lines on a staff

Melody: Succession of notes, varying in pitch, which have an organized and recognizable shape

Meter: Grouping of sound into patterns of strong and weak beats

Mezzo forte: Medium loud volume

Mezzo piano: Medium soft volume

Minor key: Name of the mode of a piece, or a section thereof, having a minor scale as its melodic and harmonic basis

Minor scale: Seven-tone scale in the sequence of whole-half-whole-whole-half-whole-whole steps

Modulation: Most commonly the act or process of changing from one key to another

Motif: (also Motive) Short musical idea—melodic, harmonic, rhythmic, or any combination of these three

Movement: Term for a section within a larger musical work

Notation: System for writing music that indicates pitch and duration

Opus: (abbreviated Op.) Word used followed by a number, e.g. Opus 50, for the numbering of a composer’s works

Orchestra: (also Symphony Orchestra) Instrumental performing ensemble that traditionally includes instruments from all families, with the strings comprising the largest section

Ostinato: Short musical phrase (melodic or rhythmic) that is repeated many times

Overture: Term originally applied to the instrumental introduction to an opera, and now includes those works often performed at the beginning of a concert

Performer: A person who does something for an audience, e.g., act, play music, sing

Pesante: To play in a heavy and ponderous style

Phrase: Division of a musical line, comparable to a line or sentence in poetry or prose

Pianissimo: Very soft volume

Piano: Soft volume

Pitch: Highness or lowness of a sound

Pizzicato: String instrument playing technique that involves plucking the strings

Presto: At a rapid tempo (speed)

Primary theme: Principal melody upon which part or all of a composition is based

Program music: Narrative or descriptive music; music that attempts to represent extra-musical concepts without words

Quotation: Incorporation of a relatively brief segment of existing music in another work

Range: Distance between lowest and highest notes

Recapitulation: Third and last main division of a movement in sonata form in which the themes of the exposition return

Refrain: Relatively short section repeated at the end of each verse of a song

Register: Highness or lowness of the range of an instrument, singing voice, or composition

Rhythm: Organization of musical sounds in time

Rhythmic pattern: Unit of musical sounds grouped in time that is perceived as belonging together

Ritardando: Gradually becoming slower

Secondary theme: Less-important theme announced after the primary theme

Sforzando: Play a note with sudden, strong emphasis

Simple meter: Groupings in which each beat is divisible by two

Solo: Vocal or instrumental piece or passage performed by one performer, with or without accompaniment

Sonata form: (also Sonata-allegro form) European musical form that consists of thematic exposition, development, and recapitulation; may also include an introduction and/or a coda

Staccato: Short, detached notes; indicated with a dot placed above the note or chord

Strong beat: On the accented pulse in music

Style: Manner, mode of expression, or type of presentation

Subito: Suddenly

Symphonic poem: (also Tone poem) Orchestral form in which a poem or an extra-musical program provides a narrative or illustrative basis

Symphony: Musical work for orchestra in several movements

Syncopation: Emphasis on a normally weak beat

Tempo: Speed at which music is performed

Texture: Number of musical lines and the vertical relationships among those lines

Theme/Thematic: Main musical idea, usually a melody, of a composition

Timbre: (also Tone color) Unique quality of a sound; pronounced TAM-ber

Glossary

57

Time signature: Sign placed after the clef and key signature at the beginning of a composition that indicates the total number of beats in a measure and what type of note gets the beat

Tonic: Key center or home key of a composition, or section

Tremolo: Rapid alternation between two notes or chords (or also of a single note on a string instrument)

Trill: Rapid alternation between two adjacent notes, usually a tone or a semitone apart

Triple meter: Beats are grouped in three or multiples of three

Triplet: Playing three notes in the space of two

Tutti: All, everyone

Unison: Simultaneous performance of the same line of music by multiple voices or parts

Waltz: Ballroom dance in triple (3/4) time with a strong accent on the fi rst beat and a basic pattern of step-step-close

Weak beat: On the unaccented pulse in music

Whole step: Interval formed by two half steps

Glossary

58

Curriculum Guide ProductionJason Shadle, EditorElizabeth McAnally, Contributing EditorEmily Anastasi, Copy EditorJoseph Cohen, Graphic DesignerDarrin T. Britting, Associate Director of Publications and Content Development

Philadelphia Orchestra Education and Community Partnerships StaffJason Shadle, ManagerEmily Anastasi, CoordinatorMary Javian, School Partnership Program Coordinator

Philadelphia Orchestra Musicians’ Education CommitteeJoseph Conyers, bassGloria dePasquale, cello (Chair)David Fay, bassDaniel Han, violinYumi Kendall, cello

Philadelphia Orchestra Education and Community Partnerships Board CommitteeChairRamona A. Vosbikian

Board MembersMichael M. Cone, Ex-OfficioRonald L. KaisermanHilarie L. MorganLorraine S. PopowichMarcia Wells

MusiciansMembers of the Orchestra’s Education Committee (Elected independently)

Staff MembersRyan FleurMary JavianJeremy RothmanJason ShadleAllison Vulgamore

Photos: Tom Crane, Jessica Griffin, Ryan Donnell, Chris Lee, Robert Williams, Deborah Boardman Photography, Pete Checchia

Credits

Credits

Documents

Musical Storytelling: Create Your Own Adventure