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The Dallas Symphony Orchestra Presents:I Am a Musician

January 23 and 24, 2018

VISIT THE DALLAS SYMPHONY ORCHESTRA’S EDUCATIONAL WEB SITE: www.DSOkids.com

https://www.surveymonkey.com/r/dsoyouthconcertsActivities for I Am a Musician teacher’s guide were prepared by the Dallas Symphony Orchestra’s

Curriculum Development Team: Jamie Allen, Linda Arbolino, Jane Aten, Tony Driggers, Sarah Hatler, and Kevin Roberts. This volume of the teacher’s guide was produced and edited by Dallas Symphony Orchestra

Education Staff Members Sarah Hatler and Jamie Allen. Materials in this teacher’s guide can be photocopied for classroom use. If you have any questions about the concerts or material in this guide, please

call the DSO Education Department at 214.871.4006.

Dear Fellow Educators,

The human race is a musical species. By the time a baby is born, his or her ears are so finely developed that they can focus on a vast range of frequencies. This highly musical ability is immediately put to use as an infant learns to distinguish between family members, identify sounds of comfort and sounds of danger, and respond with love to a tuneful lullaby.

In the “I Am a Musician” Youth Concert program, students will see how everyone can build on that inherent musicianship and experience the unique and immense joy that comes from making music oneself.Students will meet other students their own age, such as Jayden and Trenton, who have picked up a violin and found out for themselves how rewarding it is play. They’ll also meet Messiah, a senior at Booker T Washington High School, who has developed such a love for his instrument, that he picks it up and plays it whenever he gets the chance (there’s a reason we use the verb “play” for a musical instrument).

And of course, they’ll meet the professionals of the Dallas Symphony, some of whom will share their own stories about how they started, and how music has become such an important part of their lives.As an added bonus, two of the pieces on this concert are on this year’s Music Memory list as well, so your students will have the rare opportunity to experience live performances of these works, and exercise their active listening muscles as they prepare for the contest.

Music is an essential part of the human experience, and one that is accessible to all of us - students, amateurs, professionals, and listeners. Thank you for making this experience a priority in your classroom. Hopefully, this special Youth Concert will encourage all of your students to proclaim with pride…

“I Am a Musician!”

I look forward to seeing you at the Meyerson.

Jamie Allen Director Of EducationDallas Symphony Orchestra

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Table of Contents

Concert specific information Repertoire and CD track list Concert guidelines for teachers Who’s Who Composer biographies Pre-Concert Activity Strategies for Mindful Listening Concert conduct

Concert Activities 1. Musicians Everywhere 2. Careers in Music 3. Musician as a Listener: The Movie in Your Mind 4. Musician as a Performer 5. A Day in the Life of a Musician Post-Concert Activity Student review Flat Beethoven Notes

p. 3p. 4p. 5p. 6-8

p. 9p. 10

p. 11p. 12p. 13p. 16p. 19

p. 21p. 22p. 23-24

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Repertoire and Youth Concert CD Track List

1. Twinkle Twinkle Little Star2. Peters, Piece for Percussion3. Gounod, Petite Symphony, Movement 3 “Scherzo”4. Copland, “Fanfare for the Common Man”5. Dvořák, String Quintet in G major Op.77, “Scherzo”6. Mozart, Eine Kleine Nachtmusik, Movement 1 *7. Kabalevsky, Violin Concerto in C Major, Movement 1 “Allegro molto e con brio”8. Glière, “Russian Sailors Dance” from The Red Poppy, Op. 70 *

Musical recordings under license from Naxos of America, Inc. www.Naxos.com(P) 2007 HNH International Ltd. All rights reserved. Unlawful duplication, broadcast or performance of this disc

is prohibited by applicable law.

* These pieces are part of this year's Music Memory repertoire list.

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Who’s WhoLucas Waldin is a dynamic and versatile conductor whose flair for audience engagement and passion for performance have delighted audiences across North America.

Lucas has collaborated with some of today’s most exciting artists including Carly Rae Jepsen, Ben Folds, Chantal Kreviazuk, the Barenaked Ladies and Buffy Sainte-Marie, in addition to presentations such as Disney in Concert, Blue Planet Live, and Cirque de la Symphony. Lucas has been a guest conductor for numerous orchestras in Canada and the U.S., including the Houston Symphony, the Grant Park Festival Orchestra, the Modesto Symphony, the Louisiana Philharmonic, the Vancouver Symphony, the National Arts Centre Orchestra, and the Toronto Symphony.

Lucas joined the Edmonton Symphony Orchestra as Resident Conductor in 2009 and was subsequently appointed Artist-in-Residence and Community Ambassador (2012-2016), the first position of its kind in North America. He appeared with the orchestra over 150 times, collaborating with artists such as Angela Cheng, Jens Lindemann, Tommy Banks, Sergei Babayan and Bill Eddins. He also conducted in Carnegie Hall during the ESO's participation in the 2012 Spring for Music festival. In recognition of his accomplishments, he was awarded the Jean-Marie Beaudet Award in Orchestra Conducting by the Canada Council for the Arts and received a Citation Award from the City of Edmonton for outstanding achievements in arts and culture.

A native of Toronto, Ontario, Lucas holds degrees in flute and conducting from the Cleveland Institute of Music.

Messiah Ahmed is a senior at Booker T Washington HSPVA and a member of the DSO’s Young Strings Program. He has been playing the violin since he was 5 years old, has been in Young Strings since 5th grade, and has since participated in the Greater Dallas Youth Orchestra, as a member of all the orchestral ensembles. Messiah was the concertmas-ter for the All-Region 20 orchestra for the 2017-18 season and was also a member of the 2017-18 TMEA All-State Philharmonic Orchestra. This past summer he attended the Interlochen Center of the Arts and had the opportunity to study with Martin Chalifour. While at Interlochen he was associate concertmaster of the World Youth Symphony Orchestra with conductors such as Larry Rachleff and JoAnn Falletta, with artist in residence Sarah Chang. Upon graduation from high school he plans to attend a music

conservatory to expand his knowledge and skill as a well-rounded musician.

Trenton Williams is 10 years old and has been a part of the Young Strings Program for three years. He is a 5th grade student at St. Philip's School and Community Center. Trenton is also a part of the Youth Percussion Ensemble and is a theater actor. His Young Strings teacher is Amela Koci.

Jayden Oliver was born in Brooklyn, New York, on February 16th, 2010. At the age of 4, he moved to Dallas. At this time, he was already reading and recognizing his numbers and started the TAG program in the first grade. Jayden now attends Eduardo Mata Elementary as a 3rd grader, where he has been playing the violin since June. His Young Strings teacher is Claire Garza Ross.

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Composer Biographies

Mitchell Peters (1935-2012), was formerly Principal Timpanist and Percussionist with both the Los Angeles Philharmonic Orchestra and the Dallas Symphony Orchestra. He wrote Piece for Percussion for former DSO assistant conductor, Charles Blackman. Peters has recorded extensively with both the Los Angeles Philharmonic and the Dallas Symphony Orchestra, in addition to various appearances on motion picture and television soundtracks. As author and composer, Peters' percussion works and instructional materials are highly regarded throughout the United States and abroad. Responding to the lack of musically interest-ing materials that introduce music students to four-mallet marimba techniques, he composed pieces for the marimba such as Yellow After the Rain and Sea Refractions, that are now performed all over the world. He owned and operated a music publishing company, which handles percussion works exclusively. He has recently completed highly acclaimed method

books for Timpani and Mallet instruments, published by the Alfred Music Publishing Company. In 2006 he was awarded a "Lifetime Achievement Award" from the Sabian Cymbal Company. Peters used to hold the position of Director of the University of California at Los Angeles Percussion Ensemble.

Charles-François Gounod (pronounced “Goo – no”) (1818-1893) was a French composer. He was born in Paris, and his mother was his first piano teacher. He won the prestigious Prix de Rome on his third try and subsequently traveled to Rome to study music. He returned to Paris and became the music director at a church. He later moved to England during the Franco- Prussian War and composed many pieces for choir as the director of what is now known as the Royal Choral Society.Gounod wrote many different kinds of pieces, but he is best known today for his operas Faust and Roméo et Juliette and, especially, for the very popular “Ave Maria” which is a melody that goes with a prelude by Johann Sebastian Bach.

Wolfgang Amadeus Mozart (1756-1791) was no doubt the greatest child star that ever lived. He was traveling all over Europe playing music by the time he was six. Because of his con-stant travels, Mozart eventually learned to speak fifteen different languages.He wrote his first sonata for the piano when he was four and composed his first opera when he was twelve! Mozart could compose anywhere - at meals (he loved liver dumplings and sauerkraut), while talking to friends, while playing pool and even while his wife was having a baby. He composed very quickly and wrote huge amounts of music. It would take over 8 days to play all of his music, one piece after the next, without stopping. One famous piece that he wrote was Variations on "Twinkle, Twinkle Little Star."During his lifetime, Mozart was very well-known but spent money faster than he could earn it. He was poor and in debt when he died of kidney failure at the age of 35 and was buried in an unmarked grave. Mozart is considered by some to be the greatest composer who ever lived. While most composers specialize in certain kinds of pieces, Mozart created masterful

works for almost every category of music - vocal music, concertos, chamber music, symphonies, sonatas, and opera.

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Although he was probably one of the greatest American composers, Aaron Copland did not grow up in a musical family. His parents were Russian immigrants who never even went to a concert. After several attempts to obtain musical instruction including a correspondence course, he eventually went to a school in Europe where a young teacher named Nadia Boulanger influenced him to become a composer.By his mid-twenties his work was known by other composers. Copland borrowed from American legends and folk music and incorporated them into his music. Such musical pieces include: Billy the Kid and Appalachian Spring, for which he won a Pulitzer Prize for music. He was one of the first composers to successfully incorporate jazz rhythms into symphonic music. He was very helpful and generous to other young composers, often promoting their music along with his own. Because Copland had a habit of composing at night with the help of his noisy piano, he had to move several times.Interestingly, Copland actually conducted the Dallas Symphony Orchestra twice.

Antonin Dvořák (1841-1904) was a country boy, one of seven children of a butcher/ innkeeper in a small village in Bohemia. Bohemia was full of music and young Antonin took violin lessons and fiddled with his father in the village band. But there was no question about his future; he was to go into the inn keeping business. Since many German travelers came to Bohemia, his father sent him to live with an uncle in a nearby town to learn German. There he met a friend of his uncle's who was a musician. The friend taught Dvořák viola (which became his favorite instrument), piano and organ, and when he was sixteen Dvořák went to study music in Prague. He played violin and viola in Prague's National Opera Orchestra until, at thirty-one, he won a prize for composition. He soon became famous as a composer, and was able to make a living composing and teaching composition at the Prague Conservatory. In 1892, Dvořák came to America to be the head of the National Conservatory of Music. While he was in the United States, he wrote the famous "New World Symphony" and other pieces which suggest American folk tunes. He even slipped a little of "Yankee Doodle" into one of his pieces! After music, Dvořák’s strongest interest was trains, and he was often seen at the railway station in Prague observing, studying railway schedules, and visiting with railway engineers.

The son of a Russian mathematician, Dmitri Kabalevsky (1904-1987) was encouraged to study mathematics, but was fascinated with poetry, painting, and the piano. An accomplished young pianist, Dmitri played piano in the silent picture theaters. At the age of 21, Dmitri attended the Moscow Conservatory against the wishes of his father. There he studied music composi-tion and later, at the age of 28, became a professor at the conservatory.As a member of the Communist Party during World War II, Dmitri composed many patriotic songs as well as wrote and performed the music for silent pictures shows.Kabalevsky’s efforts to connect children to the world of music found him composing music for children as well as teaching. Kabalevsky was awarded many state honors for his music and was elected the head of several organizations dealing with music and the teaching of children. He also received an honorary degree of president of the International Society of Musical Edu-cation. While Kabalevsky wrote various kinds of music, he was most noted in Russia for his vo-cal songs, cantatas, and operas. Here in the United States, Kabalevsky was known for his orchestral works. He frequently traveled overseas as a member of the Soviet Committee of the Defense of Peace and promoted friendship between the Soviet Union and other countries.

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Reinhold Glière (1875-1956) was born in Kiev. His father was a musician and wind in-strument maker. Glière entered the Kiev School of Music in 1891 to study violin. Three years later, he began his studies in violin, composition, and music theory at the Mos-cow Conservatory, the same place where he would later teach off and on for 20 years. One of his early students was then eleven year old Sergei Prokofiev. Glière's compositions, ranging from concerti and chamber music to operas and bal-lets, often incorporated Soviet folk music. His nationalistic approach to composition made him both a target of criticism by some and well-respected by others. He was awarded many honors for his compositions including three Glinka Awards and Stalin Prizes. Perhaps the most recognized piece of his is the ballet The Red Poppy, written in 1927 and inspired by the ballerina Yekaterina Vasilyevna Geltzer. The "Russian Sailor's Dance" is often performed as an encore due to its energy and excitement.

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Strategies for Mindful ListeningAdapted from Settle Your Glitter - A Social Emotional Health Curriculum by Momentous Institute 2015

What is Mindful Listening?Mindful Listening helps students choose on which sound their attention should be focused. When a student trains his/her brain to concentrate on specific sounds, sensory awareness is heightened. Monitoring the audi-tory experience, noting what they focus on and respond to, helps build self-management and self-awareness skills.

How do I practice mindful listening with my students?Play a piece (or excerpt) from an upcoming DSO Youth Concert and have the students:• Sit up tall like a mountain and think of the spine as a stack of coins.• If seated in a chair or bench, feet are flat on the floor or hanging calmly and still. If seated on the floor, make sure legs and feet are still.• Hands are resting gently on the lap or knees.• Eyes are softly closed or their gaze directed downward.

What do I say during the mindful listening activity?Say things such as, ”As you listen to the music remember to breathe in and out deeply and focus on the music.” “What pictures do you see in your mind?” “Does it tell a story?” “Notice how your body feels (in the chair, on the floor…etc.).” “What colors do you see?” “What images?” “If this music was found in a movie, what would be happening?” “What mood does the music evoke?” “How does this music make you feel?”

What do I do if my students have trouble with mindful listening?This type of activity is very personal and takes a lot of practice. If students seem like their attention is falter-ing, say, “If your mind wanders, that is ok – that’s what minds do…just bring your attention back to the music. Notice how your body feels right now – at this very moment. Again, let your mind see the colors, pictures and moods in the music.”

How does the mindful listening end?After listening for 1-2 minutes, lower the volume of the music slowly and say, ”When you are ready, slowly open your eyes.”

What now?Talk about all of the student responses. Remember that there are no “wrong” answers – use open-ended questions to expand the activity. Try using these questions in response to your students:• What did you hear that made you think of that?• Tell me more about what in the music made you feel (happy, sad, lonely, afraid, etc.).• Can you add more details to that? • What did the composer/musician do to make you think of that?

ExtensionThis mindful practice can be used every day. Have relaxing and calm music playing as your students enter the room each day. Have them learn the mindful listening procedure and eventually it will become natural. This is a great way to start their music learning day – mind sharp, body relaxed, and brain ready for learning.

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Learning ObjectiveTo learn the proper behavior for a concert environment.

EvaluationDid student responses in the discussion exhibit an understanding of the proper behavior at a concert? At the concert, did students demonstrate good citizenship?

Teaching SequenceLead a class discussion that touches on the following topics: • Which rules of good citizenship apply to concert attendance? • Why is good citizenship important? • How can good conduct help others enjoy the music? • Should food, drink, and chewing gum be brought to the concert hall? • When does an audience applaud and when does it sit quietly? • Does the Meyerson Symphony Center belong to all the citizens of Dallas? • Do future concert-goers deserve to see the beauty of the Symphony Center?

Extension ActivityReview the following “applause rules”:

Have students take turns playing “conductor”. The conductor should face away from the rest of the class, wave his or her arms, stop and start waving a few times, then stop waving and turn to face the class. At this time the class should applaud. The game should continue until every-one in the “audience” knows when to applaud. Discuss how applause signals the audience’s appreciation, and, with the class, make a list of other situations where applause is appropriate, (for example, at sporting events, assemblies, and award ceremonies).

• Clap when the concertmaster enters at the beginning of the concert.• Clap when the conductor enters at the beginning of the concert.• Clap to welcome any soloists whenever they enter during the concert.• During the performance, watch the conductor. Whenever the conductor puts his or her hands down and turns to face the audience the music is completed and the audi-ence should applaud.

TEKSMusic: 117.12 1(A), 2(B), 6(A, C);117.181(A), 2(B), 6(A, C)

Pre-Concert ActivityConcert Conduct

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Musicians Everywhere

Resources• Photos of performing musicians

taken from newspapers, magazines, and/or individual photographs

Pre-AssessmentAsk students to answer the questions, "Who is a musician?" Accept and discuss all the responses, coming into agreement on a class definition.

VocabularyAmateur- a person who engages in a pursuit for the love of doing itProfessional- a person engaged in a specific activity as one's main paid occupation

Teaching Sequence1. Tell the students that for the musicians they will see and hear at the upcoming Dallas Symphony concert, playing music is their job. Discuss other jobs for which musicians are paid, e.g., entertainers, some church musicians, bands and rock groups, recording artists, musicians who play to record the soundtracks for films, musicians who play background for radio and TV shows and commercials, etc. These musicians are consid-ered professional musicians because this is the way they earn a living for themselves and their families. 2. Tell the students that some musicians have other full time jobs and are paid to play or sing in the evenings or on weekends. Some musicians do not earn money for playing or singing, but perform just because they love making music. This type of musician is considered an amateur musician. (The word “amateur” comes from the Latin word for love.) 3. Ask whether anyone in the class sings or plays an instrument or if they know anyone who does. Affirm that all the people named are indeed musicians. Many play instruments that are found in the symphony, while others may sing or play instruments found outside of the symphony orchestra, such as piano, guitar, etc.

Learning ObjectiveStudents will discover musicians in their home and school environments.

Culminating Activity:Create a bulletin board in the room titled “Who is a Musician” showing students singing or playing an instrument. Encourage the students to bring in photos of themselves or photos of other musicians singing or playing to post on the board. Be sure to take photos of the stu-dents in your classroom performing by singing or playing an instrument. If you are a music teacher, include student photos from your classroom music activities. EvaluationDid student responses indicate an understanding that anyone who plays or sings is a musician?

TEKSFA.M.K.b.5C; FA.M.1.b.5C; FA.M.2.b.5C

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Careers in Music

Pre-AssessmentAsk the class to describe their job as students to you. What do they do? What is their job description (learning, studying, getting along, listening, etc.)? How are they qualified to be in their current grade? What problems would someone have if they weren’t qualified? Now ask them if they can tell you what you do as a teacher. What are your duties and jobs throughout the day? Guide them to understand what you do, what you had to do to be qualified, and anything else that they could understand.

Teaching Sequence1. Ask the students if they can name any jobs that are music-related. Answers may include singers, dancers, recording and sound technicians, band leaders, conductors, producers, managers, promoters – anything pertaining to music. As a resource, there are many websites that list various music industry jobs. 2. Tell the students that they will soon attend a live symphony concert. While they are there, ask them to watch for the various jobs that have to be done. Notice not only the performers, but all the other workers before, during and after the concert. Tell them to be ready to discuss it when they get back to class.

Culminating ActivityAfter returning from the concert, lead a discussion about the various jobs they saw being done. Some may not have been musicians, but jobs that supported the concert such as stagehands, ticket sales, ushers, etc. Can they think of any other supporting jobs they didn’t see? What knowledge or expertise would a person need in order to be able to do each job? Direct the discussion to include the students’ interests and abilities and what music job they might enjoy.

Extension ActivityHave the students pretend they are in charge of hiring someone to fill one of the music positions discussed. Have them create an advertisement listing the job and the requirements of the position. Create a list of questions they will ask a potential applicant in order to find out if they are qualified for the job.

TEKSFA.M.K.b.5C; FA.M.1.b.5C; FA.M.2.b.5C

EvaluationDid discussions indicate that the students are familiar with music industry careers?

Learning ObjectiveStudents will become familiar with music industry careers through discussion and observation.

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The Musician as a Listener:Movie in Your Mind

VocabularyHearing – the act of receiving sound through the earListening – giving focused attention to what one hearsRhythm – patterns of long and short sounds Dynamics – degrees of volume in musicAudience – the listeners at a public event such as a Dallas Symphony Youth Concert

Resources• DSO Audio CD of Youth Concert Selections• Movie in Your Mind worksheet (pg. 15)

Pre-AssessmentAsk students what the difference is between hearing and listening. Discuss the answers and clear up any misconceptions. Say, "When sound waves enter our ears, we hear the sound. When we pay attention and focus on the sound, this is listening."

Learning ObjectivesStudents will demonstrate an understanding of the importance of an audience member.Students will discuss and justify what they hear in the musical examples.Students will demonstrate the understanding of the difference between Hearing and Listening.

Teaching Sequence1. Practice Active Listening by asking students to sit in their "Mindful Music" position (see mindful listening lesson on page 9). Ask them to listen to the noises and sounds around them. Wait for about 30 seconds and then ask students to slowly open their eyes. When they are ready, ask, "What did you hear?" Answers will be similar to people moving, kids playing, breathing, air conditioner, people talking, birds, airplane, etc.2. Say, "Our brains are very good at hearing these sounds but not allowing you to pay attention to them. We hear these sounds every day. When I asked you to FOCUS on what you heard, your brain was able to allow you to LISTEN to the sounds. Today, we are going to practice listening to music and creating art work that reflects the story we create in our mind when we listen to the music. We call this Movie in Your Mind."3. Pass out the Movie in your Mind worksheets and have the students prepare for listening.4. Have students get into the "Mindful Music" position and listen to the excerpt from the DSO Youth Concert CD. 5. Ask the students to discuss what they heard and what type of story they can create with what they heard. Encourage students to think beyond "I hear flutes" or "I hear an orchestra." Encourage them to use the phrase, “When I listened to the music, I saw..."6. Play another excerpt from the DSO Youth Concert CD and repeat #5. Have the students draw theirMovie in Your Mind on the worksheet.

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Culminating ActivityHave students share their artwork. Encourage them to say, "When I listened to the music, I saw… because…" Adding the because will give you insight into the concepts obtained in your lessons.

Create an art gallery in your hall way or somewhere in the school.

EvaluationCan the students listen mindfully to the music and the sounds around them?Can the students justify their thinking about what they pictured in their mind? Can the students recognize the difference between hearing and listening?ExtensionHave the students choose one of the Movie in Your Mind sheets and act it out while listening to the excerpt that inspired the artwork.

Try some of these in response to your student’s answers to get them to stretch their thinking.

• What did you hear that made you think that?• Tell me more about what made you sad, happy, scared, lonely….etc.• Can you add more details to that?• What do you mean by that?• What did the composer or musicians do to make you think of this?

For the music specialist:In your discussion with students, you may ask more musically thought provoking questions in this activity.

Ask, “Is the tempo of the music leading your mind to a picture or story? Does the volume stay the same or is it changing? What does this make you think of? What instruments do you hear? How is this instrument helping create the movie in your mind? Did the rhythm inspire your thinking? Why?"

This can be a great check on some music vocabulary. Note the students who use these musical terms in their response to the music.

TEKSFA.A.K.3; FA.A.K.4AFA.A.1.2; FA.A.1.3A; FA.A.1.4AFA.M.2.b.6; FA.A.2.2; FA.A.2.4A; FA.A.2.3D

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When I hear the music, this is what I see in my mind...

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The Musician as a Performer

VocabularyPercussion- musical instruments played by striking, shaking or scrapingShakers – the group of classroom percus-sion instruments that are shakenSkins – the group of classroom percussion instruments that have a skin stretched over a hoopWoods – the group of classroom percussion instruments that are made of woodMetals – the group of classroom percussion instruments that are made of metalComposer – a person who writes musicConductor – a person who directs a musical performance

Learning ObjectiveStudents will show an understanding for the roles of the conductor, composer, orchestra and audience member

Pre-Assessment1. Ask students if they know what a pattern is. Ask students to think of where they might see patterns – some answers might be letters, numbers, color patterns, etc. 2. Ask the students to think of patterns they might see in the music room – piano black and white keys, rhythms, boomwhackers, notes on the staff, music alphabet, etc.

Materials/Resources• Instrument icon cards (Make 4 color copies and cut out the cards previous to the lesson – making enlarged copies might be help-ful for large classes)• One instrument from each of the classroom percussion family – CLAVES (woods), HAND DRUM (skins), TRIANGLE (metals) and MARACAS (shakers)• One large piece of red, blue, yellow and green construction paper• A pointer to serve as the conductor’s baton

Teaching Sequence1. Tell students that they will be creating and performing some patterns in the music class today using classroom percussion instruments.2. Review the 4 groups of the classroom percussion instruments – SKINS, SHAKERS, WOODS, and METALS and discuss what makes each one a part of their group.3. Lay out the construction paper with the appropriate instrument placed on it. 4. Using the cards with only one instrument on each (Ta), place the instrument cards in a simple pattern – (4 rows of 4) on the floor in front of the instruments. Create a pattern like…Red Yellow Blue GreenRed Yellow Blue GreenRed Yellow Blue GreenRed Yellow Blue Green

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Culminating ActivityHave the students perform a student created percussion piece for the class.

TEKSFA.M.K.b.1C/D; FA.M.K.b.2A/B/DFA.M.1.b.1D; FA.M.1.b.2A; FA.M.1.b.3A/B/D; FA.M.1.b.4A/CFA.M.2.b.1D; FA.M.2.b.3A/B; FA.M.2.b.4A/C

5. Choose 4 students to play the instruments – stress a steady beat!6. With teacher serving as the conductor, point to the cards as the students play the pattern created. Discuss what made the piece easy to play – the instruments and colors were in a pattern.7. Now, have students serve as the composer and rearrange the cards into a different pattern.8. Have the players try the new pattern. Make sure to allow the composer to serve as the conductor.9. Ask the students if the composition was more difficult and why. (If the answer was that it was more difficult, the answers should be that the cards were not in a pattern or that the pattern was not as easy to follow).

EvaluationWere students able to keep a steady beat?Were students able to perform the patterns?Were students able to compose patterns?Were students able to serve as conductor?

Extension Activity for the Music SpecialistDiscuss the fact that the patterns created in the first lesson were all (Ta). Introduce the cards with 2 instruments on each card and ask the students if they recognize a rhythm word that fits this new card (Ti-Ti). Create rhythm patterns with a mixture of the Ta (Quarter Note) and Ti-Ti (Two 8th Notes) percussion cards and have students read the rhythms. Then have students create and perform these rhythms with the classroom percussion instruments.

Group ReflectionHave students sit with you in a circle to reflect on these questions. For older students, having them keep a perfor-mance journal or music notebook is a great way to see how your students are processing your lessons.

• Did adding the cards with 2 instruments make your performance easier or more difficult? Why?

• Were you able to keep a steady beat? If not, what made it difficult?

• What are some other challenges you faced in your performance?

• What was it like to be the conductor?

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A Day in the Life of a Musician

Pre-AssessmentAsk students to name the kinds of jobs their parents have. Choose one or two and discuss what a day is like for a worker at these jobs. (Very young children may not be sure what their parents do at work. If needed, describe your own work schedule oractivities as a teacher.)Teaching Sequence1. Tell students that while many people enjoy making music in their free time, for professionals like the musi-cians in the Dallas Symphony Orchestra, music is a full-time job—the way they make a living. 2. Ask students what they think the Dallas Symphony musicians might do when they are not on the stage performing. Accept and explore their responses.3. Explain that performances, like the one they will attend, are only part of a musician’s workday. Other parts of their job include: Practicing—musicians must practice their instruments every day to maintain their skills and learn their individual parts Rehearsing—the entire orchestra practices together with the conductor for hours before every concert Performing with other groups—DSO musicians are frequently hired to play at weddings, churches, parties, and other functions Teaching—many of the symphony members also teach private lessons 4. Working as a group, fill in the blank schedule as you think it might look for a DSO musician. Be sure to include practicing, rehearsing, and performing. Add other rehearsals/performances or teaching if you wish.

Culminating ActivityWatch a video found on the homepage of on www.DSOKids.com entitled "A Day in the Life of a Musician." Compare the class concept of a DSO musician's schedule with the actual schedule. Discuss how the musician’s work day is different from that of someone with a job with regular daily working hours, like 9 a.m. to 5 p.m.

Extension ActivityTell students their work is to learn in school and help out at home. Make a schedule for their typical day and com-pare with that for the teacher, a professional musician, or other worker they know about.TEKS

FA.M.K.b.5C; FA.M.1.b.5C; FA.M.2.b.5C

EvaluationDid student responses indicate understanding of the work of professional musicians?

Learning ObjectiveStudents will demonstrate an understanding of the schedule for a working day in the life of a Dallas Symphony Orchestra musician.

Resources• Copies of “A Professional Musician's Schedule” (page 20)• Access to watch video on www.DSOKids.com

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A Professional Musician's Schedule

8:00 am

9:00 am

10:00 am

11:00 am

12:00 pm

1:00 pm

2:00 pm

3:00 pm

4:00 pm

5:00 pm

6:00 pm

7:00 pm

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I Am a Musician

I Am a Musician.

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Flat Beethoven! Cut out Ludwig van Beethoven and take him with you on all of your adventures! Be sure to snap a picture of Flat Beethoven in his new environs and send them to Sarah Hatler at s.hatler@ dalsym.com

Your picture could be featured on DSOKids.com Get creative!

Did You Know? Beethoven was born on

December 16, 1770 in Bonn, Germany

At age 12, he earned a living by playing organ

and composing

One of his favorite foods was macaroni

and cheese

His Third Symphony,

Eroica, was so original that it inspired many

others to change the way they wrote music

He is famous for his unique and innovative

musical style

Many say that Bee-thoven had a nasty

temper and unpleasant personality

He was deaf when he composed his Ninth

Symphony and never got to hear it per-

formed live

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