How To Teach A Symphony Orchestra

Transcription

1 Mother Goose Suite A Guide to Young People s Concert Grades 3-4

2 TEACHER S GUIDE GUIDE / Young / People s Young Table Concert: of People s Contents Appalachian Concert: Spring Appalachian Spring Table of Contents From the Conductor Get to know Kelly Corcoran the Associate Conductor of the Nashville Symphony Concert Program Information on Maurice Ravel and his piece Mother Goose Suite, as well as other works on the program Standard Equivalencies A Common Core and Music Curriculum guide of the standards accomplished through this curriculum Lesson Plan #1 An Introduction to the Orchestra get to know the role of the conductor, the instruments of the orchestra, and how to work together as a group Lesson Plan #2 An Introduction to Fairytales identify the parts of a fairytale through the story Sleeping Beauty, write your own fairytales, and the origination of fairytales Lesson Plan #3 1Maurice Ravel and Fairytales an introduction to the fairytales Ravel uses in his piece Mother Goose Suite Lesson Plan #4 Stories and Music an introduction to visual art, music, and Ravel s Mother Goose Suite Resource Materials Nashville Symphony Education Department Contact Information 39 Sponsor Recognition 40 2

3 TEACHER S GUIDE GUIDE / Young / People s Young From Concert: the People s Conductor Appalachian Concert: Spring Appalachian Spring Dear Teachers and Parents: Welcome to the Nashville Symphony s Young People s Concert: Mother Goose Suite! During this program, students will learn about an incredible piece of music that has enchanted audiences for ages. Students will learn how fairy tales influenced this seminal work by Maurice Ravel. The Education and Community Engagement department at the Nashville Symphony has put together this study guide to help you prepare for the performance. We have worked to develop activities and lesson plans that directly connect with the music and concepts that will be explored during the concert. In order to maximize the experience for your students, I encourage you to use the resources in this guide before and/or after the concert. Please let us know if there is anything that we can do to enhance your concert experience. It is our goal to educate and inspire with all of the programs we produce, so we welcome your feedback and suggestions. It is truly exciting to hear an orchestra full of many talented musicians working together. I can t wait to share this experience with you! Wishing you all the best, Kelly Corcoran Associate Conductor of the Nashville Symphony 3

4 TEACHER S GUIDE GUIDE / Young / People s Young Concert Concert: People s Program Appalachian Concert: Spring Appalachian Spring Mother Goose Suite Maurice Ravel ( ) Young People s Concert for grades 3-4 Kelly Corcoran, conductor 1. Sleeping Beauty s Pavane (Slow) This movement describes a procession of mourning for Sleeping Beauty. A pavane is a stately dance or procession from the 16th century. In the original piano version it was quite a simple piece, but in the orchestral version Ravel uses this simplicity to create a very delicate and moving scene. 2. The Conversations of Beauty and the Beast (Waltz) A charming little waltz (a dance in 3), this piece is full of the nostalgia of awkward love. Beauty sees through the Beast s horrible appearance to his kindness and courage, and eventually he transforms into a handsome prince. 3. Little Tom Thumb (Moderate Speed) In this section, the music tells a sad little story in which Tom Thumb leaves a trail of breadcrumbs to find his way back through the forest. Unfortunately, birds eat the crumbs, leaving Tom lost. Ravel s music has a limping and heavy rhythm, imitating Tom Thumb wandering around in circles in the forest. 4. Little Ugly Girl/Empress of the Pagodas (March) Inspired by East Asia, this piece describes how little statues on pagodas come to life and play music as their Empress enters the water to bathe. This movement is a march, meaning it is in duple meter and easily marched to. The music is dazzling and glorious, full of harmonies and exciting colors. 5. The Fairy Garden (Slowly and solemnly) The piece closes with a poetic and magical happy ending, but still with a slight tinge of sadness. The orchestral version is powerful with Ravel s orchestration of the strings carrying a sweeping and flowering melody. *All bolded words are defined in the glossary on pages

5 TEACHER S GUIDE / Young/People s Appalachian SpringAppalachian TEACHER S GUIDE YoungConcert: Concert People s Program Concert: Spring Additional Works in the Program Young People s Concert for grades 3-4 Kelly Corcoran, conductor Festive March from the Aladdin Suite Carl Nielsen ( ) Cinderella s Waltz from Cinderella Suite No. 1 Sergei Prokofiev ( ) Waltz from Sleeping Beauty Pyotr Ilyich Tchaikovsky ( ) 5

6 TEACHER S GUIDE/ Standard Equivalencies Nashville Symphony s Young People s Concert Maurice Ravel s Mother Goose Suite Standard Equivalencies The Nashville Symphony strives to integrate the concert going-experience into the classroom. Below, please find a reference of how each activity corresponds with multiple standards, both in core and music curriculum. Lesson #1: Introduction to the Orchestra (pages 8-10) Activity #1: The Conductor: Follow the Leader Exercise (page 8-9) Common Core: 3.SL.1, 4.SL.1, 3.SL.2, 4.SL.2, 3.SL.3, 4.SL.3, 3.SL.6, 4.SL.6, 3.L.1, 4.L.1, 3.L.3, 4.L.3. Music Curriculum: Standard 2.0 Playing Instruments, SPI Imitate a steady beat using body percussion or instruments.. Activity #2: The Instruments: Orchestra Coloring Diagram (page 9) Common Core: 3.RI.1, 4.RI.1, 3.RI.7, 4.RI.7, 3.RF.4, 4.RF.4, 3.SL.6, 4.SL.6, 3.L.1, 4.L.1, 3.L.3, 4.L.3. Music Curriculum: Standard 6.0 Listening and Analyzing, SPI Identify, by sight and sound, classroom instruments and classify into families. Activity #3: Musical Concentration Game (page 10) Common Core: 3.SL.1, 4.SL.1 Music Curriculum: Standard 1.0: Singing, alone and with others; Standard 8.0: Interdisciplinary relationships. Lesson #2: An Introduction to Fairytales (pages 11-13) Activity #1: The Parts of a Fairytale (page 11) Common Core: 3.RL.1, 4.RL.1, 3.RL.2, 4.RL.2, 3.RL.3, 4.RL.3, 3.RL.5, 4.RL.5, 3.RL.7, 4.RL.7, 4.RI.7, 3.SL.1, 4.SL.1, 3.SL.2, 4.SL.2, 3.SL.3, 4.SL.3, 3.SL.6, 4.SL.6, 3.L.1, 4.L.1, 3.L.3, 4.L.3, 3.L.4, 4.L.4. Activity #2: Write your own Fairytale (page 12) Common Core: 3.RL.1, 4.RL.1, 3.RL.2, 4.RL.2, 3.RL.3, 4.RL.3, 3.RL.5, 4.RL.5, 3.RL.9, 4.RL.9, 4.RI.5, 5.RI.5, 3.RF.4, 4.RF.4 3.W.3, 4.W.3, 3.W.4, 4.W.4, 3.SL.4, 4.SL.4, 3.L.1, 4.L.1, 3.L.2, 4.L.2, 3.L.3, 4.L.3, 3.L.4, 4.L.4. 6

7 TEACHER S GUIDE/ Standard Equivalencies Activity #3: Where do Fairytales Come From? Common Core: 3.RI.1, 4.RI.1, 3.RI.2, 4.RI.2, 3.RI.3, 4.RI.3, 3.SL.1, 4.SL.1, 3.SL.2, 4.SL.2, 3.SL.3, 4.SL.3, 3.SL.6, 4.SL.6, 3.L.1, 4.L.1, 3.L.3, 4.L.3. 3.L.4, 4.L.4 (page 12) Lesson #3: Maurice Ravel and Fairytales (pages 14-15) Activity #1: Fairytales in Mother Goose Suite Common Core: 3.RL.1, 4.RL.1, 3.RL.2, 4.RL.2, 3.RL.5, 4.RL.5, 3.RI.1, 4.RI.1, 3.RI.2, 4.RI.2, 4.RI.5, 5.RI.5 3.RI.7, 4.RI.7, 3.RF.4, 4.RF.4, 3.SL.1, 4.SL.1, 3.SL.2, 4.SL.2, 3.SL.3, 4.SL.3, 3.SL.6, 4.SL.6, 3.L.1, 4.L.1, 3.L.3, 4.L.3. 3.L.4, 4.L.4 (page 14-15) Music Curriculum: Standard 6.0: Listening to, analyzing, and describing music. Standard 7.0: Evaluating music and music performances. Standard 8.0: Interdisciplinary relationship Activity #2: Fairytales Through Illustrations (page 15) Common Core: 3.RL.7, 4.RL.7, 4.RI.5, 3.RI.7, 4.RI.7, 3.SL.1, 4.SL.1, 3.SL.2, 4.SL.2, 3.SL.3, 4.SL.3, 3.SL.6, 4.SL.6, 3.L.1, 4.L.1, 3.L.3, 4.L.3. Lesson #4 : Storytelling through Music (pages 16-17) Activity #1: Drawing what you hear Common Core: 4.RL.7, 3.RI.1, 4.RI.1, 3.RI.2, 4.RI.23.SL.1, 4.SL.1, 3.SL.2, 4.SL.2, 3.SL.3, 4.SL.3, 3.SL.6, 4.SL.6, 3.L.1, 4.L.1, 3.L.3, 4.L.3. (page 16) Activity #2: Maurice Ravel and his piece Mother Goose Suite (page 17) Music Curriculum: Standard 6.0: Listening to, analyzing, and describing music. Standard 8.0: Interdisciplinary relationships. Standard 9.0: Understanding music in relation to history and culture. Common Core: 3.RI.1, 4.RI.1, 3.RI.2, 4.RI.2, 3.RI.3, 4.RI.3, 4.RI.7, 3.SL.1, 4.SL.1, 3.SL.2, 4.SL.2, 3.SL.3, 4.SL.3, 3.SL.6, 4.SL.6, 3.L.1, 4.L.1, 3.L.3, 4.L.3. 3.L.4, 4.L.4 Music Curriculum: Standard 6.0 Listening to Music. Standard 7.0: Evaluating music and music performances. Standard 8.0: Understanding music in relation to history and culture. 7

8 TEACHER S GUIDE/ Lesson Plan #1 Lesson Plan #1: Introduction to the Orchestra Overview of Lesson Activity 1 The Conductor: Follow the Leader Exercise (30 minutes) Activity 2- The Instruments: Orchestra Coloring Diagram (45 minutes) Activity 3 Understanding Collaboration in Music: Create Your Own Orchestra (15-30 minutes) Lesson Plan #1 Comprehension Check Time needed to complete lesson 1.5 hours Materials needed Orchestra coloring diagram (page 27) Crayons or markers Listening excerpts Objective Students will explore, review, and enrich their understanding of the basic elements of a symphony orchestra through kinesthetic, visual, and aural exercises. Activity #1: The Conductor: Follow the Leader Exercise Time needed 30 minutes Materials needed No materials are needed Objective To highlight the role of the conductor in an orchestra To enrich students understanding of rhythm To engage students in listening and direction-taking skills This is a get-up and move activity 8

9 TEACHER S GUIDE / Lesson Plan #1, Activities # Review and discuss The Conductor (page 19) of the Resource Materials with the students. Have the students respond to the reflection questions. 2. With the children standing, explain you are the conductor and that students should do what you do. 3. Begin to clap at a steady rhythm. Students must follow you as you speed up, slow down, get louder, and get softer. 4. Once students understand the exercise, choose a student to lead the activity. Explain that this student is now the conductor. 5. Several different students should be given the opportunity to be the conductor. Activity #2: The Instruments: Orchestra Coloring Diagram Time needed 45 minutes Materials needed One copy of the Orchestra Seating Diagram (page 27) for each student Crayons, colored pencils, or markers Listening excerpts from NSOKids.org, found under Our Instruments Objective To identify different instrument sounds To identify where each instrument family sits in the orchestra This is a participatory, sit-down activity 1. Review pages (Meet the Instruments) of the Resource Materials. Have a few students read the fun facts aloud. 2. Play the violin excerpt on NSOKids.org under Our Instruments. Click on the violin and press the Hear It button. Ask the students, as a class, to identify to which family the instrument sound belongs. 3. Once the correct answer has been given (string family), instruct the children to find and color all the instruments in that section GREEN on their orchestra-seating chart. As the students are coloring, play other selections from the string family. 4. Proceed through the listening excerpts for the instruments listed on the chart, focusing on different instrument families. Play the clarinet, French horn, and bass drum, along with any others. Instruct children to color each instrument family a different color (green, blue, orange, yellow) as the instrument sounds are correctly identified. 5. Have the students pair off and interview each other on which instrument family they like the most and why. Ask a few students to share the answers of their partner. 9

10 TEACHER S GUIDE / Lesson Plan #1, Activity #3 Activity #3: Musical Concentration Game Time needed 30 minutes Materials needed No materials are needed for this activity Objectives To identify individual instruments and increase focus and concentration This is a get-up and move activity. 1. Place chairs in a circle leaving one chair designated as the conductor's chair and continuing in order with the violins as the first group of chairs all the way around through the instrument families. 2. Demonstrate a gesture specific to each instrument that represents how it is played. For example, most of the woodwinds can pretend to blow into and push keys on imaginary instruments, positioned in front of their bodies. The flute is an exception, for it is played parallel to the ground and to the side. Practice the gestures together as a class. To play the game, the conductor starts each round with two leg pats and a thumbs up, repeating this twice (titi ta titi ta). 3. When everyone's got the rhythm, the conductor puts his gesture in place of the first thumbs up, then an instrument gesture on the 2nd thumbs up, like the violin. The control is passed to the violin, who does pats his or her own gesture and then someone else s of his or her choosing. For example: pat pat conductor, pat pat violin. Then the person assigned to violin goes: pat pat violin, pat pat flute (or another instrument of their choosing). 4. If you have time, rotate the students so everyone gets a chance to be in a different instrument section. 5. After students have had a chance to be different instruments, lead a discussion reflecting on the experience. Did the students find it difficult to do the motions, keep the beat and watch the conductor? What if you had to read music as well? Lesson Plan #1 Comprehension Check Did students understand the status of conductor as the leader? Did students follow directions effectively? Were students able to correctly identify instrument families by their sounds? Were students able to explain why they liked certain instrument families? Do the students have an understanding of how much skill it takes to work together in an orchestra? 10

11 TEACHER S GUIDE / Lesson Plan #2: An Introduction to Fairytales, Activity #1 Lesson Plan #2: An Introduction to Fairytales Overview of lesson: Activity #1- Sleeping Beauty and the parts of a fairytale (45 minutes) Activity #2 Write your own fairytale (45 minutes) Activity #3 Where do fairytales come from? (30 minutes) Lesson Plan #2 Comprehension Check Time 2 hours Materials Parts of a Fairytale Chart page 28 History of Fairytales page 29 Sleeping Beauty page 30 Pen or pencil Objective Students will learn the parts of a fairytale through analyzing the parts of a fairytale and writing their own, as well as develop a deeper understanding of the origin of fairytales. Activity #1: Sleeping Beauty and the parts of a fairytale Time 45 minutes Materials A copy of The Parts of a Fairytale for every student, found on page 28 A copy of Sleeping Beauty found on page 30 Pen or pencil Objectives To understand the parts of a fairytale To become familiar with the traditional fairytale Sleeping Beauty This is an aural sit-down activity 1. Pass out a copy of Parts of a Fairytale chart to each student, and review each section of the chart. Define the terms protagonist and antagonist. These terms definitions are in the glossary on pages Read Sleeping Beauty as a class. Have each student read one sentence, going around in a circle. 3. Have the class identify the protagonist and antagonist in Sleeping Beauty and have them fill in their answers on the chart. 4. Explain the basic parts of a fairytale Introduction, problem, actions, solution, and moral lesson. After these terms are understood, have the class work together to identify these parts of the story while completing the chart. *All bolded words are defined in the glossary found on pages

12 TEACHER S GUIDE / Lesson Plan #2, Activities #2-3 Activity #2: Write your own fairytale Time 45 minutes Materials Part of a Fairytale chart from page 28 in resource guide A fairytale you wrote yourself following the fairytale chart format Pen or pencil Objective To further understand the parts of a fairytale through writing your own This is a participatory, aural sit-down activity 1. Pass out another blank copy of the Parts of a Fairytale chart (page 28) to each student. 2. As a class, create a group fairytale. Tie in the school mascot, or another theme from the school year or recent curriculum that the students can relate to. 3. Explain to the students that they now get to create their own fairytale in a small group or in pairs. They have to use their imagination to create a protagonist, antagonist, problem, action, solution, and moral lesson. Discuss as a class a few basic ideas as well as moral lessons that could be incorporated. 4. Walk around the room observing if any students need help completing their chart, and create your own fairytale. 5. Share your own fairytale first, then ask the students if any would like to share. Activity #3: Where do fairytales come from? Time 30 minutes Materials Copies of the History of Fairytales sheet in the resource guide page 29 Blank pieces of paper Pen or pencil Objective To understand the history of the fairytales tradition and to understand oral tradition This is a participatory, aural sit-down activity 1. Review the History of Fairytales sheet in the resource guide on page Share with the students who Charles Perrault and the Grimm Brothers are, as well as the concept of oral tradition. 3. Play telephone with the students to illustrate the concept of oral tradition. Whisper a phrase to one student, who whispers what they heard to another student. This goes on until the last student says the phrase out loud. Usually, it is very different than the original phrase. Talk with the students about how stories may change depending on who tells the story and who hears it. Still, these stories can often travel better than written word, because a person s memory can t get wet or lost like a book can. 4. Explain to the students that they will be attending a concert at the symphony that is based on fairytales. * All bolded words are defined in the glossary. 12

13 TEACHER S GUIDE / Lesson Plan #2 Comprehension Check Lesson Plan #2 Comprehension Check Did students understand the terms protagonist and antagonist? What about the parts of a fairytale intro, problem, solution, and moral lesson? Could the students apply the terms learned in activity #1 to their own fairytale? Did they incorporate a moral lesson? Did the students listen and understand the history of fairytales? Do they understand the concept of oral tradition? 13

14 TEACHER S GUIDE / Lesson Plan #3: Fairytales through words and pictures, Activity #1 Lesson #3: Fairytales through words and pictures Overview of Lesson Activity 1 Maurice Ravel s Fairytales (45 minutes) Activity 2 Fairytales through illustrations (45 minutes) Time needed to complete lesson 1.5 hours Materials Copies of Beauty and the Beast, Little Ugly Girl/Empress of the Pagoda, and Tom Thumb found in the resource section on pages A copy of Parts of a Fairytale from the resource guide for every student on page 28 Plain white paper Pen or pencil Colored pencils or markers Objectives Students will become familiar with the fairytales used in Ravel s Mother Goose Suite through small group presentation. The students will also become familiar with telling a story through illustrations. Activity #1: Maurice Ravel s Fairytales Time 45 minutes Materials Copies of Beauty and the Beast, Little Ugly Girl/Empress of the Pagoda, and Tom Thumb found in the resource section on pages A copy of Parts of a Fairytale from the resource guide for every student on page 28 Objectives To become familiar with the fairytales used in Ravel s Mother Goose Suite This is a small group activity 1. Break the class into 3 groups and assign each group one of the following fairytales found in the resource guide- Beauty and the Beast, Little Ugly Girl/Empress of the Pagoda, Tom Thumb. (pages 31-33) 2. Pass out copies of the fairytales, as well as copies of the Parts of a Fairytale chart (page 28) used in Lesson #2. 3. Assign a student in each group to read the story to the group, or have the students pass around the story, each reading a sentence. 4. After the story has been read, the group should identify the parts of the fairytale and complete the chart together. 14

15 TEACHER S GUIDE / Lesson Plan #3, Activity # After the chart is completed, select a student from each group to tell the class the story, pointing out that by re-telling the story they are engaging in oral tradition. 6. Once the fairytale has been shared, have students identity the various parts from the chart. Activity #2: Fairytales through illustrations Time needed 45 minutes Materials 3 pieces of drawing paper for each group Pen or Pencil Markers, colored pencils, or crayons Objectives To understand that illustrations can tell a story, just as words can This is a small group activity 1. Introduce to the class that when reading storybooks the pictures add a lot to the story. Explain that images help the reader imagine the story and create a deeper connection with the characters. Then introduce the idea that you can tell a story through just pictures. Provide an example like cave drawings or ancient Egyptian art. 2. Explain to the class that in their small groups that they are going to create their own story through pictures. Each group is to draw a series of pictures- an introduction, an action/event, and conclusion for their story. 3. After each group has created a story and drawn their pictures, pass the three pictures to another group. 4. Each group needs to decide what story the pictures they received are telling. After creating a storyline the students are to share the story with the class or act it out. 5. Start a group discussion about the similarities and differences between the group that created the story and the group that acted it out or interpreted it. Ravel interpreted fairytales in the same way. He created musical compositions with his interpretations of fairytales. Lesson #3 Comprehension Check Did the students work as a group and understand their respective fairytale? Could the selected student retell the story they read? Did the class correctly identify the various parts of different fairytales? Were the students able to analyze the storyboards and create a story to share with the class? 15

16 TEACHER S GUIDE / Lesson Plan #4: Stories and Music, Activity #1 Lesson Plan #4: Stories and Music Overview of Lesson Activity 1 Listening to music and creating a story (40 minutes) Activity 2 An introduction to Ravel s Mother Goose Suite (20 minutes) Time needed 1 hour Materials Blank paper Markers, colored pencils, crayons Recording of Mother Goose Suite Objectives To understand the relation between stories and music by using Ravel s Mother Goose Suite as a prime example. Activity #1: Telling a story through music Time needed 40 minutes Materials Blank Paper Markers, colored pencils, crayons Recording of Mother Goose Suite Objectives To understand how a listener can create a story through listening piece of music. To understand how a composer can tell a story through a piece of music. This is a sit down aural and visual art activity to a 1. Pass out paper and coloring tools to the class. 2. Explain to students that they will be listening to a piece of music and ask them to interpret and draw what they hear. Just as there is no wrong reaction to music, there is no wrong drawing. 3. Once the students understand, play the Beauty and the Beast movement from Mother Goose Suite. Don t reveal the title of the piece. 4. After the piece is over, instruct the class to complete their drawings. 5. Once the class has completed their drawings ask individuals to explain what they heard. Challenge them to use specifics from the piece that influenced their drawing mood, rhythmic changes, etc. You might want to lead the discussion by asking, Was the music fast or slow, and did that influence your drawing? 6. After the class has shared, explain to them that this is a piece by Maurice Ravel and that he was trying to tell the story of Beauty and the Beast through this piece, the same fairytale they read in lesson #3. 16

17 TEACHER S GUIDE / Lesson Plan #4, Activity #2 Activity #2: Maurice Ravel and his piece Mother Goose Suite Time needed 20 minutes Materials Program guide on pages 4 and 34 Recordings of Mother Goose Suite Objectives To understand the concepts used to portray fairytales in Mother Goose Suite This is a sit down aural activity Review Ravel s biography on page 34 and share with the class who Ravel was, and the group of composers of which he was a part. After reading the biography, divide the students into groups and have them imagine they are a group of music composers. Ask the groups to invent names for their imaginary artist clubs, much like Les Apaches (referred to in Ravel s bio). Review the program notes for Mother Goose Suite on page 4. Share with the class why this piece was written. Also explain that the fairytales they have been learning about are used in this piece. Play excerpts from the movements they have not heard yet. Here are links to Tom Thumb ( and Sleeping Beauty ( video_id=274242). Review each story briefly ( Sleeping Beauty, Tom Thumb, Beauty and the Beast, and Little Ugly Girl/Empress of Pagoda ) and play and excerpt from each fairytale. Lesson #4 Comprehension Check Did the students come up with creative ideas of what the piece is trying to convey? Do the students understand how different art forms can tell a story, and how Ravel uses music to tell fairytales? Are the students aware of the different fairytales Ravel uses in his piece, Mother Goose Suite? 17

18 RESOURCE MATERIALS/ Table of Contents The Conductor 19 The Instruments and Orchestra Activity Sheets History of Fairytales 29 Fairytales: Sleeping Beauty, Tom Thumb, Beauty and the Beast, Little Ugly Girl/Empress of Pagoda The Composer 34 Glossary The Schermerhorn Symphony Center 37 Concert Etiquette 38 18

19 RESOURCE MATERIALS/ The Conductor The Conductor Have you ever wondered who the person is standing in front of the orchestra during a concert? That person is the conductor, and he or she is in charge of interpreting the music and keeping the orchestra together as they play. The conductor serves as the orchestra s leader or guide. He or she will study the music score, making certain adjustments and clearly relaying ideas to the musicians. The conductor also plans rehearsals, chooses guest artists and, most importantly, decides what the orchestra will play! He or she must know about all the instruments in the orchestra and be able to direct all of the musicians. The conductor s job is very challenging and very important! Reflection Questions Before the Concert Have you ever seen a conductor of an orchestra or marching band? What were they doing? How would you feel if you were in front of a whole orchestra? Would you be excited or nervous? Or maybe both? Can you think of another job where you must be able to lead or direct a big group of people? Reflection Questions After the Concert Why do you think the job of the conductor is important? What do you think would happen if the conductor were not there? What did you think of the conductor? How would you describe the conductor? Were they expressive, passionate, controlled, excited? How do you think it feels to stand in front of 80 musicians and conduct them? 19

20 RESOURCE MATERIALS/ Instruments of the Orchestra Instrument Families There are many different instruments in the orchestra, each with a different sound. When we talk about musical instruments, we often talk about them as being part of a family. That's because, just like in human families, the instruments in a particular family are related to each other. They are often made of the same types of materials, look similar to one another, and produce sound in comparable ways. Below is general information on each of the main instrument families in the orchestra. The following pages discuss individual instrument in more detail. Strings: violin, viola, cello, and bass. The string family makes up half of the orchestra. Although many of the string instruments look similar in shape and color, they vary greatly in size and sound. To produce a sound on a string instrument the player draws a bow across the strings. The player can also pluck the strings with his or her finger, which is a style of playing called pizzicato. Woodwinds: flute, piccolo, clarinet, oboe, English horn, and bassoon. Woodwinds produce a sound by blowing air through the instrument. The flute and piccolo blow air across the mouthpiece while the other woodwinds use a thin piece of wood called a reed. The clarinet uses a single reed which is one thin piece of wood. The oboe, English horn, bassoon, and contrabassoon use a reed made of two pieces of wood joined together called a double reed. When air is blown across the reed, the wood vibrates and a sound is produced. Brass: trumpet, trombone, tuba, and French horn. All members of the brass family are made of brass. They all produce sound the same way the musician vibrates his lips together and against the mouthpiece forcing air through the instrument. The trombone is the only brass instrument that uses a slide instead of valves to change tones. Percussion: snare drum, timpani, bass drum, cymbals, marimba, glockenspiel, vibraphone, triangle, and more. The percussion family includes many instruments, from small to large, from simple to complex. To create a sound on a percussion instrument, the player typically strikes, bangs, shakes, or scrapes it. Percussion instruments can typically be played with the hands or with mallets. 20

21 RESOURCE MATERIALS/ The String String Family Family The String Family: This family includes four instruments that may look and sound similar, but are very different in size and playing style. All string instruments are made of wood, have four strings, and a bow that is made of wood and horsehair. They have many parts in common the belly (front), soundboard (top), the neck, the fingerboard, the scroll, and the f-holes (sound holes). Each instrument has four strings which are tuned to four different pitches. A bow is a curved piece of wood with a band of stretched horsehair held tightly between both ends. Sound is produced when the bow is drawn across the strings, causing the strings to vibrate. The player can also pluck the string, which is a style of playing called pizzicato. Where the player puts his or her left-hand fingers on the string determines what note is produced, and how the player moves the bow with his or her right arm (slow or fast, rough or smooth, etc.) determines the quality of the sound. The violin is the smallest and highest-pitched string instrument. The violin has the ability to be both slow and lyrical or fast and daring. This makes it one of the most versatile instruments in the orchestra. The viola, slightly larger than the violin, is used almost exclusively for classical music. Its sound is richer and warmer than the violin, but more focused than the cello s. The cello is even lower than the viola and is played between the legs while sitting down. There is a small, retractable metal rod (known as the endpin) at the base of the instrument and allows the player to secure the instrument in front of them and adjust distance between the cello and the floor. The double bass is the lowest member of the string family and one of the largest instruments in the orchestra. The bass is played like the cello, but due to its size, players often stand or lean on a tall stool instead of sitting in a chair. Did you know? Originally violin strings were made from sheep s intestines; however, they broke rather easily, so most violinists today use metal or steel strings. Some of the first celli (that s plural for cello), were crafted in the mid s by a craftsman named Andrea Amati in Italy. The whereabouts of only 3 of his celli are still known today! Edgar Meyer, one of the world s best bassists, lives in Nashville, TN! He has premiered two double concertos with the Nashville Symphony, both double bass and banjo, in 2003, and double bass and violin, in

22 RESOURCE MATERIALS/ Wonderful World of Woodwinds The Woodwind Family: At one time, the instruments in this family were all made of wood, which gives them their name. Today, they are made of wood, metal, and even plastic. These instruments are narrow cylinders or pipes with holes. They include an opening at the bottom end of the instrument and a mouthpiece at the top. You play these instruments by blowing air through or across the mouthpiece (that's the "wind" in "woodwind"). The mouthpieces for some woodwinds, including the clarinet, oboe and bassoon, use a thin piece of wood called a reed, which vibrates when you blow, creating the sound. Flutes used to be made out of wood, but today they are made out of metal. A flute player makes sound by blowing air over a hole on the head section of the instrument. It is similar to blowing air across the top of a bottle. The piccolo is very similar to the flute, but it is smaller and makes a much higher pitched sound. The piccolo is usually made of wood, just as old flutes were made. The piccolo s highest notes can be heard over the entire orchestra! The clarinet is made from wood, or sometimes plastic, and makes a beautiful, rich sound. A clarinet player makes sounds by blowing air into the top of the clarinet and making a single reed vibrate. The player changes notes by moving their fingers over the holes and keys in the clarinet. There is also a bass clarinet plays in a lower register and is slightly larger than the clarinet. The oboe looks a little like the clarinet, but uses a double reed. Oboe players make their own reeds, carving them out of cane. The oboe is the first instrument you hear when the orchestra is tuning. See the sidebar to find out why! History Connections Piccolo is actually the Italian word for small. It was originally called a flauto piccolo, meaning small flute. But over time, the flauto portion was dropped and now it is simply called the piccolo. The bass clarinet and saxophone look very similar. That s because of a Belgian instrumentmaker named Adolphe Sax. In 1838, he redesigned the bass clarinet into the shape we know today, with an upturned bell. Then in 1846, he invented the saxophone! Because the oboe has a pure sound and its pitch is not really affected by temperature, all other instruments tune to its pitch. 22

23 RESOURCE MATERIALS/ Woodwinds, Cont d. The Woodwind Family, Cont d. The bassoon is actually part of the oboe family, even though it is much bigger and makes much lower pitched sounds! It is made out of wood and is four feet long, however if you unwound the instrument it would be eight feet. Because it is so big and heavy, it is one of the more difficult woodwind instruments to play. Children usually wait until they are at least 12 years old to start learning to play the bassoon. In addition to the standard bassoon, there is also a contrabassoon, which is considered the bass of the oboe family. It is very similar to the bassoon except it is much lower and twice as big. If you unwound the contrabassoon, it would have 16 feet of tubing! The English horn is almost identical to the oboe except for three main points. First, it is a slightly larger instrument. Second, unlike the body of the oboe which ends in a small flat bell, the English horn s body ends in a small bulb-like bell. Finally, the English horn has a much deeper, rich and exotic sound than the oboe. As with the oboe, the English horn employs a double reed and a collection of holes and keys that are combined to produce varying pitches. Did you know? The name 'English horn' is somewhat controversial, as the instrument is neither English nor a horn. It comes from a part of Europe that is now Poland, and shares more in common with an oboe than a horn. Nevertheless, the name has stuck! What is a reed? Reeds are thin strips of material made out of cane. They are attached to woodwind instruments. When a player blows, the reed vibrates and creates sound. Musicians spend hours each week making and preparing their reeds for playing. 23

24 TEACHER S GUIDE / Brass Bash! RESOURCE MATERIALS/ Brass Bash! The Brass Family: All the instruments in this family are made out of a metal called brass. Like the woodwind family, brass players use their breath to produce sound, but instead of blowing into a reed, brass players vibrate their lips by buzzing them into a mouthpiece. The mouthpiece helps to amplify the buzzing of the lips. That sound travels through the tubing of the instrument to come out a large bell, which amplifies the sound. The brass family is the loudest family in the symphony. The trumpet is the highest pitched brass instrument. It has three keys, or valves, that the player uses to change pitches. If you unwound all the trumpet s tubing, it would be 4 feet long! The French horn makes lower pitched sounds than the trumpet, but higher sounds than the trombone or tuba. It is made of a very long tube that is coiled, like a snake, into a tight circular shape. The horn can make both loud sounds like a trumpet or soft, mellow sounds. See the sidebar for some of the French horn s earliest uses! History Connections The earliest trumpets were found in Egypt more than 3,500 years ago! Throughout its history, the trumpet has often been used for military purposes. In fact, trumpet players were highly guarded on the battlefield as they relayed messages between troops. The trombone is the only slide instrument in the brass family. The other instruments in this family are made up of wound tubing with keys, or valves, but the trombone is bent more into a long S shape. A trombone player slides a part of the trombone back and forth to play different notes. The tuba is the lowest-pitched brass instrument and the newest brass instrument to find its way into the orchestra. It often plays a similar role in the brass section as the double bass plays in the string section. The tuba typically has 3 5 valves and is formed by a large tube that is wound around and around, eventually ending in a large flat bell which points towards the ceiling. The earliest French horns were small and round and were used to communicate while hunting on horseback. The horn could sit on the knee of the rider and be played with only one hand, allowing the other hand to steer the horse as the player galloped through the woods. 24

25 TEACHER S GUIDE / The Percussion Family RESOURCE MATERIALS/ Percussion Family The Percussion Family: This is one of the most diverse and interesting families in the orchestra. percussion instruments encompass a wide variety of tones, textures, sounds and shapes. To create a sound on a percussion instrument, the player typically strikes, bangs, shakes, or scrapes it. Some percussion instruments are tuned and can produce different notes, and some are untuned with no definite pitch. Percussion instruments serve many different functions in the orchestra. They can keep the rhythm, make special sounds, and add excitement and color. Timpani consist of a copper or brass base and a membrane (normally calf skin or plastic) that is stretched over the top of that base. Each instrument is capable of a range of pitches that are determined by the size and specific tuning of the instrument s drum head. The basic pitch of each timpani is adjusted by a foot pedal, which stretches the drum head to raise the pitch or loosens it to lower the pitch. In the orchestra, there can be 2-5 timpani drums, each producing a different note or tone. The bass drum is the biggest drum in the family. In the orchestra it is normally mounted vertically on a stand. Bass drums are also used in marching bands and traditional drum sets. The main function of the bass drum is to keep the beat of the piece. The snare drum is made of two drum heads attached to either side of a round shell. The top head is known as the batter head and the bottom head is known as the snare head. Attached to the snare head, there are 8 10 snares, or wire-bound strings. It is the snares that give this drum its unique sound. Did you know? The snare drum is probably the most versatile of all the drums and can be found in all types of music including classical, pop, jazz, rock and roll, samba, and heavy metal, as well as military and marching bands. Some scholars think that percussion instruments were the first instruments ever created! After all, hand clapping is percussion! The marimba is huge percussion instrument made of wooden bars, suspended on a frame. The bars are arranged like the keys of a piano, with a row of naturals and an overlapping row of sharps and flats. Beneath the bars there are metal tubes called resonators. The resonators assist in amplifying the sound. 25

26 TEACHER S GUIDE / The Percussion Family RESOURCE MATERIALS/ Percussion Family The Percussion Family, Cont. d Cymbals are round, dish-shaped instruments made of brass or a special metal. The cymbals are played by crashing two of them together, usually at a very important and loud moment in the piece. There are also small finger cymbals which can be attached to a person s fingers and struck together. The triangle consists of a steel, tubular rod that is bent into an equilateral (equal length on all sides) triangle shape, but with one corner left open. Sound is produced by striking a small metal rod against the outside of the instrument or by moving the small rod around the inside of the instrument. The Glockenspiel, which is German for 'play of bells,' consists of tuned metal bars, suspended on a small frame. Just as with the marimba, the bars are arranged like the keys of a piano, with a row of naturals and an overlapping row of sharps and flats. Often called the orchestra bells, the sound produced by striking the bars produces a very bright, shimmering sound. The Vibraphone is another keyboard percussion instrument that has metal bars, resonators, and uniquely has a motor that powers a fan to vibrate the tones. The vibraphone, affectionately referred to as vibes produces a softer, mellower tone when compared with the glockenspiel. History Connection A pair of ancient cymbals, just 5 inches wide, were found in the Egyptian tomb of Ankhhape, a sacred Egyptian musician. They currently reside in the British Museum. No one knows exactly when the triangle was invented, or by whom, but paintings from as far back as the Middle Ages, depict people playing them. Chimes are a series of metal tubes where the length of each tube determines the pitch of each chime. Orchestral chimes are suspended vertically from a stand and are ordered in a similar fashion to the keys on a piano. Sound is produced when the top of the chime is struck by a plastic or wooden hammer. In the orchestra, they are often used to mimic the sound of church bells. 26

27 RESOURCE MATERIALS / Activity Sheet: Orchestra Coloring Diagram 27

28 RESOURCE MATERIALS / Activity Sheet: The Parts of a Fairytale Name of Fairytale The Parts of a Fairytale Protagonist The hero Antagonist The villain Introduction The beginning of the story Problem The problem the villain causes Actions What is done to solve the problems Solution The answer to the problem Moral Lesson The life lesson that the story is trying to teach the reader 28

29 RESOURCE MATERIALS / History of Fairytales History of Fairytales Fairytales date back to thousands of years ago. The story usually revolves around farfetched events or enchantments. Unlike folklore, fairytales seldom contain references to religion, actual places, persons, or events. Both long and short fairytales have been passed from generation to generation since before recorded history. The origin of these types of stories is impossible to determine. Cultures all over the world share fairytales, and also have their own fairytales specific to their culture. One aspect they all have in common is the use of oral tradition to share the stories through generations. Oral tradition is a method of passing down a culture s historical traditions by word of mouth. There are two theories attempting to explain the common elements in the fairytales found spread over many continents. One theory is that a tale comes from a single source and spreads from culture to culture over time. The other theory is that these tales reference common human experience, which all cultures share. Early fairytales were for adults as much as they were for children. The original literary types, written down in the 16 th and 17 th centuries, were intended for adults and were not adapted for children until the 19 th and 20 th centuries. Writers like Charles Perrault ( ) wrote for adults when he finished his original compilation of fairytales. Writers like the Grimm brothers ( ; ) aimed at entertaining children and teaching them moral lessons. Charles Perrault was born in 1628 in Paris, France. Charles was not a very good student and often fought with his teachers. He studied to be a lawyer, but practiced for a very short time. His brother became the receiver-general of Paris and made Charles his clerk. In this position he was in charge of all matters relating to the arts and sciences, and his primary focus on was on literature. When his brother died in 1683, Charles dedicated his life to literature and left his job working for the government. He composed a book of his stories, Parallels between the Ancients and the Moderns. The end of the 17 th century led to a rise in popularity of fairy tales and Perrault compiled a book of prose tales in 1697 called Stories or Tales from Times Past, some of which you know! His most famous stories are Sleeping Beauty and Tom Thumb. Many of his stories came to be known as Tales of Mother Goose. It is important to know that Charles Perrault did not invent these tales, but rather gave them literary legitimacy by capturing and recording them. Jacob and Wilhelm Grimm, two brothers from Germany in the late 18th century, compiled Grimm s Fairy Tales, a work that is now the most common source of fairy tales. While they were in college they began collecting folk and fairy tales. The Grimm s were very interested in finding a way to preserve these stories because of their origin as oral stories. Jacob and Wilhelm published their first book Children s and Household Tales in 1812, which included 86 fairy tales. The next volume of Grimm s Fairy Tales added another 70, and the collection grew to eight volumes, leading to 239 fairytales! Grimm fairy tales include stories of kings, magic, and talking animals. Even though the stories are sometimes scary, fairy tales allow readers to work through their fears and learn about moral values, and what is right and wrong. 29

30 RESOURCE MATERIALS/ Fairytales Sleeping Beauty Once upon a time, a king and queen gave birth to a baby girl. All the fairies of the kingdom were invited so they could give gifts to the princess. It was a wonderful ceremony, until an uninvited evil fairy showed up to give a gift. The good fairies gifts were beauty, patience, grace, dance, voice and skill in music. Then it was the evil fairy s turn. She said the princess would prick her hand on a spindle and die. With one good fairy left to give a gift, she tried to undo the evil gift. She granted the princess a deep sleep of one hundred years rather than death, from the spindle prick, and a handsome prince will awaken her. Even with the good fairy s final gift, the king and queen made sure there were no spindles in the kingdom. All were banned and burned and the family lived happily for sixteen years. In her sixteenth year, the princess did come upon an old spindle in the depths of the castle and pricked her finger. It was just as the fairy had said and she fell into a deep sleep. The princess was laid in her royal bedroom to lay waiting for her prince. The good fairy who gave her the gift of sleep then came and put a sleeping spell on the whole kingdom that they might awaken with the princess and she would not be left alone after one hundred years of sleep. The fairy then covered the castle in trees so that no one would come to disturb the castle while the princess slept. After one hundred years, a young and handsome prince came exploring and found the tree-covered castle. He fought through the trees and found what seemed to be a haunted castle with hundreds of people asleep everywhere he looked! The prince went into the castle where he found the princess and woke her with his kiss. Soon the whole palace was awake and began preparations for a great feast of celebration. The prince and princess were soon married and lived happily ever after. 30

31 RESOURCE MATERIALS/ Fairytales Tom Thumb Once upon a time, there lived a poor woodcutter and his wife. They had seven little boys. One of them was very little, so little that they called him Little Thumb. He was the smallest by far of all the boys, but he was also the smartest. One year the poor woodcutter did not have enough money for his family, so the woodcutter decided he would take his boys to the forest and leave them there. His wife was very upset. Little Thumb heard his parents talking and went out to fill his pockets with pebbles before he went to sleep. The next morning the boys and their father went deep into the woods. Little Thumb left a trail of pebbles so they could find their way back to the cottage. The woodcutter left the boys and went home by himself. When the boys realized their father was gone they looked to Little Thumb for help. Little Thumb told them about his pebbles and they were able to find their way back home. When the boys got home the woodcutter had received some extra money and so the whole family was able to have a feast of celebration. However after they spent all the money the woodcutter and his wife knew they had to leave the children in the forest. This time Little Thumb could not use pebbles so he used bread. The breadcrumbs did not work because birds came and ate them all and the boys were left in the middle of the forest. When night came, it began to rain and so the boys searched for shelter and found a cottage. A woman opened the door and allowed them to stay for the night. She told them that her husband was an ogre who would eat them if he found them. Little Thumb and his brothers hid from the ogre, but he smelled the boys and came after them. However, Little Thumb was too smart for the ogre. He stole money and the ogre s magical boots that took you wherever you wanted to go. The boys escaped to their house where the family was once again able to have a celebration feast and lived happily ever after. The whole family learned that size does not matter. 31

32 RESOURCE MATERIALS/ Fairytales Beauty and the Beast There once was a beautiful young maiden named Beauty who loved her father very much. She would do anything for him. Her father owed his life to Beast who saved him from the hungry wolves. Beast fed her father and housed him in the castle. In return, Beast wanted to have company because it was very lonely in the enchanted castle. He asked the man to send one of his daughters to live with him. The father refused which made Beast angry, but Beauty did not want her father to suffer by living with a Beast and offered to go in his place. Beast accepted the offer so Beauty went to live in the enchanted castle. It was a very lonely place, but Beast gave Beauty anything she wanted, the finest dresses, food, and a library full of books. After a while, Beauty and Beast grew fond of each other, but when Beast asked to marry her she refused for she could not marry a monster. When she saw how sad Beast was she realized how much she truly loved him. She told Beast she would marry him because he was so kind. Beast was happy and was turned into a handsome prince. A mean fairy had cursed him to become a Beast until he became kind enough that someone would marry him. Beauty and Beast were married and lived happily ever after in the enchanted castle. They had learned that it is what is on the inside that counts. 32

33 RESOURCE MATERIALS/ Fairytales Little Ugly Girl/Empress of Pagodas Once upon a time, there were twin princesses named Laideronnette and Bellotte. The King and Queen had a party for their baby girls and invited many fairies, but forgot to invite the evil fairy Magotine. She was angry that she was not invited and came to cast spells on the princesses. She cursed Laideronnette first and made her the ugliest girl in the world. Then she went towards Bellotte, but the other fairies were able to stop her from cursing her as well. As the years went by, Laideronnette became even uglier, so much that she wished to live away from her family in a tower far away. She became very lonely in the tower by herself, so she decided one day to go outside where she met a green serpent. She was afraid of the serpent. The serpent tried to help her but she refused. After a storm, Laideronnette woke up in a far away kingdom where she became the ruler of the Pagodas. Over the years in her new kingdom, Laideronnette began speaking with the king of the Pagodas, but only at night because he did not want to be seen by her. She fells in love with the king and asked to see him. The king refused, but Laideronnette looked at him anyway to find that she had fallen in love with the green serpent that she was so afraid of. Magotine, the same fairy who cursed Laideronnette, cursed the king to be a serpent. At first Laideronnette could not believe that she loved the serpent and was afraid. After a while, Laideronnette realized that she missed speaking with the King and did not care that he was a serpent. When the green serpent and ugly Laideronnette married the spells by Magotine were broken and both returned to their original beautiful forms. They both discovered that love was stronger than the evil Magotine. 33

34 TEACHER S GUIDE GUIDE / Young / People s Young The Composer Concert: People s Appalachian Concert: Spring Appalachian Spring The Composer Joseph Maurice Ravel ( ) was born in Ciboure, France, a town near the Spanish border. His father s job moved the family to Paris where Ravel started school at the Paris Conservatory at age 14. He was a talented pianist, but switched to composition in In 1912 he became friends with Igor Stravinsky, another composer of the time, and joined a group of composers who were a club called Les Apaches, which means the hooligans. Ravel liked music by Claude Debussy, another French composer, and music from around the world including Jazz and folk songs. He focused on storytelling in his music. Ravel was very meticulous in his writing, and was nicknamed a Swiss Watchmaker by fellow composer Igor Stravinsky. The Mother Goose Suite was written from as a piece for piano four hands. Ravel based the piece on well-known fairy tales. He composed the piece for the children of his friend, who were only 6 and 7! He often read Ciboure fairytales to them, so he decided to use them as a focus for his piece. Ravel borrowed his titles and two of the tales (Sleeping Beauty and Tom Thumb) from Charles Perrault, the seventeenthcentury French writer who is responsible for writing down many fairytales. He used Jeanne-Marie Le Prince de Beaumont s rendition of Beauty and The Beast for the second movement. He also borrowed the story Little Ugly Girl/ Empress of the Pagoda from Marie-Catherine Le Jumel de Barneville. Ravel did a great job setting the fairytales to music, and became nationally acclaimed. *All bolded words are defined in the glossary on pages

35 RESOURCE MATERIALS/ Glossary Glossary Antagonist- A person who actively opposes or is hostile to someone or something; an adversary Brother s Grimm- Jacob ( ) and Wilhelm Grimm ( ) were two German brothers who compiled traditional fairytales in Children s and Household Tales to teach children life lessons. Charles Perrault ( )- A French author who laid the foundations for the literary genre now known as the fairytale. Composition- a musical work that has been created; an original piece of music. Conservatory- A college for the study of classical music. Folk Song- A song that originates among the common people of a nation or region that are passed down orally, often with considerable variation. Harmony- The combination of simultaneously sounded musical notes to produce chords and chord progressions with a pleasing effect. Jazz- a type of music characterized by improvisation, syncopation, and a regular or forceful rhythm. Jeanne-Marie Le Prince de Beaumont ( )- A French novelist who was the author of Beauty and the Beast and Other Classic French Fairy Tales. Maurice Ravel ( )- A French composer known for his melodies, orchestral and instrumental textures and effects. He composed The Mother Goose Suite in March- A composition in regularly accented, usually duple meter, that is appropriate to accompany marching. Marie-Catherine Le Jumel de Barneville ( )- A French writer who originated the term fairytale and wrote Little Ugly Girl/Empress of the Pagodas. Meticulous- showing great attention to detail; very careful and precise. Moral Values- Principles or habits with respect to right or wrong conduct. Mother Goose Suite- A musical piece, originally written for piano, by Maurice Ravel in 1910 that tells the stories of Sleeping Beauty, Beauty and the Beast, Tom Thumb, and The Little Ugly Girl/Empress of the Pagodas. 35

36 RESOURCE MATERIALS/ Glossary Glossary, Cont. Oral tradition- A community s cultural and historical traditions passed down by word of mouth or example from one generation to another without written instruction. Pagoda- A religious building of the Far East, especially a multistory Buddhist tower, erected as a memorial or shrine. Parts of a fairytale- Introduction- material at the beginning of the story to explain or introduce the story to the reader; Problem- the creation of unbalance by the antagonist; Actions- the acts done to solve the problem; Solution- how the problem was resolved; Moral Lesson- the life lesson taught to the reader through the events of the story. Pavane- A style of music for a stately dance or procession dating from the 16 th century. Piano Four Hands- A specific form of duet for a single piano with two players. Protagonist- The leading character, hero, or heroine of a drama or other literary work. Solemnly- deeply earnest, serious, and sober. Waltz- A style of music written to accompany a ballroom dance in moderately fast triple meter. 36

37 RESOURCE MATERIALS/ The Schermerhorn Symphony Center The Schermerhorn Symphony Center, which opened in September 2006, was named after Maestro Kenneth Schermerhorn who conducted the Nashville Symphony for 22 years, until The Symphony Center is also home to the Nashville Symphony s administration the people responsible for selling tickets, planning events, and even writing this curriculum. The Symphony Center provides all kinds of music including classical, popular, jazz, and blues performances. There are many different The Martha Rivers Ingram Garden Courtyard features a fountain and a statue of former conduc- stages in the Symphony tor Kenneth Schermerhorn, after whom the SymCenter, but the largest facility phony Center is named. On a sunny day, this is a (and debatably the most great place to eat a lunch from the Symphony beautiful) is the Laura Turner Café! Concert Hall. This concert hall has a concert organ, made especially for the Symphony Center. The Laura Turner Concert Hall is specially designed to make the instruments and music sound beautiful and clear no matter where you sit in the audience. Whether you re in the front row, the back of the balcony, or even behind the stage, the music sounds spectacular. From the wood on the floor to the fabric on the chairs, the materials used in the hall are designed with sound in mind! The pipe organ in Laura Turner Concert Hall has over 3,000 pipes. ONLINE RESOURCE Online tours of the Schermerhorn Symphony Center are available on the website, under Visit the Symphony! The floor in Laura Turner Concert Hall is very special because the seats can actually go into the basement to make a flat floor. At the Schermerhorn, this is called flipping the floor, and you can click here ( v=dt2cbjysbee&list=pl5fe557eacae5 182E&index=3&feature=plpp_video) to watch the change. 37

38 RESOURCE MATERIALS/ Concert Etiquette Handout Before arrival: Sit and chat with your friends Pay attention to your teachers and the other adults they will give you very important directions! Arriving at the Schermerhorn: There will be a lot of other buses and students, so stay close to your group. Enter the hall quietly If you need to use the restroom before the concert, ask an adult to show you. In your seat, waiting for show time: Chat quietly with your friends. Are you excited for the concert? Are there any instruments on stage yet? What are they? Read the concert program Make a last minute run to the restroom Turn off cell phones or pagers (you don t want yours to be the one that goes off in the middle of the concert!) Look around, what do you see? How many seats do you think there are in Laura Turner Concert Hall? How many musicians are there on the stage? Where are the emergency exits? Now study the stage: Where do the violin players sit? The French horns? The tubas? Lights go out and the orchestra begins to make sounds: It s time! Now is the time to sit quietly and listen to the music. It is very important that you stay quiet so everyone around you can enjoy the music, too. Lean back and let the music take you away! 38

39 TEACHER S GUIDE / Contact Information Nashville Symphony Education Department Blair Bodine Director of Education and Community Engagement Andy Campbell Education and Community Engagement Program Manager Kelley Bell Education and Community Engagement Assistant 2012 Summer Interns Ann Goodrich Eleni Miller Lynn Nakazawa Website: NashvilleSymphony.org/Education Education@NashvilleSymphony.org Phone: The YPC Curriculum Guides were researched and compiled by the 2012 Summer Interns. 39

40 TEACHER S GUIDE GUIDE / Young / People s Young Sponsor Concert: People s Recognition Appalachian Concert: Spring Appalachian Spring The Nashville Symphony would like to thank its Young People s Concert sponsor: Nashville Symphony education programs are funded in part by: The Ann & Monroe Carell Family Trust AT&T Bank of America Bridgestone Americas Trust Fund The Community Foundation of Middle TN Cracker Barrel Foundation Dollar General Corporation Ford Motor Company Fund The Frist Foundation Gannett Foundation / The Tennessean The HCA Foundation The Hendrix Foundation The Houghland Foundation KHS America Loews Vanderbilt Hotel, Nashville The Martin Foundation The Memorial Foundation Metropolitan Government of Nashville and Davidson County The Mike Curb Family Foundation Nashville Symphony Orchestra League NAXOS Neal & Harwell Nissan North America, Inc. The Elizabeth Craig Weaver Proctor Charitable Foundation Publix Super Market Charities Anne* & Dick Ragsdale Regions The Starr Foundation SunTrust Tennessee Christian Medical Foundation The Vandewater Family Foundation VSA Tennessee Wells Fargo * denotes donors who are deceased 40