The Dallas Symphony Orchestra Presents:
Organ Odyssey
October 10, 11, November 13 & 14, 2007
The organ is often referred to as “the King of Instruments.” It can produce an
almost infinite variety of timbres (tone colors) and volumes purely by sending air
through masterfully crafted pipes. Its softest sounds are barely a whisper, while
its loudest sounds can make an entire concert hall shake.
Students attending this concert will be introduced to some essential elements of
this instrument, including how the sound is produced, how the sounds can change,
how the instrument is played, and how it interacts with the orchestra. Students
will also experience some special techniques employed by contemporary composers,
as well as traditional techniques used to their fullest by the masters.
The Lay Family Organ, built by the Fisk Company, is one of the largest tracker
(mechanical action, as opposed to electric) organs ever built for a symphonic hall.
Its pipes range from 1 inch to almost 50 feet in length. It has four manuals (or
keyboards) plus one pedal keyboard. Each one of these will be played during the
course of this concert.
Enjoy preparing your students for this unique concert experience and encourage
them all to start noticing the organs they encounter in their daily lives and the role
they play.
We look forward to seeing you at the Meyerson!
VISIT THE DALLAS SYMPHONY ORCHESTRA’S EDUACTIONAL WEBSITE
www.DSOkids.com
Activities for Organ Odyssey were prepared by the Dallas Symphony Orchestra’s
Curriculum Development Team, Linda Arbolino, Linda Booth, and Tony Driggers. This
volume of the Teacher’s guide was produced and edited by Dallas Symphony
Orchestra Education Staff members Jamie Allen and Kristin Carpenter. Materials
in this Teacher’s Guide can be photocopied for classroom use. If you have any
questions about the concerts, please call Kristin Carpenter at 214-871-4006!
Page 1
Volume One, “Organ Odyssey”
Table of Contents
Concert Specific Information
Repertoire
Meet the Composers
Who’s Who
Resources
3
4
6
7
Concert Activities
Activity 1 – Organ Scavenger Hunt
8
Organ Fun Facts
Scavenger Hunt Questions
Activity 2 – Time Line Fun!
12
World Events-Time Line Markers
Activity 3 – Today’s Composers
Activity 4 – Inuit Influence
Activity 5 – Good Vibrations
Activity 6 – Riding the Wave
Activity 7 – Pan Pipes for the Precocious Puffer
Activity 8 – Program Music: Ice is Nice!
Activity 9 – Papageno: A Musical Character
Activity 10 – Emotions in Music: Choose Your Color
32
33
Student Evaluation Form
Teacher Evaluation Form
Concert Logistics
Additional Resources for Teachers
Amazing Music Order Form
16
18
20
22
24
26
28
30
Concert Guidelines for Teachers
Arriving and Departing
Map of the Arts District
About the Meyerson Symphony Center
34
35
36
37
38
39
Thanks!
Volume One, “Organ Odyssey”
Page 2
Organ Odyssey Repertoire
Bach (arr. Stokowski)
Toccata in D Minor
Bach
Toccata in D Minor
Mozart
“Der Vogelfanger bin ich ja” from Die Zauberflöte
(bassoon plays vocal part), 2 verses only.
Michael Colgrass
Snow Walker, IV (“Ice and Light”)
Jean Langlais
Hommage a Frescobaldi, Epilogue VIII
Michael Colgrass
Snow Walker, II (“Throat –singing with Laughter”)
R. Strauss
Also Sprach Zarathustra, “Dawn” excerpt
Saint-Saëns
Symphony No. 3, Finale
*All of these selections are available for listening on DSOKids.com
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Volume One, “Organ Odyssey”
Organ Odyssey – Meet the Composers
For further information about these composers, check out www.DSOkids.com!
Johann Sebastian Bach (Born March 21, 1685, died July 28, 1750) - Bach, a dazzling
organist and church musician, had to compose all kinds of original pieces for every church
service including pieces for choir, organ, harpsichord and orchestra. Since most of his music
was written to be performed in a church service only once and then thrown out, very little
of his music was published during his lifetime. It was for this reason that Bach composed
more music than almost any other composer. However, his musical genius was not recognized
until about 100 years after his death. Bach was famous for his music and for something else
- Bach had twenty children! Five were named Johann, two Johanna and four grew up to
become famous composers. He may be remembered long after other composers because in
1977, the Voyager spacecraft was launched into space carrying recordings of three pieces
by Bach.
Jean Langlais (Born February 15, 1907, died May 8, 1991) - French composer and organist,
Jean Langlais, was born into a simple country family who made their home in La Fontelle,
France. At the young age of 2, Jean lost his eyesight and was sent to study at the National
Institute for the Young Blind. It was there that Jean began to study the organ and his
musical talents were discovered and recognized. After graduation, Jean returned to the
National Institute for the Young Blind to teach music to both French and foreign students
for 40 years. His reputation as a teacher, improviser, and performer grew rapidly. He
toured Europe and the USA giving over 300 concerts, recitals and master classes. In 1945
Jean accepted the organist position at the Basilica of Sainte Clotilde in Paris. Jean
remained in this position until 1987, retiring from the Basilica at the age of 80. Jean
composed over 254 works. He is best known for his works for organ and sacred choral
music. He also wrote pieces for other instruments and small chamber ensembles. Jean
Langlais died in Paris, France at the age of 84 on May 8, 1991. If he were alive today, he
would have celebrated his 100th birthday this year!
Michael Colgrass (Born April 2, 1932) - Michael Colgrass was born April 2, 1932 in Chicago,
Illinois. He began his musical career in his hometown of Chicago where he gained his first
professional experiences as a jazz drummer. In 1954, Michael graduated from the
University of Illinois with a degree in Music Performance and Composition. In his early
career, Michael served 2 years as a timpanist with the Seventh Army Symphony Orchestra
in Stuttgart, Germany. He then went on to spend 11 years as a freelance percussionist and
composer in New York. Recently, Michael has devised a system to teach music creativity to
children. Through this system, middle and high school teachers learn techniques to teach
children to write and perform music. Colgrass’s My Lessons with Kumi, a narrative exercise
book, outlines his technique for teaching performance and creativity. Michael is also an avid
Neuro-Linguistic Programming (NLP) advocate, and features NLP exercises in his book My
Lessons with Kumi. Today Michael Colgrass resides in Toronto, Canada with his wife Ulla. He
makes his living internationally as a composer and writer.
Volume One, “Organ Odyssey”
Page 4
Organ Odyssey – Meet the Composers, Cont.
Wolfgang Amadeus Mozart (Born January 27, 1756, died December 5, 1791) Mozart 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 constant 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
a poor man's 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, concerti, chamber music,
symphonies, sonatas and opera.
Richard Strauss (Born June 11, 1864. died September 8, 1949) Richard Strauss's father,
Franz, was a professional horn player who taught his son music from a very early age.
Richard was composing at the age of six, and his first symphony composition was performed
when he was only 17! When Strauss was 21, he became the conductor of the Meiningen
Orchestra and later became the junior conductor at the Munich Opera. Strauss also wrote
opera and continued to conduct. Many of his operas had controversial subjects or
characters, and always caused great discussion when they were performed for the public.
During World War II, Strauss struggled with being German and working for the State
Music Bureau of Germany when he disagreed with the Nazis and their ideas and actions. He
protected his Jewish daughter-in-law and his part-Jewish grandchildren during the war. The
Nazis read many of his private letters in which he expressed his disapproval with them. He
was warned that he was expected to be faithful to the German cause, but he continued to
disagree with their ideas, privately. After the war, he wrote Metamorphosen, a piece for 23
solo strings that reflected the sadness of the times.
Camille Saint-Saëns (Born October 9, 1835, died December 16, 1921) When Camille
Saint-Saëns was just a toddler, his mother and his great-aunt began teaching him music. He
was only five years old when he gave his first public piano performance. When he was seven,
he began to study with other teachers, and he had already begun composing his own music.
He became one of the most famous of French composers. One of Saint-Saëns' most well
known compositions The Carnival of the Animals, was originally written to make fun of some
of his friends. Now, it is enjoyed by children all over the world for the pictures it paints of
animals.
Page 5
Volume One, “Organ Odyssey”
Organ Odyssey - Who’s Who
Danail Rachev- “His high level of music-making, command at the podium and general
overall talent made an immediate and deep impression on us. We look forward to watching
his innate abilities blossom here in Dallas” Those are the words of Dallas Symphony
Orchestra President and CEO Fred Bronstein describing the DSO’s Assistant Conductor
Danail Rachev.
The Bulgarian native was named Assistant Conductor of the Dallas Symphony Orchestra in
2005. Prior to joining the Dallas Symphony, Rachev served as conductor of the Julliard
PreCollege Symphony from 2002-2005. In addition, Rachev led performances of Copland’s
The Tender Land with Baltimore’s Opera Vivente, for which The Baltimore Sun noted that
Rachev “shaped that score tellingly, revealing particular appreciation for its gentlest, most
introspective moments”
In 2002-2003 Rachev was the first ever conducting fellow of the New World Symphony in
Miami, FL., where he was fortunate to study with Maestro Michael Tilson Thomas and share
the podium with him on several occasions. His debut and subsequent appearances in
numerous subscription and chamber music concerts were met with consistent critical
acclaim. He was recognized by the Florida Sun-Sentinel for his “vigorous, boldly projected”
and “fluent and sensitive” conducting. The Miami Herald called his reading of Mozart’s Six
German Dances, K. 509 “the evening’s most spirited performance.”
Mary Preston- Mary Preston is the Principal Organist with the Dallas Symphony
Orchestra and Curator of the Lay Family Concert Organ in the Meyerson Symphony Center.
She also serves as Organist and Director of Artistic Ministries at University Christian
Church in Fort Worth. Ms. Preston has been presented in recital throughout the United
States, Europe and Asia to audiences responding with resounding enthusiasm and
excitement. She has performed in such notable locations as the Riverside Church in New
York City, Notre Dame Cathedral in Paris, and the Liechtenstein Palace in Prague. She has
been a featured artist with the Oregon Bach Festival, and numerous regional and national
conventions of the American Guild of Organists.
Along with organ concerti and other major works with the Dallas Symphony Orchestra, she
has performed with the Los Angeles Philharmonic, the Nashville and Denver Symphony
Orchestras, and an inaugural concerto with the Chicago Symphony Orchestra. Ms. Preston
is also a regular performer with the Dallas Wind Symphony. Her solo performances are
frequently aired on National Public Radio’s Pipedreams.
Ms. Preston studied at both the University of North Texas and the Eastman School of
Music. She and her husband Joe have lived in the Dallas area since 1979. They enjoy
boating, traveling, and visiting alpaca ranches in their spare time.
Volume One, “Organ Odyssey”
Page 6
Resources Available
Books
A guide to the Pipe Organ for Composers and Others
By Sandra Soderlund
Wayne Luepold Editions, 1994
A New History of the Organ: from the Greeks to the Present Day
By Peter Williams
Cambridge University Press, 1980
A Young Person’s Guide to the Pipe Organ
By Sandra Soderlund and Catherine Fischer
American Guild of Organists, 1994
Videos
Voices in the Wind
Organ Historical Society
Wind at One’s Fingertips
GPN
P.O. Box 80669, Lincoln, NE 68501
The Organist: A Total Musician
American guild of Organists
Radio
Pipedreams
A program of music for the king instruments
From Minnesota Public Radio
Magazines
The American Organist
American Guild of Organists
The Tracker
Organ Historical Society
Page 7
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 1
Organ Scavenger Hunt
Teaching Objective: The students will demonstrate an understanding of how an
organ works by finding facts in a scavenger hunt.
Pre-Assessment: Ask the students what they know about how an organ works and
where organs can be found. List on the board.
Teaching Sequence:
1. Enlarge and copy organ fact sheet (following page). Cut out each fact
and tape around room or large area.
2. Give each student a copy of questions about the organ.
3. Have a prize for student that gets all the correct answers first.
Culminating Activity: Review answers to questions with students
Evaluation: Did the students find the answers to the questions about the organ?
Volume One, “Organ Odyssey”
Page 8
Activity 1 - Organ Fun Facts!
Keyboards- Both organ and pianos have keyboards with which to play various
pitches. When the piano is played, the sound is loudest at the beginning, and then it
gets gradually softer. When the organ is played, a valve under the key opens to
allow air through a pipe and sound to come out. The air continues going through the
pipe until the key is released, thus the sound remains at the same volume while the
key is pressed.
The organ in the Meyerson has 4,535 pipes
A “stop” is a knob that causes a particular rank(s) to play when it’s pulled. When the
stops are “in”, no air is escaping from the pipes, so no sound is being made. When a
stop is open, a sound will come out of the pipes of whichever ranks the player has
chosen.
Ranks are rows of pipes that are arranged by tone color such as flute, oboe, etc.
and are set together on boxes called “wind chests”. The wind chest holds air waiting
to go into a pipe whenever a key is pressed.
The pipe organ works by pushing air through pipes, much like playing pan pipes. The
bigger the pipe, the lower the sound, the smaller the pipe, the higher the sound.
Organs are found in concert halls, churches, old movie theaters, professional
baseball parks, old roller skating rinks, homes, and sometimes stores!
The largest pipe on the Lay Family Organ in the Meyerson is 32 feet tall.
The smallest pipe on the Lay Family Organ in the Meyerson is less than one inch tall.
Blowers are used to send air through the pipes. In the Meyerson, the blower is in
the basement, waiting to send air up through the organ. Before electricity was
invented, the organist had to have someone pump bellows to send air through the
organ. Usually this was done by standing on 2 pedals and making them go up and
down like on a “Stairmaster”!
There are 5 keyboards on the Lay Family Organ. Four are played with your fingers
and one is played with your feet!
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Volume One, “Organ Odyssey”
Some organ pipes are made of metal, some of wood. Some are round, some are
square.
Charles-Marie Widor was a prominent French organist, composer, and teacher in
the late 19th century who wrote 10 symphonies for organ and numerous other pieces
featuring the organ, making him a true pioneer of the organ symphonic genre!
The largest organ ever built at one time is one of the last pieces constructed by
M.P. Möller, built for the Calvary Church in Charlotte, NC. It has 205 ranks, 133
voices, and 11,499 pipes on 5 manuals and the pedal!
The modern day organ is actually the ancestor of the Hydraulos, or Water Organ,
invented by the Greeks sometime in the 3rd century BC. Since “blowers” were not
yet invented, water was used to push air through the organ pipes to create sound.
The Hydraulos
Water Chamber
Volume One, “Organ Odyssey”
Page 10
Activity 1 - Organ Scavenger Hunt Questions
1.
What is a “stop”?
2. M.P. Möller’s largest organ was constructed and built for what church and where?
3. What is a “rank”?
4. List four places that you might hear an organ:
5. What are pipes made out of?
6. How many pipes does the Lay Family Organ in the Meyerson have?
7. How tall is the smallest pipe on the Lay Family Organ?
8. What unusual body part do organists use to play the organ?
9. How is the organ different from the piano?
10. How is the sound made?
11. How was air sent through organ pipes before electricity was invented?
12. What prominent French organist and composer wrote 10 symphonies for organ?
13. How tall is the largest pipe on the Lay Family Organ?
14. What is a Hydraulos?
Page 11
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 2
Time Line Fun!
Teaching Objective
Students understand the place each composer holds within world events across
time.
Resources/Materials
Website pertaining to the composers whose music will be played at the DSO Youth
concerts like http://dsokids.com/2001/composerperiods.htm
Encyclopedias from the library.
Additional resources – see list
To the Teacher: This lesson is designed as a cooperative research project for
small groups.
Pre-Assessment Activity
Place the following names on the board: J. S. Bach, Michael Colgrass, Jean Langlais,
Richard Strauss, and Camille Saint Saëns. Ask students if anyone can identify who
they are. Ask what do these people have in common.
Teaching Sequence
1. After establishing that the list represents a list of composers, add the word
organ to the board and ask for someone to share what they know about the
organ. Explain that all of these composers wrote music specifically for the
organ.
2. Divide the class into groups of 6. Assign each a topic. Topics include:
Johann Sebastian Bach, Michael Colgrass, Jean Langlais, Richard Strauss,
Camille Saint Saens, and “The Origins of the Organ.” Ask each group to jot
down everything they already know about their assigned topic.
3. The groups will do research and then present what they have learned to the
rest of the class. Allow time for groups to do research. Students may go to
the library, use resources in the classroom or music room. Ask your music
specialist what is available.
4. On Presentation Day, each group must present their topic, show a
photograph or poster of their topic, and listen to a brief example of the
music for that composer/instrument. (Brief excerpts of the music can be
downloaded from DSOkids.com)
Volume One, “Organ Odyssey”
Page 12
(Cont’d.) Have a Time Line drawn on the board, or on bulletin board paper around
the room. After each presentation, add the composers name or the instrument
name to the Time Line in the appropriate place where it belongs in the history of
world events.
Extension Activity
Using the Historical Time Line Marker list on the next page, add each subject and
date to the Time Line.
Evaluation
Were the students able to correctly identify the time periods of each composers
life? Were the students able to correctly identify the date the organ was
invented?
Were the students able to complete the Time Line by adding in other subjects and
dates?
Co-Curricular Connections/TEKS
Fine Arts: 117.12.5 9C), 117.18.5, 117.14.5, 117.33.5
Language Arts: 110.5.12 (D,E), 110.6.13 (C,D,E, I), 110.6.21 (C,D), 110.6.23 (B),
110.7.13 (D)
Social Studies: 113.5.1, 113.5.3 (A,B,C), 113.5.14 (A,B), 113.5.16 (A,E), 113.5.17
(A,B,C), 113.6.22 (C), 113.6.23 (D), 113.7.22 (B,C,E), 113.7.26 (C), 113.21.2 (A,B),
113.18 (D), 113.21 (C), 113.22 (D)
Page 13
Volume One, “Organ Odyssey”
World Events Time Line Markers
Place the following dates on your Time Line. As each group in your class presents the
background information on their composer/instrument, add to the time line.
3 BC water organs originated
J.S. Bach 1685-1750
Renaissance Period- The Organ developed
Camille Saint-Saens 1835-1921
American Revolution 1775-1783
William Shakespeare, 1546-1616
Magna Carta 1215
American Revolution 1775-1783
Lewis & Clark explore northwest 1804
Jean Langlais 1907-1991
Ben Franklin discovers electricity 1751
Wolfgang Amadeus Mozart 1756-1791
First Railroad 1830 Rudyard Kipling
author Jungle Book 1865-1936
First Railroad 1830
Fall of the Roman Empire 476
Magellen circles the world 1519
Printing Press invented 1454
Taj Mahal built 1634-1653
Premier of Mozart’s The Magic Flute 1791
Richard Strauss 1864-1949
American Civil War 1861-1865
First plane flight 1903
Pablo Picasso 1881-1973
End of 17th Century- Organ became the instrument we know today.
Volume One, “Organ Odyssey”
Page 14
TV invented in 1927
First Steamship crosses Atlantic 1819
Man on the moon 1969
Personal Computers 1975
Star Wars 1st movie 1977
Columbus travels to America 1492
Jules Verne, author of 20,000 Leagues under the Sea
Lewis & Clark explore northwest 1804
Modern Astronomy Began
World War I, 1914-1918
Michael Colgrass 1932-
Leonardo Da Vinci 1452-1519
First English colony to America, 1607
J.R.R. Tolkien, author Lord of the Rings 1892-1972
Vincent Van Gogh, Dutch Painter 1853-1890
Columbus travels to America 1492
Michelangelo, Italian sculptor & painter 1475-1564
Harry Potter and the Deathly Hallows (7th Book), 2007
Columbus travels to America 1492
Page 15
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 3
Today’s Composers
Teaching Objective
The students will have an understanding of the background and creative process of
a living composer.
Pre-Assessment
Ask the students about what choices a composer must make when writing a piece of
music. Include considerations of instrumentation, skill level of ensemble, where the
work will be formed, if it is background music for an event or a film, if there is
singing involved, duration, audience expectations, etc.
Teaching Sequence:
1. Tell students that in the early 1900’s, composers began to experiment
with different kinds of sounds and combinations of instruments. Often
the pieces do not have a steady pulse, or have a pulse that often changes.
Composers today draw upon many ways of making sounds that might
express what they are thinking or feeling.
2. Ask students to formulate a list of at least 10 questions to ask a living
composer (some examples: Where are they from? Do they have a
favorite instrument? Do they do anything other than compose? What
are their favorite kinds of sounds?).
3. Assign 3-4 students to each composer. (Some suggested composers are:
Michael Colgrass, Lowell Liebermann, Joan Tower, Jennifer Higdon, John
Corigliano, Steven Stucky, Christopher Rouse, and Augusta Reid Thomas).
Students will conduct research to find answers to their questions.
Encourage students to e-mail questions directly to their composers (or
agents, if a direct email is not readily available) to get answers to their
questions. Most composers have websites; many have information on
DSOkids.com.
4. Give students a reasonable amount of time for their research.
Information should be brought to class and time should be provided for
the group to collaborate to make a report on their composer. The report
should include background information on the composer, answers to the
students’ questions, and a playing of the music if possible.
Culminating Activity
After each report and playing of music, discuss what students learned about
composers and the composing process. Are either one different than they
expected? Do they think people will listen to their composer’s music in 200 years?
Volume One, “Organ Odyssey”
Page 16
Evaluation
Did the students show an understanding of the background and creative process of
a living composer?
Co-Curricular Connections/TEKS
English 110.5 (7B,C,10B,12D,G,J, 20A,C,D) 110.6 (10B, K,L,11B, 13A,C,E,G, 15
C, 21A,C,D,E); 110.7 (11A,B, 13A,C,E, 15A, 21A,B,C,E,D, 22B); 110.22
(10G,13A,B,C,D,F,G,I, 20A,B,C,E, 21B); Social Studies 113.5 (14A,16B,C,D);
113.7 (22A,B); 113.22 (18B,C,D); Music117.12 (1B,5A,6A,B,C);117.15 (5A,
6A,B,C); 117.18 (5A,B,C); 117.33 (6A,C)
*Composer Michael Colgrass in his studio
.
Page 17
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 4
The Inuit Influence
Teaching Objective
The student will demonstrate an understanding of Inuit culture and where and how they
live.
Resources/Materials
DSOKids.com
The Following Web Sites:
• http://www.mustrad.org.uk/articles/inuit.htm
• http://pages.infinit.net/musis/matsu_take_eng/1_AMG_Inuit.html
Pre-Assessment
Ask the students if they are familiar with where the Arctic is.
Ask the students if they know who the Inuits are.
Teaching Sequence:
1. Show students a map of the area where the Inuits live (page XX). Explain that
because of how the earth tilts on its axis, people that live in that part of the
world experience little or no daylight in the winter and little or no darkness in
the summer.
2. Read the following to students:
There is a great deal of snow in this area in the winter and people must stay
inside for long periods. Traditionally, Inuits lived in snow block houses
(igloos) or cabins made of driftwood that were covered with soil. The Inuits
are a strong-minded people whose roots are in nature and the land. They
maintain their culture through story-telling, drum dancing, singing, arts and
crafts, and family traditions. Throat singing (or katajjaq) is a form of
entertainment among the Inuit people. The sounds they make are
meaningless syllables and often portray sounds heard in the environment.
The songs (duets, actually) are usually performed by two people facing each
other, either standing or crouching, and holding each other’s arms. One
person begins by making short, deep rhythmic sounds while the other person
responds. The leader repeats with short gaps in between. The follower fills
in gaps with their own sounds. Inuit throat singers often compete to see
who can last the longest without stopping or laughing.
3. Divide the class so that each child has a partner. Have one person in each pair
be the leader.
4. Have students stand close together and face their partner. Give students 30
seconds to practice creating sounds like a throat singer.
Volume One, “Organ Odyssey”
Page 18
5. Ask each leader create his/her sounds to partner. Ask partner to fill sounds in
spaces.
6. Have duos perform for the class.
Culminating Activity
1. Listen to the orchestra play “Throat Singing With Laughter” by Michael Colgrass
(Click on the boombox in the Music Room at DSOKids.com)
2. Watch videos of actual katajjaq performances on the internet. The following
are two good examples:
•
•
http://www.youtube.com/watch?v=F4xWsqXAkKc&mode=related&search=
http://www.youtube.com/watch?v=j30uHlAdZeo&mode=related&search=
3. Have students locate the Arctic Circle on a map and show where the Inuits live.
Evaluation:
1. Were the students able to locate the Arctic?
2. Were the students able to demonstrate throat singing and recognize it as a part
of Inuit culture?
Co-Curricular Connections/TEKS
Science 112.6 (11C); Music 117.15 (5A,B),117.18 (5A,C) 117.33 (5A,C); Social Studies
113.7 (7B, 9A) 113.22 (4A,B,17A,C)
Page 19
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 5
How Sound is Produced
Good Vibrations
Teaching Objective
Students will experience vibrations, visually, aurally, and physically.
Resources/Materials
Autoharp
Small pieces of paper, about ¼” x ½” folded into little tents
Several paper clips
Ruler
Tuning Fork
Clear bowl or clear casserole dish filled with water
Drum
Mallet
Pre-Assessment Activity
How many students have seen a vibration? felt a vibration?
Can students define what a vibration is?
Teaching Sequence
1. Can you see a vibration?
Experiment #1.
Place several paper clips on the top of a drum head. Ask the class to predict what will
happen if you hit the drum head with the mallet. Demonstrate. Visually what happens?
Define what you see.
Experiment #2.
Place several very small pieces of paper folded into little tents over the strings of an
autoharp. One tent per string. Ask the class to predict what will happen if you pluck a
string. Demonstrate. Visually what happens? Define what you see.
Experiment 3.
Hold a suspended cymbal in the air. Ask the class to predict what will happen if you strike
the edge of the cymbal with a mallet. Demonstrate. Visually what happens? Define what
you see.
Experiment #4.
Volume One, “Organ Odyssey”
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Hold a 12” ruler in place so that half of the ruler is laying on a desk or table top and half is
off the edge. Ask the class to predict what will happen if you strike the edge of the ruler
that is off the desk. Demonstrate. Visually what happens? Define what you see.
Experiment #5.
Place a clear bowl of liquid on the over head so that what you are doing can been seen by
the entire class. Ask the class to predict what will happen if you strike a tuning fork and
lower the tip into the water. Demonstrate. Visually what happens? Define what you see.
2. Can you feel a vibration?
Experiment #1.
Pass a tuning fork around the room. Ask the class to hold it in their hand and describe
what they feel. Then ask the students to hold out one finger. Ask the class to predict
what will happen if you strike the tuning fork and touch their extended finger.
Demonstrate. Physically what happens? Define what you feel. Allow each child the
opportunity to feel the vibrations from the tuning fork.
3. Can you hear a vibration?
Experiment #1.
Striking the tuning fork once more, ask the class to predict what will happen if you hold it
up to your ear. Demonstrate. What happens? Define what you hear. Allow each child to
hear the sound caused by the vibrations of the tuning fork.
4. Analyze the data and draw conclusions.
Evaluation
Did the student responses indicate an understanding of vibrations?
Extension Activity
Have students play various classroom instruments, such as a triangle or a drum. Can the
students describe how the sound is produced?
Co-Curricular Connections
Fine Arts: 117.12 (B)
Science: 112.5.2 (A,B,C,D), 112.6.2 (A, B, C, D), 112.7.2 (A,B,C,D)
Page 21
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 6
How Sound is Produced
Riding the Waves
Teaching Objective
Students will participate in experiences leading to an understanding that all sound is
produced by vibration.
Students will participate in experiences leading to an understanding that sound travels in
waves.
Resources/Materials
Two tin cans with lids removed.
Long string, like kite string
Slinky, metal, larger size
Note to Teacher: This lesson is designed as a series of experiments to be conducted in
front of the entire class, then later placed in centers for the students to try on their own.
Pre-Assessment Activity
How many students have seen a sound wave? Can the students define what a vibration is?
Teaching Sequence
1. What does a sound wave look like?
Experiment
Have one student hold the end of the Slinky as you, the teacher, vigorously move the
Slinky up and down. Have students predict what will occur. Demonstrate. What
happens? Define what you see. Waves will travel the length of the Slinky. As you
move the Slinky twice as fast, the waves will move from to four waves. Analyze and
draw conclusions.
2. How does a sound wave travel?
Experiment
Using a metal Slinky, have two people hold it (one at each end) over a smooth surface.
Have one person snap the Slinky on the desk, while the other person is still holding
his/her end. Have students predict what will occur. Demonstrate.
Visually what happens? Define what you see (See figure 1. and 2.) Students should see
the wave move across the Slinky from one end of the table to the other.
Volume One, “Organ Odyssey”
Page 22
Analyze and draw conclusions.
3. Can a vibrating traveling wave produce sound?
Experiment
Using a long thin string and two tin cans with lids cut off. (Make sure that the edges are
smooth to the touch), make a “Tin Can Telephone.” Punch a small hole in the bottom of each
can. Each hole should be just large enough for the string to pass through. From the
outside, insert one end of the string into the hole in one can. Knot the string so that it will
not pull through. Do the same thing with the other can.
With two people, each one holding a can, stretch the string as taut as possible. Have one
person talk into his/her “telephone” while the other person listens. Have students predict
what will occur. Demonstrate. What happens? Define what you see. The sound vibrations
travel the length of the string. The tin can acts as an amplifier to the sound. Analyze and
draw conclusions.
Evaluation
Were the students able to see how a sound wave travels?
Were the students able to hear a sound traveling from one place to another?
Co-Curricular Connections
Fine Arts: 117.12 B
Science: 112.5.2 (A, B, C, D), 112.6.2 (A,B,C,D), 112.7 (A, B, C, D)
Page 23
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 7
Pan Pipes for the Precocious Puffer
Teaching Objective
Students will develop an understanding that for many musical instruments,
pitch is determined by length.
Pan Pipe
Measurements
Top
Vocabulary
Pitch – the relative highness or lowness of a sound.
Resources
Large soda straws – large pixy-sticks work very well; adhesive tape;
Pre-Assessment
Ask students if any of them have ever seen a pipe organ or heard it being
played. Have them describe an organ and the sound it made. Ask students
to speculate how the maker of the organ determines the size of each pipe.
Allow students to respond, and then tell them that the length of the pipes
determines the relative highness or lowness of the sound, or pitch. The
longer the pipe, the lower the pitch it produces when air is blown through
it. The shorter the pipe, the higher the pitch it makes.
5th
4th
Teaching Sequence
1. Tell students that they will be making an instrument
called a pan flute, or pan pipes. Give each student
five straws, and five pieces of tape. Have the
students tape one end of each straw securely so
that they don’t leak air.
2. Using the guide on the edge of this page, cut each
straw to length.
3. Have students cut a six-inch length of tape and lay
it on their desk with the adhesive side facing up.
Arrange the straws longest to shortest on the tape
with the closed ends down. MAKE SURE THE TOPS
ARE EVEN. When the straws a aligned properly,
wrap the tape around them.
3rd
2nd
1st
Culminating Activity
Have the students practice playing their pan pipes. Show them a picture of Lay
Family Organ from the DSOKids.com website and have them compare their pan
pipes to the pictures in terms of the way the pipes are arranged in groups from
Volume One, “Organ Odyssey”
Page 24
longer to shorter. Challenge students to name other instruments that are
organized similarly like xylophones or chimes.
Evaluation
Did student responses demonstrate an understanding that for many musical
instruments, pitch is determined by length?
Co-Curricular Connections/TEKS
110.5.b1, 2, 3, 9, 18, 20; 110.6.b1, 2, 10, 11, 13, 15, 21, 24, 25; 110.7.b1, 10, 21, 23, 24;
110.22.b1, 8, 10
112.5.b2; 110.6.b2; 110.7.b2; 8 110.22.b
117.12.b1, 5, 6; 117.15.b1, 5, 6; 117.18.b1, 5, 6; 117.33.b1, 5, 6
*Pan Pipe example
Page 25
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 8
Program Music – Ice is Nice!
Teaching Objective
Students will develop an understanding that program music is intended to
depict a particular idea, image or story.
Vocabulary
Program music – Music that is intended by the composer to depict a
particular idea, image or story.
Resources
An example of abstract art; An example of representational art; Paper,
pencil or pen; DSOKids.com
Pre-Assessment
Ask students if they have ever seen a work of art that didn’t seem to be a
picture of anything recognizable, but appeared as just a jumble of lines or
colors. See if students can name any artists that create abstract works of
this nature such as Picasso.
Teaching Sequence
1. Show students examples of representational and abstract artwork.
(An image search on the Internet using the words “abstract art” will
yield literally thousands of examples.) Have students describe each,
using the elements of visual art, such as line, color, texture, etc. Ask
students what they think each work is intended to depict. Tell them
that sometimes an artist creates a picture of something in particular,
but sometimes the artist just wants the emphasis on the way the colors
and lines interact on the canvas.
2. Tell students that some music is like abstract art that doesn’t
represent anything familiar in the physical world, but sometimes
Characteristics of
composers create music that is intended to depict something in
an Icicle
particular. This is called program music.
3. Tell students that in the concert they will attend soon, they will
1. reflects light
2. cold
hear a musical piece called “Ice and Light” depicting an icicle
3. wet
glittering and melting in the sun.
4. slippery
5. numbing
Ask students to describe the characteristics
6.
of a melting icicle. How would it look?
How would its appearance change over time? Would some things
about the icicle remain constant?
Volume One, “Organ Odyssey”
Page 26
4. Have students divide a piece of paper into three equal parts. In the
top section, have them make notes about the discussion that they
just had, recording what they think are the most important
characteristics of an cicle. Then in the second section have them
speculate how a composer might depict those characteristics in
music. Encourage them to be creative, pointing out that there are
no wrong answers since they are only guessing.
5. Tell students that when they hear the piece at the concert, they
are to take note of what the composer Michael Colgrass did to
depict icicles glittering in the sun. Will he use high pitches? Will
he use loud or soft music?
Culminating Activity
Play the piece “Ice and Light”. Have students use the bottom of their
paper to describe what the composer did in the piece to depict ice and
light.
Evaluation
Did student responses indicate an understanding that program music is
intended to depict a particular image, idea or story?
Extension Activity
Have students pretend to be icicles. Have them keep a diary describing
how they feel as they go from being formed (born), grow up (get
bigger) and eventually melt (of old age).
Co-Curricular Connections/TEKS
110.5.b1, 2, 3, 9, 10, 14, 18, 20; 110.6.b1, 2, 13, 15, 21, 24, 25; 110.7.b1, 21, 23,
24; 110.22.b1, 20;
117.12.b1, 5, 6; 117.15.b1, 5, 6; 117.18.b1, 5, 6; 117.33.b1, 5, 6
Page 27
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 9
Papageno: A Musical Character
Teaching Objective
Students will demonstrate an understanding that character as a story element can
be described through music, and use this understanding to compose a poem or lyrics
to a song.
Resources/Materials
• DSOKids.com
Vocabulary
• Character: a person or animal in a play, poem, story, or book
• Aria: a song for one voice, usually with orchestral accompaniment. Arias are
most commonly found in operas.
• Opera: a form of musical and dramatic work in which singers convey the
drama.
• Pan Flute: an ancient musical instrument based on the principle
of the stopped pipe. The pan flute has long been popular as a
folk instrument, and is considered the ancestor of both the
pipe organ and the harmonica. The pan flute is named for its
association with the rustic Greek god Pan.
Pre-Assessment
• Briefly review a story recently read or studied by the class. Ask the
students to describe the character(s) in the story.
Teaching Sequence
1. Ask the students to listen to Papgeno’s Aria
(www.DSOKids.com/mp3/PapagenosAria.mp3),then have them
describe what they heard.
2. Tell students that this is one of the pieces that the orchestra
will perform when they attend the Youth Concert, and that it is
from an opera by Wolfgang Amadeus Mozart, called The Magic
Flute. Although this piece is usually sung, at the Youth Concert
the vocal line will be played by the bassoon (see sketch to right).
3. Ask the class to describe the sort of character they feel this
music represents. You might use questions like “Is he (or she)
happy?”, “How big is he?”, “How does he move?”, “What do you
think he does all day?” (NOTE: Stress that it is impossible to
have a wrong answer! One of the wonderful things about music is
that the same composition can evoke different responses from
different individuals.)
Volume One, “Organ Odyssey”
Page 28
4. Share with the students that Papageno is a funny and
cowardly bird catcher in the opera, and that he works for a
magical character called the Queen of the Night. Although
he spends his days calling birds with his Pan Flute and
trying to catch them, what he really wants to find is a wife.
Culminating Activity
1. Ask your students to write a story, a poem or song lyrics to
describe either Papageno or the character that they first
imagined when listening to his aria.
2. Ask your students to draw an illustration of either their
own character or Papageno.
3. Invite your students to read or sing their story, poem, or
song in front of the class. If appropriate, use Papageno’s
Aria as background music for this performance.
Evaluation
Did student responses indicate an understanding that a character can be portrayed
through music?
Extension Activities
1. Imagine a character inspired by a different piece of music on the Youth Concert
repertoire.
2. Draw the imagined character and write story, poem, or song about him or her.
Co-Curricular Connections/TEKS
English Language Arts and Reading: 110.5 – 1(A,C,F), 4(A), 10(A,D), 14(A,B,D); 110.6 –
1(A,B), 10(A,D), 15(A,C,D,E,F); 110.7 – 1(A.B), 10(A,D), 15(A,C,D,E,F)
Music/Fine Arts: 117.12 – 1(A,B), 4(A,B), 5(A,C), 6(A,B); 117.13 – 5(C); 117.15 –
1(A,B), 4(A,B), 5(A,D), 6(A,C); 117.16 – 3(D); 117.18 – 1(A), 4(A,B), 5 (A,E), 6(C);
117.19 – 3(D)
Page 29
Volume One, “Organ Odyssey”
Organ Odyssey, Activity 10
Emotions in Music: Choose Your Color
Teaching Objective
Students will demonstrate understanding of emotional expression in music through
color, visual art and verbal expression.
Vocabulary
• Emotion - a strong feeling of any kind
• Mood - an emotional expression or prevailing attitude often induced by art,
literature, or music
• Toccata – a virtuoso composition, usually for the organ or another keyboard
instrument, in a free style with brilliant passagework.
Resources
• www.DSOKids.com
• Drawing paper
• Colored markers or crayons
Pre-Assessment
Ask students if they have ever heard music that made them feel one emotion or
another and list their responses on the board.
Ask the students if they feel that emotion has a color. Place colors next to the
emotions on the board.
Teaching Sequence
1. Listen to Bach’s Toccata in D minor (available on DSOKids.com) silently.
Direct the students to think of one or more emotions that they feel while
listening to this music.
2. During a second listening, have each student create a work of art inspired by
this music and the emotion it evokes (you may repeat the music as many
times as necessary).
Culminating Activity
Use the student’s artwork to create a gallery. Organize the artwork by color, and
see if many of the students experienced similar emotional responses to this music.
Invite students to share what in the music, specifically, elicited their chosen
emotions.
Volume One, “Organ Odyssey”
Page 30
Evaluation
• Did students demonstrate an understanding of emotional expression in music
through their drawings?
Co-Curricular Connections/TEKS
Language Arts: 110.5 - 14(A), 18(A, C), 19(A,B,C); 110.6 - 15(A,C), 19(A), 20(B);
110.7 - 15(A), 19(A), 20(B,C); 110.22 – 1(A,B), 15(A,C,E), 18(A)
Fine Arts- Music: 117.12 - 6(A,B); 117.15 – 6(A,B,C); 117.18 – 6(A,B,C)
Fine Arts- Visual Art; 117.11 - 1(A), 2(A,B,C), 4(A,B); 117.14 – 1(A), 2(A,B), 4(A,B);
117.17 - 1(A), 2(A,B,C), 4(A,B); 117.32 – 1(A), 2(A,B), 4(A,B)
Page 31
Volume One, “Organ Odyssey”
Dallas Symphony Orchestra
Concert News
Featuring Reviews Written by Students
*~Student Review~*
Student:
School:
Concert Attended:
Age:
Grade:
Date:
Describe your concert experience. (What happened first, second, next, etc.)
Name one of the musical pieces you heard at the concert and describe it.
Choose two musical instruments you heard at the concert and compare their appearance and
their sound.
What did you enjoy the most and what did you enjoy least at this concert?
Please have your teacher send your review to:
Youth Concerts, Dallas Symphony Orchestra
2301 Flora St., Schlegal Administrative Suites
Dallas, TX 75201
Or Fax to: 214-953-1218
Or Email to: k.carpenter@dalsym.com
Volume One, “Organ Odyssey”
Page 32
Teacher’s Evaluation Form
Dallas Symphony Orchestra Youth Concerts, 2007-2008
IMPORTANT! Comments from teacher’s evaluations of DSO Youth Concerts are key elements in
planning future programs. Please share your thoughts, opinions and suggestions. Form may be
photocopied for use by all teachers attending the concert.
1.
I attended
o
o
o
: (check one)
Organ Odyssey
Grade Level:
The Recipe for Music Grade Level:
I Am a Musician
Grade Level:
Date:
Date:
Date:
2. Please rate the following on a scale of 1 to 6
Suitability of programming
Poor - - - - - - - -Excellent
1
2
3
4 5
6
Conductor’s rapport with audience
1
2
3
4
5
6
Orchestra performance
1
2
3
4
5
6
Logistics (seating, exiting, etc.)
1
2
3
4
5
6
Students attentiveness
1
2
3
4
5
6
Comments:
Was the Teacher’s Guide helpful? Is there anything that you would like to see added to it?
Did you use the DSOKids.com website during your youth Concert experience?
If the answer to the above question is “yes”, did you find the website helpful? Why or why
not?
Please describe how you used the site: (ex. When did you use it? Where did you access it?
How did you use it?)
(Optional) Name:
School:
Title:
Please fax completed evaluation form to 214-953-1218, or mail to Youth Concerts: Dallas Symphony
Orchestra, 2301 Flora St. Schlegel Administrative Suites, Dallas Texas 75201
Page 33
Volume One, “Organ Odyssey”
Concert Guidelines for Teachers
Before the Concert
Please prepare your students using materials in this book or at
www.DSOKids.com
Students should be briefed on concert etiquette in advance.
Please contact Kristin Carpenter at 214-871-4006 at least one week before
the concert if your group includes any students or teachers with special
needs, including wheelchairs or deaf students requiring infra-red headsets.
The Day of the Concert
Before leaving school, please allow time for students to visit the restroom.
Clearly mark buses or cars for speedy identification and memorize bus
numbers!
Learn your bus driver’s name and be sure you can recognize him/her
Plan to arrive at the Meyerson at least 30 minutes before concert time.
Upon Arrival at the Meyerson
Check in with a volunteer in the main lobby; a volunteer will guide your group
to your seating area. (Seating sections are assigned on the basis of group
size.)
All students should be in their seats at least 5 minutes before the concert
time
No food or drink, including chewing gum, is permitted in the concert hall.
During the Concert
The use of cameras and recorders is prohibited; please turn off cellular
phones.
Students and teachers should remain in their seats for the entire concert.
Restrooms are located on all levels and should be used for urgent needs only.
If students must visit the restroom, please have an adult accompany them.
Students not maintaing acceptable standards of behavior will be asked to
leave, and may jeopardize their school’s future attendance at DSO events.
After the Concert
Please remain in your seats until your school is dismissed.
Upon dismissal, listen carefully and follow instructions for departing the
building.
Back at School
Refer to this guide or www.DSOkids.com for follow-up activities.
Student letters/artowkr expressing reactions to the concert are
appropriate.
Mailing Address: Youth Concerts
Dallas Symphony Orchestra
2301 Flora St. Schlegel Administrative Suites
Dallas, TX 75201
Fax Number: 214-953-1218Email Address: k.carpenter@dalsym.com
Volume One, “Organ Odyssey”
Page 34
Arriving and Departing the Meyerson Symphony Center
Buses- Please memorize bus numbers and be sure you know your bus driver!
Arrivals: Buses unloaded in front of the Meyerson Center on westbound Flora Street. After
students disembark, buses should proceed around the block and park along Leonard Street
north of Flora. *Please follow instructions from Symphony personnel.*
Departures: Buses remain parked on Leonard Street. Students are dismissed by school and
directed to their buses. Follow directions from Symphony personnel.
Cars and Vans- Cares and cans park in the Arts District Garage which is entered from Ross
Avenue between Leonard and Pearl Streets. Take ticket, (parking is $1.00 per hour), and
proceed to levels four through seven/ The Arts District Garage has an overhead clearance
of 7 feet. (On level 3 of the parking garage, there is a walk through into the lower level of
the Symphony Center.) After parking, take the Symphony Center elevators to the Lower
Lobby, assemble your group in the Lower Lobby, then take the stairs to Main Lobby. An
elevator is available for the physically challenged.
A Note to schools arriving in carpools: Please provide all of your drivers with a map and
clear instructions on where to park (Arts District Garage Only). Following identical routes is
recommended so that your group arrives at the Meyerson at approximately the same time.
Be sure all drivers and chaperones know to meet in the Lower Lobby. Please do not come
upstairs until your entire group has assembled.
DIRECTIONS TO THE MEYERSON SYMPHONY CENTER
From Southbound I-35E Stemmons, east on Woodall Rodgers Freeway (exit marked to
Houston, I-45 and US-75), exit at Pearl Street, bear to the left when ramp divides. Take
Pearl Street to Ross Avenue (two blocks), turn left onto Ross.
From Northbound I-35 Stemmons, east on Woodall Rodgers Freeway (exit marked to
Sherman I-45 and US-75), exit at Pearl Street, bear to the left when ramp divides. Take
Pearl Street to Ross Avenue (two blocks), turn left onto Ross.
From Central (US-75), I-30 or I-45, west on Woodall Rodgers (366), exit at St. Paul (exit
curves left), turn left onto Woodall Rodgers access road, cross Olive Street and turn right
onto Pearl Street. Go 2 blocks to Ross Avenue and turn left.
From downtown or East Dallas, north on Pearl Street, turn right onto Ross Avenue.
From the Dallas North Tollway, south on the Tollway, after the main toll plaza, stay in the
left lane and take the Hines Blvd. exit on the left towards downtown. Continue to follow
signs downtown, Pearl Street and the Arts District. Turn slightly left to access Pearl
Street, the stay on Pearl to Ross Ave. Turn left on Ross.
Then, from all directions, buses go two blocks to Leonard Street, turn left, go one block to
Flora Street, turn left again and pull up to the Meyerson entrance. Cars turn left into the
Arts District Garage from Ross Avenue and the green awning.
Page 35
Volume One, “Organ Odyssey”
Meyerson Area Map
Volume One, “Organ Odyssey”
Page 36
About the Morton H. Meyerson Center
One of the world’s greatest concert halls, the Meyerson Symphony Center was made
possible through the efforts of the citizens of Dallas. Over 10 years were spent in the
planning and construction of the Meyerson, which opened on September 6, 1989.
World-renown architect I.M. Pei was chose to design the building, working closely with
acoustician Russel Johnson. Pei’s design combines basic geometric shapes, with a rectangle
(the concert hall) set an angle within a square (the outer walls). Segments of circles also
enclose the building.
In the concert hall, every detail was designed to make the sound or acoustics as perfect as
possible for orchestral music. For example, the heating and air conditioning system is
located separately so that no vibrations from the machinery can be felt in the concert hall.
Acoustical features include:
The canopy over the stage which can be raised and lowered to enhance the
sound
Double sets of doors at all entrances
Terrazzo and concrete floors
Mohair fabric on the seats
Walls covered with African cherrywood
Sound-absorbing curtains which can be drawn over the walls
A reverberation chamber with 72 acoustical doors used to “tune” the hall.
Fun Facts about the Meyerson!
The Meyerson Symphony Center has:
2,056 seats
30,000 sq. ft. of Italian travertine marble
22,000 limestone blocks from Indiana
35,130 cubic yards of concrete
918 panels of African cherrywood around the concert hall
216 panels of American cherrywood around the stage
62 acoustical curtains
4 canopies with a combined weight of 42 tons
72 concrete acoustical doors, each weighing 2.5 tons
50 bathrooms
An 85 foot high ceiling in the concert hall
A 40 foot hollow area under the stage to increase resonance
An organ with 4 keyboards, 61 keys, 32 pedals, 84 ranks, 65 stops and 4,535
pipes.
Page 37
Volume One, “Organ Odyssey”
Additional Resources for Teachers
Books – visit Amazon.com to find a large range of music related media, including:
Apel, Willi. Harvard Dictionary of Music. Harvard University Press, 1967.
Barber, Nocola. The World of Music, Silver Burdett Press, 1995.
Blackwood, Alan. The Orchestra; An Introduction to the World of Classical Music. A Quarto
Book: Milwood Press, 1993.
Cutler, Jane. The Cello of Mr. O. Dutton Children’s Books, 1999.
Hays, Ann. Meet the Orchestra, Gulliver Books, Hartcourt Brace Jovanovich, 1991.
Hoffer, Charles. Concise Introduction to Music Listening. Wadsworth Publishing Company,
1984.
Koscielniak, Bruce. The Story of the Orchestra. Houghton Mifflin Co., 2000.
Kruckenberg, Sven. The Symphony Orchestra and its Instruments. Crescent Books, 1993.
Moss, Llyod. Zin! Zin! Zin! A Violin. Simon & Schuester, 1995.
Nye, Robert & Bergethon, B. Basic Music. Prentice Hall, Inc,. 1983.
Van der Meer & Berkley, Michale. The Music Pack. Alfred A. Knopf, Publisher, 1994.
Recordings
Recordings of much of the repertoire featured on Dallas Symphony Orchestra Youth
Concerts are included in many music curriculums. Please check with your school’s music
teacher or media specialist. Tower Records, Border’s, Barnes & Nobles, and Amazon.com
carry a wide selection of orchestral recordings.
Video
The Dallas Symphony Orchestra’s television series for children, Amazing Music, features
Music Director Andrew Litton as your guide to “Emotions in Music”, “Pictures in
Music,”Families of the Orchestra” and “Jazz.” (See page 41 for an order form.)
Movies
“Music of the Heart” with Meryl Streep-Miramax, rated PG, 124 minutes
“Small Wonders”: documentary: Miramax, rated G, 77 minutes.
Classroom Materials Sources for pictures and instruemtns, books, audio and videotapes:
DSO Symphony Store; call 214-871-4066 for information
Friendship House; call 1-800-791-9876 for a free catalog or visit
http://www.friendship.com/
Music Educators National Conference (MENC); Call 1-800-828-0229 for a
free catalog or visit http://www.menc.org/
Music in Motion; Call 1-800-445-0649 for a free catalog or visit
http://www.musicmotion.com/
American String Teacher’s Association: Visit http://www.astaweb.com/
Online
www.DSOKids.com
The Dallas Symphony’s website for teachers and students
www.playmusic.org
A children’s website from the American Symphony Orchestra League
www.nyphilkids.org
The New York Philharmonic’s website for teachers and students
www.artsalive.ca
An education website sponsored by the National Arts Centre in
Canada
www.sfskids.org
The San Francisco Symphony’s educational website for children.
Volume One, “Organ Odyssey”
Page 38
Amazing Music Videos!
The Dallas Symphony Orchestra’s Amazing Music concerts are the perfect introduction to
the orchestra, featuring fast-paced explorations led Music Director Andrew Litton. Litton,
who was inspired to become a conductor by Leonard Bernstein’s Young People’s Concerts, is a
strong advocate for music education as well as a charming host for the concerts.
Designed to be educational as well as entertaining, Amazing Music programs are a natural
for the classroom, especially in the light of current research that validates music as an
effective teaching tool. Therefore, the Dallas Symphony Orchestra has developed
Classroom Editions of Amazing Music for the educational market, supplementing a special
time-coded version of each video with a booklet containing lesson plans developed by
educators. The activities support in-school use of the programs with curriculum that
integrates music with other classroom subjects. The Dallas Symphony Orchestra’s Amazing
Music programs have been broadcast on A&E and PBS.
Order Form
Name
Address
City
State
Zip
Telephone (daytime)
(evening)
Please send me the following “Classroom Editions”
Number of Videos
Volume 1, Emotions in Music
Volume 2, Pictures in Music
Volume 3, Families of the Orchestra
Volume 4, Jazz
Total number of Classroom Editions
x $40.00=
Texas residents add 8.25% sales tax
x .0825
(Tax exempt? Please include a copy of your tax exempt certificate)
Shipping:
1-3 Classroom Editions
+ $6.50=
4+ Classroom Editions
+$8.50=
Total:
$
□Enclosed is a check payable to Dallas Symphony Orchestra
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Mail form to Dallas Symphony Orchestra Store, 2301 Flora St., Suite 300, Dallas, TX 75201.
Fax to: 214-871-4505 Attn: Symphony Store
Page 39
Volume One, “Organ Odyssey”
Thanks!
The Dallas Symphony Orchestra gratefully acknowledges the following contributors who
support the Youth Concert Series and Education Outreach programs
Ida M. Green Youth Concert Series
Cecil and Ida Green Foundation
Bank of America
Brinker International
ExxonMobil Corporation
Harry W. Bass Foundation
Texas Commission on the Arts
Sprint Foundation
Endowed Ida M. Green Youth
Concerts
Carl and Susan Summers Foundation
Dr. Anson L. Clark Endowment Fund
The Meadows Foundation
Meyerson Family Charitable Trust
Anne J. Stewart
Special Students at the Symphony
Junior Symphony Ball
Symphony YES
Citi
DSOKids.com
Citi
Verizon Foundation
Young Strings
Anonymous (1)
Dean Foods
Duda Foundation
EDS Foundation
Fossil, Inc.
The Hearst Foundation
Philip R. Jonsson Endowment
Youth Education
ACS
David Crowley Foundation
Harold Simmons Foundation
Hawn Foundation
Kraft Foods
Nordstrom
Potts and Sibley Foundation
TACA
Wachovia Foundation
A big round of applause to the Dallas Symphony Orchestra League Volunteers
who so graciously serve as ushers for Youth Concerts.
Volume One, “Organ Odyssey”
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