2015-2016 Young People’s Concert Series
Presents
YPC 1 -
Peter AND THE Wolf
Teacher’s Guide
Presented in Partnership with the Tobin Center for the Performing Arts
October 14, 27 & 28, 2015, 9:45 am
11:10 am
H-E-B Performance Hall at the Tobin Center for the Performing Arts
Young People’s Concerts Presenting Partner
Young People’s Concerts Major Funders and Supporters
Mr. and Mrs. Buddy Gardner Alfred S. Gage Foundation Ewing Halsell Endowment Fund of the SAAF Saint Susie Charitable Foundation Ann and Gordon Getty Foundation Martha Mares Lebo Children’s Education Fund of the SAAF Howard and Betty Halff Fund of the SAAF Minnie Stevens Piper Foundation Carol Lee Jones Education & Cultural Fund of the SAAF David and Betty Sacks Charitable Trust Louis J. and Millie M. Kocurek Charitable Foundation Louis H. and Mary Patricia Stumberg Foundation Tuesday Musical Club 2015-2016 Young People’s Concert Series
Peter
AND THE
Wolf
Table of Contents
YPC ATTENDANCE GUIDELINES FOR TEACHERS (1 page) CONCERT PROGRAM (1 page) COMPOSER BIOGRAPHIES AND QUIZZES Gioachino Rossini (1 page) Rossini Biography Quiz (1 page) Sergei Prokofiev (1 page) Prokofiev Biography Quiz (1 page) Answer Key to Biography Quizzes (1 page) CONDUCTOR BIOGRAPHY Akiko Fujimoto, Associate Conductor (1 page) REPERTOIRE EXPLORATION The Barber of Seville Overture (1 page) The Music to Peter and the Wolf (3 pages) CO‐CURRICULAR ACTIVITIES Peter and the Wolf Reading Activity Lesson & TEKS (3 pages) The Story of Peter and the Wolf ‐ Reading Excerpt (2 pages) Peter and the Wolf Story Exploration (6 pages) Section 1 – Reading Comprehension Section 2 – Story Elements Section 3 – Plot Sequencing Section 4 – Critical Thinking Section 5 – Sensory Language Section 6 – Writing Activity Story Exploration Activity Answer Key (3 pages) CLASSROOM ACTIVITIES FOR CONCERT PREPARATION Concert Etiquette Activity (2 pages) Orchestra Map Worksheet (1 page) ADDITIONAL RESOURCES Four Families of the Orchestra (1 page) Introduction to Instrument Families (2 pages) Web‐based Educational Resources (1 page) 4 5 6 7 8 9 10 11 12 13‐15 16‐18 19‐20 21‐26 21 21‐22 23 24 25‐26 26 27‐29 30‐31 32 33 34‐35 36 YPC Attendance Guidelines
Before the Concert: ♪
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Please prepare students for the concert using these Teacher’s Guide materials.
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Before leaving school, please allow time for students to visit the restroom if at all possible.
You will receive an electronic “ticket” message via email approx. 1‐2 weeks before the concert.
Students should be briefed on concert etiquette in advance (see concert etiquette activity).
Please contact Jeremy Brimhall at (210) 554‐1006 at least ONE WEEK before the concert if you have any students that require special accommodations.
Day of the Concert (please read carefully!): Clearly mark buses or cars for quick identification and memorize bus numbers.
Know your lead bus driver’s name and be sure you can recognize him/her. TIP: exchange cell numbers!
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If possible, plan to arrive at the Tobin Center at least 30 minutes before the concert time.
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Busses for the 9:45 am performance should approach the Tobin Center from 4th STREET and turn onto AUDITORIUM CIRCLE for drop off onto the main Performing Arts Plaza. ♪
Busses for the 11:10 am performance should approach the Tobin Center from NAVARRO STREET and turn onto AUDITORIUM CIRCLE for drop off in front of the West Doors. ♪
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There is a designated parking area for concert attendees not arriving by bus.
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The use of cameras and recorders is prohibited; please turn off your cell phones.
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Please remain in your seats until your school is dismissed.
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Please fill out the YPC online evaluation (to be sent by email following each concert) For any last‐minute problems or questions please call: Jeremy Brimhall, Director of Education, on his cell phone at (210) 441‐2858 Upon Arrival at the Tobin Center For maps and bus plans, please visit http://sasymphony.org/education/teacherslounge/
Check‐in with a volunteer outside the building. The volunteer will guide you to your entrance.
All students should be in their seats at least five minutes before the start of the program!
No food or drink, including chewing gum is permitted in the concert hall.
During the Concert Students and teachers should remain in their seats for the entire concert.
Restrooms are located on select levels only and should be used for urgent need only.
If a student must visit the restroom, please have an adult accompany him or her.
Students not maintaining acceptable behavior may be asked to leave.
After the Concert It may be that you will NOT be exiting the same doors as those you entered.
Upon dismissal, listen carefully and follow instructions for departing the building.
Back At School Student letters/artwork expressing reactions to the concert are greatly appreciated. Send Any Young People’s Concert related student work or Teacher evaluations to: Education San Antonio Symphony Orchestra PO Box 658 San Antonio, TX 78293‐0658 Fax: 210‐554‐1008 Email: brimhallj@sasymphony.org 4
2015-2016 Young People’s Concert Series
Peter
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Wolf
Concert Program
Gioachino Rossini (1792-1868)
Overture to The Barber of Seville Sergei Prokofiev (1891-1953)
Peter and the Wolf, A Musical Tale for Children, Op. 67 H-E-B Performance Hall
at the Tobin Center for the Performing Arts What can I expect at the concert? As you get to your seat in the Tobin Center, the orchestra will be warming up on stage. See if you can answer the trivia questions on the screen while you wait for the concert to start. When the lights dim, that’s your cue that it’s time to quiet down. Applaud for the concertmaster (the head violinist) and the conductor as they come on stage! The orchestra will perform Rossini’s The Barber of Seville Overture first. It’s about eight minutes long. The beginning is slow but has lots of loud moments that might make you jump. Then comes the faster section, the “Allegro.” You might recognize some of this music from an old cartoon called Rabbit of Seville, with Bugs Bunny and Elmer Fudd. Then it’s time for Peter and the Wolf. This piece is 25 minutes long but has a story to go with it. A narrator will read the story to you while you listen to the orchestra and learn about the instruments. Finally, it’ll be time to go! But you’ll need to wait in your seat until your teacher says it’s time. Listen up and have a good time! 5
2015-2016 Young People’s Concert Series
YPC 1-Peter AND THE
Wolf
Gioachino Rossini, Composer
Gioachino [joh – AH – key – no] Rossini was a famous Italian opera composer of the early 1800s. Having been born to a horn player and a singer, Rossini grew up with music all around him. By the time he was six, he was playing the triangle in his father’s musical group. He later learned to sing and to play the harpsichord, piano, French horn and cello. While training to be a blacksmith, Rossini continued with music lessons and was composing at least as early as age 12. After writing his first opera, 14‐year‐
old Rossini was admitted to the Conservatory of Music in Bologna where he studied the cello and composition. There he became known as “il Tedeschino” or “the Little German” because of his love for the music of Austro‐German composers Haydn and Mozart. Rossini wasted no time in making a name for himself and began turning out opera after opera. By the end of his 20th year, eight of his operas had been premiered in auditoriums in several of the major cities of northern Italy, including in Milan, Venice and Bologna! Rossini showed particular charm for a type of opera called “opera buffa,” or “comic opera,” and Italians quickly fell in love with his music and his melodies. With his fame on the rise, Rossini landed an important contract as music director of two theatres in the southern city of Naples, for which he wrote many operas over the following years. His crowning achievement came in 1816 with the international success of The Barber of Seville, a two‐and‐a‐half‐hour opera that he supposedly composed in just 12 days. Rossini later moved to Vienna, where he famously met Beethoven. By then Beethoven was deaf, but he communicated to Rossini in writing: "Ah, Rossini. So you're the composer of The Barber of Seville. I congratulate you. It will be played as long as Italian opera exists.” Rossini later travelled to Britain before settling in Paris, France, where he wrote several operas to French librettos – with lyrics and text in French. Among these was another of his most famous works, Guillaume Tell (William Tell), which would be the last of his 38 operas. Although he lived for another 36 years, Rossini basically retired from composing after 1832. Unlike many composers, his music was enormously popular during his lifetime, and he became a fairly rich man for it. Today his operas continue to draw audiences around the world, and his opera overtures are a common opener to symphonic performances. Composer Stats: Rossini
Born: Feb. 29, 1792 (223 years ago)
Died: Nov. 13, 1868 (147 years ago)
Nationality: Italian
Mostly lived in: Paris, France
Famous works: Guillaume Tell,
The Barber of Seville, Cinderella,
The Italian Girl in Algiers, The
Silken Ladder, Tancredi, Otello
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Name ___________
Peter AND THE Wolf
Rossini Biography Quiz
Instructions: Your teacher will hand out a sheet with a brief biography of composer Gioachino Rossini. Read the biography carefully and then answer the questions below. 1. Which of the following is NOT a famous work by Gioachino Rossini? a. The Barber of Seville. b. Guillaume Tell. c. Madame Butterfly. d. Tancredi. 2. From the biography, who would you say most encouraged Rossini to learn music? a. Beethoven. b. Napoleon. c. his parents. d. William Tell. 3. Where did Rossini go to study music? a. Bologna Conservatory. b. Paris Conservatory. c. Naples University. d. Academy of Vienna. 4. Rossini was called “the Little German” in Bologna because ____________ . a. he loved the music of Mozart and Haydn. b. he liked to eat sauerkraut. c. he composed operas in German. d. he was short and had a German grandfather. 5. Which of the following is a TRUE statement? a. Rossini always had little money and was very poor in his later life. b. Rossini hated Mozart’s music. c. Rossini continued composing right up until his death. d. Rossini learned to play the cello. 6. Which of Rossini’s operas did Beethoven congratulate him for? a. The Barber of Seville. b. The Silken Ladder. c. Guillaume Tell. d. Tancredi. 7. What sort of popularity did Rossini enjoy during his lifetime? a. He was relatively unknown as a composer. b. He had only a small group of admirers. c. His fame was limited to northern Italy and France. d. He became known throughout the world for his operas. 8. What type of opera was Rossini particularly successful with? a. Grand opera. b. Opera buffa. c. Opera seria. d. Zarzuela. 9. Apart from Italian operas, Rossini also wrote operas to librettos in which other language? a. German. b. English. c. French. d. Swahili. 10. Although he lived most of his life in Paris, France, Rossini was originally from _____ . a. Italy. b. Canada. c. Switzerland. d. Austria. 7
2015-2016 Young People’s Concert Series
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Sergei Prokofiev, Composer
Sergei Prokofiev was born during the last years of the Russian Empire in what is now the region of Donetsk, Ukraine. His mother was a talented pianist, and Prokofiev often watched and heard her play as a young boy. By age 5, he was playing the piano himself and beginning to compose short pieces of music. In 1902, Sergei’s mother arranged for Reinhold Glière to teach Sergei at their country home during the summer. Glière was a talented young musician and a gold medal winner in composition from the Moscow Conservatory of Music. Two years later, at age 13, young Sergei was accepted into the St. Petersburg Conservatory. There he studied piano, composition, conducting and later organ while receiving growing praise for his many original works. In 1914, he won a piano competition with a performance of his own First Piano Concerto. Prokofiev stayed at the Conservatory during World War I to avoid being sent off to war, but soon found success with his Scythian Suite, First Symphony, First Violin Concerto and music for a ballet called Chout (“The Fool”). His music to Chout attracted the attention of two older famous composers, Igor Stravinsky and Maurice Ravel, who praised Prokofiev for it. The new communist government in Russia and an ongoing civil war hindered his creative expression, however, and Prokofiev decided to leave for America in 1918. There he was commissioned to write an opera for the Chicago Opera, The Love for Three Oranges, which he first conducted there in 1921. He later moved to Germany where he married a Spanish singer, Carolina Codina, and then to France while continuing to find success as a composer and a concert pianist. Prokofiev eventually returned to Russia, settling his family in Moscow. In the following years before and during World War II and leading up to his death in 1953, he wrote many of his most famous works. These include Peter and the Wolf for orchestra and narrator, ballet music to Cinderella and Romeo and Juliet, and his last three symphonies among many others. Today Prokofiev is regarded as one of the most important and influential composers of the 20th century. Composer Stats: Prokofiev
Born: April 23, 1891 (124 years ago)
Died: March 5, 1953 (62 years ago)
Nationality: Russian
Mostly lived in: Moscow, Russia
Famous works: Lieutenant Kijé,
Peter and the Wolf, Scythian Suite,
The Love for Three Oranges,
Romeo and Juliet, Symphony No. 5
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Name ___________
Peter
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Prokofiev Biography Quiz
Instructions: Your teacher will hand out a sheet with a brief biography of composer Sergei Prokofiev. Read the biography carefully and then answer the questions below. 1. Which of the following is NOT a famous 6. Which important composers were work by Sergei Prokofiev? impressed with his music to Chout? a. The Love for Three Oranges. a. Stravinsky and Rachmaninov. b. The Rake’s Progress. b. Debussy and Ravel. c. Debussy and Rachmaninov. c. Lieutenant Kijé. d. Stravinsky and Ravel. d. Romeo and Juliet. 7. Which of the following is NOT the name 2. Who encouraged Prokofiev to take of a Prokofiev ballet? music lessons as a child? a. his mother. a. Cinderella. b. Igor Stravinsky. b. Romeo and Juliet. c. Billy the Kid. c. Maurice Ravel. d. Chout. d. Carolina Codina. 8. Which famous work for orchestra and 3. Where did Prokofiev go to study music? narrator did Prokofiev write? a. Moscow Conservatory. a. Lincoln Portrait. b. Paris Conservatory. b. Peter and the Wolf. c. Chicago University. c. The Composer is Dead. d. St. Petersburg Conservatory. d. Young Person’s Guide to the Orchestra. 4. Prokofiev had the opportunity to study with which composer as a young man? a. Maurice Ravel. 9. Prokofiev lived during which World b. Sergei Rachmaninov. Wars? c. Reinhold Glière. a. World War I. d. Igor Stravinsky. b. World War II. c. both W.W. I and W.W. II. 5. Which was a reason for Prokofiev to d. he was not alive during either leave Russia for America in 1918? World War. a. ongoing civil war in Russia. b. an invasion from Finland. 10. Which is the name of an opera by c. poor reception for his music. Prokofiev? d. a warrant for his arrest. a. Madame Butterfly. b. Boris Godunov. c. The Love for Three Oranges. d. The Tale of Tsar Saltan. 9
2015-2016 Young People’s Concert Series
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Answer Key to Biography Quizzes
Gioachino Rossini
1. c. 2. c. 3. a. 4. a. 5. d. 6. a. 7. d. 8. b. 9. c. 10. a. Sergei Prokofiev
1. b. 2. a. 3. d. 4. c. 5. a. 6. d. 7. c. 8. b. 9. c. 10. c. 10
2015-2016 Young People’s Concert Series
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Akiko Fujimoto, Associate Conductor
Akiko Fujimoto is the Associate Conductor of the San
Antonio Symphony, where she conducts over 40 concerts
annually including classical, baroque, ballet, pops, and
education concerts and leads pre-concert lectures for the
Classics series. Previously, Fujimoto was the Conducting
Associate for the Virginia Symphony Orchestra where she
made her debut on their Classics series conducting the
world premiere of Behzad Ranjbaran’s Double Concerto for
Violin, Viola and Orchestra.
A passionate advocate for young musicians, Fujimoto has
served as the music director of orchestras at Harvard
University, Stanford University and the College of William
& Mary.
She was also the Music Director of the
Williamsburg Youth Orchestras in Virginia.
Outside of the U.S., Fujimoto conducted the National Arts
Center Orchestra in Canada as part of their Young
Conductors Programme, as well as the BBC Scottish Symphony Orchestra as part of St. Magnus Festival’s
Orkney Conducting Institute. She also recently attended the Conductors Lab® in France and conducted
members of the Berlin Philharmonic.
Born in Japan, Fujimoto graduated from Stanford University with a Bachelor of Arts in Music and
Psychology and holds graduate degrees in conducting from the Boston University and the Eastman
School of Music.
What is a conductor?
A conductor is a musician who leads other musicians in a performance by using visible gestures with her body. Conductors will often use a baton – a short wooden stick – to help clearly mark the beats. Conductors do a lot more however than direct musical performances. They spend a lot of time studying scores – books of music for large compositions like symphonies – and getting to know the pieces they conduct. Conductors also lead rehearsals – this means that they get to make all the decisions about how a piece of music should sound and how it should be played – in terms of tempo, dynamics, balance and many other factors. Conductors use 11
their knowledge and tastes to interpret and a piece of music for the audience. 2015-2016 Young People’s Concert Series
Peter AND THE Wolf
The Barber of Seville
Overture
The Opera
Rossini’s Il barbiere di Siviglia (The Barber of Seville) is arguably his most What is Opera?
famous opera and the greatest achievement of his artistic life. The Simply put, opera is a story told through music. composer probably found the idea for the opera in his love for the works You could say that opera is like a play where all the lines are sung and with music in the of Mozart. Three decades earlier, Mozart had written his famous Le nozze background. The word opera comes from di Figaro (The Marriage of Figaro) based on the comedy play by the French Italian and is actually the plural form of the playwright Pierre Beaumarchais. But The Marriage of Figaro was the word opus, which refers to a single work or second play in a trilogy, a sequel to an earlier play called The Barber of composition. This is because operas often have many parts and several elements that go into Seville. With a libretto (the set of lyrics to an opera) written by Cesare them. In fact, operas combines many art forms: Sterbini, Rossini’s opera follows the character Figaro’s adventures in the instrumental and vocal music, theatre, stage first play of Beaumarchais’s trilogy. Figaro is an ordinary barber in the city scenery, costuming and often dance as well. Operas are usually divided into acts and of Seville, Spain, who comes up with all sorts of funny plans to help the rich numbers. If you were to compare an opera to Count Almaviva get close to his true love, Rosina. But the lovely Rosina is a TV series, acts are like seasons of the show rarely let out of the house by her protective, old uncle Bartolo, who wants and numbers are like the episodes or chapters to control who she marries and also wants to get his hands on the in each season. Some operas are about an hour long while others last six hours! But most inheritance money left to her by her parents. Figaro becomes instrumental operas are two to three hours long. in helping the Count get around Bartolo to see Rosina. Both Italian and international audiences quickly fell in love with the story and the music. Today The Barber of Seville is the ninth most performed opera worldwide. The Overture
As was common in his day, Rossini had a habit of reusing melodies and even whole sections of his works from one piece to the next. He also had a habit of writing the main parts of an opera first and only then going back to write the opening orchestral piece, the overture. In the case of The Barber of Seville, Rossini ran out of time and decided to recycle the overture from an opera he had written two years earlier, Aureliano in Palmira. In fact, he had recycled the same overture once already for yet another opera! Since the other two operas are now so rarely performed, the overture lives on almost exclusively as that of The Barber of Seville. Many know it today for its Looney Tunes parody, Rabbit of Seville, which takes music from the overture to go with the antics of Bugs Bunny and Elmer Fudd. The overture lasts about eight minutes [YPC 1 playlist, track 1] and has two main sections, an opening “Andante sostenuto” (“Sustained, at a walking pace”), and the faster and easily recognizable “Allegro con brio” (“Quickly and lively”) [2:10]. Opera Stats: Barber of Seville
Composer: Gioachino Rossini
Librettist: Cesare Sterbini
Language: Italian Type: Opera buffa
Setting: Seville, Spain, 18th century
Premiered: Rome, Italy in 1816
Major Characters: Figaro (a barber),
Rosina (a beautiful woman), Bartolo
(Rosina’s guardian), Count Almaviva
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2015-2016 Young People’s Concert Series
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The Music to Peter and the Wolf
Over the last 80 years, Prokofiev’s Peter and the Wolf has introduced many millions of children to the instruments of the orchestra. The colorful nature of the music and timeless story have allowed it to endure for generations. Today, it is still among the most well‐known children’s piece for orchestra of all time. An already world‐famous composer by 1935, Prokofiev was living in Moscow, Russia with his wife Carolina and his two sons, ages 7 and 11. When he began to take his family to the Moscow Children’s Theatre to see plays and operas, the theatre director, Natalia Satz, took note of him. She was excited to have such a well‐known composer in the audience! Prokofiev kept coming to the theatre with his boys, and the next year, Satz offered to pay him to write a piece of music for the theatre. Her idea was for an orchestra piece that wouldn’t be too long and would introduce children to the instruments of the orchestra with the help of a story and narration. Prokofiev really liked the idea. After agreeing with Satz that most of the characters would be animals, he wrote both the music and the story to Peter and the Wolf for her in just four days. The work became an instant success in Russia after its first performance in 1936 and was soon translated into several languages for performances in other countries. Ten years later, it was even made into a movie by Walt Disney in America. Natalia Satz, who is credited
Since that time, many films and videos have recreated the work. It has also been adapted along with Prokofiev for the
for productions that include theatre and ballet an engaging ways to help tell the story. creation of Peter and the Wolf
Over 400 recordings have been made in more than a dozen languages. Today, it is probably the most identifiable children’s work for symphony orchestra. The story begins of course with a young boy named Peter. [To read the whole story, see “The Story of Peter and the Wolf” in this guide book]. Peter is probably between 8 and 12 years old; Prokofiev may have drawn inspiration for his character from his own young sons, Sviatoslav and Oleg. Peter lives with his grandfather in a house next to a meadow and a forest. The house and its garden are surrounded by a stone wall, but a gate opens out to the meadow, where Peter likes to play. This is exactly where Peter goes at the beginning of the story – out to the meadow “early one morning.” In the music, Peter’s character is a theme played by the strings: violins, violas and cellos [YPC 1 playlist, track 17]. The dotted rhythms and variety of articulation (alternating short and long notes) in Peter’s melody might give the sense that he is skipping his feet as he goes out happily into the meadow. Prokofiev marks Peter’s melody “Andantino,” meaning that the music should be violin played slightly faster than a walking pace. viola cello 13
The bird in the story is played by the flute. Flutes are often used to represent birds in orchestral music because their high and pure tones can easily be made to sound like birdsong. In this high and somewhat shrill melody, Prokofiev also asked the flute to play many grace notes ‐ notes played very closely together. The flute’s grace notes clearly imitate the chirping sound of a bird [track 18]. Prokofiev also vividly portrays the flapping and fluttering of the bird’s wings in quickly moving 16th notes that follow. The bird’s theme is marked “Allegro,” meaning “quickly.” flute Another woodwind instrument called the oboe plays the duck. The oboe has a richer, more nasal sound than the flute which matches the duck’s quacking voice perfectly. The notes of the duck’s melody move up and down gently, as is the duck is bobbing up and down in the pond’s water [track 19]. oboe Have you ever seen a cat try to sneak up on a bird or a mouse? Cats are sneaky when they want to be, and Prokofiev does a beautiful job of showing us this in the music. Here the cat is slinking “on velvet paws” through the grass, trying to get the bird. Prokofiev uses the low sounds of the clarinet at a measured pace to give us a musical picture of the cat sneaking carefully through the grass [track 20]. clarinet In the story, we learn that Peter has a problem obeying his grandfather, and his grandfather is not happy about it. He’s not happy at all, in fact. Represented by the deep, reedy sounds of the bassoon, Peter’s grandfather scolds him sternly for going out into the meadow. The repeated notes in the melody seem to demand an answer to Grandfather’s questions: “What if a wolf comes out of the woods? What would you do then?” But no answer comes. Muttering to himself (with a harumphff and a garumphff), Grandfather leads Peter by the hand back out of the meadow. Prokofiev asks for this part to be played “pesante” or “heavily,” and also more slowly in order to show the stern, punishing steps of the Grandfather [track 21]. bassoon Three horns announce the arrival of the wolf to the story. The modern horn or French horn developed from primitive hunting horns that horseman would use to call the hounds while out on a hunt. Because of 14
this history, the horn in the orchestra is often used by composers to symbolize hunting or hunters. Ironically, in this case it’s the wolf that’s the hunter, and he’s hunting for anything he can eat – the duck, the bird, the cat, … or even Peter, if he can get him! Prokofiev has the three horns play minor and diminished chords in close harmonies, giving the wolf an ominous sound that gets louder and louder as the shaggy animal comes out of the forest [track 24]. The horns are accompanied by tremolo strings and suspended cymbal. horns The real hunters in Prokofiev’s story are given more of a cartoonish character, reminiscent of Warner Brother’s Elmer Fudd from Looney Toons. The hunters come out of the woods to a silly‐sounding march played by the woodwinds first and then the brass. Part of the silliness comes from the plodding bass notes in the accompaniment of the lower strings, Instead of being separated by the interval of a perfect fourth, which would be common in a march (I‐V‐I‐V..), Prokofiev has the low strings play an augmented fourth, or a tritone, which along with the harmony sounds funny when added to the melody [track 34]. woodwinds and brass play the melody strings and percussion play accompaniment The guns of the hunters are played by the timpani drums and the bass drum. timpani Be sure to listen for all of these instruments and characters at the San Antonio Symphony Young People’s Concert! Great Resources for getting to know Peter
and the Wolf Instruments and Characters
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Brownell, D. & Conkle, N. (1992). Peter and the Wolf. Santa Barbara, CA: Bellerophon. Available ($4.95) from Music in Motion here: http://www.musicmotion.com/Childrens‐Classics/classics‐to‐color‐peter‐the‐wolf.asp ♪
Peter and the Wolf Activities and Bulletin Board (purchase and download individually or bundle for $11.50) See: https://www.teacherspayteachers.com/Product/Peter‐and‐the‐Wolf‐Activities‐and‐Bulletin‐Board‐BUNDLE‐1048210 15
2015-2016 Young People’s Concert Series
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Peter and the Wolf Reading Activity
Activity Summary:
Students will read a story (2 pages), participate in discussion and complete an activity worksheet.
Teaching Objective:
Students will become familiar with the story to Prokofiev’s Peter and the Wolf while developing their skills in reading comprehension, listening and sequencing as well as sensory language and writing skills. Preparatory Activities:
1. Explain to students that, in their upcoming field trip to a San Antonio Symphony Young People’s Concert, the orchestra will be performing a well‐known symphonic work for kids called Peter and the Wolf. Ask students (a) if any have heard of the work before, and (b) if any have actually heard the work performed or on a recording. If there are positive responses, allow students to briefly elaborate for the class. Inform students that while the orchestra performs Peter and the Wolf for them in the concert, a narrator will be telling the story to go with the music. 2. Ask students if they think knowing the story to Peter and the Wolf in advance would help them to enjoy the concert more when they go. Explain that documented evidence suggests concertgoers who know more about the works they will hear in advance tend to express a higher level of enjoyment in the concert. 3. Ask students if they would like to read the story of Peter and the Wolf in class. Teaching Sequence:
1. Hand out two‐sided copies or project “The Story of Peter and the Wolf” (on the following pages of this guide book) to the class. 16
2. Ask a student to read aloud the Introduction and a different student to read aloud each of the paragraphs of the story. This should be done with planned breaks: stop between each paragraph to challenge the class with questions, and allow students to ask questions of their own, too. (For example, after the first paragraph of the Story, ask, “Ok, so who are our characters in the story so far? What is the setting of the story?” etc.) Where appropriate, challenge students to answer and to ask questions about character relationships, plot, foreshadowing and sensory language. Culminating Activity:
Hand out two‐sided copies of the Peter and the Wolf Story Exploration worksheets from this guide book. There are six sections to the worksheets covered over six pages (3 sheets of paper if printed two‐sided). Have students complete all or any set of sections either together as a class, in small groups, individually, as a homework assignment, or as some combination of the above. Evaluation:
Did students become familiar with the story to Peter and the Wolf? Did students effectively practice reading comprehension and listening skills? Were students able to identify elements related to plot, setting, foreshadowing, character relationships and sensory language? Did students exhibit good writing skills, using appropriate story elements? Activity Connection to TEKS Objectives:
(b) Knowledge and Skills 3rd Grade – English Language Arts and Reading
(2) Reading/Beginning Reading/Strategies. Students comprehend a variety of texts drawing on useful strategies as
needed. Students are expected to: (B) ask relevant questions, seek clarification, and locate facts and details about
stories … and support answers with evidence from text;
(3) Reading/Fluency. Students read grade-level text with fluency and comprehension. Students are expected to read
aloud grade-level appropriate text with fluency (rate, accuracy, expression, appropriate phrasing) and comprehension.
(5) Reading/Comprehension of Literary Text/Theme and Genre. Students analyze, make inferences and draw
conclusions about theme and genre in different cultural, historical, and contemporary contexts and provide evidence
from the text to support their understanding. Students are expected to: (A) paraphrase the themes and supporting
details of fables, legends, myths, or stories;
(8) Reading/Comprehension of Literary Text/Fiction. Students understand, make inferences and draw conclusions
about the structure and elements of fiction and provide evidence from text to support their understanding. Students
are expected to: (A) sequence and summarize the plot's main events and explain their influence on future events; and
(B) describe the interaction of characters including their relationships and the changes they undergo;
(10) Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw
conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to
support their understanding. Students are expected to identify language that creates a graphic visual experience and
appeals to the senses.
(18) Writing/Literary Texts. Students write literary texts to express their ideas and feelings about real or imagined
people, events, and ideas. Students are expected to: (A) write imaginative stories that build the plot to a climax and
contain details about the characters and setting;
(29) Listening and Speaking/Listening. Students use comprehension skills to listen attentively to others in formal and
informal settings. Students continue to apply earlier standards with greater complexity. Students are expected to:
(A) listen attentively to speakers, ask relevant questions, and make pertinent comments;
17
4th Grade – English Language Arts and Reading
(1) Reading/Fluency. Students read grade-level text with fluency and comprehension. Students are expected to read
aloud grade-level stories with fluency (rate, accuracy, expression, appropriate phrasing) and comprehension.
(3) Reading/Comprehension of Literary Text/Theme and Genre. Students analyze, make inferences and draw
conclusions about theme and genre in different cultural, historical, and contemporary contexts and provide evidence
from the text to support their understanding. Students are expected to: (A) summarize and explain the lesson or
message of a work of fiction as its theme;
(6) Reading/Comprehension of Literary Text/Fiction. Students understand, make inferences and draw conclusions
about the structure and elements of fiction and provide evidence from text to support their understanding. Students
are expected to: (A) sequence and summarize the plot's main events and explain their influence on future events; and
(B) describe the interaction of characters including their relationships and the changes they undergo;
(8) Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw
conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to
support their understanding.
(16) Writing/Literary Texts. Students write literary texts to express their ideas and feelings about real or imagined
people, events, and ideas. Students are expected to: (A) write imaginative stories that build the plot to a climax and
contain details about the characters and setting;
(27) Listening and Speaking/Listening. Students use comprehension skills to listen attentively to others in formal and
informal settings. Students continue to apply earlier standards with greater complexity. Students are expected to:
(A) listen attentively to speakers, ask relevant questions, and make pertinent comments;
5th Grade – English Language Arts and Reading
(1) Reading/Fluency. Students read grade-level text with fluency and comprehension. Students are expected to read
aloud grade-level stories with fluency (rate, accuracy, expression, appropriate phrasing) and comprehension.
(6) Reading/Comprehension of Literary Text/Fiction. Students understand, make inferences and draw conclusions
about the structure and elements of fiction and provide evidence from text to support their understanding. Students
are expected to: (A) describe incidents that advance the story or novel, explaining how each incident gives rise to or
foreshadows future events;
(8) Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw
conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to
support their understanding.
(16) Writing/Literary Texts. Students write literary texts to express their ideas and feelings about real or imagined
people, events, and ideas. Students are expected to: (A) write imaginative stories that include: (i) a clearly defined
focus, plot, and point of view; (ii) a specific, believable setting created through the use of sensory details; and
(iii) dialogue that develops the story;
(27) Listening and Speaking/Listening. Students use comprehension skills to listen attentively to others in formal and
informal settings. Students continue to apply earlier standards with greater complexity.
18
2015-2016 Young People’s Concert Series
Peter
AND THE
Wolf
The Story of Peter and the Wolf
Introduction:
Below is the story of Peter and the Wolf, which was written as a narration to symphonic music for children in 1936 by composer Sergei Prokofiev. The text was originally written in Russian but has been translated into numerous languages, including English. Story:
Early one morning, Peter opened the garden gate and went out into the big green meadow. On a branch of a big tree sat a little bird, Peter’s friend. “All is quiet”, chirped the little bird happily. Just then, from behind Peter, a duck appeared, waddling from side to side. She was glad that Peter hadn’t closed the gate, and decided to take a nice swim in the deep pond in the meadow. When the little bird saw the duck, he flew down, settled in the grass beside the duck and shrugged his shoulders. “What kind of a bird are you if you can’t fly?” said the bird. To this, the duck replied: “What kind of a bird are you if you can’t swim?” and dove into the pond. They argued and argued, the duck swimming in the pond, and the little bird hopping along the shore. Suddenly something caught Peter’s attention: He noticed a cat, crawling through the grass. The cat thought to herself: “That little bird is busy arguing with the duck. I’ll just grab him.” Very carefully, she crept toward him on her little velvet paws…. “Look out!” shouted Peter, and in a flash, the bird fluttered up into the tree while the duck quacked angrily at the cat from the middle of the pond. The cat crawled around the tree and thought: “I wonder if it’s worth climbing up so high; by the time I get there, the bird will have flown away.” Suddenly, Grandfather came out. He was angry because Peter had gone into the meadow. “The meadow’s a dangerous place!” he cried. “What if a wolf comes out of the woods? What would you do then?” But Peter paid no attention to his grandfather’s words. Boys like him are not afraid of wolves. 19
Still, Grandfather took Peter by the hand, led him home, and locked the gate. No sooner they had gone inside, than a big, grey wolf came out of the forest. In a flash, the cat scampered up the tree. The duck quacked, and in her excitement, jumped out of the pond. But no matter how hard the duck tried to run, she couldn’t escape the wolf. He was getting nearer and nearer, catching up with her! Then, he grabbed her with his teeth and swallowed her with one, big gulp. And now, this is how things stood: The cat was sitting on a branch up in the tree, the bird on another branch… but not too close to the cat. And the wolf walked round and round the tree, looking at them both with greedy eyes. In the meantime, Peter, without the slightest fear, stood behind the closed gate watching all that was going on. He ran home, got a strong rope, and climbed up the high stone wall. One of the branches of the tree, around which the wolf was walking, stretched out over the wall. Grabbing hold of the branch, Peter lightly climbed over onto the tree. Peter said to the bird: “Fly down and circle around the wolf’s head, but make sure he doesn’t catch you!” The bird almost brushed the wolf’s head with his wings while the wolf snapped at him angrily from both sides. Oh, how the little bird teased the wolf! The wolf longed to catch him. But the bird was too clever and quick, and the wolf couldn’t do anything about it. Meanwhile, Peter made a loop with the rope. Carefully letting it down, he caught the wolf by the tail and pulled with all his might! Feeling himself caught, the wolf began to jump wildly trying to free himself. But Peter tied the other end of the rope to the tree, and the wolf’s jumping only made the rope tighter around his tail. Just then, some hunters came out of the woods, following the wolf’s trail and shooting as they came. But Peter called down from the tree: “Don’t shoot! Birdie and I have already caught the wolf. Now help us take him to the zoo, will you?” And so they started off to the zoo. Imagine the victory parade. Peter, of course, was in the lead. After him came the two Hunters leading the wolf. Winding up the procession were Grandfather and the Cat. Grandfather shook his head discontentedly: “This is all very well, but what if Peter hadn’t caught the wolf? What then?” Way up high above flew the bird, chirping merrily. “My, what a brave fellows we are, Peter and I. Look what we’ve caught…a big, bad wolf!” And if you listen very carefully, you can hear the duck quacking inside the wolf’s belly, because the wolf, in his hurry to eat her, had swallowed her alive! 20
Name ___________
Peter
AND THE
Wolf
Peter and the Wolf Story Exploration
Instructions: Complete the sections below after reading the story of Peter and the Wolf. You may need to refer back to the story to answer some of the questions. Section 1 – Reading Comprehension Instructions: Circle the best answer. 1. At the beginning of the story, the bird 4. What does the cat do when the wolf comes out of the forest? and the duck argue over _________ . a. He calls out for Peter’s help. a. the weather. b. who has the prettiest voice. b. He hides up in the tree. c. what a bird should be able to c. He attacks the wolf and traps him. do. d. He escape through the d. who is Peter’s best friend. meadow gate. 2. Which character would the cat like to 5. How does Peter get back into the catch? meadow? a. the duck. a. He steals the key to the gate. b. the bird. c. the wolf. b. He digs a tunnel under the wall. d. the sheep. c. He asks his Grandfather to go with him. 3. What does Peter’s grandfather think d. He climbs up the wall and into about him playing in the meadow? the tree. a. He’s happy Peter’s out of the house. 6. Which characters work together to b. He’s glad Peter is getting catch the wolf? exercise. a. Peter, the bird and the hunters. b. Grandfather and the cat. c. He’s afraid Peter will run away. d. He’s angry that Peter went out c. Grandfather and the hunters. to play alone. d. The bird and the duck. Section 2 – Story Elements Instructions: Read the definition of each story element and circle the best answer. 1. The setting of a story is the time and location in which the story takes place. The setting of the Peter and the Wolf story is ____________ . a. a deep, dark forest at night. b. the zoo on a hot afternoon. c. a meadow next to Peter’s house in the morning. d. a wild west frontier town in the 1860s. 21
Section 2 (continued) – Story Elements 2. The protagonist is the main character and is often the “hero” of a story. The protagonist of the Peter and the Wolf story is _____________ . a. the lead hunter. b. Peter’s grandfather. c. the cat. d. Peter. 3. An antagonist is a character that opposes the desires of the protagonist. An antagonist is often a “villain” or “bad guy” but can also be any character that tries to stop the protagonist from achieving his or her goals. The main antagonist of the Peter and the Wolf story is _________________ . a. Peter. b. the wolf. c. the duck. d. Peter’s grandfather. 4. What other characters in the Peter and the Wolf story might be considered antagonists and why? Write your answer in complete sentences in the space below. ________________________________________________________________________
________________________________________________________________________ 5. Foreshadowing is when the writer of a story warns or hints at something that might be coming in the future. Which excerpt below represents an example of foreshadowing? a. On a branch of a big tree sat a little bird, Peter’s friend. “All is quiet”, chirped the little bird happily. Just then, from behind Peter, a duck appeared, waddling from side to side. She was glad that Peter hadn’t closed the gate, and decided to take a nice swim in the deep pond in the meadow…. b. When the little bird saw the duck, he flew down, settled in the grass beside the duck and shrugged his shoulders. “What kind of a bird are you if you can’t fly?” said the bird. To this, the duck replied: “What kind of a bird are you if you can’t swim?” and dove into the pond…. c. Suddenly, Grandfather came out. He was angry because Peter had gone into the meadow. “The meadow’s a dangerous place!” he cried. “What if a wolf comes out of the woods? What would you do then?” But Peter paid no attention to his grandfather’s words…. d. Just then, some hunters came out of the woods, following the wolf’s trail and shooting as they came. But Peter called down from the tree: “Don’t shoot! Birdie and I have already caught the wolf. Now help us take him to the zoo, will you?” And so they started off to the zoo…. 6. A moral is an important lesson that stories can teach us for everyday life. Stories can have just one moral or they can have several morals. Which answer below is an example of a moral that could be learned from the Peter and the Wolf story? a. If you want to stay out of trouble, obey your grandfather. b. Cats are mean creatures, but ducks are even meaner. c. Disobeying your grandfather always leads to success. d. Strangers can’t be trusted. 22
Name
___________
Section 3 – Plot Sequencing Introduction: The plot of a story can basically be defined as “what happens” in the story. Good writers structure the plot of their story into a sequence of events that build up to a climax. The climax is the part of the plot that is the “turning point.” It is the moment of highest tension in the story. Instructions: Below are excerpts from the story of Peter and the Wolf, but they are out of order. First, read through all of the excerpts. Then, on the lines provided, number the excerpts from 1 to 20 in order to show the correct plot sequencing. Finally, circle the excerpt that you think most closely identifies the climax of the story. ___ Still, Grandfather took Peter by the hand, led him home, and locked the gate. ___ Imagine the victory parade. Peter, of course, was in the lead. ___ Peter said to the bird: “Fly down and circle around the wolf’s head, but make sure he doesn’t catch you!” ___ Just then, from behind Peter, a duck appeared, waddling from side to side. ___ The cat crawled around the tree and thought: “I wonder if it’s worth climbing up so high; by the time I get there, the bird will have flown away.” ___ Just then, some hunters came out of the woods, following the wolf’s trail and shooting as they came. ___ Then, he grabbed her with his teeth and swallowed her with one, big gulp. ___ Early one morning, Peter opened the garden gate and went out into the big green meadow. ___ But Peter paid no attention to his grandfather’s words. Boys like him are not afraid of wolves. ___ And now, this is how things stood: The cat was sitting on a branch up in the tree, the bird on another branch… but not too close to the cat. ___ “Look out!” shouted Peter, and in a flash, the bird fluttered up into the tree while the duck quacked angrily at the cat from the middle of the pond. ___ When the little bird saw the duck, he flew down, settled in the grass beside the duck and shrugged his shoulders. “What kind of a bird are you if you can’t fly?” he said. ___ And if you listen very carefully, you can hear the duck quacking inside the wolf’s belly, because the wolf, in his hurry to eat her, had swallowed her alive! ___ But no matter how hard the duck tried to run, she couldn’t escape the wolf. ___ Feeling himself caught, the wolf began to jump wildly trying to free himself. ___ Way up high above flew the bird, chirping merrily. “My, what a brave fellows we are, Peter and I. Look what we’ve caught…a big, bad wolf!” ___ Peter ran home, got a strong rope, and climbed up the high stone wall. ___ Meanwhile, Peter made a loop with the rope. Carefully letting it down, he caught the wolf by the tail and pulled with all his might! ___ “Don’t shoot! Birdie and I have already caught the wolf. Now help us take him to the zoo, will you?” And so they started off to the zoo. ___ And the wolf walked round and round the tree, looking at them both with greedy eyes. ___ Winding up the procession were Grandfather and the Cat. 23
Section 4 – Critical Thinking Instructions: Read each question carefully and think about how best to answer. Write your answer in complete sentences on the lines provided. 1. In the story, which character or characters could be considered Peter’s friends, and why? ________________________________________________________________________
________________________________________________________________________ 2. Which characters might be thought of as Peter’s enemies, and why? ________________________________________________________________________
________________________________________________________________________ 3. Which characters are neutral – neither Peter’s friends nor his enemies, and why? ________________________________________________________________________
________________________________________________________________________ 4. Peter’s grandfather warns him about the wolf, but Peter still goes back into the meadow. Why? What would you do? ________________________________________________________________________
________________________________________________________________________ 5. In most stories, when a main character is warned not to do something, he or she gets in trouble for doing it again later. In this case however, Peter disobeys his grandfather but doesn’t seem to get into any trouble for it. In fact, he still succeeds in catching the wolf. Do you think it’s acceptable for the author to have written the story this way? Why or why not? Use evidence from the story to support your answer. ________________________________________________________________________
________________________________________________________________________ 6. Does the story have a happy ending, a sad ending, or some of both, and why? ________________________________________________________________________
________________________________________________________________________ 7. At the end of the story, the author writes: And if you listen very carefully, you can hear the duck quacking inside the wolf’s belly, because the wolf, in his hurry to eat her, had swallowed her alive! Why do you think the author included this sentence? ________________________________________________________________________
________________________________________________________________________ 8. Many children’s stories use symbolism, through which a story’s characters could be seen as symbols that represent real things or people. The author of the Peter and the Wolf story, Sergei Prokofiev, lived in Russia during a very difficult period, when Russian was being invaded by Nazi Germany in World War II. If the wolf is a symbol for the German invasion of Russia, who or what might Peter symbolize, and why? ________________________________________________________________________
________________________________________________________________________ ________________________________________________________________________ 24
Name
___________
Section 5 – Sensory Language Instructions: Part I. Read the introduction and the examples. Then follow the directions for each question below. Introduction: Authors often use sensory language in order to make their stories more realistic and descriptive. Sensory language refers to sensory words that appeal to the five sense, either sight, sound, taste, touch and smell, or some combination of senses. Sensory words help readers to better understand the author’s experience or imagination, and they can make a piece of writing a lot enjoyable to read. Below are two examples that appeal to specific senses. The sensory words have been underlined. Example – Sound Jack was stunned. His books fell to the ground in front of him with a loud, clattering thud. The glass jar of necklace beads slipped out of his right hand and smashed into a million pieces while the beads bounced down the hallway, rushing off in all directions like a waterfall. His mouth opened, but nothing came out except for a low, grating wail. The snickering of the students down by the lockers turned into cackles of laughter. Example ‐ Touch While the handle of the old sword in Trina’s hand was rough and scaly with crumbling rust, the blade’s steel was still smooth and cold to the touch. Strangely, it felt almost silky, like flower petals, as she carefully ran her fingertips along it. Moving closer to the razor‐sharp edge, she slowly set her finger on it, knowing that the slightest pressure would split her delicate skin as easily as a knife cuts into warm butter. Instructions: Part II. Now read the excerpts from Peter and the Wolf below. Write which sense or senses (sight, sound, smell, taste or touch) you think the author is trying to get you to tap into as your read. Then underline the sensory words and phrases. Sense(s): 1. “Look out!” shouted Peter, and in a flash, the bird fluttered up into the tree ______________
while the Duck quacked angrily at the cat from the middle of the pond. ______________ Sense(s): 2. Suddenly something caught Peter’s attention: He noticed a cat, crawling ______________
through the grass. … Very carefully, she crept toward him on her little velvet paws…. ______________ Sense(s): 3. In a flash, the cat scampered up the tree. ______________
______________ Sense(s): 4. The bird almost brushed the wolf’s head with his wings while the wolf ______________
snapped at him angrily from both sides. ______________ 25
Section 5 (continued) – Sensory Language Instructions: Part III. Read the examples below and examine how a sentence can be brought to life with sensory language. Example 1 – without sensory language Example 1 – with sensory language (sight) Just then, a big wolf came out of the forest. Just then, a whale‐sized wolf lumbered out of the forest, swaying side to side with hunger and casting a jagged, dark shadow before him under the rising sun. Example 2 – without sensory langauge Example 2 – with sensory language (smell) The pile of garbage smelled bad. A sickly stench of spoiled milk and rotten lunchmeat laced with a thousand other disgusting odors hung heavily in the air like an invisible cloud around the filthy trash heap. Instructions: Part III (continued). Now it’s your turn to be the writer! Read each example on the left, and then rewrite it using sensory language on the lines provided. Use your imagination to turn the sentence into something the reader can really relate to. Remember to capture the reader’s senses: sight, sound, smell, taste and touch. 5. example without sensory language
5. with sensory language (taste) The pizza tasted good. _______________________________________________
_______________________________________________
6. example without sensory language
6. with sensory language (touch) Jeff felt hot and sweaty after working _______________________________________________
outside in the sun. _______________________________________________
7. example without sensory language
7. with sensory language (sight) The sun went down behind the hills. _______________________________________________
_______________________________________________
8. example without sensory language
8. with sensory language (sound) Isabel’s sixth grade band played loudly. _______________________________________________
_______________________________________________
9. with sensory language (smell) 9. example without sensory language
The flower garden smelled nice. _______________________________________________
_______________________________________________
Section 6 – Writing Activity Instructions: On a sheet of lined paper, write a one‐page story with at least two characters. The characters can be animals or people. One character should be the protagonist (the “hero”), and at least one character should be an antagonist (someone opposed to the hero). The story can be about anything you want – use your imagination! Be sure to clearly establish the setting (the “where and when”) at the beginning of the story. Structure the plot (“what happens in the story”) as a sequence of events the build up to a climax (the “turning point” of the story). Don’t forget to use sensory language (words that appeal to the five sense) in order to catch your readers’ interest! 26
2015-2016 Young People’s Concert Series
Peter
AND THE
Wolf
Story
Exploration Activity Answer Key
Section 1 – Reading Comprehension
1. c. 2. b. 3. d. 4. b. 5. d. 6. a. Section 2 – Story Elements
1. c. 2. d. 3. b. 4. Peter’s grandfather and the cat could also be considered antagonists to the story since at times they present themselves in opposition to Peter’s best interests of that of his friends. 5. c. 6. a. 27
Section 3 – Plot Sequencing
7 18 13 2 5 16 9 1 6 10 4 3 21 8 15 20 12 14 17 11 19 Still, Grandfather took Peter by the hand, led him home, and locked the gate. Imagine the victory parade. Peter, of course, was in the lead. Peter said to the bird: “Fly down and circle around the wolf’s head, but make sure he doesn’t catch you!” Just then, from behind Peter, a duck appeared, waddling from side to side. The cat crawled around the tree and thought: “I wonder if it’s worth climbing up so high; by the time I get there, the bird will have flown away.” Just then, some hunters came out of the woods, following the wolf’s trail and shooting as they came. Then, he grabbed her with his teeth and swallowed her with one, big gulp. Early one morning, Peter opened the garden gate and went out into the big green meadow. But Peter paid no attention to his grandfather’s words. Boys like him are not afraid of wolves. And now, this is how things stood: The cat was sitting on a branch up in the tree, the bird on another branch… but not too close to the cat. “Look out!” shouted Peter, and in a flash, the bird fluttered up into the tree while the duck quacked angrily at the cat from the middle of the pond. When the little bird saw the duck, he flew down, settled in the grass beside the duck and shrugged his shoulders. “What kind of a bird are you if you can’t fly?” he said. And if you listen very carefully, you can hear the duck quacking inside the wolf’s belly, because the wolf, in his hurry to eat her, had swallowed her alive! But no matter how hard the duck tried to run, she couldn’t escape the wolf. Feeling himself caught, the wolf began to jump wildly trying to free himself. Way up high above flew the bird, chirping merrily. “My, what a brave fellows we are, Peter and I. Look what we’ve caught…a big, bad wolf!” Peter ran home, got a strong rope, and climbed up the high stone wall. Meanwhile, Peter made a loop with the rope. Carefully letting it down, he caught the wolf by the tail and pulled with all his might! “Don’t shoot! Birdie and I have already caught the wolf. Now help us take him to the zoo, will you?” And so they started off to the zoo. And the wolf walked round and round the tree, looking at them both with greedy eyes. Winding up the procession were Grandfather and the Cat. Section 4 – Critical Thinking
Note to Teacher: Many of these questions of course don’t necessarily have a right or wrong answer. After students have had a chance to think and write down their answers, go through the questions in class and ask some students to share their answers while encouraging discussion. The sample answers below could be read aloud to the class afterwards. 1. The bird and the hunters could best be considered to be Peter’s friends in the story. Unlike with the other characters, the bird and Peter share a dialogue. Peter tries to protect the bird from the cat, and the two work together to catch the wolf. The hunters are also Peter’s friends because they help him trap the wolf and take him to the zoo. 2. The wolf and to a lesser degree the cat might be considered to be Peter’s enemies in the story. The wolf proves a threat to everyone, but the cat is also a threat to Peter’s friend, the bird. 28
3. The duck and Peter’s grandfather might be considered neutral characters in the story. The duck is clearly not Peter’s enemy, but they also share no dialogue, and Peter is unable to protect the duck from the wolf. Peter’s grandfather presents himself to be in opposition to Peter’s desire to stay in the meadow, but in doing so, clearly has Peter’s safety and best interests at heart. 4. It is not entirely clear in the story, but Peter may have several reasons for going back into the meadow. Since he had already seen the wolf swallow the duck, he may have wanted to try to protect his friend the bird and maybe the cat too from also being eaten. Secondly, he may have been driven by a rash desire for approval from his grandfather, which perhaps he thought he could win if he succeeded in catching the wolf. He may have felt sorry for the duck and thus had some need to avenge his capture or a feeling that he couldn’t stand by after watching that happen. Finally, since Peter had already disobeyed in entering the meadow the first time, perhaps he’s the type of child that simply can’t accept being locked out and whose personality is stubborn enough that he felt compelled to show his grandfather that he could still get into the meadow anyway, even with the gate locked. 5. It may be considered acceptable because the grandfather still shows his disapproval for Peter’s actions at the end when he says, “This is all very well, but what if Peter hadn’t caught the wolf? What then?” On the other hand, the sequencing of the story might be considered unacceptable to some since a false moral could be interpreted: that it’s somehow ok to be disobedient if you can get away with it. 6. The ending is happy in that the wolf has been caught and everyone is united. It is also sad however, because there is no resolution for the duck, who is still in the wolf’s belly. 7. The author probably included this final statement about the duck to give hope that there might be some way to get the duck back out alive. Leaving a story with hanging possibilities like this one also inspires the reader or listener to continue thinking about it afterwards, which may have been the author’s intent. 8. In this case, Peter would symbolize Russia or the people of Russia, many of whom were willing to defend their territory at any cost. Section 5 – Sensory Language
Part II. Sense(s): sight, sound Sense(s): sight, touch
Sense(s): sight Sense(s): sight, touch 1. “Look out!” shouted Peter, and in a flash, the bird fluttered up into the tree while the Duck quacked angrily at the cat from the middle of the pond. 2. Suddenly something caught Peter’s attention: He noticed a cat, crawling through the grass. … Very carefully, she crept toward him on her little velvet paws…. 3. In a flash, the cat scampered up the tree. 4. The bird almost brushed the wolf’s head with his wings while the wolf snapped at him angrily from both sides. 29
2015-2016 Young People’s Concert Series
Peter
AND THE
Wolf
Concert Etiquette Activity
Teaching Objective:
Students will examine, discuss and practice appropriate concert behavior in different settings. Preparatory Activities:
1. Ask the students to list places or situations where they might be part of an audience. Solicit examples such as a rock concert, tennis match, football game, golf tournament, sitting at home watching television with the family. Create a list of answers where everyone can see them. 2. Discuss the way audience behavior in various settings would be different. Discuss how different venues or activities have different expectations for audience behavior. Discuss how an audience can positively or negatively affect the performer/athlete. Teaching Sequence:
1. Assign a group of two or more students to act out behavior that would occur at various venues at the front of the classroom. For example, have two students pretend to be playing tennis. 2. Instruct the rest of the class to pretend that they are the audience for the event being portrayed. Instruct the “audience” to show their appreciation for the performers/athletes pretending in front of the class. 3. Critique the “audience” behavior and discuss why certain behavior was appropriate or inappropriate for the situation. Talk about audience reactions such as applause, yelling or whistling and when it is appropriate or inappropriate. 4. Ask the performers to tell the class how the “audience” behavior affected their efforts. 30
Culminating Activity:
Talk to the students about the upcoming San Antonio Symphony concert. Discuss with them what they should expect to happen and how they can appropriately show their appreciation for the symphony. Evaluation:
Were students able to understand how and why audience behavior might be different in different settings and venues? Did they understand the importance of their role as an audience member? Activity TEKS objectives:
(b) Knowledge and Skills 3rd Grade – Music: (6) Response/evaluation. The student responds to and evaluates music and musical performance. The student is
expected to: (B) exhibit audience etiquette during live performances.
3rd Grade – Theatre: (2) Creative expression/performance. The student interprets characters, using the voice and body expressively,
and creates dramatizations. The student is expected to: (A) demonstrate safe use of movement and voice;
(B) participate in a variety of roles in real life and imaginative situations through narrative pantomime, dramatic
play, and story dramatization;
4th Grade – Music: (6) Response/evaluation. The student responds to and evaluates music and musical performance. The student is
expected to: (C) practice concert etiquette as an actively involved listener during live performances.
4th Grade – Theatre: (2) Creative expression/performance. The student interprets characters, using the voice and body expressively,
and creates dramatizations. The student is expected to: (A) demonstrate safe use of the voice and body;
(5) Response/evaluation. The student responds to and evaluates theatre and theatrical performances. The student
is expected to: (A) identify and apply appropriate audience behavior at performances;
5th Grade – Music: (6) Response/evaluation. The student responds to and evaluates music and musical performance. The student is
expected to: (C) exhibit concert etiquette as an actively involved listener during varied live performances. 5th Grade – Theatre: (1) Perception. The student develops concepts about self, human relationships, and the environment, using
elements of drama and conventions of theatre. The student is expected to: (F) portray environment,
characterization, and actions.
(5) Response/evaluation. The student responds to and evaluates theatre and theatrical performances. The student
is expected to: (A) analyze and apply appropriate audience behavior at a variety of performances;
31
2015-2016 Young People’s Concert Series
Orchestra Map Worksheet
Can you match each instrument with where they sit in the orchestra?
Draw lines to connect each instrument to their place in the orchestra. Use
RED for woodwinds, GREEN for strings, BLUE for percussion, ORANGE for
brass, and PURPLE for the conductor
Conductor
Percussion
Woodwinds
Brass
Strings
32
Four Families of an Orchestra
Woodwind Family
Brass Family
Clarinet
French Horn
Bassoon
Trumpet
Flute
Oboe
Trombone
Tuba
Percussion Family
String Family
Viola
Timpani
Violin
Bass Drum
Triangle
Harp
Cello
Bass
Snare Drum
Xylophone
33
2015-2016 Young People’s Concert Series
Peter
AND THE
Wolf
Instrument Families
The BRASS family is one of the oldest families of the orchestra and includes the trumpet, French horn, tuba, trombone, which are all made of brass! Sound is produced when a brass player buzzes his or her lips into a cup‐shaped mouthpiece to produce vibrating air. The vibrating air then travels through a long metal tube that modifies and amplifies the vibrations. In order to change pitch, brass players use two techniques. One is to change the speed that they buzz their lips. The other is to change the length of the tubing that they are blowing air through. They are able to change the length of tubing either by pressing a key to open a valve, as with a trumpet, or using a slide to physically increase or decrease the length of tubing, as with a trombone. Brass instruments have a very sweet and round sound. Then can also play very loudly and are often used in the most exciting parts of a piece. The Woodwind family includes the flute, clarinet, oboe and bassoon. This family produces sound by blowing a vibrating column of air inside some form of tube. In the past, woodwind instruments were all made out of wood, but now some instruments, such as the flute, are made out of metal. Woodwinds create the vibrating column of air in different ways. Flutes blow across the top of an open hole. Clarinets blow between a reed – usually a small, flat piece of bamboo – against a fixed surface. That is why clarinets are sometimes called “single‐reed” instruments. Bassoons and oboes blow between two reeds that vibrate against each other. That is why bassoons and oboes are sometimes called “double‐reed” instruments. Woodwinds usually change the pitch of their instruments by changing the length of the tube they are blowing the vibrating air through. They most often change the length by opening and closing holes using keys on their instruments. Woodwind instruments have very a beautiful, singing sound. They are often used to play solo parts during symphonies when their unique tonal qualities can be heard even if the entire orchestra is playing. 34
The String family is made up of the violin, viola, cello and bass. Instruments in this family produce sound by (you guessed it!) vibrating strings! The strings are vibrated in two ways. One way to produce vibrations is to use a bow made out horsehair stretched on a wood stick, to rub the strings and produce vibrations. The other way is to pluck the string, usually with the hand. This is called “Pizzicato.” String instruments change pitch by adjusting the length of the string. This is usually accomplished by putting fingers down at some point on the string to shorten the length of the vibrating string. String instruments have a very mellow, rich round. There are many string players in an orchestra because each instrument alone does not have a very loud sound compared to other instrument families. Often strings will play a beautiful melody, but sometimes the strings play the harmony parts. The Percussion family is probably the most varied family in the orchestra. Percussion instruments create sound by physically hitting, rubbing or shaking either a solid material, like a metal triangle, or a membrane, like the top of a snare drum. The membranes used to be made out of animal skins, but today most drums use a synthetic material. Only a few percussion instruments produce a specific pitch. Pitched percussion instruments that use a solid material, like a xylophone, change pitches by hitting different sized materials. Pitched percussion instruments that use a membrane, like a timpani, change pitch by changing the tension of the membrane. There are many different kinds of percussion instruments used in an orchestra, including the snare drum, maracas, and even sometimes even metal parts from a car! Percussion instruments produce many different types of sounds, but they are usually used in an orchestra to provide rhythm for the music. Often at the most exciting part of a piece there are many percussion instruments playing. 35
2015-2016 Young People’s Concert Series
Peter
AND THE
Wolf
Web-based Educational Resources
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MusicWeb International – a fun, reading introduction to Peter and the Wolf. http://www.musicweb‐international.com/Programme_Notes/prok_wolf.htm ♪
Bass Performance Hall – a Teacher’s Guide with activities for Peter and the Wolf. http://www.basshall.com/guides/Peter%20and%20the%20Wolf%20‐%20February%202015.pdf ♪
Boston Philharmonic ‐ a Teacher’s Guide with activities for Peter and the Wolf “at Fenway Park.” http://bostonphil.org/sites/default/files/Peter%20and%20Wolf%20Resource%20Guide.pdf ♪
Dallas Symphony Orchestra Kids (DSO Kids) – a Teacher’s Guide with activities for Peter and the Wolf. http://www.dsokids.com/media/21603/2015‐peter‐and‐the‐wolf‐teacher‐s‐guide.pdf See also: http://www.dsokids.com/ ♪
Music Center of L.A. County – a Teacher’s Guide with activities for Peter and the Wolf. http://www.musiccenter.org/Global/Education/Research%20and%20Evaluation/PandW_Institu
teEducators2012.pdf ♪
St. Louis Symphony – a Teacher’s Guide with activities for Peter and the Wolf. http://www.stlsymphony.org/media/pdf/education/kk_peter_wolf_1314.pdf ♪
Westchester Philharmonic – a Teacher’s Guide with activities for Peter and the Wolf. http://www.westchesterphil.org/peter%20and%20the%20wolf%20study%20guide.pdf ♪
CityMusic Cleveland – intriguing and concise information about how Peter and the Wolf came to be. http://www.citymusiccleveland.org/Concerts/program_notes_200811.php?pn=3#background1 ♪
Fun Music Company – teaching resources and a fun video for Peter and the Wolf. http://funmusicco.com/classroom‐music/music‐teaching‐tips‐teaching‐about‐peter‐and‐the‐
wolf‐in‐the‐music‐classroom/ ♪
Pinterest – lots of great ideas and resources for Peter and the Wolf. https://www.pinterest.com/maestroclassics/peter‐and‐the‐wolf‐lesson‐plans‐listening‐activiti/ ♪
Teachers Pay Teachers – some really wonderful and affordable teaching resources for Peter and the Wolf. https://www.teacherspayteachers.com/Browse/Search:peter%20and%20the%20wolf ♪
Classics for Kids: Sergei Prokofiev – a brief short biography and quiz about Prokofiev. http://www.classicsforkids.com/pastshows.asp?id=234 ♪
Arts Alive Canada – see tabs for music resources, instrument lab, great composers, activities and games. http://www.artsalive.ca/en/mus/instrumentlab/ ♪
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San Francisco Symphony Kids – “Fun and games with music.” http://www.sfskids.org/ New York Philharmonic Kids – visit the Prokofiev portrait in the Composer’s Gallery. http://www.nyphilkids.org/gallery/main.phtml 36