The Dallas Symphony Orchestra Presents: Musical Families February 2, 4, 23 & March 2, 2010 For young children, learning is experiential and multi-sensory. A concert at the Morton H. Meyerson Symphony Center provides a rich and stimulating sensory environment. The preparation and follow-up lessons suggested in this guide are designed to help teachers capitalize on this exciting learning experience with their students. Recognizing that learning progresses from the known to the unknown, and that repetition is essential to comprehension, the lessons and activities in this guide are based on experiences that are accessible to the child both at school and at home. The accompanying CD will be of enormous help here, so feel free to use it in any way that will allow your students to become both familiar and comfortable with the music they will hear at the concert. Young children are naturally responsive to music. Because of this, attending a Dallas Symphony Orchestra Youth Concert offers a wide variety of learning opportunities, and every lesson in this guide will help young listeners be attentive to, and develop an understanding of, the music performed, so take advantage of it. I look forward to seeing both you and your students in February! Musically Yours, Jamie Allen Director of Education Dallas Symphony Orchestra The Teacher Evaluation Survey for Musical Families is available online at http://www.surveymonkey.com/s/N3MVF72. By taking this survey, you will help us both to program future concerts and to receive funding to continue our outreach. We appreciate your help! Activities for the Musical Families teacher’s guide were prepared by the Dallas Symphony Orchestra’s Curriculum Development Team: Linda Booth and Gloria Lett. This volume of the teacher’s guide was produced and edited by Dallas Symphony Orchestra Education Staff Members Kristin Carpenter and Jamie Allen. Materials in this teacher’s guide can be photocopied for classroom use. If you have any questions about the concerts or material in this guide, please call Kristin Carpenter at 214.871.4006. Volume Two, “Musical Families” Page 1 Table of Contents Concert Specific Information Repertoire & CD Track List Who’s Who Meet the Composers Resources p. 3 p. 4 p. 5 p. 7 1. Music in the Air 2. Going to the Meyerson: A Picture Story p. 8 p. 22 1. Musical Puzzle 2. Getting to Know the Percussion Family 3. Instrument Family Song 4. Who am I? 5. Listen and Move! 6. Families of Instruments 7. Role of the Conductor 8. Symphony Strings p. 24 p. 29 p. 31 p. 33 p. 34 p. 35 p. 36 p. 38 Pre-Concert Activities Concert Activities Orchestra Seating Chart p. 39 Student Evaluation Form p. 40 Teacher Evaluation Form Available online at http://www.surveymonkey.com/s/N3MVF72 Concert Logistics Concert Guidelines for Teachers Arriving and Departing Map of the Arts District About the Meyerson Symphony Center p. 41 p. 42 p. 43 p. 44 Amazing Music Order Form p. 45 Thanks! p. 46 Page 2 Volume Two, “Musical Families” Repertoire & Youth Concert CD Track List 1. Bizet Prelude to Carmen 2. Vivaldi “Spring” from The Four Seasons 3. Berlioz Roman Carnival Overture 4. Villa-Lobos “Aria (Cantilena)” from Bachianas Brasileiras No. 5 5. Saint-Saëns “Elephant” from Carnival of the Animals 6. Britten “Frolicsome Finale” from Simple Symphony for String Orchestra 7. Dvořák First Movement from Serenade for Winds in D Minor 8. Tchaikovsky “Dance of the Mirlitons” from The Nutcracker 9. Gershwin “Promenade” from Shall We Dance 10. Mussorgsky “Ballet of the Chicks in Their Shells” from Pictures at an Exhibition 11. Britten “Variation M” (percussion) from Young Person’s Guide to the Orchestra 12. Ellington Caravan 13. Wagner “Ride of the Valkyries” from Die Walküre 14. Tchaikovsky Fourth Movement from Symphony No. 4 in F minor Musical recordings under license from Naxos of America, Inc. www.Naxos.com (P) 2007 HNH International Ltd. All rights reserved. Unlawful duplication, broadcast or performance of this disc is prohibited by applicable law. Volume Two, “Musical Families” Page 3 Who’s Who Rei Hotoda, Conductor Conductor and pianist, Rei Hotoda is one of America’s most dynamic classical musicians. She has guest conducted orchestras throughout North America and Europe including the Winnipeg Symphony Orchestra, Calgary Philharmonic, Thunder Bay Symphony, Hamilton Philharmonic, Greater Bridgeport Symphony Orchestra, the Staatskapelle Weimar Orchestra and the International Contemporary Ensemble. Ms. Hotoda is the newly appointed Assistant Conductor of the Dallas Symphony Orchestra and began the position in September 2009. Music Director of the Dallas Symphony Orchestra Jaap van Zweden said, “She seems to be a very intelligent and strong musician. We look forward to having her with us.” President of the Dallas Symphony Orchestra Doug Adams added, “Rei Hotoda made a strong impression during the final round of auditions. She was the unanimous choice, and we are delighted that she will be joining the DSO team.” Ms. Hotoda has held positions such as Assistant Conductor of the 2005 Cabrillo Festival of Contemporary Music in California and the 2005 Hot Springs Music Festival. Other appointments include principle conductor of Chicago's new music group Noamnesia and Ensemble N_JP. She has conducted many famous touring groups including Five by Design, Platypus Theater Group, Dan Kamin and Jeans’ n Classics. Ms. Hotoda studied conducting with Gustav Meier at the Peabody Institute in Baltimore, Maryland. She holds a doctorate in piano performance from the University of Southern California and a bachelor of music in piano performance from the Eastman School of Music. Gary Levinson, Concertmaster Page 4 Violinist Gary Levinson joined the Dallas Symphony Orchestra as its senior associate concertmaster in 2001 after 13 years with the New York Philharmonic. He earned his master's degree at Juilliard. Born in St. Petersburg, Russia, and immigrating to the United States in 1977, Levinson made his US solo debut at the age of 13 with the Minnesota Orchestra. Levinson appears as a regular recitalist in Western Europe, Carnegie Hall, Merkin Concert Hall, the Bohemians at the Kosciuszco Foundation and various music festivals. Volume Two, “Musical Families” Meet the Composers Georges Bizet (1838-1875) Born into a musical family, Bizet was trained in music by his parents, and entered the music conservatory before his 10th birthday. His Symphony in C, written in 1855, won him a prize offered by Jacques Offenbach. His opera Carmen, wasn’t a success at first, and he died not knowing it would become one of the best-loved operas ever written. Antonio Vivaldi (1678-1741) Born in Venice, Italy Antonio Vivaldi was a famous Baroque composer, virtuoso violinist, and even an ordained Venetian Priest! During his lifetime, Vivaldi became head of the music school at an orphanage which housed over 6,000 orphaned girls. Vivaldi wrote over 400 concerti, sacred music, and cantatas for his students at the orphanage. One of his most well known works is The Four Seasons, a set of four violin concerti. Vivaldi’s nickname was the Red Priest due to both his red hair and fiery temperament! Hector Berlioz (1803-1869) Hector Berlioz was the son of a doctor. His father educated him at home and centered his studies around the Latin classics and elementary medical training, thinking that Hector would follow in his footsteps and become a doctor. As a boy, Berlioz studied piano from a neighborhood music teacher but preferred playing the guitar and flute. As a composer, Berlioz chose to write using the musical forms of overture, symphony, and opera. He is most known for developing symphonic program music and the "idee fixe" where a melody or theme is used over and over to represent a person or a programmatic idea throughout an entire musical composition. Heitor Villa-Lobos (1887-1959) Heitor Villa-Lobos is one of the most celebrated South American composers in the history of music. As he grew up, he traveled Brazil and absorbed the many musical influences of the country. As a composer, he is known for writing music that represented the many musical influences and the folklore of his native Brazil. He is also known for the work that he did in Brazil to reform music education in local schools. Villa-Lobos composed over 1,000 works of music, and is especially known for writing duets that paired a high voiced instrument (such as a flute) with a low voiced instrument (like a cello). Camille Saint-Saëns (1835-1921) 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. In his older years, SaintSaëns also liked to write poetry, scientific papers, and essays about music. Sometimes he made enemies because he insulted his fellow musicians when he wrote about them. 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. Benjamin Britten (1913-1976) Benjamin Britten was the son of a dental surgeon and an amateur singer. He loved music and began to compose at the age of 5. He studied the piano and the viola, then began composition lessons. He came to America during the years of 1939-1942 but returned to England. He was exempted from military service and allowed to continue his composition work if he agreed to perform as a pianist at the wartime concerts promoted by the Council for the Encouragement of Music and the Arts. The next years were spent performing the compositions he had already written as well as writing for opera. Britten's work as an opera composer gained him an international reputation. He was the first musician to be gifted with the title of "Lord" by the Queen. Volume Two, “Musical Families” Page 5 Meet the Composers Antonin Dvořá ák (1841-1904) Dvořák was a country boy, one of seven children of a butcher/innkeeper in a small village in Bohemia. Bohemia was full of music and young Antonin took violin lessons and fiddled with his father in the village band. In 1892, Dvořák came to America to be the head of the National Conservatory of Music. While he was in the United States, he wrote the famous "New World Symphony" and other pieces which suggest American folk tunes. He even slipped a little of "Yankee Doodle" into one of his pieces! Piotr Ilych Tchaikovsky (1840-1893) At the age of 6, he began piano lessons. When he was 8, he was sent to a boarding school and missed his family greatly. His mother died when Piotr was 14 and this loss brought great sorrow to Piotr. By 19, he completed his law studies and was appointed to a job with the Ministry of Justice. The pull of music never left him and he consequently gave up his government job and turned to the study of music at the age of 23. After two years of study he was appointed a professor of composition at the St. Petersburg Conservatory and began writing music in earnest. George Gershwin (1898-1937) George Gershwin first discovered music when he was 10 years old and heard a friend's violin recital in a school auditorium in lower East Side Manhattan. He began taking piano lessons and after several poor teachers, he finally began taking lessons from Charles Hambitzer. He was one of the first composers to incorporate the characteristics of Jazz into classical music. It was through his efforts that Jazz achieved a high status as a vital and important American style. Gershwin's music is still heard in concert halls all over the world. Modest Mussorgsky (1839-1881) Modest Mussorgsky was one of the five Russian nationalist composers known as the "Russian Five." He was born to a well-to-do landowner and began taking piano lessons from his mother around the age of six. In 1852, Mussorgsky entered the Cadet School of the Guards in St. Petersburg . While at school, he showed interest in history and German philosophy, and he sang in the school choir. It was during his first year at school that he wrote Porte-enseigne polka which he dedicated to his school friends. Through music, Mussorgsky wanted to portray life however rough and beautiful but when Mussorgsky died, he left many of his works unfinished. Russian composer Rimsky-Korsakov took on the task of editing and publishing Mussorgsky's music. Edward Kennedy “Duke” Ellington (1899-1974) American composer, musician, and big band leader Edward “Duke” Ellington was born in Lincolnton, North Carolina on April 29, 1899. He began piano lessons at the age of 7 and started composing music by ear in his early teenage years. He went on to take piano and composition lessons to further his music abilities, and in 1917 launched his music career as a solo performer and big band leader. In the 1930’s Ellington put out his most famous hits such as Caravan, Mood Indigo, It Don’t Mean a Thing, and Take the “A” Train. Ellington was nominated for the Nobel Peace Prize in 1965, awarded the Presidential Medal of Freedom in 1969, received the Grammy Lifetime Achievement Award in 1966, and is one of only 5 jazz musicians to have been featured on the cover of Time magazine. Richard Wagner (1813-1883) Richard Wagner is known as one of the most progressive composers in history. At age 15 he wrote a play and at 16 his first music compositions. His first symphony was written and performed in 1832. While his very first opera, Die Feen was never heard, very soon he was considered the master of German opera! At the age of 27 Richard Wagner began work on his monumental cycle of four musical dramas: Der Ring des Nibelungen (The Ring of the Nibelungs). It is made of four separate operas and about 18 hours of music that includes themes that have specific meanings. In his operas, he liked to create tension between good and evil. It took Wagner 22 years to complete The Ring! It remains one of the most remarkable opera compositions of all time Page 6 Volume Two, “Musical Families” Resources for Teachers Books Apel, Wili. Harvard Dictionary of Music. Harvard University Press, 1967. Ardley, Neil. A Young Person’s Guide to Music, 1995. Baines, Anthony. The Oxford Companion to Musical Instruments, 1992. Barber, Nicola. The World of Music. Silver Burdett Press, 1995. Blackwood, Alan. The Orchestra: An Introduction to the World of Classical Music. Milwood Press, 1993. Hays, Ann. Meet the Orchestra. Gulliver Books, Harcourt Brace Jovanovich, 1991. Hoffer, Charles. Concise Introduction to Music Listening. Wadsworth Publishing Co., 1984. Hoffer, Charles. The Understanding of Music. Wadsworth Publishing Co., 1981. Kruckenberg, Sven. The Symphony Orchestra and its Instruments. Crescent Books, 1993. Krull, Kathleen. Lives of Musicians. Harcourt Brace Jovanovich, 1993. Moss, Llyod. Zin! Zin! Zin! A Violin. Simon & Schuster, 1995. Nye, Robert & Bergethon, B. Basic Music. Prentice Hall, Inc. 1983. Van der Meer & Berkeley, Michael. The Music Pack. Alfred A. Knopf, Publisher, 1994. Video The Dallas Symphony Orchestra’s television series for children. Amazing Music, features Music Director Emeritus Andrew Litton as your guide to “Emotions in Music”, “Pictures in Music”, “Families of the Orchestra”, and “Jazz”. (See p. 48 for order form) Classroom Materials Sources for pictures of instruments, books, audio, and videotapes can be found at: • DSO Symphony Store; call 214-871-4058 for information • Friendship House; call 1-800-791-9876 for a free catalog • Music Educator’s National Conference (MENC); call 1-800-828-0229 for a free catalog. • Music in Motion; call 1-800-445-0649 for a free catalog. 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 Two, “Musical Families” Page 7 Music in the Air My Trip to the Dallas Symphony Orchestra © 2001 Dallas Symphony Orchestra Page 8 Volume Two, “Musical Families” I traveled with my class to the Morton H. Meyerson Symphony Center. We went to hear a concert of music played by many instruments. Volume Two, “Musical Families” Page 9 I walked with my class up the steps to the place where we would sit. Page 10 Volume Two, “Musical Families” Here we are sitting in our seats waiting for the concert to begin. Can you tell which seat is for me? Volume Two, “Musical Families” Page 11 Out come the musicians. They carry their instruments with them. The musicians are all on stage now. Page 12 Volume Two, “Musical Families” Look! Here comes the Concertmaster. His job is to make sure the orchestra is in tune. He plays a violin. We clap for him. Volume Two, “Musical Families” Page 13 Now the musicians are ready. They wait for their conductor. Here he comes. We clap for him. We know the concert will now begin. Page 14 Volume Two, “Musical Families” FLUTE C L A R I N E T OBOE BASSOON I hear such beautiful music. This is what I hear: Woodwind Instruments Volume Two, “Musical Families” Page 15 HORN T R U M P E T TUBA TROMBONE This is what I hear: Brass Instruments Page 16 Volume Two, “Musical Families” SNARE DRUM CYMBALS TAMBOURINE T I M P A N I This is what I hear: Percussion Instruments Volume Two, “Musical Families” Page 17 VIOLIN DOUBLE BASS VIOLA CELLO This is what I hear: String Instruments Page 18 Volume Two, “Musical Families” My friends and I clap after each piece we hear. There is music all around us. There is music in the air. Volume Two, “Musical Families” Page 19 Music in the Air Pre-Concert Activity Introduction The purpose of the Music in the Air black line masters is to prepare students for the actual concert experience. As the students read (or are read to) from the Music in the Air book, they will “walk through” the concert day step by step. Knowing what to expect and how to respond will enable the students to more fully enjoy their symphony experience. Choose any or all of the following activities to prepare your class for this special event. Teaching Objective Students will prepare for their concert experience by learning what to expect and how to respond. Resources Blackline master drawings of book Overhead transparencies Recordings of music which will be performed at the concert Pencils, crayons, markers Activity 1- Are you ready? Use the black line master drawings to make overhead transparencies. Use these transparencies to introduce the students to the idea of going to a concert and what occurs at a concert. As each transparency is placed on the overhead, read the script and discuss where the class will soon be going and what they will do when they arrive. Activity 2 – “My Class Goes to the Symphony” Make a class book. Make one hard copy of each blackline master drawing. Each child in the class should be given the chance to draw themselves going up the steps in the picture found on p. 10. The children may use stick figures, fingerprint “people,” or any other way they can draw themselves. Read the book aloud to the class so that students will understand the sequence of events that will occur on concert day. Bind the book in some way so the children can look through it on their own and tell each other what will happen. Keep the book on display in your classroom so that the children can enjoy “reading” it before and after the concert trip. Activity 3 – Music in the Air individual books for each student Make a copy of the Music in the Air book for each student in your class. As you read aloud through the pages, allow your students the opportunity to draw themselves on the steps on p. 10 and also in their seat on pp. 11 and 19. This will personalize the story for each child. Page 20 Volume Two, “Musical Families” Music in the Air Post-Concert Activities Introduction Music in the Air can also be used to enhance the student’s post-concert experience and help them assimilate many of the things they learned in the concert. Choose any or all of the following activities to review the concert experience with your class. Teaching Objective Students will review their concert experience to assimilate and reaffirm what they have learned. Resources Blackline master drawings of book, Music in the Air Overhead transparencies Youth Concert CD recordings Pencils, crayons, markers Activity 1 – Creative Writing After the concert experience, post one drawing from the book Music in the Air on the board and encourage your class to write about the drawing using creative writing or journaling skills. Or, allow each student to choose a page from their individual book and practice their writing skills. You may play the accompanying CD during this activity to help remind them how the music made them feel. Activity 2 – Sequencing the Event The line drawings can be presented/displayed in a random order (choose an appropriate number depending on the age of your students.) The students, either alone, or working with a partner, must place the drawings depicting their concert day back in the correct order. Volume Two, “Musical Families” Page 21 Going to the Meyerson A Picture Story Directions: Read the picture story. Translate the pictures by using the picture bank at the bottom of page 23. When you go to the to hear become a member of the look around at the beautiful play in a concert, you .When you get to your . When the concert is almost ready to start, You will hear them warming up their will appear on the . The next. His job is to play the tuning pitch for all to hear. The their . When the , sit quietly and are in tune, the . will come on will then begin to tune will appear. His job is to lead the orchestra. Page 22 Volume Two, “Musical Families” The ’s job is to People in the very carefully and enjoy the . may not be able to listen if you talk or make noises. At the end of each piece the members they liked the . such beautiful to let the know is also a way to say thank you for making . Fine Picture Bank Audience Meyerson Symphony Center Concert hall Musicians Seat Concert -master Stage Instruments Conductor Fine Listen Volume Two, “Musical Families” Music Applaud The End Page 23 Musical Families Activity 1 Musical Puzzle Teaching Objective The students will identify members of the woodwind, brass, string, and percussion families by completing a puzzle. Resources • Instrument drawings located on the pp. 25-28 • Recorded excerpts: available on the Youth Concert CD or at www.DSOkids.com • • • Vivaldi Tchaikovsky Britten • Wagner “Spring” from The Four Seasons (string Feature) “Dance of the Mirlitons” Dance from the The Nutcracker (wind feature) “Variation M” from Young Person’s Guide to the Orchestra (percussion feature) “Ride of the Valkyries” from Die Valküre (brass feature) Pre-Assessment Determine if the students are familiar with the musical instruments by showing pictures of the instruments and asking them if they can recognize and name the instruments in the pictures. Teaching Sequence 1. Copy the instrument outlines from pp. 25-28 on colored paper so that there are enough for each child to have one of each instrument. Make sure the instruments are different colors. For example, trumpet=yellow, flute=blue, snare drum=green, violin=red. Teacher note: the woodwind, brass, percussion, and string instruments will be color coded at the Youth Concert. The string section will be red, wind section blue, brass section yellow, and percussion section green. 2. If students are able, have them cut on the dotted lines. If cutting is too advanced, cut out the instruments before students arrive. 3. Show the students a picture of a trumpet, flute, violin, and snare drum. Explain that each of these belong to a different family represented by different colors. 4. While students are looking at each instrument, play an example of the instrument for them to hear what it sounds like. Instrument sounds are available at http://www.dsokids.com/listen/ instrumentlist.aspx Culminating Activity Give students the puzzle pieces to one instrument. Have them put the puzzle pieces together while listening to the appropriate musical example on the Youth Concert CD (see resources above). See if students can put the puzzles together correctly according to what they hear. Evaluation Were the students able to identify each instrument after completing the puzzle? Page 24 Volume Two, “Musical Families” SNARE DRUM Volume Two, “Musical Families” Page 25 MP TRU ET Page 26 Volume Two, “Musical Families” FLUTE Volume Two, “Musical Families” Page 27 VIOLIN Page 28 Volume Two, “Musical Families” Musical Families Activity 2 Getting to Know the Percussion Family Teaching Objective Students will demonstrate an understanding that musicians produce sounds on instruments in the percussion family by striking, scraping, or shaking them. Vocabulary Vibration– rapid movement of an object up and down, or back and forth. Resources • Objects around the classroom • Pictures of percussion instruments (available in this Teacher’s Guide and at www.DSOkids.com) • A picture of the orchestra (on p. 39 of this guide or on the web at http://www.dsokids.com/ visitthesymphony/seatingchart/default.aspx) Pre-Assessment Determine if students are familiar with the percussion family of instruments by showing them pictures of percussion instruments and asking the students if they recognize them. Ask students how they think one might make a sound on each instrument. Teaching Sequence 1. Tell students that all sounds are produced through vibration. Vibration is when something moves up and down, or back and forth. For example, if you hold your ruler flat on your desk with a few inches of it extending off the side, you can then cause the end of the ruler to vibrate by plucking it with your finger. The sound that you hear is the result of the vibration. 2. Tell students that instruments of the orchestra are grouped according to how their sounds are produced. These groups are called instrument families. Instrument families are a lot like families of people. Meeting them is easy, but getting to know them takes a little longer. Tell them today they will meet the percussion family. This family contains the largest variety of instruments in the orchestra. Show students a picture of an orchestra and point out he percussion section. Have students describe the visual appearance of the instruments in a discussion format. Tell students that percussion players play their instruments by striking, shaking, or scraping them. Culminating Activity 1. Have students look at a picture of the percussion family and then find “percussion instruments” by looking around the classroom. Suggest objects that they can strike, shake, or scrape to make sound. Allow students to experiment with various sizes of objects. How do hollow objects sound different from solid objects? Which objects around the classroom make long sounds? Short sounds? Loud sounds? Soft sounds? Low sounds? 2. Allow older students to create a percussion ensemble and perform for the class. If classroom percussion instruments are available, allow students to use them to create a musical arrangement. 3. Other questions for discussion: • How are instruments like people? • Why are certain groups of instruments like families? • Why is getting to know an instrument like getting to know a person? • What are some ways that you could get to know an instrument? (Suggestions: holding it, taking lessons, practicing, etc.) Volume Two, “Musical Families” Page 29 Musical Families Activity 2 Getting to Know the Percussion Family Evaluation Did students demonstrate an understanding that percussion instruments are played by striking, shaking, or scraping? Extension Activity Create a xylophone by cutting PVC pipe into various lengths. Place them side-by-side on a frame from the longest to the shortest. Two boards cut to the appropriate length to accommodate all the pipes will make a good supporting frame. The best sound will be achieved by allowing a little less than a third of the each pipe to extend off the frame. You can tune your xylophone by cutting the pipes shorter for higher notes and leaving the pipes longer for the lower ones. When you have the pipes the way that you want, tie them on the frame with string. Play the xylophone by striking the pipes with a mallet of some kind. Note: This could make for a great science fair project! PVC pipes Frame Page 30 Volume Two, “Musical Families” Musical Families Activity 3 Instrument Family Song Teaching Objective Students will become familiar with the physical appearance of symphony orchestra instruments and will correctly group the instruments into families. Resources • Pictures of at least four instruments from each of the orchestral families: strings, woodwinds, brass, and percussion (available in this Teacher’s Guide and on www.DSOkids.com) • Familiarity with the tine “The More We Get Together” (audio clip available at http:// www.songsforteaching.com/jimrule/themorewegettogether.htm; video clip available at http://www.youtube.com/watch?v=HsaQxghTavY). Pre-Assessment Determine if the students are familiar with the four instrument families of the symphony orchestra by showing them pictures of the different families and asking them if they recognize the instruments in the pictures. Volume Two, “Musical Families” Page 31 Musical Families Activity 3 Instrument Family Song Teaching Sequence 1. Using the pictures, review the four instrument families of the symphony orchestra and the instruments in each family. 2. Using the tune “The More We Get Together”, sing for and teach the students the words printed above. 3. Repeat the song at least once for each family of the orchestra, adapting the words as follows: “Oh here we are together, together, together, Oh here we are together, the string (or brass, woodwind, or percussion) family. With violin and viola and cello and bass (replace with names from appropriate instrument family), Oh here we are together, the string family.” Culminating Activity 1. Give each student one instrument picture to hold (two or more students may hold pictures of the same instrument, provided there are four pictures for each family of instruments). Have the students stand in a circle. 2. Announce the family which the class will name as they sing the song. As the group sings, the students holding the pictures of the instruments named will step forward into the circle. When that verse is over, have them step back into the circle and the next group step forward. Evaluation Were students able to recognize the different instruments in the orchestra? Were they able to group them into families? Extension Activity Have the students add appropriate motions while they are singing (imitating the motions of playing an instrument from their “family”). Page 32 Volume Two, “Musical Families” Musical Families Activity 4 Who Am I? Teaching Objective Students will demonstrate an understanding that orchestra instruments are grouped into families based on their similarities. Vocabulary Family– Webster’s New World Dictionary of the American Language lists several definitions for the word “family”. The one that is most applicable to this lesson is “a group of things having a common source or similar features”. To lead young children to an understanding of the concept, it will be helpful to begin their experience of family: “all the people living the same house, “ or “a group of people related by blood or marriage relatives”. (Recognizing that there are different definitions, the teacher should use his/her discretion in choosing the one that best fits his/her students.) Resources • Pictures of orchestra instruments (available at www.DSOkids.com or check with your library of music specialist) • Small pieces of paper or card with instrument names and/or pictures on them • CD of concert repertoire included with this guide • Musical examples of instrument sounds (available at www.DSOkids.com) Pre-Assessment Ask students how they define a family. Discuss the definitions of family that are listed above. Ask how musical instruments could be grouped into families. Teaching Sequence 1. Ask students to think of different kinds of animal families: i.e., dog, bear, cat. If possible, show pictures of mother and babies. 2. Talk about the qualities within each family that are the same or different. 3. Talk about he children’s families having the same qualities as the animals. 4. Tell students that musical instruments are also divided into families based on how their sounds are generated. Brass instruments are played by “buzzing” into a mouthpiece. Woodwinds are played by blowing into a mouthpiece with a reed or across a hole. Percussion instruments are played by shaking, scraping, or striking the instrument. String instruments are played by plucking or pulling a bow across a string. 5. Over several days, look at pictures of the instrument families and listen to examples of their sounds (from CD or DSOkids.com). Pictures may be downloaded. Talk about how they look similar or different. Culminating Activity Give each student a piece of an instrument with the name written on it. Have students stand throughout the classroom. Play an excerpt of one of the instruments. Have everyone in that family gather in a predetermined spot. Excerpts should be chosen from the concert repertoire. Suggestions: Strings-Britten’s Frolicsome Finale, Woodwinds– Mussorgsky’s Ballet of the Chicks in Their Shells, Percussion-Britten’s, “Variation M” from Young Person’s Guide to the Orchestra, Brass– Wagner’s, Ride of the Valkyries. Evaluation Did students demonstrate an understanding that orchestral instruments are grouped into families based on their similarities? Volume Two, “Musical Families” Page 33 Musical Families Activity 5 Listen and Move! Teaching Objective Students will listen and react to the various timbres and styles of music. Resources Youth Concert CD Pre-Assessment Determine if children can move in various ways: i.e., like a bird, like a lion, like a fairy, like a monster. Teaching Sequence 1. Tell students that in the symphony concert that they will go to soon, they will hear instruments that produce different kinds of sounds. Some are high. Have students make high sounds. Some are low. Have students make low sounds. Some are in the middle. The big instruments produce the low sounds while the small instruments produce the high sounds. 2. Ask students to guess what kind of animal or thing might be shown by a big instrument or a small instrument. 3. Play at least three different pieces from the upcoming concert. Suggestions: “Elephant” from Carnival of the Animals, “Dance of the Mirlitons” from The Nutcracker, “Ballet of the Chicks in Their Shells” from Pictures at an Exhibition, and “Ride of Valkyries” from Die Valküre. Direct students that movement for each piece should be different. Do culmination activity after each listening. Culminating Activity Discuss with the children what they thought he music was portraying. Evaluation Did students react in various ways to the pieces played? Page 34 Volume Two, “Musical Families” Musical Families Activity 6 Families of Instruments Teaching Objective The students will be able to group orchestra instruments into families. Vocabulary Family– Webster’s New World Dictionary of the American Language lists several definitions for the word “family”. The one that is most applicable to this lesson is “a group of things having a common source or similar features”. To lead young children to an understanding of the concept, it will be helpful to begin their experience of family: “all the people living the same house, “ or a group of people related by blood or marriage: relatives. (Recognizing that there are different definitions, the teacher should use his/her discretion in choosing the one that best fits his/her students). Resources • Pictures of family members that the students supply • Pictures of instruments. Pictures may be found on www.DSOkids.com, grouped into instrument families • Cards or small pictures of instruments and/or names of instruments Pre-Assessment Ask students how they define a family. Discuss the definitions of family that are listed above. Ask how musical instruments could be grouped into families. Teaching Sequence 1. Ask students to show the class their family pictures and discuss what makes them members of their family. What characteristics do they have in common? What are their differences? 2. Tell students that instruments are grouped into families based on how their sound is produced. Go over the four families of instruments and discuss how the sound is made in each family. 3. Have the class list musical instruments and write them on the board. Write brief descriptive words about each instrument. Discuss similarities and differences. 4. Group listed instruments into their proper families. Culminating Activity Ask an individual student to choose an instrument card. Ask that student to devise clues by looking at the descriptive words to have the other students guess which instrument and instrument family the card belongs to. Ex. “My family has very long necks. Although my family gets played two different ways, they are very similar in appearance. I am the smallest member of my family. I have the highest voice in my family, etc.” Evaluation Did the students demonstrate an understanding that orchestral instruments are grouped into families based on their similarities? Volume Two, “Musical Families” Page 35 Musical Families Activity 7 Role of the Conductor Teaching Objective Students will demonstrate an understanding of the role of the orchestra leader; the conductor. Vocabulary Conductor– the person who directs a group of musicians. Baton– the conductor’s stick Resources • Unsharpened pencils; one for teach student in the class • A display of the two (2) vocabulary words • Dry erase board or Overhead projector • Orchestra Seating Chart Pre-Assessment Ask the students whether they have seen (in person or on TV) a band or orchestra performance. If so, how did the musicians know when to begin and stop playing? How did they know when to play fast or slow; loud or soft? Teaching Sequence 1. Tell the students that at the orchestra concert they will see a woman standing in front of the orchestra waving her arms; usually using a baton in the right hand. That person is the conductor. The way she uses her arms and baton tells the musicians when to begin and when to stop playing; when to play louder or softer, etc. The conductor also shows the beat of the music. Page 36 Volume Two, “Musical Families” Musical Families Activity 7 Role of the Conductor 3. Provide class time to rehearse how a conductor might indicate the following musical terms; loud, soft; fast and slow while the class is singing the song. 4. Using the orchestra seating chart on p. 39, show the class where the conductor is located. Encourage volunteer students to use their pencil batons to conduct the class singing indicating a gesture to A. get loud and then soft B. get fast and the slow C. encourage creativity Culminating Activity 1. Rehearse the singing of “Are You Sleeping” in unison 2. Encourage several student volunteers to conduct the singing and indicate when to sing loud, soft, fast, and slow. Evaluation Did student responses and behavior indicate a basic understanding of the role of the orchestra conductor? Extension Using the CD provided, select “Elephant” from Carnival of the Animals and play it for the entire class to hear. Before listening a second time, have the students place a pencil baton in their right hand, listen to “Elephant” and conduct the composition. If time permits, select and use another composition for students to conduct. DSO Assistant Conductor Rei Hotoda Volume Two, “Musical Families” Page 37 Musical Families Activity 8 Symphony Strings Teaching Objective Students will learn the basic characteristics of orchestra string instruments and how they produce sound. Vocabulary Bow– a wooden stick, strung with horsehair that’s pulled across the strings of instruments to make them produce sound. Pizzicato– the use of fingers to pluck the strings of an instrument Resources • Pictures of string instruments (can be found on p. 18 or on www.DSOkids.com) or actual instruments • Labeled picture of a string instrument • Lineless paper • Pencils, crayons, or markers • An actual bow, if available, if not pictures of a bow. Pre-Assessment Determine the level of the student’s familiarity with orchestra string instruments. Ask if they, or a family member, play a string instrument; encourage the sharing of experiences. Welcome the inclusion of guitars, fiddles, and harps in the discussion. Ask students to share what they know about how these instruments produce sound. Teaching Sequence 1. Show the students pictures of string instruments and ask them to name the instruments; violin, viola, cello, and double bass. 2. Show a picture of bow and talk about its use with string instruments. 3. If there are classmates who play string instruments, encourage them to assist with demonstrations on how the instruments are played. Culminating Activity Have each student create a picture of a string instrument. Their drawings must have the major characteristics of string instruments such as a resonating chamber, a way to change the pitches, and a way to tune the strings. As they share their creations, challenge them to describe how they might want their instruments to be played; by bowing or plucking the strings. Evaluation Did students understand the basic characteristics of string instruments and how they produce sound? Page 38 Volume Two, “Musical Families” ORCHESTRA SEATING CHART! Volume Two, “Musical Families” Page 39 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: Kristin Carpenter Dallas Symphony Orchestra 2301 Flora St., Schlegel Administrative Suites Dallas, TX 75201 Or Fax to: 214.953.1218 E-mail to: k.carpenter@dalsym.com Page 40 Volume Two, “Musical Families” Concert Guidelines for Teachers Before the Concert Please contact Kristin Carpenter at least one week prior to your Youth Concert experience if you need to confirm or make changes to a reservation. • Please prepare your students by using materials in this book or on the www.DSOkids.com website. • 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 if you are in need of infra-red headsets for the hearing impaired. • The Day of the Concert • Before leaving school, please allow time for students to visit the restroom. • Learn your bus driver’s name and be sure you can recognize him/her • Plan to arrive at the Meyerson at least thirty minutes before concert time. Upon Arrival at the Meyerson • If you arrive by bus, please DO NOT UNLOAD YOUR BUSES UNTIL YOU ARE GREETED BY A DSO STAFF MEMBER. Also, please be sure you and your driver have been given matching numbers by a DSO staff member. • 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 five minutes before the concert time • No food or drink, including chewing gum, is permitted in the concert hall. • An organ demonstration starts 7 minutes before the concert-you won’t want to miss that. It’s always a favorite with the students! During the Concert The use of cameras and recorders is prohibited Please turn off cellular phones and any other electronic devices. 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 maintaining 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/artwork expressing reactions to the concert are appropriate. Mailing Address: Attn: Youth Concerts Dallas Symphony Orchestra 2301 Flora St., Schlegel Administrative Suites Dallas, TX 75201 Fax Number: 214.953.1218 E-mail Address: k.carpenter@dalsym.com Volume Two, “Musical Families” Page 41 Arriving and Departing the Meyerson Symphony Center Buses: You will be given a DSO Bus Number by a DSO Staff Member. Please memorize your DSO Bus Number 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 to the designated parking area. Please follow instructions from Symphony personnel. Departures: Buses are called to the Meyerson in order of school dismissal. Please follow directions from DSO Staff Members for dismissal. Cars and Vans: Cars and vans park in the Arts District Garage which is entered from Ross Avenue between Leonard and Pearl Streets. You will be provided with parking vouchers in this packet. These vouchers will allow you and your group to park for free. If you are parking without the voucher, take ticket, (parking is $10.00/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. Bus 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 Griffin Street. Take Griffin Street to Ross and turn left. Take Ross to Routh Street and turn left. Take Routh to Flora Street, turn left and pull up in front of the Meyerson to unload. From Northbound I-35 Stemmons, east on Woodall Rodgers Freeway (exit marked “to Sherman I-45 and US-75”), exit at Griffin Street. Take Griffin Street to Ross and turn left. Take Ross to Routh Street and turn left. Take Routh to Flora Street, turn left and pull up in front of the Meyerson to unload. From Central (US-75), I-30 or I-45, west on Woodall Rodgers (366), take the Pearl Street exit and stay in the far left lane. U-turn onto Woodall Rogers Access Road going east. Turn right on Routh, turn right on Flora and pull up in front of the Meyerson to unload. From downtown or East Dallas, north on Pearl Street, turn right onto Ross Avenue. Then turn left on Routh, and left on Flora. Pull up in front of the Meyerson to unload. 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, then stay on Pearl to Ross Ave. Turn left on Ross to Routh. Turn left on Routh, turn left on Flora and pull up in front of the Meyerson to unload. Cars: Access the Arts District Garage from Ross Avenue, near the corner of Ross and Crockett. Page 42 Volume Two, “Musical Families” Meyerson Area Map Volume Two, “Musical Families” Page 43 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 ten years were spent in the planning and construction of the Meyerson, which opened on September 6, 1989. World-renown architect and major arts supporter I.M. Pei was chosen to design the building, working closely with acoustician Russell Johnson. Pei’s design combines basic geometric shapes, with a rectangle (the concert hall) set at 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 in a different building so that no vibrations from the machinery can be felt in the concert hall. Acoustical features include: • • • • • • • 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 The canopy over the stage, which can be raised and lowered to enhance the sound Fun Facts about the Meyerson! The Meyerson Symphony Center has: • • • • • • • • • • • • • Page 44 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 up to 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 Volume Two, “Musical Families” Amazing Music Videos! The Dallas Symphony Orchestra’s Amazing Music concerts are the perfect introduction to the orchestra, featuring fast-paced explorations led by Music Director Emeritus 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 (evening) Telephone (daytime) Please send me the following “Classroom Editions” Volume 1 Volume 2 Volume 3 Volume 4 Number of Videos Emotions in Music Pictures in Music Families of the Orchestra 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 4+ Classroom Editions + $6.50= +$8.50= Total: $ □Enclosed is a check payable to Dallas Symphony Orchestra -Or□Mastercard/Visa Card Number: □Discover Expiration Date: □American Express Signature: Mail form to Dallas Symphony Orchestra Store, 2301 Flora St., Suite 300, Dallas, TX 75201. Fax to: 214.871.4505 Attn: Symphony Store Volume Two, “Musical Families” Page 45 Thanks! The Dallas Symphony Orchestra gratefully acknowledges the following contributors who support the Youth Concert Series and Education Outreach programs Youth Concert Series Sponsor Cecil and Ida Green Foundation Symphony YES! Sponsor Citi Cecil and Ida Green Youth Concert Sponsors ExxonMobil EDS Foundation Harry W. Bass Jr. Foundation Texas Commission on the Arts Sprint Foundation Young Strings Sponsors Bank of America Chase Dean Foods EDS Foundation Fossil Ebby Halliday, REALTORS Endowed Concert Sponsors/ Annual Concert Endowments Dr. Anson L. Clark Endowment Fund Mr. and Mrs. Sanford P. Fagadau The Meadows Foundation The Meyerson Family Wendy and Emery Reves Endowment Fund Anne J. Stewart The Carl and Susan Summer Foundation K-12 Education Program Sponsors Aetna Foundation Brinker International David Crowley Foundation Harold Simmons Foundation Hawn Foundation Kraft Foods Potts and Sibley Foundation SAP America, Inc. Sprint Foundation TACA WACHOVIA Special Students at the Symphony Sponsor Junior Symphony Ball DSOkids.com Sponsor Verizon Foundation A big round of applause to the Dallas Symphony Orchestra League Volunteers who so graciously serve as ushers for Youth Concerts. Page 46 Volume Two, “Musical Families”