Supported in part by United Arts of Central
Florida. Through United Arts Journeys,
children attend field trips and in-school
programs that connect to their class
curriculum. Learn more or view lesson
plans
at
www.UnitedArts.cc/Journeys.
Dear Philharmonic Friend,
We are so excited to share the 2014 Young People’s Concert, Nature in Music, with you! For many kids, the Young
People’s Concerts are the first time they get to see a live symphony orchestra. For all of us, however, the YPCs are more
than a simple concert.
We get to collaborate with our friends from the Orlando Ballet, interweaving live music with outstanding ballet by Tchaikovsky and
Stravinsky. You’ll be enchanted by four little swans as they glide across the Bob Carr Theater and be entranced by the Firebird and
his partner in a whirlwind of driving rhythms and feverish melodies.
We get to accompany Sarah Stead, last seen at the YPCs playing the role of the witch in Hansel and Gretel, performing the aria
Ombra Mai Fu from the opera Serse by Handel. Short and sweet, this work extolling the beauty of a tree is gentle and flowing, much
like leaves on a tree during a beautiful fall afternoon.
Our own concertmaster, Rimma Bergeron-Langlois, will perform the first movement of Spring from The Four Seasons by Vivaldi,
one of the most popular classical works of all. As if that weren’t enough, every musician gets to play their part, presenting music by
Beethoven, Mussorgsky, and Holst that is so evocative you will swear your imagination is on vacation.
Every one of the works your students will hear is a labor of love, inspired by a composer’s desire to share the beauty of nature and
the nature in music.
Sit back, relax, and be swept away by the 2014 Young People’s Concert Nature in Music.
Gratefully,
The musicians of the Orlando Philharmonic Orchestra
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
ii
Table of Contents
Welcome!
Concert Reminders & What to Expect
2
Star Spangled Banner Procedure
2
Saying “Thank You”
3
Using This Resource Packet
3
Star Spangled Banner
4
“Spring” from The Four Seasons - Antonio Vivaldi
5
Activities for “Spring”
6
Ombra Mai Fu from the opera “Serse”
Activities for Ombra Mai Fu
7-8
9
Pastoral Symphony - Ludwig van Beethoven
10
Activities for Pastoral Symphony
11
Night on Bald Mountain - Modest Mussorgsky
12
Activities for Night on Bald Mountain
13
Danse des Petit Cygnes - Pyotr Ilyich Tchaikovsky
14
“Jupiter, The Bringer of Jollity” - Gustav Holst
15
Activities for “Jupiter, The Bringer of Jollity”
16
“L’oiseau de feu” - Igor Stravinsky
17-18
Activities for “L’oiseau de feu”
19
What a Wonderful World - George David Weiss
20
What a Wonderful World Lyrics
21
Selections from “Jurassic Park” - John Williams
22
Activities for “Jurassic Park”
23
Extra Resources
24
Glossary
Crossword Puzzle
Nature is a powerful force in our lives. It can influence where
we go, what we do, and even how we remember events. When
we’re glued to a computer screen or a desk, we can close
our eyes and feel transported when we imagine ourselves in
nature. Whether we feel a light breeze on our face, taste the
salty tang of the ocean on our lips, or even imagine the awe we
felt when seeing a mountain for the first time, nature adds color
to our lives.
Given the power nature has over us, it is not surprising that
many composers are inspired by nature. In the 2014 Young
People’s Concert Nature in Music, the Orlando Philharmonic
takes your students on a musical journey through some of
the most beautiful landscapes immortalized in music. You’ll
experience a thunderstorm with Ludwig van Beethoven, a
spring day with Antonio Vivaldi, and even gaze up at Jupiter
with Gustav Holst. Whether it is your first time experiencing live
classical music, or just hearing a certain work for the first time,
Nature in Music will transport you some of the lushest locales
nature has to offer.
We hope you enjoy our new guidebook format and, as always,
want to hear what you think about this year’s Young People’s
Concert.
We can’t wait to see you at the Bob Carr Theater!
Thank you,
Word Search
Lesson standards
Director of Education
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
1
er
nn
a
B
d
gle
n
a
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Star-S
Concert Reminders
& What to Expect
When you arrive, follow the usher’s instructions to locate your
seats for the performance.
When the lights dim and a pre-concert announcement is made,
this signals that the concert is beginning, and everyone should
sit quietly.
The concertmaster, or principal violinist, will enter from stage
left. The oboist will play an “A” for the orchestra to tune. Star
Spangled Banner students will enter from stage left while the
conductor provides a drum roll. This the signal to stand and sing
along.
During the concert, students will have two opportunities to
participate in the performance. Two students will be given the
honor of singing the Star Spangled Banner onstage with their
classmates singing from their seats, and all students will sing
along to What a Wonderful World. Make sure students are
prepared to sing by practicing with the MP3 and vocal part that
has been provided for your convenience.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
Each school
gets to choose two
students (one boy and one girl)
to sing the Star-Spangled Banner on stage.
(Some teachers have found this is a good incentive for their
most well-behaved students.)
As soon as you arrive, a chaperone needs to escort your singers
backstage (the backstage door is on the left as you look at the
stage). It is a good idea to make sure the students know where
their class is sitting prior to going backstage.
Administration from the Orlando Philharmonic will give the
accompanying adult a certificate before the concert begins to
ensure the certificate arrives safely.*
Star-Spangled Banner singers will file onto the stage; and the
audience should stand up and sing along. Watch the conductor
to know when to start singing and when to stop. After the SSB,
the singers will exit to the left side of the stage and a chaperone
should escort the singers back to their seats.
*Teachers- please e-mail the names of your two students to
[email protected] at least 2 business days prior to the
performance. We want every child to receive their certificate
and want them to be able to have it the day they arrive. If a child
is unable to perform for any reason, a personalized PDF copy
will be sent after the concert.
2
Saying “Thank You”
Using This Resource Packet
The Young People’s Concerts are a unique experience that is
gifted to OCPS students each year. One step toward keeping
this field trip fully funded and free for these schools is taking
the time to show our appreciation to the performers and the
supporters.
The Philharmonic is providing both physical and interactive
materials. Appendix materials can be downloaded at www.
orlandophil.org/ypc. In addition:
• Interactive materials (recordings with materials, interactive
PowerPoints, etc.) can be accessed via a Prezi found here.
• TO THANK THE PERFORMERS: The Orlando
Philharmonic (and the Orlando Ballet) love to get thank-you
cards from students! Consider writing a short note to express
your thanks. You might share what your favorite song was and
why; draw a picture of your favorite part of the ballet or opera
selections. Send all thank you notes to the address on the
cover page.
• MP3s of all excerpts can be safely downloaded from the
following website.
• TO THANK THE SUPPORTERS: The Young People’s
Concert series is only possible with the support of many
different groups of people. You can show how much you value
this experience by sending thank-you notes to your school/
district administration, school board members, and United Arts
of Central Florida.
Orlando Philharmonic Orchestra
812 East Rollins Street, Suite 300
Orlando, FL 32803
United Arts of Central Florida
2450 Maitland Center Parkway #201
Maitland, FL 32751
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
• All materials in this packet can be used in a variety of ways:
e.g., copied for students, made into transparencies, projected
onto a screen, made into packets to be used as manipulatives
• For questions regarding this teacher resource guide contact
the teacher listed on the individual work. For general inquiries
contact [email protected].
Extra
• The snippet in the acorns is a summary of the
musical piece in a nutshell!
• Any text that is underlined is a hyperlink and can be
clicked.
CONCERT FEEDBACK
Please go to the following survey and complete after you’ve
attended the concert: https://www.surveymonkey.com/
s/27CNHRH
3
Star Spangled Banner
Lyrics by Francis Scott Key (1779-1843)
Music by John Stafford Smith (1750-1836)
The Star Spangled Banner was written as a poem by Francis
Scott Key, a lawyer from the state
of Maryland. During the War of
1812, Key had accompanied
British Prisoner Exchange Colonel
John Stuart Skinner onto a British
ship, the HMS Torrent.
“By Dawn’s Early Light” - Edward
Percy Moran
While negotiating the release of
American prisoners, Key and
Skinner were not allowed to leave
the ship because they had seen
the position of British ships about
to attack.
Oh say, can you see,
By the dawn’s early light?
What so proudly we hailed,
At the twilight’s last gleaming?
Whose broad stripes and bright stars,
Through the perilous fight?
O’er the ramparts we watched,
Were so gallantly streaming?
And the rocket’s red glare,
The bombs bursting in air,
Gave proof through the night,
That our flag was still there.
Oh, say does that Star Spangled
Banner yet wave?
O’er the land of the free,
And the home of the brave?
Key and Skinner were forced to watch the bombing of Ft.
McHenry all night during the Battle of Baltimore. In the morning,
Key was amazed to see that the American flag was still waving
and was inspired to write “Defence of Fort M’Henry.”
Key eventually set the lyrics to the song “To Anacreon in
Heaven” and it became better known as “The Star Spangled
Banner.
The Star Spangled Banner was made the official national
anthem of the United States of America in 1916 by President
Woodrow Wilson.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
Artist rendering of Fort McHenry Bombardment
4
“Spring“
from The Four Seasons
Lesson plan developed in collaboration with
Mary Crisman
Lake Silver Elementary
Orange County Public School
About the Music
Antonio Vivaldi (1678-1741)
D id
yo
Written in 1725, The Four Seasons is Vivaldi’s best-known
• Born in Venice, Italy
work and is one of the most popular works in classical
• Taught to play violin by his father, and was regarded as
music today. Originally published in a book with several
a virtuoso on the instrument
other works, The Four Seasons were four distinct
• Regarded as one of the greatest Baroque
“Spring” is the first
concertos featuring the violin.
composers
of four movements of
• Composed hundreds of pieces, but he is most
Vivaldi’s Four Seasons. The Four Seasons are considered program
known for his instrument concertos
It is fast, light, and
music, with each concerto representing a
• The Four Seasons is his most well-known work
bright, and depicts
different season through use of different string
• Vivaldi worked for most of his life at the Ospedale
birds chirping and
techniques such as pizzicato.
della Pietà, an orphanage in Italy
water flowing.
• Many of the works Vivaldi wrote were performed
In addition to using sounds to help the listener
by the girls in the orphanage, who were taught music
imagine the season, each movement is associated with
rather than a trade
a sonnet. The movement your students will hear, Spring,
•
Vivaldi’s popularity
is inspired by this sonnet:
faded in his later years but
Springtime is upon us.
his works are still played
The birds celebrate her return with festive song,
extensively today
And murmuring streams
•
Nicknamed Il Preto
Are softly caressed by the breezes.
Rosso, or The Red Priest,
Thunderstorms, those heralds of Spring,
because of his vibrant red hair.
Roar, casting their dark mantle over heaven,
w
o
?
n
k
Then they die away to silence,
u
And the birds take up
Vivaldi
Their charming songs once more.
wrote over
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
s for
500 concerto
t kinds
many differen
; he
of instruments
for
even wrote 39
the bassoon!
5
CONTRADANSE TO ALLEGRO
Start in an alley formation (two lines facing each other; face your
partner).
A SECTION
1) 4 steps towards the other line, stomp on beat 4
2) 4 steps back with a stomp on beat 4)
Turn in place one time around (2 beats)
Clap 3 times
(Repeat – on the repeat only clap once at the end)
B SECTION
Right allemande (8 beats – right palm presses to partner’s right palm,
go around partner once clockwise)
Hop twice (2 beats – feet cross, then open)
Right hand pull through (4 beats – grip partner’s right hand, pull past to
switch places; turn around to face
(Repeat)
INTERLUDE
Partners closest to the stereo come down the center of the alley,
moving to express the music. If time permits (the teacher should be the
judge) then a second couple can travel down the center of the alley.
B SECTION
INTERLUDE
B SECTION
INTERLUDE
B SECTION
INTERLUDE
C SECTION
Do-si-do (8 beats)
Balance with stomps (first foot steps in, second foot touches next to the
first, second foot steps back, first foot steps next to the second)
Balance on tiptoes
Right hand pull through
INTERLUDE
B SECTION
(Repeat)
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
Un-pitched Percussion Extension:
Used in conjunction with the contra dance, each set of partners
switches to a drum (or other un-pitched instrument) and switches
each time there is an interlude.
Set up
Arrange half of the class in an alley formation. Place an unpitched instrument behind each student. The second half of
the class sits/stands at the instruments, facing in towards the
dancers. When there is an interlude, dancers switch places with
the player behind them.
• The “right hand pull through” at the end of each B section
also allows the students to switch between two instruments
since they are changing places several times during the piece.
• If you combine the un-pitched percussion switch with the
head partners dancing down the alley then you should have the
dancers switch with the instrumentalists before the new head
partners go down the alley. (This option would give each student
potentially more different instruments to play, depending on how
the instruments are arranged.)
Possible rhythm patterns:
6
One of the song tracks available to you has been labeled “Allegro edited in C.” This is a slightly shorter,
modified version of “Spring” from The Four Seasons that can be accompanied with Orff instruments in the
Key of C. Only parts A and B are used, and the mallet part uses only simple chord and broken borduns.
There is one interlude still included; during the interlude students can rotate instruments or get prepared to
play both A and B parts together for the last times through B (combining the parts is optional).
Form of edited Allegro: A A B B Interlude B B
A
ORFF with
Allegro
B
The rough form of Allegro can be broken down as
follows
(Use Allegro Visual 1 found in Appendix A):
A (repeat)
B (repeat)
Interlude
B
Interlude
B’ (lower)
Interlude
B” (minor)
Interlude
C
Interlude
B (repeat)
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
Engage your students in active listening by:
Holding up form cards (A, B, C, Interlude - See
Appendix A).
1. Hold up dynamic cards or an arrow pointing
in the direction that the melodic line is going (See
Appendix A).
2. Divide and use both sets of cards and then
switch.
Active
Listening
For deeper analysis:
1. Ask your students how B’ and B” differ from
B (B’ is lower and B” is minor). Contrast feelings/
emotions between the major and minor versions
(B is happy, upbeat, lively; B” is sad, lonely, dark).
2. Analyze the interludes and how instruments
express the different parts of the sonnet.
7
Lesson plan developed in collaboration with
Katherine Grace Miller
Bonneville Elementary School
Orange County Public School District
“Ombra Mai Fu”
from the opera Serse
The opera Serse [Sir-See] first premiered in 1737. The opera
itself was considered a failure, but one aria, entitled “Ombra
Mai Fu” became an instant hit. “Ombra Mai Fu” was
• Born in Saxony, Germany
so popular, in fact, that several composers created
• Handel was drawn to music, but his father didn’t
arrangements using solo instruments, calling the
From the opera
want him to learn. Instead, his mother helped him
aria “Largo” rather than its true name.
Serse, this aria
practice the piano in secret
expresses the
Even though the opera was unpopular in its time,
• Handel first went to school to study law to
admiration
of
Xerses
about 200 years later, it was revived and was better
please his father, but he soon quit
received.
I of Persia for a
• Handel made his living playing the violin and
plane tree
teaching private lessons
The aria you will hear at the concert occurs at the
• In 1704, Handel gained instant popular with the
very beginning of the opera. The main character,
premiere of his first operas
Xerses, is standing
• When operas began to go out of style, Handel began writing
near a tree and
oratorios, including his most famous work, Messiah
thinking (singing) out
Although originally written for a male
• Handel was especially popular in England, and became an
loud. He is praising
singer; today is it usually performed
the tree and hoping
English citizen in 1726
by a woman singing with a mezzoit remains beautiful
forever.
soprano voice.
About the Music
George Frideric Handel (1685-1759)
Wow!
Translation
A scene from Tom Diamond’s production of Xerxes at the Jacobs
School of Music of Indiana University in Bloomington .
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
Frondi tenere e belle
Del mio Platano amato,
Per voi risplenda il Fato
Tuoni, Lampi, e Procelle
Non vi oltraggino mai la cara pace,
Ne giunga a profanarvi Austro rapace.
Tender and beautiful fronds
of my beloved plane tree,
Let Fate smile upon you.
May thunder, lightning, and storms
never bother your dear peace,
Nor may you by blowing winds be profaned.
Ombra mai fu
Di Vegetabile,
Care ed amaile
Soave piu.
Never was made
A vegetable (a plant)
more dear and loving
or gentle.
8
Focused Listening
MINT
1) Before telling your students about the story behind “Ombra
Mai Fu,” have them listen to the recording provided by the
Philharmonic or watch the YouTube video.
2) Both recordings feature Kathleen Battle, an opera singer who
has been active for over 40 years!
3) If listening to the performance only, have your students use
the MINT paper provided in the appendix to provide their initial
reaction to the piece
A few variations:
A) Critique: If your students are watching the YouTube video,
have them critique Kathleen Battle in terms of proper singing
(vowels, etc.). Ms. Battle was originally a public school teacher
and is an excellent model of proper singing technique.
B) Performance Practice: A recording of a contertenor
performing the work with period instruments is also provided as
an MP3. Consider playing that work for your students before
revealing that a man is singing and have them critique the work
as well!
C) Interpret the work: Consider not providing the story
behind the aria at first, showing student either the YouTube
video or playing the MP3. Have your students provide their own
story to accompany the aria. Have them compare & contrast
their story with the real story.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
In this lesson your students will describe the object of the
aria (a plane tree) and the aria itself using a combination of
descriptive and musical terms.
Materials Needed: Plane Tree PPT, Tree Map, and
recording of piece.
Duration: 20-30 minutes
1) Set the scene for “Ombra Mai Fu, explaining that Xerses
is outdoors and thinking about a tree.
2) The PowerPoint provided has a picture of a plane
tree. Using the “tree map,” provided in Appendix B, have
your students write down the characteristics of the tree.
Encourage students to provide as much detail as possible.
3) After students have written their initial thoughts, show the
PowerPoint again with the aria playing in the background.
The Powerpoint has timed transitions to match the length
of the song. This time, have the students describe the aria
while they’re watching.
4) After both sides
are complete, ask
students to look at
each list and share
their comparisons
and contrasts with
their shoulder
buddy.
King George I and George Frideric Handel on the Thames
River by Edouard Jean Conrad Hamman, 1717
9
Lesson plan developed in collaboration with
Katherine Grace Miller
Bonneville Elementary School
Orange County Public School District
Symphony #6, Mvt. 4.
“Pastoral Symphony”
Gewitter, Sturm (Thunderstorm; Storm)
About the music
Beethoven
was often
inspired
• Born in Bonn, Germany
by nature,
• Beethoven’s father and grandfather
Symphony No. 6,
leaving
were also musicians
also called Beethoven’s
Vienna to
• Moved to Vienna in his early
“Pastoral” Symphony,
take his
twenties
depicts a thunderstorm.
vacations
• One of the few musicians of the
Beethoven used specific
in the
time who made his living without being
instruments to represent
country.
employed by nobility or the church
different parts of the
• In 1801, Beethoven learned that he
storm.
Symphony Der einsame Meister, painting by Julius Schmid
was going deaf; in 1802, he wrote Symphony
No. 6, called
No. 5 and
the “Pastoral” Symphony, was inspired by one of his favorite
Symphony No. 6,
wooded areas. He wanted the symphony to describe what he
two of his most beloved
experienced when he stayed in the country. The section you
works
will hear at the concert is meant to describe a thunderstorm.
• Beethoven’s
Specific instruments are used to represent parts of a
compositions were
thunderstorm; timpani for thunder, violins for rain, and the
considered revolutionary
piccolo for lightning.
for their time
Ludwig van Beethoven
Influenced many
Romantic Era composers
• Died in Vienna
Di d
•
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
Symphony No. 6 is considered a program composition, a
piece that encourages the audience
to imagine a specific idea or scene
During his time,
while they listen.
you know?
Beethoven was one of
the musicians who made
his living without being
employed by nobility or
the church
10
Dance Movement
Activity #3
Name
Materials needed: Scarves
Duration: 15-20 minutes
1) Divide students into groups, based on the categories
heard in the music that are listed below:
Thunder – 0:27 – 0:49
Lightning – 0:49 – 1:11
Rain – 1:11 – 1:35
Hail – 1:35 – 1:56
Wind – 1:56 – 2:26
2) Each group will use scarves to create 4 movements that
are 8 beats long; base movements on group names
4) After wind, there are two parts
Storm fades away – 2:49 – 3:21
Flowers Bloom – 3:21 – end
5) During storm fades away, all groups will be sitting and folding
one of their scarves up and one scarf should be balled up in
their fists linked together. As the part “flowers bloom” begins
students will slowly begin to open up their fists and their scarf
should “bloom” out of their hands and expand to look like a
flower blooming.
3) Prior to “Thunder,” tell your students to stand still,
calling this part “the calm before the storm.” Everyone
except thunder should be seated. Have students prepare
to stand for their music. A video cueing each portion is
provided to help students know when it is their turn.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
11
Lesson plan developed in collaboration with
Christopher Burns
Lakeview Elementary School
School District of Osceola
Night on
Bald Mountain
Modest Mussorgsky (1839-1881)
• Born in Toropets, Russia
• Mussorgsky began taking piano lessons from
his mother at the age of six.
• Sent to Saint Petersburg at 10 years old to
study music.
• Although music was Mussorgsky’s passion,
he had trouble making a living as a composer.
To make ends meet, he also worked for the
government.
• Mussorgsky was part of a group of five
Russian composers known
as “The Five,” or the “Mighty
Handful.” These composers
wanted their music to express
nationalism, or pride in their
country.
• Mussorgsky’s music is
known for its vivid portrayal of
Russian life.
• Mussorgsky was never
well-known during his lifetime.
When he died prematurely,
Mussorgsky, published 1904.
his friend Nikolai RimskyKorsakov arranged and
finished several of his compositions.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
About the music
Modest Mussorgsky, like other members of “The
Five,” chose to compose music with Russian
Night on Bald
themes. When writing Night on Bald Mountain,
Mountain was inspired
he was inspired by Mount Triglav (see photo)
by a Russian short story and a short story by Russian composer Nikolai
Gogol.
about witches who
gathered at midnight
on Bald Mountain to
hold Sabbath.
Mussorgsky never heard the work performed live.
Even though he finished the entire piece in one
evening, his mentor, Mily Balakirev, felt it was not
worth performing and made him re-arrange the work
multiple times.
The version
students will
hear at the
concert was
orchestrated
by Nikolai
RimskyKorsakov,
a friend of
Mussorgsky’s
who helped
complete
many of his
manuscripts.
Triglav from the North side, taken by Borut Kantuser
Even though
Mussorgsky wasn’t a popular composer in his lifetime, Night on
Bald Mountain made him famous and led to a re-discovery of his
earlier works.
12
Ribbon Dance
Creative Listening
Play a few clips from Night on Bald Mountain for the students without giving them
information on the piece itself. Ask if any of the students have heard the piece before (it
has a very popular adaptation in Disney’s Fantasia).
In a second, full listening, have the students create a listening/story map based on what
they hear. Preface their listening with the information that there are many rises and falls in
the piece and their story should vividly depict what they are hearing with either pictures or
words. It may help to listen more than once.
After students have created their story maps, share the video as created by Disney in the
1940 production of Fantasia (can be found at http://vimeo.com/7753129). Compare and
contrast the Disney animation with the students' story maps.
After listening to the piece and
creating a story map, divide
the class in to 5 groups. Label
each group with the following
titles: Witches Flight, Arrival of
Chernobog, Sabbath Dance,
Church Bells, Arrival of Morning.
Each group can have similar
colored ribbon wands, or you can
disperse the colors based on the
group's title. With the entrance
of the 2nd and 3rd sections, the
ribbons from the previous sections
should keep moving. With the
entrance of the 4th section, the
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
first 3 ribbon sections freeze and
disperse. Students should show
an understanding, with their
movement, of the various sections
and the dynamic changes in the
music.
Witches Flight: 0:00 - 0:27
Arrival of Chernobog: 0:30 - 1:36
Sabbath Dance: 1:37 - 2:20
Church Bells/Witches Disperse:
2:21 - 3:10
Arrival of Morning/Peace: 3:11-end
Teacher may demonstrate possible
examples of ways to move the
ribbon based on classroom space
(fire, slashes, snakes on floor,
figure 8's, etc.). The following is
the listening map for the ribbon
dance.
13
Created by the Orlando Philharmonic
Orchestra Education Department
Danse des
Petit Cygnes
Pyotr Ilyich Tchaikovsky (1840-1893)
About the music
The ballet Swan Lake is based on a Russian folk tale about a
princess turned into a swan by an evil sorcerer. It is clear that
Tchaikovsky was excited about the work, composing the music
for the ballet in less than a year.
• Born in St. Petersburg
Danse de Petit
• Initially studied law but worked as a civil
Cygnes means “Dance
When Tchaikovsky was writing Swan Lake, it was common
servant at the St. Petersburg Conservatory,
of the Little Swans.” The
for composers to specialize in music written for the ballet.
eventually becoming Professor of Harmony.
music and choreography
Tchaikovsky was not one of these specialists; he actually did
• Was supported
illustrate how young
not care for the music often produced by these specialists.
by a wealthy widow,
swans huddle and
Because Swan Lake was his first ballet, however,
Nadezhda von Meck,
move together for
Tchaikovsky chose to study other ballet scores, gaining
who gave him a yearly
protection.
a new appreciation for the genre. Tchaikovsky went on to
allowance so he could
compose several more ballets, including his most well-known
abandon teaching and
ballet score, The Nutcracker.
compose full-time
• Lived in the country in his later years
Swan Lake was not
• Visited the USA in 1891
initially well-received,
• Many of his most popular works were
but it has since become
written for ballet, including Swan Lake,
very popular and is
Romeo and Juliet, and The Nutcracker.
Am
Interactive lesson plans
can be found here.
az
“Pyotr Ilyich Tchaikovsky” by
Charles Reutlinger
g
in
!
Tchaikovsky’s
wealthiest supporter,
Nadezha von Meck,
insisted that they never
meet in person, only
communicating through
letters - in fact, they
exchanged over
1,200 letters!
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
often performed. The
choreography is
not usually re-created,
with most companies
choosing to use material
from the 1895 revival.
Decor from Act II of the 1877 performance of Swan Lake by
F. Gaanan
The Philharmonic will
be presenting the danse des petit cygnes (Dance of the Petit Swans)
with the Orlando Ballet. This work is often presented with four women
dancers interlocking arms and performing acrobatic choreography with
their legs. It is meant to mimic the large amount of movement going on
beneath the water when a swan is swimming.
14
Lesson plan developed in collaboration with
Lisa Hewitt
Westbrooke Elementary School
Orange County Public School
“Jupiter, The Bringer of
Jollity”
from The Planets
Gustav Holst (1874-1934)
About the music
“Jupiter” paints a picture of
the Roman God Jupiter’s
visit to earth, full of
romance, dance, and
celebrations.
Statue of Holst at his birthplace, Cheltenham.
He is shown with the baton in his left hand, his
frequent practice because of the neuritis in his
right arm.
In
• Born in Gloucestershire, England
• Gustav Holst was from a family with three
generations of professional musicians
•Although Holst
wanted to play piano,
a nerve condition in his
hand forced him to pursue
the trombone instead
•Holst struggled to compose
full-time for most of his life,
often teaching to make money
•The Planets made Holst
famous, and he was often
asked to lecture in America and
abroad, even briefly teaching
music at Harvard University.
t
e s ti n g!
r
e
One theme
from Jupiter was
used in a Reese’s
peanut butter cup
commercial.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
The Planets is
considered Gustav
Holst’s most popular
musical work. Written
between 1914-17, The
Planets was written as
an orchestral suite.
Although the title suggests
that The Planets was named
after the planets in our solar
system, it was actually meant
to portray astrological ideas,
such as the influence of certain
planets on our emotions or
ideas; this is why Earth was not
included.
Statue of Jupiter Late 1st century AD,
marble at St. Petersburg Hermitage.
Today, The Planets is still popular, influential, and widely
performed. It is so popular, in fact, that many contemporary
composers have borrowed themes from it. John Williams
borrowed its themes when composing for Star Wars
Episode VI: Return of the Jedi.
At the concert, you will hear Jupiter, one of the most
popular movements in the suite. The excerpt begins
with a hymn-like melody that is one of the most famous
portions of the work. Holst later used the melody to create
a song called “I vow to thee, my country,” which is often
performed at significant public events in England.
15
Creative Movement
1. To begin, allow your students to respond and improvise to
the music using scarves/ribbons or other props.
2. Have your students talk about the movements they created
and how they felt those movements fit the music.
Dance Creation
1. Listening to the work, think about the structure/form
2. Talk about the structure/form of the piece along with
characteristics of that section and display on the board
3. Before playing the work a second time, encourage your
students to improvise again, but this time with more intention
3. Play the clip again after providing paper/pencil, whiteboards/
markers, or movement cards for groups to plan as they listen for
characteristics in the music
4. Guide students to create a ribbon/scarf movement as a class
or in small groups
4. Guide group work by providing time limits with assignments
(ex: you have 1 minute to decide on your opening movement)
5. Introduce/review ways to move a ribbon making a “menu”
of movements. While listening, encourage students to see if
certain musical parts inspire them to move in a certain way.
5. Allow for group/class discussion as students plan and
practice their movement
6. If time permits, continue onto the “Dance Creation” section. If
not, follow-up with Dance Creation another time.
6. Perform simultaneously and practice as the music plays.
Have one or two groups perform for the class at a time as others
are audience, then switch
7. Encourage students to comment on the performances of
other students or even their own performance, using criteria
developed as a group.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
16
Music Interpretation
Montage of Jupiter and the Galilean satellites, Io, Europa, Ganymede, and Callisto, all
photographed by Voyager 1, October 1998.
1. Display images of Jupiter; mentioning that:
• Jupiter is the largest planet of our solar system
• The outside is made up of poisonous gases, with stripes
created by frozen winds
• Right now, it is impossible to land a ship on Jupiter
because of the pressure from its atmosphere
• Jupiter has over 50 moons orbiting it!
2. Ask the students to think about the characteristics and
predict what they think the music might sound like
3. Use musical terms to discuss items such as tempo, dynamic,
tonality, timbre, etc.
4. Use the graphic organizer found in the appendix, working as
a class, in small groups, or even as individuals.
5. Play the music while looking at the images, paying attention
to the musical elements outlined above.
6. After “predictions” on what the music will be like are
complete, play the music and discuss how accurate the
predictions were compared with what Holst wrote.
7. Finally, reveal that the work was actually inspired by the
Grecian god Jupiter, the Bringer of Jollity, explaining why the
music sounds the same/different from what the class expected
and also why The Planets does not include Earth.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
Timbre Time
The Planets by Gustav Holst has been an inspiration to many
composers, including composer John Williams. One of the most
evocative elements of The Planets are the musical colors Holst
is able to produce. In music, these colors are often referred
to as timbre, a characteristic that often makes the music come
alive.
Pass out packets of cards containing the four families of
instruments; while listening to the music, have your students
hold up the card of the family they hear.
17
L’oiseau de feu
(The Firebird)
Infernal Dance
Lesson plan developed in collaboration with Mary Crisman
Lake Silver Elementary
Orange County Public Schools
W
singer and his mother sang and
asks a favor of the
When the ballet was being created, Diaghilev
played piano
Firebird, a phoenix
was living in Paris and wanted to create a
•Although Stravinsky studied music
who makes evil
work that was distinctly Russian with more
as a child, his parents wanted him to
creatures dance
modern sounding music. The excerpt you
study law. He eventually gave up the
will hear at the concert represents a part
themselves to
of
the folktale in which a hero named Ivan
law to study music with Nikolai Rimskysleep.
calls the Firebird for help. The Firebird makes
Korsakov
Igor Stravinsky as drawn by Pablo
the creatures attacking Ivan dance so furiously
• Stravinsky first became known for his work
Picasso (dated 31 December
that they fall fast asleep. Stravinsky makes the
1920).
with Ballet Russes, a famous ballet company in
dance sound “infernal” with non-standard rhythmic patterns,
Paris
syncopation, and sudden timbre changes created by
• Stravinsky became friends with artist Pablo Picasso when working
passing melodic lines
on the ballet Pulcinella
between instruments.
• He lived in several European countries
The music for the
before finally settling in the United
ballet was an instant
States in 1939
Stravinsky
hit, so much so that
•Known for composing in many
is most famous
Stravinsky created
diverse styles, transforming
for his musical score
an orchestral suite
the way composers thought of
for the ballet The Rite of
based on the ballet
rhythmic structure, and often
music. The suite is
Spring. When premiered,
very popular and is
used traditional musical forms
the dancing and the music
often performed by
(concerto, fugue, etc.) in new
was so controversial
orchestras today.
ways.
that it started a riot!
Ashley Bouder as the Firebird and former Principal
!
w
o
Dancer Jonathan Stafford as Prince Ivan. Source: New
York Ballet
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
18
About the Music
When Stravinsky wrote The Firebird, he was relatively
unknown. He was approached by Sergei Diaghilev, the founder
of the Ballet Russes ballet company in Paris, to
•Born and raised near Saint Petersburg,
write music based on a Russian folktale. The
Russia
folktale is about a magical glowing bird that can
The Infernal
grant wishes to anyone able to capture it; this
•Stravinsky came from a musical
Dance tells the
bird is sometimes called a phoenix.
family; his father was an opera
story of a prince who
Igor Stravinsky (1882-1971)
Let’s Conduct!
Review the text at the beginning of the listening map:
Immortal Kashchei waits...
With Ivan at the gates...
The Firebird has a plan...
It’s Stravinsky’s tiring Infernal Dance!
Note: Infernal Dance has extensive syncopation. this is a
great piece to review that concept with!
1) Before using the listening map (see Appendix C),
review how to conduct 3/4 and 4/4 patterns
Unpitched Percussion
Once the students are comfortable with the rhythm of the initial
melody it is easy to add in some simple unpitched percussion
accents to keep the students engaged.
This lesson uses woods (temple blocks, wood blocks, ticktocks, claves) and drums, but any unpitched percussion will
work great. (You can either have the students follow along with
the Listening Map or with Infernal Dance visual 1.)
Note: During any parts where the instruments are not playing,
students can either stay where they are, or rotate to a different
instrument.
During the conducting sections all instruments just tap the
steady beat.
For the “ta ti-ti ti-ti” pattern at the end of the piece your class
can try for the full pattern, or you can ask them to only hit on
the initial quarter note, to keep it cleaner.
Listening Map
All instruments finish the piece with a roll and a single forte hit
at the very end.
While following along with the listening map, encourage students to:
1. Speak/sing along with any text.
2. Move their hands with the melodic line (blue wavy line) in the
woodwinds.
3. Use their hands to show crescendos/decrescendos, the melodic
lines of the blue arrows (ascending and descending), and the timpani
roll
4. Pat the “ta ti-ti ti-ti” rhythmic pattern at the end of the work
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
For deeper analysis:
Discuss the following with your students:
1. Is it easy or hard to sing the melody?
2. Why do you think Stravinsky composed such a difficult melody?
3. Do you think the mood of the piece would be different if the melody
were simpler? (There are no wrong answers!)
To see the instruments in action, check out this great video of the
Infernal Dance performed by the San Francisco Symphony!
19
“What a Wonderful
World”
“What a
Wonderful World”
was released in 1967,
during a racially and
politically charged time in
the United States. It is a
hopeful and optimistic
song about the future
of life in America.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
About the music
“What a Wonderful World” was written in
1967, a time when America’s racial and
political climate was changing due to the
Civil Rights Movement and the Vietnam War.
The song was written to provide Americans
a hopeful and optimistic view of the world, and was
made famous by Louis Armstrong, one of the most
important jazz musicians of the 20th century.
!
Although the song initially was not
re
popular in America, it has become an
enduring favorite, due in part to Mr.
Even though Tony Bennett was
Armstrong’s heartfelt version.
the first person offered the chance
o
• Born in New York, New York
• Weiss originally planned to become
a lawyer or accountant, but passionate
about music, he instead attended the
Juilliard School of Music, excelling at
arranging and writing music.
• He eventually
became a jazz arranger
for big bands, writing
for artists such as Stan
Kenton, Vincent Lopez,
and Johnny Richards
• In addition to jazz
charts, Weiss also cowrote popular music
in the 1940s, 50s, and
60s, including hits such
as “The Lion Sleeps
George David Weiss. Source:
Associated Press August 27, 2010
Tonight,” “Lullaby of
Birdland,” and “Can’t
Help Falling in Love”
• Served for a time as the president for the
Songwriters Guild of America
Tell me
m
George David Weiss (1921-2010)
to record “What a Wonderful World,”
Sing-a-long Time!
George David Weiss wrote it with
“What a Wonderful World” is your
students’ chance to sing with the
Orlando Philharmonic Orchestra! We
have provided a singalong MP3 and music
for you to practice.
Louis Armstrong in mind.
20
20
I see trees of green,
Red roses too.
I see them bloom,
for me and you.
Are also on the faces,
Of people going by.
And I think to myself:
What a Wonderful World!
I see friends shaking hands,
Saying “how do you do?”
They’re really saying,
“I love you.”
I see skies of blue,
and clouds of white.
The bright blessed day,
the dark sacred night.
I hear babies cry,
I watch them grow.
They’ll learn much more,
Then I’ll ever know.
And I think to myself:
What a Wonderful World.
And I think to myself,
What a Wonderful World,
Yes, I think to myself,
What a Wonderful World.
The colors of the rainbow,
So pretty in the sky.
If you would like your students to follow along with the video,
check out the interactive lessons, found here.
Image by SwaloPhoto
Lesson plan developed in collaboration with Lisa Hewitt
Westbrooke Elementary School
Orange County Public School
Selections from
“Jurassic Park”
About the music
The soundtrack
for the movie
Jurassic Park was
written to convey
a sense of awe,
suspense and
excitement about
seeing live
dinosaurs.
John Williams (1932 - Present)
Arr. by Calvin Custer
•
Born in
Queens, New
York, and is still
alive today
•
Began as
a jazz pianist, but
became a TV and film
composer
•
Williams has provided
scores for more than 75 films,
including Jaws, E.T., Harry
Potter, Indiana Jones, Star
Wars, and Jurassic Park
John Williams conducting
•
Served as a conductor
for the Boston Pops Orchestra from 1980-1993
!
• Currently resides in Los Angeles, California
ng
Jurassic Park is an American science fiction film
from 1993. In Jurassic Park, an island wildlife park
has been created that features live dinosaurs
reconstructed using dinosaur DNA. When a
security system is accidentally turned off, the
visitors have to survive by escaping the island.
The film was based on a book by Michael
Crichton, and was an instant selling success,
becoming the highest-grossing film of its time.
Williams wanted the musical score to “convey a
sense of ‘awe’ and
fascination,” writing the work
in a Neo-romantic style
featuring a large orchestra, lush
harmonies, and sweeping
melodies.
Inte
re
s
The movie was so popular
that Universal
ti John Williams
Studios still has a
“Jurassic Park”
holds the record
in its Islands
for the most Oscar
of Adventure
nominations for “Best
theme park
Musical Score” and is
with rides
also the most nominated
inspired by
individual in any category
the movie and
at 49 Oscars!
several interactive
educational zones.
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
John Williams conducting the
Orlando Philharmonic at the opening of
The Wizarding World of Harry Potter at
Universal Studios, 2010.
22
1. Use the listening page (found in Appendix) provided or create one with your choice of
language
2. Display the page or copy one for each student or group of students
3. Discuss what is being asked before listening
4. Listen to the music clip without writing in the blocks
Focused Listening
5. Listen a second time while writing.
6. Discuss what the students have written. Guide students in a better understanding and
appreciation of the music and composer through these musical elements.
It is rare to be able to show students a composer at work in our classrooms. Any of the following
are wonderful options to show John Williams discuss his role and composer and even see him as a
conductor! Create an activity page that focuses on what you want students to discuss. An example is
provided for your convenience.
• John Williams Interview for Music Express: John Jacobson interviews composer John Williams.
Williams reveals that Steven Spielberg planned to edit the movie based on the music!
• John Williams Scoring E.T.: John Williams talks about recording film music for ET. This clip was
better received by students because it includes scenes from the movie.
• Rare Interview with John Williams: John Williams talks about his composing process. It shows
WIlliams using paper and pencil and being “anti-iPodian.”
• Jurassic Park - The Score: A short ad for Jurassic Park with Williams talking about matching the
themes with the visuals.
• John Williams Plays Suite from Harry Potter: describes the Harry Potter Suite, describing the
qualities of the characters and how he uses melody, rhythm and tone color to create themes for the
characters with music.
• CNN Interview with John Williams
• John Williams conducting the Orlando Philharmonic Orchestra at the opening of the Wizarding
World of Harry Potter!
Materials developed for Orlando Philharmonic Orchestra | orlandophil.org
Focused Listening/
Critique
23
Extra Resources
Extra Resources
Recommended Books
The Star-Spangled Banner by Peter Spier
The Story of the Orchestra by Robert Levine
The Remarkable Farkle McBride by John Lithgow
The Story of the Incredible Orchestra by Bruce Koscielniak
Bravo! Bravo! A Night at the Opera by Anne Siberell
Recommended Videos
Amazing Music – a four video series of youth concerts by the Dallas Symphony Orchestra
Disney’s Fantasia and Fantasia 2000
Internet – Online Resources
The Orlando Philharmonic Orchestra home page: www.orlandophil.org
Websites with activities for students and teachers:
San Francisco Symphony Orchestra – www.sfskids.org
Dallas Symphony Orchestra – www.dsokids.com
New York Philharmonic Kidzone – www.nyphilkids.org
Assessment of Student Learning
Informal assessment: The active listening experiences provide many opportunities for assessment of students’ skills in singing, playing, listening and
analyzing through teacher observation and peer/self assessment.
Pre- and Post-Test: These questions may be used before and after the concert as a pre- and post-test of student learning. Provide students with
individual papers or engage in a group discussion.
1) What is program music?
2) How is The Firebird (Stravinsky) similar to The Dance of the Little Swans (Danse de Petit Cygnes) by Tchaikovsky? How are they different?
3) How could a composer use their music to demonstrate nationalism?
Next Generation Sunshine State Standards (Music) met with the 2014 YPC Guidebook 3rd grade MU.3.C.1.1 Describe listening skills and how they support appreciation of musical works. MU.3.C.1.2: Respond to a musical work in a variety of ways and compare individual interpretations. (for later in the year) MU.3.C.1.3: Identify families of orchestral and band instruments. MU.3.C.3.1: Identify musical characteristics and elements within a piece of music when discussing the value of the work. MU.3.H.1.2: Identify significant information about specified composers and one or more of their works. MU.3.H.2.1: Discuss how music in America was influenced by people and events in its history. MU.3.O.1.1: Identify, using correct music vocabulary, the elements in a musical work. MU.3.O.1.2: Identify and describe the musical form of a familiar song. MU.3.O.3.1: Describe how tempo and dynamic can change the mood or emotion of a piece of music. 4th grade MU.4.C.1.1: Develop effective listening strategies and describe how they can support appreciation of musical works. MU.4.C.1.2: Describe, using correct music vocabulary, what is heard in a specific musical work. MU.4.C.1.3: Classify orchestral and band instruments as strings, woodwinds, brass, percussion, or keyboard. MU.4.C.3.1: Describe characteristics that make various musical works appealing. (for later in the year) MU.4.H.1.2: Describe the influence of successful composers on the musical works or traditions of their time. MU.4.O.3.1: Identify how expressive elements and lyrics affect the mood or emotion of a song. MU.4.O.3.2: Apply expressive elements to a vocal or instrumental piece and, using correct music vocabulary, explain one's choices. MU.4.O.1.1: Compare musical elements in different types of music, using correct music vocabulary, as a foundation for understanding the structural conventions of specific styles. MU.4.O.3.1: Identify how expressive elements and lyrics affect the mood or emotion of a song. 5th grade MU.5.C.1.1: Discuss and apply listening strategies to support appreciation of musical works. MU.5.C.1.2: Hypothesize and discuss, using correct music vocabulary, the composer's intent for a specific musical work. MU.5.C.1.3: Identify, aurally, selected instruments of the band and orchestra MU.5.C.2.1: Define criteria, using correct music vocabulary, to critique one's own and others performance. MU.5.C.3.1: Develop criteria to evaluate an exemplary musical work from a specific period or genre MU.5.H.1.2: Compare and describe the compositional characteristics used by two or more composers whose works are studied in class. MU.5.H.2.1 Examine the contributions of musicians and composers for a specific historical period. MU.5.O.1.1 Analyze, using correct music vocabulary, the use of musical elements in various styles of music as a foundation for understanding the creative process. MU.5.O.3.1: Examine and explain how expressive elements, when used in a selected work, affect personal response. MU.5.S.3.2: Play melodies and accompaniments, using proper instrumental technique, on pitched and unpitched instruments. Paragraph Frame: This activity may help students organize and personalize their thoughts about the concert experience.
Share this activity with the classroom teachers.
Orlando Philharmonic Concert – Nature in Music
Before I went to the concert I thought
After we arrived, I found out that
When I first heard the music, it made me feel
The most interesting part of the concert was
I can use music to express myself by
I wish that in the future
Piano
Forte Mezzo Four Seasons Form Map
A :| INTERLUDE
B :| B” INTERLUDE INTERLUDE B C INTERLUDE INTERLUDE B’ B A B C Interlude SPRING – “Allegro” (lyric sheet) In 1678 Venice had a mighty earthquake And Vivaldi was born on that same date He learned to play violin, for his father showed it to him And his playing was really great The Red Priest became a mentor For girls at an orphan center His music for them left the crowds impressed Concertos like The Four Seasons Gave us four amazing reasons To label him one of Baroque’s best INTERLUDE The sonnet that pairs Allegro Has birds singing while the streams flow The water caressed by the breeze and sun INTERLUDE But sunny spring is no stranger To the lashing rain and danger Of thunderstorms on the horizon INTERLUDE The storms cast their gloom and shadow Over both the sky and meadows Then slowly the wrath of the storm is gone INTERLUDE Clouds roll over the sky And the birds decide not to fly When the wind is up everyone is scared When the wind is down everyone prepares To emerge if it passes by INTERLUDE The storm and its roaring violence Soon fade away into silence And birds sing again underneath the sun Hurrah for some program music There’s more than just music to it Vivaldi’s Allegro is now done Allegro lyric sheet (edited)
(for use with “Four Seasons_Orff Version in C” recording)
In 1678 Venice had a mighty earthquake And Vivaldi was born on that same date He learned to play violin, for his father showed it to him And his playing was really great The Red Priest became a mentor For girls at an orphan center His music for them left the crowds impressed Concertos like The Four Seasons Gave us four amazing reasons To label him one of Baroque’s best INTERLUDE The storm and its roaring violence Soon fade away into silence And birds sing again underneath the sun Hurrah for some program music There’s more than just music to it Vivaldi’s Allegro is now done MINT Paper: MINT Paper: Name:_____________________________________________________ Name:_____________________________________________________ Name of Piece: _____________________________________________ Name of Piece: _____________________________________________ Composer: _________________________________________________ Composer: _________________________________________________ 1. When I first heard this piece I thought: 1. When I first heard this piece I thought: ___________________________________________________________________ _________________________________________________________________
___________________________________________________________________ _________________________________________________________________
2. When I close my eyes and listen to the music I imagine 2. When I close my eyes and listen to the music I imagine ___________________________________________________________________ _________________________________________________________________
___________________________________________________________________ _________________________________________________________________
3. If I could use one word to describe this piece of music it would be: 3. If I could use one word to describe this piece of music it would be: ___________________________________________________________________ _________________________________________________________________
___________________________________________________________________ _______________________________________________________________ Additional comments: Additional comments: ___________________________________________________________________ _________________________________________________________________
___________________________________________________________________ ________________________________________________________________ MINT Paper: MINT Paper: Name:_____________________________________________________ Name:_____________________________________________________ Name of Piece: _____________________________________________ Name of Piece: _____________________________________________ Composer: _________________________________________________ Composer: _________________________________________________ 1. When I first heard this piece I thought: 1. When I first heard this piece I thought: ___________________________________________________________________ _________________________________________________________________
___________________________________________________________________ _________________________________________________________________
2. When I close my eyes and listen to the music I imagine 2. When I close my eyes and listen to the music I imagine ___________________________________________________________________ _________________________________________________________________
___________________________________________________________________ _________________________________________________________________
3. If I could use one word to describe this piece of music it would be: 3. If I could use one word to describe this piece of music it would be: ___________________________________________________________________ _________________________________________________________________
___________________________________________________________________ _________________________________________________________________
Additional comments: Additional comments: ___________________________________________________________________ _________________________________________________________________
___________________________________________________________________ _________________________________________________________________
“Ombra Mai Fu” from the opera “Serse”
By: George Frideric Handel
Tree Characteristics
Aria Characteristics
Jupiter, the Bringer of Jollity from The Planets Composed by Gustav Holst Musical Element Dynamics Tempo
Timbre/Tone Color
Mood
What I predict
What I heard
Images of Jupiter Images of Jupiter Images of Jupiter Timbre Time! Percussion Family Woodwind Family Brass Family String Family Firebird – Infernal Dance (Listening Map)
subito piano
forte → piano → forte → piano
accelerando
Immortal
Kashchei
waits....
Infernal Dance visual 1
Immortal Kashchei waits...with Ivan at the gates...
The Firebird has a plan...
It's Stravinsky's tiring Infernal Dance!
(repeat above)
The Firebird has a plan...
It's Stravinsky's tiring Infernal Dance!
It's Stravinsky's tiring Infernal Dance!
His Infernal Dance! His Infernal Dance!
Immortal Kashchei waits...
With Ivan at the gates...
The Firebird has a plan...
It's Stravinsky's tiring Infernal Dance!
The Firebird has a plan...
It's Stravinsky's tiring Infernal Dance!
Jurassic Park Theme Composer: John Williams Genre: Film Score
Dynamics Is the music loud (forte), soft (piano), or a combination? How does this affect your response to the music? Melody/Rhythm Is the melody simple or complex? Can you sing it? Is there a melodic or rhythmic pattern that is repeated? Notate it. What or
who do you think it represents in the movie? Timbre Mood What family of instruments do you hear? Are there any solo How does the music make you feel? Do you think this is what instruments? Do you think the composer’s choice of tone color the composer’s intent was? Explain. is a good one? Why or why not? Give an example. Jurassic Park Theme Composer: John Williams Genre: Film Score What did you find to be an interesting comment by the composer? Why? What do you think is the most challenging part of composing music for a film/movie? What is something you saw or heard about John Williams, his music, or composing for a film that you had never heard or thought of before? Do you think music in a film is important? Why? Young People’s Concert Glossary Arrangement: A new version of a previously created Cello: A member of the string family that is used in musical work. Arrangement might include using symphony orchestras, chamber ensembles, and is different instruments or using different harmonies. often popular as a solo instrument. Aria: An expressive melody usually composed for a singer; most well­known for its roots in opera. Choreography: The art of designing sequences of movement in which motion, form, or both are specified; found in most dance genres. Baroque Era: A Style of Western music composed from 1600­1750 and included composers such as Bach, Vivaldi, and Handel. Harmony: the use of musical notes at the same time to create a distinct sound. Melody: a group of musical notes that the listener hears as a single group as a combination of pitch and rhythm. Clarinet: A member of the woodwind family that uses a single reed to create sound. Mezzo­soprano: A type of classical female singer who range is between the highest (soprano) and lowest (alto) voices. Bass (or Double Bass): the largest and lowest­pitched bowed string instrument found in a symphony orchestra, jazz ensembles, and smaller string ensembles. Concertmaster: The top violinist in an orchestra, the concertmaster signals tuning at the beginning of the concert, provides guidance to the entire string section, and serves as the second in command for the conductor. Movement: a self­contained part of a larger musical composition with a distinct beginning and end. Bassoon: The lowest sounding instrument of the woodwind family that is usually found in orchestras, concert bands, and chamber music literature. Big Band: A musical ensemble that originated in the United States associated with jazz and the Swing Era that uses percussion, brass, and woodwinds. Brass Family: A group of instruments characterized by the use of brass to make its materials. Typical instruments include trumpet, french horn, trombone, and tuba. Concerto: A musical composition that is often composed in three parts or movements that often features a solo instrument with an ensemble providing accompaniment. Conductor: The leader of the orchestra, a conductor who provides visual cues through hand gestures (known as conducting), a unified artistic vision, and represents the orchestra to the audience. Excerpt: a passage or quote taken or selected from a larger musical work. French Horn: A member of the brass family whose body is coiled around and ends in a flared bell. Nationalism: A belief that involves identifying deeply with one’s nation and its culture and beliefs. Neo­Romantic: An artistic movement that incorporates elements from the Romantic era. Oboe: A member of the woodwind family that uses a double reed. The oboe provides the tuning note for the orchestra, and has a similar range as the clarinet. Opera: An art form in which singers and musicians perform a dramatic work combining text and musical scoring, usually incorporating elements of theater such as acting, scenery, costumes, and even dance). Young People’s Concert Glossary Oratorio: A musical composition similar to aria in its use of singers and orchestras that does not use theatrical elements and whose subject matter is almost always religious. Score: A piece of written music that includes or highlights all the musical parts within work; the piece of music used by the conductor rather than an individual performer. Orchestrate(d)­ Adapting a musical work from another medium into an orchestral work (ex: Night on Bald Mountain was originally written for piano) String Family: A family of instruments that includes violin, viola, cello, and string bass who produce sound from vibrating strings. Percussion family: A family of instruments that may be pitched or non­pitched that often provide rhythmic intensity within an orchestra. Piccolo: a relative of the flute, the piccolo is half its size and its range is an octave higher. Suite: An ordered set of musical works (movements) that are often excerpts from a larger work such as a ballet (Ex: the Firebird Suite was created from the Firebird ballet score) Pizzicato­ a playing technique used by instruments in the string family in which the string is plucked with the finger rather than using the bow. Program music: Any musical composition in which the piece is designed according to a story, or is meant to evoke a specific idea/atmosphere. Romantic Era­ In music, a time period that occurred from about 1800­1900 characterized by larger orchestras, experimentation with form and harmony, and a new­found appreciation of nature. Syncopation: A variety of rhythms which are in some way unexpected to make the music sound less measured. Timbre: The quality of a musical note, sound, or tone, that distinguishes one musical instrument from another (ex: a flute versus a tuba) Timpani: A musical instrument that is part of the percussion family. It is shaped like a bowl and has a thin membrane tightly stretched over it to create certain pitches. Trombone: A member of the brass family, the trombone is the 2nd lowest sounding member and creates different notes using a slide rather pressing valves. Trumpet: A member of the brass family, the trumpet is the highest sounding member and creates sound by pressing valves. Tuba: A member of the brass family, the tuba is the lowest sounding member and producing sound by pressing valves. Viola: A member of the string family, the viola is the second highest sounding member. Sound is produced by causing strings to vibrate through use of a bow or by plucking the strings. Violin: A member of the string family, the violin is the highest sounding member. Sound is produced by causing strings to vibrate through use of a bow or by plucking the strings. Virtuoso: An individual who possesses outstanding technical ability on a particular instrument. Woodwind family: A family of instruments that creates sound by blowing air through the instrument and are characterized by being constructed originally from wood.