2016/17 Education Concerts
Brett Mitchell
Conducting
Dear Teachers,
Welcome to The Cleveland Orchestra’s
2016/17 season of Education Concerts!
In order to ensure everyone’s comfort and enjoyment
during the concert, we ask that you please follow these
simple guidelines:
• Plan to arrive at the concert hall 30 minutes prior to concert time.
The ushers seatingyour group will seat more than 2,000 students per concert, so ample
time is required andappreciated. All concerts take place at Severance Hall and the Maltz
Performing Arts Center.
• University Circle Police will be providing a letter outlining the designated “Bus Route”
for Education Concerts at Severance Hall and the Maltz Performing Arts Center.
Please make sure your transportation coordinator reviews this before getting on the road.
• School Group Leaders: (1) Have your Group Ticket ready which identifies your school
and seat assignment; (2) Obtain a “dismissal number” (from Severance Hall bus greeters)
which will be used during the Systematic Dismissal Process to ensure an orderly departure.
We constantly refine the procedure based on your comments to make it faster and more
efficient.
• No food, drink, gum chewing, cameras, audio or video equipment are allowed inside the
concert hall.
• Have students visit the restrooms before the concert begins. This is extremely important.
Since there is no intermission, it is not possible for students to visit the restrooms during
the performance without disturbing others. If an emergency exists, please notify an usher.
Students must be accompanied to restrooms by an adult.
• Chaperones are responsible for the conduct of their students and should plan to sit
among the children rather than on the aisle or next to another adult. We recommend at
least one chaperone for every 15-20 students. Students should know in advance that they
will be required to sit quietly in their seats for a fairly long time.
Thank you for your cooperation! If you have questions about these or any other aspects of The
Cleveland Orchestra’s Education Concerts, please feel free to call the Orchestra’s Education
Department at (216) 231-7355. Enjoy the concert!
Joan Katz Napoli
Director, Education and Community Programs
The Cleveland Orchestra
Sandra Jones
Manager, Education and Family Concerts
The Cleveland Orchestra
Checklist to Prepare for Education Concerts
The Cleveland Orchestra’s Education De­part­ment provides schools with teaching tools to assist in preparing
students for and en­hanc­ing their en­joy­ment of Ed­u­ca­tion Con­certs. The Score stu­dent newspaper and
Teacher’s Guide are provided free to schools.
Pass out The Score Stu­dent News­pa­per
The Score, a spe­cial news­paper for stu­dents at­tend­ing Ed­u­ca­t­ion Con­certs,
pro­vides fea­ture sto­ries about the Or­ches­tra, back­ground in­for­ma­tion on
com­pos­ers, plus Fan Mail (student let­ters).
Use the Spotify Playlists
The Spotify Playlist of the concert music to be fea­tured in Ed­u­ca­t­ion Con­certs
pro­vides a con­ve­nient way to fa­mil­iar­ize stu­dents with the con­cert mu­sic. To access resources online
go to clevelandorchestra.com, click on Education & Community, then click on “For Schools & Teachers.”
Scroll down to Classroom Resources for Educators.
Go to Spotify anytime, for example, in the morn­ing be­fore class be­gins, dur­ing re­cess or lunch, or
while students are pack­in­g up to go home. Any ex­po­sure will help kids become familiar with the
music and enjoy the concert more.
Check out the Teaching Ideas and Orchestral Instruments
This Teacher Guide includes repertoire-specific and curriculum-linked teaching ideas and classroom
activities, plus a 5-page spread on the instruments of the orchestra.
Surf the Web for Music Education Resources
Here are a few sites that will be of interest – menc.org, dsokids.com, nyphikids.org, car­n­egie­hall.org/orc,
cleve­landorches­tra­.com.
Reflection Section
Language Arts Connection for Grades 3-5 – Ask students to send Fan Letters to The Cleveland Orchestra
describing their Education Concert experience. (Which piece of music did you like best? How did the music
make you feel? What was your favorite instrument?)
Visual Arts Connection for all grades – After the concert, have students draw or paint a picture of what
they saw (orchestra musicians, conductor, Severance Hall) or how the music made them feel. We often
showcase student artwork in displays or in our publications.
Writing Prompts For Middle and High School Students: Ask students to write their own music review
of the Violins of Hope concert they attended. To help them reflect on the difference between fact writing
and opinion writing pieces, they can analyze and compare the components and structure of a factual news
story vs. a music review (visit www.cleveland.com/musicdance for articles and reviews of the latest arts and
culture events around Cleveland). Students should use the following guidelines when writing their review:
• Begin by stating their overall opinion of the performance
• Include basic event information (who, what, where, when, why of the concert)
• Identify reasons to support their opinion directly from their experience as an audience member
• Maintain an objective tone and coherently link reasons supporting their opinion
• Provide a concluding statement
Send fan letters, music reviews and artwork, Including name, grade, and school to:
The Cleveland Orchestra, Education & Community Programs Department,
Severance Hall, 11001 Euclid Avenue, Cleveland, Ohio 44106.
© 2016, Musical Arts Association. Pages may be photocopied by schools for educational use.
1
THE CLEVELAND ORCHESTRA
Education Concerts for Grades 3-5
the
Sounds
of
the
Orchestra
Brett mitchell
November 1-4, 2016
The Cleveland Orchestra
Brett Mitchell, conductor
The Cleveland Orchestra and
associate conductor Brett
Mitchell will explore the
unique traits of the four
families of musical instruments
that make up “The Sounds
of the Orchestra.” Students
will experience the distinctive
sounds of the string,
woodwinds, brass, and
percussion sections, and will
learn how composers weave
these individual groups into
diverse musical soundscapes.
ALL SHAPES AND SIZES (full orchestra vs. chamber orchestra)
STRAUSS
Introduction from Also sprach Zarathustra
MOZART
Allegro from Eine kleine Nacthmusik (strings)
Music in Stereo (polyphony)
DUKAS
DAUGHERTY
Fanfare from La Péri
“MXYZPTLK” from Metropolis Symphony
Music from Afar (offstage)
BERLIOZ BEETHOVEN
“Scené aux Champs” from Symphonie fantastique
Leonore Overture No. 3
AN ORCHESTRA OF SOLOISTS
RAVEL
Bolero (percussion)
New Sounds for the Concert Hall (technology)
BATES
Mothership for orchestra & electronica
(With your user name on Spotify, search for cleveorcheducation or go to www.clevelandorchestra.com/
education-and-community/programs-for-schools-and-teachers/ and click on the link under Spotify)
2
Please Note: Education Concerts are approximately one hour in length. Programs are subject to change. Due to time constraints,
the musical selections played on Cleveland Orchestra Education Concerts are, in many cases, excerpts from larger works. It is our
goal to present a wide range of classical music of the highest artistic quality for you and your students within the time parameters
imposed. We encourage you to enjoy the full works with your students whenever possible. Happy listening!
CLASSROOM TEACHING IDEAS FOR GRADES 3-5
The Sounds of the Orchestra
Listening Guide
Below is a piece by piece listening guide to your Spotify playlist of concert selections (With your user
name on Spotify, search for cleveorcheducation or go to www.clevelandorchestra.com/education-andcommunity/programs-for-schools-and-teachers/ and click on the link under Spotify) with questions to lead
your class in guided listening and discussion of the music. Start by reading about the composers and their
music in The Score student newspaper, and then follow up by listening to the music together.
Introduction from Also Sprach Zarathustra
Richard Strauss (1864-1949)
1. Have you heard this music before? Where? What
does it make you think of?
2. This is a piece for a very large orchestra. How many
instruments do you think are playing? Which ones
can you identify?
Allegro from Eine Kleine Nachtmusik
Wolfgang Amadeus Mozart (1756-1791)
1. How does this music sound different from the last
piece? Are there more or fewer instruments playing? What is the main family of instruments that
you hear?
2. Eine Kleine Nachtmusik means “A little night
music” in German. Does it sound like night to
you? Why or why not?
Fanfare from La Pèri
Paul Dukas (1865-1935)
1. Which instrument family of the orchestra do you
hear? Which instruments are members of that
family?
2.A fanfare often announces an important person
or event. What do you think this fanfare might be
announcing?
“MXYZPTLK” from Metropolis Symphony
Michael Daugherty (b. 1954)
1. Michael Daugherty’s Metropolis Symphony is all
about the character Superman. Where do you
think the title comes from?
2. What is the first instrument you hear? How would
you describe the shape of the sound?
“Scène aux Champs” from Symphonie
Fantastique
Hector Berlioz (1803-1869)
1. “Scène aux Champs” means “scene in the field”
in French. What sounds do you hear that remind
you of things in a field? What do you think the
field looks like?
2. This piece begins with two instruments, the English
horn and oboe, taking turns playing. Can you hear
the moment when they start to play together?
Leonore Overture No. 3
Ludwig van Beethoven (1770-1827)
1.How does the trumpet you hear in this piece
sound different from the trumpets in the Fanfare
from La Pèri?
2. This music is from an opera that tells the story of
a daring rescue. What character do you think the
trumpet might represent?
Bolero
Maurice Ravel (1875-1937)
1. Listen to the rhythm played by the snare drum
at the very beginning of the piece. This rhythm
continues throughout the entire piece, with more
and more instruments joining in. Can you tap it
on your thigh or desk along with the music, or
play it on percussion instruments?
2. On top of the distinctive rhythm, two melodies are
also heard throughout, and they too are passed
among different instruments. See how many of
the instruments you can hear and identify as they
join in.
3.A bolero is a type of Spanish dance. What do you
think a dance to this music might look like?
Mothership for orchestra and electronica
Mason Bates (b. 1977)
1. Why do you think this piece is called Mothership?
Can you make up a story to go with the music?
2.Can you tell which sounds are the orchestra and
which sounds are electronic?
3
CLASSROOM TEACHING IDEAS FOR GRADES 3-5
Activities:
Sound All Around
What’s the Beats per Minute?
This concert explores the different ways that the
orchestra can fill our ears with sound. You can
emulate these techniques as a group by using your
voices, rhythm instruments, or band/orchestra
instruments if you have them. Choose a song
that everyone knows (Happy Birthday, Twinkle,
Twinkle, Little Star, etc.) and try singing/playing it
in the following different ways. Then listen to the
corresponding tracks to compare your version to
the orchestra’s.
Full Orchestra vs. Chamber Orchestra: Have the
whole class perform the song together, then divide
into four groups and have each small group perform.
Did each group sound the same? How did the small
groups’ sound different from the whole class?
(Corresponding pieces: Also Sprach Zarathustra and
Eine Kleine Nachtmusik)
In Stereo: Choose two individual students to stand
on opposite sides of the room (the larger the space,
the better) and have the rest of the class stand in
the middle. On your cue, have the two students
start performing the song while the rest of the class
listens. How does it sound? For a more advanced
variation, give the two students cues to start and
stop singing/playing at different times. How does
the sound change?
(Corresponding piece: “MXYZPTLK”)
Off-Stage: Have one student (or a small group)
stand outside the classroom in a hallway or adjacent
room. Assign the students in the hallway part of the
song and students in the classroom the other (ex:
students in hallway sing “Twinkle, twinkle little star,”
then students in classroom sing “how I wonder what
you are”). Try singing back and forth. Was it difficult
to stay together?
(Corresponding pieces: “Scène aux Champs” and
Leonore Overture No. 3)
4
The Sounds of the Orchestra
Build It Up: Have one student start singing or
playing the song, then point to each student to join
in one at a time until the whole class is performing.
What did you hear?
(Corresponding piece: Bolero)
Add a Beat: Perform your song along with a variety
of electronic accompaniment tracks (many websites
have tracks you can play for free, like www.
freesound.org). What do you have to change about
the way you sing/play with each one?
(Corresponding piece: Mothership)
Online Resources
• Watch video clips from the New York City Ballet’s
recent staging of Mason Bates’ Mothership for
eight dancers:
www.nycballet.com/Ballets/M/Mothership.aspx
• Watch the opening of the film 2001: A Space
Odyssey with the music from Also Sprach
Zarathustra:
www.youtube.com/watch?v=eQFj59PON4
• Learn more about this concert’s living composers
through their personal websites and compare
their lives and careers:
• Michael Daugherty
www.michaeldaugherty.net
• Mason Bates
www.masonbates.com
CLASSROOM TEACHING IDEAS FOR GRADES 3-5
The Sounds of the Orchestra
Curriculum Connections:
Ohio’s New Learning Standards
MUSIC: GRADES 3-5
Perceiving/Knowing/Creating
• Listen to, identify, and respond to music of
different composers, historical periods and world
cultures
• Identify elements of music including tonality,
dynamics, tempo and meter, using music
vocabulary
• Describe the roles of musicians in various music
settings
Producing/Performing
• Follow and respond to the cues of a conductor
• Play a variety of classroom instruments with
proper technique
• Sing, move and respond to music from world
cultures and different composers
• Demonstrate appropriate audience etiquette at
live performances
Responding/Reflecting
• Explain how the elements and subject matter of
music connect with disciplines outside the arts
• Notice and describe what they hear in selected
pieces of music and compare their responses to
those of others
• Explain personal preferences for specific musical
selections using music vocabulary
• Describe the connection between emotion and
music in selected musical works
5
THE CLEVELAND ORCHESTRA
Education Concerts for Grades 6-12
VIOLINS of hope
March 7-10, 2017
The Cleveland Orchestra
Brett Mitchell, conductor
FINZIPrelude
PROKOFIEV
Overture on Hebrew Themes
SHOSTAKOVICH
“Allegro molto” from Chamber Symphony
for String Orchestra
WILLIAMS
Main Theme from Schindler’s List
BLOCH
“Simchas Torah” (“Rejoicing”) from Baal Shem
BRUCH
Kol Nidrei
ROSSINI
Overture from La scala di seta (“The Silken Ladder”)
You can break bodies. You can extinguish
voices. You can even crush souls, temporarily.
You cannot, however, silence music. Not with
gas chambers. Not with firing squads. Not by
means of starvation. Music always survives.
On these Education Concerts, music and
drama will combine to give us a powerful new
lens through which to view the important
role of music in Jewish life before, during and
after the Holocaust. The violin was deeply
embedded in Jewish culture for centuries
before World War II, but during the Holocaust
(i.e., the systematic persecution and murder
of six million Jews by the Nazis) the violin
played an extraordinary role in fostering
Jewish survival and hope. For some Jews,
the instrument was a liberator; for others, it
was a savior that spared their lives. For many,
the violin provided comfort during one of the
darkest periods in history. The music on this
concert was selected to convey the themes of
Jewish spirit, resistance, resilience…and hope.
(With your user name on Spotify, search for cleveorcheducation or go towww.clevelandorchestra.com/
education-and-community/programs-for-schools-and-teachers/ and click on the link under Spotify)
Please Note: Education Concerts are approximately one hour in length. Programs are subject to change. Due to time constraints, the
musical selections played on Cleveland Orchestra Education Concerts are, in many cases, excerpts from larger works. It is our goal to
present a wide range of classical music of the highest artistic quality for you and your students within the time parameters imposed.
We encourage you to enjoy the full works with your students whenever possible. Happy listening!
6
CLASSROOM TEACHING IDEAS FOR GRADES 6-12
“VIOLINS OF HOPE”
Listening Guide
Below is a piece by piece listening guide to your Spotify playlist with questions to lead your class in guided
listening and discussion of the music. Start by reading about the composers and their music in The Score
student newspaper, and then follow up by listening to the music together.
Finzi, Prelude
1.Instead of writing a distinct melody and
harmony, this composer chose to create
a landscape of sound, or a “soundscape.”
Describe an imaginary landscape that you
envision in your mind while listening to the
piece, or draw or paint a scene inspired by the
music.
2.This piece is meant to set the mood for the
rest of the music on this concert. What kind of
mood do you think this is setting up?
Prokofiev, Overture on Hebrew Themes,
Op. 34
1. Prokofiev used two melodies, based loosely on
Jewish folksongs, throughout this piece, one
more lively and dance-like, played primarily
by the clarinet, and one more sustained and
singing, introduced by the strings and horns.
See if you can pick out each instance of these
two melodies throughout the piece. How many
times do you hear each one and in what order?
Do you hear any variations, or slightly different
versions, of the main melodies? What other
instruments do you hear playing each melody?
2.Try conducting each contrasting melodic line
as if you were directing a live orchestra. How
would you change your conducting style when
the melody changes?
3.If you had to create a visual representation of
the piece, what would it look like? What colors,
shapes, or other artistic elements would you use?
How would this visual representation compare to
the one you created for the Finzi?
Williams, Main Theme from Schindler’s List
1. The movie Schindler’s List tells the true story
of Oskar Schindler, a German entrepreneur
and Nazi party member who devised and
successfully carried out a plan to save
thousands of Jewish lives during the Holocaust.
This piece from the movie soundtrack features
a melody played by solo violin. Why do you
think John Williams assigned a single violinist
to play this melody? What emotions, people or
events do you think the melody represents?
2.Later in the piece a countermelody, or a
secondary melody, is played underneath the
violin by several different wind instruments.
What do you think these secondary melodies
represent?
Bloch, “Simchas Torah”
(“Rejoicing”) from Baal Shem
1. How is the overall feel of this piece markedly
different from all of the other pieces you’ve
heard so far?
1. How would you describe the style in which the
strings are playing throughout the piece?
2.“Simchas Torah” is a prayer read during a
Jewish holiday that marks the end of the
reading cycle of the Torah, or Jewish scripture,
and the beginning of a new one. Discuss
how musical elements such as rhythm, pitch,
dynamics, tempo, instrumentation and overall
style make this piece sound representative of
a new beginning.
2. What emotions do you feel while listening to this
piece? How are these emotions represented in
the history of the Holocaust?
3.Dance is an integral part of many Jewish
traditions. What do you think a dance to this
music might look like?
Shostakovich, “Allegro molto” from
Chamber Symphony for String Orchestra,
Op. 110a
7
“VIOLINS OF HOPE”
CLASSROOM TEACHING IDEAS FOR GRADES 6-12
Bruch, Kol Nidrei, Op. 47
1.Meaning “All Vows” in Aramaic, Kol Nidrei
is a chant recited at the beginning of the
evening service of Yom Kippur, or The Day
of Atonement. Based on the way the music
sounds, do you think this is a joyful or a solemn
holiday? Explain your answer.
2.The opening melody, played by the cello after
a short orchestral introduction, is meant to
sound like the sighs of the cantor reciting this
chant. Describe how the melodic line achieves
this effect.
3.The structure of the music is relatively simple.
Try to “map out” the different melodies on the
board or chart paper by assigning letters to
each unique section. For example, every time
you hear the “sighing melody,” assign that
section the letter “A.” Assign different letters
of the alphabet to different melodies.
4.Analyze the map that you just created: How
many different melodies did you hear? How
many times was each unique melody played?
Which melody ended the piece, and what
does this imply about the emotion that the
composer wanted to leave you with?
Rossini, Overture to La scala di seta
(The Silken Ladder)
1.This piece was featured on the first concert
of the Palestine Symphony Orchestra (today’s
Israel Philharmonic). Before listening, briefly
research the history of the Israel Philharmonic
using an internet search. What else was
happening historically in the years leading up
WWII at the time this orchestra was formed?
2.This piece was an overture, or a musical
introduction, to a comic opera with a storyline
reflective of a modern-day romantic comedy.
What do you hear that makes the piece sound
“comedic?”
3.Imagine you are a screenplay writer and
tasked with writing an original movie trailer to
accompany this music. How many characters
are there? What might they say to each other?
What happens at the end of the trailer?
8
Classroom Activities
Activity: Music and the Holocaust:
Resistance, Resilience and Reflection
A myriad of resources are available to teachers to
help your students explore the role of music in Jewish
culture before, during and after the Holocaust. After
completing the following discussion questions
with your students, either as a class or through
individual writing time, consider exploring the online
resources, movies, and curricula from the following
partner organizations to create your own unit study
on Jewish life and the Holocaust. Music teachers
may consider programming Jewish music selections
on their concerts this year in conjunction with this
special project.
• What role does music play in your life? When
do you want to listen to music, and what kind of
music do you listen to in certain situations?
• What do the words “resistance,” “resilience” and
“reflection” mean to you? How do you think these
ideas can be communicated through the use of
music?
• After completing the activities in your Listening
Guide, decide which pieces from the Violins of
Hope concert represent the themes of resistance,
resilience and reflection and why.
Organizations & Holocaust Curriculum
Guides
• Facing History
(www.facinghistory.org/topics/holocaust)
• Anti-Defamation League
(www.adl.org)
Sheet Music (for music ensemble teachers)
www.jwpepper.com – Customize your sheet music
search to include contemporary and more traditional
Jewish music selections
Latham Music Enterprises – Features sets of Jewish
Wedding Music that include a wide variety of tunes
appropriate for concerts and smaller performances,
with quartet and trio options
“VIOLINS OF HOPE”
CLASSROOM TEACHING IDEAS FOR GRADES 6-12
Curriculum Connections:
Ohio’s New Learning Standards
Other Online Resources
Videos
www.klezmershack.com – Information about Jewish
music, Klezmer and more
• Auschwitz Death Camp: Oprah, Elie Wiesel
www.sfi.usc.edu – Shoah Foundation (audio-visual
interviews with survivors and witnesses of the
Holocaust)
www.yadvashem.org
–
World
center
documentation,
research,
education
commemoration of the Holocaust.
for
and
Facing History and Ourselves Holocaust
Resources Collection
www.facinghistory.org/for-educators/educatorre so urce s/re so urce - colle c tion s/ h olo c a u s tresource-collection/books.
History
•
•
•
•
•
The Children of Willesden Lane
Friedrich
Painted in Words
Parallel Journeys
Salvaged Pages
Judgment
• The Sunflower
Legacy
• I’m Still Here: Diaries of Young People Who Lived
During the Holocaust
• Into the Arms of Strangers: Stories of the
Kindertransports
• Judgment: Nuremberg Remembered
• Rescue: Weapons of the Spirit
• Resistance: Daring to Resist: Three Women Face
the Holocaust
• Survivor testimony: Swimming in Auschwitz
Movies
“The Boy in the Striped Pajamas” – available on
Amazon Video and iTunes
During World War II, 8-year-old Bruno (Asa
Butterfield) and his family leave Berlin to take up
residence near the concentration camp where his
father (David Thewlis) has just become commandant.
Unhappy and lonely, he wanders out behind his
house one day and finds Shmuel (Jack Scanlon),
a Jewish boy of his age. Though the barbed-wire
fence of the camp separates them, the boys begin a
forbidden friendship, oblivious to the real nature of
their surroundings.
• Painted in Words
“Orchestra of Exiles” - available on iTunes
Rescue
Celebrated Polish violinist Bronislaw Huberman
saves musicians from the Nazis, then goes on to
create what would become the Israeli Philharmonic.
• The Children of Willesden Lane
Survivor Testimony
• Anton the Dove Fancier and Other Tales of the
Holocaust
• I Promised I Would Tell
• Night
• Painted in Words
• Parallel Journeys
Resource Books
• Holocaust and Human Behavior
• I Promised I Would Tell
• The Jews of Poland
“Defiance” – available through Amazon Video,
Amazon, iTunes – note R rating
2008 World War II film directed by Edward Zwick set
during the occupation of Belarus by Nazi Germany.
The screenplay by Clayton Frohman and Zwick was
based on Nechama Tec’s 1993 book Defiance: The
Bielski Partisans, an account of the Bielski partisans,
a group led by Polish Jewish brothers who saved
and recruited Jews in Belarus during the Second
World War. The film stars Daniel Craig as Tuvia
Bielski, Liev Schreiber as Zus Bielski, Jamie Bell as
Asael Bielski, and George MacKay as Aron Bielski.
9
CLASSROOM TEACHING IDEAS FOR GRADES 6-12
“VIOLINS OF HOPE”
Curriculum Connections:
Ohio’s New Learning Standards
TEACHERS: Use the “Violins of Hope” concert along with suggested activities and resources in this
guide to address Ohio’s Learning Standards:
MUSIC: GRADES 6-12
Perceiving / Knowing / Creating (CE)
• Describe distinguishing characteristics of musical
form. (1CE)
• Describe ways that music relates to other art
forms using appropriate terminology. (4RE)
• Identify musical terms and symbols for articulation
and expression. (2CE)
• Explain how and why people use and respond to
music. (4RE)
• Listen to, analyze and describe various music
works on the basis of their stylistic qualities and
the historical and cultural contexts in which they
were created. (3CE)
• Evaluate the use of the elements of music as
relative to expression in a varied repertoire of
music. (4RE)
• Listen to and compare various musical styles from
the Unites States, other cultures and historical
periods. (4CE)
• Distinguish between and among the use of
dynamics, meter, tempo and tonality in various
pieces through active listening. (5CE)
• Identify the social contexts from which music of
various cultures evolved. (6CE)
• Describe how music reflects the social and
political events of history and the role of the
musician in history and culture. (8CE)
Responding / Reflecting (RE)
• Compare and contrast a varied repertoire of
music on the basis of how elements of music are
used to create meaning and expression. (2RE)
• Communicate the importance of music in
everyday life. (3RE)
• Compare and contrast selected composers and
their works. (3RE)
• Examine how people from different backgrounds
and cultures use and respond to music. (3RE)
• Discuss how the purpose, meaning and value
of music changes because of the impact of life
experiences. (3RE)
10
• Compare and contrast subject matter common to
music and other subject areas. (5RE)
ENGLISH LANGUAGE ARTS:
GRADES 6-12
Writing
• Write arguments to support claims with clear
reasons and relevant evidence.
• Write narratives to develop real or imagined
experiences or events using effective technique,
relevant descriptive details, and well-structured
event sequences.
• Conduct short as well as more sustained research
projects to answer a question or solve a problem.
Speaking and Listening
• Engage effectively in a range of collaborative
discussions with diverse partners, building on
others’ ideas and expressing their own clearly.
• Interpret information presented in diverse media
and formats and explain how it contributes to a
topic or text, or issue under study.
• Present claims and findings, sequencing ideas
logically and using pertinent descriptions facts
and details to accentuate main ideas or themes.
CLASSROOM TEACHING IDEAS FOR GRADES 6-12
“VIOLINS OF HOPE”
SOCIAL STUDIES: GRADES 6-8
MATHEMATICS: GRADES 6-12
History: Historical Thinking & Skills
Mathematical Practices
• Primary and secondary sources are used to
examine events from multiple perspectives and
to present and defend a position.
• Look for and make use of structure.
Geography: Human Systems
• Political, environmental, social and economic
factors cause people, products and ideas to move
from place to place in the Eastern Hemisphere in
the past and today.
• Modern cultural practices and products show
the influence of tradition and diffusion, including
the impact of major world religions.
• Cultural biases, stereotypes and prejudices had
social, political and economic consequences for
minority groups and the population as a whole.
Government: Civic Participation and Skills
• Different perspectives on a topic can be obtained
from a variety of historic and contemporary
sources. Sources can be examined for accuracy.
• The ability to understand individual and group
perspectives is essential to analyzing historic
and contemporary issues.
GRADES 9-12
Civil and Human Rights
• Beliefs about human rights vary among social
and governmental systems.
• Modern instances of genocide and ethnic
cleansing present individual, organizational and
national issues related to the responsibilities of
participants and non-participants.
11
THE INSTRUMENTS
OF THE CLEVELAND ORCHESTRA
STRINGS
Harp
Double
Bass
Cello
Violin
Viola
WOODWINDS
Flute
Clarinet
Saxophone
Contrabassoon
Tuba
Piccolo
Oboe
Bassoon Bass clarinet English horn
BRASS
Trumpet
French Horn
Trombone
PERCUSSION
Gong
Timpani
Triangle
Castanets
Maracas
Snare
Drum
12
Bass Drum
Cymbals
Tambourine
Piano
Sensational Strings!
Historians think that the first instrument in the string family was developed from the caveman’s hunting
bow. In the string family, sound is made by plucking, strumming or drawing a bow across the strings. The
harp has 47 strings and pedals to add flats and sharps!
wooden bo
w
chin rest
horse hair
fancy scroll
finger board
neck
strings vibrate
to make sound
(plucked or
bowed)
tail piece
anchors
the strings
violin
bridge holds
strings up so
they can vibrat e
freely
viola
cello
one tuning peg
for each string
hollow body
amplifies
the sound
double
bass
harp
pedals for
flats and
sharps
13
Wondrous Woodwinds!
The first woodwind instrument may have been created by blowing through a blade of grass or an old
animal bone. The first woodwinds had open holes that needed to be covered by your fingers. Eventually,
inventors added a system of metal keys that would cover more than one hole at a time. The three types
of woodwinds are (1) those which you blow across an open hole to make sound; (2) those with a single
wooden reed on the mouthpiece; and (3) those with two small wooden reeds tied together called double
reeds. In the last two kinds, the reeds vibrate to make sound.
Air-only
Woodwinds
piccolo
flute
Single Reed Woodwinds
reed
ligature
holds it on
Double Reed Woodwinds
first r eed
second reed
tied together
with thread
14
oboe English horn bassoon contrabassoon
Brilliant Brass!
Ancient brass instruments were made of bone or an animal’s horn. Today they are made of metal. Brass
players create sound by buzzing their lips into the metal mouthpiece. They play different notes by tightening
and loosening their lips, and by pressing down valves (or in the case of the trombone, by moving the slide
in and out!).
player buzzes lips
through metal mouth
piece to start vibration
of the air inside
hollow tubin
g
large bell
at end
amplifies
the sound
valves add extra
tubing to change
pitch
made of brass
or other metal
shiny
trumpet
French
horn
slide moves to
change pitch
tuba
trombone
15
Power Packed Percussion!
The percussion instruments provide the orchestra with accents, rhythms and special sounds. Force is
required to make the instruments vibrate. Sound is produced by striking, hitting, scraping, shaking,
rubbing or tapping the instruments with a stick, mallet, beater or a hand! There are two kinds of percussion
instruments: 1) instruments like the timpani which can play a melody; and 2) those like the snare drum,
which make only one pitch.
Tunable instruments
that can play a melody
timpani
Instruments that
make one pitch
foot pedal
to change
pitch
gong
triangle
piano
maracas
snare drum
castanets
cymbals
chimes
celesta
tambourine
xylophone
16
bass drum
HARP
1ST VIOLINS
2ND VIOLINS
PIANO
CLARINETS
OBOES
CONDUCTOR
TRUMPETS
PERCUSSION
FLUTES
FRENCH HORNS
THE CLEVELAND ORCHESTRA SEATING CHART
CELLOS
TUBA
BASSES
BASSOONS
VIOLAS
TROMBONES
The Cleveland Orchestra’s 2016-17
Education Programs are made possible by:
Endowment Funders
PROGRAM FUNDERS
Hope and Stanley I. Adelstein
Kathleen L. Barber
Mr. Roger G. Berk
In memory of Anna B. Body
Isabelle and Ronald Brown
Dr. Jeanette Grasselli Brown and Dr. Glenn R. Brown
Roberta R. Calderwood
Alice H. Cull Memorial
Mr. and Mrs. Charles R. Emrick, Jr.
Charles and Marguerite C. Galanie
Mr. David J. Golden
The George Gund Foundation
The Hershey Foundation
Dorothy Humel Hovorka
Mr. James J. Hummer
Frank and Margaret Hyncik
Junior Committee of The Cleveland Orchestra
Walter and Jean Kalberer Foundation
Alfred M. Lerner In-School Performance Fund
Linda and Saul Ludwig
Machaskee Fund for Community Programming
Mr. and Mrs. Stanley A. Meisel
Christine Gitlin Miles, in honor of Jahja Ling
Mr. and Mrs. David T. Morganthaler
Morley Fund for Pre-School Education
The Eric & Jane Nord Family Fund
Pysht Fund
The Max Ratner Education Fund, given by the Ratner, Miller, and
Shafran Families and Forest City Enterprises, Inc.
The William N. Skirball Endowment
Anonymous, in memory of Georg Solti
Jules and Ruth Vinney Cleveland Orchestra Youth Orchestra
Touring Fund
The Abington Foundation
American Greetings Corporation
Eva L. and Joseph M. Bruening Foundation
Mary E. and F. Joseph Callahan Foundation
Conway Family Foundation
Cuyahoga County Residents through Cuyahoga Arts & Culture
Dominion Foundation
The Harry K. Fox and Emma R. Fox Charitable Foundation
The Giant Eagle Foundation
KeyBank
The Laub Foundation
Macy’s
Muna & Basem Hishmeh Foundation
Martha Holden Jennings Foundation
The Nord Family Foundation
Nordson Corporation Foundation
Ohio Arts Council
Ohio Savings Bank, A Division of New York Community Bank
PNC Bank
The Reinberger Foundation
Albert G. and Olive H. Schlink Foundation
The Sherwin-Williams Company
Thomas H. White Foundation
The Edward and Ruth Wilkof Foundation
Women’s Committee of The Cleveland Orchestra
as of August 2016