Writing About the Solar System 2

Total Page:16

File Type:pdf, Size:1020Kb

Writing About the Solar System 2 Day 2: The Solar System Writing About the Solar System 2 Writing helps kids process and solidify new knowledge and gives them an opportunity to use new vocabulary and concepts. Offer one or more of these prompts or questions to get your Space Rangers writing. Look at your list of solar system words for inspiration. Inspired by music In the early 20th century, composer Gustav Holst wrote a seven-part suite for an orchestra called The Planets. Each part was inspired by and named after one of the seven planets in our solar system and their astrological character: • Mars, the Bringer of War • Venus, the Bringer of Peace • Mercury, the Winged Messenger • Jupiter, the Bringer of Jollity • Saturn, the Bringer of Old Age • Uranus, the Magician • Neptune, The Mystic Listen! Holst's The Planets: https://www.youtube.com/watch?v=Isic2Z2e2xs&t=2399s 'The Planets' at 100: A Listener's Guide to Holst's Solar System (NPR): https://www.npr.org/sections/deceptivecadence/2018/09/28/652700640/the-planets-at-100- a-listener-s-guide-to-holst-s-solar-system Gustav Holst's 'The Planets': a guide (Classic FM): https://www.classicfm.com/composers/holst/ pictures/holsts-planets-guide/ Get kids thinking Talk about a planet and what we know about it. Ask the kids to listen to a portion of the piece about that planet and imagine that they ARE the planet. Does the music suit them? How do they feel when they hear the music? What is the planet thinking or what is happening on or to the planet as the music is playing? 43.
Recommended publications
  • “Music-Making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts
    “Music-making in a Joyous Sense”: Democratization, Modernity, and Community at Benjamin Britten's Aldeburgh Festival of Music and the Arts Daniel Hautzinger Candidate for Senior Honors in History Oberlin College Thesis Advisor: Annemarie Sammartino Spring 2016 Hautzinger ii Table of Contents 1. Introduction 1 2. Historiography and the Origin of the Festival 9 a. Historiography 9 b. The Origin of the Festival 14 3. The Democratization of Music 19 4. Technology, Modernity, and Their Dangers 31 5. The Festival as Community 39 6. Conclusion 53 7. Bibliography 57 a. Primary Sources 57 b. Secondary Sources 58 Hautzinger iii Acknowledgements This thesis would never have come together without the help and support of several people. First, endless gratitude to Annemarie Sammartino. Her incredible intellect, voracious curiosity, outstanding ability for drawing together disparate strands, and unceasing drive to learn more and know more have been an inspiring example over the past four years. This thesis owes much of its existence to her and her comments, recommendations, edits, and support. Thank you also to Ellen Wurtzel for guiding me through my first large-scale research paper in my third year at Oberlin, and for encouraging me to pursue honors. Shelley Lee has been an invaluable resource and advisor in the daunting process of putting together a fifty-some page research paper, while my fellow History honors candidates have been supportive, helpful in their advice, and great to commiserate with. Thank you to Steven Plank and everyone else who has listened to me discuss Britten and the Aldeburgh Festival and kindly offered suggestions.
    [Show full text]
  • Reading Comprehension Gustav Holst
    Gustav Holst Comprehension Gustav Holst was born in Cheltenham on September 21st 1874. He came from a line of talented musicians. Holst was taught how to play the piano by his father, however a problem with his nerves ruled out a career as a pianist. He later took up the trombone instead. His first conducting job was with a local church choir which he found to be excellent experience. Holst attended the Royal College of Music where he studied composition and met fellow student, Ralph Vaughn Williams, another great composer. The two became great friends for life. Holst’s wife was a soprano. He instantly fell in love with her but she was not particularly impressed by him at first. For a while, he supported himself and his wife by playing the trombone professionally alongside composing in his spare time. Holst became a teacher and worked at St Paul’s Girls’ School, Hammersmith where they opened a new music wing in his honour in 1913. The music wing housed a sound-proof room where Holst could work without being disturbed. Holst became very interested in astrology which was the inspiration for his best known piece, ‘The Planets’. This launched him into real stardom, however he was never happy to be in the limelight as he was a shy man. The first performance of ‘The Planets’ was given in September 1918. Each movement describes the planet’s character, for example, Venus is the bringer of peace, Uranus is about a magician and Saturn is based on the bringer of old age.
    [Show full text]
  • The Orchestra in History
    Jeremy Montagu The Orchestra in History The Orchestra in History A Lecture Series given in the late 1980s Jeremy Montagu © Jeremy Montagu 2017 Contents 1 The beginnings 1 2 The High Baroque 17 3 The Brandenburg Concertos 35 4 The Great Change 49 5 The Classical Period — Mozart & Haydn 69 6 Beethoven and Schubert 87 7 Berlioz and Wagner 105 8 Modern Times — The Age Of The Dinosaurs 125 Bibliography 147 v 1 The beginnings It is difficult to say when the history of the orchestra begins, be- cause of the question: where does the orchestra start? And even, what is an orchestra? Does the Morley Consort Lessons count as an orchestra? What about Gabrieli with a couple of brass choirs, or even four brass choirs, belting it out at each other across the nave of San Marco? Or the vast resources of the Striggio etc Royal Wedding and the Florentine Intermedii, which seem to have included the original four and twenty blackbirds baked in a pie, or at least a group of musicians popping out of the pastry. I’m not sure that any of these count as orchestras. The Morley Consort Lessons are a chamber group playing at home; Gabrieli’s lot wasn’t really an orchestra; The Royal Wed- dings and so forth were a lot of small groups, of the usual renais- sance sorts, playing in turn. Where I am inclined to start is with the first major opera, Monteverdi’s L’Orfeo. Even that tends to be the usual renaissance groups taking turn about, but they are all there in a coherent dra- matic structure, and they certainly add up to an orchestra.
    [Show full text]
  • The Perfect Fool Free
    FREE THE PERFECT FOOL PDF Stewart Lee | 288 pages | 04 Nov 2002 | HarperCollins Publishers | 9781841153667 | English | London, United Kingdom Ed Wynn: The Perfect Fool by Robin Williams | The American Vaudeville Museum Goodreads helps you The Perfect Fool track of books you want to The Perfect Fool. Want to Read saving…. Want to Read Currently Reading Read. Other editions. Enlarge cover. Error rating book. Refresh The Perfect Fool try again. Open Preview See a Problem? Stephen Lang. Details if other :. Thanks for telling us about the problem. Return to Book Page. Preview — The Perfect Fool by J. The Perfect Fool by J. Stephen Lang. Stephen J. Meet Brian Ericson, a young man whose life seems perfect in every way. He is handsome and successful, and everything is going his way with the possible exception of his relationship with Kristen, the perfect woman he just broke up with. On a Beautiful November day, Brian sets out for a three-day weekend in the mountains. Taking what he believes will be a shortcut, things su Meet Brian Ericson, a young man whose life seems perfect in every way. Taking what he believes will be a shortcut, things suddenly take a turn for the worse. Lost and disoriented, Brian gets some help from a host of surprising characters, and must grapple with the foolish choices of his life. Download the Readers' Guide. Get A Copy. Paperbackpages. Published January 28th The Perfect Fool David C. Cook first published January More Details Original Title. Friend Reviews. To see The Perfect Fool your friends thought of this book, please sign up.
    [Show full text]
  • Download the Concert Programme (PDF)
    London Symphony Orchestra Living Music Thursday 18 May 2017 7.30pm Barbican Hall Vaughan Williams Five Variants of Dives and Lazarus Brahms Double Concerto INTERVAL Holst The Planets – Suite Sir Mark Elder conductor Roman Simovic violin Tim Hugh cello Ladies of the London Symphony Chorus London’s Symphony Orchestra Simon Halsey chorus director Concert finishes approx 9.45pm Supported by Baker McKenzie 2 Welcome 18 May 2017 Welcome Living Music Kathryn McDowell In Brief Welcome to tonight’s LSO concert at the Barbican. BMW LSO OPEN AIR CLASSICS 2017 This evening we are joined by Sir Mark Elder for the second of two concerts this season, as he conducts The London Symphony Orchestra, in partnership with a programme of Vaughan Williams, Brahms and Holst. BMW and conducted by Valery Gergiev, performs an all-Rachmaninov programme in London’s Trafalgar It is always a great pleasure to see the musicians Square this Sunday 21 May, the sixth concert in of the LSO appear as soloists with the Orchestra. the Orchestra’s annual BMW LSO Open Air Classics Tonight, after Vaughan Williams’ Five Variants of series, free and open to all. Dives and Lazarus, the LSO’s Leader Roman Simovic and Principal Cello Tim Hugh take centre stage for lso.co.uk/openair Brahms’ Double Concerto. We conclude the concert with Holst’s much-loved LSO WIND ENSEMBLE ON LSO LIVE The Planets, for which we welcome the London Symphony Chorus and Choral Director Simon Halsey. The new recording of Mozart’s Serenade No 10 The LSO premiered the complete suite of The Planets for Wind Instruments (‘Gran Partita’) by the LSO Wind in 1920, and we are thrilled that the 2002 recording Ensemble is now available on LSO Live.
    [Show full text]
  • GUSTAV HOLST (1874 - 1934) 1 a Fugal Overture Op
    SRCD.222 STEREO ADD GUSTAV HOLST (1874 - 1934) 1 A Fugal Overture Op. 40 No. 1 (1922)* * (5'12") 2 A Somerset Rhapsody Op. 21 No. 2 (1906 - 7) (9'01") Beni Mora - Oriental Suite Op. 29 No. 1 (1909 - 10) (17'13") 3 First Dance 4 Second Dance Fugal Overture 5 In the Street of the Ouled Näils Somerset Rhapsody 6 Hammersmith - A Prelude & Scherzo Beni Mora for Orchestra Op. 52 (1930 - 1931) (13'40") Hammersmith 7 Scherzo (1933 - 4) (5'29") Scherzo Japanese Suite Op. 33 (1915)* (11'04") Japanese Suite 8 Prelude - Song of the Fisherman 9 Ceremonial Dance 10 Dance of the Marionette 11 Interlude - Song of the Fisherman 12 Dance under the Cherry Tree 13 Finale - Dance of the Wolves London Philharmonic Orchestra *London Symphony Orchestra conducted by Sir Adrian Boult The above individual timings will normally include two pauses, one before the beginning and one after the end of each work or movement. P 1972 * P 1971 ** P 1968 The copyright in these sound recordings is owned by Lyrita Recorded Edition, England. This compilation and the digital remastering P 1992 Lyrita Recorded Edition, England. C 1992 Lyrita Recorded Edition, England. Lyrita is a registered trade mark. Made in the U.K. London Philharmonic Orchestra London Symphony Orchestra LYRITA RECORDED EDITION. Produced under an exclusive license from Lyrita • by Wyastone Estate Ltd, PO Box 87, Monmouth, NP25 3WX, UK 8 1 the very end, when it was too late, he found it. Holst composed between 1914 and 1916. He had completed six of the movements, leaving only to be written, when he broke off in 1915 to compose the This was written at the request of a Japanese dancer, Michio Ito, who was appearing at the London Coliseum and wanted a work based on ancient Japanese melodies.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS While the most advanced technology has been used to photograph and reproduce this manuscript, the quality of the reproduction is heavily dependent upon the quality of the material submitted. For example: • Manuscript pages may have indistinct print. In such cases, the best available copy has been filmed. • Manuscripts may not always be complete. In such cases, a note will indicate that it is not possible to obtain missing pages. • Copyrighted material may have been removed from the manuscript. In such cases, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, and charts) are photographed by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each oversize page is also filmed as one exposure and is available, for an additional charge, as a standard 35mm slide or as a 17”x 23" black and white photographic print. Most photographs reproduce acceptably on positive microfilm or microfiche but lack the clarity on xerographic copies made from the microfilm. For an additional charge, 35mm slides of 6”x 9” black and white photographic prints are available for any photographs or illustrations that cannot be reproduced satisfactorily by xerography. Order Number 8717594 The future of the symphony orchestra based upon its historical development Winteregg, Steven Lee, D.M .A. The Ohio State University, 1987 UMI 300 N. Zeeb Rd. Ann Arbor, M I 48106 PLEASE NOTE: In all cases this material has been filmed in the best possible way from the available copy. Problems encountered with this document have been identified here with a check mark V .
    [Show full text]
  • Modal Prolongational Structure in Selected Sacred Choral
    MODAL PROLONGATIONAL STRUCTURE IN SELECTED SACRED CHORAL COMPOSITIONS BY GUSTAV HOLST AND RALPH VAUGHAN WILLIAMS by TIMOTHY PAUL FRANCIS A DISSERTATION Presented to the S!hoo" o# Mus%! and Dan!e and the Graduate S!hoo" o# the Un%'ers%ty o# Ore(on %n part%&" f$"#%""*ent o# the re+$%re*ents #or the degree o# Do!tor o# P %"oso)hy ,une 2./- DISSERTATION APPROVAL PAGE Student: T%*othy P&$" Fran!%s T%t"e0 Mod&" Pro"on(ation&" Str$!ture in Se"e!ted S&!red Chor&" Co*)osit%ons by Gustav Ho"st and R&")h Vaughan W%""%&*s T %s d%ssertat%on has been ac!e)ted and ap)ro'ed in part%&" f$"#%""*ent o# the re+$%re*ents for the Do!tor o# P %"oso)hy de(ree in the S!hoo" o# Musi! and Dan!e by0 Dr1 J&!k Boss C &%r)erson Dr1 Ste) en Rod(ers Me*ber Dr1 S &ron P&$" Me*ber Dr1 Ste) en J1 Shoe*&2er Outs%de Me*ber and 3%*ber"y Andre4s Espy V%!e President for Rese&r!h & Inno'at%on6Dean o# the Gr&duate S!hoo" Or%(%n&" ap)ro'&" signatures are on f%"e w%th the Un%'ersity o# Ore(on Grad$ate S!hoo"1 Degree a4arded June 2./- %% 7-./- T%*othy Fran!%s T %s work is l%!ensed under a Creat%'e Co**ons Attr%but%on8NonCo**er!%&"8NoDer%'s 31. Un%ted States L%!ense1 %%% DISSERTATION ABSTRACT T%*othy P&$" Fran!%s Do!tor o# P %"oso)hy S!hoo" o# Musi! and Dan!e ,une 2./- T%t"e0 Mod&" Pro"on(ation&" Str$!ture in Se"e!ted S&!red Chor&" Co*)osit%ons by Gustav Ho"st and R&")h Vaughan W%""%&*s W %"e so*e co*)osers at the be(%nn%n( o# the t4entieth century dr%#ted away #ro* ton&" h%erar! %!&" str$!tures, Gustav Ho"st and R&")h Vaughan W%""%&*s sought 4ays o# integrating ton&" ideas w%th ne4 mater%&"s.
    [Show full text]
  • Heckelphone / Bass Oboe Repertoire
    Heckelphone / Bass Oboe Repertoire by Peter Hurd; reorganized and amended by Holger Hoos, editor-in-chief since 2020 version 1.2 (21 March 2021) This collection is based on the catalogue of musical works requiring heckelphone or bass oboe instrumen- tation assembled by Peter Hurd beginning in 1998. For this new edition, the original version of the repertoire list has been edited for accuracy, completeness and consistency, and it has been extended with a number of newly discovered pieces. Some entries could not (yet) be rigorously verified for accuracy; these were included nonetheless, to provide leads for future investigation, but are marked clearly. Pieces were selected for inclusion based solely on the use of heckelphone, bass oboe or lupophone, without any attempt at assessing their artistic merit. Arrangements of pieces not originally intended for these instruments were included when there was clear evidence that they had found a significant audience. The authors gratefully acknowledge contributions by Michael Finkelman, Alain Girard, Thomas Hiniker, Robert Howe, Gunther Joppig, Georg Otto Klapproth, Mark Perchanok, Andrew Shreeves and Michael Sluman. A · B · C · D · E · F · G · H · I · J · K · L · M · N · O · P · Q · R · S · T · U · V · W · X · Y · Z To suggest additions or corrections to the repertoire list, please contact the authors at [email protected]. All rights reserved by Peter Hurd and Holger H. Hoos, 2021. A Adès, Thomas (born 1971, UK): Asyla, op. 17, 1997 Duration: 22-25min Publisher: Faber Music (057151863X) Remarks: for large orchestra; commissioned by the John Feeney Charitable Trust for the CBSO; first performed on 1997/10/01 in the Symphony Hall, Birmingham, UK by the City of Birmingham Symphony Orchestra under Simon Rattle Tags: bass oboe; orchestra For a link to additional information about the piece, the composer and to a recording, please see the on-line version of this document at http://repertoire.heckelphone.org.
    [Show full text]
  • Gustav Holst (PDF)
    Gustav Holst Gustav Holst was born at 4 Pittville Terrace in 1874 to Adolphus von Holst, a piano teacher and his wife Clara. Holst’s mother died in 1882 from heart disease when he was only eight years old. Holst and his little brother Emil were looked after by their aunt Nina, who along with his father, taught him how to play the piano and compose music. He attended Cheltenham Grammar School (now Pate’s Grammar School) and, when he was twenty one years old, he held his first concert at the Montpellier Rotunda (now Lloyds TSB). He then studied music composition at the Royal College of Music in London and became a music teacher at St Paul’s Girls’ School in London. Whilst working as a music teacher, Holst wrote many pieces of music. His most famous collection of music was The Planets suite, written between 1914 and 1917. This consisted of seven very different pieces of music, each representing the different ‘personalities’ of the planets. The most famous piece is Jupiter: Bringer of Jollity, a section of which is used as the theme for Rugby world cups. Although he was unfit for military service in the First World War, in 1918 Holst joined the YMCA Education Department, helping to organise music activities in military training camps, hospitals and prisoner of war camps. In order to avoid suspicion over his nationality, Holst agreed to drop the ‘von’ from his name, although he discovered that the family had never been entitled to it in the first place. In 1927, Holst was honoured by his home town of Cheltenham with a two hour concert of his work, including The Planets, held in the Town Hall.
    [Show full text]
  • The Carol and Its Context in Twentieth-Century England Sean Vogt
    The Carol and Its Context in Twentieth-century England Sean Vogt loria in excelsis deo, et in terra G pax hominibus (“Glory to God in the highest and on earth peace to all people”), Luke 2:14, was likely the fi rst carol ever heard, sung by the angels over the fi elds of Bethlehem. It would be more than a millennium before the next documented account of carol singing. In this case, it happened in Greccio, Italy, where St. Francis made the fi rst Christ- mas crèche (crib) in 1223, in response to the Manichaeism1 of the eleventh and twelfth centuries—recreating the stable, even obtaining an ox and ass. People from around the village began to gather around St. Francis’s biblical re-creation. As a result, the people “poured out their hearts in praises to God; and the friars sang new canticles…”2 The dawn of the Protestant Reforma- tion brought carol singing—amongst a myriad of other activities—to an abrupt halt. The Reformation during the six- teenth and seventeenth centuries re- sulted in a fragmented church. The Lu- therans viewed the feast of Christmas as a popish abuse. Since the Calvinist Gustav Holst (early 1920s) in front of movement was quite popular, Christmas Queen’s Hall (©Holst Birthplace Museum/ was consequently unpopular in England. Cheltenham Art Gallery & Museum) Christmas Day was abolished by Parlia- ment from 1644–1660; The Book of Com- Christmas Carols New and Old (1871) mon Prayer had no seasonal hymns. It being just a few examples. was not until the Supplement to the New From the Piae Cantiones, which itself Version of the Psalms (1700) that interest contained medieval carols, to the Vic- in carols was rekindled.
    [Show full text]
  • Upper KS2 – Years 5 and 6 Music of the Planets Music of the Planets Listen
    Keep Calm and Make Music Upper KS2 – Years 5 and 6 Music of the Planets Music of the Planets Listen Listen to this piece of music https://www.youtube.com/watch?v=UJJk7bJ_ns8 How does it make you feel? What do you think might be happening? If it was a colour, what colour would it be? Introducing the info! This piece of music is Mars from The Planets by Gustav Holst Other planets Holst included in The Planets are: Jupiter, Venus, Uranus, Mercury, Saturn, Neptune (he did not compose music for Earth) Watch the DVD of Dick and Dom introducing this piece of music from the BBC Ten Pieces website: https://www.bbc.co.uk/teach/ten-pieces/KS2-gustav-holst-mars-from- the-planets/zf6hsrd Find out about the composer Gustav Holst Lived from 1874 - 1934 He was a British composer He was really interested in space and astrology Identify the metre This music is counted in 5’s Enjoy counting quietly up to 5 in time to the music https://www.youtube.com/watch?v=UJJk7bJ_ns8 Try tapping your thighs on beat number 1 If this is easy try tapping on beats 1 and 4 Identify the ostinato An ostinato is a short repeated pattern Here is the ostinato Holst used in Mars Get in a space ship go to Mars Try whispering this ostinato/ words along to the music whenever it is heard Create your own ostinato Create your own ostinato in 5 metre Draw yourself a 5 box grid to use You could use a word pattern or music notes to create your ostinato You can perform this ostinato as part of your planet music later on Get colourful! Create a sponge painting (or used coloured pencils) inspired by this piece of music, start on the left side of your paper and move across to the right as the music progresses What colours will you choose? Will any of the colours overlap? Finding your own sounds Explore creating sounds to go with your painting, these could be vocal sounds, body sounds or instrumental sounds Choose sounds for each part of your painting e.g.
    [Show full text]