Inside theMusic The Philadelphia 2009 -10 School Concert Curriculum Guide Music Can Morph!: Folk Music in the Concert Hall

Charles Dutoit, Chief Conductor Dear Teachers:

Welcome to The Philadelphia Orchestra’s 2009-10 School Concert Curriculum Guide, Inside the Music, which supports this season’s School Concert program, Music Can Morph!: Folk Music in the Concert Hall. We are thrilled to take you on a musical journey around the world, using orchestral music as a catalyst to learn about culture, community, and diversity. Engagement with music challenges students to achieve their full intellectual and social potential, and it empowers them to become lifelong learners deeply invested in supporting the arts in their communities. The Philadelphia Orchestra, considered one of the best in the world, reaches over 20,000 elementary, middle, and high school students and teachers annually through School Concerts, Teacher Workshops, Student Open Rehearsals, Docent Program, the School Partnership Program, Musicians in the Schools, and newly- developed distance learning programs. We are strongly committed to supporting both discipline-centered and arts-integrated learning in our local schools and we celebrate the dedicated teachers who shape our children’s futures. A team of committed and talented teachers, school administrators, teaching artists, and Philadelphia Orchestra education staff members designed this material to encourage the use of orchestral music in your existing classroom curriculum. This guide is intended to serve you and your students in the music or general classroom, in suburban or urban settings, and in public, private, home school, or parochial systems. Broken into five core units which correspond with the music that will be performed at the School Concert, this guide provides background information and cultural context for the pieces, composers, and performers on stage; lessons and activities for the classroom; specific correlations with national and Pennsylvania state standards; and additional resources for teachers. Research and experience tell us that the arts are crucial to developing effective learners. Current U.S. Secretary of Education Arne Duncan has reaffirmed the arts as a core academic subject and part of a complete education for all students. We know that the nature of arts learning both directly and indirectly develops qualities of mind and character essential to success such as self-discipline, self-articulation, critical thinking, and creativity. But in addition, we hope that our education concerts, programs, and services help students, teachers, and parents feel absolutely welcome in our magnificent concert hall. You are part of The Philadelphia Orchestra family now, as much a part of this great institution as all the famous musicians who perform on this stage. We hope you stay in touch with us and continue to look to The Philadelphia Orchestra as a source of inspiration and delight.

With best wishes,

Dr. Ayden Adler Director, Education and Community Partnerships The Philadelphia Orchestra Inside theMusic The Philadelphia Orchestra 2009 -10 School Concert Curriculum Guide Music Can Morph!: Folk Music in the Concert Hall

John Stafford Smith/arr. Ormandy “The Star-Spangled Banner” Manuel de Falla “Dance of the Miller’s Wife (Fandango),” from The Three-Cornered Hat Kamarinskaya, Fantasy for Orchestra on Two Russian Folksongs Li Huan Zhi Spring Festival Overture Variations on a Shaker Melody, from John Rosamond Johnson/arr. Hale “Lift Every Voice and Sing”

2009–10 Philadelphia Orchestra School Concert Performances Friday, October 23, 2009, 12:15 PM—Verizon Hall Tuesday, December 1, 2009, 10:30 AM and 12:15 PM—Verizon Hall Wednesday, January 27, 2010, 10:30 AM and 12:15 PM—Academy of Music Tuesday, February 9, 2010, 10:30 AM and 12:15 PM—Verizon Hall Tuesday, March 2, 2010, 10:30 AM and 12:15 PM—Verizon Hall Acknowledgements The Philadelphia Orchestra is grateful to the area music and classroom teachers, school administrators, and teaching artists who have collaborated with the Education and Community Partnerships department on this year’s School Concert and the accompanying curriculum guide, Inside the Music.

2009-10 Philadelphia Orchestra School Concert Collaborative Group Jamie Bernstein, School Concert Host Vanessa Habershaw, General Music Teacher, D. Newlin Fell School, Philadelphia, PA Christopher Harris, Fifth Grade Classroom Teacher, Gesu School, Philadelphia, PA Rebecca Harris, Philadelphia Orchestra Teaching Artist Diana Helmetag, Orchestra Director, Upper Merion Area High School and Middle School, King of Prussia, PA Margaret Ierley, Second Grade Classroom Teacher, R.T. Cream Family School, Camden, NJ Mary Javian, Philadelphia Orchestra School Partnership Program Coordinator and Teaching Artist Jamie Kasper, Fine Arts & Humanities Advisor, Pennsylvania Department of Education Virginia Lam, Music Content Specialist, Department of Comprehensive Arts Education for the School District of Philadelphia Elizabeth McAnally, Choral Director, Woodrow Wilson Middle School, Philadelphia, PA Sharon Neely, Art Teacher, R.T. Cream Family School, Camden, NJ Lauren Robinson, Philadelphia Orchestra Teaching Artist

The Philadelphia Orchestra is pleased to recognize the following major donors who support the 2009-10 School Concert program.

Wachovia is proud to be the Lead Underwriter of the “Raising the Invisible Curtain” initiative. Additional funding comes from the Annenberg Foundation, the Pennsylvania Department of Community and Economic Development, and the Presser Foundation.

School Concerts School Concerts are also funded in part by the Billy Joel Fund for Music Education, Nordstrom, the Rosenlund Family Foundation, and the Zisman Family Foundation.

School Partnership Program Funding for the School Partnership Program is provided by the Annenberg Foundation, the Connelly Foundation, the Jessie Ball duPont Fund, the Hamilton Family Foundation, Holcim (US), Lincoln Financial Foundation, the Loeb Student Education Fund, the Presser Foundation, the Rosenlund Family Foundation, Christa and Calvin Schmidt, TD Bank through the TD Charitable Foundation, and the Verizon Foundation.

©2009 The Philadelphia Orchestra Association. This material is the property of The Philadelphia Orchestra Association and may not be duplicated or reproduced without written consent from the Department of Education and Community Partnerships. Charles Dutoit, Chief Conductor Cover photo: Candace Di Carlo/The Philadelphia Orchestra Association Contents

4 Get the Most from Your Philadelphia Orchestra School Concert Guiding Questions, Learner Outcomes, and Additional Resources

5 Curriculum Connections Pennsylvania’s Standards Aligned System and this Curriculum Guide National Standards for Music Education

7 Meet The Philadelphia Orchestra Introduce Students to The Philadelphia Orchestra

15 : Voices of Freedom “The Star-Spangled Banner” John Rosamond Johnson “Lift Every Voice and Sing”

24 Spain: Let the Rhythm Move You! Manuel de Falla “Dance of the Miller’s Wife (Fandango),” from The Three-Cornered Hat

30 Russia: There’s No Place Like Дом (Home) Mikhail Glinka Kamarinskaya, Fantasy for Orchestra on Two Russian Folksongs

36 China: A Community Celebration Li Huan Zhi Spring Festival Overture

44 United States: The Simple Gift of Music Aaron Copland Variations on a Shaker Melody, from Appalachian Spring

52 Appendices Appendix A: Philadelphia Orchestra School Partnership Program Appendix B: Voices of Freedom Song Lyrics Appendix C: Music Examples Appendix D: Glossary of Vocabulary Appendix E: Guide to Audience Behavior Appendix F: Credits Get the Most from Your Philadelphia Orchestra School Concert Take full advantage of this curriculum guide, developed to accompany Music Can Morph!: Folk Music in the Concert Hall, and prepare your students to get the most out of their concert experience with The Philadelphia Orchestra.

What’s the Big Idea?: Guiding concert experience and exposure to the instructional materials Questions for Integrated Instruction and strategies contained in this guide. As an inseparable part of the human experience, music provides Through their participation in the Philadelphia Orchestra an ideal opportunity to explore connections between various School Concert program, Music Can Morph!: Folk Music in the disciplines and examine a range of diverse experiences and Concert Hall, students will be able to: knowledge. The Philadelphia Orchestra School Concert program 1. Identify folk music/folk songs in symphonic works and and this accompanying guide have been designed to encourage recognize how music/songs throughout the world make their the use of orchestral music in your existing curriculum through way into orchestral music interdisciplinary study. To this end, three essential questions 2. Describe how composers use native songs to capture the connected to the theme of the School Concert have been spirit of a particular nation or culture and transform that material established to support the integration of music with various into music that is distinctively their own subject areas across different grade levels. 3. Demonstrate how music can bring together a community— To maximize the benefit of the concert experience for your from simple village rituals to a grand concert hall in a big city students, use the following questions to frame student inquiry, 4. Explain how an orchestra creates a vibrant, new community guide open-ended discussion, and promote critical thinking in through the special relationship it forms among the musicians, your classroom. the conductor, the host, and the audience 1. In what ways does music bring people together and create 5. Evaluate similarities and differences in the musical community? How do we create community in the concert hall traditions of various regions of the world and describe how folk when we come together for a School Concert? music acts like a “fingerprint” of a culture 2. How do the songs we sing every day, music from our various cultures, make their way into orchestral music? About this Curriculum Guide 3. How can diverse musical experiences help us understand Created in collaboration with area music and classroom teachers, other nations and cultures and foster a spirit of mutual respect? school administrators, teaching artists, and state education Can music make us more aware of the diversity of our global leaders, Inside the Music resource materials are intended for community? use in many different instructional settings. Whether you are a fourth-grade teacher, middle school orchestra director, general Learner Outcomes as a music teacher, or home school leader, the information and Framework for Instruction activities in this guide are designed to be included as part of a Instruction in music engages students in many forms of comprehensive education for your students that includes the learning—broadening a foundation of knowledge, encouraging understanding and appreciation of orchestral music. Lessons practical and collaborative behaviors, and shaping analytical have been designed for use in grades two through eight and thinking and aesthetic attitudes. The School Concert program can easily be adapted to meet the needs of your learning and supplemental resources support these fundamental environment. domains of learning and provide a framework to achieve specific This curriculum guide contains five core units which learning objectives. The following learner outcomes outline what correspond with the music that will be performed at the School your students should know and be able to do as a result of their Concert. These units include the following components:

4 1. Correlation with national and Pennsylvania state standards Teacher Workshop Dates for 2009-10 2. Background information about the country, culture, and Tuesday, September 22, 2009 4:30-6:30 PM, Rendell Room, musical tradition Kimmel Center for the Performing Arts 3. Background information about the composer and music Wednesday, January 6, 2010 4:30-6:30 PM, Rendell Room, 4. Lessons and activities for the classroom Kimmel Center for the Performing Arts RSVP to [email protected]. Additional Resources from The Philadelphia Orchestra Orchestra Docent Program Resource Materials Online Request a classroom visit from an Orchestra Docent to Be sure to visit www.philorch.org/resources to access additional enhance the quality of your School Concert experience. These instructional resource materials referenced in this guide. knowledgeable volunteers help prepare students to attend the concert with a presentation designed to increase their Professional Development knowledge and understanding of the music, musicians, and the Deepen your understanding of the music presented at the concert hall. Docent visits are free of charge for school groups School Concert and investigate strategies for integrating who purchase 25 tickets or more. If you did not request a Docent orchestral music into your classroom. Earn professional visit when you ordered your tickets, send an e-mail request to development credit by attending a workshop in conjunction with [email protected]. the School Concert and completing other activities designed to promote continuing education for educators.

Curriculum Connections The Philadelphia Orchestra strives to align its School Concert program and supplemental materials with national and state academic content standards, especially those outlined by Pennsylvania’s Standards Aligned System.

National Standards for Music 5. Reading and notating music Education 6. Listening to, analyzing, and describing music Published in 1994 by MENC, the National Association for 7. Evaluating music and music performances Music Education, the national standards for music education 8. Understanding relationships between music, the other arts, offer a valuable framework for what students should know and and disciplines outside the arts be able to do in music at various levels in their education. Nine 9. Understanding music in relation to history and culture content areas, listed below, and their subsequent achievement standards define specific competencies students should realize View a complete list of achievement standards for each at three educational levels: K-4, 5-8, and 9-12. For each lesson educational level by following the link for the complete National in this curriculum guide, the corresponding national content and Standards for Arts Education document at www.menc.org/ achievement standards (for grades K-4 and 5-8) have been resources/view/national-standards-for-music-education. listed. 1. Singing, alone and with others, a varied repertoire of music Creating Lifelong Learners in 2. Performing on instruments, alone and with others, a varied Pennsylvania for the 21st Century repertoire of music The instructional materials in this curriculum guide work to 3. Improvising melodies, variations, and accompaniments achieve a balance between concepts and competencies that 4. Composing and arranging music within specified guidelines give students the ability to express their ideas and experiences

5 through the exploration of orchestral music. To cultivate skills Pennsylvania Standards Aligned needed in the 21st century, teachers will need to provide System: Curriculum Framework students with innovation skills that focus on creativity, critical The Department of Education recognizes that great school systems thinking, problem solving, and collaboration. With the School tend to have common characteristics, including clear standards Concert program, The Philadelphia Orchestra supports the for student achievement (outlined above) and a framework for efforts of the Pennsylvania Department of Education to provide curricular activities built around those standards. As an extension “a comprehensive, sequential arts education [that] develops of the already-established academic content standards, the lifelong learners by offering students the chance to learn and Standards Aligned System (SAS) contains these components practice as performers, creators, critical thinkers, informed as well as several others. Visit www.pde.state.pa.us/sas to audience members, and stewards of their cultural heritage.” become more familiar with this developing architecture in the Pennsylvania education community. Pennsylvania Academic The curriculum framework of the SAS specifies the topics in Content Standards for Music each subject area and at each grade level that should be taught Like the national standards for music education, Pennsylvania’s to provide a sequential foundation of learning for students. Arts and Humanities Standards, which include music, were Various elements form the structure of this framework and are generated by what students should know and be able to do at defined below. Each of the five core units in this curriculum guide the end of different grade levels (in this case, grades 3, 5, 8, outline the SAS components (and corresponding academic and 12). Because the arts and humanities are interconnected standards) satisfied by the information and activities in that through the inclusion of history, criticism, and aesthetics, they are section. divided into the same four standards categories, shown below: 9.1 Production, Performance, and Exhibition of Dance, Music, SAS Curriculum Framework Components Theatre, and Visual Arts Big Ideas: Declarative statements that describe concepts 9.2 Historical and Cultural Contexts that transcend grade levels and are essential to provide focus on 9.3 Critical Response specific content for all students. 9.4 Aesthetic Response Concepts: Describe what students should know, key knowledge, as a result of instruction, specific to grade level. As with the national standards, each Pennsylvania standards Competencies: Describe what students should be able to category for the arts and humanities also contains a set of do, key skills and behaviors, as a result of instruction, specific to achievement standards that define the content for planned grade level. instruction and provide a basis of learning for continued study Essential Questions: Questions connected to the SAS in the arts. View the complete list of Pennsylvania academic framework that are specifically linked to the big ideas. They standards for the arts and humanities by visiting the Department should assist in learning transfer. of Education website at www.pde.state.pa.us and selecting Vocabulary: Key terminology linked to the standards, big the Academic Standards link on the left-hand side under “Find ideas, concepts, and competencies in a specific content area Documents.” and grade level (See Appendix D). Exemplars: Performance tasks that can be used for assessment, instruction, and professional development. Exemplars provide educators with concrete examples of assessing student understanding of the big ideas, concepts, and competencies. Jessica Griffin

6 Meet The Philadelphia Orchestra The Philadelphia Orchestra has been entertaining and educating youth audiences for generations, beginning in 1921 when conductor Leopold Stokowski began his series of Children’s Concerts. The tradition continues with this year’s School Concert series and the talented musicians, conductors, and host who will inspire your imagination.

A History of The Philadelphia was appointed conductor in 1912 and quickly began leading Orchestra the Orchestra toward new visions of musical excellence and Founded in 1900, The Philadelphia Orchestra has distinguished excitement. Leading a series of major world and U.S. premieres, itself as one of the leading orchestras in the world through over including works by Berg, Mahler, Rachmaninoff, Schoenberg, a century of acclaimed performances, historic international tours, Scriabin, Sibelius, and Stravinsky, Stokowski firmly established best-selling recordings, and its unprecedented record of innovation Philadelphia’s prominence in American classical music. In in recording technologies and outreach. Under the current direction addition to making widely acclaimed recordings with his of Chief Conductor Charles Dutoit, the ensemble continues its ensemble, he instituted many other Philadelphia Orchestra long tradition of world-class music making and forging new paths. traditions, including concerts created especially for children and Mr. Dutoit has a long-standing relationship with the Orchestra, symphonic tours throughout the country. having made his debut with the ensemble in 1980. As chief Hungarian-born Eugene Ormandy assumed the music conductor, he will lead the Orchestra in Philadelphia as well as directorship in 1936. For the next 44 years, he first maintained at Carnegie Hall and on tour. He will also continue his role as and then expanded upon the Orchestra’s unique artistry artistic director and principal conductor of the Orchestra’s annual and musical excellence. Under Ormandy’s skilled hands, the residency at the Saratoga Performing Arts Center. Orchestra refined its famed “Philadelphia Sound” and traveled The Philadelphia Orchestra annually touches the lives of widely, touring throughout North America, Europe, Latin more than one million music lovers worldwide through its America, Japan, Korea, and China. Perhaps Ormandy’s most performances (more than 300 concerts and other presentations lasting legacy is a Philadelphia discography of nearly 400 each year), publications, recordings, and broadcasts. A major recordings (including three best-selling Gold Records), many of subscription season is presented in Philadelphia each year from which have been reissued on compact disc and are considered September to May, in addition to education and community classics of the LP era. partnership programs. The Orchestra presents a series of Ormandy turned over the Orchestra’s leadership in 1980 concerts each year at New York’s Carnegie Hall, in addition to to Riccardo Muti. The Italian-born conductor built upon an annual appearance at the John F. Kennedy Center for the the Orchestra’s tradition of versatility by introducing new and Performing Arts in Washington, D.C. The Orchestra also reaches unfamiliar music from all periods. An advocate of contemporary audiences around the world during its yearly three-week tour. Its music, Muti commissioned works by a wide range of composers summer schedule includes an outdoor season in Philadelphia at and appointed the Orchestra’s first composer-in-residence. Muti The Mann Center for the Performing Arts, free concerts in local also revived the Orchestra’s operatic tradition, presenting concert neighborhoods, an annual residency at the Bravo! Vail Valley performances of operas by Verdi, Puccini, Wagner, and others. Music Festival, and a three-week residency at the Saratoga Wolfgang Sawallisch became music director of The Performing Arts Center in upstate New York. Philadelphia Orchestra in 1993, following a distinguished 21- Only seven conductors have served as music director during year tenure as head of the Bavarian State Opera in . The Philadelphia Orchestra’s history, giving the ensemble a Acclaimed as one of the greatest living exponents of the unity of performance and musical guidance unprecedented Germanic musical tradition, Sawallisch enriched and expanded among American symphony orchestras. Two Germans, Fritz upon the Orchestra’s century-old reputation for excellence in Scheel (1900-07) and Carl Pohlig (1907-12), served as this repertoire, while also promoting new and lesser-known its first music directors, forming the ensemble and carrying it compositions. His suggestion to devote the Orchestra’s entire through its first 12 seasons. British-born Leopold Stokowski Centennial Season in 1999-2000 to works written during the

7 Orchestra’s first century resulted in critical acclaim and box Schoenberg’s Gurrelieder, and Stravinsky’s The Rite of Spring, The office success. Philadelphia Orchestra boasts an extraordinary record of media This excellence was carried on by Christoph Eschenbach, firsts. It was the first symphonic orchestra to make electrical who became music director in 2003. During his five-year tenure, recordings (in 1925), the first to perform its own commercially Mr. Eschenbach launched the Orchestra’s first-ever multi-year sponsored radio broadcast (in 1929, on NBC), the first to perform cycle of Mahler’s complete symphonies; conducted Beethoven’s on the soundtrack of a feature film (Paramount’sThe Big Broadcast nine symphonies paired with music of our time; and led a of 1937), the first to appear on a national television broadcast (in four-week Late Great Works Festival and a four-week Leonard 1948, on CBS), and the first major orchestra to give a live cybercast Bernstein Festival. of a concert on the internet (in 1997). Throughout its history, The Philadelphia Orchestra has toured Recent successes and innovations with electronic media frequently from its hometown, performing symphonic music for carry on this legacy. The Orchestra became the first major audiences across the United States and abroad. The Orchestra’s orchestra to multi-cast a concert to large-screen venues through extensive foreign tours have featured a number of historic and the Internet2 network. The Orchestra also became the first diplomatic missions, including the first American orchestra to major American orchestra to offer consumers the opportunity undertake a transcontinental tour (1936), the first appearances to download recent and archival music directly through its own by an American orchestra in Europe following World War Online Music Store, www.thephiladelphiaorchestra.com. The II (1949), the first American orchestra to tour the People’s Orchestra is broadcast regularly on National Public Radio’s Republic of China (1973), and the first American orchestra to SymphonyCast and Performance Today, as part of an annual visit Vietnam (1999). The Orchestra’s touring schedule annually agreement with NPR. In addition, Christoph Eschenbach and reinforces the ensemble’s role as the Philadelphia region’s most the Orchestra announced a recording partnership with Ondine active and acclaimed cultural ambassador to the world. Records. To date eight critically acclaimed recordings taken from In addition to the many important premieres it has presented live concerts have been released. during the past century, including Barber’s Concerto, Mahler’s For more information on The Philadelphia Orchestra, please “Symphony of a Thousand,” Rachmaninoff’s Symphonic Dances, visit www.philorch.org.

Rafael Viñoly along with acoustician Russell Johnson of Artec Consultants Inc., the Kimmel Center provides the Orchestra with a state-of-the-art facility for concerts, recordings, and education activities. The Academy of Music opened in 1857 and is the oldest grand opera house in the United States still used for its original purpose. Modeled on Italy’s famous La Scala in Milan, the Academy quickly became America’s most prestigious opera house, for a time rivaling New York’s competing offerings. Designated a National Historic Landmark in 1963, the The Homes of The Philadelphia Academy of Music has benefited from millions of dollars raised Orchestra by the Restoration Fund for the Academy of Music for various The Kimmel Center for the Performing Arts renovations and restorations during the past 50 years. and the Academy of Music The Kimmel Center for the Performing Arts and the historic The Kimmel Center for the Performing Arts hosts the Academy of Music (where the Orchestra performed for 101 Orchestra’s home subscription concerts, as well as its concerts seasons) are operated together as a single cultural facility by devoted to youth and family audiences. The Center includes two Kimmel Center, Inc. The Philadelphia Orchestra Association performance spaces, the 2,500-seat Verizon Hall, designed and continues to own the Academy of Music, as it has since 1957, built especially for the Orchestra, and the 650-seat Perelman and the Orchestra performs there at the highly anticipated Theater for concerts. Designed by architect Academy Anniversary Concert and Ball every January.

8 Meet The Philadelphia Orchestra Meet the Musicians of The Philadelphia Orchestra Season 2009-10

Charles Dutoit Dara Morales, Assistant Principal Kathryn Picht Read Chief Conductor Philip Kates Winifred and Samuel Mayes Chair Walter and Leonore Annenberg Chair Mitchell and Hilarie Morgan Family Robert Cafaro Foundation Chair Volunteer Committees Chair Wolfgang Swallisch Virginia Halfmann Ohad Bar-David Conductor Laureate Louis Lanza Catherine R. and Anthony A. Clifton Chair Booker Rowe John Koen Associate Conductor Davyd Booth Mollie and Frank Slattery Chair Danail Rachev Paul Arnold Derek Barnes Assistant Conductor Lorraine and David Popowich Chair Alex Veltman Yumi Ninomiya Scott First Dmitri Levin Basses David Kim, Concertmaster Boris Balter Harold Robinson, Principal Dr. Benjamin Rush Chair Jerome Wigler Anonymous Chair Juliette Kang, First Associate William Polk Michael Shahan, Associate Principal Concertmaster Amy Oshiro-Morales Neil Courtney, Assistant Principal Joseph and Marie Field Chair John Hood José Maria Blumenschein, Associate Violas Emilio Gravagno Concertmaster Choong-Jin Chang, Principal Henry G. Scott Marc Rovetti, Assistant Concertmaster Ruth and A. Morris Williams Chair David Fay Herbert Light Kirsten Johnson, Associate Principal Duane Rosengard Larry A. Grika Chair Kerri Ryan, Assistant Principal Robert Kesselman Barbara Govatos Judy Geist Wilson H. and Barbara B. Taylor Chair Renard Edwards Some members of the string sections Herold Klein Anna Marie Ahn Petersen voluntarily rotate seating on a periodic Jonathan Beiler Piasecki Family Chair basis. Hirono Oka Stephen Wyrczynski Richard Amoroso David Nicastro Flutes Robert and Lynne Pollack Chair Burchard Tang Jeffrey Khaner, Principal Yayoi Numazawa Che-Hung Chen Paul and Barbara Henkels Chair Jason De Pue Rachel Ku* David Cramer, Associate Principal Lisa-Beth Lambert Marvin Moon Rachelle and Ronald Kaiserman Chair Jennifer Haas Jonathan Chu Loren N. Lind Miyo Curnow Kazuo Tokito, Piccolo Elina Kalendareva Daniel Han Hai-Ye Ni, Principal Oboes Noah Geller Albert and Mildred Switky Chair Richard Woodhams, Principal Efe Baltacıgil, Associate Principal Samuel S. Fels Chair Second Violins Yumi Kendall, Assistant Principal Peter Smith, Associate Principal Kimberly Fisher,* Principal Wendy and Derek Pew Foundation Chair Jonathan Blumenfeld Peter A. Benoliel Chair Richard Harlow Edwin Tuttle Chair Paul Roby, Associate Principal Gloria de Pasquale Elizabeth Starr Masoudnia, English Horn Sandra and David Marshall Chair Orton P. and Noël S. Jackson Chair Joanne T. Greenspun Chair

Meet The Philadelphia Orchestra 9 Trumpets Percussion Ricardo Morales, Principal David Bilger, Principal Christopher Deviney, Principal Leslie Miller and Richard Worley Chair Marguerite and Gerry Lenfest Chair Mrs. Francis W. De Serio Chair Samuel Caviezel, Associate Principal Jeffrey Curnow, Associate Principal Anthony Orlando, Associate Principal Sarah and Frank Coulson Chair Gary and Ruthanne Schlarbaum Chair Ann R. and Harold A. Sorgenti Chair Raoul Querze Robert W. Earley Angela Zator Nelson Peter M. Joseph and Susan Rittenhouse Roger Blackburn Joseph Chair Piano and Celesta Paul R. Demers, Bass Trombones Kiyoko Takeuti Nitzan Haroz, Principal Bassoons Neubauer Family Foundation Chair Harps Daniel Matsukawa, Principal Matthew Vaughn, Associate Principal Elizabeth Hainen, Principal Richard M. Klein Chair Eric Carlson Patricia and John Imbesi Chair Mark Gigliotti, Co-Principal Blair Bollinger, Bass Trombone Margarita Csonka Montanaro, Angela Anderson Co-Principal Holly Blake, Contrabassoon Tuba Carol Jantsch, Principal Librarians Horns Lyn and George M. Ross Chair Robert M. Grossman, Principal Jennifer Montone, Principal Steven K. Glanzmann Gray Charitable Trust Chair Timpani Jeffrey Lang, Associate Principal Don S. Liuzzi, Principal Stage Personnel Jeffry Kirschen Dwight V. Dowley Chair Edward Barnes, Manager Daniel Williams Angela Zator Nelson, Associate Principal James J. Sweeney, Jr Denise Tryon Patrick and Evelyn Gage Chair James P. Barnes Shelley Showers * On leave Jessica Griffin/The Philadelphia Orchestra Association

10 Meet The Philadelphia Orchestra Meet the School Concert Conductors Danail Rachev Assistant Conductor and Host Conductor for January 27, February 9, and March 2 performances Rossen Milanov Associate Conductor Danail Rachev was appointed Conductor for October 23 and December 1 performances assistant conductor of The Philadelphia A sought-after guest conductor on the Orchestra beginning in the 2008-09 international music scene, Rossen season. That season also included Mr. Milanov has been hailed as “one who Rachev’s debuts with the Stuttgart bears watching by anyone who cares Radio Symphony, the Porto Symphony, about the future of music” (Chicago the Nashville Symphony, the Fort Tribune). He currently holds the Wayne Philharmonic, the Eugene Symphony, and the Eastern

Anthony Sinagoga positions of associate conductor of The Connecticut Symphony, as well as returns to the Baltimore Philadelphia Orchestra and artistic director of The Philadelphia Symphony and CityMusic . In September 2009, he Orchestra at The Mann Center for the Performing Arts. In became music director of the Eugene Symphony. addition, he serves as music director of New Jersey’s Symphony Mr. Rachev came to Philadelphia from the Dallas Symphony, in C (formerly the Haddonfield Symphony), one of America’s where he had been assistant conductor since the 2005-06 premier professional training orchestras; and music director of season, leading classical concerts, pops programs, and family the New Symphony Orchestra in his native city of Sofia, Bulgaria. concerts, as well as school and outreach programs. Of his last In June 2009, Mr. Milanov was also named music director of the Casual Classics concerts with the Dallas Symphony, the Dallas Princeton Symphony. Morning News wrote: “If there’s anything fair in life, Danail Dedicated to the engagement of new audiences, Mr. Milanov Rachev should be on his way to becoming a star orchestral often provides insightful commentary from the podium inviting conductor.” In the 2007-08 season, Mr. Rachev also led concerts listeners to experience a deeper connection with the music. Mr. with the Baltimore Symphony, CityMusic Cleveland, and the Milanov has led concerts and tours with the Rotterdam and Seoul Camerata Winds in Dallas, of which he is also artistic director. philharmonics; the Baltimore, Colorado, Honolulu, and Lucerne From 2002 to 2005 Mr. Rachev served as conductor of the symphonies; the Saint Paul Chamber Orchestra; the Civic Juilliard PreCollege Symphony, and in the 2002-03 season he Orchestra of Chicago; the Residentie Orchestra of the Hague was the first ever fellow of the New World Symphony, in the Netherlands; and the Teatro Colón Buenos Aires. He was where he studied with, and worked alongside, Michael Tilson music director of the Chicago Youth Symphony from 1997 to Thomas. Mr. Rachev’s debut and subsequent appearances in 2001 and chief conductor of the Bulgarian Radio Symphony from numerous subscription, family, and chamber music concerts were 2003 to 2008, and he has participated in numerous summer met with consistent critical acclaim. festivals, including those of Aspen, Grand Teton, and Tanglewood. Mr. Rachev’s other positions have included cover conductor A native of Sofia, Bulgaria, Mr. Milanov retains a close association of the Saint Louis Symphony; guest conductor of Baltimore’s with his hometown. As music director of the New Symphony Opera Vivente; assistant conductor of the Columbia Orchestra; Orchestra, Eastern Europe’s first privately funded orchestra, his and assistant conductor of the Baltimore Opera Company for work has included commissions and premieres of new works and productions of Strauss’s Elektra, Tchaikovsky’s Eugene Onegin, and the introduction of American music to Bulgarian audiences. Mr. Rossini’s La Cenerentola. In his native Bulgaria, Mr. Rachev has Milanov has received the Award for Extraordinary Contribution to worked with several ensembles including the Russe State Opera, Bulgarian Culture, awarded by the Bulgarian Ministry of Culture. In where he led performances of Rossini’s . 2005 he was chosen as Bulgaria’s Musician of the Year. Mr. Rachev was born in Shumen, Bulgaria, and trained at the Mr. Milanov studied conducting at the Juilliard School State Musical Academy in Sofia, where he received degrees in (recipient of the Memorial Scholarship), the Curtis orchestral and choral conducting. He moved to the United States Institute of Music, Duquesne University, and the Bulgarian to study at the Peabody Conservatory on a full scholarship and National Academy of Music. graduated in 2001. His conducting teachers have included Gustav Meier, Michael Tilson Thomas, Vassil Kazandjiev, David Zinman, and Leonard Slatkin. Mr. Rachev currently resides in Philadelphia with his wife, Elizabeth.

Meet The Philadelphia Orchestra 11 Jamie Bernstein Host for families and young people on the music of Copland, Mozart, Host for all performances Bernstein, and others. The acclaimed program “The Bernstein Jamie Bernstein is a narrator, writer, Beat,” a family concert about her father modeled after his own and broadcaster who has transformed a groundbreaking Young People’s Concerts, has been presented lifetime of loving music into a career of by Carnegie Hall Family Concerts, the Caramoor Festival, and sharing her knowledge and enthusiasm The Philadelphia Orchestra. with others. She grew up in an Ms. Bernstein also travels the world as a concert narrator, atmosphere bursting with music, theater, appearing with orchestras from Philadelphia to Minnesota,

Steven J. Sherman and literature. Her father, composer- Havana to Beijing. In addition to her own scripts, she also conductor , together with her mother, the performs standard concert narrations, such as Walton’s Facade, pianist and actress Felicia Montealegre, and their legions of Copland’s A Lincoln Portrait, and her father’s Symphony No. 3 friends in the arts, created a spontaneous, ebullient household (Kaddish). She is a frequent speaker on musical topics, including that turned Ms. Bernstein into a dyed-in-the-wool cultural in-depth discussions of her father’s works. enthusiast. In addition to writing her own scripts and narrations, Ms. Replicating her father’s lifelong compulsion to share and Bernstein writes articles and poetry, which have appeared in teach, Ms. Bernstein has written and produced several concerts such publications as Symphony, DoubleTake, and Gourmet.

Lesson: Let’s Go to the Orchestra

Targeted grade level Grades 2-5 See www.philorch.org/resources: • Instrument cards Lesson Objectives • Blank bingo cards As a result of this lesson, students will be able to: • Orchestra Squares worksheet • Define the term “orchestra” • Construct and perform a simple composition using Academic Standards found objects National Content Standards for Music • Identify the four instrument families of the orchestra: K-4: 2a, b, d, e / 4b, c / 6c, d / 9d, e string, woodwind, brass, and percussion 5-8: 2d / 4c • Describe the identifying characteristics of each family Pennsylvania Content Standards and categorize individual instruments based on these The Arts: 9.1.3 a, c / 9.1.5 a, c qualities • Differentiate the instrument families (and individual Indicators for Assessment instruments) based on characteristic sounds Students will: • Accurately echo a simple four-beat rhythmic pattern as Lesson Materials a group • Chalk/whiteboard • Use the term “family” correctly when talking about • Found objects in the classroom musical instruments in the orchestra • Recording of Benjamin Britten’s The Young Person’s • Name the four instrument families and describe how Guide to the Orchestra each produces sound • CD/mp3 playback device • Express an aesthetic opinion about their instrument • Bingo markers preferences • Identify, at the least, the correct instrument family when provided with a listening example

12 Meet The Philadelphia Orchestra Activity 1: What Makes an Orchestra? Conclusion Introduction 13. Once the students have returned to their seats, have 1. Introduce the term “orchestra” by discussing the concept of the students compare and contrast the different families of “family” with your students. instruments they created. 2. PROMPT: Describe your family. Who are the different 14. Conclude the lesson by reviewing the definition of members of your family? What are the special things that each orchestra. member does? 15. Just like in your family, the contributions of the different 3. Create a simple chart on the board (like the one below) and instruments in the orchestra are very important. Next time, we’ll list student responses. talk about the four families in the orchestra. Family Member Contributions Activity 2: Instruments of Jamie’s Mom Doctor at General Hospital the Orchestra Keisha’s Brother Mows the Grass Preparation/Introduction 4. Discuss with students the contributions unique to their 1. Arrange instrument cards (see Resource Materials online) different family members (e.g., mother is a doctor, older brother into the following four groups on the board: mows the grass) and which contributions may be shared (e.g., STRINGS WOODWINDS BRASS PERCUSSION father and older brother take turns mowing the grass). Violin Flute, Piccolo French horn Snare, bass drum 5. Define the term orchestra as it relates to families: “An Viola Oboe Trumpet Timpani orchestra is a group of musicians who play together on various English Horn Trombone Triangle, Cymbals instruments. These instruments share some qualities that are Bass Clarinet Tuba Xylophone the same and some that are different. And, just like your family, Harp Bassoon Piano the instruments of the orchestra are grouped into families with others that are similar.” 2. Introduce the activity: Last time, we talked about our families and about how an orchestra is a group of musicians who Development play together on instruments that come from different families. 6. Let’s create our very own Classroom Orchestra! Today, we’re going to learn about the four families of instruments 7. Have the students locate ordinary items in the classroom in an orchestra. that have sound-making potential. 3. Label each family of instruments you’ve posted on the 8. Once they have their objects, ask them to identify the board as you introduce the group: Each group is called a primary material the object is made of: Is it metal? Wood? family because the instruments in each are alike. There are Plastic? What other categories can they identify? four families in the orchestra: there is the strings family, the 9. Once you have identified approximately four different woodwinds family, the brass family, and the percussion “families,” ask the students to form groups accordingly in family. different areas of the room. 4. PROMPT: Look at each group of instruments on the 10. Teach the students a simple four-beat rhythmic pattern board. Can you figure out just by looking at them: how are the using call and response by having them repeat a pattern you give instruments in each family are all alike? them by clapping (or using your own found objects). Repeat this 5. Discuss student responses. (Answer: The instruments in as many times as desired with as many patterns as you’d like. each family all make sounds in the same way!) Older students can be encouraged to create their own patterns 6. Percussion instruments make sounds when musicians for the class to repeat. hit or shake them. Woodwind instruments make sounds when 11. Have the different “families” perform alone and in musicians blow into them. String instruments make sounds various combinations. Change variables like tempo (speed) and when musicians move the strings with a bow or their fingers. dynamics (volume) and have the students match you. And, brass instruments make sounds when musicians buzz their 12. (Optional) Select one or more students to be the lips into them. conductor and lead the class.

Meet The Philadelphia Orchestra 13 Activity 3: Instrument Bingo Preparation/Introduction 1. Create a set of instrument cards with the names of the instruments hidden. 2. Distribute bingo cards (see Resource Materials online) and bingo markers to the students. Black boxes can either be used as free spaces or as spaces not in play.

Development 3. Hold up instrument cards and have students mark the instrument you’re showing. Consider giving a description/fact about each instrument as you show the card (e.g., for the viola: “This string instrument isn’t the smallest and it isn’t the biggest.”) 4. Also consider integrating sound examples in addition to showing instrument cards. 5. For younger ages, have the students identify the instrument picture or sound together as a class and then mark their cards. Jessica Griffin

Development Reflection and Conclusion 7. Use Benjamin Britten’s The Young Person’s Guide to 6. Distribute the Orchestra Squares worksheet (see Resource the Orchestra (RCA: Eugene Ormandy and The Philadelphia Materials online) and review the instructions with the students. Orchestra, 1992) to introduce your students to the sounds of 7. Emphasize and remind students to circle the three each instrument family. The first six movements contain an instruments in a row that all make sound in the same way and introduction, a demonstration of the melody by the four families, write the instrument family in the space provided. and then the full orchestra performing together. 8. Conclude the activity by listening to the first six tracks of 8. Pause the recording after each demonstration by the Britten’s The Young Person’s Guide to the Orchestra. different families of instruments. Discuss with the students the sounds they hear. What words would they use to describe the sounds they hear? Write those words beside the corresponding family posted on the board. 9. The remaining movements of the piece are variations of the melody played by the individual instruments. Use these tracks to introduce your students to the instruments in each family. 10. Ask the students to compare the sounds. What are the highest and lowest instruments in each family? Do these high and low sounds relate to the size of the instruments? Be creative: What animals (or colors) might each instrument represent?

Reflection and Conclusion 11. “If you could be any instrument, which one would you be?” Have students draw a picture of their favorite instrument and write words that best describe the sound around it. 12. “Which family does it belong to?” Conclude the activity by having students share their drawings and asking the class to identify to which family the instrument belongs. Chris Lee Chris

14 Meet The Philadelphia Orchestra United States: Voices of Freedom

John Stafford Smith “The Star-Spangled Banner” John Rosamond Johnson “Lift Every Voice and Sing” Folk music communicates the shared history and experiences of a particular culture as songs and melodies are passed from generation to generation. Both pieces in this unit reveal powerful stories of freedom and pride in America performed in celebration of liberty and unity.

Pennsylvania Standards Aligned System for Music Education The lessons and activities in this unit satisfy the following components of the SAS music education curriculum framework for the following grades (Gr.):

Big Ideas • A composer’s use of themes or ideas can affect the • Music provides a medium to understand and exchange way an audience perceives a musical work (Gr. 4-5) ideas (Gr. 2-8) • Music plays an important role in culture (Gr. 5) • Music is created for a variety of purposes; musicians • There are styles of music that are specifically written to create for a variety of reasons (Gr. 2-8) communicate themes and ideas (Gr. 5) • Humans have expressed experiences and ideas through • Music can communicate moods or emotions (Gr. 5) music throughout time and across cultures (Gr. 2-8) • Musicians can use music to influence the way people • People use both aesthetic and critical processes to view the world (Gr. 6) assess quality, interpret meaning, and determine value • The choices a musician makes can affect the way an (Gr. 3-8) audience perceives the work (Gr. 6) • There are similarities and differences in music created Essential Questions at different times and in different cultures (Gr. 7) • Where do we experience music? (Gr. 2-3) • Personal experiences influence a person’s response to • Why (and how) do people create music? (Gr. 2-5) musical works (Gr. 7) • How do musicians tell stories and/or convey messages in their work? (Gr. 4-5) Competencies • How can music from different cultures be both the • Students will use appropriate music vocabulary—e.g., same and different? (Gr. 4-5) tempo, dynamics, form—to describe musical works (Gr. 2) • How do personal experiences influence our response • Students will articulate personal opinions of musical to a piece of music? (Gr. 4-5) works using appropriate vocabulary (Gr. 2-3) • How does music reflect as well as shape culture? (Gr. 6-8) • Students will experience music written to communicate • What factors inspire or influence a musician’s work? different themes and ideas and explain how these (Gr. 6-8) themes and ideas affect an audience’s perception of • Can musicians influence the way people see the world? the works (Gr. 4) (Gr. 6-8) • Students will describe themes and ideas through listening and performance of a variety of musical styles (Gr. 5) Concepts • Students will analyze the role of music in their own • People have different responses to music and are free culture (Gr. 5) to state their opinions (Gr. 2-3) • Students will experience music in different settings • People can use music to express details of their lives and explain how the setting of a musical performance (Gr. 4) affects an audience’s response to the work (Gr. 5)

15 “The Star-Spangled Banner”

About the Composer As its own piece of “folk music,” The Star-Spangled Banner Born in , , John features cleverly crafted lyrics, written by Stafford Smith (1750–1846) was a in 1814, set to a traditional melody. Key wrote the words on composer, church organist, and early September 14, 1814 on board a British warship in Baltimore musicologist. The son of an organist at Harbor where he was being detained. As he saw the American the , he attended the flag still flying over Fort McHenry, which had withstood the town’s cathedral school where he became British bombardment the previous night, Key was inspired to a boy-singer and then later furthered his write the now-famous poem, “Defence of Fort McHenry,” which career as a choir boy at the was later fashioned to fit the melody of “To in Heaven.” in . Smith gained an early reputation as a composer and Like other folk songs, this anthem was first adopted by a organist in the 1770s, just as the colonists were fighting for large community of people to represent their values and desires independence across the Atlantic. Although his compositions and was known by just about everyone within that community would include the tune that would become the Star-Spangled (in this case, the country). “The Star-Spangled Banner” gained Banner, Smith was known more as a pioneer of the study of popularity throughout the 19th century but was not officially music history. He died on September 21, 1836, at the age of 86. designated the national anthem of the United States until 1931. Before then, the honor was shared with “My Country ’Tis of About the Lyricist Thee” (or “America”), a poem written in 1831 set to the music of Born and raised in western Maryland, the British national anthem “God Save the Queen.” Francis Scott Key (1779–1843) The tradition of performing “The Star-Spangled Banner” was the son of John Ross Key, a before baseball games began during World War II; however, Revolutionary officer. He was educated evidence suggests that it was performed as early as 1897 at St. John’s College, studied law in at opening-day ceremonies in Philadelphia. In 1993 The the office of his uncle, Philip Barton Philadelphia Orchestra became the first major orchestra to Key, and began to practice law in play at a World Series game when they performed the national Frederick City, before serving as a district attorney for the anthem. Inclusion of this piece at the beginning of the school District of Columbia from 1833 through 1841. In this position, concert highlights an important communal tradition in the United Key negotiated several important agreements between the States, and gives us a strong starting point from which to talk government and Native Americans. He also became active in the about community music in the Curriculum Guide. anti-slavery movement. Key became ill during a trip to Baltimore and died of pneumonia at the home of his daughter on January 11, 1843. About the Music The melody of the song that would become the American national anthem was first published in England ca. 1778. Officially called “” but more commonly known by the first line of its lyrics, “To Anacreon in Heaven” was the constitutional song of the , an 18th-century gentlemen’s club of amateur musicians in London who gathered regularly to perform concerts. With its connection to Anacreon (a Greek lyric poet who had a penchant for drinking songs and hymns) and its references to Bacchus’s wine, many have labeled the song a drinking song; however, the primary purpose of the Society (and its song) was to promote an interest in music. Original Star-Spangled Banner Flag

16 United States: Voices of Freedom “Lift Every Voice and Sing”

About the Composer and Lyricist It was as a hymn that James Weldon Johnson envisioned his African-American composer and song would inspire African Americans and he never referred to it singer John Rosamond Johnson as an anthem, even as he served as the chief executive officer of (sitting; 1873–1954), and his the NAACP during the 1920s. He believed strongly that “a nation older brother James Weldon can have but one anthem” and that calling it an anthem would run Johnson (1871–1938), were born against the NAACP’s fundamental ideology of integration and in Jacksonville, Florida to James against his faith in the founding principles of America that all were Johnson and Helen Louise Dillet, who created equal. However, it was around this time when the label of was the first female, black teacher in “anthem” likely evolved through folklore and sealed the song’s status a public grammar school in Florida. Mrs. Johnson would impart among African Americans as their “Negro National Anthem.” her considerable love and knowledge of English literature and the In 1990 singer Melba Moore released a modern rendition of European tradition in music to her children, and John Rosamond the song, and partly because of the success of this recording, “Lift eventually received a music degree at the New England Every Voice and Sing” was entered into the Congressional Record Conservatory. by Walter Fauntroy, the delegate to Congress from the District of In 1901 the Johnson brothers moved to and Columbia, as the official African-American National Hymn. along with black composer Robert Cole established a new direction for African-American musical theater. For their profound impact on African-American culture in the 1920s and 1930s, the Johnsons would be recognized as important contributors to the Harlem Renaissance in New York. In 1935 John Rosamond Johnson would originate the role of Frazier in George Gershwin’s Porgy and Bess. He would reprise this role in 1951 for the studio recording of what would become known as a great “American folk opera.” About the Music James Weldon Johnson first wrote the words to “Lift Every Voice and Sing” as a poem and then John Rosamond Johnson set the words to music in 1899. It was first performed in public in the Johnsons’s hometown of Jacksonville, Florida as part of a celebration of Lincoln’s Birthday on February 12, 1900 by a choir of 500 schoolchildren at the segregated Stanton School, where James Weldon Johnson was principal. Singing this song quickly became a way for African Americans to demonstrate their pride and hope for the future. In calling for earth and heaven to “ring with the harmonies of Liberty,” they could speak out against racism and segregation, especially in response to the large numbers of lynchings that accompanied the rise of the Ku Klux Klan at the turn of the century. In 1919 the National Association for the Advancement of Colored People (NAACP) adopted the song as the “Negro National Anthem,” and by the 1920s “Lift Every Voice and Sing” was being sung throughout the country. Copies of the song could be found pasted inside the back covers of hymnals in black churches. “The Harp” by August Savage. 1939 New York World’s Fair

United States: Voices of Freedom 17 Lesson 1: It’s a Family Affair

Targeted grade level Grades 2-5 See www.philorch.org/resources: • Lyric Sheets Lesson Objectives • Venn diagrams As a result of this lesson, students will: • List famous performing brothers, including three sets Academic Standards of brothers who have performed with The Philadelphia National Content Standards for Music Orchestra K-4: 1c, e / 6c, d / 7a, b / 9a, c, d • Reflect in writing and in discussion on the role of music 5-8: 1a, c / 6a, b / 7a / 9c in their families and communities Pennsylvania Content Standards • Compare and contrast different performances Arts: 9.1.3 c, i / 9.1.5 c, i / 9.2.3 a, f, g, h, j / 9.2.5 a, f, g, • Examine lyrics of a song and explore the meaning of h, j / 9.3.3 a, b, c, f / 9.3.5 a, c, f / 9.4.3 b, c, d / 9.4.5 c the words as well as their connection to a particular Other Disciplines: 1.6.3 d, e / 1.6.5 d, e community of people Indicators for Assessment Lesson Materials Students will: • Chalk/whiteboard • List three sets of famous performing brothers, • CD/mp3 playback device including one set who performed with The Philadelphia • Computer with internet access and projector to view Orchestra and one set of Pennsylvania artists websites • Accurately use musical vocabulary to express their • Various recordings of “Lift Every Voice and Sing” analysis and opinions while comparing and contrasting • Music journals performances • Demonstrate understanding of the importance that context plays in musical performance (performing and listening)

Introduction Development 1. Introduce the lesson by pointing out that history is created 5. Share with students that The Philadelphia Orchestra has from the activities in the lives of everyday people, including the been home to several groups of talented brothers. Between students themselves as well as their family members. Music the years of 1964 and 1972, the de Pasquale brothers history is also made from lives of everyday people who work hard performed together in the Orchestra, with three of them holding to become musicians. associate, assistant, or principal positions in their sections. The 2. Brainstorm a list of famous performing siblings and the oldest, Francis, joined the cello section in 1943, William the first styles of music they perform. Can the students name one or two violin section in 1963, and Robert and Joseph (second violin and of their songs? viola, respectively) in 1964. During these years, the de Pasquale 3. Mention that while the Jonas Brothers may be the most brothers were able to continue the tradition of string quartet recognized group of performing siblings today, they are only a playing they had begun as children growing up in Philadelphia. current version of a long-standing tradition. 6. Continue by pointing out that two other sets of brothers 4. From the list, have students identify the groups made of all have also performed with the Orchestra in the past. In a feature- brothers. If students struggle, ask leading questions that may length documentary titled Music from the Inside Out, violinists help them identify other choices not on the brainstorming list. Joseph and Louis Lanza and Jason and Zachary De Examples may include: the Jackson Five, the Brothers Johnson, Pue discuss their musical experiences in and outside of the the Osmonds, and Hanson. Orchestra.

18 United States: Voices of Freedom 7. Visit the website www.whyy.org/tv12/insideout.html, attention to elements like tempo, dynamics, style, use of lyrics, and view the video clips featuring these musical brothers in and instrumentation (among others). the units “Non-Verbal Communication I” and “Non-Verbal 15. Play a recording of “Lift Every Voice” sung by a classical Communication II.” music artist, such as mezzo-soprano Denyce Graves, whose 8. In their music journals, allow adequate time for students to version can be purchased from the album American Anthem on respond to the following prompts: Describe what it would be like Amazon.com. Or, you may decide instead to use the recording to perform with a sibling (or perhaps, a cousin or best friend). included with this guide. Follow this recording with a different What instruments would you play? What kind of music would you interpretation of the song presented by rhythm & blues (R&B) perform? How would you practice together? Would you perform artist Kim Weston, which can be purchased on iTunes. Ms. in private for friends, or would you perform for the public? Weston’s version can also be found on www..com by 9. Choose volunteers to share all or part of their responses searching “Kim Weston Lift Every Voice and Sing.” with the class. Which responses are creative imagination and 16. Distribute a Venn diagram to students (see Resource which are based in real situations? Through their responses, Materials) and have them compare the classical and R&B help students draw connections between music and culture by versions of “Lift Every Voice.” Have the class complete the discussing the role of music in their families and communities. diagram using the notes taken in their journals. For example, students may sing in the church choir with their 17. Conclude the activity by discussing the message of sibling(s) or they may have an older sibling who plays the guitar comfort, hope, and pride expressed in this song. Ask students if in a neighborhood band. they think being siblings influenced the Johnson brothers when 10. Discuss other Philadelphia connections to musical they created “Lift Every Voice.” Sing the song together as a class brothers with students. Actor Kevin Bacon often returns to his along with a recording. hometown to perform with his older brother Michael in their band, The Bacon Brothers. And, The Heath Brothers was a Extension Activities jazz group formed in 1975 by brothers Jimmy (tenor saxophone), • George Gershwin and his brother, Ira, wrote several musicals Percy (bass), and Albert “Tootie” (drums) along with pianist and songs, including “Someone to Watch Over Me,” “I Got Stanley Cowell. (The Heath Brothers are recognized on the Walk Rhythm,” and “Fascinating Rhythm.” And, along with DuBose of Fame on the Avenue of the Arts. At the School Concert, have Heyward, the brothers created the folk opera Porgy and Bess, students find the plaque honoring The Heath Brothers, in front of which features the opening lullaby “Summertime.” Have students the Academy of Music.) use a Venn diagram to compare performances of this song. 11. Inform students that one of the pieces they will be hearing Suggested versions to compare include: Leontyne Price/ at the School Concert will be “Lift Every Voice and Sing,” which Fantasia and Al Jarreau/Luther Vandross. was written by two brothers, John Rosamond Johnson (music) • There are several illustrated versions of the song “Lift Every and James Weldon Johnson (lyrics). Share background history Voice and Sing,” such as the one drawn by Bryan Collier. Listen of the song and about the Johnson brothers. Distribute a copy of to a recording while turning the pages of Collier’s illustrations. the lyrics and have students recite the words together out loud. Discuss with students how the artist shows meaning in each Identify words and phrases that the students do not understand. line of the song. Have each student select a line from the song 12. Advise students that the version of the song they will hear and draw a picture of his or her own. Combine the pictures and at the concert will not feature a singer. Invite students to share present a new book. their thoughts on the role that lyrics play in music. Can this piece of music still be a powerful anthem without the words? Why or Lesson content contributed by Vanessa Habershaw why not? Reflection/Conclusion 13. Explain that students will hear two versions of the song “Lift Every Voice and Sing” and will be comparing and contrasting the performances. 14. In their music journals, have students take notes as they listen to each version of the song, prompting them to pay

United States: Voices of Freedom 19 Lesson 2: Anthems of Hope and Pride

Targeted grade level Grades 2-5 Academic Standards National Content Standards for Music Lesson Objectives K-4: 6c / 7a, b / 9a, c, d As a result of this lesson, students will: 5-8: 6a, b / 7a / 8a, b / 9c • Reflect in writing and in discussion on the role of Pennsylvania Content Standards music, in particular anthems of pride and hope, in their Arts: 9.1.3 c, i / 9.1.5 c, i / 9.2.3 a, f, g, j / 9.2.5 a, f, g, j / families and communities 9.3.3 a, b, c, f / 9.3.5 a, c / 9.4.3 b, c, d / 9.4.5 c • Compare and contrast different performances and Other Disciplines: 1.4.3 a / 1.4.5 a / 1.6.3 d, e / 1.6.5 d, identify corresponding contexts for each e / 5.1.3 g, k / 5.1.6 k / 8.3.3 a, b / 8.3.6 a, b • Examine lyrics of a song and explore the meaning of the words as well as their connection to a particular Indicators for Assessment community of people Students will: • Express themselves creatively through writing poetry • Correctly define “patriotism” and “national anthem” and • Define patriotism and explain how it can be expressed identify three qualities or characteristics of each through music and visual art • Explain the function of a musical anthem within a • Define and describe the characteristics of a national community anthem • Accurately use musical vocabulary to express their analysis and opinions while comparing and contrasting Lesson Materials performances • Chalk/whiteboard • Demonstrate understanding of the importance that • CD/mp3 playback device context performs in musical performance (performing • Recordings of “The Star-Spangled Banner” and “Lift and listening) Every Voice and Sing” • Music journals • Drawing supplies

Preparation/Introduction 4. Refer to lyric sheets for “Lift Every Voice and Sing” 1. Before the lesson begins, write the following sentences on distributed in the last activity, and have students read along as the board they listen again to a recording of the song. Have students identify • I hope that this year . and underline words and phrases in the lyrics that express feelings • I hope that next year . of hope (i.e., a wish or desire for something better in the future). • For my family, I hope . Potential hopeful phrases might include the following: • For my community, I hope . • Ring with the harmonies of Liberty • For the world, I hope . • Sing a song full of the faith • I hope that someday . • Sing a song full of the hope 2. In their music journals, ask students to think about and • Facing the rising sun of our new day begun complete the sentences above. 5. Lead a discussion about the meaning of the words, 3. Choose volunteers to share part or all of their responses especially as it relates to the African-American experience at the with the class. What do the students’s hopes have in common? turn of the 20th century when the song was written. Are any of Using the board, have students classify these hopes into larger the hopes expressed in the song (that students have underlined) categories. (Possible categories might include personal/family/ similar to the hopes that students have written down? Are there community, local/global, long term/short term.) any that are different?

20 United States: Voices of Freedom Development Extension Activities 6. Connect the expression of hope and pride for a community • Explore the national anthems of other countries. Either of people to a discussion of patriotism. What words would you select countries that students are studying in social studies use to describe patriotism? Do these words define patriotism? or geography or have students vote on two or three countries. What does it mean to be patriotic? Have students create a Streaming audio of national anthems can be found at definition from the list of answers they provide and make a list of www.geocities.com/TheTropics/8106/Anthems. Compare and patriotic activities. Is “Lift Every Voice and Sing” patriotic? contrast these anthems to “The Star-Spangled Banner.” 7. Ask students to think about which holidays or observances • On an instrument, perform the melody of “The Star-Spangled celebrate our country and our heritage. (Answers may include Banner” as an English drinking song (in the style of “Anacreon Independence Day, Memorial Day, Martin Luther King, Jr. Day, in Heaven”). Ask students to suggest ways they would make Flag Day, Veterans Day, and Black History Month.) How do these the melody sound more like the national anthem, using specific holidays affect our patriotism? What other events and activities musical terms when possible. Try out their ideas until you reach make us feel more patriotic? what sounds most like our national anthem. 8. Share background information about the American flag (as an image and symbol of patriotism) and “The Star-Spangled Lesson content contributed by Lauren Robinson Banner,” and explore with students what a national anthem is and what it does. Typically, a national anthem is a musical composition with words that bring to mind the history, traditions, and struggles of its people. These official songs are often used in a wide variety of contexts. 9. Listen to a recording of “The Star-Spangled Banner” while students draw a picture that embodies some of the emotions they associate with the history and heritage of America. Choose volunteers to share their work and have the class reflect on how those students chose to depict their feelings. Do these pictures reflect a sense of patriotism? 10. Post the students’s pictures and create a gallery of patriotic artwork. Reflection/Conclusion 11. Using inspiration from the “statements of hope” from their journals as well as the images they’ve drawn, have students write a short poem about the hope and pride they feel for their country and/or their school. 12. Does your school have a school song? If so, review patriotism and national anthem and discuss how the words (and music) of your school song fit (or don’t fit) both definitions. If your school doesn’t have a song, consider reviewing the definitions of patriotism and national anthem and having the students select the poems that would make great words for a school song. 13. Conclude the lesson by discussing the similarities and differences between “The Star-Spangled Banner” and “Lift Every Voice and Sing.” Does “Lift Every Voice” deserve to be called the African-American National Anthem? Does it meet the criteria of the definition?

Liberty Bell

United States: Voices of Freedom 21 Lesson 3: Looking at Lyrics

Targeted grade level Grades 6-8 Academic Standards National Content Standards for Music Lesson Objectives 5-8: 1a, c / 8a / 9a, b, c As a result of this lesson, students will: Pennsylvania Content Standards • Respond in writing to a journal prompt Arts: 9.1.8 b, d, e, k / 9.2.8 a, d, e, f, g, l / 9.3.8 a, c, d / • Locate the places of origin on a world map for the two 9.4.8 d songs in this unit Other Disciplines: 1.2.8 a / 1.4.8 c / 1.5.8 a / 1.8.8 b / • Sing two important American songs 7.1.9 b / 7.3.9 b / 8.1.9 d / 8.3.9 a, d • Analyze the lyrics of the songs and learn about their history Indicators for Assessment • Create visual artwork inspired by song lyrics • Use of rubric for journal purposes • Teacher observation of participation, posture, and Lesson Materials tone production while singing; participation in group • Music journals discussions; attention to task and accuracy of • World map to post in classroom responses during research activities; and effort during • Sheet music and lyrics to display or distribute for each creative tasks song • Computer with internet access and projector to view websites • Unlined paper, colored pencils, crayons, and markers

Introduction computers and internet access are unavailable, print information 1. Discuss with students your expectations for journal from the websites and distribute): responses, including length of response, complete sentences, • www.en.wikipedia.org/wiki/Fort_McHenry correct grammar and spelling, and so forth. If you choose to use • www.baltimore.org/arts-and-culture/fort-mchenry a rubric for assessing responses, post or distribute it at this time. • www.nps.gov/fomc 2. Allow time for students to respond to the journal prompt: 8. Challenge students to find the answers to the following How can music bring people together? questions: 3. Choose volunteers to share all or part of their response • Where is Fort McHenry? What does it look like? with the class. Encourage students to keep a positive tone even • What war was being fought when Francis Scott Key wrote when expressing an opposing view. the lyrics to “The Star-Spangled Banner?” 4. Explain to students that they will be learning about two • Why was Francis Scott Key watching the battle? songs that have helped bring people together in our country. • When was “The Star-Spangled Banner” adopted as our national anthem? Development • Who wrote the music to the song, and what was it originally 5. Choose a student to mark the United States on the posted called? world map. 9. Discuss answers to the questions. Then, take another 6. Display or distribute notation and lyrics for “The Star- look at the unfamiliar words that students listed in Step 1 of Spangled Banner.” Sing the song together. Then, on the back of this activity. Help students discover the meaning of the words the journal response, ask students to make a list of unfamiliar using context clues and the historical information found in the words from the first verse of the song. websites. 7. Allow students to access the following websites (or if 10. Finish the activity by singing the song together.

22 United States: Voices of Freedom Reflection/Conclusion Extension Activities 11. Explain to students that “Lift Every Voice and Sing” is • Use internet resources to plan a “virtual trip” to Fort known as the “African-American National Anthem.” It was written McHenry. by two brothers, James Weldon Johnson and John Rosamond • Learn about John Rosamond Johnson and James Weldon Johnson, and was first performed by students at a celebration of Johnson, composer and lyricist of “Lift Every Voice and Sing,” by Lincoln’s Birthday on February 12, 1900. visiting the following websites: 12. Display or distribute notation and lyrics for the song and www.en.wikipedia.org/wiki/Lift_Every_Voice_and_Sing sing it together. (Sing at least the first two verses. Be advised www.jass.com/c&j.html that the song is often used as a hymn because of the religious www.poets.org/poet.php/prmPID/72 nature of the third verse.) Discuss the imagery of the lyrics, and • Augusta Savage created a sculpture for the 1939 World’s help students discover that the first verse seems to be looking Fair called Lift Every Voice and Sing. Allow students to enter into the future while the second verse looks into the past. “Augusta Savage” into the Google search engine for images of 13. Distribute unlined paper and art supplies. Help each this work. student choose one or two lines from the lyrics to illustrate. For example: “Let our rejoicing rise / High as the listening skies, Lesson content contributed by Elizabeth McAnally / Let it resound loud as the rolling seas.” When students have finished working, allow them to share their work with the class. Display the completed pieces on a bulletin board display. 14. Finish the activity by singing the song together.

Meet the Musician Renard Edwards Instrument: Viola Birthplace: Philadelphia, Pennsylvania Schools: Settlement Music School, New School of Music Interests: Painting, drawing, tennis, reading, chamber music Noteworthy: Recently performed in benefits for the Paul Robeson House and music students of Haiti; performed with Johnny Mathis, Sammy Davis Jr., Donny Osmond, Charlotte Church, Grover Washington Jr., Yes, and the Beach Boys, among others Favorite thing about performing music: “I’m constantly amazed at the genius of composers.”

Jean Brubaker/The Philadelphia Orchestra Association One of the most memorable moments with the Orchestra: “My first year in the Orchestra we performed Bach’s St. Matthew Passion while I was reading Wilhelm Reich’s The Murder of Christ. Those concerts in particular have stayed with me.” What is the best thing about being a Philadelphia Orchestra musician: “I grew up listening to this Orchestra. Deciding to become a musician and having the chance to become a member of this great ensemble was a wonderful turn of fate.” If you could play another instrument it would be: “Bassoon.” If I weren’t a professional musician I would be: “A visual artist.” Favorite composer: “Beethoven.” Joined the Orchestra: 1970

United States: Voices of Freedom 23 Spain: Let the Rhythm Move You!

Manuel de Falla “Dance of the Miller’s Wife (Fandango),” from The Three-Cornered Hat Throughout Spanish history, music and dance have been a natural part of daily life for its people. The rhythm and emotion of dance-songs, like the fandango, distinguishes the music of this diverse country, which has many regions and cultures with a long and rich tradition of folk music and dance.

Pennsylvania Standards Aligned System for Music Education The lessons and activities in this unit satisfy the following components of the SAS music education curriculum framework for the following grades (Gr.):

Big Ideas • There are styles of music that are specifically written to • Musicians use tools and resources as well as their own communicate themes and ideas (Gr. 5) experiences and skills to create art (Gr. 2-8) • Music can communicate moods or emotions (Gr. 5) • People create, experience, and engage with music • The choices a musician makes can affect the way an throughout their lives (Gr. 2-8) audience perceives the work (Gr. 6) • Music is created for a variety of purposes; musicians • While each culture has unique music, there are create for a variety of reasons (Gr. 2-8) similarities in the role of music in all cultures (Gr. 6) • Humans have expressed experiences and ideas • There are similarities and differences in music created through music throughout time and across cultures at different times and in different cultures (Gr. 7) (Gr. 2-8) Competencies Essential Questions • Students will use appropriate music vocabulary—e.g., • Why is it important for people to be able to act, dance, tempo, dynamics, form—to describe musical works (Gr. 2) draw, paint, play, and sing? (Gr. 2-3) • Students will demonstrate developing skills in singing, • Why (and how) do people create music? (Gr. 2-5) movement, performance, and improvisation on classroom • How do musicians tell stories and/or convey messages instruments using a variety of music from diverse cultures in their work? (Gr. 4-5) and different time periods (Gr. 2) • How can music from different cultures be both the • Students will identify the unique characteristics of music same and different? (Gr. 4-5) from various cultures (Gr. 2-3) • What factors inspire or influence a musician’s work? • Students will experience music written to communicate (Gr. 6-8) different themes and ideas and explain how these • Can musicians influence the way people see the world? themes and ideas affect an audience’s perception of the (Gr. 6-8) works (Gr. 4) • Students will describe themes and ideas through Concepts listening and performance of a variety of musical styles • Different cultures have different musical traditions (Gr. 5) (Gr. 2-3) • People have different responses to music and are free to state their opinions (Gr. 2-3) • Music plays an important role in culture (Gr. 4-5)

24 Where in the World is Spain? strumming patters in folk dances. The music is also highly percussive, with the sound of castanets, hand-clapping, and stamping of the feet. About the Music While touring Spain with his Ballets Russes, the great impresario Sergei Diaghilev and choreographer Leonide Massine saw a production of a pantomime, El corregidor y las molinera (The Sheriff and the Miller’s Wife), with music composed by Manuel de Falla. Diaghilev immediately saw the potential for a ballet and Located in Europe, Spain occupies the Iberian peninsula with the persuaded the composer to expand his music and score it for country of Portugal and is separated from the rest of Europe by orchestra. The resulting 1919 London premiere of El sombrero the Pyrenees mountains. de tres picos (The Three-Cornered Hat) starred Massine as the miller and featured sets designed by Spanish artist Pablo Learn More about Spain! Picasso. It was the last ballet danced by the Ballets Russe Known officially as the Kingdom of Spain, the country is divided before Diaghilev’s death just two weeks later. into 17 autonomous regions and has one of the most diverse The story concerns a corregidor or village sheriff, whose landscapes and climates in Europe. The region of Murcia in the three-cornered hat is the symbol of his officious authority. southeast resembles a desert in places, while the northwest in This particular sheriff has his eye on the miller’s wife, who winter can expect rain around 20 days out of every month. becomes aware of his lecherous plans and proceeds to lay a trap for him. When the sheriff arranges to get the miller out of About the Composer his house for a night, he comes to woo the wife; she flees the Manuel de Falla (1876-1946) was house and manages to push him into a stream. He returns to born in Cádiz, which is located on the the miller’s house, alone, and leaves his clothes (including the southern coast of Spain in Andalusia, three-cornered hat) on the line outside to dry. When the miller the second-largest autonomous returns home and sees the clothes, he assumes the worst about community (or state). His early the sheriff and his own wife. He seeks revenge by seducing the teacher in music was his mother, and sheriff’s wife. But when he goes into town, he meets his own at the age of nine, he was introduced wife instead, and the two of them stir the whole village to rise up to his first piano teacher. Beginning against the unscrupulous corregidor. The sheriff and his deputies in 1902, de Falla (pronounced: dĕ fah-yuh) studied composition are all denounced, and a figurine of thecorregidor is beaten and with Felipe Pedrell, who is credited as the founder of Spanish thrown into the air. musical nationalism and inspired de Falla’s interest in native Throughout the ballet, de Falla incorporates both traditional Spanish music. In particular, de Falla was strongly influenced by Andalusian folk music and also creates newly-composed folk improvised flamenco songs of ancient Andalusian origin known melodies in the same style. The fandango is a lively folk dance as cante jondo. Affected greatly by the Spanish Civil War of performed in Andalusia and adjacent regions and can either be 1936-39, the composer left for Argentina following Francisco sung or danced. A very old style of dancing, the fandango began Franco’s victory and settled in the province of Córdoba until his as a dance for couples with steps typical of courtship dancing, death in November 1946. but over time, has progressively acquired the traits of flamenco. What Makes Spanish Music Spanish? Spanish dance-song styles are characterized by their strong rhythms, which are most often in triple meter (3 beats per measure). Spanish folk dance is usually accompanied by the six-string guitar, and in Spanish classical music based on dance forms, you’ll often hear the strings of the orchestra play an (repeated rhythmic pattern) imitating the guitar-

Spain: Let the Rhythm Move You! 25 Lesson 1: Three-Cornered Rhythm

Targeted grade level Grades 2-5 • CD/mp3 playback device • Unlined paper Lesson Objectives See www.philorch.org/resources: As a result of this lesson, students will: • Sheet music for “Mein Hut” (My Hat) • Echo short melodic and rhythmic patterns • Sing a folk song, in English and in German, accurately Academic Standards in triple meter and while maintaining a steady tempo National Content Standards for Music • Correctly identify the location of Spain on a world map K-4: 1a, b, c, e / 2b, d / 3b / 5a, d / 6e / 9a • Define “ostinato” and recognize this musical device in a 5-8: 1a, c / 2c / 5a, d / 6a / 9a composition Pennsylvania Content Standards • Perform simple ostinato patterns while responding to Arts: 9.1.3 b, c, g / 9.1.5 b, c / 9.2.3 g, k, l / 9.2.5 g, k, l / the directions of a leader/conductor 9.3.3 b, c / 9.3.5 c • Create movements that appropriately correspond to Other Disciplines: 1.6.3 d, e / 1.6.5 d, e / 7.1.3 b / 7.1.6 b the style of a musical motive / 10.5.3 a / 10.5.6 a • Locate Spain on a world map Indicators for Assessment Lesson Materials Students will: • Chalk/whiteboard • Accurately sing and perform melodic and rhythmic • Posted world map patterns in triple meter using their voices and self- • Paper/plastic plates, empty plastic Easter eggs, and/or made percussion instruments paper/plastic cups • Correctly define “ostinato” and identify these patterns • Rice, beans, and/or beads in other compositions (e.g., “Mars” from The Planets by • Stapler, heavy tape Gustav Holst) • Markers, stickers, and/or streamers • Draw connections between musical rhythm/style and • Recording of “Dance of the Miller’s Wife (Fandango),” body movements that build and show an understanding from The Three-Cornered Hat of the important relationship between music and dance

Introduction English, refer to Resource Materials online.) 1. Begin the lesson by having students brainstorm a list on the 4. Teach students the song using the following steps: chalk/whiteboard of different kinds of hats and the people who • Give the name of the song and sing it one time through alone usually wear them. Does each hat have a specific purpose? • Tell the class you will sing one line while they listen, and then 2. Review the story of The Three-Cornered Hat with students, they will repeat the line along with you (echo-sing) emphasizing that it is the sheriff who wears a three-cornered hat • Repeat each line as necessary to build accuracy as a sign of his authority. Explain that a hat with three corners • Sing through the entire song is often called a tricorn hat and was worn by the patriots of the 5. Explain that just as the hat has three corners, this song has American Revolution, including George Washington, more than three beats to a measure and is in triple meter. 200 years ago. Because of their shape, these hats would not 6. Now, it’s time for the game! Repeat the song four times and blow off your head easily if you were riding a horse, and they also move as you sing, leaving out one action word on each repeat: directed rainwater away from the face. • 1°: Sing all words 3. The fascination with this type of hat is the subject of the • 2°: Point to your heart instead of singing “Mein” (My) German folk song “Mein Hut” (My Hat), which is also a game • 3°: Repeat the previous action and also point to your head song. (For a copy of this song with lyrics in both German and instead of singing “Hut” (Hat)

26 Spain: Let the Rhythm Move You! • 4°: Repeat the previous actions and also hold up three Reflection/Conclusion fingers instead of singing “drei” (three) 15. Share with students that de Falla originally wrote this • 5°: Repeat the previous actions and also make a triangle with music to accompany a pantomime (any of various dramatic or your fingers instead of singing “Ecken” (corners) dancing performances in which a story is told by expressive 7. Point out to students that they are moving to the rhythm of bodily or facial movements of the performer), which he turned the music just like they would in a dance. into a ballet. In both cases, the story is told through movement and music. Development 16. Have students listen to the beginning of the “Dance of 8. Explain to students that today they will create their own the Miller’s Wife (Fandango)” again (0:00-0:20). How many percussion instruments and move to another dance-song, a different ostinato patterns can they identify? They should be fandango, by Spanish composer Manuel de Falla. Have a student able to distinguish two separate layers, the bass ostinato at the locate Spain on a posted world map. beginning and then the string ostinato that sounds like a guitar 9. Have students create maracas or tambourines by doing one being strummed (first appears at 0:04). Let the music continue or more of the following: and ask the students to close their eyes and raise their hands • Staple the edges of two paper/plastic plates together, when they think the melody appears (0:44). They may get leaving a small opening. Place rice, beans, or beads inside and confused by the high sounds in the woodwinds! then staple the opening closed. Decorate with markers, stickers, 17. Divide the class into three groups and assign each group and streamers. one of the layers. • Fill plastic Easter eggs with rice, beans, or beads. 18. Ask students to come up with a movement that represents • Take two paper/plastic cups and fill them with rice, beans, or their layer. Allow two or three minutes for this activity and replay beads. With the tops facing each other, tape the cups closed. the musical excerpt for the groups. 10. Display the following rhythm patterns on the chalk/ 19. Have each group select a “choreographer” to teach whiteboard. the rest of the class their movement, accompanied by the music. Help students focus their movements so that they move rhythmically and expressively to the music. 20. Perform the entire piece putting all of the movements with the music. Act as the conductor and show students when 11. Demonstrate each rhythm pattern and have the students to start and stop their movements. Encourage the class to listen respond (call and response). Have them perform each rhythm as carefully to the music as they move. you point to it and practice repeating it until you give the signal 21. Conclude the lesson by having students describe the to stop. Inform students that when they repeat the same rhythm movements they made. Are these descriptions close to the over and over this is called an ostinato. definition of a fandango, which is used as a synonym for “quarrel” 12. Play a recording of the “Dance of the Miller’s Wife or “big fuss?” (Fandango),” from The Three-Cornered Hat and have students perform each rhythm pattern along with the music as you point Lesson content contributed by Vanessa Habershaw and Rebecca to the patterns on the board. Harris 13. Distribute unlined paper to the students and have them copy the patterns (A and B) onto separate pieces of paper. If appropriate, have students create new patterns of their own using quarter and eighth notes (and rests). 14. Choose students to come to the front of the class and be the conductor, holding up the patterns they want their classmates to play with their instruments. Additional challenges might include dynamics: A card held above the waist should be played forte (loud) and a card held below the waist should be played piano (soft).

Spain: Let the Rhythm Move You! 27 Lesson 2: Interactive Rhythms

Targeted grade level Grades 6-8 • Classroom instruments (optional) • Recording of “Dance of the Miller’s Wife (Fandango)” Lesson Objectives • CD/mp3 playback device As a result of this lesson, students will: • Respond in writing to a journal prompt Academic Standards • Locate the music’s place of origin on a world map National Content Standards for Music • Clap rhythms from notation, and arrange them in a 5-8: 2a / 4a / 5a / 6a, b, c / 9a, b short composition Pennsylvania Content Standards • Use conducting patterns to determine the time Arts: 9.1.8 a, b, c, d, j / 9.2.8 a, d, f, g, j, k, l / 9.3.8 a, b, c, d signature of a selection Other Disciplines: 1.4.8 c / 1.5.8 a / 7.1.9 b / 7.3.9 b • Listen and respond to the “Dance of the Miller’s Wife (Fandango)” Indicators for Assessment • Use of a rubric for journal responses Lesson Materials • Teacher observation of participation and accuracy during • Music journals rhythm and conducting activities, appropriate instrumental • World map to post in classroom technique, participation in group discussions, attention to • Chalk/whiteboard or chart paper task and accuracy of responses during research activities, • 5 x 7 index cards and effort during creative tasks

Introduction 5. Teach students to clap each rhythm, using the counting 1. Remind students of your expectations for journal responses system with which they are most familiar. and have them respond in writing to the following prompt: 6. Divide the class into groups of two or three. Give each Describe some of the similarities and differences between music group a set of 5 x 7 index cards on which are written the seven from different cultures. [Challenge: Use the elements of music in rhythm patterns, and one blank card. Each group will arrange the your answer!] cards in an order of their own choosing. On the blank card they 2. When all students have completed their journal entry, take will copy the rhythm they like the best and place that card last. time to allow volunteers to share responses with the class. Then, the group will practice clapping the rhythms in the new 3. Explain to students that they will be learning about music order. by a Spanish composer who used folk music from his country in 7. When students have practiced the rhythms, give each the music he wrote for orchestra. group a chance to clap the rhythms for the class. Or, if you wish, classroom percussion instruments may be used. Development 8. If time allows, have the class vote on which order of the 4. Display the seven rhythm patterns derived from the rhythms they like the best. Arrange your display copies in that composition (shown below) on the chalk/whiteboard or chart order, and then clap or play them as a class. paper at the front of the room. Ask students to analyze them to see what they have in common. Answers might include: Three Reflection/Conclusion beats in each measure and most rhythms use a combination of 9. Choose a student to mark Spain on the posted world map. eighth notes and sixteenth notes. 10. Explain to students that the “Dance of the Miller’s Wife” is part of a ballet for which Manuel de Falla wrote the music. In this part of the ballet, the miller’s wife is teasing the town mayor. Remind students that de Falla used folk songs in his music to give it an uniquely Spanish flavor.

28 Spain: Let the Rhythm Move You! 11. Listen to the beginning of the recording, and ask students Extension Activities to use conducting patterns to determine the time signature. • Pablo Picasso designed the sets for the original production When they have discovered the 3/4 time signature, help them of The Three-Cornered Hat. Help students learn more about this conduct the remainder of the recording. important Spanish artist. 12. Review the seven rhythm patterns from above. While • The score for this ballet is available online. Go to listening to the recording a second time, hold up or point to a www.imslp.org/wiki/Main_Page and click on “Browse by rhythm and have students clap lightly or tap on their knees, using composer name.” Then look for “Falla, Manuel de” listed the rhythm as an ostinato (repeated pattern). Whenever you feel alphabetically. “The Dance of the Miller’s Wife” begins on p. 34 it is appropriate, hold up or point to a different rhythm. of the score. Use a computer projector to display the score on 13. If time and interest allows, play the recording a third time, a screen, and explain to students how to follow an orchestral and challenge students to listen for the rhythms they’ve been score. For a further challenge, help students follow the score practicing. (Rhythm 1 occurs frequently, so you may wish to while listening to the recording. focus on that one.) Lesson content contributed by Elizabeth McAnally

Meet the Musician José Maria Blumenschein Instrument: Associate Concertmaster (Violin) Birthplace: Freiburg, Germany School: Curtis Institute of Music Interests: Film and computer graphics/animation Noteworthy: Winner of prizes at the Tibor Varga, Louis Spohr, and Nelson Freire competitions Favorite thing about performing music: “It is awesome, fun, and extremely emotional!” Earliest musical memory: “Listening to Tchaikovsky’s Piano Concerto No. 1 and Violin Concerto at the age of four (the latter inspired me to play violin).” First experience with The Philadelphia Orchestra: “Hearing Brahms’s First Symphony with Wolfgang Sawallisch my first year at Curtis. I was blown away.” If you could play another instrument it would be: “I would like to conduct.” If I weren’t a professional musician I would be: “A cinematographer/special effects supervisor.” Favorite composer: “I shift continuously but generally the composer whose work I’m currently working on.” Most challenging pieces for violin: “Ernst’s arrangements of ‘The Last Rose of Summer’ and ‘Erlkönig.’” Joined the Orchestra: 2007

Spain: Let the Rhythm Move You! 29 Russia: There’s No Place Like Дом (Home)

Mikhail Glinka Kamarinskaya, Fantasy for Orchestra on Two Russian Folksongs In the Russian folk tradition, music performs a practical role with a specific purpose, making it a significant part of the culture. Wedding bands typically played the instrumental tuneKamarinskaya to accompany dancing, and Glinka felt right at home experimenting with this melody from his native land.

Pennsylvania Standards Aligned System for Music Education The lessons and activities in this unit satisfy the following components of the SAS music education curriculum framework for the following grades (Gr.):

Big Ideas • A composer’s use of themes or ideas can affect the • Musicians use tools and resources as well as their own way an audience perceives a musical work (Gr. 4-5) experiences and skills to create art (Gr. 2-8) • Music plays an important role in culture (Gr. 4-5) • People create, experience, and engage with music • There are styles of music that are specifically written to throughout their lives (Gr. 2-8) communicate themes and ideas (Gr. 5) • Music is created for a variety of purposes; musicians • While each culture has unique music, there are create for a variety of reasons (Gr. 2-8) similarities in the role of music in all cultures (Gr. 6) • Humans have expressed experiences and ideas through • There are similarities and differences in music created music throughout time and across cultures (Gr. 2-8) at different times and in different cultures (Gr. 7)

Essential Questions Competencies • Where do we experience music? (Gr. 2-3) • Students will use appropriate music vocabulary—e.g, • Why (and how) do people create music? (Gr. 2-5) tempo, dynamics, form—to describe musical works (Gr. 2) • How can music from different cultures be both the • Students will identify the unique characteristics of same and different? (Gr. 4-5) music from various cultures (Gr. 2-3) • How does tradition impact music making? (Gr. 4-5) • Students will experience music written to communicate • How does music reflect as well as shape culture? different themes and ideas and explain how these (Gr. 6-8) themes and ideas affect an audience’s perception of • What factors inspire or influence a musician’s work? the works (Gr. 4) (Gr. 6-8) • Students will describe themes and ideas through • Can musicians influence the way people see the world? listening and performance of a variety of musical styles (Gr. 6-8) (Gr. 5) • Students will analyze the role of music in their own Concepts culture (Gr. 5) • Music is a common language that people can understand • Students will identify the role of music in different even if they don’t speak the same language (Gr. 2) cultures and time periods and explain the similarities • Different cultures have different musical traditions (Gr. 6) (Gr. 2-3) • Students will articulate similarities and differences • People can use music to express details of their lives between varying musical styles, time periods, and (Gr. 4) cultures (Gr. 7)

30 Where in the World is Russia? What Makes Russian Music Russian? As a very large and culturally diverse country, Russia is home to many different ethnic groups, each with their own forms of music. However by the mid-19th century, a national style of Russian classical music emerged with an emphasis on folk songs, dances, and rhythms. Successfully incorporating elements from native music into his own work, Glinka would influence the musical nationalism of the next generation of Russian composers, particularly that of the Russian Five: Balakirev, Cui, Musorgsky, Rimsky-Korsakov, and Borodin. As the world’s largest country, Russia spans two continents, Europe and Asia, and 11 time zones, and is officially known as About the Music the Russian Federation. Sometimes referred to as “the father of all Russian music,” Mikhail Glinka embraced the use of folk music in his Learn More about Russia! compositions and was able to incorporate elements of his native The Russian language is written using a modified version of music more effectively than those before him. Russian composer the Cyrillic alphabet and consists of 33 letters. In Russian, Дом wrote that “all of the Russian symphonic means home or house and is pronounced “do-m.” Often our Latin school is contained in Glinka’s Kamarinskaya, just as all of an alphabet is used to spell Russian words in a process known as oak tree is in an acorn.” During the 18th century, before Glinka, transliteration (e.g., Глинка becomes Glinka). Western styles dominated every aspect of , including music, and Russian composers were content to copy About the Composer the European influences of the composers and performers who Born in Novospasskoye in the visited major Russian cities. Smolensk district of Russia, Mikhail An early example of Russian nationalism in orchestral Glinka (1804-57) spent the first music, Kamirinskaya (pronounced: Cam-a-ren-sky-ya) is a free six years of his life raised by his variation-fantasy that draws on two dissimilar Russian folk tunes, grandmother secluded from the rest a wedding dance (Kamarinskaya) and a wedding song (“From of his family. The music Glinka heard Beyond the Mountains High”)—see Appendix C. The opening in his formative years consisted only bars soon give way to the graceful wedding song, which almost of folk songs sung by his nurse, the immediately begins playing off an original countersubject, then chant he heard in the village church, and the strident church disintegrates into material based merely on its first three notes. bells for which the region was famous. These sounds sank deep Soon the strings come to the rescue with the frisky if repetitive into his mind and these qualities would shape his own musical Kamarinskaya dance. The basic tune is only three measures long; inventions later on, especially in his opera Ruslan and Lyudmila Glinka sustains interest by constantly varying its orchestration and in the orchestral piece Kamarinskaya. and harmonic and rhythmic settings. Glinka goes back to the Other influences on Glinka included a trip he took to Paris beginning (minus the introduction) for a virtual repeat of all this, in June 1844, where he interacted with his contemporaries, but varies the details, especially the instrumentation, and wraps it including French composer Hector Berlioz, whose compositions up with a lively hopak treatment of the dance tune. Glinka would study for several months. After his stay in Paris, Glinka travelled to Spain because he was drawn toward the folk music and visual images of the country, and these materials provided the inspiration for his Capriccio brillante. After three years abroad, Glinka returned to his hometown in Russia for a brief time before he composed Kamarinskaya in 1848 during an extended stay in Warsaw, Poland. Glinka lived in various locations during the remaining years of his life, including Warsaw, Paris, and finally , where he died suddenly in 1857.

Russia: There’s No Place Like Дом (Home) 31 Listening Guide “Wedding Song” 3:57 First restatement 4:13 Second restatement Introduction 4:30 Third restatement, interrupted 0:00 Based on motive from the “Wedding Song” 4:49 Transition

“Wedding Song” “Dance Song” (reprise) 0:35 First statement of theme by unison strings 4:56 More ostinato variations, builds in dynamics and tempo 0:53 Second statement with melody and accompaniment in the woodwinds Coda 1:11 Third statement: theme in bass 7:00 Sudden slow statement of the opening phrase, growing 1:29 Fourth statement: theme in bass continues softer 2:21 Transition, turning figure in violins The three-measure instrumental dance tune of the “Dance Song” Kamarinskaya is repeated without significant change nearly 2:28 Stated first in violin, first unaccompanied and then with 75 times in the course of the two Dance Song sections. What viola countermelody changes is the background—the instrumental colors, harmonies, 2:40 Ostinato (repeated) variations begin, changing and countermelodies—as subtle variations are developed background from the small amount of existing material, keeping the piece remarkably interesting!

Meet the Musician Alex Veltman Instrument: Cello Birthplace: Moscow, Russia Schools: Juilliard, Yale University Previous orchestra membership: New Haven Symphony, New Jersey Symphony Interests/activities outside of music: Computers, photography, travel, cooking Favorite thing about performing music: “Being able to communicate with a listener of any culture and background.” Earliest musical memory: “Attending rehearsals and performances at an opera and ballet theater in Moscow where my mother played cello.” First experience with The Philadelphia Orchestra: “Playing Mahler’s

Chris Lee/The Philadelphia Orchestra Association Third Symphony with James Levine in March 1996.” If you could play another instrument it would be: “Piano.” If you weren’t a professional musician you would be: “A photographer.” Favorite recording: “’s Don Quixote with Rostropovich and the under Herbert von Karajan.” Most challenging piece for cello: “Prokofiev’s Symphony-Concerto.” Joined the Orchestra: 1996

32 Russia: There’s No Place Like Дом (Home) Lesson 1: It’s Tradition!

Targeted grade level Grades 2-5 • Recording of Variations on a Shaker Melody, from Appalachian Spring Lesson Objectives See www.philorch.org/resources: As a result of this lesson, students will: • Blank word web • Examine common family traditions, including weddings, • Kamarinskaya Listening Guide using a word web • Explore the role of music and dance in wedding Academic Standards celebrations National Content Standards for Music • Listen critically to a melodic line and describe its K-4: 6a, c, d / 8a, b / 9a, b, c character using musical elements 5-8: 6a, b / 8b / 9a, c • Define “repetition,” identify its musical application Pennsylvania Content Standards in Kamarinskaya, and investigate instances in other Arts: 9.1.3 a, c, i / 9.1.5 a, c, I / 9.2.3 a, d, e, g, k, l / 9.2.5 disciplines a, d, e, g, k, l / 9.3.3 a, b / 9.3.5 a, b • Describe specific musical elements in an aural Other Disciplines: 1.6.3 d, e / 1.6.5 d, e / 7.1.3 b / 7.1.6 b example, using appropriate terminology, with the / 7.3.3 b / 7.3.6 b assistance of a listening guide • Respond in writing to a journal prompt Indicators for Assessment • Compare and contrast examples of folk music from two Students will: different cultural traditions • Make connections between the traditions in their lives • Locate Russia on a world map with the traditions of other cultures expressed through musical means Lesson Materials • Correctly define “repetition” and identify patterns in • Chalk/whiteboard other compositions (e.g., Bolero by ) and • Posted world map in other disciplines • Teacher’s instrument (optional) • Distinguish between contrasting sections of music • Recording of Kamarinskaya, Fantasy for Orchestra on based on the composer’s use of elements, such as Two Russian Folksongs melody, rhythm, meter, and style • CD/mp3 playback device • Accurately identify similarities and differences in • Illustrations of repetition: see lesson for examples pieces of music within the same genre • Music journals

Introduction 3. Encourage students to explore the role of music and dance 1. Draw a circle at the center of the board and write the word in wedding celebrations. As in America, singing and dancing is “traditions” inside. Define the word for the students and have a large part of the wedding tradition in Russia. Have a student them create a word web by brainstorming types of traditions of locate Russia on a posted world map. their families. List their answers and draw connections between 4. Explain that the piece the students will be hearing today, similar responses. See the example on the following page. Kamarinskaya by composer Mikhail Glinka, contains both a 2. Distribute a blank word web (see Resource Materials online) Russian wedding song and a wedding dance. and have students write the word “Weddings” in the center circle. Work with the class to complete the word web using several Development prompts, including: What is a wedding? Has anyone ever been to a 5. Share with students the role of folk songs in the life of wedding? What other traditions are a part of weddings? Glinka as a child (see background information).

Russia: There’s No Place Like Дом (Home) 33 unknown musical terms. Play each section of the piece (timings are notated in the Listening Guide section in this unit) and ask students to circle the best choices in each category. Provide repeated listening opportunities of each section and have students share part of their answers with the class. Reflection/Conclusion 14. We might think about folk music, like the song and dance we’ve heard today, as being a “fingerprint” of the country it came from. We all have fingerprints, but yours are unique to you and we can even identify you by them. Have students respond to the following prompts in their music journal: What would your musical sample word web (see step 1) fingerprint look like? Use musical elements to describe the music that you would choose to represent you. 6. Emphasize that like many of the folk songs we sing 15. Select volunteers to share all or part of their responses in America (such as “Twinkle, Twinkle, Little Star” or “Old with the class and discuss the similarities and differences the MacDonald Had a Farm”) the melody of the tune is the most students share with one another. important feature. 16. Conclude by using a chart like the one below to compare 7. Ask students to close their eyes while you play them the and contrast Glinka’s use of the “Wedding Song” from Russia in melody of the “Wedding Song” on an instrument (see Appendix this lesson with Copland’s use of the American folk song “Simple C). If you prefer to use a recording, the strings play this melody Gifts” in the final unit. Ask the students to describe why each from 0:35 through 0:53. song sounds like it belongs to the country it came from. Play an 8. Play the melody (or excerpt) again and have students trace excerpt of each as students work to fill in the chart. the contour/shape of the melody with their hand in the air. What do they notice about the melody? What other words can they use Glinka’s Russian Copland’s American to describe the tempo, dynamics or style of the tune? “Wedding Song” “” 9. Now, repeat this exercise using the “Dance Song,” which is Instrumentation also shown in Appendix C or appears in the recording played Dynamics by the violins (and accompanied by the violas) from 2:28 through Tempo 2:40. Style 10. Explain that composers often use repetition so that music Texture will make sense to the listener, and Glinka repeats both the “Wedding Song” and “Dance Song” many times in Kamarinskaya Extension Activities making it easy for us to hear what both of these folk songs • Have students count how many times the “Wedding Song” sounds like. and “Dance Song” melodies appears in each section and prepare 11. Ask students to locate examples of repetition in your a frequency graph. classroom, such as windows or desks. Have them also identify • Teach students a popular dance often included in American examples of repetition in various disciplines, like architecture (the weddings (e.g., the Electric Slide, Macarena, or Chicken Dance). Roman Colosseum), art (Campbell Soup Cans by Andy Warhol), If your class has a student born outside the United States, learn poetry (“Slowly” by James Reeves), and mathematics (geometric a dance native to that country. Or, make up a “Russian” dance to patterns). the Kamarinskaya, using one set of movements for the “Wedding 12. Distribute a blank Kamarinskaya Listening Guide (see Song” and different movements for the “Dance Song.” Resource Materials online) to each student. The objective of • Sing “Row, Row, Row Your Boat” as a round and use it as an this activity is to focus the listener’s attention on the various example of enlargement/expansion through repetition. elements that Glinka uses (e.g., tempo, texture, timbre, and meter) in the piece. Lesson content contributed by Rebecca Harris and Lauren 13. Review the instructions with the class and define any Robinson

34 Russia: There’s No Place Like Дом (Home) Lesson 2: Comparing Themes

Targeted grade level Grades 6-8 • Classroom instruments (optional) • Recording of Kamarinskaya Lesson Objectives • CD/mp3 playback device As a result of this lesson, students will: • Respond in writing to a journal prompt Academic Standards • Locate the music’s place of origin on a world map National Content Standards for Music • Clap or play a rhythm and sing a melody on a neutral 5-8: 1a, c / 2a, c / 5a, b, c / 6a, b, c / 9b syllable, using music notation Pennsylvania Content Standards • Conduct in 2/4 and 3/4 time signatures Arts: 9.1.8 b, c, d, j / 9.2.8 a, c, g, j / 9.3.8 a, b, c, d • Compare and contrast two themes, and be able to Other Disciplines: 1.4.8 c / 1.5.8 a / 7.1.9 b / 7.3.9 b recognize them in a recording Indicators for Assessment Lesson Materials • Use of a rubric for journal responses • Music journals • Teacher observation of participation, posture, and tone • World map to post in classroom production while singing, appropriate instrumental • Notation for both themes to display or distribute (see technique, participation in group discussions, and effort Appendix C) during creative tasks

Introduction • Play the melody on resonator bells, piano, or another pitched 1. Remind students of your expectations for journal responses instrument, or sing on a neutral syllable while listening to the theme. and have them respond in writing to the following prompt: • Conduct “Wedding Song” in 3/4 and “Dance Song” in 2/4. Why do you think some composers use folk songs in their 7. In their music journals, ask students to draw a chart with compositions for orchestra? Give at least three reasons. two columns, and label them “Wedding Song” and “Dance Song.” 2. When all students have completed their journal entry, take While listening to the excerpts, have students use music terms to time to allow volunteers to share responses with the class. show how the themes are different. 3. Explain to students that they will be learning about music by Mikhail Glinka, a composer who traveled to several other Reflection/Conclusion countries during his lifetime. He was influenced by the music he 8. Explain to students that Mikhail Glinka was sometimes heard, including the folk songs from his native country of Russia. referred to as “the father of all Russian music,” and that he used elements of Russian folk songs in this composition. Development 9. Divide the class into two groups, and assign one of the 4. Choose a student to mark Russia on the posted world map. themes to each. Each group chooses one of the activities from 5. Display or distribute music notation for the two themes step 6 to perform whenever their assigned theme is heard, or found in Kamarinskaya, the “Wedding Song” and the “Dance they may create a different action of their own. Have each group Song” (see Appendix C). practice with excerpts from the recording. 6. Help students become familiar with each theme. 10. Choose a student conductor from each group. Listen Depending on your students’ level of knowledge, choose one or to the recording in its entirety. When each theme is heard, the more of the following activities for students to do while listening student conductor is responsible for directing their group to to excerpts of the recording. Reminder: “Wedding Song” occurs perform their action. If students are familiar with conducting at 0:35 and “Dance Song” at 2:28 on the recording. patterns, encourage the student conductors to use them. • Clap the rhythm, play on classroom percussion, or tap on tabletop. Lesson content contributed by Elizabeth McAnally

Russia: There’s No Place Like Дом (Home) 35 China: A Community Celebration

Li Huan Zhi Spring Festival Overture Chinese music is as old as Chinese civilization itself, dating back to about 1766 B.C. with the Shang dynasty. Since then, musical performances have been an integral part of Chinese traditions, belief systems, and community celebrations, including the Spring Festival (or Chinese New Year).

Pennsylvania Standards Aligned System for Music Education The lessons and activities in this unit satisfy the following components of the SAS music education curriculum framework for the following grades (Gr.):

Big Ideas • Music plays an important role in culture (Gr. 4-5) • People create, experience, and engage with music • Music can communicate moods or emotions (Gr. 5) throughout their lives (Gr. 2-8) • There are styles of music that are specifically written to • Music provides a medium to understand and exchange communicate themes and ideas (Gr. 5) ideas (Gr. 2-8) • While each culture has unique music, there are • Music is created for a variety of purposes; musicians similarities in the role of music in all cultures (Gr. 6) create for a variety of reasons (Gr. 2-8) • Humans have expressed experiences and ideas Competencies through music throughout time and across cultures • Students will use appropriate music vocabulary—e.g., (Gr. 2-8) tempo, dynamics, form—to describe musical works (Gr. 2) Essential Questions • Students will identify the unique characteristics of • Where do we experience music? (Gr. 2-3) music from various cultures (Gr. 2-3) • Why (and how) do people create music? (Gr. 2-5) • Students will experience music written to communicate • How do people use music? (Gr. 2-3) different themes and ideas and explain how these • How does tradition impact music making? (Gr. 4-5) themes and ideas affect an audience’s perception of • How does music reflect as well as shape culture? the works (Gr. 4) (Gr. 6-8) • Students will describe themes and ideas through • Can musicians influence the way people see the world? listening and performance of a variety of musical styles (Gr. 6-8) (Gr. 5) • Students will analyze the role of music in their own Concepts culture (Gr. 5) • Music is a common language that people can • Students will identify the role of music in different understand even if they don’t speak the same cultures and time periods and explain the similarities language (Gr. 2) (Gr. 6) • Different cultures have different musical traditions (Gr. 2-3) • People can use music to express details of their lives (Gr. 4) • A composer’s use of themes or ideas can affect the way an audience perceives a musical work (Gr. 4-5)

36 Where in the World is China? music for both orchestras of traditional Chinese instruments and symphony orchestras. What Makes Chinese Music Chinese? As the first country in the world to raise silk worms and weave silk fabrics, China was the first civilization to have a complete range of string instruments. Consequently, interest in pure instrumental music occurred extremely early in the country’s history and was recognized in Chinese culture as one of the highest forms of interaction between humans and the universe. China is the fourth largest country behind Russia, Canada, and Chinese classical music typically places more significance on the United States. However, it’s the most populated country with melody and harmony and less importance on rhythm and tempo. over 1.3 billion people—that’s more than four times as many who live in the United States! About the Music The Chinese Spring Festival, also called the Chinese Lunar Learn More about China! New Year, can be traced back to ancient China 4,000 years ago In Chinese culture, personal names are presented differently and is an important date in the Chinese calendar. The arrival of than in the United States and other Western cultures, with the Spring Festival means that ice and snow are going to melt, the family name (or surname) written first and the given name spring is around the corner, and a new round of seeding begins. written next. Therefore, we would refer to this composer as “Mr. People embrace the momentous day with jubilant songs and Li” and not “Mr. Huan Zhi.” Huan Zhi is his personal name. dances. Spring Festival is a feast of happiness and luck and also a day of family reunion. People who have been away from home About the Composer will go back to visit their parents, relatives, and friends when the Born in Hong Kong, the ancestral Festival comes. In 2010 the Chinese New Year will begin on home of composer Li Huan Zhi February 14 and celebrate the Year of the Tiger. (1919-2000) is in Jinjiang, located Li composed the Spring Festival Suite in 1955 and 1956 as an in the Fujian province in eastern expression of his own experience of the Spring Festival in Ya’nan China. He entered the Shanghai in northern China. This suite of four movements was originally School of Music in 1936 and studied written for western symphony orchestra but was subsequently composition under Xiao Youmei. As played by orchestras of traditional Chinese instruments as well. the country waged a war against In this work, the musical vocabulary is often directly connected Japan, Li was engaged in the composition of propaganda with that of folk tunes, and the overall style is one of lyricism songs against Japan as well as of art songs in Xiamen and and color. The Overture, due to its joyful character, is especially Hong Kong. In 1938 he studied in the Music Department of the popular and often played apart from the other movements. Luxun Institute of Arts in Yan’an and later became a teacher at The Overture is in ternary (three-part) form and depicts the the Institute. Meanwhile he continued to compose and conduct energetic scenes of the yangge dance, with the beating of choirs and edited the periodical National Music. drums and sounding of gongs. The first section consists of two Between 1946 and 1949 Li served as dean of the Music North Shaanxi pieces for suona (Chinese reed instrument). The Department of the Arts and Literature Institute of North China moderate central section takes a melody from North Shaanxi United University, and he continued to play an active part in lingchang yangge diao (seedling dance tune with leading musical life after the foundation of the People’s Republic of singing), and presents it first on the oboe and then repeated by China in 1949. He served in succession in leading posts in the the cello before the trumpet leads back to the first section. Musical Troupe of the China Central Conservatory, the China Central Song and Dance Ensemble, and the China Central National Music Ensemble. Li was appointed as the chairman of the China Musicians’ Association for many years. A prominent Chinese composer, Li devoted his life to Chinese orchestral

China: A Community Celebration 37 Listening Guide

0:00 A section: yangge dance, first theme 0:30 Second theme 0:53 First theme returns

2:07 B section: lingchang yangge diao tune presented in the oboe 3:30 Trumpet announces transition 3:44 A section returns

Tom MihalekTom

Meet the Musician Hai-Ye Ni Instrument: Principal Cello Birthplace: Shanghai, China Schools: Shanghai Conservatory, San Francisco Conservatory, Juilliard Previous orchestra membership: New York Philharmonic (associate principal cello) Noteworthy: First prize at the 1990 Naumburg International Cello Competition and the 1996 International Paulo Cello Competition in Finland; New York debut at Alice Tully Hall in 1991; recipient of the Avery Fisher Career Grant in 2001; won the best performance of Tchaikovsky citation at the Tchaikovsky International Competition; soloist with the Chicago and San Francisco symphonies, the New York Philharmonic, and the Chamber Orchestra; gave recitals at Carnegie Hall’s Weill Chris Lee/The Philadelphia Orchestra Association Recital Hall, the Kennedy Center, the Smithsonian Institute, and the Wallace Collection in London; participated in the Marlboro Music Festival, Spoleto Festival, and the Chamber Music Society of Lincoln Center; performed with Pinchas Zukerman, Yefim Bronfman, Leonidas Kavakos, Joshua Bell, and Christian Tetzlaff; has a solo CD on Naxos If you could play another instrument it would be: “Piano, so I don’t have to carry it.” If I weren’t a professional musician I would be: “A doctor.” Favorite composers: “Schubert, Mozart, Schumann, and Brahms.” Most challenging piece for cello: “Bach cello suites.” Joined the Orchestra: 2006

38 China: A Community Celebration Lesson 1: Experience ABA Form

Targeted grade level Grades 2-5 Academic Standards National Content Standards for Music Lesson Objectives K-4: 3d / 4c / 6a, b, c, d / 7b / 9b, c As a result of this lesson, students will: 5-8: 4c / 6a, b / 9c • Identify various New Year celebrations and customs Pennsylvania Content Standards from around the world and describe their role in uniting Arts: 9.1.3 a, b, c, g, i / 9.1.5 a, b, c, i / 9.2.3 e, g, k, l / communities of people 9.2.5 e, g, k, l / 9.3.3 a / 9.3.5 a • Examine the history and folklore surrounding the Other Disciplines: 1.6.3 d, e / 1.6.5 d, e / 5.1.3 k / 5.1.6 k traditions and customs specific to the Chinese New / 7.1.3 b / 7.1.6 b / 7.3.3 b / 7.3.6 b / 10.5.3 a / 10.5.6 a Year (or Spring Festival) • Analyze and describe the character of a composition Indicators for Assessment using appropriate terminology Students will: • Define musical “form,” identify “same, different, • Make connections between the New Year celebrations same” patterns, and classify compositions that are in their lives with the customs of other cultures constructed in ABA form • Identify musical characteristics associated with • Use a variety of sources to create a sound composition Chinese music in general and celebrations in particular in ABA form • Correctly define “form” in music and identify the • Locate China on a world map pattern of ABA in other pieces of music, e.g., in the folk song “Shoo Fly” or the third movement of Mozart’s Lesson Materials Serenade No. 13 for strings in G major (Eine kleine • Chalk/whiteboard Nachtmusik) • Recording of Spring Festival Overture • Distinguish between contrasting sections of music • CD/mp3 playback device based on the composer’s use of elements, such as • Found objects in classroom melody, rhythm, meter, and style • Posted world map • Music journals

Introduction • New York City: Times Square and the Ball Drop 1. Ask the class to prepare the classroom by cleaning their • African-American traditions: eating certain foods such as desks, straightening the furniture, and tidying the room. As collard greens and black-eyed peas, both symbols of good luck students complete these tasks, prepare several visual displays • Rosh Hashanah: commonly known as the Jewish New around the room using found objects that illustrate the pattern of Year, begins a period that lasts for several days, is a time for “same, different, same” for later in the lesson. For example, place introspection, and ends with the solemn Yom Kippur three stacks of books at the front of the room and make stacks • Chinese New Year: also known as the Spring Festival or one and three identical while stack two uses books of various Lunar New Year, lasts for two weeks and is the most important colors and sizes. of the traditional Chinese holidays marked by welcoming home 2. Explain to students that around the world New Year relatives who live far away celebrations unite communities of people regardless of race or 3. Share some of the specific customs associated with the religion. Have the class discuss various customs and traditions Chinese New Year and have students explore the meaning they know and have them explore those with which they are not behind those traditions. Below are some examples, along with familiar. Examples may include the following: their corresponding significance. • Philadelphia: Mummers Parade • Thoroughly cleaning the house (just as with the classroom

China: A Community Celebration 39 at the beginning of the lesson): sweep away ill-fortune and make decided that all of Spring Festival Overture should not sound like way for incoming good luck the music the students just heard. The way a piece of music is • Use of the color red: symbolizes fire which can fend off bad put together by a composer is known as its form, and Mr. Li has luck, bright color that signifies happiness divided this piece into three sections, which is called “ternary • Presence of live, blooming plants: represents rebirth form” (ternary meaning three). and new growth, spring arrives with the Spring Festival and 8. On the board, write the letters A, B, and A with triangles everything comes to life around the As and a circle around the B and have students do • Children receive red envelopes of money from their parents: the same in their music journals. Explain that Mr. Li has used symbol of good fortune a kind of ternary form known as ABA form. Ask a student to • Dragon and lion dances (often in a parade): evict bad or evil identify the pattern in ABA form (answer: same, different, same). spirits Use the visual displays you’ve placed around the room to help 4. Have a student locate China on a posted world map. On the class identify other ABA patterns, and they can also think of a blank page in their music journals, teach students how to ABA form as a sandwich, with the A sections as the bread and write the Chinese word for luck, fu (pronounced: foo), using the B section as the meat. the images below as a guide. Explain that this character may 9. Under the As on the board, write the word yangge and appear displayed upside down on doors and windows during have students copy the word under the letter As in their journals. the Chinese New Year, which indicates that fortune has already Explain that the traditional yangge dance is a folk dance popular arrived. in north China that is accompanied by music with strongly accented rhythms. Replay the music excerpt from the beginning of the Overture. Does the class think that the music fits this description? 10. Under the B on the board, write the words lingchang yangge diao and seedling dance tune. Have the students do the same in their journals. Remind students that Chinese communities often use the image of a seedling to suggest the potential of the coming year. Ask students to identify what the composer will have to do to make the B section different. Answers might include: Change the tempo from fast to slow, change the 5. Then, around the image of the Chinese character in their style from accented and separated to smooth and flowing, and journals, ask students to list the characteristics of the music make the music softer by using fewer instruments. they believe would sound like luck or good fortune using musical 11. Play an excerpt of the B section in Spring Festival vocabulary. Have the class share part or all of their answers, Overture, which begins at 2:07. Have students identify what and then play the beginning of the Spring Festival Overture for changes Mr. Li actually made to the B section to make it them (about 30 seconds). Do they think that the composer of different from the A section. Play an excerpt of the A section for this music, Li Huan Zhi, captured the spirit of the festivities that comparison as needed. surround the Chinese New Year? 12. Play the entire Spring Festival Overture, helping students distinguish where the A and B sections are. Stop the recording Development as needed to discuss what the students hear. Be sure to point 6. Share with students that in China great value is placed on out that the second theme of the yangge dance (which appears family, and Chinese names reflect this. Family (or last) names at 0:30) sounds slightly different but it is not different enough to are placed first and given (or first) names are placed second. So, be a new section. although we say the composer of the piece is “Li Huan Zhi,” we 13. Play the Overture again without stopping the recording. should call him “Mr. Li” and not “Mr. Zhi.” What would your name In their music journals, have students write down what they hear be in China? in each section. Encourage them to use musical terms, but they 7. Explain that to make his music more interesting, Mr. Li can also use non-musical words and pictures to represent the

40 China: A Community Celebration sounds. Have the class share their ideas and discuss whether or them discover which animal corresponds with the year of their not they think the piece is interesting to hear. birth. • Have students make red envelopes and money out of foil Reflection/Conclusion to put in the envelopes. With a square of red paper, have them 14. Have students create their own compositions in ABA fold in the corners to meet in the middle and seal it with a gold form using body sounds and movements. Review the ground sticker. Decorate the envelopes to make them more special and rules for the activity (e.g., hands to yourself). Students should give them to friends or family members. have enough room to move so that they aren’t touching their classmates. Lesson content contributed by Vanessa Habershaw and Rebecca 15. Explore and create a list of the various (acceptable) Harris sounds that can be made with various parts of the body, such as lips, teeth, hands, and feet. 16. Practice clapping a steady beat with students until everyone is able to do it successfully. Rehearse each sound from the list on the beat. Have students select which ones are better for lasting longer than one beat (e.g., a buzz) and which ones are better for shorter durations (e.g., snap or cluck). 17. Work with students to compose an A section and a B section using the list of body sounds and movements. An example is shown below. A = clap hands, buzz lips, slap thighs, stomp feet B = finger to lips, snap fingers, pat head, thumbs-up A = clap hands, buzz lips, slap thighs, stomp feet 18. Practice doing each of the movements in the following ways: • Do each movement four times before changing to the next • Do each movement two times before changing to the next • Do each movement one time before changing to the next 19. Put the entire composition together and investigate ways with the students to build contrast between the two sections (e.g., dynamics). You may also want to consider adding props (see the red streamers extension activity below). 20. Rehearse your composition and perform it for another class, perhaps as a celebration of the Chinese New Year! Extension Activities • Distribute strips of red paper (or streamers), one to each student. Have students sway to a steady beat moving the red paper in the air, twice to one side and then twice to the other. Ask them to move the paper as if they were moving to loud music, then soft, then fast, and then slow. Appoint a leader to stand at the front of the classroom and lead the class as they move to the yangge dance of Spring Festival Overture. • Explore the Chinese calendar, which is based on the lunar Jessica Griffin Jessica cycle, and discuss how the Chinese New Year falls on a different date each year. With this calendar, years are grouped into sets of 12 and each year is represented by a different animal. Have

China: A Community Celebration 41 Lesson 2: Community Celebrations

Targeted grade level Grades 6-8 Academic Standards National Content Standards for Music Lesson Objectives 5-8: 6a, b, c / 8a / 9a, b, c As a result of this lesson, students will: Pennsylvania Content Standards • Respond in writing to a journal prompt Arts: 9.1.8 a, c, d, e, k / 9.2.8 a, d, e, f, g, I, j, k, l / 9.3.8 a, • Locate the music’s place of origin on a world map b, c, d • Learn about Chinese Lunar New Year celebrations Other Disciplines: 1.2.8 a / 1.4.8 c / 1.5.8 a / 1.8.8 b / • Discover and describe ABA form in a listening 7.1.9 b / 7.3.9 b selection Indicators for Assessment Lesson Materials • Use of a rubric for journal responses • Music journals • Teacher observation of participation in group • World map to post in classroom discussions, attention to task and accuracy of • Chalk/whiteboard or chart paper responses during research activities, and effort during • Computers and internet access creative tasks • Recording of Spring Festival Overture • CD/mp3 playback device • Unlined paper, colored pencils, crayons, markers

Introduction Record the list on the chalk/whiteboard or chart paper. 1. Remind students of your expectations for journal responses 7. Have students visit the following websites to learn about the and have them respond in writing to the following prompt: Do you traditions of Chinese Lunar New Year (or if computers and internet think that learning about music from different cultures can help access are unavailable, print information from the websites and people be more accepting of others? Why or why not? distribute). Ask students to make a list in their music journals of 2. When all students have completed their journal entry, take traditional activities and events that are part of this holiday. time to allow volunteers to share responses with the class. • www.history.com/content/chinesenewyear 3. Explain to students that they will be learning about the • www.c-c-c.org/chineseculture/festival/newyear/newyear.html music of Li Huan Zhi, who used folk music from his native • www.en.wikipedia.org/wiki/Chinese_New_Year country of China to paint a musical picture of an important 8. Give students an opportunity to share the results of their annual celebration. research, and record them on the chalkboard or chart paper. Then, compare the brainstorm list from Step 6 with the research Development list to discover the common elements. Remind students that 4. Choose a student to mark China on the posted world map. people from cultures around the world have much in common. 5. Ask students to listen to the first 30-45 seconds of the recording, and think about this question: “What can you guess about Reflection/Conclusion the Spring Festival from listening to the beginning of this piece?” 9. Provide each student with a sheet of unlined paper. Ask Discuss answers with the class. Explain to students that the Spring students to hold the paper horizontally (landscape, not portrait) Festival is another name for the Chinese Lunar New Year. and draw a line down the middle. Label the left side “A” and the 6. Brainstorm with students a list of activities and traditions right side “B.” that are associated with the many holidays celebrated by 10. Explain to students that Li Huan Zhi composed two Philadelphians. The list might include gifts, parades, decorations, sections in this piece, and because they sound different, they special meals, visiting family, fireworks, or no school/work. are labeled with different letters. Play a short excerpt from the A

42 China: A Community Celebration section and a short excerpt from the B section, and ask students Extension Activities to describe how they are different, using the elements of music. • Allow students to use the internet to learn about (The B section occurs at 2:14 on the recording, and the A Philadelphia’s Chinatown. section returns at 4:02.) • Encourage students to wear red and create red decorations 11. Listen to the entire recording. Encourage students to for the classroom, such as paper cutouts and paper lanterns. use art supplies to decorate the “A” and “B” sides of their paper • Prepare “red packets” or envelopes for students with to reflect their impressions of the music. Remind students that chocolate coins inside (make sure it’s an even number of coins; their drawings may include lines, shapes, and colors; they do not six or eight are especially lucky numbers). have to represent “real things.” If more time is needed, play the • Plan a special celebration of “Everybody’s Birthday,” which is recording again. Display the completed work in the classroom. observed on Day 7 of the Lunar New Year. 12. Ask students how many times the A and B sections were heard, and in what order. Help students discover the ABA form Lesson content contributed by Elizabeth McAnally of the song, and explain that composers from many parts of the world have organized compositions in this order. (If they’ve studied another ABA piece, challenge students to make that connection.)

Chinese New Year

China: A Community Celebration 43 United States: The Simple Gift of Music

Aaron Copland Variations on a Shaker Melody, from Appalachian Spring The regarded musical inspiration as a spiritual gift, and they considered music to be an essential component of their communal experience. With the use of the Shaker melody “Simple Gifts,” Copland showed that the folk music of these pioneers remains an important part of American cultural heritage.

Pennsylvania Standards Aligned System for Music Education The lessons and activities in this unit satisfy the following components of the SAS music education curriculum framework for the following grades (Gr.):

Big Ideas • A composer’s use of themes or ideas can affect the • Musicians use tools and resources as well as their own way an audience perceives a musical work (Gr. 4-5) experiences and skills to create music (Gr. 2-8) • Music plays an important role in culture (Gr. 4-5) • People create, experience, and engage with music • There are styles of music that are specifically written to throughout their lives (Gr. 2-8) communicate themes and ideas (Gr. 5) • Music provides a medium to understand and exchange • Music can communicate moods or emotions (Gr. 5) ideas (Gr. 2-8) • Musicians can use music to influence the way people • Music is created for a variety of purposes; musicians view the world (Gr. 6) create for a variety of reasons (Gr. 2-8) • The choices a musician makes can affect the way an • Humans have expressed experiences and ideas audience perceives the work (Gr. 6) through music throughout time and across cultures • While each culture has unique music, there are (Gr. 2-8) similarities in the role of music in all cultures (Gr. 6) • Personal experiences influence a person’s response to Essential Questions musical works (Gr. 7) • Where do we experience music? (Gr. 2-3) • Why (and how) do people create music? (Gr. 2-5) Competencies • How do people use music? (Gr. 2-3) • Students will use appropriate music vocabulary—e.g., • How does tradition impact music making? (Gr. 4-5) tempo, dynamics, form—to describe musical works (Gr. 2) • How does music reflect as well as shape culture? • Students will identify the unique characteristics of (Gr. 6-8) music from various cultures (Gr. 2-3) • What factors inspire or influence a musician’s work? • Students will experience music written to communicate (Gr. 6-8) different themes and ideas and explain how these • Can musicians influence the way people see the world? themes and ideas affect an audience’s perception of (Gr. 6-8) the works (Gr. 4) • Students will describe themes and ideas through Concepts listening and performance of a variety of musical styles • Different cultures have different musical traditions (Gr. 5) (Gr. 2-3) • Students will experience music in different settings • People can use music to express details of their lives and explain how the setting of a musical performance (Gr. 4) affects an audience’s response to the work (Gr. 5)

44 Where in the World is pedagogue Nadia Boulanger and was thrust into an innovative the United States? environment of “modern” composers such as . Throughout the 1920s and early ’30s, Copland composed in several styles but many of his works were not fully appreciated by the general audience. The average listener, conditioned to the melodic and harmonic genius of Bach, Mozart, and Beethoven, found it difficult to accept or understand a new “modern” style. In the mid-1930s, Copland realized a gap existed between the composer and the audience. In his book, Our New Music (1941), he addressed this relationship.

It seemed to me that we composers were in danger of Located on the continent of North America, the United States working in a vacuum. Moreover, an entirely new public for is home to a wide variety of ethnic groups, traditions, and music had grown up around the radio and phonograph. values. The Shakers, who arrived from England in 1774, built It made no sense to ignore them and to continue writing communities mainly in New York, New England, , and as if they did not exist. I felt that it was worth it to see Kentucky. if I couldn’t say what I had to say in the simplest possible Learn More about the Shakers! terms. At their height in 1840 more than 6,000 Shakers lived in 19 Through his various commitments to music and to his country communal villages from New England to Ohio and Kentucky. as a composer, conductor, and teacher, Copland became one of The Shakers dedication to hard work and perfection resulted the most important figures in 20th-century American music. in architecture, furniture, and handicraft styles that were meticulously constructed and maintained. What Makes Aaron Copland’s Music American? About the Composer The composer-audience relationship remained central to As one of the most respected Copland’s perspective as a composer, conductor, and advocate American classical composers of of American music. He believed that using folk songs or folk-like the 20th century, Aaron Copland content would increase the accessibility of his compositions (1900-90) incorporated popular and that everyday subject matter and familiar melodies had the forms of American music, such as potential to engage the interest of a wider audience. To achieve folk and jazz, into his compositions his goals, Copland used American folk songs, like “Simple Gifts,” and promoted the development to create a national musical style that was accessible to the of a musical style that was general public and promoted a sense of an American identity distinctively “American.” expressed through musical means. Copland was born in Brooklyn, New York, on November 14, 1900. The child of Jewish immigrants from Lithuania, he About the Music first learned to play the piano from his older sister. At the age In the music he would compose for the ballets Billy the Kid of 16 he went to Manhattan to study with Rubin Goldmark, a (1938), Rodeo (1942), and Appalachian Spring (1944), Aaron respected private music instructor who taught Copland the Copland often quoted American folksongs directly or created fundamentals of counterpoint and composition. During these original melodies along the lines of folk music. He captured early years he immersed himself in contemporary classical music the essence of our (relatively) young nation through the careful by attending performances at the New York Philharmonic and selection and transformation of folk materials and conveyed Brooklyn Academy of Music. He found, however, that like many specific attitudes, emotions, and personalities unique to the other young musicians, he was attracted to the classical history United States. and musicians of Europe. So, at the age of 20, he left New York While the music from his first two ballets demonstrates the for the Fontainebleau School of Music in Paris, France. character, sentiment, and personality of the American West, The young composer became a student of famed French Aaron Copland would portray a different aspect of the American

United States: The Simple Gift of Music 45 experience in Appalachian Spring, which won the Pulitzer Prize Listening Guide for Music in 1945. Dancer and choreographer Martha Graham provided Copland with the setting: a pioneer celebration in spring 0:00 Introduction around a newly-built farmhouse in the Pennsylvania hills in the 0:14 The theme is introduced by the solo clarinet, playing early part of the 1880s. Graham herself would eventually provide in a quick-moving tempo and at a mezzo-piano level, the ballet with its name, discovering the words “Oh Appalachian accompanied softly by flute and piccolo. Spring!” within a section of a Hart Crane poem, The Bridge. 0:43 Next, the first variation appears as the music changes Commissioned by music patron Elizabeth Sprague Coolidge, to a higher key and is played by the oboe and bassoon. Appalachian Spring premiered on October 30, 1944, at the Listen also for the triangle! Library of Congress, and due to the limited size of the venue, 1:10 In the second variation, the strings enter with the tune the ballet was originally scored for a chamber ensemble of 13 playing in a smooth, lyric style and at a tempo that is half instruments. Soon after the premiere, Copland cut about 10 as fast while the piano and glockenspiel (bells) keep a minutes of music and created a suite for full orchestra in eight steady pulse underneath. Notice that the music grows sections (down from 14) played continuously without interruption. louder as more instruments are added at different times. The seventh section features a set of variations on the Shaker hymn “Simple Gifts” (see Appendix C), and Copland would 1:53 The brass section then announces the third variation as publish independent arrangements of this section for band and the trumpet plays the melody in a staccato (separated) orchestra, titled Variations on a Shaker Melody. style while the strings zoom up and down in an excited Written by Joseph Brackett in 1848, “Simple Gifts” fit well accompaniment. with Graham’s image of unity and American rural life. Like 2:17 Then the solo clarinet and other woodwinds return in a many Shakers, Brackett loved to write the songs and dances brief interlude to soften and slow things down as this that would become a form of worship and an instrument of musical bridge connects these sections. community. He meant for “Simple Gifts” to be a song for dancing, 2:34 Finally, we hear the entire orchestra (tutti) present the and its lyrics describe the motions of bending and turning that fourth variation majestically playing fortissimo and even were performed in unison. Shaker communities employed the slower, with the heavy beat of the timpani supporting the song as a hymn of freedom, simplicity, and communal ritual, sound! and the tune continues to be used today, most recently in John 3:07 Softly, the solo clarinet plays a portion of the theme in a Williams’s composition Air and Simple Gifts performed at the brief coda. 2009 inauguration of President . In Variations on a Shaker Melody from Appalachian Spring, Copland presents the theme first in the solo clarinet, which is also the instrument he uses at the beginning and end of the ballet to establish an aural landscape that is intimate and serene. The tune is then presented by the composer in four variations with changes in key, accompaniment, register, dynamics, style, tone color, and tempo.

46 United States: The Simple Gift of Music Lesson 1: Do-It-Yourself Variations

Targeted grade level Grades 2-5 • CD/mp3 playback devices See www.philorch.org/resources: Lesson Objectives • “Simple Gifts,” sheet music for recorder (optional) As a result of this lesson, students will: • Define “theme” and “variation” and recognize “theme Academic Standards and variations” as a form of composition National Content Standards for Music • Manipulate basic shapes and images to create visual K-4: 1b, e / 3c / 4b / 6a, c, d / 8a / 9b, d variations 5-8: 1a / 3b / 6a, b / 9c • Sing as a group on pitch and in rhythm while Pennsylvania Content Standards maintaining a steady tempo Arts: 9.1.3 a, b, c, d, g, i / 9.1.5 a, b, c, d, i / 9.2.3 l / 9.2.5 • Arrange variations of “Twinkle, Twinkle, Little Star” l / 9.3.3 a, b, c / 9.3.5 a, c / 9.4.3 c, d / 9.4.5 c within specified guidelines Other Disciplines: 1.6.3 d, e / 1.6.5 d, e • Identify “theme and variations form” in an orchestral piece of music Indicators for Assessment • Analyze and describe variations in relation to their Students will: theme, using appropriate terminology • Correctly define “theme,” “variation,” and “theme and • Describe the role of the composer and discuss the variations form” and apply the term correctly in other relationship that exists between that person, the disciplines as well as in other pieces of music, e.g., performers, and the audience in a concert experience Variations on “America” by Charles Ives. • Accurately identify the appearance of each variation of Lesson Materials a theme when listening to musical compositions • Chalk/whiteboard • Use appropriate terminology to describe elements of • Unlined paper and drawing supplies music such as tempo, dynamics, style/articulation, and • Music journals instrumentation. • Music and lyrics for “Simple Gifts” (see Appendix C) • Recognize Aaron Copland as an important figure in • Recording of Variations on a Shaker Melody, from 20th-century American classical music. Appalachian Spring

Introduction board, label the other houses as Variation 1, Variation 2, and 1. Begin the lesson by drawing a simple house (a square plus so forth. Share that we call this pattern of images “theme and a roof) on the board and write the word “theme” under the image. variations.” Explain that this is the “theme house.” 4. Pass out unlined paper to the class and ask them to draw 2. Draw an identical house next to the first one, and ask the a single shape in the center of the paper that doesn’t take up class to identify it as “same” or “different.” Then, add windows the entire page. Have each student write his/her name on the and a door to the second house and ask, “Is this still the same reverse side so that it can’t be seen on the front. house?” Encourage students to recognize that it’s the same 5. Have students pass their papers to the person next to house just with a different design. them. On the sheet in front of them, ask students to draw the 3. Draw three more simple-house shapes and ask students same shape but in a different size. Repeat this process asking for suggestions to vary the design so that all five houses are students to create variations of the original shape that makes slightly different from each other. Have them identify the basic it different but still relates to the original shape in some way. theme of all five houses (the original shape) and explain that Suggestions might include: straight/curvy lines, broken/solid houses 2-5 are variations of the original “theme house.” On the lines, and the use of shading or patterns inside the image.

United States: The Simple Gift of Music 47 6. After several rounds of drawing, papers should be returned called “Simple Gifts” to create a set of variations in the music to their original owners. Everyone now has a portrait that they he wrote for the ballet Appalachian Spring, much like they did to can title “Variations on a Theme by (fill in student’s name).” create variations from “Twinkle, Twinkle, Little Star.” 14. Teach students to sing the song “Simple Gifts” (see Development Appendix C) or to play it on the recorder (see Resource Materials 7. Explain that composers often use the theme and variations online for sheet music) using the following steps: form when they create music and today the class is going to • Give the name of the song and sing/play it one time through compose their own variations using a familiar song, “Twinkle, alone Twinkle, Little Star.” • Tell the class you will sing/play one line while they listen, and 8. Write the following pairs of words on the board: then they will repeat the line along with you (echo-sing/play) • fast/slow (tempo) • Repeat each line as necessary to build accuracy • loud/soft (dynamics) • Sing/play through the entire song • short/long (style/articulation) 15. Refer to the listening guide in this unit and play the theme • boys/girls (instrumentation) and each variation from the recording of Copland’s Variations on 9. Sing “Twinkle, Twinkle, Little Star” with your students in a a Shaker Melody, from Appalachian Spring. Encourage students standard manner, at an average speed, volume, note length, and to listen carefully to the instruments the composer uses. After with everyone singing. Reinforce that this song is the theme, each section of the music, have students describe in their music which is a musical idea or melody that serves as the foundation journals what they heard, filling in the theme and variations chart. for a composition. 16. Have the class share part or all of their answers and 10. Using the word pairs that are on the board, have the class discuss the specific elements Copland changes to compose construct variations on the theme “Twinkle, Twinkle, Little Star.” his variations. How are they similar or different to the “Twinkle” Begin by selecting only one element to change (e.g., slow tempo) variations created by the students? and then increase the difficulty and interest by selecting more than one element to change (e.g., just the girls singing short Reflection/Conclusion notes at a fast tempo). 17. Ask students to examine the reasons why Copland 11. Once the students have had a chance to experiment with would use a folk song like “Simple Gifts” in a composition for different variations, use the board to notate a composition the orchestra. Share with the class that Copland used folk songs class will create. For each variation, list the different elements (mostly cowboy songs and square-dance tunes) in the music he that have been chosen. Below is a sample diagram to draw on wrote for two other ballets, Rodeo and Billy the Kid. Discuss the the board: relationship that Copland, as a composer, wanted to have with the audience. Useful information to lead this discussion can be found in this unit. 18. Draw the following equation on the board and ask students to name the three key participants in the concert experience (shown under the question marks in red). Have them consider the role of each in the performance. 12. Ask students to give suggestions and vote on the “Twinkle” variations they would like to use in their composition. Practice performing the composition in its entirety using the chart on the board as a guide. Then, have students transfer the chart into their music journals and perform the piece for others at a school-wide function in the future. 19. Reinforce that Copland wanted to make his music more 13. Under their “Twinkle” variations composition in their music accessible to a wider audience, and one way he sought to do journals, have students draw another empty chart like the one this was to include folk songs in his compositions. Ask students above. As they complete this task, explain to the class that to imagine that they are composers creating music that will be American composer Aaron Copland used an American folk song heard 75 years from now. In their music journals, have them

48 United States: The Simple Gift of Music respond to the following prompts: What music from today would • Have students think about a gift they’ve received in the past. you include in your composition? What kind of variations would What are some of the adjectives they would use to describe that you create for this melody? Encourage the use of proper musical gift? Have each student write an adjective on an index card and vocabulary. place it in a bowl. Pull an adjective out of the bowl and sing a 20. Conclude the lesson by having students share part or verse of “Simple Gifts” in the style of that adjective. Let the class all of their responses, and if they’re feeling bold, ask them to guess the adjective on the card. demonstrate their popular theme and variations song. Lesson content contributed by Rebecca Harris, Vanessa Extension Activities Habershaw, and Lauren Robinson • Composer and pianist Leonid Hambro paid tribute to one of his favorite composer, , by writing a set of variations (five) on the tune to “Happy Birthday.” He wrote each variation in the style of one of Beethoven’s well- known works. With your students, visit www.lvbeethoven.com/ Curiosites/HappyBirthday.html and listen to Hambro’s variations. Can students hear the theme? Play excerpts of the famous Beethoven pieces and compare the “Happy Birthday” variations.

Shaker Village

United States: The Simple Gift of Music 49 Lesson 2: “Simple” Variations

Targeted grade level Grades 6-8 • Recording of Variations on a Shaker Melody • CD/mp3 playback device Lesson Objectives As a result of this lesson, students will: Academic Standards • Respond in writing to a journal prompt National Content Standards for Music • Sing “Simple Gifts” and play instruments to accompany 5-8: 1a, c / 2a, c / 4a / 5b / 6a, b, c / 8a the song Pennsylvania Content Standards • Create variations on a musical theme Arts: 9.1.8 a, b, c, d, e, j / 9.2.8 a, d, f, g, I, j, l / 9.3.8 a, b, • Listen to a recording of Copland’s Variations on a c, d / 9.4.8 c, d Shaker Melody, and describe the variations using both Other Disciplines: 1.4.8 c / 1.5.8 a / 7.1.9 b / 7.3.9 b music and non-music terms Indicators for Assessment Lesson Materials • Use of a rubric for journal responses • Music journals • Teacher observation of participation, posture and tone • Chalk/whiteboard or chart paper production while singing, appropriate instrumental • World map to post in classroom technique, participation in group discussions, and effort • Classroom instruments during creative tasks • Notation and lyrics for “Simple Gifts” to post or distribute (see Appendix C)

Introduction suggestions and after trying several, have students choose the 1. Remind students of your expectations for journal responses tempo they liked best. On the chalk/whiteboard or chart paper, and have them respond in writing to the following prompt: add “Variation 1” underneath the theme labeled earlier, and How does music create a relationship between the conductor, write the chosen tempo next to it. Explain to students that when orchestra, and audience? musicians perform a theme by changing or varying it, it is called 2. When all students have completed their journal entry, take a variation. time to allow volunteers to share responses with the class. 7. Ask students if they think the song might also sound 3. Explain to students that they will be learning about music good at another dynamic level. As in step 2, try several student by Aaron Copland, a composer who tried to make it easier for suggestions, and then add “Variation 2” on the chalkboard or audiences to relate to music by including familiar folk melodies in chart paper. his compositions. 8. Create “Variation 3” by having students choose instruments for an alternate accompaniment, and label on chalkboard or Development chart paper. 4. Review the marked locations on the world map, and explain 9. As a class, perform the theme and variations as described that in this lesson we’ve come back to the United States. Have on the chalk/whiteboard or chart paper. a student mark the location in the United States of the Shakers’ first community, Nikayuna in New York. Reflection/Conclusion 5. Post or distribute notation and lyrics for “Simple Gifts.” Teach 10. Tell students that they will be listening to Aaron Copland’s the song using the method most familiar to your students. Write variations on the Shaker tune “Simple Gifts,” written for “Theme: ‘Simple Gifts’ ” on the chalk/whiteboard or chart paper. orchestra. 6. After singing the song together, ask students if they think 11. In their music journals, ask students to write the name of the song might also sound good at another tempo. Ask for the composition and the composer. Then, have students create

50 United States: The Simple Gift of Music a listening chart by writing “Theme,” skipping several lines, then Extension Activities “Variation 1,” and so forth through to “Variation 4.” • Teach students to play the melody of “Simple Gifts” on 12. During the first listening, ask students to write down music the recorder (see Resource Materials online for sheet music), terms that describe what they hear for the theme and each resonator bells, or piano. variation. They may describe instrumentation, tempo, dynamics, • Teach I (tonic) and V7 (dominant) chords on guitar or piano. etc. (It may be helpful to have pictures of instruments displayed, Help students discover where to change chords. Then, choose as well as a word wall with music terms. You also may need to students to play chords while the rest of the class sings. point out when each variation begins.) Then, share answers as a class, and encourage students to add ideas to their chart. Lesson content contributed by Elizabeth McAnally 13. During the second listening, ask students to write down adjectives that describe the theme and each variation, without using music terms (for example: peaceful, exciting, majestic). Again, share answers after listening.

Meet the Musician Barbara Govatos Instrument: Violin Birthplace: Wilmington, DE School: Juilliard Previous orchestra membership: New York City Opera Orchestra, Chamber Orchestra of Philadelphia Interests: “Family time, tennis, traveling, reading, baking, everything Italian.” Noteworthy: Music director, Delaware Chamber Music Festival and the Hildegard Chamber Players; currently recording all of Beethoven’s piano sonatas with pianist Marcantonio Barone Earliest musical memory: “My mother at the piano playing popular songs of the ’50s.” First experience with The Philadelphia Orchestra: “Hearing the Orchestra and violinist Jill Levy performing Bruch’s Violin Paul Arnold Concerto at the Academy of Music.” If I weren’t a professional musician I would be: “A psychiatrist or florist.” Most challenging pieces for violin: “Wieniawski’s Concerto No. 1.” Joined the Orchestra: 1982

United States: The Simple Gift of Music 51 Appendix A: Philadelphia Orchestra School Partnership Program About the School Partnership Program Overview of Participating Schools In September 2005 The Philadelphia Orchestra introduced its For the 2009-10 season, SPP partner schools include the School Partnership Program (SPP), establishing ongoing, in- following: depth relationships with partnering schools in the Philadelphia R.T. Cream Family School, Camden City Public Schools region. Through SPP, the Orchestra cultivates students’ Principal: Mr. Herbert Simon knowledge and love of orchestral music, develops students’ Grade levels participating in program: 3, 4, and 5 perceptive and creative skills, and helps parents and teachers Joined program: September 2005 bring classical music into their homes and classrooms. This Teaching Artist Faculty: Susanna Loewy (flute), Tom Madeja program will help bring a new generation of listeners to the (trumpet), and Luigi Mazzocchi (violin) Orchestra and empower our city’s youth through the exploration of their own creativity. Robert Fulton School, School District of Philadelphia The School Partnership Program offers students Principal: Ms. Deborah Lee-Pearson incomparable exposure and access to The Philadelphia Grade levels participating in program: 3, 4, and 5 Orchestra and its musicians. At each school, a Philadelphia Joined program: September 2006 Orchestra Teaching Artist has a weekly presence in participating Teaching Artist Faculty: Rebecca Harris (violin) and Lauren classrooms. They work side-by-side with classroom teachers Robinson (horn) using a curriculum and materials created by the Orchestra’s Gesu School, an independent Catholic school education department in collaboration with teaching artists Principal: Sr. Ellen Convey, IHM and classroom teachers. Students attend an Orchestra School Grade levels participating in program: 3, 4, and 5 Concert as well as other concerts throughout the year. Orchestra Joined program: September 2005 musicians visit each school annually, providing participating Teaching Artist Faculty: Keisha Hutchins (voice) students the opportunity to engage with a range of musicians who they will see onstage in Verizon Hall. William H. Hunter Elementary School, School District of Philadelphia SPP Student Learning Objectives Principal: Ms. Cristina Alvarez Through their participation in the School Partnership Program, Grade levels participating in program: 2, 3, and 4 which includes attendance at a Philadelphia Orchestra School Joined program: September 2006 Concert, students will: Teaching Artist Faculty: Lauren Robinson (horn) 1. Develop a personal relationship with music as a way of Gen. Philip Kearny School, School District of Philadelphia understanding themselves and the world around them Principal: Ms. Eileen Spagnola 2. Refine their listening skills Grade levels participating in program: 2, 3, and 4 3. Learn the fundamentals of music, such as rhythm, pitch, Joined program: September 2005 dynamics, and melody so that they may successfully talk and Teaching Artist Faculty: Gabe Globus-Hoenich (percussion), write about music Rebecca Harris (violin), and Rose Vrbsky (bassoon) 4. Apply knowledge of these fundamentals through performance using their voices, recorders, and percussion instruments 5. Compose and improvise music 6. Reflect upon their own creative process 7. Develop their collaborative skills 8. Use multiple learning modalities to address different learning styles

52 Appendix B: Voices of Freedom Song Lyrics “The Star-Spangled Banner”—words by Francis Scott Key In 1814 Francis Scott Key wrote the lyrics of his poem “Defence of Fort McHenry” as he witnessed the bombardment of the fort by British Royal Navy ships in Chesapeake Bay during the in the War of 1812. Although the poem contains four stanzas, only the first is traditionally sung at public events.

O! say can you see by the dawn’s early light And where is that band who so vauntingly swore What so proudly we hailed at the twilight’s last gleaming? That the havoc of war and the battle’s confusion Whose broad stripes and bright stars through the perilous fight, A home and a country should leave us no more? O’er the ramparts we watched were so gallantly streaming? Their blood has washed out their foul footsteps’ pollution. And the rockets’ red glare, the bombs bursting in air, No refuge could save the hireling and slave Gave proof through the night that our flag was still there. From the terror of flight, or the gloom of the grave: O! say does that star-spangled banner yet wave And the Star-Spangled Banner, in triumph doth wave O’er the land of the free and the home of the brave? O’er the land of the free and the home of the brave.

On the shore dimly seen through the mists of the deep. O thus be it ever when freemen shall stand Where the foe’s haughty host in dread silence reposes, Between their loved homes and the war’s desolation! What is that which the breeze, o’er the towering steep, Blest with vict’ry and peace, may the Heaven-rescued land As it fitfully blows, half conceals, half discloses? Praise the Power that hath made and preserved us a nation. Now it catches the gleam of the morning’s first beam, Then conquer we must when our cause it is just In full glory reflected now shines in the stream: And this be our motto: “In God is our Trust.” ’Tis the Star-Spangled Banner! O long may it wave And the Star-Spangled Banner in triumph shall wave O’er the land of the free and the home of the brave. O’er the land of the free and the home of the brave!

Original Star-Spangled Banner Flag

53 “Lift Every Voice and Sing”—words by James Weldon Johnson In 1939 artist Augusta Savage was commissioned to create a sculpture for the New York World’s Fair. Titled The Harp (shown below), the work was strongly influenced by “Lift Every Voice and Sing” and depicts a group of 12 stylized black singers in graduated height that symbolize the strings of a harp.

Lift every voice and sing, till earth and heaven ring, Ring with the harmonies of Liberty; Let our rejoicing rise, high as the listening skies. Let it resound loud as the rolling sea. Sing a song full of the faith that the dark past has taught us, Sing a song full of the hope that the present has brought us. Facing the rising sun of our new day begun, Let us march on till victory is won.

Stony the road we trod, bitter the chastening rod, Felt in the days when hope unborn had died; Yet with a steady beat, have not our weary feat Come to the place for which our father sighed? We have come over a way that with tears has been watered, We have come treading our path through the blood of the slaughtered; Out from the gloomy past, till now we stand at last Where the white gleam of our bright star is cast.

God of our weary years, God of our silent tears, Thou hast brought us thus far on the way; Thou who has by Thy might, led us into the light. Keep us forever in the path, we pray. Lest our feet stray from the places, our God, where we met Thee, Lest our hearts, drunk from the wine of the world, we forget Thee, Shadowed beneath Thy hand, may we forever stand, True to our God, true to our native land.

“The Harp” by Augusta Savage 1939 New York World’s Fair

54 Appendix C: Music Examples

Kamarinskaya, Fantasy for Orchestra on Two Russian Folksongs

Taruskin, Richard. “How the Acorn Took Root.” Chap. 8 in Defining Russia Musically: Historical and Hermeneutical Essays. Princeton, NJ: Princeton University Press, 1997.

55 Variations on a Shaker Melody, from Appalachian Spring

56 Appendix D: Glossary of Vocabulary

The following vocabulary words from the Pennsylvania Standards Aligned System appear in this Curriculum Guide and are defined below.

Accent: To emphasize a note in music (Gr. 5) Performer: A person who does something, e.g., act, play music, Accompaniment: Vocal or instrumental parts that go along with sing (Gr. 6) another part or melody (Gr. 4) Phrase: A complete musical idea (Gr. 4) Arranger: A person who arranges, changes, or adapts a piece of Quarter note/rest: Symbol representing one beat of sound/ music (Gr. 6) silence (Gr. 2) Articulation: The manner (or style) in which notes are Quartet: A group of four performers (Gr. 2) performed (Gr. 5) Quintet: A group of five performers (Gr. 2) Bar line: A vertical line that divides the staff into measures or Staccato: To play or sing short, detached notes (Gr. 5) bars (Gr. 3) Strong beat: On the accented pulse in music (Gr. 2) Call and response: When separate groups of performers Tempo: The speed of the music (Gr. 2) alternate with one another (Gr. 4) Ternary form: Three part structure of music, usually denoted as Coda: An ending section of a movement or composition (Gr. 3) A B A (Gr. 3) Composer: A person who writes, or composes, music (Gr. 2) Theme: The main musical idea, usually a melody, of a Conductor: A person who leads, or conducts, a performing composition (Gr. 4) ensemble (Gr. 2) Theme and variation: A compositional form where a melody is Duple meter: Rhythmic pattern where the beats are grouped in clearly stated, followed by a number of different arrangements/ twos (Gr. 3) adaptations of that musical idea (Gr. 8) Dynamics: The volume of music (Gr. 2) Triple meter: Rhythmic pattern where the beats are grouped in Eighth note/rest: Symbol representing one-half beat of sound/ threes (Gr. 3) silence (Gr. 2) Weak beat: On the unaccented pulse in music (Gr. 2) Folk song: A culturally significant song that has been Whole note/rest: Symbol representing four beats of sound/ passed between members of a society by performance and silence (Gr. 2) memorization rather than through written notation (Gr. 2) Form: The pattern or repetition in a piece of music (Gr. 2) Genre: A style, kind, or type of music (Gr. 4) Half note/rest: Symbol representing two beats of sound/ silence (Gr. 2) Instrument families: Groups of musical instruments that share similar characteristics (Gr. 2) Legato: To play or sing groups of notes smoothly and without separate attacks (Gr. 5) Lyrics: The words of a song (Gr. 2) Measure: The notes and rests between two bar lines (Gr. 3) Meter: The grouping of sound into patterns of strong and weak beats (Gr. 3) Orchestra: An instrumental performing ensemble that traditionally includes instruments from all instrument families, with the strings comprising the largest section (Gr. 2) Ostinato: A short musical phrase (melodic or rhythmic) that is repeated many times (Gr. 4)

57 Appendix E: Guide to Audience Behavior

Your students will learn many things by attending a Philadelphia Orchestra School Concert. Learning and displaying proper concert etiquette encourages personal responsibility and develops important social and cultural skills. Please review the following guidelines thoroughly with your students. Knowledge of the expectations in a formal concert environment will only increase their comfort—and their enjoyment!

• When the lights are dimmed, all whispering should stop. The concertmaster is about to enter the stage so the Orchestra can tune. • Everyone applauds when the conductor enters the stage. Clap respectfully—no whistling, yelling, or feet stamping, please! • Once the music begins, everyone should concentrate on the music. Watch the musicians and conductor closely as they work together. • When the host is speaking between pieces of music, listen carefully. Talking distracts the musicians and other audience members. • Show your appreciation at the end of each piece with courteous applause. Watch the conductor carefully! He will turn and face the audience when the Orchestra has finished playing. • At the end of the concert, please remain seated and exit the concert hall quietly when you are instructed. This is the moment your teacher and the ushers will need your attention the most.

Rules to Remember: • Use of the restrooms is for emergency situations only. • Food, candy, gum, or beverages are not allowed in the concert • Upon arriving at the Kimmel Center or Academy of Music, hall. everyone is expected to speak in a moderate tone of voice. • Cameras, video recorders, mp3 players, or any other electronic • Enter the concert hall quietly and whisper only. Ushers will be devices are not permitted in the concert hall. seating your group and will need to be heard as they direct you • Students who are disruptive may be asked to leave the to your seats. concert. • Follow the directions of the ushers at all times. • Members of The Philadelphia Orchestra will be warming up on Be creative when sharing these instructions with your stage, and they need to be able to hear themselves. Please students. Consider using role playing to teach students how to continue to whisper while in the concert hall. demonstrate proper etiquette and discuss what other situations • As you wait for the concert to begin, take a look around you at require similar behavior expectations. Thank you in advance for the many features of the concert hall. distributing this important information to your students.

58 Appendix F: Credits

Philadelphia Orchestra Education and Community Partnerships Staff Dr. Ayden Adler, Director Jason Shadle, Manager, Youth and Family Programs Mary Javian, School Partnership Program Coordinator

Philadelphia Orchestra Musicians’ Education Committee Robert Cafaro, cello Daniel Han, violin Philip Kates, violin Don S. Liuzzi, principal timpani Yayoi Numazawa, violin

Philadelphia Orchestra Education and Community Partnerships Board Committee Hilarie Morgan, Chair Jean Canfield Dennis Creedon Mike Del Bene Kevin Dow Linda Gamble Toni Garrison Carole Haas Gravagno Richard Greene Beverly Harper Patricia Harron Imbesi Virginia Lam Hugh Long Elizabeth Mahoney Sandy Marshall Bill Mills Derek Pew Robert Pollack Lorraine Popowich Heidi Ramirez Randy Ronning Michelle Rubinstein Christine Stainton Ramona Vosbikian

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