007l087l08 YYouthouth EEducationducation CCreativereative TTeachers...Intelligenteachers...Intelligent SStudents...Realtudents...Real LLearningearning

SSphinxphinx CCompetitionompetition JJuniorunior DDivisionivision HHonorsonors CConcertoncert TTeachereacher RResourceesource GGuideuide About UMS UMS greatefuly acknowleges the following corporation, foundations, and One of the oldest performing arts presenters in the coun- government agenies for their generous try, UMS serves diverse audiences through multi- support of the UMS Youth Education disciplinary performing arts programs in three distinct but Program: interrelated areas: presentation, creation, and education.

With a program steeped in music, dance, theater, and education, UMS hosts approximately 80 performances and 150 free educational activities each season. UMS Michigan Council for Arts and also commissions new work, sponsors artist residencies, Cultural Affairs and organizes collaborative projects with local, national as well as many international partners. University of Michigan While proudly affiliated with the University of Michigan and housed on the Ann Arbor campus, UMS is a separate Arts at Michigan not-for-profit organization that supports itself from ticket Bank of Ann Arbor Kathy Benton and Robert Brown sales, grants, contributions, and endowment income. Borders Group, Inc. The Dan Cameron Family Foundation/Alan and Swanna Saltiel UMS Education and CFI Group Chamber Music America Audience Development Doris Duke Charitable Foundation DTE Energy Foundation Department The Esperance Family Foundation JazzNet Endowment UMS’s Education and Audience Development Department Masco Corporation Foundation seeks to deepen the relationship between audiences and THE MOSAIC FOUNDATION (of R. & P. Heydon) National Dance Project of the New England art, as well as to increase the impact that the perform- Foundation for the Arts ing arts can have on schools and community. The pro- National Endowment for the Arts gram seeks to create and present the highest quality arts Noir Homes, Inc. education experience to a broad spectrum of community Performing Arts Fund Pfizer Global Research and Development, Ann Arbor constituencies, proceeding in the spirit of partnership and Laboratories collaboration. Randall and Mary Pittman Prudence and Amnon Rosenthal K-12 Education The department coordinates dozens of events with over Endowment Fund 100 partners that reach more than 50,000 people Target Tisch Investment Advisory annually. It oversees a dynamic, comprehensive program UMS Advisory Committee encompassing workshops, in-school visits, master classes, University of Michigan Credit Union lectures, youth and family programming, teacher University of Michigan Health System professional development workshops, and “meet the U-M Office of the Senior Vice Provost for Academic Affairs artist” opportunities, cultivating new audiences while U-M Office of the Vice President for Research engaging existing ones. Wallace Endowment Fund

For advance notice of Youth Education events, join the UMS Teachers email list by emailing [email protected] or visit www.ums.org/education.

This Teacher Resource Guide is a product of the University Musical Society’s Youth Education Program in collaboration Cover Photo: 2002 Sphinx Competition Senior Division with the Sphinx Organization. Researched, written and edited by Omari Rush, Rowyn Baker, Ben Johnson, Tania McGee and 1st Place Laureate Patrice Jackson, during her guest Bree Juarez. This Resource Guide is provided for educational performance at the 2005 Finals Concert. purposes only and may be duplicated for use in the classroom. UMS Youth Education07/08 Sphinx Competition Junior Division Honors Concert Friday, January 25, 12pm Hill Auditorium, Ann Arbor

TEACHER RESOURCE GUIDE

Presented by Chase Table of Contents About the Performance * 6 Coming to the Show * 7 The Performance at a Glance Who Is Aaron Dworkin? * 10 Who is Aaron Dworkin? 11 In His Own Words The 2006 Winners * 18 Who Won in 2007? Classical Music * 21 The Classical Concerto 23 Anatomy of a String Instument 25 Strings in Latin America Short on Time? 27 What to Listen for in Music Musical Faces 29 Black and Latino Composers We’ve starred the 35 Trail Blazers most important Repertoire * 38 The Competiton Music pages. 40 Pronounciation Guide What is an Orchestra? 42 What is an Orchestra? 43 Orchestras Through the Ages Orchestral Instruments 46 Stringed Instruments Only Have 47 Woodwind Instruments 15 Minutes? 48 Brass Instruments 49 Percussion Instruments Try pages 7 or 38! 50 Music Camps/Festivals Lesson Plans 52 Curriculum Connections 53 Meeting Michigan Standards 54 Lesson One: “Here’s One” Activity 56 Lesson Two: Melody, Rhythm and Tone 57 Lesson Three: Timbre of Orchestral Instruments 59 Lesson Four: Still vs. Coleridge-Taylor 61 Lesson Six: Musical Story 62 Lesson Seven: Starting a Competition 63 The Vocabulary of Music 66 Music Vocabulary Word Search 67 Music Vocabulary Word Search Solution 68 Pre and Post-Performance Ideas 69 Still More Ideas Resources * 71 UMS Permission Slip * 72 Using the Resource CD 73 Related Videos of Interest 74 Internet Resources 76 Recommended Reading 77 Recommended Recordings 78 Community Resources 79 Bibliography 81 Evening Performance/ Teen Ticket 82 How to Contact UMS

4 | www.ums.org/education The Classic Cello from the side, front, and back.

About the Performance Coming to the Show We want you to enjoy your time in the theater, so here are some tips to make your Youth Performance experience successful and fun! Please review this page prior to attending the performance.

Who will meet us when we arrive? After you exit the bus, UMS Education staff and greeters will be outside to meet you. They might have special directions for you, so be listening and follow their directions. They will take you to the theater door where ushers will meet your group. The greeters know that your group is coming, so there’s no need for you to have tickets.

Who will show us where to sit? The ushers will walk your group to its seats. Please take the first seat available. (When every- body’s seated, your teacher will decide if you can rearrange yourselves.) If you need to make a trip to the restroom before the show starts, ask your teacher.

How will I know that the show is starting? You will know the show is starting because the lights in the auditorium will get dim, and a member of the UMS Education staff will come out on stage to introduce the performance.

What if I get lost? Please ask an usher or a UMS staff member for help. You will recognize these adults because they have name tag stickers or a name tag hanging around their neck.

What should I do during the show? Everyone is expected to be a good audience member. This keeps the show fun for everyone. Good audience members... • Are good listeners • Keep their hands and feet to themselves • Do not talk or whisper during the performance • Laugh only at the parts that are funny • Do not eat gum, candy, food or drink in the theater • Stay in their seats during the performance • Do not disturb the people sitting nearby or other schools in attendance

How do I show that I liked what I saw and heard? The audience shows appreciation during a performance by clapping. In a musical perfor- mance, the musicians and dancers are often greeted with applause when they first appear. It is traditional to applaud at the end of each musical selection, and sometimes after impressive solos. At the end of the show, the performers will bow and be rewarded with your applause. If you really enjoyed the show, give the performers a standing ovation by standing up and clapping during the bows.

What do I do after the show ends? Please stay in your seats after the performance ends, even if there are just a few of you in your group. Someone from UMS will come onstage and announce the names of all the schools. When you hear your school’s name called, follow your teachers out of the auditorium, out of the theater and back to your buses.

How can I let the performers know what I thought? We want to know what you thought of your experience at a UMS Youth Performance. After the performance, we hope that you will be able to discuss what you saw with your class. Tell us about your experiences in a letter or drawing. Please send your opinions, letters or artwork to: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.

6 | www.ums.org/education The Performance at a Glance

What is Sphinx? The Sphinx Organization is a national non-profit founded in 1996 by Aaron P. Dworkin. During his music education as a violinist, he often found himself in orchestras where he was either the only minority or one of only a handful. Aaron founded the Sphinx Organization to help change this situation, to overcome the cultural stereotypes of classical music, and to address the isolation and limited access that young Blacks and Latinos face in the classical music world.

What is the purpose of the competition? The Sphinx Competition was started as a means of growing and nurturing young Black and Latino talent in order to foster successful careers in the realm of classical “We envision a music. The Sphinx Competition serves as an annual goal for young musicians to world in which work towards. The Competition also provides youth with an opportunity to build classical music reputations for themselves, to have valuable experiences as a soloist, and to have reflects cultural access to resources integral to their development as musicians. diversity and plays a role in the Why is Sphinx needed? everyday lives of Blacks and Latinos have been excluded from the American mainstream of classical youth.” music for a variety of reasons: - the Sphinx Vision • segregation kept Blacks out of many American venues and away from many opportunities, and the lack of Blacks in orchestras now is the residual effect of that early precedent based on racism

• in 1900, most American orchestras were made of German immigrants, putting White European stock at the very roots of orchestral history

• it costs a lot of money; you have to know the right people; you have to sustain both of these things and improve your level of playing at the same time

• subscribers were elitist and their patronage was enough to sustain an orchestra without them having to court other funding sources or audiences Aaron Dworkin,

founder of the • the programs/notes were often inaccessible for those who did not have a background in classical music Sphinx Competition

The Sphinx Competition strives to help to reverse the effects of this early discrimination by bringing Blacks and Latinos into classical music and by helping them thrive and excel there.

Who is eligible to compete? The criteria for selecting eligible students to compete in the Sphinx Competition includes the following:

• you have to play violin, viola, cello or double bass • juniors have to be 18 or younger 7 | www.ums.org/education How does the competition work? Round One: The Preliminaries Applicants for each division must submit an application and audition recording (CD or tape) by mid-November and after the deadline, the recordings will be reviewed by a screening committee of judges. There are specific requirements for music to be put on the tape so applicants have to read carefully! Out of the many CDs and tapes the committee will choose only eighteen to advance to the next round.

Round Two: The Semi-finals “Sphinx has really The eighteen semi-finalists travel to Ann Arbor and Detroit, Michigan to compete changed my life. I in a live performance. Again, each finalist must perform specific repertoire (or can’t express how pieces of music). However, this time they must perform it memorized! All 18 it is to learn that Semi-Finalists (both divisions) receive a full scholarship to attend one of Sphinx’s you’re not alone, Summer Music or Artistic Sponsor Institutions which include Aspen Music Festival that there are other and School, Banff Summer Festival, and Bay View Music Festival among many. African-Americans your age doing the Round Three: The Finals same thing.” Only three juniors and three seniors will make it to the Finals. They will the perform the music, again, memorized, for a large audience and will be ranked - Patrice Jackson after they all finish playing. The judges will then award a 1st, 2nd, and 3rd place (Senior Division 1st winner for each division according to these rankings. Place Laureate 2002) What prizes will the winners receive? Seniors: 1st Place - $10,000 cash prize, solo appearances with major orchestras, performance with the Sphinx Symphony at the Finals Concert 2nd Place - $5,000 cash prize, performance with the Sphinx Symphony at the Finals Concert 3rd Place - $3,500 cash prize, performance with the Sphinx Symphony at the Finals Concert

Juniors: 1st Place - $5,000 cash prize, solo appearances with major orchestras, performances with the Sphinx Symphony and at the Finals Concert, and a national radio debut on From the Top 2nd Place - $3,500 cash prize, performance with the Sphinx Symphony, and a national radio debut on From the Top 3rd Place - $2,000 cash prize, performance with the Sphinx Symphony, and a national radio debut on From the Top

What will I hear at the performance? Junior division finalists will be playing a movement of a concerto specified by the competition officials in the initial competition application. Please see page 21 of this guide to learn about a concerto.

8 | www.ums.org/education Sphinx Organization President and Founder, Aaron Dworkin, performing in Detroit Who Is Aaron Dworkin? Who is Aaron Dworkin?

Aaron P. Dworkin is the Founder and President of the Sphinx Organization, a national arts organization that focuses on youth and minority involvement in classical music. An accomplished electric and acoustic violinist, he received his Bachelors of Music and Masters of Music in Violin Performance from the University of Michigan School of Music, graduating with high honors. A member of the Golden Key, Phi Kappa Phi and Pi Kappa Lamda National Honor Societies, Mr. Dworkin is a recipient of the MLK Spirit Award. He previously attended the Peabody Institute, the Philadelphia New School and the Interlochen Arts Academy and has studied with Vladimir Graffman, Berl Senofsky, Jascha Brodsky, John Eaken, Renata Knific, Donald Hopkins and Stephen Shipps. Additionally, Mr. “It’s our mission Dworkin studied piano with Robert Alexander Böhnke in Tübingen, Germany. to build a sense of peer group and to In addition to his academic credits, Mr. Dworkin has produced and recorded give the players a two CDs entitled Ebony Rhythm and Bar-Talk. He has also transcribed works sense through the for electric strings and developed Electric String 201, a college-level preparatory Sphinx Symphony course in electric string performance. In addition, he has authored a collection of that there was poetry entitled They Said I Wasn’t Really Black and produced and directed a movie a generation of entitled Deliberation. pioneers before them. That this is a Given his extensive artistic background, Mr. Dworkin has been an invited world they belong lecturer on the topic of career development in classical music at the University to.” of Michigan’s School of Music. He is also an active keynote speaker for arts and community organizations and has been invited to speak on the topic of diversity -Aaron Dworkin, in the arts at numerous events, including national conferences for the American Sphinx President Symphony Orchestra League, National Suzuki Association, National Guild of Community Schools of the Arts and National Association for Negro Musicians. His writings have been featured in various publications, including Andante, an on-line music industry magazine. In addition, Mr. Dworkin has served as a panelist on various arts committees, including the Arts Organization Development Committee of the Michigan Council for Arts and Cultural Affairs, the MetLife Awards for Excellence in Community Engagement, the National Assembly of State Arts Agencies and Arts Presenters.

Mr. Dworkin’s expertise in the arts field has resulted in board membership with various organizations, including the University Musical Society in Ann Arbor, Michigan, the Board of Visitors of Walnut Hill School, the Advisory Board of the American String Teachers Association 2003 Alternative Strings Awards, the Advisory Board of the Ann Arbor Hands-On Museum and the Board of Directors of ArtServe Michigan. Mr. Dworkin was recognized by SBC Ameritech as a recipient of their Excellence Awards for his accomplishments in the field of education, by the University of Michigan’s African-American Alumni Council as a recipient of the 2002 5 Under 10 Award, and by the Detroit News as one of the 2003 Michiganians of the Year. Most recently, Mr. Dworkin was awarded a 2005 MacAurther Fellowship, the 2005 National Governors Award, and the 2006 Newsweek Giving Back Award.

10 | www.ums.org/education In His Own Words...

This article “Bridge Builder” featuring Aaron Dworking appeared in August 2006 issue of Chamber Music America.

Aaron Dworkin is a MacArthur Fellow—one of three people in the music field to have received the honor in 2005. (The other two were conductor Marin Alsop and violinmaker Joseph Curtin.) Because the legendary MacArthur Fellowships—with their half-million-dollar stipends—are given to individuals with no strings attached, they are popularly and glibly called “genius grants.”

Perhaps they should really be known as “genius, hard work, and perseverance” grants. Aaron Dworkin’s achievement has all three aspects. Classically trained as a violinist, Dworkin, 35, is founder and president of the Detroit-based Sphinx Organization, which has for the past ten years pursued a mission to bring music education to young blacks and Latinos. Sphinx’s ultimate purpose is to expand the minority presence in the profession and in the audience— Aaron Dworkin and make classical music look like the rest of the world. The organization’s many dances down the programs include an annual competition for young string players, a preparatory line at a Sphinx music institute at Wayne State University, a two-week intensive chamber music Competition and solo program, instrument and scholarship funds, and a multitude of teaching dinner party, visits to children in the public schools. The Sphinx Symphony, made up of Latino surrounded by and black orchestra professionals from around the nation, performs at the yearly competition competition, and its members serve as mentors to Sphinx’s advanced students. participants. Chamber music performance is also part of the picture: Sphinx’s string quartet— the members are competition laureates—has just completed its fourth season.

Sphinx continues to grow. As of this writing, the program is poised to start teaching and concertizing in New York City. What makes a string player into an activist educator? When Aaron Dworkin visited New York in March, we took the opportunity to find out something about that process.

CHAMBER MUSIC: May we ask you a little about your childhood? We have read that you were born in upstate New York and grew up here in New York City and in Pennsylvania.

AARON DWORKIN: I was born in Monticello, NY, but I didn’t spend much time there! I was adopted when I was two weeks old by a family that was living in New York City, on 66th Street across from Rockefeller University. We lived here until I was ten. Both of my parents and my brother were white. I played the violin. My first teacher was Vladimir Graffman, Gary Graffman’s father. I was really lucky to have great teaching early on.

CM: Were your adoptive parents musical? Why did they start you at five on the fiddle?

11 | www.ums.org/education In His Own Words... AD: Well, my mom was an amateur violinist, and she started to play again when I was five, because she really was taken by this Milstein recording of the unaccompanied Bach. She was swept away with it. So she started playing a little more, and I just had this total love for it . . . I wanted to do it.

CM: Why did your parents decide to move the family to Pennsylvania?

AD: They got positions at the Hershey Medical Center, which is the medical school for Penn State. They were both behavioral scientists, researchers. They were trying to identify the particular, narrow cardiovascular receptors that trigger things like heart rate and blood pressure .. . . . But there was a lot of reluctance about leaving New York, and especially about what teaching would be available for me.

CM: How did that work out?

AD: I ended up studying with John Eakin of the Eakin Quartet, and my mom would drive me 40 minutes to [my lesson]. I played with the Hershey Youth Orchestra and was concertmaster of the Harrisburg Symphony.

But I did move there when I was ten, with a big Afro, playing the violin, with white parents. There was one black family in the town at the time. Basically I am black, white, Jewish, Irish, and Catholic wrapped into one. I remember at school in Hershey, I was always just Aaron, because I don’t fit into any group. . . . The reality is that I am multiracial, multiethnic, and multi-religious. From a very young age . . . there was some loneliness— misery—as a kid that music alleviated.

CM: What was the impact of all that on you?

AD: It was pronounced—and not in a positive way. It was difficult, and I really turned to music a lot.

CM: It was a solace?

AD: Oh, yes. I think music really became a love in certain ways and/or an escape in certain ways. I had my debut at that time, and played the Bruch with the Hershey Symphony.

CM: Did your brother play?

AD: No. He went into science, and now he’s a biogeneticist. Actually, he’s a pro- fessor at Columbia here. So I was literally the black sheep of the family in many ways. As a total side note, I was reunited with my birth family about three, three and a half years ago. My adoptive parents always supported my searching, and they all ended up having a wonderful relationship. My mom, my adoptive mom, passed away a couple of years ago, but my birth parents were very close and were there for my dad.

And I have a full sister, now [a student]at the University of Michigan! It has been a 12 | www.ums.org/education wonderful, incredible journey. I could not have been more blessed.

CM: Were there points when your parents had to push you on the violin?

AD: Multiple! [As] an adolescent, a young teenager, you want to run around with crazy kids or your friends; you don’t want to practice scales or études. I think most well-adjusted kids are probably going to opt not to have any kind of foresight of, “Hey, I need to work on these things.”

As [the cellist] Tony Elliott says, “In baseball you can hit for a .300 average and be a Hall of Famer. In football, you can hit a certain mark and you can be in the top niche. But if you play 95 percent of the notes right in the Beethoven violin con- What does the certo, people are going to want their money back.” The room for error is so much word laureate smaller in music, and as a result when you’re young, it requires a tremendous mean? amount of work. A laureate is the For almost any young person, I think parental guidance is needed until you reach recipient of honor that age when you realize that it takes this in the practice room if you want or recognition for to do it onstage. achievement in an art or science. The CM: The Sphinx Organization does work in more than 100 elementary use of the word schools in the Detroit area. What is your goal with those kids? comes from the AD: We want to just make sure they have the opportunity to be enriched by music tradition of people at a young age. Now certainly some of them will go on to be professional musi- being crowned cians, and certain of our programs, like the competition, will be professionally for an honor or driven. But when we go into the elementary schools, we want to create the expo- distinction with a sure to music that otherwise doesn’t exist and let that build. Whether they evolve laurel wreath. into an audience member, or they evolve into an amateur musician whose life is generally enriched by music, or end up in any level of the professional music world, that’s our goal—so that they have the opportunity to have that choice . . . .

Unfortunately, in so many of our schools, they don’t have the choice. And if you wait till they’re sixteen, so much of the message is that [classical] music means nothing to you. It’s uncool to like it. Versus going into elementary schools—they love it, and you can see what classical music can do.

CM: Are you saying that kids in their teens have built up a prejudice against classical music?

AD: Not so much a prejudice as a distaste— from all the marketing. Millions and millions of dollars in marketing are spent to say that “This is cool. This is what hip music is.” And “This is what your community likes”—from movies to TV to the Oscars to the Grammys. “Classical music is not cool; it is an upper-crusty, white, boring, sedate, staid kind of thing.” And so what we do is go into the elementary schools and show that it’s not, and show them that there are pieces that are writ- ten by people in their community, and that the kids who are playing it look like them . . . and that creates this connection.

CM: Your school presentations are done by older Sphinx members?

13 | www.ums.org/education In His Own Words... AD: Yes, we are bringing teenagers into the elementary classrooms. Typically they are competition laureates, and we train them.

CM: Given the extremely small number of black and Latino musicians in the classical music world, do you think that’s the residue of previous discrimination, or is it still going on?

AD: That’s a diffi cult question. I think it’s a combination of factors: one, of course, is the historical legacy of discrimination. There may or not be some current discrimination going on. I tend not to focus on that, because it’s much rarer now and very [unlikely] to present itself in any kind of open way. My thought is that you are not going to change those people’s minds anyway, so why waste the time focusing on them?

But what I do think is [important] is the recognition that there is this historical precedent and that something must be done about it. Diversity goes to the heart of classical music. It’s not like, “Let’s do this extra concert.” Or “Let’s—if we have some extra money—have a celebratory concert for Martin Luther King day.” But [if we embrace diversity as a priority,] we will broaden our audience, expand our subscriptions, we’ll widen our donor base, we’ll have a better board of directors. We’ll have a more engaged orchestra, where all our members are happier; we’ll have a more interesting chamber group with different music we’re performing . . . the repertoire of the fi eld will be expanded.

All of these core programmatic things that the fi eld of classical music needs would be directly served by diversity—and are harmed and hindered by the lack of diversity. And so for me, ideally it’s about getting people to consider diversity as their priority—not a luxury.

CM: If we do get a new, more diverse generation started in classical music, will they change the repertoire, the music that’s now being created?

AD: Yes, absolutely. And not only that, there are volumes of works, going back to the time of Mozart, that have never been performed. Maybe there are some people saying they just don’t want to do music by black or Latino composers. But I think that’s a minority. In most cases, people just don’t have knowledge that it’s out there. I grew up in Manhattan, I studied from Peabody Prep to Vladimir Graffman to the Interlochen Arts Academy. And it wasn’t until I was doing my degrees at the University of Michigan that I knew there were any black or Latino composers.

CM: Please name some of your favorite works by minority composers.

AD: First, orchestrally, I’d have to say George Walker’s Lyric. There’s all this comparison with Barber’s Adagio—it’s interesting because they were at Curtis at the same time, you know. That piece speaks to me; I love it. This next is a bias, because we commissioned it; but I have to name Symphony of the Sphinx. It’s an incredibly moving work about the connection between Africa and African Ameri- cans. We commissioned Coleridge-Taylor Perkins to do it, and we commissioned the poem by Nikki Giovanni. It’s a stunning work and I wish it would be per- formed more often.

14 | www.ums.org/education Personally, in terms of performing, I love William Grant Still’s Suite for Violin and Piano, which can also be done with orchestra— it’s partly why we require it so often for Sphinx auditions. It’s a beautiful work, and to me it should be part of the standard repertoire along with Mendelssohn and Bruch and Mozart. Still is kind of a standard- bearer for students coming up, and it has a great little cadenza at the end of the third movement that you can perform, or you can write one of your own.

CM: You’re not just a musician; you founded a major organization. Where did the administrative part of you come from? “It’s our mission AD: I think a big part of it was that I took four years off after two years [as an to build a sense of undergrad] at Penn State. I got a lot of general work experience—marketing expe- rience, entrepreneurial and management experience. And also a kind of sense peer group and to of reality about the real world and an intense knowledge that I didn’t want a life give the players a where you live for the weekends or till fi ve o’clock. And that I needed to be in sense music . . . . So that when I returned to fi nish my undergrad and grad degrees at through the Michigan, I just had a completely different approach. From my low two-point- Sphinx Symphony something GPA at Penn State I went to a 4.0 at Michigan. I wanted to be able to that there was be in music; I neededto be in music: to fail was not an option. a generation of pioneers before But I don’t see myself as a manager or arts administrator. I don’t like those them. That this is a monikers. When I am at a meeting with administrators and musicians, I always world they belong feel more at home with the musicians. However, there’s something very specifi c to.” and purposeful that needs to be done since I need to have an impact on our fi eld, it requires an organization. The organizational things I do are out of a sense of, “How do you create a structure that can serve that purpose?” I see our organiza- - Aaron Dworkin tion itself as an artistic entity. quoted in Detroit Free Press, CM: What about fundraising? Do you mind doing it? February 9, 2003

AD: I do fundraising. I go to every single development meeting, though I don’t write every proposal anymore: As we grow there are more and more other things I need to do.

I actually like— love—talking to people about what we do and why it’s important and what needs to be done. I see myself as a funnel and the hole at the bottom is diversity in classical music. My job is to direct as much water into that funnel as possible. There are an incredible number of things to be done in our community. If you don’t have the resources, it’s much more diffi cult to do it.

CM: What’s your view of public funding for music?

AD: We have funding from NEA and the Michigan Council for the Arts. I do wish our society put a greater emphasis on the role of the arts for the health of our society, but that’s an argument that continues to be made.

No matter how much scientifi c or business success might be going on, without the arts, it’s just a barren existence. What does business serve, if not to live a life enriched by the arts? It’s an argument that constantly needs to be made, because it’s so easy for people to forget how enriched their lives are by the arts.

15 | www.ums.org/education In His Own Words... CM: Are you doing any music for yourself?

AD: I continually work on projects but never have enough time. It’s been a year and a half since I’ve done a concert, but the creative process is going on through poetry and arranging music with text.

CM: Is classical music a good place for any young person to go these days? Iam sure you read last year in the New York Times about how few Juilliard grads were in music ten years later. What’s going on?

AD: The problem is not classical music; it is the way it is presented. Take some young, hip quartet, playing the music at the highest level, wearing clothes that are cool and put them on a cool stage that’s not this formal thing . . . and people can clap between movements. They could play some of DBR’s music and some Piaz- zolla, and if people even could have a couple of drinks while they’re sitting there listening to it, they’re going to have a phenomenal time. Not to say all classical music should be presented that way, but if the New York Phil were to present some concerts like that, you could change the interest in classical music . . . .

Yes, the whole appeal to young people [is a problem], but I believe it all goes to the issue of diversity and the way in which classical music is presented. Diversity is not just race and culture—but age as well.

CM: How do you change that?

AD: Orchestras have these education programs in which some members go out to the school—and oftentimes you can buy out of the pops concert by offering to do the education concert. So they’re not that motivated and haven’t necessarily been trained for it. Just sitting and playing with the New York Phil for thirty years does not a great educator make. Versus a sixteenyear- old Sphinx laureate who has just been told, “You are the ambassador; don’t just go play Bartók, play Sponge Bob Square Pants or whatever. And then go from there to Mozart and play some Wil- liam Grant Still and then talk to them about what you’re playing.” The “how” [of exposure to schoolchildren] is absolutely critical.

CM: Is there any music in your biological family?

AD: Yes, my dad was a musician and did a variety of things; he also played drums. But what’s really interesting, in terms of my Sphinx activities, is that he was a major community activist, coordinating sit-ins and demonstrations to implement desegregation, especially of the fi re department.

CM: Did you get any of your activism from your adoptive parents?

AD: No, not activism—but a belief about the world. Their reasons for adopting me, for example. They wanted to do something: “What if we could provide the opportunity for a good education for someone who’d otherwise go from foster home to foster home?” They didn’t want to just give money, but their love and their home. Of course, their scientifi c work is also for human betterment. My sense that life has purpose comes from them.

16 | www.ums.org/education Elena Urioste winner of the Senior Competition 1st Place Laureate The 2007 Winners Who Won in 2007? Senior Division Elena Urioste- 1st Place Laureate Instrument: Violin Age: 20 Ethnicity: Mexican/Basque Teacher: Joseph Silverstein/Ida Kavafian Home: North Wales, PA Credits: Student, The Curtis Institute of Music; Soloist with Boston Pops, Atlanta, Detroit, Pittsburgh, Baltimore and Hartford Symphonies; Winner, Kennett Symphony Concerto Competition and Temple University Music Prep Concerto Competition

Whittney Thomas- 2nd Place Laureate Instrument: Viola Age: 19 Ethnicity: African-American Teacher: Donald McInnes Home: Lemon Grove, CA Credits: Student, USC’s Thornton School of Music; 1st Place, H.B. Goodlin Scholarship Competition; Performed on From the Top; Young Musicians Foundation Scholarship

Karla Donehew Perez- 3rd Place Laureate Instrument: Violin Age: 22 Ethnicity: Puerto Rican Teacher: Paul Kantor Home: Albany, CA Credits: Graduate student, Cleveland Institute of Music; Soloist with Berkeley Symphony, San Francisco Chamber Orchestra, Oakland East Bay Symphony; Semi- Finalist, Klein Competition

Jason Amos- 4th Place Laureate Instrument: Viola Age: 21 Ethnicity: African-American Teacher: Yizhak Schotten Home: Southfield, MI Credits: Student, University of Michigan’s School of Music; Principal Violist, University of Michigan Symphony Orchestra; Past Principal of Aspen Sinfonia

18 | www.ums.org/education

Junior Division

Robert Alvarado Switala- 1st Place Laureate IInstrument: Violin Age: 14 Ethnicity: Mexican-American Teacher: Jan Mark Sloman Home: Grapevine, TX Credits: Jr. State Winner, 2006 ASTA Solo Competition, 2006 MTNA National Finals Competition; Grand Prize Winner, 2005 Dallas Symphonic Festival; Soloist, Meadows Symphony Orchestra; 1st Place, 2007 Juanita Miller Competition

Maia Cabeza- 2nd Place Laureate Instrument: Violin Age: 14 Ethnicity: Argentinean Teacher: Ida Kavafian/Joseph Silverstein Home: Philadelphia, PA Credits: Student, Curtis Institute of Music; Soloist, Detroit Symphony, Camerata Academica del Teatro Colon, Chapel Hill Philharmonia, Duke String Orchestra, Danville Symphony; Concertmaster, Triangle Youth Philharmonic; Recipient, Davidson Fellow Scholarship

Tony Rymer- 3rd Place Laureate Instrument: Cello Age: 17 Ethnicity: Dominican Teacher: Laura Blustein Home: Dorchester, MA Credits: 1st Place, 2003 Longy Jr. Division Concerto Competition; NEC Youth Symphony Orchestra; Recipient, Jack Cook Kent Award on From the Top; Student, New England Conservatory at Walnut Hill Program Triangle Youth Philharmonic

19 | www.ums.org/education Jason Amos, the Senior Competition 4th Place Laureate, being conducted by Kay George Roberts.

Classical Music The Classical “Concerto”Title Baroque Concerto The concerto is the name for instrumental music in several sections, or movements, for a solo instrument (or instrument group) and orchestra. During the Baroque Period of music (1600-1750) there were two kinds of concertos: the solo concerto and the concerto grosso. In the Baroque solo concerto, the soloist plays along with an orchestra accompaniment, and this concerto type was particularly popular for showing-off the virtuoso technique and beautiful sound of the performer. The concerto grosso was based on the opposition of a small group of instruments, the concertino, and a larger group, the tutti. “In music one must think with the Famous Baroque Concertos heart and feel with Johann Sebastian Bach – The Brandengurg Concertos the brain.” Antonio Vivaldi – The Four Seasons - George Szell, Classical Concerto former world- By the Classical Period of music (1750-1825) the focus of the concerto had shifted renowned conductor mostly to a soloist playing with an orchestra rather than the idea of opposing of the groups of players. In terms of structure in a concerto: the first movement is the Cleveland Orchestra longest and most dramatic, the second movement is slow, lyrical, and expressive, and the third movement is short and jolly. In the Classical Period, a unique feature of the concerto developed: the cadenza. The cadenza is a fanciful and florid solo passage that sounds improvisatory. Usually towards the end of the movement, the orchestra will fall silent and the soloist will begin the free play of the cadenza based on one or more themes of the concerto.

Famous Classical Concertos Wolfgang Amadeus Mozart – Piano Concerto in G major, K. 453 Wolfgang Amadeus Mozart – Clarinet Concerto in A major, K. 622

Romantic Concerto As the concerto has continued to develop through the Romantic Period (1825-1900) more focus was placed on the soloist and their ability to weave a beautiful melody in and out of the orchestra texture and to play faster and higher. This is the kind of concerto that we hear in works composed recently, within the last ten years, but music is always growing, shifting, and changing, so new music is on the horizon.

Famous Romantic Concertos Piotr Tchaikovsky – Concerto for Violin and Orchestra, Op. 35 Sergie Rachmaninov – Concerto for Piano and Orchestra, No. 1,2,3

Classical Concerto Form

Exposition: Orchestra Intro, Solo Theme 1 (Key I), Transition, Solo Theme 2 (Key II), Closing Development: Development of Theme I or II (Key Changes) Retransition: A passage that concludes the development and prepares the return to the original theme Recapitulation: (Brief) Orchestra Intro, (Brief) Solo Theme 1 and/or 2 (Key I), 21 | www.ums.org/education Title The Meaning Behind the Term Concerto: noun. From Italian “concertare”- to join together; related to Latin “concertare” meaning to fight or contend

Beginning in the 16th Century the term “concerto” was applied generally to an ensemble composed of vocalist, instrumentalists, or both, and also to works “If a composer written for this ensemble. This usage derived from the original Italian meaning could say what he had to say in of concertare, “to join together” a meaning commonly used in English phrases words he would not such as, “to work in concert” and “a concerted effort.” In the early concertos, bother trying to say the performers that were “united” were usually opposite in some way: soloist and it in music.” chorus, two separate choruses, different instruments, or voices and instruments. - Gustav Mahler, In the 17th century the Latin meaning of concerto, “fighting” or “contending,” 20th century composer began to apply referring to the opposition between soloist(s) and orchestra of the modern concerto. An alternate view is that even with the early concertos, the opposing performers were always “contending” rather than “joining”, leading to the thought that the musical origin of “concerto” is solidly Latin. Regardless of which meaning/origin was actually intended, the context in which concerto is being used in a particular instance can reveal its meaning.

Above: Trevor Ochieng, 2004 1st Place Junior Laureate, plays a concerto with the Sphinx Symphony Orchestra at Orchestra Hall in Detroit.

22 | www.ums.org/education Anatomy of a String InstrumentTitle The Body

Each of the four classical string instruments (violin, viola, cello, and double bass) are each essentially built the same and have the same parts. The difference between them is their size with the violin being the smallest and the double bass being the biggest. Below are some diagrams that label the various parts of a violin and well as give an up-close look at the instrument.

Above: This is a detailed view of the violin’s bridge. You can see that the bridge holds up the violin’s four strings.

Right: This the bare front of the violin without other parts attached. Notice that is light brown. This is because it has not been stained yet, and will even- tually be given a shiny brown coat of varnish.

23 | www.ums.org/education TitleAnatomy of a String Instrument The Bow

Violinists pull the bow across the strings of the violin to make sounds. The early bow was in the shape of a fully drawn hunting bow, so it bowed or arced away from the bow hairs. Modern bows arc toward the bow hairs. In terms of the hair, since the early bows, white horse hair has been the preferred material to connect the two ends of the bow. The standard length of a violin bow is about 30 inches, while the standard length of a cello bow is 27 inches. Again, below are various pictures labeling the bow and giving detailed views.

Above: The bottom end of the bow with labels. This is where classical string players hold the bow. String players try to grip the bow gently, because it helps them to play a lot faster.

Right: This is a view of the bows for each of the four orchestral string instruments’s bows (from left to right: violin, viola, cello, bass). Note the difference in size and the arc of the bow.

Below: Notice the size relationship of the violin to its bow in the picture below.

24 | www.ums.org/education Strings in Latin AmericaTitle While there are many Latinos in the United States that play string instruments very well, such as the violin, there are also many more Latinos spread throughout Latin America (Central and South America) that also play string instruments, also very well.

In the mid-sixteenth century, Jesuit missionaries from Spain came to the “New World” to try to convert and teach indigenous people. They used musical instruments in this teaching that they considered to be heavenly, to aid in the conversion. These instruments, the violin and harp, we also used to play melody, harmony, or bass when the was no organ. The guitar was present but considered too secular for use in religious matters. The introduction of these Western instruments into this South American culture was new, but these peoples had been using various other musical instruments for religion and supernatural power. Since ancient times, the natives had used musical instruments as supernatural or religious tools, which explains why they were so accepting of the new Western instrument. Even when the Jesuits were exiled and thrown out in 1767, the violin and harp continued to be used by the Native Americans and soon their European heritage and religious purpose was all but forgotten.

The playing of these Western instruments such as the violin, diffused throughout Latin America and each culture developed a place for this music, Western instruments, and various string instruments in their rituals, celebrations, and entertainment.

Mexico In Mexico, a musical genre called the son was at the core of most regional musical styles oriented toward accompanying social dances with vigorous and marked rhythm in a fast tempo. They often feature the violin and the harp playing melodic material with other instruments playing rhythmical figures. The son from Guerrero (son calentano), Michoacan (son maichoacano), and Jalisco (son jalisciense) all use violins in their ensembles to help sing a melody or merely accompany movement.

Guatamala In the Central American country of Guatemala, certain string instruments were also brought to the country by Europeans. Over time, the violin changed from it original form to a different kind of violin that is familiar and common to natives of Guatemala: Standard Violin Guatemalan Violin # of Strings 4 Strings 3 Strings Bow Shape Bowed & Tight Straight & Loose (tension comes from the thumb) Bow Grip Held at Bottom (the frog) Held in the Middle Bow Hairs Horse Hair Horse Hair Violin Position Under the Neck Against the Chest

The violin in Guatemala is played as a solo instrument, to accompany the voice at special events or yearly rituals, and in Guatemalan sones. 25 | www.ums.org/education Title Argentina and Peru Argentina and Peru have a violin-like instrument that they play called the charango. The charango is a small lute (cross between a violin and guitar) made from an armadillo shell usually with 10 strings, although this does vary. In Argentina the charango is commonly played with a plucking style . However, in What is a Mestizo? Peru, Andean peasants tend to play with a strumming style while Mestizos do a combination of both plucking and strumming. A Mestizo is person of racially Brazil mixed ancestry; in Brazil borrowed some of their string playing from the Japanese. In the early 20th Latin America it is century many indentured Japanese workers began immigrating to Brazil. These usually a mixture workers brought with them their music and instruments, including a bowed of Native American instrument called the koky. In Brazil this string instrument was made out of lard and European, cans and used in ritual dances. (Spanish or Portuguese) Cuba ancestry Cuba also developed its own unique musical style by blending European and authentic Cuban instruments to form ensembles. The Charanga Típica is one of the ensembles that uses violins. It began in the early 1900s and includes flute, piano, violins, pailas, and a guiro. This ensemble plays dances like the danzón, the son, and the cha-cha-chá. by Olsen and The Garland Handbook of Latin American Music Sheehy. Mexican violin players from 26 | www.ums.org/education What to Listen for in Music Title You can rate the three fi nalists along with the judges using the four basic elements of music: Melody, Rhythm, Harmony, and Tone.

Melody Melody is often the element in music that makes the most direct appeal to Great Book... the listener. It is usually what we remember and what we whistle or hum. What to Listen for Specifi cally, a melody is a coherent succession of pitches. We perceive the pitches in Music of a melody in relation to each other in the same way we hear the words of a sentence; not individually, but as an entire thought. So, when comparing music by Aaron Copland to writing, words would be musical notes or pitches and a sentence or paragraph would be the melody.

Rating the Soloist: Do the slow sections “sing” and fl ow the same way something that Whitney Houston, Celine Dion, or Luciano Pavarotti...or is it choppy and does it all sound the same volume?

Rhythm Music is propelled forward by rhythm, the element that organizes movement in time. The term refers to the length, or duration of individual notes. The basic unit we use to measure time is called the beat. In music we hear strong beats, usually at regular intervals...every other beat, every third beat, every forth, etc. These patters of rhythmic pulses are called meters.

Rating the Soloist: Do the notes sound even in relation to each other such as the rhythm you hear when listening to a poem or limerick...or do the notes sound uneven like someone is stuttering?

Harmony If melody moves horizontally, then harmony moves vertically and adds depth to music. Harmony is to music what perspective is to paintings; it introduces the impression of musical space. Harmony describes the movement and relationship of intervals and chords (a chord is produced when three or more pitches/notes are played together). The changes of these chords is called harmonic movement, which is generated by motion towards a goal or resolution.

Rating the Soloist: Do the long or sustained notes played by the soloist blend with the orchestra’s sound the same way that a good choir of 30 people can sound like one unifi ed voice...or do the soloist’s notes stick out as being shrill and awkward sounding?

Tone Timbre and tone color in music are similar to colors in a painting. Tone color in music is the quality of sound produced by an instrument. For instance, the fl ute usually has a bright tone which in a painting might be the color yellow, while the cello usually has a warm and dark tone color which in a painting might be the color blue.

Rating the Soloist: Do the soloists change the tone color of their sound the same way we can color our voice to talk like a boy, a girl, a baby, or Arnold Schwazaneger....or does it all sound the same like a robot’s voice?

27 | www.ums.org/education African-American musican from the early 20th Century seated with a violin Musical Faces Black and Latino Composers William Grant Still (1895-1978) Growing up, William Grant Still studied the violin and later also played the cello and oboe. In 1911 he entered Wilberforce University (Ohio), determined to become a composer of concert music and opera. He eventually married Grace Bundy after leaving the University and struggled to earn a living playing in bands in Dayton and Columbus, Ohio. Later he began working for W.C. Handy as an arranger and took classes on the side at Oberlin College, where he studied theory and counterpoint. Despite serving a year in the Navy during WWI, his skills continued to be refined and perfected.

William Still became increasingly successful as an arranger for theatre orchestras and early radio, while simultaneously pursuing a career as a composer. His most important teacher composition teacher was the notable Edgard Varèse, who helped him compose with greater freedom, encouraged his lyric gift, and programmed his music on concerts of the International Composers’ Guild. In 1931 the Rochester Philharmonic Orchestra gave the première of the Afro-American Symphony, the first symphony by an African American to be performed by a major orchestra. As Mr. Still began to draw a wider audience, he received a stream of commissions from such organizations as CBS, the New York World’s Fair, the League of Composers and major orchestras in Philadelphia, New York, Cleveland and Cincinnati.

Rejecting spirituals as his main source of musical material, William Still used the blues, explaining that ‘they, unlike many spirituals, do not exhibit the influence of Caucasian music’ (sketchbook for the Afro-American Symphony, 1930). Blues William Grant Still elements, such as modal inflections, irregular phrase lengths and descending melodic curves, are audible in most of his works, such as From the Land of Dreams (1924) and the Afro-American Symphony (1930), his best-known work, in which a blues melody appears as the symphony’s principal theme.

William Still’s prolific and influential career as a commercial arranger is only beginning to be explored. As the first African American to have a symphony performed by a major orchestra, to conduct a white radio orchestra, to conduct a major orchestra (Los Angeles Philharmonic Orchestra), to have an opera produced by a major company and to win a series of commissions and performances from major American orchestras, his achievements were many.

Want to learn more about William Grant Still? Murchison, G. Nationalism in William Grant Still and Aaron Copland Between the Wars: Style and Ideology (Dissertation, Yale University, 1998). Smith, C.P. William Grant Still: A Study in Contradictions (Berkeley, 1999).

Want to hear William Grant Still’s music? Still, William Grant. “Symphony No. 1 (Afro-American).” American Heritage Symhponic Series, Volume 1. Chicago Sinfonietta. Cedille Records 90000 055. Track 4 on the Resource CD (1st Movement ONLY). Still, William Grant. “Symphony No. 2 (Song of a New Race).” African-American Series, Volume 5. Detroit Symphony Orchestra. Chandos Records 9226.

29 | www.ums.org/education Black and Latino Composers Jose White (1836-1918) Jose White was a Cuban violinist and composer. Mr. White attended the world reknowned Paris Conservatoire de Music where he studied the violin with Jean Alard, and won a premier prix in 1856. From 1857 to 1858, he was first violinist of a quintet, but then decided to leave Paris to return to Cuba. Upon this return, he performed with Louis Moreau Gottschalk, a well known pianist of the time. Based in Paris again from 1861 to 1874, through various performing engagements, “Music is an outburst of the he increased his reputation as a soloist and chamber player. In 1866, he became soul.” a member of the Société des Concerts du Conservatoire; among his students were George Enescu and Jacques Thibaud. Along with teaching he went on a - Frederick Delius, performance tour of Europe in the early 1870s, performing frequently with his wife English Composer who was brilliant violinist. He also toured widely in South America during the mid to late 1870s.

Due to his success he became the court violinist to the emperor Dom Pedro II of Brazil, and with Napoleão dos Santos he founded the Sociedade de Conciertos Clásicos. From 1889 he lived in Paris and continued his life as a player, teacher, and composer. His few compositions, most of them highly influenced by European models such as Wieniawski and Vieuxtemps, include a violin concerto, string quartet, a Bolero for violin and orchestra, Variaciones for harpsichord and orchestra, six concert studies for violin and several pieces for violin and piano, including La bella Cubana, a kind of Cuban national music based on the rhythms of the old Haitian guaracha and the Dominican merengue. Anyone looking for his original manuscripts can find them in the Biblioteca Nacional in Havana, Cuba.

Want to read more about Jose White? Carpentier, A. La música en Cuba (Mexico City, 1946, 3rd Edition, 1988). Orovio, H. Diccionario de la Música Cubana (Havana, 1981).

Want to hear Jose White’s music? White, Jose Lafitte. Violin Concerto in F-Sharp Minor. Rachel Barton. Encore Chamber Orchestra. Cedille Records 90000 035.

The Jose White String Quartet Composed of four outstanding young Latin American musicians now residing in Mexico, the José White Quartet won the first and only prize in the Third National Competition of Chamber Music in Guanajuato, Mexico in 2000, that country’s most prestigious musical accolade.

The ensemble players chose their title in tribute to José White, indisputably Cuba’s greatest violinist of the 19th and early 20th century and the only one to have had a world-class career based in Europe. White was The Jose White an inspiration to countless string players of Central and South America for String Quartet many generations. So in the mid-90’s the quartet’s formal debut was featured in a concert at the notable Chamber Music Festival, San Miguel de Allende, Guanajuato, and at other venues in Mexico and Canada. The Quartet made its long-awaited first American tour in January of 2004.

30 | www.ums.org/education Title Roberto Sierra (b. 1953) Roberto Sierra was born in Puerto Rico where he pursued early studies at the Conservatory of Music and the University of Puerto Rico. After graduation, Sierra went to Europe to further his musical knowledge, studying first at the “Trio Tropical Royal College of Music and the University of London, and later at the Institute made a splendid for Sonology in Utrecht. Between 1979 and 1982 he did advanced work in impression on composition at the Hochschule für Musik in Hamburg under the renowned first hearing. György Ligeti. In 1982 Sierra returned to Puerto Rico to occupy administrative This Puerto posts in arts administration and higher education, first as Director of the Cultural Activities Department at the University of Puerto Rico, and later as Chancellor of Rican composer the Puerto Rico Conservatory of Music. Throughout this period, he was vigorously is a master of engaged as a composer on the international scene. rhythm and atmosphere, Roberto Sierra is considered to be today one of the leading American composers gathering of his generation. His works have been performed by the major orchestras of Caribbean, Latin Philadelphia, Pittsburgh, Atlanta, Houston, Milwaukee, Minnesota, Dallas, Detroit, American and San Antonio and Phoenix, as well as by the American Composers Orchestra, the jazz elements... New York Philharmonic, the Los Angeles Philharmonic, the National Symphony This is as fine Orchestra, the Kronos Quartet, Continuum, the Bronx Arts Ensemble, Voices of piano trio as Change, England’s BBC Symphony, Royal Scottish National Orchestra, and at Wolf has appeared in Trap, the Santa Fe Chamber Music Festival, Festival Casals, Schleswig-Holstein Festival in Germany, France’s Festival de Lille and others. recent years...”

In 1989, Roberto Sierra became the Composer-in-Residence of the Milwaukee - Alex Ross, Symphony Orchestra (MSO). In addition to advising the MSO on American The New York Times repertoire, Mr. Sierra contributed to the musical life of Milwaukee with a number of new works, including pieces for local chamber and choral ensembles, and for individual musicians. During the 2000-2001 season Sierra was Composer-In- Residence with the Philadelphia Orchestra.

The Latin American influences clearly heard in his music are a trademark of his style in pieces such as, Piezas Características, Concierto Caribe for flute and orchestra, Vestigios Rituales for two pianos, and Memorias Tropicales for string quartet.

Want to hear Roberto Sierra’s music? Sierra, Roberto. Sinfonias. Thomas M. Sleeper, Frost Symphony Orchestra. July 1, 2007. Albany Records B000RTCRY6.

Sierra, Roberto. Robert Sierra: New Music with a Caribbean Accent. Continuum Ensemble NYC. May 29, 2007. Naxos American B000H1QUP6.

Want to learn more about Roberto Sierra? www.robertosierra.com

Roberto Sierra

31 | www.ums.org/education Black and Latino Composers Undine Smith Moore (1904-1989) Smith Moore was born on August 25, 1904 in Jarratt, Viriginia, a grand-daughter of slaves. Ms. Smith Moore attended high school in Petersburg, Virginia and went on to study at Fisk Univerity, a historically African-American college in Tennessee. Dr. Moore received the first Fisk Scholarship to study piano at the Julliard School of Music in New York City. In addition, she received a master’s degree at Columbia University in 1931. A life long educator, Dr. Moore was first supervisor of music in the Goldsboro, North Carolina public schools and a professor at Virginia State College (now Virginia State University) where she taught piano, organ and music theory until her retirement in 1972. She is the recipient of numerous awards including the National Association of Negro Musicians Distinguished Achievement Award in 1975, the Virginia Governor’s Award in the Arts in 1985 and the music laureate of Virginia in 1977.

Often referred to as the “Dean of Black Women Composers,” her musical career began early during her days at Fisk University. She has composed for piano, instrumental, but she is best known for her choral works, particuarly Scenes from the Life of a Martyr, a 16-part oratorio based on the life and words of Martin Luther King, Jr., which was nominated for the Pulitzer Prize. Even with all her success as an artist, Moore thought of herself as an educator first and foremost. Moore noted that she considered herself “a teacher who composes, rather than a composer who teaches.” in her keynote address to the First National Congress on Women in Music in 1981. “Art preserves life in a very Want to learn more about Undine Smith Moore? special way. Moore, U. S. My Life in Music (as published in the IAWM Journal, February 1997, Our memories pp. 9-15). die with us, but http://www.iawm.org/articles_html/Moore_undine_smith_my_life.html art preserves the values and Smith, J. C., editor, Notable Black American Women, Book I, Gale Research, 1992. experiences.” Walker-Hill, H. From Spirituals to Symphonies: African-American Women -Undine Smith Composers and Their Music. University of Illinois Press, 2007. Moore Want to hear Undine Smith Moore’s music? Soulscapes: Piano Music by African American Women. Maria Corley. August 22, 2006. Albany Records B000GW8RLQ.

Kaleidoscope: Music by African-American Women. Nora Douglas Holt, Betty Jackson King. November 25, 1997. Leonarda Productions B000004AF2.

32 | www.ums.org/education Florence Price (1888-1953) Smith was the first Black woman composer to reach national recognition. From Little Rock, Ark., Florence Beatrice Smith was the third child of Dr. James H. Smith, the first Black dentist in that city who was also a published author, inventor, and civil rights advocate. Her mother, Florence Gulliver was a schoolteacher, and businesswoman. Smith attended the New England Conservatory of Music from 1903 to 1906, graduating with an artist degree in organ music and a teacher’s diploma in piano.

She taught at the Cotton-Plant Arkadelphia Academy until 1907 and Shorter College in Little Rock until 1910, later heading the music department at Clark University (1910-1912). After marrying Thomas Price, an attorney, she let go of teaching and set a private studio in her home. The intolerable racial climate of Little Rock caused them to move to Chicago in 1927, where Price established herself as a concert pianist and composer of national merit. Major publishers began contracting her works-Theodore Presser, G. Schirmer, Gamble, and Carl Fischer to name a few. In 1932, Price won the Wanamaker Music Composition Contest for her Symphony in E.

The premiere of this piece by the Chicago Symphony Orchestra in June 1933 signaled Price as the first African-American woman to have an orchestral work done by a major American orchestra. During her career, Price wrote over three hundred compositions, including symphonies, concertos, chamber works, art songs, and settings of spirituals for voice and piano. Her best-known spiritual, My Soul’s Been Anchored in De Lord, has been performed by Ellabelle Davis, Marian Anderson, and Leontyne Price. WGN’s radio symphony orchestra recorded many of her songs in the 1930’s.

Her instrumental music reflected the influence of her cultural themes such as dance music with the Juba expression in a classical Florence Price form. She was one of the few who characterize the high point of the new Negro movement in the arts along with William Levi Dawson and William Grant Still. Florence Price died in Chicago in 1953. (Biography courtesy of The African American Registry).

Want to learn more about Florence Price? Feith, M. and G. Fabre (Eds). Temples for Tomorrow: Looking Back at the Harlem Renaissance. Indiana University Press, 2001.

Walker-Hill, H. From Spirituals to Symphonies: African-American Women Composers and Their Music. University of Illinois Press, 2007.

Want to hear Florence Price’s music? Prima Voce. Marian Anderson. January 7, 1997. Nimbus Records B0000037L2.

Softly Awakes My Heart: Arias, Songs & Spirituals 1924-1944 . March 19, 2002. Naxos B00005UOMB.

33 | www.ums.org/education Black and Latino Composers Regina Carter (b. 1966) Regina Carter’s immersion in music began at the age of two when she took up piano, followed by violin at the age of four. Though her original focus was classical music, with the hope of being a soloist with a major symphony, the pull of Detroit’s rich soul music legacy and the discovery of jazz broadened her horizons.

Regina attended Detroit’s prestigious Cass Technical High School. Upon graduating, she departed for the New England Conservatory of Music, only to return to Michigan’s Oakland University, where she go her start playing with several local musicians. She later joined the attention-grabbing all-female quartet Straight Ahead which recorded two albums for Atlantic Records. Carter departed the band in 1994, recording two solo albums for Atlantic while also making the most of her newfound New York connections by working with the likes of the String Trio of New York, Muhal Richard Abrams, and Greg Tate and the Black Rock Coalition.

Carter joined Verve Records in 1998 and has since recorded four critically acclaimed works of astounding maturity and variety: Rhythms of the Heart, Motor City Moments (also produced by John Clayton) and Paganini: After a Dream (for which she made history by being the first African American and jazz musician to Regina Carter travel to Genoa, Italy to perform and record with the legendary Guarneri del Gesu violin owned by classical music virtuoso Niccolò Paganini). Her playing has also graced work that includes filmmaker Ken Burns’ soundtrack for the PBS documentary, Jazz; Wynton Marsalis’ opera Blood on the Fields; Cassandra Wilson’s tribute to Miles Davis, Traveling Miles; and the queen of hip-hop soul Mary J. Blige.

Among her personal accomplishments is work she has done to spread the love of music to others, something that is touched upon in her one original composition on I’ll Be Seeing You, her latest release. “My producer, John Clayton always insists that I write at least one original piece on every album,” she says. “I chose ‘How Ruth Felt,’ which is a commissioned piece that I wrote for a woman named Ruth Felt, President of San Francisco Performances, an arts organization in San Francisco. I spent some time as an Artist-In-Residence there, teaching music to disadvantaged children and spreading the joy of music to people in community centers and churches around the Bay area. Ruth helped me tremendously while I was dealing with my mother’s illness. I included ‘How Ruth Felt’ on my album as a way to say, ‘Thank you.’” (Biography courtesy of Verve Records).

Want to learn more about Regina Carter? www.reginacarter.com

Want to hear Regina Carter’s music? I’ll Be Seeing You: A Sentimental Journey. June 13, 2006. Verve Records 602498509623.

Rhythms Of The Heart. May 4, 2004. Verve Records 731454717724.

Paganini: After A Dream. March 22, 2003. Verve Records 044006555423. 34 | www.ums.org/education Trail Blazers

Sanford Allen

The first Black person to play in a major symphony orchestra, the New York Philharmonic.

Sanford Allen grew up in New York. His mother took him to concerts in the area at about the age of four and that is when he first discovered the violin. He then started his official study of the violin at the age of seven and entered the Juilliard “I want School of Music at age ten. He continued his to be the education at the Mannes College of Music where Tiger Woods he studied the violin. In 1962 he auditioned for of classical the New York Philharmonic and won the job, music.” but the conductor, Leonard Berstein, thought Sanford Allen he needed more orchestral experience, so - Gareth Johnson, recommended a few smaller orchestras (which were all south of New York and 1st Place Laureate 2002 where orchestras, as well as the communities, were segrated) so he just stayed in New York and eventually played with New York from 1962 – 1977. Since then Sphinx Compeition Sanford Allen has had a career full of prestigious engagements and significant accomplishments, and is highly respected by his peers as a fine musician and admired by young musicians as an inspiring role model.

Gareth Johnson

First Place Laureate of the 2002 Senior Divison Sphinx Competition

Gareth Johnson, age 18, only began his study of the violin at the age of 10 but has achieved much success. A resident of Wellington, Florida, he has already been recognized with numerous awards for his talent and ability, including the St. Louis Gateway Young Acheivers Performing Arts Citation Award, and the Classic 99 Young Heroes in Music award. Mr. Johnson was the 2001 winner of the St. Louis Laclede String Quartet Solo Competition, the 2001 winner of the 5th Annual Sphinx Compeition, the 2002 winner of the New World Symhony High School Concerto Compeition, and the 2002 winner of the Lynn University Concerto Competition. Gareth Johnson

The young St. Louis native who now studies with Sergiu Schwartz at the Lynn University Conservatory of Music in Boca Raton, Florida, has certainly made an impact in the violin arena. The Naples Daily News proclaimed, “Not since the teenaged Joshua Bell first captivated concerto-goers with his remarkable talents have we been privileged to hear such a gifted young violinist...with a maturity far beyond his years....an undeniable musical genius”. The New York Times, at the time Mr. Johnson won the 2002 Sphinx Competition, stated Johnson as possessing “prodigious musical gifts - he dominated the stage.” While Mr. Johnson has already performed with the Sphinx, Atlanta, Detroit, Cincinnati, St. Louis, and Baltimore Symphonies, concertized Europe and played for Oprah Winfrey, he continues to grace varied audiences with his musical gifts and has a special interest in reaching out to those often unexposed to the classical arts. 35 | www.ums.org/education Guillermo Figueroa

The first Puerto Rican-born conductor to lead a major orchestra in the United States

Maestro Guillermo Figueroa is one of the most renowned and versatile musicians of his generation. A member of Puerto Rico’s most distinguished musical family, he was named Music Director of the Puerto Rico Symphony Orchestra in 2000. In 2001 he was also named Music Director of the New Mexico Symphony Orchestra, becoming the first Puerto Rican-born conductor to lead an important orchesta in the United States.

Mr. Figueroa began violin studies with his father Guillermo, and later with his uncle Jose at the Conservatory of Music of Puerto Rico, where he also worked with Pablo Casals. He attended The Juilliard School and later won the first prize in violin at the Washington International Competition. While in New York he also pursed studies in conducting with Harold Farberman.

Due to his mastery of the violin, he was Concertmaster of the New York City Ballet for ten years, appearing in over a hundred performances. Figueroa is also a founding member of the world-renowned conductorless Orpheus Chamber Orchestra, which celebrated its 30th anniversay in 2003. With this group he has been concertmaster and soloist in acclaimed performances throughout the US, Guillermo Figueroa Europe and Asia. In 1995 Figueroa was the soloist in the wolrd premiere of Mario Davidosvky’s Concerto for Violin and Chamber Orchestra, written especially for him and Orpheus, and performed at Carnegie Hall.

Committed to the music of his native Puerto Rico, Figueroa has given the world premiere of works by numerous Puerto Rican composers, with special attention to the work of Roberto Sierra.

36 | www.ums.org/education Repertoire TitleThe Competition Music Violin Concerto No. 4 in D Major (1st Movement) Le Chevalier de JJO Meude-Monpas Born Paris (Date Unknown) Died Berlin (Date Unknown) Each Junior Division Finalist The precise dates of the life of Le Chevalier de JJO Meude-Monpas are unknown. is required to In a biography by François Joseph Fetis he is cited as being born in Paris and play a specific having died in Berlin. In addition it is specifically mentioned that he was black and piece for the a musketeer in the service of Louis XVI. He was also a musician and a writer. Final Round, as determined prior He studied music in Paris and published six concertos for Violin (1786) as well as to the competition two books on music. Violin Concerto in D major (1786) has three movements, by the Sphinx and is written in similar French Classical idiom to that of Saint-Georges, a virtuoso Organization. violinist, composer and conductor who was also Meude-Monpas’s contemporary.

The first movement is an Allegro and begins dramatically, making use of sound contrasted with silence to sustain some tension. The orchestration maintains a clarity and lucidity of texture, allowing the solo violin to be heard distinctly, where the violin and the orchestra work as partners, rather than competitors. There are clear-cut phrase structures enabling the soloist at times to create echo effects with the thematic material. There is a lyric quality that shines through in the solo violin part which uses the higher pitches to enable the themes to cut through the texture. Frequent use is made of triplet figures in the solo part against sparse quaver accompaniment by the orchestra. There is also a lack of the traditional first movement cadenza of the German tradition, but the concerto contains opportunities for improvisation in the second movement. To hear this concerto, please see Track 5 of the Resource CD.

Concerto in D Major, Op.1 for Viola and Orchestra (1st Movement) Carl Phillip Stamitz

Born May 7, 1745 in Mannheim, Germany Died November 9, 1801 in Jena, Germany

Born in 1745 at Mannheim, Carl Stamitz was a son of the famous composer Johann Stamitz (1717-1757) of Bohemia. Carl Phillip Stamitz is the best-known representative of the second generation of composers who were active at the court in Mannheim, Germany during the middle decades of the 18th century. Stamitz was a prolific composer, in fact the most prolific Mannheim composer. A catalogue of his works was compiled as early as 1810, but has not survived. Besides some vocal music, he composed chamber music and orchestral music. Like so many other composers through the ages, Stamitz “borrowed” melodies from himself. When we hear the opening of the first movement, we recognize it as a melody very similar to the opening of his Concerto for Viola, Op. 1, No. 1. But, after the first statement, this viola concerto goes its own way and amazes us with all kinds of brilliant features which “show off” the performer. Left-hand pizzicati, harmonics, great descending runs and double stops are the norm. To hear this 38 | www.ums.org/education concerto, please see Track 6 of the Resource CD. Title Concerto in B Flat Major (1st Movement) Luigi Rodolfo Boccherini Born February 19, 1743 in Lucca, Italy Died May 28, 1805

Born seven years before Bach died, and 23 before Beethoven was born, Boccherini lived after the great Johann Sebastian had developed the Baroque style to its highest level. The Baroque period was characterized by a musical form called polyphony. In polyphony, all melodic lines have the same importance. Boccherini, along with his contemporaries (including Haydn), took a different compositional “Without music, direction. They ushered in the classical period by writing pieces where the melody life would be a is easy to pick out and consists mainly of melody and accompaniment. mistake. “ Boccherini’s output was considerable and includes 91 string quartets, 30 symphonies,137 quintets for various combinations of strings, multitudes of trios, - Friedrich keyboard quintets, sextets, and sonatas; two operas, and a mass. Nietzsche

Boccherini’s father was a professional double bass player and began teaching young Luigi cello at a very early age. The younger Boccherini played briefly in the professional orchestra of another Italian composer, Giovanni Battista Sammartini, before traveling at age 14 to Vienna, where he first heard the music of Franz Joseph Haydn. This would have a profound influence of Boccherini’s work. At the same time, it is Boccherini’s beautiful sense of sound and texture, and relatively less interest in thematic material as an end unto itself, that distintinguishes him from Haydn. His musical essence being more about sound than ideas, we might consider Boccherini as the impressionist of his era. To hear this concerto, please see Track 7 of the Resource CD.

Concerto in E flat Major for Double Bass and Orchestra (3rd Movement) Carl Ditters von Dittersdorf Born November 2, 1739 in Vienna Died October 24, 1799 in Neuhof [now Nový Dv r], Bohemia

Born in Vienna, Austria, Dittersdorf started his musical career as a violin virtuoso. Along with his skill as a violinist, he composed a large amount of music...500 works! and over 40 of them are concertos. Despite his official duties as Kapellmeister (Choir master), which took up much of his time, he was able to produce this large and respected output of musical works, making him one of the leading figures of the Viennese Classical School. His concertos are written with a skillful player in mind and usually for violin, harp, viola, cello, oboe, and double bass – instruments with very little solo repertoire at the time. The double bass concerto provides the player an opportunity to demonstrate florid technique and singing musicality. The third movement is in the form of a Rondo, in which the main theme returns multiple times though out the movement, allows the bass player to explore the high and low registers of the double bass playing both lyrical and rambling passages throughout. A recording of this concerto was not available. 39 | www.ums.org/education TitlePronounciation Guide Visit UMS Online The standard language for classical music, across the world, is Italian. Over time, various words from other languages, such as French and German, have crept into www.ums.org/ the vocabulary, but Italian remains the primary language. Also composers of just education about every nationality have composed “classical music” so pronouncing their names along with musical terminology can be tricky at times if you are familiar with the language. Below is a pronunciation guide to help make your “music talk” fancy and refined

Terms

Allegro - (Italian) Ah-LAY-grow

Assai - (Italian) Ah-sigh

Baroque - (French) Buh-roak

Cadenza - (Italian) Kuh-DEN-za

Concerto - (Italian) Con-CHAIR-toe

Moderato - (Italian) Moe-dare-AH-toe

Repertoire - (French) Re-per-twar

Rondo - (Italian) Ron-doe

Timbre - (French) Tam-bur

Tutti - (Italian) Toot-tee

People

Johann Sebastian Bach - (German) Yo-hahn Sebastian Bahk

Franz Joseph Haydn - (Austrian) Frants Yo-sef Hide-in

Franz Anton Hoffmeister - (Austrian) Frants Ahn-tahn Hoff-my-stir

Ludwig von Kochel - (German) Lude-vig von CUR-shell

Wolfgang Amadeus Mozart - (Austrian) Volf-gang Ah-ma-day-ous Moat-zart

Sergie Rachmaninov - (Russian) Sair-gay Rock-MA-nin-ov

Carl Phillip Stamitz - (German) karl phil-LEAP STAH-mitz

Peter Tchaikovsky - (Russian) Ch eye-KOV-ski

Jose White - (Cuban) Hoe-say White

40 | www.ums.org/education The Atlanta Symphony Orchestra What is an Orchestra? What is an Orchestra? Visit UMS Online Where does the word “orchestra” come from? www.ums.org/ The word “orchestra” comes from the Greek, and originally meant the place education where the Greek chorus sand and danced. Later it was applied to the stage itself. However, by the early 18th century the term was being applied to the musicians playing on stage.

Roots of the Orchestra The roots of the modern orchestra go back to the 16th century groups of instrumentalists the played in noble households, or for important events such as royal weddings and funerals. Not all of these early orchestras were composed of the same instruments; in France the preference was for string orchestras, while in Germany the preference was for orchestras of brass instruments. Through the history of classical music the orchestra has developed and grown. The various stages of this development can be analyzed in each of the Period of Music (Baroque, Classical, Romantic, and Modern).

Baroque Orchestra (1600-1750) In the Baroque Period of Music, orchestras were mostly found in the homes of great aristocrats and royal households that had the means to employ a full-time orchestra and composer. Actually, the only way that a composer could earn a living was to be employed as a servant by some wealth patron.

A feature of Baroque music was the basso continuo, or fi gured bass, and most music was written for strings and a harpsichord. The harpsichord shared the bass line with the cello but also added chords that helped to thicken the harmonic texture. These instruments made up the typical orchestra of the Baroque Period along with the oboe or fl ute occasionally. However, soon various composers would begin to use different instrument combinations.

In Italy, Claudio Monteverdi (1567-1643) was a composer who was employed by the rich Duke of Mantua. Monteverdi was able to use a orchestra of 40 instruments including strings, fl utes, cornetts (trumpets), and trombones for his opera Orfeo. This usage of both string and brass instruments in the same orchestra marked a new orchestral style was a trend soon adopted by other orchestras in northern Italy.

Due to the cost of paying a large orchestra to play, there were very few public orchestra concerts during the early 18th century as we know them today. There were a few sparse public concerts in France and England, but gradually as the standard of living rose, so did the middle class, and their ability and desire to hear music increased.

42 | www.ums.org/education Orchestras through the Ages Visit UMS Online Classical Orchestra (1750-1830) By the year 1775 the love of orchestral music had become so widespread that www.ums.org/ it was said that even “common servants” who pretended to know a lot about education orchestral music. Orchestral musicians and composers also began to be able to make large fortunes and a living making music, without having to tie themselves to any one court or church. Two of the fi rst truly independent composers were Wolfgang Amadeus Mozart (1756-1791) and Ludwig von Beethoven (1770-1827). This new independence began to affect the development of the orchestra and its repertoire.

Mozart wrote his early symphonies for the just instruments that he had available at the job to which he was tied, primarily strings, two oboes, and two horns. By 1782, however, he was independent and began writing for his ideal orchestra which included fl utes, clarinets, bassoons, trumpets and kettledrums. Soon, Joseph Haydn and Ludwig von Beethoven fi rmly established this new ideal orchestra that Mozart had begun. This became the core of the modern orchestra and by 1800 the average size of the orchestra had increased to 40 musicians.

During the Classical Period one of the fi rst consistent modern symphony orchestras was founded by Johann Stamitz (1717-1757) at the court of Duke Karl Theodor at Mannheim, Germany, in 1742. The orchestra consisted of 50 virtuoso players, making it the largest regular ensemble in Europe at the time.

By the end of the 18th century, concerts were being held frequently and all of the public (that could afford the high prices) was going to concerts to hear orchestras play new symphonies. The fi rst concerts were grouped in subscription series and thus by having all the money up-front before the subscriptions season started, the orchestra organizers were able to hire the fi nest performers they could afford.

Romantic Orchestra (1830-1910) By the 1850s, the orchestra was still increasing in size and by 1880 it was not unusual to see an ensemble of 100 or more instrumentalists. Composers were beginning to treat the orchestras as a homogeneous whole rather than as individual sections. Composers such as Richard Wagner (1813-1883) and Gustav Mahler (1860-1911) began writing large scale works for this newly enlarged orchestra. Mahler’s Eighth Symphony was written for a chorus of 500, 350 children’s voices, seven vocal soloists, and an enlarged orchestra...this piece was soon nicknamed “Symphony of a Thousand”.

These larger orchestras meant higher prices because more musicians were being paid and larger concert halls were being built to hold these orchestras. Because orchestras were no longer employed by royalty or nobles, rich music lovers became the primary supporters of orchestras and today much each orchestra’s funding comes from donations from concert-goers.

43 | www.ums.org/education Orchestras through the Ages Visit UMS Online Modern Orchestras (1830-Present) www.ums.org/ education Modern orchestras continue to grown and have new music written for them by composers willing to take on the challenge of writing a large scale work such as a symphony. The orchestral instruments used in the Romantic and Classical Periods are generally the same instruments used in the modern orchestra. Below is a diagram of how these various instruments are arranged and seated in an orchestra.

This seating sometimes varies in terms of the placement of the viola and cellos. Sometimes the cello are seating on the outside right, while other times and as shown below the viola are in that position. Some conductors like the cello as shown below because they believe this placement helps to project their sound better into the audience.

44 | www.ums.org/education The Sphinx Orchestra under the direction of Kay George Roberts in 2007.

Orchestral Instruments TitleStringed Instruments Visit UMS Online If you want to play an orchestral instrument here is some information about each in terms of what physical characteristics a person should have in order to play the www.ums.org/ instrument, advantages and disadvantages, and pictures. education Strings The string section consists of four main instruments: the violins, violas, cellos and double basses. In an orchestra, the violins are divided into two sections. The string instruments all share the same design. Four strings are stretched across a hollow, wooded body. More then 200 strands of horsehair are stretched tightly across a wooden stick to form the bow. Sound is produced in two ways: by drawing the bow across the strings, arco, and by plucking the strings with the players fingertips, pizzicato. When playing in a group, the individual sounds of the string instruments tend to blend together into a harmonious whole.

Violin Player Characteristics: Dexterity...they are often expected to play quite fast, Gracefulness Advantages: Deep variety of literature of solo/concerto literature Drawbacks: Finding a school orchestra in your community

Viola Player Characteristics: Large hands, long little finger Advantages: Valued by directors and conductors everywhere! Drawbacks: Limited repertoire, finding a school orchestra in your community

Cello Player Characteristics: Large hands Advantages: Valued by conductors and directors Drawbacks: It’s a big instrument to carry around and may be damaged

Double Bass Player Characteristics: Large hands Advantages: Versatile – played in orchestra, band, jazz band, pop music Drawback: It is a very big instrument and transportation can be tricky!

Violin

Violoncello

46 | www.ums.org/education Viola Double Bass Woodwind Instruments Woodwinds Visit UMS Online The modern orchestra’s wind section usually has two flutes, two oboes, two clarinet, and two bassoons to which are added a piccolo, English horn, contra www.ums.org/ bassoon and sometimes a bass clarinet. The designs of these instruments are education basically the same: a hollow tube along which there are a series of holes, covered by keys. This section is placed in the center of the orchestral layout as the instruments are frequently given many solo parts to play.

Flute Player Characteristics: Dexterity and endurance…they play high and fast most of the time Advantages: It’s a small instrument and they have a very large repertoire of music Drawbacks: There are usually too many!

Oboe Player Characteristics: Good lungs and breath control Advantages: Valued by conductors and directors Drawbacks: Requires skilled private instruction, especially to learn how to make reeds

Clarinet Player Characteristics: Average or thick fingers; dexterity Advantages: Many are needed Drawbacks: Bad for overbites

Bassoon Player Characteristics: Large hands Advantages: Highly valued by conductors and directors Drawbacks: Expensive and requires skilled private instruction

Clarinet

Bassoon

Oboe

Flute

47 | www.ums.org/education Brass Instruments Visit UMS Online Brass In the modern brass section we can usually find four horns, three trumpets, two www.ums.org/ trombones and a bass trombone, and a tuba. Sound is produced like the wind education instruments, through the vibration of air in the hollow metal tube. The timbre of brass instruments is unique, ranging from the brilliant fanfare of the trumpets to the bellows of the tuba. Players may also insert a mute which muffles the sound produced, or, if the player continues to attempt to force the sound out, creates a metallic, menacing tone.

Horn Player Characteristics: Thin lips Advantages: Valued by conductor and directors Drawbacks: Check with an orthodontist and it is a challenge to play

Trumpet Player Characteristics: Thin lips and dexterity Advantages: Heavily used in Jazz and Big Band music Drawbacks: Check with the orthodontist and can be hard on the lips

Trombone Player Characteristics: Longer arms, thicker lips Advantages: Valued by conductors and directors, used in jazz, too Drawbacks: Limited classical solo repertoire.

Tuba Player Characteristics: Thicker lips Advantages: Valued by directors Drawbacks: Big instrument and tricky to transport Trombone

Tuba

Trumpet Horn 48 | www.ums.org/education Percussion Instruments Percussion Visit UMS Online The percussion section has the greatest variety of instruments; it includes anything you can hit. In fact, anything which makes noise can possibly play a part as a www.ums.org/ percussion instrument. The Russian composer Tchaikovsky even used a cannon in education his 1812 Overture! Pitched instruments (marimba, vibraphone) can play melodies and are usually laid out like a piano keyboard and struck with mallets. Their timbres, too, range from the thunderous beat of the timpani to the delicate silvery tones of the celesta. The other percussion instruments, however, are restricted only to rhythms. But the wide range of available sounds can be manipulated in many ways to produce new, interesting blends of tones and colors.

The Percussion Family of Instruments

Xylophone Glockspiel

Tambourine Cymbals Timpani

Snare Drum Triangle Bass Drum

49 | www.ums.org/education Music Camps/Festivals Visit UMS Online The Sphinx Organization has formed valuable partnerships with various Summer Festivals and Musical Training Programs in order support the development of www.ums.org/ young Black and Latino musicians. While Sphinx participants received scholar- education ships to attend these festivals, anyone is able to apply. The application usually involves an audition CD or live audition.

Sphinx – Performance Academy at Walnut Hill The Sphinx Performance Academy at Walnut Hill School is an intensive chamber music/solo performance program designed for young Black and Latino string players, ages 12-17, in pursuit of consistent music education and advancement. This is a full-scholarship summer music camp, with no formal tuition/room and board expenses, offering lessons/coachings twice a week with faculty comprised of professional minority musicians from around the country. Students and faculty will also participate in performances, masterclasses and field trips. Participants are required to practice for three hours each day and attend all program events. For more information, please visit www.walnuthillarts.org.

Music Camps/Festivals From Around the Nation For more information on music camps around the United States, please refer to the following websites:

Aspen Music Festival - www.aspenmusicfestival.com Chautauqua Institution - www.chautauqua-inst.org Eastern Music Festival - www.easternmusicfestival.com ENCORE School for Strings - www.cim.edu/specProgEncore.php Greenwood Music Camp - www.greenwoodmusiccamp.org Interlochen Arts Academy - www.interlochen.org Kent/Blossom - http://dept.kent.edu/blossom Henry Mancini Institute - www.manciniinstitute.org Meadowmount - www.meadowmount.com National Orchestral Institute - www.music.umd.edu/noi/ National Symphony Orchestra - www.kennedy-center.org/nso/nsoed/smi Sewanee Summer Music Festival - http://sewaneetoday.sewanee.edu/ssmf Tanglewood Institute - www.bu.edu/cfa/music/tanglewood Youth Orchestra of the Americas - www.youthorchestraoftheamericas.org

50 | www.ums.org/education Student busily working during a UMS in-school visit. Lesson Plans Curriculum Connections Are you interested Introduction in more lesson The following lessons and activities offer suggestions intended to be used in plans? preparation for the Shpinx Competition Performance. These lessons are meant to be both fun and educational, and should be used to create anticipation for the Visit the Kennedy performance. Use them as a guide to further exploration of the art form. Teachers Center’s ArtsEdge may pick and choose from the cross-disciplinary activities and can coordinate with web site, the other subject area teachers. You may wish to use several activities, a single plan, or nation’s most pursue a single activity in greater depth, depending on your subject area, the skill comprehensive level or maturity of your students and the intended learner outcomes. source of arts-based lesson plans.

Learner Outcomes www.artsedge. kennedy-center. • Each student will develop a feeling of self-worth, pride in work, respect, org appreciation and understanding of other people and cultures, and a desire for learning now and in the future in a multicultural, gender-fair, and ability- sensitive environment.

• Each student will develop appropriately to that individual’s potential, skill in reading, writing, mathematics, speaking, listening, problem solving, and examining and utilizing information using multicultural, gender-fair and ability-sensitive materials. Visit UMS/ Education for past • Each student will become literate through the acquisition and use of lesson plans and knowledge appropriate to that individual’s potential, resource guides through a comprehensive, coordinated curriculum, including computer literacy in a multicultural, gender-fair, and ability-sensitive www.ums.org/ environment. Education

52 | www.ums.org/education Meeting Michigan StandardsTitle ARTS EDUCATION UMS can help you Standard 1: Performing All students will apply skills and knowledge to perform in the arts. meet Michigan’s Standard 2: Creating All students will apply skills and knowledge to create in the arts. Curricular Standard 3: Analyzing in Context All students will analyze, describe, and evaluate works of art. Standard 4: Arts in Context All students will understand, analyze and describe the arts in their Standards! historical, social, and cultural contexts. The activities in this ENGLISH LANGUAGE ARTS study guide, Standard 3: Meaning and Communication All students will focus on meaning and combined with the communication as they listen, speak, view, read, and write in personal, live performance, are social, occupational, and civic contexts. aligned with Michigan Standard 6: Voice All students will learn to communicate information accurately and effectively Standards and and demonstrate their expressive abilities by creating oral, written and visual texts that Benchmarks. enlighten and engage an audience. For a complete list of SOCIAL STUDIES Standards and Standard I-1: Time and Chronology All students will sequence chronologically eras of American Benchmarks, visit the history and key events within these eras in order to examine relationships and to explain Michigan Department cause and effect. Standard I-3: Analyzing and Interpreting the Past All students will reconstruct the past by of Education online: comparing interpretations written by others from a variety of perspectives and creating narratives from evidence. www.michigan.gov/ mde MATH Standard I-1: Patterns Students recognize similarities and generalize patterns, use patterns to create models and make predictions, describe the nature of patterns and relationships and construct representations of mathematical relationships.

CAREER & EMPLOYABILITY Standard 4: Problem Solving All students will make decisions and solve problems by specifying goals, identifying resources and constraints, generating alternatives, considering impacts, choosing appropriate alternatives, implementing plans of action and evaluating results. Standard 7: Teamwork All students will work cooperatively with people of diverse backgrounds and abilities, identify with the group’s goals and values, learn to exercise leadership, teach others new skills, serve clients or customers and contribute to a group process with ideas, suggestions and efforts.

53 | www.ums.org/education “Here’s One”Activity 54 |www.ums.org/education

Kelly Dylla Lesson Planby Grade Levels: 4-12 LESSONLESSON ONE ONE Cos om n aesuet on u hr hr s Choosea poem, andhavestudents pointoutwhere there is repeated repeated textormelodynewmeaning. alotinthesong orpiece When composersuserepetition, itisusuallynotrepeated exactly, butaltered togivethe Askstudentsformelodiestheyremember, • andifthatmelody is repetition • prevalent inpopmusic,where therefrain, ormainmelody, issungmanytimes. music- itisoftenthepartpeopleremember, orhumaftertheconcert.Repetition isvery Discusstopicsandthemesthatmightbepartofaspiritual Repetition isusedofteninmusictomakesure themainideaisunderstoodin apieceof Discussslaveryandtheemancipationofslaves Readagrade-appropriate spiritualstory. • Activity 2:MusicalRepetition • • activities: or anarrangementofsuchasong.Introduce spiritualsthrough someofthefollowing A spiritual(orNegro spiritual) wasasongcreated byAmericanslavesbefore emancipation, Activity 1:Introduce Negro Spirituals Materials Listenforhowothersinterpret aspiritual Create theirowninterpretation ofaspiritualtext Explore howrepetition isusedinspirituals • Curriculum Connections partoftextfrom Learn anegro spiritual • Investigatethenature ofnegro spirituals • • • In thisactivity, studentswill: Objective One” by William GrantStill:Instrumentonlyandwithvoice. One”byWilliam • Writing materials RSSADR CONTENT STANDARD Education 3:Arts AnalyzinginContext Education 4:Arts inContext Arts Education 2:Arts Creating ARTS STANDARD Tracks 1and2oftheincludedCDfortwodifferent versions of“Here’s • Communication English LanguageArts3:Meaningand Career andEmployability7: Teamwork preting thePast Social StudiesI-3:AnalyzingandInter- andChronology Social StudiesI-1:Time Math I-1:Patterns Activty 3: Repetition in “Here’s One”

As a class, read the text to “Here’s One” and fi nd places where the text is repeated. Then make choices as a class as to how to say the fi rst stanza of the text, using the list you created in Activity 2. (Example: First line softly, say ‘do’ louder than the other words, etc.) In groups, have students make choices for either just the second stanza, or the rest of the text. Have groups practice their versions, and share with the class.

Text to “Here’s One”:

Talk about a child That do love Jesus Here’s One, Here’s One

Talk about a child That do love Jesus Here’s One, Here’s One

In a satan’s snare, I once was fallen But I heard the voice of my lord callin’

Talk about a child That do love Jesus Here’s One

Activity 4: Listening for repetition in “Here’s One”

Listen to the vocal version of “Here’s One”

• First listen for the repetition. How does the music match the text? • Second, listen for changes in the repetition. How does the singer change the melody to deepen the meaning? (Louder, softer, slower?)

Listen to instrumental version of “Here’s One”

• How does the string quartet use repetition and changes in the repeated melodies without text? Is this more or less powerful than the vocal version?

Activity 5: Refl ection

• What were some moods that were part of this spiritual? Themes? • Why does it make sense that this piece is considered a spiritual? LESSON ONE

55 | www.ums.org/education TitleMelody, Rhythm and Tone Grade Levels: Objective K-5 To help students understand three of the elements of music: melody, tone, and rhythm.

Curriculum Connections ARTS STANDARD CONTENT STANDARD Arts Education 2: Creating Math I-1: Patterns

Materials Your voice or a musical instrument

Activity 1. Explain to the students that at different times, orchestral instruments perform one of three jobs: being the melody, providing the harmony, or setting the rhythm. The melody is the tune. The tone is the quality or color of the sound. The rhythm is the beat.

2. Ask the class to choose a common childhood song. We recommend simple tunes like Mary Had a Little Lamb or The Itsy Bitsy Spider.

3. First ask the class to sing the verse as a group. Remind them that this main tune is the melody; it’s the part of the song everyone knows best.

4. Now, ask students to hold their hands over their heart and to hear their heartbeat. It has a regular pattern or rhythm. Ask students to tap their desk at the same time they hear a heartbeat.

5. Next, ask them to sing the song again while they tap the rhythm on their desks. Melody and rhythm are working together.

LESSON ONE 6. Ask them to sing and tap again. This time, have them to sing it while pinching their nose. This has now produced a difference in tone.

7. Now take turns altering one of the elements. What happens if the melody changes? If the rhythm accelerates or slows down? How many different tones colors can you create?

8. Have the students split into groups and have them make-up their own music in which they choose a melody, decide the how fast the want the rhythm, and what kind of harmony they want to support the music.

9. When students listen to the music samples in the coming lessons, ask them to listen for which instruments are playing which roles. LESSON TWO

56 | www.ums.org/education Timbre of Orchestral Instruments Objective This lesson is designed to help students recognize instruments by sound and sight. Students should also not only recognize the instruments, but also to understand why Grade Levels: an individual instrument or voice has a specific timbre. K- 6 Curriculum Connections ARTS STANDARD CONTENT STANDARD Arts Education 2: Arts in Context Career & Employability 7: Teamwork

Materials Pictures of instruments (you can use those on pages 48-51), colored paper, markers, the Study Guide CD (Britten’s The Young Person’s Guide to the Orchestra, Tracks 8-27).

Introduction The timbre of each orchestral instrument is determined by various things: the materials used to build it, the size of the instrument, how it produces sound (by vibrating strings or a vibrating air stream). We know that vibrations in the air allow us to perceive the many different sounds we hear. Instruments may be grouped into four basic categories based upon the item or material that vibrates to produce a sound: aerophones, chordophone, idiophones, and membranophones.

Aerophone an instrument in which sound is produced from a vibrating air stream. Common aerophones include flute, clarinet, trumpet, and tuba.

Chordophone an instrument in which sound is produced by a stretched string that is struck, plucked, or bowed. Common chordophones include the violin, piano, and harp.

Idiophone an instrument in which sound is produced by the vibrations caused by striking, scraping, plucking, or rubbing either one portion of the instrument against another or another object against the instrument. Common idiophones include cymbals, marimba, bells and the triangle.

Membranophone an instrument in which sound is produced by the vibrations of a stretched membrane that is struck or rubbed. Common membranes include the drum and timpani. LESSON THREE

57 | www.ums.org/education Timbre, cont. Timbre, 58 |www.ums.org/education LESSON ONE the colorsthey heartoparticularinstruments intheorchestra. students describethechanging colors,instrumentsounds,andifpossible relate like thestudents’colorsoverlap inthecollagetocreate anewvision.Havethe colors orchestral instrumentsandhowtheycanoverlap tocreate anewsound,just Play Britten’s aclass,create a colorcollagemapoftheinstrumentsandfamilies orchestra. agroup, create acolorcollageof the instrumentsfrom yourfamily. As Placeadrawingoftheinstrumentonsheetpaperthatcolor. As Pickacolor thatbestconveysthemoodorfeelingofeachinstrument. 2. favoriteinstrument.Isitmellow, warm,bright, exotic,quiet,etc? family. Listasmanyadjectivespossibledescribingthetimbre oftheir Haveeachgroup memberpicktheir favoriteinstrumentfrom their discovered sofar. 1. presentation toteachtheclass abouttheirfamilyandwhatthey -identifythe different waystheinstrumentsproduce sounds Oncethegroups havedonetheirresearch havethemdoabrief -describehoweachisplayed -identifywhichisthehighestandlowestmemberoffamily -provide theirowndrawingsorphotosoftheinstruments -listwhatmaterialsare usedtobuildtheinstruments -provide descriptionsoftheinstrumentsintheirfamily Foreachgroup and/orinstrumentthestudentsmay: isanexcellentresource. Eachgroup shouldresearch theinstrumentsintheirfamily. TheInternet Dividetheclassintogroups torepresent thefamiliesofinstruments. 1. percussion. are fourfamiliesofinstruments intheorchestra: strings,woodwinds,brassand in thematerialsusedtobuilditandwaywhichproduces sound.There are dividedintosectionswecallfamilies.Eachinstrumentinafamilyissimilar At thispointexplainthebasicstructure ofasymphonyorchestra, theinstruments makeseachofthemdistinctive? Pickoneortwofavoritesingers,whatisitabouttheirvoiceswhich 4. onthetelephoneeventhoughwecannotseehimorher? Extendthediscussionbyaskinghowdoweknowvoiceofaperson 3. Isasmallgirl’s voicedifferent from atallman’s voice?Whyorwhynot? 2. Is shapeorsizeimportantindescribingthesoundofaperson’s voice? loud,soft,high,low, squeaky, rough, light,happy, etc. Create alistofadjectivesdescribingthesoundpeople’s voices,e.g., 1. Activity The Young Person’s Guidetothe Orchestra asanexampleofthetone Still vs. Coleridge-Taylor Objective Grade Levels: This activity encourages students to develope a more critical and discerning musical and 5-12 to help them understand differences in musical style.

Curriculum Connections ARTS STANDARD CONTENT STANDARD Arts Education 3: Analyzing in Context English Language Arts 6: Voice

Materials CD player, the Study Guide CD (Coleridge-Taylor’s “Danse Negre” from African Suite, Track 3; Still’s Symphony No. 1, Track 4).

Activity First, play the the fi rst movement of William Grant Still’s Symphony No. 1“Afro-American” without telling the students the composer’s identity, the name or date of the piece.

Next, play Samuel Coleridge-Taylor’s “Danse Négre” from African Suite, again without telling students composer information.

Now lead a discussion or have the students write a brief essay addressing some of the following questions (“answers to some of these questions are listed on the following page):

1. What is the mood of each piece? 2. Do either of the pieces make you want to dance? Why or why not? 3. Do any instruments stick out or have big solos? Which ones? 4. Can you hear blues/jazz infl uences in either of the pieces? What are they? 5. When do you think each of the pieces was written? 6. Does the music remind you of anything? What images do you associate with the music? 7. Where do you think the composers were born? 8. What makes the rhythm of each piece different? 9. What descriptive tempo marking would you give each piece? Fast and fl ashy, moderate and mild, slow and steady, etc. 10. How does each piece start? How does each piece end? 11. What are some of the themes of each piece? Can you sing/hum them? 12. Is the texture thick or thin? Are a lot of instruments playing a lot of different things or is everyone playing the same music together? 13. Do any of the themes (musical material) repeat of come back at the end? 14. How do the forms of each piece differ? How is the music arranged? Are the

big sections A-Fast, B-Slow, A-Fast OR A-Fast, B-Faster, A-Fast, C-Slow, LESSON FOUR A-Fast OR A-Slow, B-Faster, A-Slow, B-Faster, C-Fastest, etc?

Now, tell the class the name of each piece and composer, and that both composers are African-Americans born in the late 19th Century. Discuss these new points with the class.

59 | www.ums.org/education TitleStill vs. Coleridge-Taylor, cont. Answers to Teachers for select questions:

1. What is the mood of each piece? Danse Négre is bright/happy/jolly because of its upbeat tempo. The symphony is relaxed and free.

2. Do either of the pieces make you want to dance? The steadiness of the beat/tempo throughout Danse Negre makes the piece easy to move to, such as tapping your foot or swaying side to side.

3. Do any instruments stick out or have big solos? In Danse Négre, the fl ute/piccolo has solos throughout playing the main theme. In the Symphony the solo are traded back and forth between various instruments and usually a particular instrument’s sound is clearly recognizable. In the very beginning of the piece one hears the solo oboe.

4. Can you hear jazz/blues infl uences in either of the pieces? These infl uences tend to be evident in the symphony because of the swinging rhythm. Rather than the rhythm being very strict and stead like a March, it sways and swings, just like blues and jazz. The sound is also warm and smooth sounding, yet another characteristic of blues and jazz music.

7. Where do you think the composers were born? Still was born in Mississippi and Coleridge-Taylor was born in a suburb of London, Holborn.

8. What makes the rhythm of each piece different? The Danse Negre rhythms are straight forward, steady, and consistent. The symphony’s rhythms tend to have a blues infl ection. The rhythms glide from note to note and lilt.

9. What descriptive tempo marking would you give each piece? Danse - Quick and brilliant, Symphony - Moderate and mellow

LESSON ONE 10. How does each piece start/end? Danse Négre begins loudly with big chords played by the whole orchestra and ends with a swell on a long note by the whole orchestra leading to one fi nal quick note played again by the whole orchestra and lead by the bass drum. The Symphony begins and ends quietly. It opens with a smooth and relaxed sounding solo from the oboe, and ends with the string section all playing together, quietly fading out.

12. Is the texture thick or thin? In Danse Négre the texture is thick because many instruments are playing at the same time. In the symphony the texture is thinner because various instruments often play solos and not many instruments are playing different melodies at once.

13. Danse Négre is an ABA form...Fast-Slow-Fast, with the two A sections being almost the same.

60 | www.ums.org/education Musical StoryTitle Objective Grade Levels: In this activity, students will use their writing and listening skills to develop a story that 5-12 music will accompany.

Curriculum Connections ARTS STANDARD CONTENT STANDARD Arts Education 3: Analyzing in Context English Language Arts 6: Voice

Materials CD Player, the Study Guide CD (Coleridge-Taylor’s “Danse Négre”, Track 3)

Opening Discussion Music is written for many different occasions and purposes. One particular class of music is called programmatic music, which is music that was written with a specifi c story or program in mind. Sometimes the composers write their own story for the music, or write music for other peoples’ stories. Music that you hear in movies is a type of programmatic music. In this activity students will listen to a piece of music and then write a story that fi ts with what happens in the music. For instance if there is a big crashing sound, that could be someone falling down who was trying to dance.

Activity 1. Arrange the students into small-sized groups.

2. Have the class listen to Samuel Coleridge-Talyor’s “Danse Negre” from African Suite or another piece of music of your choice that does not have words.

3. Once they have hear the piece, each group will pick a recorder to write down what is said, a team moderator to manage the ideas that group members will present and presenter to tell the class the story.

4. Ask students to develop a story (with a title) that the music seems to tell, being as descriptive and detailed as possible. If they think the story is about a girl, what color is her dress. If the music is about a dance, where is the dance; is the room bright or dim; are the people in dress clothes or street clothes?

5. After each group has finished their story, have each presenter tell the group’s story to the class.

6. When each presenter has told their group’s story, listen to the musical piece again. LESSON FIVE Discussion/Follow-up What elements of the music infl uenced the students decisions about the content of the story? How did students make compromises to decide on a group story when each individual probably had different ideas about the what the music was “saying”?

61 | www.ums.org/education TitleStarting a Competition Grade Levels: Objective 6-12 Student will create their own competition, building organizational skills, creativity, and social awareness. Curriculum Connections ARTS STANDARD CONTENT STANDARD Arts Education 2: Creating Career & Employability 7: teamwork Career & Employability 4: Problem Solv- ing Materials None Opening Discussion Competition are begun for any combination of the following reasons: 1. To focus entrants practicing by giving them a solid goal to work towards, 2. To help entrants begin a professional careers with their talent/in their field. 3. To help entrants fund their careers or studies. 4. To recognize outstanding achievement 5. To provide the organization sponsoring the competition with exposure

In this activity students will create their own competition for any of the above reasons, making the competition as detailed and creative as possible. One great perspective to keep in mind when making a competition is that of someone who might enter. What would they want/need to know? What would attract them to the competition?

Activity 1. Have students divide into medium sized groups.

2. Direct each group to choose a Competition Manager to moderate the discussion, a student assigned as recorder take notes and write up the competition plan. LESSON ONE 3. Instruct students to develop a competition of their choice for any of the previously stated reasons and to include, but not limit their plan to, the following details: A. Purpose B. Date/Location C. Eligibility D. Prizes E. Procedure/Judging F. Requirement G. Application

4. Once each team has developed a competition plan, have the students present their competitions to each other and possibly have that competition in class, if practical. LESSON SIX Discussion/Follow-up How can competitions better an individual? What is the most important thing about participating in a competition? What makes a good competition? What kinds of competitions would the class be interested in participating in as individuals or as a class?

62 | www.ums.org/education The Vocabulary of MusicTitle

Allegro A fast tempo, typically the first or last movement of a sonata or symphony.

Andante A tempo between allegro (fast) and adagio (slow) usually considered “walking” speed.

Articulation Most often in music it refers to how musicians start a note or phrase. Musicians can articulate with the tongue or air, and the Articulation can be heavy or light, long or short. See Legato, Staccato

Baroque A music stylistic period that flourished in Europe from about 1600 to 1750. Famous Composers: J.S. Bach and G. Handel.

Chamber Instrumental (although sometimes vocal) music played by an ensemble of usually three to eight players, with one player per part.

Concerto A piece of music during which one player, the “soloist”, sits or stands at the front of the stage, playing the melody, while the rest of the orchestra accompanies him/her.

Conductor The person who directs a musical performance on the stage (usually with a baton) to help the players to play together and at the right time.

Continuo In Baroque music it is the bass part, played by a harpsichord or organ together with a cello, for instance.

Counterpoint Two, three, four or more melodies played at the same time. This term comes from the Latin contrapunctun meaning “against note.”

Dance Suite A musical pieces grouped together that are meant for dancing. Bach wrote six famous Cello Dance Suites.

Dynamics The loudness or softness of music. Forte means loud, while Piano means soft.

Fugue A music written for three or more musical lines, or voices. Each part or line is similar, but they enter at different times, creating counterpoint and a fugue.

Harmony The playing of two notes at the same time to produce a chord and the use of these chords throughout music to support the melody.

Kapellmeister The leader of a musical chapel, or the choir master, that was responsible for directing the choir, orchestra, and sometimes even writing the music for religious services.

Larghetto A little faster than largo (very slow).

63 | www.ums.org/education TitleThe Vocabulary of Music

Largo A very slow tempo.

Legato Smooth and connected articulation.

Measure A basic unit of musical time that contains a set number of beats; two, three or four. Just like a one foot can be divided into 12 inches, a piece of music can be divided into measures.

Melody It is the tune or main musical idea in a piece of music.

Moderato A moderate tempo, between Allegro (fast) and Andante (walking speed).

Modulation The raising or lowering of the general pitch during a musical composition.

Molto An Italian word used in music meaning “very”. Molto allgero means very fast.

Movement Large sections of a musical piece. A composer divides a piece into various movements and signals this by a major tempo change or by giving the new section a title.

Opera A drama, or play, that is sung and accompanied by orchestral instruments.

Overture An introductory movement to a musical work that usually sets the tone for the piece.

Phrases A section of a melodic line. In writing, if a melodic line is a paragraph, then a phrase is a sentence.

Pitch The highness or lowness of a sound. The flute has a high pitch, and the tuba has a low pitch.

Rhythm The pattern of movement in time; the grouping of sounds according to length and speed. The beat of your heart is a type of rhythm. With melody, harmony, and tone, rhythm is one of the four basic elements of music.

Serenade Originally, in the 18th century, it was a vocal or instrumental piece performed outdoors for a particular listener. Since the 18th century, the term is applied to lighter orchestral works.

Sonata A type of musical work meant to demonstrate the sound and technique of a particular instrument, usually with piano accompaniment.

64 | www.ums.org/education The Vocabulary of MusicTitle

Staccato A sharp or pointed articulation.

Symphony A piece of music for a large group of instruments, such as an orchestra, usually consisting of four movements. The word “symphony” is also used as a title for an orchestra that plays symphonies, for example, the Detroit Symphony Orchestra or the Sphinx Symphony.

Symphonic A type of music played by an orchestra in which the music is meant to tell a specific story, poem, or program.

Syncopation When stress or weight is given to an unexpected beat or syllable.

Tempo The speed of a musical piece or section. Tempo can be largo, moderato, andante, allegro, but sometimes composers will use just descrpitive words, such as gentle, calm, or excited.

Texture The easiest way to think of a music’s texture is to classify it into one of three categories: monophonic, music having one single melody with no accompaniment; homophonic, music having a single melody with supporting chords; polyphonic, music combining two or more melodies at the same time.

Theme The musical material on which part or all of a work is based and usually the term refers to the easily recognizable melody of a piece.

Timbre Usually thought of as the color or tone color. Each instrument has a distinctive or characteristic timbre. The timbre of a string instrument such as the violin is much different from the timbre of a brass instrument such as the trumpet.

Waltz A lively ballroom dance in which every measure has three beats.

65 | www.ums.org/education Music Vocabulary Word Search

joeyvlqyqslqrra dtqnjjagntihqbl wecofdduyoyepzo opohtgmhrtmkrri rmmpdaplheprcrv kupmcrrmltahaoa ireyrelerietths nttsttyadstremq hqisfhzatoesakp eltmuolrqcmcpjm bgicmlaknsphinx ydolemrotcudnoc gdngftclarineti xhrzrxdrofnasfh qotwhbjmfbasgbb

All of the words from the columns below can be found in the puzzle. These words relate to the Sphinx Competition. Look in all directions for the words!

ALLEGRO HARMONY SIERRA MODERATO RHYTHM SPHINX CONCERTO VIOLA DWORKIN SYMPHONY CLARINET GARETH ORCHESTRA TRUMPET COMPETITION CONDUCTOR MOZART LAUREATE MELODY STILL SANFORD Word Search Solution

Here are the answers to the word search:

ALLEGRO HARMONY SIERRA MODERATO RHYTHM SPHINX CONCERTO VIOLA DWORKIN SYMPHONY CLARINET GARETH ORCHESTRA TRUMPET COMPETITION CONDUCTOR MOZART LAUREATE MELODY STILL SANFORD

joeyvlqyqslqrra dtqnjjagntihqbl wecofdduyoyepzo opohtgmhrtmkrri rmmpdaplheprcrv kupmcrrmltahaoa ireyrelerietths nttsttyadstremq hqisfhzatoesakp eltmuolrqcmcpjm bgicmlaknsphinx ydolemrotcudnoc gdngftclarineti xhrzrxdrofnasfh qotwhbjmfbasgbb TitlePre and Post-Performance Ideas Visit UMS Online Quick and Fun Ideas to use with the Sphinx Organization and www.ums.org/ Competition. education 1. Working Together - Write “Sphinx Music Organization” on the board. Divide students into groups and assign a short period of time. Each group must work together to think of as many words as possible that can be spelled with the letters in the phrase on the board.

2. Scavenger Hunt - After reviewing some of the writings and activities in this guide, divide the students into groups. Ask each to come up with a list of at least three things their peers should listen and watch for at the performance (examples: cadenzas, etc.). Collect each group’s list and compile them into a single piece of paper. See how many you fi nd at the performance!

Pre-Performance Activities

1. Discussion/Writing Prompt - Aaron Dworkin works to promote and maintain positive opportunities for young Black and Latino strings players. What causes or issues do you see in your own life or in your community that you would like to continue or that you would like to improve? Why?

2. Discussion/Writing Prompt - Sphinx is trying to expose performers and musical audiences to music of Black and Latino composers. What is something that you could expose your classmates to that is new, exciting, or something that interests you?

3. Building an Ensemble - Divide students into groups. Ask one to start tapping a rhythm on his/her pant leg or desktop and ask the others to try to copy it. Ask each student in the group to take a turn as leader. What strategies do the “following” students use to keep up with the leader? Try this activity with movements!

4. Locating a Place - Sphinx Laureates give solo concerts across the country. Using an online or printed map, and the Laureate schedule earlier in the study give, to plot their trips. What is the total distance they will travel?

Post-Performance Activities

1. Discussion/Writing Prompt - If you could change one thing about the performance, what would it be?

2. Remembering the Performance - Who was your favorite soloist? Why? Did your favorite win? What would have told the judges to convince them to choose them as the winner?

68 | www.ums.org/education Still More Ideas... Title Share your 3. Newspaper Report - Imagine that you are a newspaper reporter who has been students’ work chosen to report on the Youth Performance of the Sphinx Competition. with UMS! Create a factual report of what you saw. Here are some tips to help you write an effective news story:

• Try to answer the famous “Five W” questions: We love to see who, what, when, where, why. how you connect

• Put the main ideas in the fi rst paragraph. your curriculum with UMS Youth 4. Essay Assignment - Ask students to create a comparison between a classical music concert and a pop music concert (seen live or on TV). Be creative; Performances. include in your discussion the music, clothing, lighting, audience, etc. See the inside 5. Recreating the Stage -Students can draw a seating chart of the stage with the back cover for orchestra, conductor, and soloist where they were during the performance. Have them draw from whatever perspective they saw the performance. The UMS’s contact can also choose just to draw a freeze frame of one of the composers gestures. information. 6. Ads - Prgram books are usually fi lled with sponsor’s advertisments for their businesses. The ads also will recognize the acheivement of the performers and/or organization. Have students design a catchy advertisment for their school addressing why it is a good school and making sure to say something about the performers.

A street scene from the movie Music of the Heart. More information on this film is located on page 72 of this Guide 69 | www.ums.org/education Sphinx President Aaron Dworkin (right) with 2001 Sphinx Laureate , Melissa White (left).

Resources UMS FIELD TRIP PERMISSION TitleSLIP Dear Parents and Guardians, We will be taking a field trip to see a University Musical Society (UMS) Youth Performance of the Sphinx Competition on Friday, January 25, from 12noon-1pm at Rackham Auditorium in Ann Arbor.

We will travel (please circle one) • by car • by school bus • by private bus • by foot Leaving school at approximately ______am and returning at approximately ______pm.

The UMS Youth Performance Series brings the world’s finest performers in music, dance, theater, opera, and world cultures to Ann Arbor. This performance features the Sphinx Competition Junior Division Finalist and the Sphinx Symphony Orchestra.

We (circle one) • need • do not need additional chaperones for this event. (See below to sign up as a chaperone.)

Please (circle one) • send • do not send lunch along with your child on this day.

If your child requires medication to be taken while we are on the trip, please contact us to make arrangements.

If you would like more information about this Youth Performance, please visit the Education section of www. ums.org/education. Copies of the Teacher Resource Guide for this performance are available for you to download.

If you have any questions, please don’t hesitate to call me at ______or send email to ______. Please return this form to the teacher no later than ______

Sincerely,

------

My son/daughter, ______, has permission to attend the UMS Youth Performance on Friday, January 25, 2008. I understand that transportation will be by ______. I am interested in chaperoning if needed (circle one). • yes • no

Parent/Guardian Signature______Date______

Relationship to student ______

Daytime phone number______

Emergency contact person______

Emergency contact phone number______Using the Recource CD The CD accompanying this Resource Guide includes pieces of classical music by European and Black composers. The songs are taken from a variety of sources. This Resource CD is for educational purposes only and should not be duplicated. Thank you.

Track 1 “Here’s One” by William Grant Still. Performed by Videmus on Works by WIl- liam Grant Still (1990). This track is to be used with Lesson Plan #1.

Track 2 “Here’s One” by William Grant Still. Performed by Alexa Still and Susan DeWitt on Still: Summerland (1994). This track is to be used with Lesson Plan #1.

Track 3 “Danse Négre” from African Suite by Samuel Coleridge-Taylor. Performed by Chicago Sinfonieeta and Paul Freeman on African Heritage Symphonic Series Volume I (2005). This track is to be used with Lesson Plan #4.

Track 4 “Symphony No. 1, ‘Afro-American’: I. Longing” by William Grant Still. Performed by ort Smith Symphony and John Jeter on Still: Afro-American Symphony (2005). This track is to be used with Lesson Plan #4.

Track 5 “Violin Concerto No. 4 in D Major- Allegro” by Chvalier J.J.O. de Meude- Monpas. Performed by Rachel Barton, Encore Chamber Orchestra and Daniel Hege on Violin Concertos by Black Composeres of the 18th and 19th Centuries (2005). This piece will be performed at the Sphinx Competition Honors Concert. For more information, please see page 38 of this Resource Guide.

Track 6 “Concerto in D Major, Op. 1 for Viola and Orchestra: I. Allegro” by Carl Phil- lip Stamitz. Performed by Prague Chamber Orchestra and Jitka Hosprová on Martinů/Stamitz/Lukáš (2006). This piece will be performed at the Sphinx Competition Honors Concert. For more information, please see page 38 of this Resource Guide.

Track 6 “Concerto in B Flat Major (1st Movement)” by Luigi Rodolfo Boccherini. Per- formed by Peter Reiner, Ludovit Kanata, and Cappella Istropolitana on Haydn, Boccherini: Cello Concertos (1989). This piece will be performed at the Sphinx Competition Honors Concert. For more information, please see page 39 of this Resource Guide.

Tracks 7-27 “Young Person’s Guide to the Orchestra ” by Benjamin Britten. Performed by Leonard Bernstein and the New York Philharmonic on Bernstien’s Century: Children’s Classics (1960). Each track demonstrations a different orchestral instrument and has a brief narration. This track is to be used with Lesson Plan #3.

72 | www.ums.org/education Related Videos of Interest Just as Aaron Dworkin created the Sphinx Music Organization, others have also Visit UMS Online been proactive in solving the problem of allowing young minority students in the U.S. to receive a culturally rounded education, such as in the movie, Music of the www.ums.org/ Heart a truly inspirational tale based on a true story. education

Music of the Heart Starring: Meryl Streep, Aidan Quinn, Angela Basset, Cloris Leachman Director: Wes Craven Release Date: October 29, 1999 Rating: PG

Synopsis Music of the Heart is based on the true story of Roberta Guaspari-Tzavaras and her passion for teaching. After Roberta’s husband leaves her for a family friend, making her a single mother of two young children. Following their separation, she vows to live by her own set of rules; she would not permit anyone to defi ne who she was or what she was capable of doing. So, Roberta and her children leave the security of her small hometown and move to East Harlem. When she bumps into an old friend, he tells her of a high school that is without a music teacher. She meets with principal and begins teaching violin to support her family. She didn’t have extensive experience to offer the school; she had her talent, her determination, and her violins. At fi rst, the kids, the parents, and the principal were skeptical. But, Roberta taught with such passion that it was infectious and soon her young violinists were manifesting incredible results - they were making beautiful, sophisticated music. The children proved to be dedicated, bright and disciplined young musicians. The music program she established at the school eventually spread to other schools and becomes a smashing success. Despite her success, after 10 years of teaching, the Board of Education eliminates her position due to budget cuts, Roberta fi ghts back and refuses to stop. She uses connections to get the injustice printed in the New York Times and a benefi t concert at Carnegie hall featuring such renown musicians as Itzhak Perlman, Isaac Stern, and Arnold Steinhardt, ensures the future and lasting success of the program. Roberta, however, decides to starts her own non-profi t organization to fund a violin program for three East Harlem public schools.

Meryl Streep playing the violin in Music of the Heart. Title Internet Resources Visit UMS Online Arts Resources

www.ums.org/ www.ums.org/education education The official website of UMS. Visit the Education section (www.ums.org/education) Visit UMS Online for study guides, information about community and family events and more infor- mation about the UMS Youth Education Program. www.ums.org/ education www.artsedge.kennedy-center.org The nation’s most comprehensive web site for arts education, including lesson plans, arts education news, grant information, etc.

Sphinx Organization and Classical Music

www.sphinxmusic.org This is the location of the official Sphinx Organization Website home page.

www.sphinxkids.org Created by the Sphinx Organization, this page has information on minority com- posers, music and orchestral instruments.

www.nyphilkids.org/ A wonderfully colorful and animated website that provides viewers with an oppor- tunity to learn about musical instruments, compose music, meet the orchestra members, and lots more!

www.pbs.org Offers program schedules and arts-related lesson suggestions based on the PBS catalog..

www.music.umich.edu/special_programs/youth/ Five ensembles, coached by University of Michigan School of Music Faculty, that expose students to great musical repertory and allow them to develop as musi- cians.

www.music.umich.edu/current_students/ccd/outreach_perf_arts/index.htm Outreach in the Performing Arts at the University of Michigan School of Music organizes performances by student musicians at schools, hospitals, and retirement centers. The program encourages education through community outreach.

Although UMS previewed each web site, we recommend that teachers check all web sites before introducing them to students, as content may have changed since this guide was published.

74 | www.ums.org/education

United Streaming- Articles

Violin http://streaming.discoveryeducation.com/search/assetDetail. cfm?guidAssetID=A4D6A019-706A-4116-8929-5DD4A3450A28

Violia http://streaming.discoveryeducation.com/search/assetDetail. cfm?guidAssetID=28CA4783-FB27-49C3-B90E-7821CB655ED7

Cello http://streaming.discoveryeducation.com/search/assetDetail. cfm?guidAssetID=4CE914AF-CFD6-40E1-931E-091EA4B567F5

African American Music http://streaming.discoveryeducation.com/search/assetDetail. cfm?guidAssetID=CB6CCE9F-9541-4068-A0B8-EC7E0DA155D8

Composer: Isaac Manuel Francisco Albeniz http://streaming.discoveryeducation.com/search/assetDetail. cfm?guidAssetID=CF45C358-9F21-4EB2-BD00-8416DD3C9A81

Orchestra http://streaming.discoveryeducation.com/search/assetDetail. cfm?guidAssetID=81AAE724-F700-4ADA-A777-FC9CA2F92D2A

Music http://streaming.discoveryeducation.com/search/assetDetail. cfm?guidAssetID=B9F3523C-F7B6-478F-A440-82E79AA25143

75 | www.ums.org/education TitleRecommended Reading Visit www.pbs.org for M is for Music more suggestions for By Kathleen Krull and Stacy Innerst books on music! Published September 2003 Grade Level: PreK-2, 3-5 Music, musicians, instruments, dances, and composers fill this magical musical ABC book.

Round Book: Rounds Kids Love to Sing By Margaret Read MacDonald and Winifred Jaeger Published August 1999 Grade Level: 3-5, 6-8 This book for all ages is a collection of eighty rounds, lyrics and music, about friendship, nature, giving thanks, music, silliness, and jokes.

New York Times Essential Library: Classical Music: A Critic’s Guide to the 100 Most Important Recordings By Allan Kozinn Published August 2004 Grade Level: 6-8, 9-12 Classical music fans, especially those interested in collecting special recordings, will find Kozinn’s guide a useful resource. The book gleans 100 recordings from 900 years of music, and as the author states in his preface, there are decades that could have yielded 100 entries. The text provides information about the pieces, composers, performers, performances, and the recording process.

Harlem Stomp! A Cultural History of the Harlem Renaissance By Laban Carrick Hill Published January 2004 Grade Level: 6-8 The Harlem Renaissance of the 1920s was a flourishing of African American culture. This lavishly illustrated book describes the social conditions that fostered the period and examines figures in art, music, literature, politics, and thought. Sidebars provide explanations of Harlem jive, jazz, artifacts, and more.

Beethoven’s Hair By Russell Martin Published October 2001 Grade Level: 9-12 In Beethoven’s Hair, Russell Martin has created a rich historical treasure hunt, an Indiana Jones-like tale of false leads, amazing breakthroughs, and incredible revelations. This unique and fascinating book is a moving testament to the power of music, the lure of relics, the heroism of the Resistance movement, and the brilliance of molecular science.

From Spirituals to Symphonies: African-American Women Composers and Their Music. By Helen Walker-Hill Published April 2007 Grade Level: 9-12 Piano scholar Walker-Hill presents an accessible, thoughtful, and humanist study of African American women composers who, for the most part, have been ignored by historians. Frankly examining race and gender issues and individual challenges, the author, who conducted interviews with many of the composers and their families, also discusses the music of each woman at length in appreciative, nontechnical language. Detailed works lists and an appendix enumerating other black women composers add reference value; opening and concluding overview chapters supply historical context and big- 76 | www.ums.org/education picture views. Community ResourcesTitle These groups and Ann Arbor Symphony organizations 527 E. Liberty, Suite 208B can help you to Ann Arbor, MI 48104 learn more about 734-994-4801 classical music and www.a2so.com its performance.

Arts League of Michigan 7700 Second Avenue 6th Floor Detroit, Mi 48202 [email protected] www.artsleague.com

Detroit Symphony Orchestra Max M. Fisher Music Center 3711 Woodward Avenue Detroit, Michigan 48201 Box Offi ce Phone: (313) 576-5111 www.detroitsymphony.org

Shar Music Company 2465 S Industrial Hwy Ann Arbor, MI 48104 (734) 665-7885

Sphinx Organization 400 Renaissance Center, Suite 2550 Detroit, MI 48243 (313) 877-9100 [email protected] www.sphinxmusic.org

University of Michigan School of Music, Theatre & Dance E.V. Moore Building 1100 Baits Dr. Ann Arbor, MI 48109-2085 (734) 764-0583 - General Information www.music.umich.edu/

University Musical Society University of Michigan Burton Memorial Tower 881 N. University Ann Arbor, MI 48109-1011 (734) 615-0122 [email protected] www.ums.org/education

77 | www.ums.org/education TitleRecommended Recordings Visit UMS Online Black and Latino Composers

www.ums.org/ education Black Composers Visit UMS Online African Heritage Symphonic Series, Volume 1. Music of Samuel Coleridge-Taylor, Fela Sowande, and William Grant Still. Chicago www.ums.org/ Sinfonietta, conducted by Paul Freeman. Cedille CDR 90000 055 (2000). education African Heritage Symphonic Series, Volume 2. Music of Roque Cordero, Adolphus Hailstork, Ulysses Kay, Hale Smith, and George Walker. Chicago Sinfonietta, conducted by Paul Freeman. Cedille CDR 90000 061 (2001).

African Heritage Symphonic Series, Volume 3. Music of Michael Abels, David Baker, William Banfield, and Coleridge-Taylor Perkinson. Chicago Sinfonietta, conducted by Paul Freeman. Cedille CDR 90000 066 (2002).

Violin Concertos by Black Composers of the 18th and 19th Centuries. Works by Chevalier de Meude-Monpas, Chevalier de Saint-Georges, Joseph White, Samuel Coleridge-Taylor. Rachel Barton, violin; Encore Chamber Orchestra. Cedille Records CDR 90000 035 (1997).

Coleridge Taylor, Samuel. Clarinet Quintet/Petite Suite / Ballade / Spirituals. Harold Wright, clarinet; Virginia Eskin, piano; The Hawthorne String Quartet. Koch International Koch 3-7056-2H1 (1992).

Kay, Ulyss. Six Dances for String Orchestra. American Orchestral Works by Still, Kay, Coolidge, Mason, Piston. Westphalian Symphony Orchestra, Paul Freeman, conductor. Vox Box CDX 5157 (1996).

Still, William Grant. Here’s One. Includes six pieces by Still performed by Zina Schiff, violin, and Cameron Grant, piano. Also includes music by Florence Price and others. 4-Tay, Inc. 4-TAY-CD-4005 (1997).

Kaleidoscope: Music by African-American Women. Includes works for violin and piano by Lettie Beckon Alston, Dorothy Rudd Moore, Irene Britton Smith, and Dolores White. Helen Walker-Hill, piano; and Gregory Walker, violin. Leonarda Productions, LE 339 (1995).

Latino Composers

Leon, Tania. PUEBLO MULATO. CRI 773 (1999).

The Complete Recordings of Joseph Joachim, Pablo de Sarasate, and EugeneYsaÿe. Various Performers. Pearl, #9851 (1993)

Piazzolla, Astor. Camerata Bariloche (Chamber Orchestra of Argentina) Tango. Dorian Recordings, DOR-90210 (1994).

Sierra, Roberto. Piezas Características. Various Performers. Composers Recordings Inc., 725 (1997).

Villa-Lobos, Heitor. Bachianas Brasileiras 1, 2, 5, & 9. Victoria de los Angeles, Fernand Benedetti. Emi Classical, CDM5669122 (1998).

White, Jose. Concerto for violin and orchestra. Columbia, M 33432 (1975). 78 | www.ums.org/education BibliographyTitle “Building Bridges”. Chamber Music America, August 2006. Visit UMS Online

“Carl Stamitz”. (Accessed 29 November 2006), education Copland, Aaron. What to Listen for in Music. McGraw-Hill, New York; 1939.

Oestreich, James R. “String Players Young, Gifted And Black”. The New York Times, 3 March 2002.

Dittersdorf, Karl Ditters von. Concerto No. 1 in E flat major for Double Bass and Orchestra. Frantisek Posta, Dvorak Chamber Orchestra, Frantisek Vajnar. Liner notes by Oldrich Pulkert. Supraphon compact disk 423 086-2.

“Guillermo Figueroa” Sphinx 2004 7th Annual Competition for Young Black and Latino string players Program Book. February 2004.

Grave, Margaret and Jay Lane. “Carl Ditters von Dittersdorf”. Grove Music Online, ed. L. Macy (Accessed 27 October 2004), http://www. grovemusic.com

How to choose a musical instrument for your child, (Accessed 27 October 2004), .

Johnson, Lawrence. “Competition Brings Classical Harmony”. The Detroit News, 17 February 2004.

Kuenning, Geoff. “Haydn: Cello Concerto”. Accessed 27 October 2004, .

MacHilis, Joseph and Kristen Forney. The Enjoyment of Music: An Introduction to Perspective Listening, 9th Edition. W.W. Norton & Company, City; 2003.

Mozart, Wolfgang Amadeus. Concerto No. 4, K.218, in D major. Jascha Heifetz, New- Symphony Orchestra of London, Sir Malcom Sargent. Liner notes by Harris Goldsmith. BMG Classics compact disk 423 -086-2.

Olsen, Dale and Daniel Sheehy, ed. The Garland Handbook of Latin American Music. New York : Garland Publications, 2000.

Randel, Don, ed. The New Harvard Dictionary of Music. Cambridge: Harvard UP, 1986.

Roberto Sierra Homepage. Accessed 27 October 2004, .

Riddles. The Music Corner, (Accessed 27 October 2004), .

“Sanford Allen” Sphinx 2004 7th Annual Competition for Young Black and Latino string players Program Book. February 2004.

Sherman, Robert and Philip Seldon. The Complete Idiot’s Guide to Classical Music. Alpha Books, New York; 1997.

79 | www.ums.org/education Community Resources continued... TitleBibliography Visit UMS Online Smith, Catherine Parsons. “William Grant Still”. Grove Music Online, ed. L. Macy www.ums.org/ (Accessed 27 October 2004), http://www.grovemusic.com education Smith, Gary. “Carl Philipp Stamiz”. (Accessed 29 November 2006), Visit UMS Online

www.ums.org/ Stryker, Mark. “Striking Harmony”. Detroit Free Press, 24 February 2003. education Sphinx Music Organization. ( Accessed 29 November 2006), .

Synopsis: Music of the Heart. Killer Movies, (Accessed 27 October 2004), .

Synopsis: Music of the Heart. Hollywood.com, (Accessed 27 October 2004), .

Thomason, Daniel. “The Viola d’amore and the Stamitz Family”. (Accessed on 29 November 2006),

Vega, Aurelio De La. “Jose White Lafitte”. Grove Music Online, ed. L. Macy (Accessed 27 October 2004), .

Wade-Matthews, Max and Wendy Thompson. The Encyclopedia of Music: Instruments of the Orchestra and the Great Composers. Anness Publishing, London; 2003.

80 | www.ums.org/education Finals PerformanceTitle Info Sphinx Finals Concert: Senior Division To purchase Sunday, January 27th at 2:00 p.m. tickets: Hosted by the Detroit Symphony at the Max M. Fisher Music Center Detroit, Michigan Online http://www.detroit- The top three finalists of the Senior Division will compete for placement accom- symphony.com/ panied by the Sphinx Symphony Orchestra. Tickets $12.00 and available online at The Max box office or call 313-576-5111. By Phone (313) 576-5111

Violinist Bryan Hernandez- Luch, 25, performs at Orchestra Hall with the Detroit Symphony Orchestra. The Manhattan School of Music student won the Senior Division of the Sphinx Competition. His prize: $10,000, and orchestra concert dates.

81 | www.ums.org/education Send Us Your Feedback! UMS wants to know what teachers and students think about this Youth Performance. We hope you’ll send us your thoughts, drawings, letters or reviews.

UMS Youth Education Program Burton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011 (734) 615-0122 phone • (734) 998-7526 fax • [email protected] www.ums.org/education