The Music Center's Study Guide to the Performing Arts

MUSIC

TRADITIONAL ARTISTIC PERCEPTION (AP) ® CLASSICAL CREATIVE EXPRESSION (CE) Artsource CONTEMPORARY HISTORICAL & CULTURAL CONTEXT (H/C) The Music Center’s Study Guide to the Performing Arts EXPERIMENTAL AESTHETIC VALUING (AV) MULTI-MEDIA CONNECT, RELATE & APPLY (CRA)

ENDURING FREEDOM & THE POWER THE HUMAN TRANSFORMATION VALUES OPPRESSION OF NATURE FAMILY

Title of Work: some kind of vehicle… skirting through a field of Short Ride in a Fast Machine meteors.”

Creators: Creative Process of the Artist or Culture: Composer: John Adams b. 1947 When a composer attempts to create an impression, or convey a specific idea, the challenge is to write Background Information: so that this idea or impression is adequately John Adams, an American composer, was born in expressed in terms of the music. The capabilities Worcester, Massachusetts. His boyhood was spent in and limitations of the various instruments must be Vermont and New Hampshire. He began clarinet recognized. The possible effects that can be created lessons with his father and later studied with a member by the interaction of the elements of music (i.e. of the Boston Symphony Orchestra. A short while after melody, rhythm, harmony, etc.) must be realized. earning his undergraduate and graduate degrees at Success is achieved when the listener can successfully Harvard, Adams moved to the West Coast. He became comprehend the musical message. Adams describes head of the composition department at the San Short Ride in a Fast Machine as a “bright, happy Francisco Conservatory, where he stayed for ten years. piece of music.” He has created a delightful, In 1978 he became ‘new music’ adviser for the San exciting and speedy musical trip. In minimalist Francisco Symphony, and later composer-in-residence. style, the composition contains much repetition; Adams is recognized as a minimalist composer, i.e. however, there is nothing in the least that could be achieving maximum effect with stringent use of labeled ‘boring’ about this piece. In fact, Adams harmonic and melodic organization, employing the states, “The piece is actually very difficult to play, simplest units of musical structure and using a great but quite a bit of fun.” Each section of the deal of repetition. He is also considered a modernist orchestra has interesting patterns of rhythm to among minimalists because he has pioneered new ideas. perform at a challenging tempo. It is indeed a About the Artwork: ‘Fast Machine.’ Adams calls Short Ride in a Fast Machine a fanfare for a California large symphony orchestra. Traditionally, fanfares were short tunes for trumpets, used as signals for ceremonies, military functions or hunting purposes. This composition expands the fanfare idea, while presenting the brasses in

a way that retains the original fanfare concept. When “I am thrilled to write for, composing the piece Adams had a mental image of and work with an orchestra. The sounds that they produce “moving through space at tremendous speeds, while in create a sense of excitement.” John Adams. Discussion Questions: Additional References: After the video has been viewed: • Short Ride in a Fast Machine by John Adams, Elektra- • How does the music create the following mental Nonesuch 9.79144.2. Available where music is sold. images: rapid motion, things flying past, new Sample Experiences: images never seen before, flashes of light, patches of darkness, color, other? LEVEL I • Which instrument maintains the basic beat * • Use homemade and/or classroom instruments and (pulse) throughout the piece? (wood block) vocal sounds to create classroom versions of Short Ride • At one point the clarinets and synthesizers play a in a Fast Machine. gurgling, bubbling sound the composer calls • Create Haiku to describe Short Ride in a Fast Machine. ‘noodling.’ What images came to mind when you • Short Ride in a Fast Machine is organized in three heard these sounds? parts. As a class, write a space adventure story with a • The composer describes this piece as a difficult begin-ning, middle and end to complement the musi- one to play. What do you think makes it difficult? calcomposition. • Is there a melody or theme in this piece? If so, LEVEL II when does it occur? • Sit in cooperative learning groups. Ask each group • At one point the lower pitched instruments play a member to suggest one word to describe Short Ride in a segment the composer humorously labeled ‘Elephant Fast Machine. When each person has made a contribution Dance.’ What did that part make you think of? ask each group to jointly create a short paragraph using Multidisciplinary Options: each of the contributed words. • Read a story or poem about a space ship. * • Use crayons or markers to illustrate the musical Compare either one with Short Ride in a Fast texture that Short Ride in a Fast Machine creates. Machine. Can you use any part of the music to • Discuss what the conductor needs to know before describe a portion of the story or poem? Can you conducting a particular piece of music and what kind of read a part of the story or poem that is similar to a information the conductor receives from the score. segment of the music? • Make a list of things a composer needs to know when • Fast rides have always been a human quest. The creating a piece of music. first American astronaut took a ‘short ride LEVEL III in a fast machine.’ Conduct research to collect • Compare creating a musical composition to creating information on that first ride into space. Illustrate a painting, sculpture, dance or play. What are the the account of the event. Make slide photos of the similarities? What are the differences? art work. Use Short Ride in a Fast Machine as • Create abstract paintings or drawings to depict the background music for showing the slide sequence. impressions created when listening to Short Ride in a Fast Machine. Audio-Visual Materials: • Conduct research to learn the differences and • Artsource® video excerpt: Short Ride in a Fast likenesses between a symphony orchestra and a concert Machine, performed by the Los Angeles band. Chart seating arrange- Philharmonic, conducted by David Alan Miller. ments foreach. Video directed by Peter Sellars; © 1990. Courtesy * • Use the jigsaw-cooperative of the Los Angeles Philharmonic Orchestra and the learning technique for Music Center of Los Angeles County. discussing the four families of • Score excerpt: Short Ride in a Fast Machine © the orchestra and the names 1986 by Hendon Music Inc., a Boosey & Hawkes of the instruments that Company. Reprinted by permission. Score is available populate each. from music stores. HPS 1150, Hendon Music Inc. 2 * Indicates sample lessons

MUSIC

A SOUND STORY TRANSFORMATION

LEVEL I Sample Lesson

INTRODUCTION:

A sound story is a musical composition which purposefully conjures images, feelings and visions of an event, idea, environment or tale in the minds of those who hear it.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Communicate a story idea using homemade and classroom instruments. (Artistic Perception and Creative Expression)

• Understand and perform various rhythm patterns in direct relationship to a steady beat. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• A collection of homemade and classroom rhythm instruments.

• Artsource® video of Short Ride in a Fast Machine or an audio recording of the music.

PROGRESSION:

Preparation - Arrange the homemade and classroom instruments according to the manner in which their sounds are produced, i.e. tapping, shaking, scraping. Place them so that they can be easily seen by the students.

• As an introduction to viewing and listening to Short Ride in a Fast Machine, remind the students that the composer had to communicate his ideas without using words. (Refer to “Discussions Questions” on page 2 as an aid to listening.)

• Ask the students to listen to the music again, and think of single words that come to mind as they listen.

• At the conclusion of the recording ask the students to share the words that came to mind as they listened. Write their answers on the chalkboard, or a chart.

• Tell the students that some of the words they suggested may help them compose an original sound story about a very fast ride. In their sound story they will use their homemade and 3 classroom instruments instead of words, just as John Adams used instruments of the orchestra for Short Ride in a Fast Machine.

• Remind the students that sound stories, like written or spoken stories, should have a beginning, middle and end.

• Solicit ideas for the theme of the sound story. Outline the ideas on a chart or the chalkboard.

• When the story outline is completed have the class begin to substitute instrumental sounds to re-create their story in sound. Remind them that in Short Ride in a Fast Machine the steady beat, played by the woodblock was like the ‘glue’ that held the entire piece together. Give them ample time to consider a number of ideas by trying out different instrumental sounds.

• Begin by using a steady beat, then having the students try different rhythm patterns, played along with the steady beat. Decide which instruments will play faster rhythms, slower rhythms, even rhythms, or uneven rhythms. Determine when each instrument will begin to play, and for how long. Decide when the sound story will get louder, or softer. Will there be times when everyone plays slower, or faster?

• Discuss the necessity for using a score. Will you use original notation, or standard notation?

• Decide whether you will need a conductor. Who will use the score, all of the players, or just the conductor? How will the players know when to play? Who will set the tempo of the steady beat? How will everyone keep together? How will the players know when to play faster, slower, louder, or softer? Decide on the signals . • When the story is completed give it a title. Practice performing the sound story, then invite another class to a performance. As an incentive to listening, don’t reveal the title. Ask the visiting class to decide what the sound story is about. After the performance, listen to their ideas. Share the title at the end of the activity.

EXTENSION:

• Create a different sound story, this time add vocal sounds to the instrumental sounds.

VOCABULARY: Conductor, Notation, Score, SteadyBeat, Tempo

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe your impressions of Short Ride in a Fast Machine.

DISCUSS: Discuss the sound story created by the class. Identify the parts that were strong and effective and the aspects that need refinement or reworking.

MUSIC

WEAVING MUSICAL SOUND ENDURING VALUES

LEVEL II Sample Lesson

INTRODUCTION:

Composer John Adams has created intricate and changing musical textures in Short Ride in a Fast Machine. Although the piece is primarily rhythmic, it is also enriched with a few melodic lines to create a marvelous tapes- try of exciting musical sounds.

The following lesson is designed to help students understand texture in music, and to better understand the intricate texture created by the many rhythmic and melodic lines in Short Ride in a Fast Machine. “Much like woven fabric, music consists of horizontal (‘woof’) and vertical (‘warp’) elements.” *

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Distinguish between several textures in selected compositions. (Artistic Perception)

• Graphically illustrate musical texture in selected compositions. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® video of Short Ride in a Fast Machine (Listen to before lesson and use “Discussion Questions” on page 2.

• Autoharp (optional), songbells and/or resonator bells, rhythm instruments, drawing paper, crayons or colored markers, familiar folk song with simple chordal structure.

PROGRESSION: (Consists of several instructional segments.)

PREPARATORY LESSON

• Have the children sing a familiar folk song in unison, without accompaniment. After singing the song, draw a wavy horizontal line on a chart or chalkboard to depict ‘melody sung alone.’

Example:

• Repeat the song. This time add chordal accompaniment, using an instrument such as resonator bells, autoharp, piano or electronic keyboard. 5 • Discuss the difference in musical sound created by adding the accompaniment. Draw the short, ‘triple-decker’ lines under the melody line to depict the addition of chordal accompaniment.

Call attention to the horizontal (‘woof’) and vertical (‘warp’) texture that has been created. Explain that the texture of musical sound has become a little thicker with the addition of accompaniment.

• Present another familiar song in the same manner. Ask student volunteers to illustrate the two textures. Have the entire class label each performance, as to texture (thinner/thicker).

• To either of the songs add rhythm accompaniments, one at a time. (Use rhythm instruments and/or body sounds.) Ask student volunteers to illustrate each addition. Use blank notation, or create original symbols.

• Discuss how the texture is becoming thicker and thicker.

• Add an ostinato, or countermelody to the same song. Have students illustrate this addition.

• Repeat the activity as necessary. Recorded examples can be found in the State Adopted Music Texts. Refer to ‘texture.’ LESSON

(Have drawing paper and crayons or colored markers distributed to students.)

• Review what the students have learned about texture in music.

• Re-introduce Short Ride in a Fast Machine, explaining that they will listen, this time, for the musical texture.

• Play a short excerpt. Have the class decide whether the texture is thick or thin.

• Discuss the variety of lines, or patterns and different colors they might employ to illustrate the different sounds. Have a few volunteers draw examples. (wavy, jagged, swirly, crooked, disjointed, squiggly, etc.) Remind students that the illustrations will show the vertical and horizontal aspects of the music.

• Play the entire piece and let the students create their original illustrations of musical texture.

VOCABULARY: accompaniment, chord/chordal, countermelody, ostinato, texture

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Give descriptions of what you heard and how texture was created.

* Apel, Will. The Harvard Dictionary of Music. Harvard Univ. Press, Cambridge, Mass: 1972 6

MUSIC

THE FAMILIES OF THE ORCHESTRA ENDURING VALUES

LEVEL III Sample Lesson

INTRODUCTION:

In Short Ride in a Fast Machine John Adams has composed for a large symphony orchestra. Each section of the orchestra and the instruments within each section perform interesting and varied parts. Knowledge about the tone colors, ranges, and capabilities of each instrument enabled the composer to write in a way that effectively communicated his ideas.

This lesson is designed to inform students about the four basic sections, or families of the orchestra, their general characteristics, the manner in which their sounds are produced, and the individual characteristics, appearance, and sounds produced by each instrument within these families. On subsequent listenings to Short Ride in a Fast Machine, the informed students should be able to listen on another level.

OBJECTIVES: (Student Outcomes)

Students will be able to:

• Identify by ear and/or eye the four families of an orchestra and the instruments within each family. (Artistic Perception)

• Determine how instruments are used in Short Ride in a Fast Machine. (Artistic Perception)

• Describe, discuss, analyze and connect information and experiences based on this lesson. Refer to Assessment at the end of this lesson. (Aesthetic Valuing)

MATERIALS:

• Artsource® video of Short Ride in a Fast Machine, posters, photographs and illustrations of instruments of the orchestra, written information about instruments of the orchestra, paper and pencil, recordings of individual instruments of the orchestra.

• Sources: State Adopted textbooks and recordings and reference books (see Addendum).

PROGRESSION: (This lesson may be divided into more than one instructional segment.)

Note: In this lesson the ‘Jigsaw Cooperative Learning Technique’ will be used.

View the video, Short Ride in a Fast Machine. Review the “Discussion Questions” on page 2. Ask the 7 students to identify the instruments that are familiar to them. Explain that the next activity will help them to learn more about the instruments of the orchestra.

• Divide the class into teams of four. Assign each team member a different number from 1 to 4.

• Explain that each person in the team is going to receive different information about the four families of the orchestra. After they become ‘experts’ in learning their special information, they will share their ‘expertise’ with their team members. Later they will determine how well informed each team has become.

• Ask the students with like numbers to group together. You will have four groups. ‘Ones,’ ‘Twos,’ ‘Threes,’ and ‘Fours.’

• Distribute the written information and pictures of instruments as follows: Ones - Strings, Twos - Woodwinds, Threes - Brasses, Fours - Percussion.

• If a Listening Post is available, provide listening times for each group to hear each instrumental tone color in the instrumental family they are studying.

• Ask the students to read the material, examine the pictures of the instruments and reach consensus on the important aspects of each. Encourage them to take notes in order to return to their teams with comprehensive information. (Allow ample time for this activity.)

• Disperse the numbered groups to their original teams.

• Each ‘expert’ reports to team members in numbered order.

• Conduct a question and answer session in order for team members to reinforce the information received. Allow the teams to request another Jigsaw session, if they feel it is necessary.

• Set aside short periods of time for the class to listen to recordings of the instrumental tone colors of each instrumental group.

• View the video of Short Ride in a Fast Machine once again.

•Conduct a class discussion on how the information that was acquired about the instruments of the orchestra assisted them in listening to the music on a new level.

EXTENSION:

• Conduct a subsequent listening lesson on a different composition written by John Adams. Ask them to be especially alert to discover how he employs the instruments, rhythms and melodies. Discuss findings.

VOCABULARY: jig-saw cooperative learning, brasses, instrumental families, orchestra, strings, percussion, woodwinds.

ASSESSMENT: (Aesthetic Valuing)

DESCRIBE: Describe the main characteristics of the instrument family you worked with.

DISCUSS: Discuss the main differences between the four instrument families.

ANALYZE: Discuss the music and how you felt about it when you first listened and how you felt when you became more familiar with the sounds.

CONNECT: Discuss experiences you have had where you felt differently about something after you gained more experience, knowledge and exposure.

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Introduction

ARTSOURCE®: THE MUSIC CENTER’S STUDY GUIDE TO THE PERFORMING ARTS

Artsource® highlights works of art and artists of stature from diverse cultures. It represents early to contemporary art forms in the disciplines of dance, music and theatre and complements the programs and performances of the Music Center’s resident companies and artist roster.

The arts are ancient, enduring and universal forms of communication. Artists present their perceptions, reflections, and points of view which influence, and are influenced by, the culture and period of time in which they exist. Artsource ® Contributors

Project Director Melinda Williams

Project Coordinator Susan Cambigue-Tracey

Writers: Dance Susan Cambigue-Tracey Diana Cummins, Carole Valleskey, Madeleine Dahm, Deborah Greenfield, Barbara Leonard, Melinda Williams

Music Rosemarie Cook-Glover Ed Barguiarena, Susan Cambigue-Tracey, Barbara Leonard, Connie Hood, Annette Simons, Marilyn Wulliger, Diana Zaslove, John Zeretzke

Theatre Barbara Leonard Kathryn Johnson

Technical Production donated by Paul Tracey

Layout and Logo* Design Maureen Erbe Design *Received the LULU AWARD for excellence in graphic design and advertising, sponsored by the Los Angeles Advertising Women (LAAW) Additional Artwork & Artsource® Logo Graphic H. P. Law & Partners

The Music Center of Los Angeles County wishes to thank the artists featured in this publication for their outstanding artistry and their generosity in allowing us to share their creative spirit in the classroom. Sincere appreciation is also extended to the members of the Center’s Board of Directors and Education Council for their guidance in developing these resource materials, Music Center volunteers for their help in organizing, proofing and editing Artsource® units; the professionals who provided field review; and the dedicated teachers who tested the Artsource® units in their classrooms.

Mark Slavkin Vice President for Education Melinda Williams Director of Education