Education & Music Appreciation Packet

Lake Charles ~SYMPHONY~

Local Performance: Sunday, October 18, 2015 3:00pm Rosa Hart Theatre / Lake Charles Civic Center

Name: ______

Lake Charles Symphony Concert Season 2015-2016

Sunday, October 18 3:00pm Essay No. 1 Samuel Barber Piano Concerto in A minor Edvard Greig -featuring Ryo Kaneko, piano~

The Golden Spinning Wheel Antonin Dvorak

Ryo Kaneko’s first exposure to music lessons in his native Japan was at the age of two in a Yamaha Music Program. Since that time, he has been a student of Dr. Marjorie Lee in Washington, DC for 9 years, and he is currently a student of Dr. Robert Roux at Shepherd School of Music, Rice University in Houston, Texas. His impressive list of credentials includes solo performances at Manhattan’s Steinway Hall, George Mason University’s Performing Arts Center Young Artists Series, the Kennedy Center Millennium Stage, the Rising Star Concerts at The Alden, JoAnn Rose Gallery, New World Center in Miami, Harris Theater, and the McKenna and Studley Theatres in New Paltz, New York. In 2014, he won top prizes in the Rice University Piano Competition and in the Jacob Flier International Piano Competition, as well as first place in the Miami Summer Music Festival. Most recently in 2015, he was awarded first place in the Jacob Flier International Piano Competition. He has been the soloist for the Beethoven Piano Concerto No.3 with the Capital City Orchestra in 2012, the Liszt Piano Concerto No.1 with the Miami Summer Music Festival Orchestra in 2014, and in the Rachmaninoff Piano Concerto No. 1 with the Hudson Valley Symphony Orchestra under the baton of the internationally acclaimed maestro Vladimir Feltsman. Kaneko has participated in numerous summer music festivals such as Piano Texas, Bowdoin International Music Festival, Academie Boulanger in Gargenville, France and finally in PianoSummer at New Paltz, directed by Vladimir Feltsman. His current mentor, Dr. Robert Roux, has praised him as a young artist with “prodigious technique, fire-eating virtuosity, and compelling, soulful musicality.” 2

Samuel Barber 1910-1981

 American 20th century composer born in 1910 in West Chester, Pennsylvania  Started studying piano at age 6 and began composing at age 7  Barber had an aunt who was a singer at the New York Metropolitan Opera and an uncle who composed art songs  At age 14, he began studying at the Curtis Institute of Music  Composed opera, choral pieces, orchestral pieces and piano music  Won 2 Pulitzer Prizes for music composition  Was good friends with fellow composer, Menotti  Most known for his Adagio for Strings, which is used often in movie soundtracks  Much of his music uses literary terms to express the form

Essay #1

 Essay #1 is an orchestral piece written in 1 movement  First premiered on a 1938 radio broadcast by the NBC Orchestra  Barber’s Adagio for Strings was premiered on the same broadcast  It was written during a time when Modernism was used in most new compositions, but this work is written in a neo-romantic style (a “new” form of music like that written during the Romantic Period)  Although the piece is not programmatic (telling a story), it does follow a strong structure (like writing an essay)  Barber used artistic harmonies in the work by stretching or extending the harmonies to create dissonance  It exhibits strong rhythmic content

Samuel Barber CROSSWORD PUZZLE

Edvard Grieg 1843-1907  Grieg was a Romantic Period composer from Norway born in 1843  Started playing the piano at age 6  At 16, he began studying piano and composition at the Leipzig Conservatory  Grieg was a concert pianist  He often used Norwegian folk music in his compositions  When a composer uses the folk music of his home country in his compositions, that is called writing “Nationalistic” music…because it represents the music of the composer’s home nation  Well known for the music he composed for the play “Peer Gynt” by Ibsen  “In the Hall of the Mountain King is a very famous piece from “Peer Gynt”  He composed the Piano Concerto in 1868  Grieg died in 1907 after a long illness Piano Concerto in A-minor  The Piano Concerto in A minor was the only piano concerto Grieg composed  It was written while on holiday in Denmark with his family in 1868  While visiting the composer Liszt, Grieg allowed Liszt to see the concerto, who liked the concerto very much  Liszt even gave Grieg some advise as to how to orchestrate the concerto  The piano concerto is one of Grieg’s most famous works  The work is written in 3 movements  Musicologists feel that it was influenced by Robert Schumann’s piano concerto which he had heard, Clara Schumann perform while he was studying in Leipzig  The intervals of the opening line of music are typical of Norwegian folk music  It was the first piano concerto to ever be recorded and is often used in movie soundtracks  Grieg was 24 when he wrote the Piano Concerto

Grieg Piano Concerto The Piano Concerto in A Minor by Edvard Grieg was a composition of many firsts. It was his first and ONLY piano concerto to compose and it was the first piano concerto to ever be recorded!! But before you can record a piece of music, you must first know how to play it. Use the color coded notes below to discover the notes of the keyboard.

C D E F G A B C D E F G A B

Grieg Piano Concerto

 Use these answer “keys” on the previous page to name & color the keyboard keys below. A = INDIGO B =VIOLET C = RED D = ORANGE E = YELLOW F = GREEN G = BLUE

Anton Dvorak 1841-1904  Anton Dvorak was born in a small village in Bohemia, now known as the Czech Republic.  He was 1 of 7 children.  He began to study music at the age of 6.  When he was older, he studied music in Prague.  He became an accomplished violinist & violist.  He played viola for the Bohemian Provisional Theater Orchestra but had to begin teaching to raise funds.  While he was teaching he fell in love with a student. It was for this student that he composed the song cycle Cypress Trees.  He finally quit teaching so that he could spend more time composing music.  In 1892 he moved to the United States of America so that he could head the National Conservatory of Music in New York.  Dvorak died in 1904. The Golden Spinning Wheel  The Golden Spinning Wheel is an orchestral work written and premiered in 1896.  This work is a symphonic tone poem, which means that is it a piece of music for the orchestra that has the same purpose as a poem…to tell a story. This is called “programmatic.”  This piece was based on a poem found in the “Kytice,” a book of folk-ballads by Erben.  As this is a programmatic piece, it tells a story…and here is the story it tells: “Once upon a time, there was a king riding through the forest. He saw and immediately fell in love with a beautiful young girl named, Donicka. Donicka lived with her step-mother and step-sister. The king requested that the step-mother bring Donicka to the castle so that he could marry her. The step-mother said yes and the king left. As the step-mother and the step-sister were bringing her to the castle, they became jealous and killed her. When they got to the castle, the step-sister pretended to be Donicka so that she could marry the king. After the wedding, the king had to leave to go into battle…never knowing that it was not Donicka that he had married. Back in the forest, a magician found the remains of Donicka and decided to bring her back to life. He sent a servant to the castle to tell the step-sister that he would give her a magic golden spinning wheel in exchange for her feet, hands and eyes. These were the things the magician needed to bring Donicka back to life. The step-sister accepted the offer, not knowing that the spinning wheel was enchanted. The magician brought Donicka back to life. Upon the king’s return from battle, the enchanted spinning wheel told the king everything that had happened and that the magician and Donicka were waiting for him in the forest. He went into the forest and found his beloved Donicka. And they lived…..happily ever after.” 8

Anton Dvorak The Golden Spinning Wheel Activity

Dvorak’s orchestral work, The Golden Spinning Wheel was written to tell the story of the folk tale mentioned above. If you were a composer, what folk tale would you use as inspiration for your orchestral composition? Use the lines below to tell your story, then use the checklist on the next page to describe the music you would write.

______

The Golden Spinning Wheel Activity (Grades 6-12) A person who writes the music we listen to is called a composer. When a composer sits down to write or compose a piece of music, they have many decisions to make: For whom am I going to write this music? What sounds do I want to use? Is it a vocal piece or an instrumental piece? Will it tell a story like the GOLDEN SPINNING WHEEL does? Is there a particular mood or emotion you would like to express to your listeners?

Use the explanations below to help you discover what YOUR MUSIC would sound like if YOU were a composer.

 The LOUDS and SOFTS of music are called DYNAMICS. Below are the DYNAMICS used in orchestral music:

Marking: pp p mp mf f ff Sound: very soft soft medium soft medium loud loud very loud Name: pianissimo piano mezzo piano mezzo forte forte fortissimo

 TEMPO is how FAST or SLOW a piece is. Below are some of the TEMPO MARKINGS used in orchestral music: Larghissimo – very, very slow Grave – slow and solemn Lento – slowly Largo – broadly Larghetto – rather broadly Adagio – slow and stately Adagietto – rather slow Andante moderato – a bit slower than andante SLOWER Andante – at a walking pace Andantino – slightly faster than andante Marcia moderato – moderately marching FASTER Moderato – moderately Allegretto – moderately fast Allegro – fast, quickly and bright

Vivace – lively and fast Vivacissimo – very fast and lively Allegrissimo – very fast Presto – extremely fast Prestissimo – even faster than Presto Terms for tempo change: Ritardando – gradually slowing down Accelerando – gradually accelerating

 RHYTHM refers to how long or short the notes of the piece of music sound. Below is a listing of notes and the RHYTHMIC VALUE (how many beats each note is worth per measure or group of notes):

 TIMBRE is the difference in sound between 2 equal sounds. For example, it is the difference in the sound of a guitar and the sound of a violin playing the same pitch at the same dynamic level. This difference is based on the amount the sound resonates, the richness of the tone, the overtones created by the pitch and other factors. Different sounds can create different experiences for the listener. Below are some of the describing words referencing the timbre of the music:  Reedy  Mellow  Brassy  Resonant  Clear  Dark or Bright  Focussed or unfocussed  Heavy or Light  Breathy  Flat  Rounded  Having much, little, or no vibrato (a  Piercing controlled wavering in the sound)  Strident  A narrow or wide, or slow or fast,  Harsh vibrato  Warm

 VOICING & INSTRUMENTATION: For an orchestral piece, a composer would use the different instrument families to create differing timbre. Please refer to pp. 6-10 of this packet to view the different instrument families. The vocal categories are:  Soprano – higher lady’s voice range  Mezzo Soprano – mid-ranged lady’s voice range  Alto – lower lady’s voice range  Tenor – higher man’s voice range  Baritone – mid-ranged man’s voice range  Bass – lower man’s voice range

 The TEXTURE of music refers to how the different sounds come together as in the number of melodic lines, harmony, and if the sound is legato-smooth or staccato-jerky. Below are some examples of different types of textures: Style Description

Monophonic Single line or part of music Biphonic 2 lines or parts of music that are different Polyphonic Many parts or lines of music that are different Homophonic Many different lines of music that all have the same rhythm

 PROGRAMMATIC MUSIC usually tells a story or represents a certain idea. This type of expressive music has always been in existence but the name was not given to it until the late Romantic Period. A single-movement orchestral piece of programmatic music is called a TONE POEM.

“I AM THE COMPOSER” ACTIVITY (Grades 6-12) 1. Circle the DYNAMICS you would use in YOUR composition: Marking: pp p mp mf f ff Sound: very soft soft medium soft medium loud loud very loud Name: pianissimo piano mezzo piano mezzo forte forte fortissimo

2. Would the PITCHES used in your composition be HIGH or LOW? Why? ______

3. What would be the TEMPO of your composition? ______

4. Highlight which types of RHYTHMS would you use in your composition.

5. Pick some of the words listed on p. 12 to describe the TIMBRE of your music. ______

6. What instruments or voices would you use in your composition? ______

7. Which of the TEXTURES below would you use in your composition? MONOPHONIC POLYPHONIC BIPHONIC HOMOPHONIC

8. If your composition would be PROGRAMMATIC, what is the story or idea you would like you composition to express? ______

The Golden Spinning Wheel (Grades PK-5) A person who writes the music we listen to is called a composer. Composers spend a lot of time in school learning how to do this. When a composer sits down to write or compose a piece of music, they have many decisions to make: For whom am I going to write this music? What sounds do I want to use? Is it a vocal piece or an instrumental piece? Will it tell a story like the GOLDEN SPINNING WHEEL does? Is there a particular mood or emotion you would like to express to your listeners?

Use the explanations and examples below to help you discover what YOUR MUSIC would sound like if YOU were a composer.

 The LOUDS and SOFTS of music are called DYNAMICS. Below are the DYNAMICS used in orchestral music:

Marking: pp p mp mf f ff Sound: very soft soft medium soft medium loud loud very loud Name: pianissimo piano mezzo piano mezzo forte forte fortissimo

 LISTEN TO THE PIECE OF MUSIC LISTED BELOW. SHOW WHEN THE MUSIC IS LOUD BY RAISING YOUR ARMS IN THE AIR. SHOW WHEN THE MUSIC IS SOFT BY LOWERING YOUR ARMS TOWARD THE FLOOR.  Aristophanic Suite (“The Wasps”) by Ralph Vaughan Williams  http://www.youtube.com/watch?v=GNVSp78JwVc

 TEMPO is how FAST or SLOW a piece is to be performed. Below are some of the TEMPO MARKINGS used in orchestral music.

Lento – slowly Largo – broadly Adagio – slow and stately Andante – at a walking pace Moderato – moderately Allegro – fast, quickly and bright Vivace – lively and fast Presto – extremely fast Terms for tempo change: Ritardando – gradually slowing down Accelerando – gradually accelerating

 LISTEN TO THE PIECES OF MUSIC LISTED BELOW. DISCUSS WHICH PIECE IS SLOW AND WHICH PIECE IS FAST.  Piano Sonata No. 14, 1st Movement (“Moonlight”) by Beethoven  http://www.youtube.com/watch?v=nT7_IZPHHb0

 The Tale of Tsar Saltan (“Flight of the Bumblebee”) by Rimsky-Korsakov  http://www.youtube.com/watch?v=aYAJopwEYv8

 The HIGHS and LOWS of sound are called PITCH. PITCH has nothing to do with dynamics (louds and softs). The higher your notes go up on the staff, the higher the notes sound. The lower the notes go on the staff, the lower the notes will sound. Draw a RED arrow to show where the notes are going HIGHER on the staff (so they are HIGER in PITCH). Draw a BLUE arrow to show wehere the notes are going LOWER on the staff (so they are LOWER in PITCH).

 LISTEN TO THE PIECE OF MUSIC LISTED BELOW. SHOW WHEN THE MUSICAL LINE IS MOVING UP BY STANDING UP. SHOW WHEN THE MUSICAL LINE IS MOVEING DOWN BY SITTING DOWN.  Pictures at an Exhibition (V. Dance of the Unhatched Chilcks) by Modest Petrovich Mussorgsky  http://www.youtube.com/watch?v=0QwFwC67yD4

 RHYTHM refers to how long or short the notes of the piece of music sound.  LISTEN TO THE PIECE OF MUSIC LISTED BELOW. DISCUSS WHEN THE PIECE USES SHORT NOTES AND WHEN THE PIECE USES LONG NOTES.  Prelude in C-Sharp Minor by Rachmaninov  http://www.youtube.com/watch?v=mXGSfJn3nKQ

 The TEXTURE of music refers to how the different sounds come together as in if the sound is legato-smooth or staccato-jerky.  LISTEN TO THE PIECES OF MUSIC LISTED BELOW. DISCUSS WHICH PIECE IS LEGATO (SMOOTH) AND WHICH PIECE STACCATO (JERKY).  L’Arlesienne Suite No. 1 (“Carillon”) by Bizet  http://www.youtube.com/watch?v=TxzXjFyN3B8

 Symphony No. 9, 2nd movement (“New World”) by Dvorak  http://www.youtube.com/watch?v=hOX15agZ3-0 15

Meet Our Conductor Bohuslav Rattay Now beginning his third season as Music Director of the Lake Charles Symphony, Czech conductor Bohuslav Rattay has gained a reputation as one of the finest talents of his generation, combining impassioned and virtuosic musicianship with a determination to bring great music into the lives of all people. He has been acclaimed by critics and audiences alike the world over for his fresh and inspired interpretations of works ranging from perennial concert-hall favorites to the contemporary, with special appreciation often given to his insightful understanding of the music of his native Bohemia. An enthusiastic ambassador for classical music, Maestro Rattay is renowned for his unique and innovative concert programs, which have incorporated everything from special audience discussions to the inclusion of multi-media elements. In the same vein, he is a committed educator of the younger generations. He joined the music faculty of Ball State University in 2006 and is a frequent guest conductor of All-State and youth orchestras across the United States, where he is highly valued as an inspirational mentor both for his skill as a maestro and for his own youthful energy. In addition to his permanent positions at Muncie and Lake Charles, Mr. Rattay is in great demand as a guest conductor across the United States and Europe. Recent engagements include the Colorado Symphony, Duluth Superior Symphony Orchestra, Midland Symphony Orchestra, Hilton Head Symphony, Virginia Symphony, West Michigan Symphony, Prague's Dvořák Symphony Orchestra, and the Charleston (SC) Symphony, where he received critical accolades for a "vibrant" performance delivered with "elegant panache." He has also conducted the National Symphony Orchestra as part of the National Conducting Institute and was selected by the American Symphony Orchestra League to participate in its Conducting Fellowship Program. Maestro Rattay holds degrees from the Prague Conservatory, Rice University and the Peabody Institute of Music, and names Gustav Meier, Larry Rachleff, Benjamin Kamins, and Neeme Jarvi as his most influential teachers. Bohuslav divides his time between the United States and Europe, always continuing his quest to find new ways to bring great music into the lives of people on both continents. Music Director of the Lake Charles Symphony, Czech conductor Bohuslav Rattay. Photo by Romero and Romero Photography, www.romeroandromerophotography.com 16

Learn to Conduct Watch the conductor. He “TELLS” the orchestra members when and how to play the music written on the page. He “brings the music to life.” The conductor will usually make a basic beat pattern with his right hand to keep everyone together. He will use his left hand to show the orchestra members when to play loud, soft, smooth, jerky, long, short, etc. Use the diagrams below to help you learn the basic conducting patterns:

Meet Our Orchestra Lake Charles Symphony A significant contribution to the cultural history of Lake Charles was made on November 11, 1958 – when seventy musicians took their places on stage at McNeese State College for the premiere performance of what is today the Lake Charles Symphony Orchestra. With its usual zest and thoroughness, the Junior League had played a major role in the unfolding events leading to this momentous occasion.

There had always been an interest in music in southwest Louisiana, and before the League’s involvement, there were successful efforts with orchestras, including the Kushner Orchestra and the Levingston Orchestra. According to the late Dr. Francis Bulber, it was as early as 1938 that an organization called the Lake Charles Civic Symphony came into being. This early orchestra grew out of an effort by Louisiana State University to encourage musical activity and it was one of eight community organizations formed in towns mainly along the Old Spanish Trail by Dr. Bulber. The orchestra performed for five seasons on into World War II, but was forced to suspend its concerts after the war, either directly or indirectly, cut the musical personnel in half. The Lake Charles Junior Welfare League, as it was known then, undertook the responsibility of rebuilding the orchestra – and what a job they did with it! At the April, 1958, meeting with Anita Tritico as President, the League’s membership voted unanimously to undertake the symphony project. In August of that same year, a non-profit corporation was formed with Dr. Maurice Kushner as Chairman of the Board. The Articles of Incorporation and By Laws were approved. A Women’s Auxiliary, with Mrs. J. Aubrey Bonham as President, was established and committees were identified. Warren Signor was named Conductor and the selection of musical personnel was begun. The first performance of the newly reorganized Lake Charles Civic Symphony was held on November 11, 1958, with pianist George Sandor as soloist. Many persons from the community and especially from McNeese contributed to the development of this project. Dr. Ralph Squires, Dean of the McNeese Department of Fine Arts, and Signor provided invaluable professional guidance.

The Lake Charles Symphony realized the importance of the youth in the area from the beginning, and free children’s concerts were given from the first season on. Financial support for the youth concerts came from the Junior League until 1968, when the Symphony Auxiliary assumed the project. A Concerto Auditions Project was started by the League in 1961 and later became an Auxiliary project. Auditions were open to the seventh through twelfth grade students and the winners were invited to perform as soloists at the spring youth concert. Reviving this project in 1999, the Lake Charles Symphony sponsored a Concerto Competition for high school students and featured the winners at its annual Family Concert in April. The youth concerts, begun by the League so many years ago, have evolved into the now-popular Free Family Concert. Today, the emphasis is on introducing classical music to children at a younger age in a positive family atmosphere.

In addition to the family concert, the Symphony promotes Arts-in-Education throughout the five-parish area with programs such as “Let’s Visit a Symphony Neighborhood,” “What Are Those People Doing Up There?” and “Meet the Composer.” A significant feature of the Symphony’s vision has always been its collaborative projects with other arts organizations. In recent years, the Symphony has joined forces with the Louisiana Choral Foundation, Lake Charles Ballet Society, Lake Charles Civic Ballet, Dance Theatre Southwest, Lake Charles Little Theatre, and others to bring the best in musical entertainment to this community.

During the Symphony’s 55-year history, the conductor’s baton has been held by six distinguished men. Our current conductor is Bohuslav Rattay, who is beginning his third year.

Today, with the strong foundation provided by the Junior League and the continued support of this community, the Lake Charles Symphony is committed to enhancing the cultural life of Southwest Louisiana through performances of the highest quality.

Instruments of the Orchestra . All of the STRING FAMILY INSTRUMENTS have STRINGS to make the music. The STRING FAMILY is made up of the VIOLINS, VIOLAS, CELLOS, BASSES and HARP. LIGHTLY color the STRING FAMILY red.

. All of the WOODWIND FAMILY INSTRUMENTS are either made of wood or used to be made of wood. Air or “wind” is blown through them to make the music. The WOODWIND FAMILY is made up of the FLUTES, CLARINETS, OBOES, and ENGLISH HORNS. LIGHTLY color the WOODWIND FAMILY brown.

. All of the BRASS FAMILY INSTRUMENTS are made of metal. Air is blown through them to make music. The BRASS FAMILY is made up of TRUMPETS, FRENCH HORNS, TROMBONES and TUBAS. LIGHTLY color the BRASS FAMILY yellow.

. All of the PERCUSSION FAMILY INSTRUMENTS make music by something being hit. The PERCUSSION FAMILY is made up of the SNARE DRUMS, BASS DRUMS, TYMPANI, TAMBOURINES, TRIANGLES, BELLS, BAR INSTRUMENTS, THE PIANO AND ANY OTHER INSTRUMENT THAT MAKES SOUND BY SOMETHING BEING HIT. LIGHTLY color the PERCUSSION FAMILY purple.

. The CONDUCTOR is the person that stands in front of the orchestra. His or her job is to show when and how the instruments are supposed to play. Circle the CONDUCTOR.

Build the Orchestra *Bring the instruments of the orchestra to the conductor for the concert by completing the 4 mazes. String Instruments Woodwind Instruments

Brass Instruments Percussion Instruments

Instruments of the Orchestra Matching *Draw lines to match the instruments of the orchestra to their instrument families.

String Family Woodwind Family

Percussion Family Brass Family

Instruments of the Orchestra Crossword

Performance Etiquette

1. Be prepared and arrive early. Ideally you should arrive at the theater 30 to 45 minutes before the show. Allow for travel time and parking, and plan to be in your seats at least 15 minutes before the performance begins.

2. Be aware and remain quiet. You may think that you are being quiet, but in the theater even the smallest sounds are noisy. Whispering, rustling papers, and fidgeting can be heard throughout the theater. So, be quiet for everyone’s enjoyment of the show.

3. NEVER USE A CELLULAR PHONE INSIDE A THEATER, EITHER TO TEXT OR CALL. It takes your attention away from the performance, disturbs those around you and can even disrupt the performance. ALL CELLULAR PHONES SHOULD BE TURNED OFF.

4. Do not get up, walk around or leave during a performance. If you must excuse yourself, do so at the intermission or between selections of music.

4. Show appreciation by applauding. Applause is the best way to show your enthusiasm and appreciation. Watch the conductor to know when a piece of music is finished. (It may have different sections separated by a slight pause…you don’t want to clap then.) The conductor will put his baton down when a piece is finished. Performers return their appreciation for your attention by bowing to the audience at the end of the show. It is always appropriate to applaud at the end of a performance, and it is customary to continue clapping until the curtain comes down or the house lights come up.

5. Participate by responding to the action onstage. Sometimes during a performance, you may respond by laughing, crying, or sighing. By all means, feel free to do so! Appreciation can be shown in many different ways, depending upon the art form.

6. Concentrate to help the performers. Performer use concentration to focus their energy while on stage. If the audience is focused while watching the performance, the artists feel supported and are able to do their best work. They can feel that you are with them!

Performance Etiquette Word Find (Gr. 6-12)

R S W R P T R B E M H M V C S Q E O O X E T E U G V B L H T P A H V W E R S T M A A K N S A T S E L A I F D A P T Y U I R S W L Q C E N O P E G S T T T L A K H Q I A I R G H C H R I B S C Q K R N R T M M T F A C F Q R L I G A J L W A W Q K I M E C N E I D U A Y U N J T P A P A V V L D Y L X X D C J A X T D X V S S L U G B X M E T M Q I X M G Z O S F O W Y W E Q U I E T L V M L Q U E Y P R H N M L D Y O N H S U C O F J W Z V I K K Y B Z K V A Z J ARTISTS FOCUS QUIET AUDIENCE KIND SEATS BALLET MUSIC SHOW CLAPPING PARTICIPATE STAGE EARLY PERFORMANCE THEATER

------Solution

+ S W + P + R + E M + + + C S + E O + + E T E U G + + L + T P A H + + E R S T + A A + + S A T S + L + I F D A P T + + I R S + L + C E N O P E + S + T T + A + + + I A I R + H + + R I B + + + K + N R + M + T + A C + + + + + G + + L + A + + + I + E C N E I D U A Y + N + +

Performance Etiquette Word Find (K-5)

T E A S R S C V B H H N U T I B S O E C B A S A W T O A Q G U L I F A U T E M L X I I E B E N E V E A N S N R T T Y L R A E Z M

BALLET SEATS EARLY SHOW FOCUS STAGE MUSIC THEATER QUIET

------Solution

T + + S + S C + + H H + U T I B S O E C + A S A W T O A Q G U L + F A U T E M L + + I E + E + E + E + + S + R T T Y L R A E + +

Listening for Clues

What are some things that PROFESSIONAL MUSICIANS listen for?

FORM-how the music is constructed, which sections of the music are same, similar, different, varied

PROGRAMATIC-does the piece of music “tell a story”

THEMES-does the piece of music “speak” different themes (melodies), how do they change or develop, are they repeated later

PITCH or INTONATION-are the performers playing/singing in tune, are they flat (a little bit below the correct note), are they sharp (a little bit above the correct note)

TONE-is the tone of the music performed strong, supported, constant, round or is it wimpy, sketchy, unsupported, strident

BALANCE or BLEND-do the different performers of the ensemble sound good together, does one group sound louder than another

TECHNIQUE-do the performers use good technique

INTERPRETATION-listen for the comparatives…they will express the emotion of the piece of music (loud/soft, high/low, short/long notes, fast/slow, smooth/jerky, same/similar/different)

MUSICAL EFFECT-did the music make you think of anything else, did it cause you to feel a certain emotion or did it express a certain emotion

Listening for Clues Matching *Match the LISTENING CLUE to its description.

______FORM

A. do the performers use good technique ______PROGRAMATIC

B. are the performers playing/singing in tune

______THEMES C. does the piece of music “tell a story”

______PITCH D. do the performers sound good together

______TONE E. did the music make you think or feel something

______BALANCE F. is the sound strong & supported

______TECHNIQUE G. listen for the comparatives

H. how the music is put together ______INTERPRETATION

I. does the piece of music “speak” different melodies ______MUSICAL EFFECT

Listening For Clues Hidden Message Word Find M U S I C I B S T H E U N I V M U S I C A L T P E R S A L L A N G U L A G I O I S H A R P E U Y A M Y T X N N K K W J K K A N R F C Q T Z Y E T M C N O C O L H X O B L E N D I P S E F A K A N J I A B X T U R J M T E Q A O Y O E C A H T Q V N V F T V R D M K M G P Z Y O E C I O C Q O O A U T U D C U N O I T A T E R P R E T N I Y N F Z Z I H G J H O J Y L K Z B A M O K O T E C H N I Q U E X S N S R L E Y X J M H H F B H T D P J S E M E H T R K I E

BALANCE MUSICAL BLEND PITCH EMOTION PROGRAMATIC FAST SHARP FLAT TECHNIQUE FORM THEMES INTONATION TONE INTERPRETATION

HIDDEN MESSAGE: ______

Solution

M U S I C I B S T H E U N I V M U S I C A L T P E R S A L L A N G U L A G I O I S H A R P E + + A M + T + N N + + + + + + + N R F C + T + + E + + C + + C O L H + O B L E N D I + + E F A + + N + + + + + T + + + + T + + A + + + E + A + + + + + + + T + + + M + M + + + + + + + I + + + O + A + + + + + + N O I T A T E R P R E T N I + N F + + I + G + + + + + + + + + A + O + O T E C H N I Q U E + S N + R + + + + + + + + + + + T + P + S E M E H T + + + +

HIDDEN MESSAGE: MUSIC IS THE UNIVERSAL LANGUAGE 29

Links for Concert #1

Lake Charles Symphony http://www.lcsymphony.com/

Link for Essay #1 by Samuel Barber: https://www.youtube.com/watch?v=MQK7pB2u33k

Link for Piano Concerto in A Minor by Edvard Grieg: https://www.youtube.com/watch?v=I1Yoyz6_Los

Link for The Golden Spinning Wheel by Antonin Dvorak: https://www.youtube.com/watch?v=bDWSyJgu6xk

Come join us at the SYMPHONY!!!