Grade: Third Grade Title: American Composer: George Gershwin Week: May 11-15 Source: Classics for Kids Materials: Google Classroom, Internet

Total Page：16

File Type：pdf, Size：1020Kb

Grade: Third Grade Title: American Composer: George Gershwin Week: May 11-15 Source: Classics for Kids Materials: Google Classroom, Internet MPG/Big Idea: State Standard: MPG3: Listen to music with 9.2 understanding 9.4 MPG4: Make value judgments about music Enduring Understandings: 3. Music from various styles, cultures and historical eras globally affects all individuals 4. Music is a lifelong avocation that requires personal choices and critical response Essential Questions: 3. How does music impact all of us? 4. What makes good music good? Knowledge: 1. Musical works and composers from varied historical periods are an important component of musical literature 3. Significant musical works and composers continue to impact music 3. Audience etiquette is a necessary part of being a responsible music consumer Skills: Procedure: Historical Context 1. Click on the RED link below and listen to the “Classics 2. Recognize significant composers and/or for Kids” episode about famous American composer, musicians from various genres and periods George Gershwin Aesthetic Response https://www.classicsforkids.com/shows/shows.php?id=70 3. Demonstrate attentiveness and be actively engaged when listening to a Music heard in this episode: variety of music of appropriate length and complexity Gershwin: Prelude #1 Gershwin: Sweet and Lowdown Gershwin: Rhapsody in Blue Gershwin: Let’s Call the Whole Thing Off Gershwin: I Got Rhythm Gershwin: I Got Rhythm Variations Gershwin: An American in Paris Gershwin: Piano Concerto in F Gershwin: Porgy and Bess: Summertime 2. When finished complete the assignment on the Google Form below Assessment: Answer the multiple-choice questions by using the BLUE link below to open the Google form: https://forms.gle/VMryZf38P3rTPYL8A George Gershwin was born in a. New York City b. Boston c. San Francisco d. Chicago What was the name of George's brother who wrote the lyrics for his songs? a. John b. Robert c. Ira d. James Which of Gershwin's compositions uses a taxi horn? a. Rhapsody in Blue b. Porgy and Bess c. American in Paris d. Piano Concerto .

Copy Link

Recommended publications

LIVE from LINCOLN CENTER December 31, 2002, 8:00 P.M. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert
LIVE FROM LINCOLN CENTER December 31, 2002, 8:00 p.m. on PBS New York Philharmonic All-Gershwin New Year's Eve Concert Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East.Lorin Maazel, an icon among present-day conductors, will make his long anticipated Live From Lincoln Center debut conducting the New York Philharmonic’s gala New Year’s Eve concert on Tuesday evening, December 31. Maazel began his tenure as the Philharmonic’s new Music Director in September, and already has put his stamp of authority on the playing of the orchestra. Indeed he and the Philharmonic were rapturously received wherever they performed on a recent tour of the Far East. Celebrating the New Year with music is nothing new for Maazel: he holds the modern record for most appearances as conductor of the celebrated New Year’s Day concerts in Vienna by the Vienna Philharmonic Orchestra. There, of course, the fare is made up mostly of music by the waltzing Johann Strauss family, father and sons. For his New Year’s Eve concert with the New York Philharmonic Maazel has chosen quintessentially American music by the composer considered by many to be America’s closest equivalent to the Strausses, George Gershwin.
[Show full text]
EMR 30514 Concerto in F Minor Händel Trombone & Piano
Concerto in F Minor + Trombone ( ) & Piano / Organ Arr.:> Ted Barclay Georg Friedrich Händel EMR 30514 Print & Listen Drucken & Anhören Imprimer & Ecouter ≤ www.reift.ch Route du Golf 150 CH-3963 Crans-Montana (Switzerland) Tel. +41 (0) 27 483 12 00 Fax +41 (0) 27 483 42 43 E-Mail : [email protected] www.reift.ch Concerto in F Minor | Photocopying Georg Friedrich Händel is illegal! (1685 - 1759) original - Concerto for Oboe Arr.: Ted Barclay Grave e = 80 Trombone Organ / Piano f 3 6 mf a piacere mp fp colla parte mp mp 9 cresc. p cresc. p EMR 30514 © COPYRIGHT BY EDITIONS MARC REIFT CH-3963 CRANS-MONTANA (SWITZERLAND) www.reift.ch ALL RIGHTS RESERVED - INTERNATIONAL COPYRIGHT SECURED 4 12 f 15 A tempo p a piacere ten. p fp colla parte p ten. 18 p p
[Show full text]
Visions&Voices: Porgy and Bess
Visions and Voices and the USC Libraries have collaborated to create a series of resource guides that allow you to build on your experiences at many Visions and Voices events. Explore the resources listed below and continue your journey of inquiry and discovery! Porgy and Bess USC LIBRARIES RESOURCE GUIDE Tuesday, April 29, 2014, Ahmanson Theatre, Los Angeles ROSS SCIMECA of the USC Libraries has selected the following resources to help you learn more about Porgy and Bess. Introduction Porgy and Bess premiered in 1935 on Broadway in New York City. The work is a collaboration among George Gershwin, DuBose Heyward and Ira Gershwin based on Heyward’s novel and play, both named Porgy. Gershwin considered Porgy and Bess an “American folk opera,” musically integrating blues and jazz into the classical opera genre. However, the work was not really accepted as an opera until the Houston Grand Opera mounted the complete score in 1976. Nine years later, the Metropolitan Opera performed it. Porgy and Bess is now internationally recognized as a profound and unique work that it is quintessentially American in expression. The performance you will be attending is the most recent Broadway production, which opened in January 2012 and closed September 23, 2012. It was nominated for ten Tony Awards, winning Best Revival of a Musical and Best Performance by an Actress in a Leading Role in a Musical (Audra McDonald). Synopsis The following synopsis comes from the musical’s official website at porgyandbessthemusical.com/story: On a quiet evening in Charleston’s Catfish Row, Clara and her husband Jake sing a lullaby (“Summertime”) to their baby.
[Show full text]
The Trumpet As a Voice of Americana in the Americanist Music of Gershwin, Copland, and Bernstein
THE TRUMPET AS A VOICE OF AMERICANA IN THE AMERICANIST MUSIC OF GERSHWIN, COPLAND, AND BERNSTEIN DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Amanda Kriska Bekeny, M.M. * * * * * The Ohio State University 2005 Dissertation Committee: Approved by Professor Timothy Leasure, Adviser Professor Charles Waddell _________________________ Dr. Margarita Ophee-Mazo Adviser School of Music ABSTRACT The turn of the century in American music was marked by a surge of composers writing music depicting an “American” character, via illustration of American scenes and reflections on Americans’ activities. In an effort to set American music apart from the mature and established European styles, American composers of the twentieth century wrote distinctive music reflecting the unique culture of their country. In particular, the trumpet is a prominent voice in this music. The purpose of this study is to identify the significance of the trumpet in the music of three renowned twentieth-century American composers. This document examines the “compositional” and “conceptual” Americanisms present in the music of George Gershwin, Aaron Copland, and Leonard Bernstein, focusing on the use of the trumpet as a voice depicting the compositional Americanisms of each composer. The versatility of its timbre allows the trumpet to stand out in a variety of contexts: it is heroic during lyrical, expressive passages; brilliant during festive, celebratory sections; and rhythmic during percussive statements. In addition, it is a lead jazz voice in much of this music. As a dominant voice in a variety of instances, the trumpet expresses the American character of each composer’s music.
[Show full text]
GERSHWIN Porgy and Bess
110287-88 bk Porgy US 14/07/2004 10:31am Page 12 Great Opera Recordings ADD 8.110287-88 Also available: GERSHWIN 2 CDs Porgy and Bess Winters • Williams • Matthews • Long • Coleman Orchestra and Chorus • Lehman Engel (Recorded 1951) 8.110219-20 8.110287-88 12 110287-88 bk Porgy US 14/07/2004 10:31am Page 2 Great Opera Recordings Mark Obert-Thorn Mark Obert-Thorn is one of the world’s most respected transfer artist/engineers. He has worked for a number of George specialist labels, including Pearl, Biddulph, Romophone and Music & Arts. Three of his transfers have been GERSHWIN nominated for Gramophone Awards. A pianist by training, his passions are music, history and working on projects. (1898 – 1937) He has found a way to combine all three in the transfer of historical recordings. Obert-Thorn describes himself as a ‘moderate interventionist’ rather than a ‘purist’ or ‘re-processor,’ unlike those who apply significant additions and make major changes to the acoustical qualities of old recordings. His Porgy and Bess philosophy is that a good transfer should not call attention to itself, but rather allow the performances to be heard Opera in Three Acts with the greatest clarity. Lyrics by DuBose Heyward and Ira Gershwin There is no over-reverberant ‘cathedral sound’ in an Obert-Thorn restoration, nor is there the tinny bass and Libretto by DuBose Heyward piercing mid-range of many ‘authorised’ commercial issues. He works with the cleanest available 78s, and consistently achieves better results than restoration engineers working with the metal parts from the archives of the Porgy .
[Show full text]
Concerto for Bassoon and Chamber Orchestra
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2011 Concerto for Bassoon and Chamber Orchestra Timothy Patrick Cooper [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Composition Commons Recommended Citation Cooper, Timothy Patrick, "Concerto for Bassoon and Chamber Orchestra. " Master's Thesis, University of Tennessee, 2011. https://trace.tennessee.edu/utk_gradthes/964 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Timothy Patrick Cooper entitled "Concerto for Bassoon and Chamber Orchestra." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Kenneth A. Jacobs, Major Professor We have read this thesis and recommend its acceptance: Brendan P. McConville, Daniel R. Cloutier Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Concerto For Bassoon and Chamber Orchestra A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Timothy Patrick Cooper August 2011 Copyright © 2011 by Timothy Cooper. All Rights Reserved. ii Acknowledgements Several individuals deserve credit for their assistance in this project.
[Show full text]
Kansas State University Orchestra Programs 1990—2018 Updated January 13, 2018 David Littrell, Conductor
Kansas State University Orchestra Programs 1990—2018 updated January 13, 2018 David Littrell, conductor 1990-1991 October 16, 1990 Tragic Overture, Op. 81 Brahms Oboe Concerto R. Strauss Dr. Sara Funkhouser, oboe Symphony No. 4 in C Minor (“Tragic”) Schubert December 11, 1990 Orchestral Suite No. 1 in C Major, BWV 1066 JS Bach “Vedrai, carino” from Don Giovanni Mozart Dayna Snook, mezzo-soprano Scaramouche Suite, 2nd & 3rd mvts. Milhaud Christopher Goins, alto saxophone “Son vergin vezzosa” from I Puritani Bellini Ai-ze Wang, soprano Symphony No. 1 in F Minor, Op. 10 Shostakovich April 4-5-6, 1991 The Magic Flute (Opera) Mozart April 23, 1991 Overture to Ruy Blas Mendelssohn Symphony No. 101 in D Major (“Clock”) Haydn Symphony No. 5 in Eb Major, Op. 82 Sibelius 1991-1992 October 1, 1991 Overture to Il Signor Bruschino Rossini Concerto Grosso for Four String Orchestras Vaughan Williams assisting musicians: Manhattan public school string students Symphony No. 2 in B Minor Borodin repeat performance October 2, 1991 at Concordia KS October 24-25-26, 1991 West Side Story Bernstein December 9, 1991 In Memoriam, Wolfgang Amadeus Mozart Sinfonia concertante in Eb Major, K. 364 Mozart Cora Cooper, violin Melinda Scherer Bootz, viola Requiem, K. 626 Mozart John Alldis, guest conductor soloists: Lori Zoll, Juli Borst, Rob Fann, Andy Stuckey KSU Concert Choir March 3, 1992 Overture to Der Freischütz von Weber “Faites-lui mes aveux” from Faust Gounod Juli Borst, mezzo-soprano “Ah, per sempre” from I Puritani Bellini Andy Stuckey, baritone Concerto in D Haydn Lisa Leuthold, horn Symphony No.
[Show full text]
Fascinating Rhythm”—Fred and Adele Astaire; George Gershwin, Piano (1926) Added to the National Registry: 2004 Essay by Kathleen Riley (Guest Post)*
“Fascinating Rhythm”—Fred and Adele Astaire; George Gershwin, piano (1926) Added to the National Registry: 2004 Essay by Kathleen Riley (guest post)* George Gerswhin Fred Astaire Adele Astaire In 1927 George Gershwin told an interviewer that, in order to achieve truth or authenticity, music “must repeat the thoughts and aspirations of the people and the time.” “My people are Americans,” he said, “My time is today.” In London the previous year, Gershwin and the stars of “Lady, Be Good!,” Fred and Adele Astaire, made a recording of “Fascinating Rhythm,” a song that seemed boldly to proclaim its modernity and its Americanness. Nearly a century after its composition we can still hear the very things playwright S.N. Behrman experienced the moment Gershwin sat down at a party to play the piano: “the newness, the humor, above all the rush of the great heady surf of vitality.” What is also discernible in the 1926 recording--in Gershwin’s opening flourish on the piano and in the 16-bar verse sung by the Astaires--is the gathering momentum of a steam locomotive, a hypnotic, hurtling movement into the future. Born in 1898 and 1899 respectively, George Gershwin and Fred Astaire were manifestly children of the Machine Age. Astaire was born deep in the Midwest, in Omaha, Nebraska, where his earliest memory was “the rumbling of the locomotives in the distance as engines switched freight cars in the evening when we sat on the front porch and also after I went to bed. That and the railway whistles in the night, going someplace.
[Show full text]
Porgy and Bess
PORGY AND BESS by George Gershwin, DuBose and Dorothy Heyward, and Ira Gershwin Directed by Charles Newell Music Direction by Doug Peck Artistic Consultant Ron OJ Parson May 12 – July 3, 2011 at Court Theatre Kittiwah Island, looking for Bess. All of a sudden, Clara spies the overturned fishing boat of her husband Jake outside the window. Fearing for his life, Clara hands her infant baby to Bess and throws herself out the door into the storm. Bess begs for one of the men to follow her; Crown volunteers, but only after taunting Porgy, who is unable to go. The next day, the deaths of Jake and Clara are mourned by the residents of Catfish Row. The care of their baby has fallen to Bess, who sings him a lullaby. After night falls, Crown returns to seize Bess, but Porgy is waiting there to stop him. They fight, and Porgy kills Crown, against all odds. The next day, the local detective arrives to inquire about the murders of Crown and Robbins, and the residents collaborate to protect Porgy. The police take Porgy in anyway, ordering him to identify Crown’s body. Once he is gone, Sporting Life takes his opportunity to persuade Bess to come with him to New York, convincing her that Porgy will be imprisoned. He forces drugs on her and extols the virtues of the city. She refuses, but Sporting Life waits patiently for her to give in. A week later, Porgy returns from prison, bearing gifts he bought with the craps money he earned in jail.
[Show full text]
Audition Repertoire, Please Contact the Music Department at 812.941.2655 Or by E-Mail at AUDITION REQUIREMENTS for VARIOUS DEGREE CONCENTRATIONS
1 AUDITION GUIDE AND SUGGESTED REPERTOIRE 1 2 TABLE OF CONTENTS AUDITION REQUIREMENTS AND GUIDE . 3 SUGGESTED REPERTOIRE Piano/Keyboard . 5 STRINGS Violin . 6 Viola . 7 Cello . 8 String Bass . 10 WOODWINDS Flute . 12 Oboe . 13 Bassoon . 14 Clarinet . 15 Alto Saxophone . 16 Tenor Saxophone . 17 BRASS Trumpet/Cornet . 18 Horn . 19 Trombone . 20 Euphonium/Baritone . 21 Tuba/Sousaphone . 21 PERCUSSION Drum Set . 23 Xylophone-Marimba-Vibraphone . 23 Snare Drum . 24 Timpani . 26 Multiple Percussion . 26 Multi-Tenor . 27 VOICE Female Voice . 28 Male Voice . 30 Guitar . 33 2 3 The repertoire lists which follow should be used as a guide when choosing audition selections. There are no required selections. However, the following lists illustrate Students wishing to pursue the Instrumental or Vocal Performancethe genres, styles, degrees and difficulty are strongly levels encouraged of music that to adhereis typically closely expected to the of repertoire a student suggestionspursuing a music in this degree. list. Students pursuing the Sound Engineering, Music Business and Music Composition degrees may select repertoire that is slightly less demanding, but should select compositions that are similar to the selections on this list. If you have [email protected] questions about. this list or whether or not a specific piece is acceptable audition repertoire, please contact the Music Department at 812.941.2655 or by e-mail at AUDITION REQUIREMENTS FOR VARIOUS DEGREE CONCENTRATIONS All students applying for admission to the Music Department must complete a performance audition regardless of the student’s intended degree concentration. However, the performance standards and appropriaterequirements audition do vary repertoire.depending on which concentration the student intends to pursue.
[Show full text]
On Site Opera & Harlem Opera Theater Invite You to Take Cast
! ON SITE OPERA & HARLEM OPERA THEATER PRESENT GERSHWIN’S Blue Monday! ! PROGRAM MENU: Cast, Production Team and Orchestra | Program Notes | Artist Bi0s About On Site Opera | About Harlem Opera Theater About The Harlem Chamber Players | Special Thanks On Site Opera &more Harlem information: Opera osopera.orgTheater invite you to take On Site Opera & Harlem Opera Theater invite you to take a trip back to the roaring twenties as they present George Gershwin’s Blue Monday at the Cotton Club. Blue Monday A JAZZ OPERA BY GEORGE GERSHWIN LIBRETTO BY BUDDY DESYLVA JUNE 18-20, 2013 | THE COTTON CLUB 7PM: DANCING & COCKTAILS | 8PM: BLUE MONDAY CAST: IN ORDER OF VOCAL APPEARANCE MIKE, THE CLUB OWNER CLAYTON MATHEWS SAM, A CLUB EMPLOYEE ALVIN CRAWFORD TOM, THE CLUB HEADLINER LAWRENCE CRAIG VI, JOE’S GIRLFRIEND ALYSON CAMBRIDGE JOE, A GAMBLER CHASE TAYLOR DANCERS: SARITA ALLEN ELIJAH ISHMAEL AVRAHAM NICCO ANNAN AZAMA BASHIR MAHALIA LEOLA MAYS RAPHAEL THOMAS PRODUCTION TEAM: CONDUCTOR GREGORY HOPKINS STAGE DIRECTOR ERIC EINHORN CHOREOGRAPHER GEORGE FAISON COSTUME DESIGNER CANDIDA K. NICHOLS LIGHTING DESIGNER SHAWN KAUFMAN HAIR & MAKE-UP DESIGNER SHANNON HARRINGTON PRODUCER JESSICA KIGER FIGHT COORDINATOR SHAD RAMSEY ASSISTANT DIRECTOR AUDREY CHAIT PRE-SHOW DANCE COORDINATOR NATALIE DAVIDZON Orchestra: THE COTTON CLUB ALL STARS FLUTE/TENOR SAX: JAMES STEWART OBOE/ALTO SAX: ED PAZANT CLARINET/ALTO SAX: CRIS HEMMINGWAY TENOR SAX: JOHN SIMON BASSOON/BARITONE SAX: RAY JOHNSTON TRUMPET I: AL PAZANT TRUMPET II: MAC GOLLEHON TROMBONE I: TIM WILLIAMS TROMBONE II: ROBERT STRINGER PIANO: NORIKO KAMO BASS: STAN THOMPSON GUITAR: SOLOMON HICKS DRUMS: ELI FONTAINE THE HARLEM CHAMBER PLAYERS: VIOLIN I: MONICA DAVIS VIOLIN II: CHARLENE BISHOP VIOLA: ADAM HILL CELLO: LAWRENCE ZOERNIG Please be aware that live gunshots are used in this production.
[Show full text]
A Gershwin Centennial Celebration
be nnington c oll e ge pres e nts A GERSHWIN CENTENNIAL CELEBRATION F RIDA V SATURDA V SUNDAV DECEMBER II - 13TH, 1998; 8:00PM MATINEE SATURDA V, 2:00PM I GOT RHYTHM EXCEPTIONAL YET LESSER-KNOWN PIECES B Y GEORGE GERSHW IN SusAN A. GREENWALL WoRKSHOP AMY WILLIAMS AND ALLEN SHAWN PIANO THA T S w EET AND L ow DowN T wo W A LTZES INC IMPROMPTU IN T WO KEYS · PRELUDE (MELODY #17) I G o T RHYTH M V ARIA TIONS (1930) WITH BRUCE WILLIAMSO/'.J PLAYING GERS H W IN STANOARDS ON THE UPRIG HT R EFR E SHME NTS AVAILABLE BLUE ,.. ·MoNDAY BY GEORGE GERSHWIN . MJsic DRECTCP ANJ C~TCP 8TAGE DRECTCP ANJ CosTUvE DESIGI'ER IDA FAIELLA DANIEL MCHAELS~ ScEi'Jc DES!Gi'ER L.JGI--rrNG DESIGI'ER PETER SEWARD MCHAEL GIANNITTI ~1--ESTPAL REALIZA TlON PRooucTJON 8TAG E MANAG~ PHLIPSALATHE STEVEESPACH CAST (IN ORDER OF APPEARANCE) M IKE M ATTHEW P ILLISCHER SAM R YAN B AROLET-FOGARTY --JoE D u FFY H AVENS T oM M ATTHE W F oLLETTE V1 CAMILLE H ARTMAN D ANCERS C A YLI C AVACO ANNA ZIMMER KELLEY B RYANT 0:::<CHESTRA P iANO NATHAN --JEW ViOLIN I B ARRY FiNCLAIR ViOLIN II BRONWE N D AVIE S -MASON ViOLA S ARA CRONAN CELLO I MICHAEL CLOSE CELLO II MELISSA COLLINS B ASS P HILIP S ALAT HE T ENOR SAX B RUCE WILLIAMSON A LTO SAx --JENNIFER D ovLE-BEcK T RUMPET R oNALD ANDERSON PERCUSSION 0 ESSE0LSEN At the centennial of his birth, Brooklyn-born composer George Gershwin remains one of America's most intriguing cultural figures.
[Show full text]