Teacher Workbook

TABLE OF CONTENTS Letter from Jessica Nalbone...... 2 Director of Education, North Carolina

Information about the 2012/13 Education Concert Program...... 3

North Carolina Symphony Education Programs...... 4

Author Biographies...... 6

Carl Nielsen (1865-1931)...... 7 Oriental Festival March from Suite, Op. 34

Wolfgang Amadeus Mozart (1756-1791)...... 15 Symphony No. 39 in E-flat Major, K.543, Mvt. I or III (Movements will alternate throughout season)

Claude Debussy (1862-1918)...... 28 “Golliwogg’s Cakewalk” from Children’s Corner, Suite for

Piotr Ilyich Tchaikovsky (1840-1893)...... 33 Waltz from The Sleeping Beauty

Igor Stravinsky (1882-1971)...... 44 “Dance of the Young Girls” from The Rite of Spring

Loonis McGlohon (1921-2002) & Charles Kuralt (1924-1997)...... 52 “North Carolina Is My Home”

Richard Wagner (1813-1883)...... 61 to

Concert Etiquette Student Contract...... 67

“Your Elephant, The Orchestra”...... 68 A story to be read before your concert

North Carolina Symhony Seating Chart...... 69

Bibliography and Selected Sources...... 70

Selections are listed in program order.

AUTHORS Amanda Watson Bailey, Barwell Road Renaissance Elementary School, Raleigh, NC Linda Musten, Yates Mill Elementary School, Raleigh, NC Jana Powell, Contentnea-Savannah K-8 School, Kinston, NC Christine White, Banks Elementary School, Kinston, NC

2012/13 TEACHER WORKBOOK • 1 Information ABOUT THE 2012/13 EDUCATION CONCERT PROGRAM

Education Concert Workshop Dear Friends and Colleagues, The best way to prepare for your concert is to attend the Education Concert Workshop each August. This six-hour As we commemorate the 80th Anniversary Season of the North Carolina Symphony, we also honor more than workshop features presentations by the authors of the student and teacher handbooks, including live demonstrations of recommended activities and lesson plans For your registration fee of $30.00, you will receive a copy of both hand- seventy years of unique education concert programs heard by millions of North Carolina students. The selections books, a CD of the concert program and printouts of all PowerPoint presentations. You will be treated to lunch and for this year’s program aim to not only instill a love of in young people, but also to represent our entered to win prizes from North Carolina Symphony sponsors. All who participate will also receive a certificate that orchestra’s venerable educational history. they can use to obtain 0.5 CEU credit from their district. This year’s workshop takes place on Wednesday, August 15, 2012, from 9:00 am – 3:00 pm at Meymandi Concert Hall in Raleigh, NC. We would like to thank this year’s authors: Christine White and Jana Powell of Lenoir County Schools and Linda If you are unable to attend the workshop in August, you can view it online. The North Carolina Symphony Educa- Musten and Amanda Watson Bailey of Wake County Public Schools. Each of these individuals contributed tion Concert Workshop will be videotaped and made available on a private classroom site. To download these videos you must register, after which you will be sent the same materials as all of the workshop participants and be given a countless hours of their time (and much of their summer vacations) to creating these curriculum guides and unique username and password to log in to the classroom site. Upon completion of your online workshop you will be preparing for our August Education Concert Workshop, for which we are truly thankful. issued a certificate that can be used to obtain 0.5 CEU credit from your district. The cost of registration is just $30.00. You can access these resources anytime throughout the school year. These books are tools for preparing your students to attend their North Carolina Symphony Education Concert. It is our intention that the Education Concert experience supports your goal of promoting music as a core sub-

ject that is essential to North Carolina’s curriculum. I encourage everyone involved with the Education Concerts “North Carolina Is My Home” to take just five minutes to complete our surveys when they are sent to you. The information you provide on At your concert, the conductor will ask everyone to stand and sing “North Carolina Is My Home” with the orchestra. He or she will cue the students after a brief introduction, when it is time to start singing. Although we encourage stu- that survey will help us evaluate the success of our programs and make changes for the following seasons. We dents to memorize the lyrics, we understand that this is not always possible. At your discretion, decide whether or not value your opinions and we put your ideas into action. Thank you for sharing your expertise with us! to bring song sheets or books from which your students can read. If you do choose to bring the lyrics, please be sure students take with them all materials they bring into the auditorium as a courtesy to our venues’ clean-up crews. We are grateful for all that you do to enrich the lives of students across North Carolina. And remember, it’s a treat for our orchestra and conductors to hear your students singing. Encourage your students to sing loudly so our musicians can hear them! Please note that a recording of “North Carolina Is My Home” is not included on the Education Concert CD.

Jessica Nalbone Director of Education, North Carolina Symphony Playing on Recorders At your concert, you may notice other groups playing the song on recorders. Playing the song “North Carolina Is My Home” on recorders is an opportunity we extend to all schools groups that attend and is completely optional. How- ever, if you are planning to have a student group perform on instruments, here are a few things to know: • North Carolina Symphony Education staff members need to know that you plan to perform on recorders before CONTACT the North Carolina Symphony Education Department your concert. Please contact Jessica Nalbone, Director of Education, at [email protected] or 919.789.5461 or ask whoever is coordinating your concert trip to do so. Performing groups will be seated in a special section and Jessica Nalbone 3700 Glenwood Ave., Suite 130 acknowledged from the stage, so it is critical that we know you are preparing to play. Director of Education Raleigh, NC 27612 North Carolina Symphony 919.789.5461 Office • Schools will play on their own, unless you make arrangements with another school to perform together. 919.781.6066 Fax • We may have too many individual groups performing on instruments at one concert, in which case you may be [email protected] asked to perform with another school. • Any groups performing on recorders will do so before the orchestra plays “North Carolina Is My Home.” RECORDINGS of the Education Concert Program • This opportunity is open to other instruments such as violins, Orff instruments, boomwhackers, etc. Recordings of the pieces heard on the Education Concert Program will be available for CD purchase on the North Carolina Symphony Education website: www.ncsymphony.org/educationprograms. • Please remind your students, whether they are performing or not, to be courteous and respectful of other students’ performances at their concert.

2 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 3 Competitions and Awards

MAXINE SWALIN AWARD FOR OUTSTANDING MUSIC EDUCATOR: an award and $1,000 cash prize is given annually in honor of Maxine Swalin to an outstanding music teacher in North Carolina who makes a lasting dif- ference in the lives of students of all backgrounds, positively affects his or her community in a lasting way and is a EDUCATION PROGRAMS OVERVIEW role model among music educators. Individuals are nominated by their peers and colleagues, who write letters of support on their behalf.

JOSEPH M. BRYAN AND KATHLEEN PRICE YOUTH COMPETITION: an annual competition open Programs For Elementary School Students and Teachers to musicians between the ages of 10 and 21 in both junior and senior divisions with a cash prize awarded to the first and second place winners in each division. The first place winner of the senior division is offered an opportu- EDUCATION CONCERTS: approximately 45 full-orchestra concerts given annually throughout the state to audi- nity to perform his or her concerto movement with the North Carolina Symphony in an upcoming season. Nearly ences of third through fifth graders. Teachers are given printed materials with a specifically designed curriculum 100 students audition annually. for the music education program at the start of each school year. YOUNG STRINGS OF THE TRIANGLE: provides free private string lessons for economically disadvantaged string EDUCATION CONCERT WORKSHOP: offering an annual teacher training workshop in Raleigh and supplemental players. Students are partnered with North Carolina Symphony musicians and community teachers for private in- classroom resources for teachers through the North Carolina Symphony website. The Symphony’s professional struction and mentorship. Program participants have access to the breadth of educational activities of the orches- development programs and resources aim to address North Carolina curriculum standards in education, offer best tra, including free access to most Classical Series performances and special concerts. practices in the classroom and discuss important issues facing music educators in our state. The workshop is also available for video download on the North Carolina Symphony website. OVATIONS: Thirty-minute recitals given by local young artists and chamber ensembles in advance of Classical Series concerts in Raleigh, Chapel Hill and Southern Pines. ENSEMBLES IN THE SCHOOLS: an in-school program that brings North Carolina Symphony small ensembles into classrooms for an intimate learning experience. A string quartet and brass are available for booking. Our musicians teach the elements of music and listening through this interactive program. Performances can be adapted for grade levels K-12. For more information about the education programs of the North Carolina Symphony, please visit our website at www.ncsymphony.org/educationprograms ONLINE RESOURCES: interactive website pages are dedicated to the North Carolina Symphony’s Education or contact Jessica Nalbone, Director of Education, at [email protected]. programs. Here, teachers can reserve their education concert or open dress rehearsal experience, order resource materials or even participate in professional development activities for credit.

INSTRUMENT ZOOS: a hands-on activity where musicians demonstrate instruments and give children the oppor- tunity to try them out. Instrument Zoos are held one hour prior to Young People’s Concerts and select Summerfest concerts and can also be scheduled for private educational or community-based events.

Programs For Middle, High School and College Students and Teachers

FRIDAY FAVORITES CONCERTS: a Friday afternoon concert series perfect for young adult audiences. These Young People’s Concerts seventy-five-minute performances feature great classical music in a fun and informal setting. Discounted student group rates are offered with pre-registration. Oct 17, 2012 | HALLOWEEN SPOOKTACULAR! MASTER CLASSES: Visiting guest artists coach young instrumentalists in performance. Artists such as Leila Jose- See all 3 fowicz, violin; Yo-Yo Ma, cello; Alexander Mickelthwate, conductor; Zuill Bailey, cello; Noriko Ogawa, piano; Catrin Jan 5, 2013 | TALES OF ENCHANTMENT Finch, harp; and Johannes Moser, cello, have recently given classes. for $39 Mar 9, 2013 | RHYTHM IN YOUR RUBBISH OPEN DRESS REHEARSALS: middle school, high school and college students are invited to orchestra open dress Individual tickets are rehearsals where they will have the opportunity to observe the North Carolina Symphony at work. Conductors and $20 each. Save $21 Meymandi Concert Hall, Raleigh | Two Series Available: 11am & 4pm artists meet with students during the break for an interactive Q&A session. over single ticket prices with a series package. YOUTH SINFONIETTA: an exclusive group of talented young musicians, selected by audition, to perform in a Designed for families and children ages 4-12, these concerts are a chamber orchestra led by Grant Llewellyn and other North Carolina Symphony conductors. Members participate perfect introduction to an essential art form, including the chance in two weeks of activities during each concert season, including intensive coaching with North Carolina Symphony to try out many of our instruments. musicians, rehearsals and public performances led by North Carolina Symphony staff in partnership with the Triangle’s Philharmonic Association and its music director, Hugh Partridge. www.ncsymphony.org/kids | 919.733.2750

4 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 5 AUTHOR BIOGRAPHIES CARL

Amanda Watson Bailey Barwell Road Renaissance Elementary School, Wake County Public Schools, Raleigh, NC Oriental Festival March from Suite, Op. 34 Amanda Watson Bailey is the music specialist at Barwell Road Renaissance Elementary, where she teaches music to Aladdin students in pre-kindergarten through fifth grades. She received her bachelor of music degree from the University of North Carolina at Chapel Hill, where she concentrated in vocal performance. During her year as Miss North Carolina 2008, Amanda visited hundreds of schools across the state, teaching kids to make good decisions through a healthy Born: June 9, 1865, Sortelung, lifestyle. During this year, Amanda found her passion for education. In 2011 she earned her master’s degree in the Died: October 3, 1931, , Denmark art of teaching at the University of North Carolina at Chapel Hill. Since entering Barwell as a first-year teacher in July 2011, Amanda has enjoyed enriching her students’ lives every day through the power of the arts. She was chosen out of thirteen first-year teachers to be Barwell’s Diane Kent Parker nominee for the 2011/12 school year. Amanda was also honored at a Wake County School Board meeting with the “Employee Excellence Award” for her work with the Biography (in Student Book) students of Barwell. was the seventh of twelve children in a family so poor, he had to work as a child to help everyone survive. One day, when he was six years old and stuck at home, sick with the measles, his mother gave him his first violin. By the Linda Musten end of the day he had taught himself a few short melodies, and soon enough, an assistant teacher at his school was en- Yates Mill Elementary School, Wake County Public Schools, Raleigh, NC couraging him to learn to read and write music. Nielsen was sold. By the time he was a teenager, he had learned to play trumpet and earned a position in the Sixteenth Battalion, a military band. That was just the beginning. Nielsen eventually Linda Musten holds a bachelor of music degree in education from Meredith College. She is National Board Certified became Denmark’s greatest , as well as a famous violinist, teacher and writer and the conductor of the coun- and has achieved Orff Level I and II Certification. Linda is an active member in the Central Carolina Chapter of the try’s Royal Theatre. American Orff-Schulwerk Association and the National Association for Music Education. She enjoys teaching at Yates Mill Elementary, where she will begin her thirteenth year this fall. Linda is a member of Hayes Barton Baptist Church You will hear the orchestra perform the Oriental Festival March from Nielsen’s music for the play Aladdin. This is “inci- in Raleigh, where she sings in the Chancel Choir. She enjoys reading, cooking and taking long walks. She and her dental music,” meaning it would be played in the background of the play to create a particular atmosphere or feeling, husband live in Raleigh and have two adult daughters and one adult son. just like the music to your favorite movie today!

Jana Powell Contentnea-Savannah K-8 School, Lenoir County Public Schools, Kinston, NC about Nielsen (in Student Book) Jana Powell earned a bachelor of music therapy degree in 2003 and a bachelor of music education degree in 2007 Fun Facts from East Carolina University. She is in her sixth year teaching at Contentnea-Savannah K-8 school in Kinston, NC. She • For many years, Nielsen’s picture was on the Danish • At age eight, Carl had a job looking after geese. founded the CSS Chorus for fifth grade students in 2009. Students who participate in this chorus are given the op- Krone, which is the paper money used in Denmark. • Carl Nielsen liked to knit. portunity to perform throughout the community. She teaches private piano lessons after school each day. Her husband is also a musician who plays throughout the community. She has one son, Jaden, who is three years old, and a cat (although no one has ever seen her because she’s so shy)! Jana is preparing to continue her education at East Carolina University with a master’s degree in elementary education. Nielsen’s Life • While he comes from a musical family, he did not • Even though he travelled to many places to study Christine White receive formal training until he went to school. or perform, he considered Copenhagen his permanent . Banks Elementary School, Lenoir County Public Schools, Kinston, NC • He studied music at the Copenhagen Conservatory home. Christine White has been the music specialist at Banks Elementary School in Kinston, NC, for sixteen years. She gradu- from 1884-1886. From 1910-1919, he taught theory • Nielsen found it difficult to slow down his pace of ated from East Carolina in 1995 with a bachelor’s degree in music education and music therapy and in 2006 with a and composition at the Conservatory. work. In 1922 he suffered his first heart attack. master’s in music education. In 2002 she achieved National Board Certification in early and middle childhood music • Nielsen married Anne Marie Brodersen, a sculptor, on • In September 1931, he suffered a series of minor heart . and was re-certified in 2011. She has been named “Teacher of the Year” at her school twice and was a Lenoir County May 10, 1891, in Italy. They had three children: two attacks after hoisting himself up to fix some ropes finalist in 2003. Christine assists in directing children’s music at Tanglewood Church of God, participates in the sanctu- daughters and one son. during a dress rehearsal. ary choir, conducts an extracurricular chorus at Banks and teaches music classes at the Queen Street Academy, which is an arts-based after school program at a local church. She has been blessed with a wonderful husband who works in • Nielsen also had two children out-of-wedlock: Carl • His condition did not improve and on October 1 he the technology department for Lenoir County Public Schools and two children who attend E.B. Frink Middle School. August Nielsen and Rachel Siegmann. was hospitalized. He remained there until his death • As an adult, he played in the orchestra of on October 3, 1931. Concert Hall, conducted the Royal Chapel Orchestra, • So many people wished to attend his funeral that it taught lessons and composed various works on had to be moved to Vor Frue Kirke (Our Lady’s Want to become an author for the North Carolina Symphony? Contact us! commission. Church), the Copenhagen Cathedral. Nielsen had Jessica Nalbone, Director of Education • His formal music education continued throughout his written all of the music performed at his funeral. 919.789.5461 life with the assistance of scholarships and encounters . [email protected] with other artists who influenced his music.

6 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 7 FEATURED WORK Oriental Festival March from Aladdin Suite, Op. 34 2. Have students introduce themselves to each other using the handshake activity. • Shake, shake (shake hands) thumb, thumb (shake thumbs). Aladdin is a Middle Eastern folktale that has been adapted for new audiences across the world. Adam Oehlenschläger • Shake, shake (shake hands) finger, finger (grasp fingers and shake). wrote his verse drama Aladdin in 1805. This adaptation was used in a 1919 production, for which Carl Nielsen wrote the • Shake thumb, shake finger, slap backs of hands together three times, clap palms. . • Repeat and look for a new partner. In 1917, the artistic director of the Royal Theatre approached Nielsen and asked him to compose music for a new 3. Students share with each other the importance of an introduction. Ask them to buddy share: “Would you prefer production of Adam Oehlenschläger’s drama, Aladdin. Nielsen reluctantly accepted this job, and later found out that to go somewhere and not talk to anyone because you did not know them or would you prefer to introduce your many changes had been made to his music without his permission. During the final rehearsals, the director had cut self and have a new experience? Why?” a large part of the music and made alterations in Nielsen’s sequence of dances. After the dress rehearsal, Nielsen demanded his name be removed from the poster and the program. Therefore, during the two evening performances, 4. As a class, have students come up with a definition of “introduction.” Possible correct answers include: there was no mention of the composer. Later, Nielsen wrote an orchestral suite based on his original score that is still • an instrumental passage played before singing that sets the mood, tempo, tonal center played. • an opening passage in a movement or composition before the main material The first piece in this orchestral suite is the Oriental Festival March. The movement begins with a mighty, processional- 5. Share with the students that at the concert, the orchestra will play Oriental Festival March as an introduction to like theme that repeats four times. During each repeat, a motif from the theme develops. the program. As they listen to this music they need to reflect on what the symphony is introducing to them.

Brief Plot Synopsis: Aladdin is an idle fellow. His father, Mustapha, tries to teach him a trade, but Aladdin loves to play more than work so CLASSROOM ACTIVITY 2: All about the Story he spends his days playing in the public streets with other boys. When Aladdin is 15, an African magician comes to the village looking for a foolish boy to help him. The musician, pretending to be the now-deceased Mustapha’s brother, North Carolina Essential Standards: convinces Aladdin and his mother of his goodwill and tricks Aladdin into retrieving a lamp from inside a mountain. 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, After Aladdin refuses to give the magician the lamp, the magician traps him in the mountain. Aladdin rubs his hands 3/4, and 4/4 meter signatures. in despair and inadvertently rubs a magic ring that the magician had given him. A genie appears and takes Alad- din, with the lamp, home to his mother. When his mother tries to clean the lamp, a genie appears and, bound to his 4.ML.2.2 Interpret through voice and/or instruments simple pitch notation in the treble clef in major keys. mother, grants her wishes. With the aid of the genie, Aladdin becomes wealthy and powerful. He marries Princess 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of Badroulbadour, the Sultan’s daughter, and the genie builds him a magnificent palace. The magician returns and tricks music of various styles and cultures. Princess Badroulbadour into exchanging the old lamp for a new lamp. He then orders the genie to take the palace and the princess to his home far away. Using the magic ring, Aladdin is able to recover the lamp, the palace and the 5.ML.1.1 Illustrate independence and accuracy while singing and playing instruments within a group or ensemble. princess. 5.ML.1.3 Use instruments to perform rhythmic, melodic, and chordal patterns accurately and independently on classroom rhythmic, melodic, and harmonic instruments. 5.ML.2.3 Apply understanding of standard symbols and traditional terms for dynamics, tempo, articulation, rhythm, meter and pitch when reading and notating music. STUDENT INTRODUCTION 5.MR.1.3 Exemplify appropriate behaviors as a participant and observer of music in relation to the context and style to Nielsen’s Oriental Festival March from Aladdin Suite, Op. 34 of music performed. Objective: Students will memorize the melody of the main theme in Oriental Festival March and remember facts CLASSROOM ACTIVITY 1: Introduction to Introductions about Nielsen. Materials: Teacher Book, Education Concert CD, piano, mallet instruments North Carolina Essential Standards: 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of Process: music of various styles and cultures. 1. Introduce the story of Aladdin. Explain when it was written. Tell the story briefly, introducing the main characters 4.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology. and the main ideas. • Aladdin 4.MR.1.3 Design a set of criteria for evaluating music performances and compositions. • African Magician 5.CR.1.2 Understand the relationships between music and concepts from other areas. • Genie of the lamp and ring • Sultan Objective: Students will be able to identify and define the characteristics of an introduction in music as well as the • Princess Badroulbadour introduction role in Nielsen’s Aladdin Suite. 2. Introduce the term “incidental music,” meaning music written to be played during a play as a background to create a particular atmosphere or feeling. Materials: Teacher Book, Education Concert CD 3. Display the notation of Theme A and play on the piano as students follow along. Process: 4. Echo sing the melody, two measures at a time. Repeat until students can sing the entire theme. 1. Lead students in a discussion about introductions. Why do you need an introduction? What is the purpose of an 5. Clap the rhythm. Read the notation and clap the rhythm. introduction? Are introductions important? 6. Sing the note names.

8 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 9 7. Transfer Theme A to a mallet instrument or alto recorder. c. A (16 beats x 2) Streamers: • Overhead left and right (beats 1-4), circle around (beats 5-8), up and down (beats 9-12), fire swirl (small 8. Students will listen to Oriental Festival March and identify how many times they hear Theme A. circles towards floor beats 13-16) 9. Students will listen again as they face a partner and do the hand shake activity during Theme A (two times). d. Motif C (16 beats x 3) Yarn Balls or basketballs: (one ball for each student) When other themes occur, students move throughout the room giving hi-fives, handshakes and introductions to • Up catch, up catch (or bounce catch, bounce catch) (beats 1-8) left to right to left hands (beats 9-14), students. They will stop in front of another partner to do the handshake activity when Theme A occurs. throw to partner (beats 15-16) Note: Theme A is provided at the end of this Classroom Activities manual. e. A (16 beats x 2) Streamers: • Overhead left and right (beats 1-4), circle around (beats 5-8), up and down (beats 9-13), fire swirl (small CLASSROOM ACTIVITY 3: Movement with Props circles towards floor beats 13-16) f. Motif D (8 beats x 3, 16 beats (flutes), 8 beats x 2) Parachute panels (two per panel): North Carolina Essential Standards: • Little ripples (24 beats), Up and Down (16 beats), Little ripples (16 beats) g. A (16 beats x 2) Streamers: 4.ML.3.1 Use improvisation to create stylistically appropriate answers to given rhythmic and melodic phrases. • Overhead left and right (beats 1-2), circle around (beats 5-8), up and down (beats 9-12), fire swirl (small 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of circles towards floor beats 13-16) music of various styles and cultures. h. Coda: (8 beats x 5, Chord, chord, chord, chord. Chord (ritardando on chords)) 4.MR.1.3 Design a set of criteria for evaluating music performances and compositions. • All props at the same time: 5.MR.1.2 Use music terminology in explaining music, including notation, instruments, voices and performances. 1) A Theme, 2 times, wait 4 beats then down/up on chords and freeze 5.CR.1.2 Understand the relationships between music and concepts from other areas. 2) B Theme, 4 times, wait 4 beats then throw and catch 2 times, then throw and catch on body (whole note) Objective: Students will demonstrate their understanding of the introduction of a story through movement with 3) C Theme, 2 times, wait 4 beats then throw and catch 2 times; left, right, left, right then to partner and props. freeze (whole note) Materials: Form chart, streamers, scarves, yarn balls or basketballs, parachute panels 4) D Theme, little ripples 36 beats, wait 4 beats then up (2 beats), down (2 beats) then up/down/up/down/ up and ripples with the whole note Process: Note: The Form Chart is provided at the end of this Classroom Activities section. 1. Have students discuss the form of the song. They know Theme A. Does the same theme occur each time after Theme A repeats? 2. Imagine a parade with all the different participants and Aladdin, the playful boy, darting in and out amongst the vendors to watch. Nielsen’s Oriental Festival March from Aladdin Suite, Op. 34 • Theme A represents the entire festival march with all of the participants. Theme A • A motif is a short rhythmic or melodic passage that is repeated or evoked in various parts of a composition. Each motif developed represents one character or participant in the march. • Record their thinking on the board. 3. Display the Form Chart for students to check if they came up with the correct answer. 4. Discuss the theme and who each motif might represent in the play. • Theme A: Processional-like theme which represents the Emperor at the beginning of the march • Motif B: Princess appears • Motif C: Aladdin darting in and out among the crowds to see the Princess • Motif D: Genie helps Aladdin obtain all the wealth to win the Princess • Coda: All characters appear 5. Demonstrate each movement with the prop for each section. 6. Divide the class into four groups; assign the props for each section and practice. 7. Perform with the music. Video tape and self assess. 8. Form is a rondo (Four different props for sections) a. A (16 beats x 2) Streamers: • Overhead left and right (beats 1-4), circle around (beats 5-8), up and down (beats 9-12), fire swirl (small circles towards floor beats 13-16) b. Motif B (8 beats x 3) Scarves: • Scarf down in front (beat 1), up above head (beat 2), back (beat 3), up above head (beat 4), circle above head (beats 5-8)

10 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 11 Nielsen’s Aladdin Word Scramble Oriental Festival March Form Chart Unscramble each of the clue words. Use the letters that appear in the numbered boxes to create the final message.

DINLADA 16 5

LENSINE 8 RNCONOTDITIU 2 18 DENMAKR 14 DATLINCINE 3 GIICAANM 13 IENEG

10 ALNUTS 11 6 RIESSNCP

17 4 MIFOT

15 1 9 TEMHE

12 19 KAFLEOLT

7

V L 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19

12 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 13 Nielsen’s Aladdin Word Search WOLFGANG AMADEUS

Symphony No. 39 in E-flat Major, K.543, Mvt. I or III

Born: January 27, 1756, Salzburg, Austria Died: December 5, 1791, Vienna, Austria

Biography (in Student Book) was an extraordinarily gifted musician from the very beginning. He was writing his own music by the time he was five, and in just a few years, was performing in front of kings, queens, princesses, famous and some of the most important people in Europe. By the time he was eight, he had written three full ! Word traveled fast about this new, amazing prodigy, a name for a child who is better than almost ev- eryone at a particular task, like writing music or playing the violin. Mozart held onto this fame for the rest of his life, and he made the most of it, wearing expensive clothes and spending long nights at parties. Yet all the while, he wrote some of the most beautiful music the world has ever known. Mozart wrote in all of the musical styles popular in his day, from massive for many singers to that call out a single instrument to symphonies for a full orchestra, like the music you’ll hear in your concert. Unlike almost any other composer you can name, Mozart was successful in whatever style he attempted. He is still remembered and loved as one of music’s great geniuses.

Fun Facts about Mozart (in Student Book) • Mozart had perfect pitch and could hear a note and • Like many men in the 1700s, Mozart wore a identify it without having to play it on the keyboard. powdered wig. A wig was considered very • As an adult, Mozart enjoyed billiards and dancing. fashionable, but it also kept people from having He also had several pets including a canary, starling, to wash their hair every day and reduced the dog and horse for riding. spread of lice.

Mozart’s Life • His parents were Leopold, the deputy kapellmeister for happy working for the Prince due to the low salary of the court orchestra, composer, violin teacher and 150 florins per year. He resigned in 1777. writer of a famous violin textbook, and Anna Maria • He left Salzburg and went to Mannheim, where he Pertl. They had seven children, but only Wolfgang and met the Weber family. He fell in love with Aloysia his older sister Nannerl survived. Weber, a singer and one of four sisters. He could • On a trip to Rome (1769-1771) he heard Allegri’s not find a job and his father wanted him to come Miserere one time in the Sistine Chapel and wrote it back home. Mozart went to see Aloysia instead, who out in its entirety from memory. broke up with him. He then reluctantly took a position • In the 1780s, he met Franz Joseph Haydn, who told in Salzburg in 1779. Leopold, “I tell you before God and as an • He later moved in with the Webers, who had moved honest man, your son is the greatest composer known from Mannheim to Vienna. By that time, Aloysia had to me by person and repute, he has taste and what is married another man, so Mozart turned his attention more, the greatest skill in composition.” to her sister, Constanze. Leopold did not approve of • Mozart’s first job was court musician to Prince-Arch- the marriage, but they were married on August 4, bishop Colloredo of Salzburg in 1773. He was not 1782, a day before his father’s consent came in the mail.

14 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 15 • Wolfgang and Constanze had six children, but only • His final work, Requiem, was commissioned by a STUDENT INTRODUCTION two boys survived: Karl Thomas and Franz Xavier. nobleman Mozart did not know. He wrote from his Neither of them married or had children. sickbed but left the work unfinished. One has to Mozart’s Symphony No. 39, Movement I and III • Wolfgang and Constanze lived lavishly, keeping it that Mozart thought he was writing it for himself. servants, sending their children to private schools and • He became ill during the month of September, with CLASSROOM ACTIVITY 1: Introduction to Mozart renting expensive apartments. He became a Freema- symptoms intensifying on November 20, sending son in 1784, a period when he was struggling greatly. Mozart to bed with pain, swelling and vomiting. North Carolina Essential Standards: Mozart wrote letters to his Masonic friends asking to • Mozart died on December 5, 1791, at 35 years old. 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions and describing aural examples of music of borrow money and went on trips to Germany to look His death certificate lists “severe miliary fever” as the various styles and cultures. for jobs. He suffered depression in his finances and his cause of death. Many theories abound as to what 4.MR.1.2 Explain personal preferences for specified musical works and styles, using appropriate music terminology. psyche. today’s diagnosis would be, such as trichinosis, • By 1791, Mozart was in better financial shape and had mercury poisoning, rheumatic fever, influenza or Objective: To introduce the students to the form of movements I and III. a great year in composition. He wrote The Magic Flute, kidney disease. a piano concerto, a , a string • Mozart’s burial was in a common grave with few Materials: Teacher Book, Student Book, Education Concert CD quintet and the choral piece Ave Verum Corpus. He mourners. Although sad for us today, this was the received money from wealthy patrons in Hungary and Viennese custom of the day. Memorial services in Process: Amsterdam and sold some dance music. He began Vienna and Prague were well attended and publishers 1. Introduce Mozart to the students. Share date of birth, place of birth and some fun facts about the composer. paying back his debts and premiered La Clemenza de vied for the chance to produce editions of his works. Tito on September 6. He conducted the premiere of 2. Introduce students to the featured work: Symphony No. 39, Movement I and/or Movement III. The Magic Flute on September 30. • In 1809, Constanze married Georg Nikolauss von • Mozart’s Symphony No. 39 was one of the last three symphonies he composed. He composed these Nissan, a Danish diplomat, who wrote a biography on three symphonies within just six weeks during the summer of 1788. Symphony No. 39 is one of tender • Mozart has been the subject of legends and myths, Mozart. cheerfulness and grace. even seen in our time in the movie Amadeus. • The symphony has four movements: Adagio-Allegro, Andante, Minuet and Allegro. Some of the stories surrounding his death have been exaggerated. 3. Movement I, Adagio, opens with a majestic introduction of fanfares in the brass section. The Allegro section that follows is in sonata form. 4. Movement III, Minuet, is based on the traditional minuet dance in 3/4 meter. The form is A-B-A. The A section is FEATURED WORK Symphony No. 39 in E-flat Major, K.543, Mvt. I or III made up of phrases that start forte and end piano. The B section is lyrical and peaceful, using piano dynamics. In today’s concert, you will hear either the first or third movement from Mozart’s Symphony No. 39 in E-flat Major. This Note: A Sonata Form Chart is provided at the end of this Classroom Activities manual. is the first of three symphonies composed in rapid succession in the summer of 1788, yet the date of its premiere is unknown. Historians do not even know if Mozart had the opportunity to hear this composition during his lifetime. You will notice that the beginning of the first movement opens with a majestic introduction heard in the brass section. This CLASSROOM ACTIVITY 2: Terminology of Dynamics grand opening contrasts with the sound you will hear throughout the rest of the movement. Listen carefully for the dynamic differences. North Carolina Essential Standards: Fundamental of Music: Dynamics 4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo and articulation Dynamics are the softness or loudness of a sound in music, also known as the volume. For example, forte means loud while performing music. and piano means soft. 4.ML.2.4 Use standard Symbols to notate rhythm, meter, and dynamics in simple patterns. In the Harvard Concise Dictionary of Music and Musicians, dynamics are defined as: 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples a. the various degrees of loudness called for in performance of music of various styles and cultures. b. directions and symbols used to indicate degrees of loudness Objective: Students can understand and recall correct terminology used in music to describe dynamics. Table of Dynamic Markings Italian Word Abbreviation Definition Materials: Table of Dynamic Markings and Dynamic Flash Cards pianissimo pp Very soft piano p Soft Process: 1. Read and review dynamic terms in Italian. mezzo piano mp Moderately soft mezzo forte mf Moderately Loud 2. Form a circle with students. forte f Loud • Start in a crouch down position with knees and elbows touching the floor. • Whisper: pianissimo. fortissimo ff Very loud • Sit on feet and speak quietly: piano. sforzando sfz Strong, loud accent • Go up on knees and speak a bit louder: mezzo piano. crescendo < Gradually louder • Stand and speak normally: mezzo forte. decrescendo/diminuendo > Gradually softer • Raise arms out from chest and speak forcefully: forte. • Jump, arms circle up and speak exuberantly: fortissimo. • Repeat process backwards. 16 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 17 3. Show dynamic flash cards and ask students to give the English meanings to the Italian words. Materials: Dynamics flash cards, dynamics listening chart, themes 1 and 2, Education Concert CD 4. Display the Table of Dynamic Markings for students to check and read the English meanings. Process: Note: A set of Dynamics Flash Cards and Table of Dynamic Markings is provided at the end of this Classroom Activities manual. 1. Play theme 1 for students on the piano. Students will sing theme 1 using words. Using dynamic flash cards, students will choose the dynamic level to sing. Repeat several times. 2. Repeat process for Theme 2. CLASSROOM ACTIVITY 3: Is it forte or piano? 3. Hand out the Listening for Dynamics chart to students. North Carolina Essential Standards: 4. Students will listen to Movement I, Exposition, Development, Recapitulation, and record the dynamics they hear. 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 5. Students will discuss and compare with a partner what they recorded on their chart. 3/4, and 4/4 meter signatures. 6. Allow several students to share their charts with the class. 4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo and articulation while performing Note: Themes 1 and 2 and the Listening for Dynamics Chart are provided at the end of this Classroom Activities Manual. music. 5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns accurately and independently on classroom rhythmic, melodic, and harmonic instruments. CLASSROOM ACTIVITY 5: Playing piano and forte with instruments 5.ML.2.3 Apply understanding of standard symbols and traditional terms for dynamics, tempo, articulation, rhythm, meter and pitch when reading and notating music. North Carolina Essential Standards: 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, Objective: Teach students how to perform dynamic changes similar to those in Mozart’s Symphony No. 39. 3/4, and 4/4 meter signatures. Materials: Introduction rhythm score, drums with mallets, triangles, Education Concert CD 4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo and articulation while performing music. Process: 5.ML.1.1 Illustrate independence and accuracy while singing and playing instruments within a group or ensemble. 1. Review dynamic markings with the class. 5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns accurately and independently on 2. Students will listen to the Introduction of Mozart’s Symphony No. 39, Mvt. I (00:00-01:45). classroom rhythmic, melodic and harmonic instruments. When the dynamic level is f, students will open their hands to show they hear forte. 5.ML.2.3 Apply understanding of standard symbols and traditional terms for dynamics, tempo, articulation, rhythm, When the dynamic level is p, students will close their hands to show they hear piano. meter and pitch when reading and notating music. 3. Display the Introduction Rhythm Score. Ask students to identify in the score where they would play forte and where they would play piano. Objective: Students will learn to apply their knowledge of form and dynamics by playing with in an ensemble setting.

4. Students will read and speak the rhythms for the different instruments using loud and soft voices. Materials: Drums with mallets, triangles, finger cymbals, maracas, rhythm cards, dynamic flash cards, sonata form cards. 5. Divide class into two groups and hand out instruments. Practice playing the rhythm patterns. 6. Divide each group into two groups. Process: 1. Review dynamic markings with the class. 7. Half of the students will play instruments along with the recording of the Introduction. The other half of the class will listen and peer assess the success of students playing. 2. Students will listen to Movement I as they follow the Listening Map to discover the dynamics and the different sections of the sonata form. 8. Switch groups and repeat. 3. Display the Rhythmic Patterns for the different sections of the sonata. Note: The Introduction Rhythm Score is provided at the end of this Classroom Activities Manual. 4. Students will identify the different note values, read and clap the rhythms. 5. Divide the class into 3 groups: CLASSROOM ACTIVITY 4: • Themes, Bridge and Development, with a student leader for each group. • Each leader will be in charge of listening and cuing the groups regarding what dynamics to play by holding Singing and Listening for Dynamics, Themes 1 and 2 up the dynamic flash card. • Themes 1 and 2 will play their assigned rhythm pattern on the triangles. North Carolina Essential Standards: • Bridge Group will play their assigned rhythm pattern on drums; maracas if forte and triangles/finger 4.ML.1.1 Apply expressive qualities when singing or playing a varied repertoire of music representing genres and cymbals if piano. (You will need 2 sections within the Bridge Group) styles from diverse cultures. • Development Group will play their assigned rhythm pattern on drums; maracas if forte and triangles/finger 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, cymbals if piano. (You will need 2 sections within the Development Group.) 3/4, and 4/4 meter signatures. 6. Students will listen to the exposition and development of the Mozart Symphony and play their pattern with the correct dynamic level as directed by their leader. Objective: Students will apply their knowledge of dynamics while they listen to develop active listening skills.

18 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 19 7. Each group will discuss how successful they were in playing the correct dynamics, rhythms and following their Dance steps: leader. They will share with the class what they would change to be more successful. Have students start in a large standing circle with feet apart and hands by their sides. Teach the dance by having the Note: The Listening Map and the Rhythmic Patterns are provided at the end of this Classroom Activities manual. students echo the text below (which accompanies the measure numbers) after the teacher, one phrase at a time, to help them internalize the dance steps: 1. Ask students to identify how the text helps them feel the 3/4 beat in their bodies. CLASSROOM ACTIVITY 6: Dance and Movement 2. If necessary, prompt students to remember syllabic emphasis can help with the movement. 3. See below: North Carolina Essential Standards: 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, mm.1-4: Bow to the inside then please stand back up, (students bend forward slowly and up slowly) 3/4, and 4/4 meter signatures. mm. 5-8: Bow to the outside then please stand back up, (students turn around so that all backs are to the inside of 4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo and articulation while performing the circle and bend forward slowly and back up slowly) music. mm. 9-12: Rock-2-3, Rock-2-3, Right-Left-Right-Left, (students are turned back to the center and rock back for three 4.ML.2.4 Use standard symbols to notate rhythm, meter and dynamics in simple patterns. beats, forward for three beats and then “hop” on right foot, left, right, and left to the beat) 4.ML.3.1 Use improvisation to create stylistically appropriate answers to given rhythmic and melodic phrases. mm. 13-16: Grab two new hands and then start it again (students will move from large circle setting to grab a partner’s hands) 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of (take the repeat) music of various styles and cultures. 5.ML.1.1 Illustrate independence and accuracy while singing and playing instruments within a group or ensemble. mm. 1-4: Bow to your partner then please stand back up, (students face each other and boys bow while 5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns accurately and independently on girls wait for the curtsy) classroom rhythmic, melodic and harmonic instruments. mm. 5-8: Curtsy to your partner then please stand back up, (students face each other and girls curtsy while 5.ML.2.3 Apply understanding of standard symbols and traditional terms for dynamics, tempo, articulation, rhythm, boys wait) meter and pitch when reading and notating music. mm. 9-12: Rock-2-3, Rock-2-3, Right-Left-Right-Left (students hold hands and face each other and one student rocks back while the other rocks forward first) Objective: To recognize and feel the pulse of a 3/4 time signature and learn fundamental dance movements and traditions. mm. 13-16: Circle your partner, move just like a clock (students lock arms with their partners in order to move around each other in a clockwise direction) Materials: Education Concert CD, Teacher Book, CD player, drums, sticks, score to Mozart’s Symphony No. 39 mm. 17-20: Turn with your partner, don’t let them go now, (students grab hands with their partners and lean slightly backwards in order to turn in a clockwise direction) Process: mm. 21-24: Move to the circle to start it again (students move away from pairs and move back to the large 1. Play this movement from Mozart’s Symphony No. 39, Mvt. I and ask the students to sway to the beat circle setting) of the music. 2. Before displaying the score, ask students to guess what the time signature is of this piece. Did they feel the beat in “2,” “3,” or “4,” in their bodies? Sonata Form Chart 3. Before providing the answer, teacher will play the selection again and ask the students to perform the following Sonata Form Movement I pattern with them. (Pat, clap, clap). Exposition Exposes Themes 1 and 2 4. Next, have the students feel the movement of the song in their bodies by standing up and performing the pattern Bridge passages between themes (step, clap, clap) with the teacher. Development Development of thematic material 5. Lastly, before displaying the score, ask for student volunteers to demonstrate this beat “feeling” on the drums by Fragmentation of melody playing the three beat pattern on drums while the rest of the class performs the body percussion (pat, clap, clap) Rapid modulation to new keys with a partner. Recapitulation Recaps Themes 1 and 2 • Perform this exercise as a call and response in order to prepare the students for the dance steps that will Shorter than exposition come next. Teacher will have the students use the drums as the call and the partners of students will be the Bridge passages between themes response. Help the students with this by saying, “you, 2, 3…..me, 2, 3.” 6. Once students have performed this body percussion and drumming exercise, see if the children can identify the time signature. Display the score for students to verify the 3/4 meter. 7. Facilitate discussion with students on the difference between tempo and meter. 8. Ask students what the tempo of this movement is and whether or not the tempo varies or stays constant. Note: The score to Mozart’s Symphony No. 39 is part of public domain and can be found at: http://imslp.org/wiki/Symphony_No.39_in_E-flat_major,_K.543_(Mozart,_Wolfgang_Amadeus)#Full_Scores

20 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 21 Table of Dynamic Markings Mozart Symphony No. 39, Mvt. 1 Italian Word Abbreviation Definition Introduction Rhythm Score pianissimo pp Very soft piano p Soft mezzo piano mp Moderately soft mezzo forte mf Moderately loud forte f Loud fortissimo ff Very loud sforzando sfz Strong, loud accent crescendo < Gradually louder decrescendo/diminuendo > Gradually softer

Mozart Symphony No. 39, Mvt. I Themes 1 and 2

22 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 23 Name: ______Listening Map Mozart’s Symphony No. 39, Mvt. I Flutes, Clarinets, , Horns, Trumpets, , Violins, Violas, Cellos, Basses Listening for Dynamics:

Mozart Symphony No. 39, Mvt. I

Sonata Form Dynamics

Introduction

Exposition: Theme 1

Bridge

Exposition: Theme 2

Bridge

Development

Recapitulation: Theme 1

Bridge

Recapitulation: Theme 2

Coda

24 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 25 Rhythmic Patterns for Symphony No. 39, Mvt. I Dynamics Flash Cards Score for Introduction to read and play "

Exposition Theme 1 Pattern Dynamic = piano Triangles:

Bridge between Theme 1 and 2 Dynamic = forte Drums with mallets:

Maracas added during the dotted half note pattern of the drum when the violins play the 16th notes run. pp p Maracas:

Bridge Dynamic = piano Triangles:

Exposition Theme 2 rhythm pattern Dynamic = piano Triangles: mp mf

Development Dynamic = forte Drums with mallets:

Development Dynamic = piano Triangles and/or finger cymbals:

26 • NORTH CAROLINA SYMPHONY f ff2012/13 TEACHER WORKBOOK • 27 Call Chart to the “Cakewalk” CLAUDE 0:00 Introduction 0:08 A (mostly faster, with rubato) “Golliwogg’s Cakewalk” 0:56 B 2:14 A from Children's Corner, Suite for Orchestra 2:54 Coda

Fundamental of Music: Tempo Born: August 22, 1862, Saint-Germain-en-Laye, France Tempo is the rate or speed at which music is played. In other words, it’s how fast or how slow the music goes. Died: March 25, 1918, Paris, France Ragtime is a style of jazz characterized by elaborately syncopated rhythm in the melody and a steadily accented ac- companiment. Biography (in Student Book) Tempo Chart Too poor to care for him, Claude Debussy’s parents sent their young son to live with an aunt, a decision that would Italian English Metronome Marking change not just his boyhood, but his entire life. Debussy’s aunt introduced the young boy to music through live concerts Largo Slow 40-50 bpm and piano lessons, and immediately Debussy was hooked. He was just ten years old when he entered the Paris Conser- vatoire, the best music school in France. Debussy wanted to be a composer, but he disliked his teachers’ many rules for Adagio Leisurely 66-76 bpm music writing. Instead, as he grew up, he searched for a sound that, in his words, would “please his own ears.” Along Andante Walking Pace 76-100 bpm the way, he became friends with painters and poets like Claude Monet and Pierre-Auguste Renoir. They would all be Moderato Moderately 106-116 bpm grouped together as Impressionists, a term for an artist who was part of a famous and popular artistic movement, Im- Allegro Quickly; Happily 120-146 bpm pressionism, that broke all of the rules that came before. Presto Fast 168-200 bpm At your concert you will hear “Golliwogg’s Cakewalk” from Debussy’s Children’s Corner, Suite for Orchestra. Written for Debussy’s daughter, Claude-Emma, when she was three years old, the Suite was inspired by the toys in the girl’s closet. When you hear the Cakewalk, listen for the dance-like pulse and how the orchestra stretches the speed of the music, just like a dancer in motion. STUDENT INTRODUCTION to Debussy’s “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra

Fun Facts about Debussy (in Student Book) CLASSROOM ACTIVITY 1: Tempo Cakewalk • Most of Debussy’s music was written for solo piano • Debussy’s daughter’s nickname was “Chou-Chou,” and later arranged for a full orchestra, including this which is a term of endearment that means “favorite” North Carolina Essential Standards: Suite. in French. 3.ML.2.3 Recognize standard symbols and traditional terms for dynamics, tempo and articulation. 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of Debussy s Life music of various styles and cultures. ’ 5.CR.1.2 Understand the relationships between music and concepts from other areas. • Debussy’s music represented a major transition from • Debussy suffered from cancer, so he rarely composed to 20th-century music. during WWI. He died in 1918. Objective: Students will show various tempo changes and knowledge of musical terms while moving to music. • His objective was to liberate music from past • Rather than repeating and developing melodies as conventions and traditions. previous composers did, Debussy fit together short, Materials: Education Concert CD, paper plates or jumbo music spots, tempo definitions on cards melodic fragments “like pieces of stained glass.” Process: 1. Write Largo, Adagio, Andante, Moderato, Allegro and Presto on the board. Explain that these are terms used to describe tempo (how fast or how slow the music goes). Allow students to create movements for each term. FEATURED WORK For example: “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra • Largo = Crawl Debussy dedicated his Children’s Corner to his then three-year-old daughter, Emma-Claude. The piece was published • Adagio = Small Steps in 1908, a time when ragtime and jazz were becoming very popular. Debussy experimented with these ragtime char- • Andante = Walking acteristics in this piece by using syncopations in the higher register against a steady march-like rhythm in the lower • Moderato = Skipping register. The last movement of six in Children’s Corner, “Golliwogg’s Cakewalk,” is said to be the most comical and • Allegro = Jogging entertaining. Although the “cakewalk” is indeed a type of dance, Debussy didn’t actually intend for anybody to dance • Presto = Running to his cakewalk. 2. Allow students to listen to music and determine the tempo of the A theme, as well as the tempo of the B theme. Encourage your students to use the appropriate musical terms for each theme.

28 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 29 3. Place paper plates or jumbo music spots in a circle on the floor with a tempo definition placed underneath. Objective: Students will add instruments to the A section of the music, choosing different instruments to match the character of the different phrases. 4. During the A theme of the song, allow students to perform a cakewalk, keeping the steady beat while moving from each spot. Pause the music at any time and name a color. If a student is standing on that color, they Materials: Education Concert CD, classroom percussion instruments, scarves (or parachute) must look under their spot and accurately place their definition under the correct tempo term on the board. Continue this throughout the B theme, assessing students’ change in pace as the tempo changes. Process: 1. Identify the phrases of the A section (there are eight phrases and each phrase is eight beats long). It may be Assessment: Assess student as he/she demonstrates the correct movement to match the tempo of each section as helpful to have the class work as a group to fill out a Phrase Chart for Debussy’s “Cakewalk,” identifying the well as an understanding of each musical term. phrases and the characteristics of each phrase. Then work as a class to identify which classroom instruments would best match each individual phrase. Have students clearly explain why the particular instrument they suggest matches the phrase. (For example: I would play the sandblocks with this phrase because it is soft.) CLASSROOM ACTIVITY 2: Moving to the Tempo 2. Divide students into eight groups, with each group having the appropriate instruments for its phrase. Have the students play for eight beats along with their phrase while matching the rubato used. North Carolina Essential Standards: 3. During the B section have the students wave scarves or wave a parachute to match the more gentle and flowing 3.ML.2.3 Recognize standard symbols and traditional terms for dynamics, tempo and articulation. mood of the music. 3.MR.1.2 Use musical terminology when describing music that is presented aurally. Note: A Phrase Chart for Debussy’s “Cakewalk” is provided at the end of this Classroom Activities manual. 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of music of various styles and cultures. CLASSROOM ACTIVITY 4: You’re the Conductor Objective: Students will show the contrasting tempos of the section by moving with different pieces of equipment. North Carolina Essential Standards: Materials: Education Concert CD, rubber balls, scarves or stretchy bands 3.MR.1.1 Illustrate the corresponding response to conductor gestures for meter, tempo and dynamics. Process: 5.MR.1.2 Use music terminology in explaining music, including notation, instruments, voices and performances. 1. Have students identify the A section as having a faster tempo in general (although rubato is used) and the B section as having a slower tempo with a less well-defined strong beat. Define the term rubato. 5.MR.1.3 Exemplify appropriate behaviors as a participant and observer of music in relation to the context and • Rubato is the temporary disregarding of strict tempo to allow an expressive quickening or slackening. style of music performed. 2. Have students bounce a ball on the steady beat during the A section. Encourage students to feel the variations in Objective: To provide students with the opportunity to develop an understanding of various conducting patterns. the strong beat and how the tempo speeds up and slows down slightly throughout the section. 3. Have students mirror each others’ movements to match the slower, less well defined beat of the B section. Materials: Education Concert CD, classroom percussion instruments You may want to have students hold scarves to connect their hands so that they do not have touch, but can feel the pull of the other person as they match the tempo. See following image: Process: 1. Speak with students about the role of the conductor and how important it is for every musician in the orchestra to watch for cues from the conductor. Inform students that the conductor’s hand movements indicate the tempo of the music and help the musicians play together. 2. Introduce the 2/4 conducting pattern to students. Draw the 2/4 conducting pattern on the board. Encourage students to practice this pattern with their right hand keeping the steady beat. 3. Play “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra and allow students to conduct while listening. After they have listened to the song, ask students to describe what happened to the tempo during the CLASSROOM ACTIVITY 3: Instrumental Accompaniment to “Cakewalk” song? Did it get faster or slower? How does this affect your conducting patterns? 4. Allow one student to stand in front of the class, representing the conductor, and give other students rhythm sticks North Carolina Essential Standards: or some variation of classroom percussion instruments. Begin the music again and have all students follow the 3.ML.1.1 Apply elemental changes, including changes to dynamics, tempo, timbre or texture, when singing cues of the student “conductor.” Allow several students to gain the experience of being the conductor. or playing music. 5. After listening to the music ask students to identify the form of this piece (Intro-A-B-A). Ask students to define the 3.ML.2.3 Recognize standard symbols and traditional terms for dynamics, tempo and articulation. differences between to two themes. Which theme is faster? Which theme is slower? 3.ML.3.2 Create soundscapes using a variety of sound sources. Assessment: Assess student as he/she conducts in the 2/4 pattern while listening to “Golliwogg’s Cakewalk” from 3.MR.1.1 Illustrate the corresponding responses to conductor gestures for meter, tempo and dynamics. Children’s Corner, Suite for Orchestra. Assess student as he/she performs on instruments while following the cues of the conductor. 4.ML.1.1 Apply expressive qualities when singing or playing a varied repertoire of music representing genres and styles from diverse cultures. 4.ML.3.2 Create compositions and arrangements using a variety of traditional and non-traditional sound sources.

30 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 31 Phrase Chart for “Golliwogg’s Cakewalk” from Children’s Corner, Suite for Orchestra Waltz from PIOTR ILYICH The Sleeping Beauty Phrase Number Characteristics Instrument Choice

1

Born: May 7, 1840, Votkinsk, Russia Died: November 6, 1893, Saint Petersburg, Russia

(in Student Book) 2 Biography Piotr Ilyich Tchaikovsky didn’t start out as a great musician. Though he had played the piano since he was four years old, he first studied law and got a job with the government. His love of music won out, however, and he was soon back in school, this time at the famous Saint Petersburg Conservatory. His compositions shot him to stardom, especial- ly for the way they combined classical music with Russian folk tunes. A rich widow, , took a liking to Tchaikovsky’s music and offered to pay him a regular salary so that he could focus on composing. The pair wrote 3 more than 1,200 letters to each other but never met, remarkable for a relationship that produced some of the most famous music of the past 200 years. Tchaikovsky is most often remembered for his ballets, including one you always hear around the holidays, . At your Symphony concert, you’ll hear a piece from another famous ballet, The Sleeping Beauty. The music is a waltz, played when Sleeping Beauty dances at her birthday party. You may remember it from Disney’s movie Sleeping Beauty, as “Once Upon a Dream.” Listen closely to the swaying waltz rhythm and imagine how 4 Sleeping Beauty might have danced.

Fun Facts about Thaikovsky (in Student Book) • Tchaikovsky loved nature and one of his favorite • His family was very wealthy. They lived in a large 5 hobbies was searching for wild mushrooms house with many servants. when out on long walks. • He was very orderly and kept to a rigid schedule. Tchaikovsky’s Life 6 • Tchaikovsky’s musical training began at an early age. • Tchaikovsky’s music is influenced by the Italian operas, After attending a concert with his parents and French ballets and German symphonies. siblings, he complained about not being able to fall • Tchaikovsky reportedly found consolation and rest in asleep because of the music stuck in his head. the music of Mozart. • Even though Tchaikovsky was considered a good • was considered Tchaikovsky’s most musician, his piano teacher informed his parents that 7 successful ballet because of how well it supposedly he would never be a great composer or performer. His appeals to a broad audience range. parents forced him to study law instead of music. Even in law school, Tchaikovsky continued to study music. • Just nine days after the first performance of his Sixth Symphony, “Pathétique,” in 1893, Tchaikovsky died. • In 1877 Tchaikovsky married Antonina Miliukova, who His death was possibly a suicide, although the manner was his student at the conservatory. They separated and circumstances are uncertain. 8 two months into their marriage, though never divorced.

32 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 33 FEATURED WORK Waltz from The Sleeping Beauty Fundamental of Music: Form Form is the way a piece of music is organized or structured. Students may view it as the order of same and different • This ballet is Tchaikovsky’s longest and lasts nearly four hours. sections. The form of the Waltz from The Sleeping Beauty is Intro-A-B-A-C-A-B-A Coda. This is a type of rondo. • Tchaikovsky made ballet writing respectable for serious composers. Waltz from The Sleeping Beauty • None of Tchaikovsky’s three ballets were an immediate success, but they all became famous over time. Call Chart • The score for The Sleeping Beauty is more lighthearted than that of Swan Lake. This may be due to the three-year- 0:00 Introduction old daughter of a friend’s servant, who was living with them at the time. 0:37 A • The Sleeping Beauty premiered at the Mariinsky Theatre in Saint Petersburg in 1890. 1:05 B • The work was a collaboration among Tchaikovsky, the choreographer Marius Petipa and the ballet director 1:40 A (with flutes underneath) Ivan Vsevolozhy. Petipa gave Tchaikovsky very detailed instructions about the music that he needed, including length, style, time signature, etc. 2:15 C 2:47 A • The music is very balanced and light, matching a story where good triumphs over evil. It is well suited to ballet due to strong melodic lines, theatrical sense and rich orchestration. 3:16 B • The music critic Harold Schonberg states that Tchaikovsky’s ballets are like except that the “voice parts are 3:50 A scored for dancers instead of singers.” 4:15 Coda • Tchaikovsky composed at a very fast pace. Experts think he finished the overture, prologue and most of the outline Fundamental of Music: Rhythm for Acts I and II in three weeks. Rhythm is the combination of long sounds, short sounds and rests. This usually makes a regular pattern. • It is based on the story La belle au bois dormant written in 1697 by Charles Perrault. A waltz is in 3/4 time with a strong emphasis on the downbeat of each measure. Additionally, this piece makes use of • The Waltz is the sixth piece in the ballet and the second in Act I. As the only large, formal dance movement in the accents in the B section and syncopation in the C section. score, it serves no plot function. It is just a celebration.

Brief Plot Synopsis: Prologue: STUDENT INTRODUCTION The king and queen have been anxiously waiting for the birth of their only child. After her birth the king calls for a grand christening celebration. Everyone in the kingdom has been invited and six good fairies are asked to bestow their to Tchaikovsky’s Waltz from The Sleeping Beauty blessings on the daughter, Aurora. Each of the fairies is dressed in a different color and has a different gift to pres- ent. As they are giving their blessings they are interrupted by the arrival of the wicked fairy, Carabosse. She is angry and insulted that she was not invited to the ceremony. She curses Aurora, so that one day she will prick her finger CLASSROOM ACTIVITY 1: Tchaikovsky’s Theatre; The Sleeping Beauty on a spindle and die. After Carabosse is finished the Lilac Fairy steps forward to bestow her gift and promises that, although Aurora will prick her finger, she will not die but rather fall into a deep sleep until she is awoken by the kiss of North Carolina Essential Standards: a prince. 3.CR.1.1 Exemplify how music is used by various groups for artistic expression within the local community. Act One: 5.CR.1.2 Understand the relationships between music and concepts from other areas. On Aurora’s 18th birthday, village girls perform the Waltz while holding garlands of flowers. Princess Aurora arrives and dances the famous Rose Adagio. Many other dances follow. Then a strange old woman arrives. She gives Aurora Common Core State Standards: a spindle. Aurora has never seen such an object, as they have been forbidden in the kingdom, and it fascinates her. RL3.2 Recount stories, including fables, folktales and myths from diverse cultures; determine the central She dances with the spindle, pricks her finger and falls to the ground as Carabosse disappears. The Lilac Fairy returns message, lesson or moral and explain how it is conveyed through key details in the text. to fulfill her promise. Aurora is carried inside the palace where she and everyone in the palace will sleep until the arrival of the prince. RL4.3 Describe in depth a character, setting or event in a story or drama, drawing on specific details in the text (e.g. a character’s thoughts, words or actions). Act Two: One hundred years later the Prince is out hunting. The Lilac Fairy shows him a vision of Aurora dancing, and he in- RL 5.5 Explain how a series of chapters, scenes or stanzas fit together to provide the overall structure of stantly falls in love. He begs the Lilac Fairy to guide him to the castle, and she quickly agrees. When the Prince discov- a particular story, drama or poem. ers the overgrown castle he must battle with Carabosse who tries to prevent him from entering. Once inside he finds Aurora and wakens her with a kiss. He declares his love for Aurora, and the king and queen give their blessing to the Objective: Students will gain familiarity with the story of The Sleeping Beauty. marriage. Materials: Education Concert CD, Teacher Book, Student Book Act Three: The palace is prepared for the wedding. The fairies return for the celebration along with many different fairy tale char- Process: acters, including Puss in Boots, Red Riding Hood, the Wolf and the Bluebird. Everyone joins in a dance of celebration. 1. Introduce the story of The Sleeping Beauty to students. The Prince and Princess are married and are given a blessing by the Lilac Fairy. 2. Have students perform Tchaikovsky’s Theatre; The Sleeping Beauty. Note: Tchaikovsky’s Theatre; The Sleeping Beauty is provided at the end of this Classroom Activities manual.

34 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 35 CLASSROOM ACTIVITY 2: Waltzing Bear Rhythms 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of music of various styles and cultures. North Carolina Essential Standards: 5.MR.1.2 Use music terminology in explaining music, including notation, instruments, voices and performances. 3.MR.1.1 Illustrate the corresponding response to conductor gestures for meter, tempo and dynamics. Objective: Students will move to show the different sections of Rondo Form while emphasizing the rhythmic focus of 3.MR.1.2 Use musical terminology when describing music that is presented aurally. each section. 3.MR.1.4 Identify the sounds of a variety of instruments and voices, including many orchestral instruments, instruments from various cultures, children’s voices and male and female adult voices. Materials: Education Concert CD, cards labeled A, B and C

4.ML.2.1 Interpret rhythm patterns including whole, half, dotted half, quarter and eighth notes and rests in 2/4, Process: 3/4, and 4/4 meter signatures. 1. Students will listen to and learn to identify the major features of each of the three sections to the Waltz. 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples 2. Students will listen to music and indicate each section as they hear it by holding up a card or showing a sign of music of various styles and cultures. language letter with their hand. 4.MR.1.4 Classify instruments into Western orchestral categories of wind, string, percussion and brass. 3. Students will add movements to each section to indicate a clear understanding of when the sections change. 5.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, dotted quarter eighth and sixteenth • Students will perform a pat-clap-clap pattern to match the 3/4 meter of the piece. notes and rests in 2/4, 3/4, 4/4 and 6/8 meter signatures. • Students will punch to front on four accented notes and then step side to side on the strong beat (almost 5.MR.1.2 Use appropriate terminology in explaining music, including notation, instruments, voices and like a modified waltz). performances. • Students float their hands out to the side on the syncopated pattern. Right hand out and back. Left hand out and back. Both hands out and back. Both hands up and down. Objective: Students will identify the waltz as a 3/4 meter and will practice the waltz step with both a familiar song from the textbook and with the Waltz from The Sleeping Beauty. Assessment: Visually survey each child to see if he/she demonstrates the correct movements to match each section. Students can be scored based on a 1-4 rubric. Materials: Silver Burdett Making Music 3rd Grade Texts CD 6, Education Concert CD 1. Student does not attempt the activity. 2. Student is unable to match the correct movement with each section, even with teacher modeling. Process: 1. Have students listen to the recording of “Waltzing with Bears” (CD 6-14) and pat the steady beat. 3. Student matches the correct movement with each section teacher modeling. Have students look at the paw prints on pages 170-171 and explain that they represent the beats in the music. 4. Student independently matches the correct movement with each section without teacher modeling. Help them to identify the biggest paw as being the strongest beat, falling on beat one. Identify the meter of the Note: Themes A, B and C are provided at the end of the Classroom Activities manual. piece as 3/4. 2. Have students add a 3/4 conducting pattern to “Waltzing with Bears.” 3. Help students to identify this style in 3/4 meter as the waltz. The waltz comes from a country dance in Germany CLASSROOM ACTIVITY 4: Rondo for Lunch and Austria. It is always in 3/4 meter, although the tempo may vary. Many famous waltzes were written in Vienna, Austria. North Carolina Essential Standards: 4. Have students practice dancing the waltz step. The pattern is STEP right, TOUCH left, TOUCH right then STEP left, 3.MR.1.2 Use musical terminology when describing music that is presented aurally. TOUCH right, TOUCH left. Point out that students should feel the three beats as they move. Add the waltz step to the music. 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 3/4 and 4/4 meter signatures. 5. Students will transfer the waltz step and the 3/4 conducting pattern from “Waltzing with Bears” to the Waltz from The Sleeping Beauty. 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of music of various styles and cultures. (Silver Burdett Making Music 2010 adoption, Grade 3, Unit 5, Lesson 4, pp 170-173, Waltzing Bear Rhythms) 5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns accurately and independently on classroom rhythmic, melodic and harmonic instruments.

CLASSROOM ACTIVITY 3: Moving to the Waltz from The Sleeping Beauty Objective: Students will identify a rondo as a repeated section alternating with contrasting sections (e.g. A-B-A-C-A).

North Carolina Essential Standards: Materials: Silver Burdett Making Music 3rd Grade Texts CD 7, Education Concert CD, classroom percussion instru- 3.ML.2.1 Interpret rhythm patterns, including notes and rests in 3/4 and 4/4 meter signatures. ments, notation of the main melodies in each section

3.MR.1.2 Use musical terminology when describing music that is presented aurally. Process: 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 1. Students will add body percussion to “A Rondo for Lunch” (CD 7-29). 3/4, and 4/4 meter signatures. • clap the rhythm • finger snap the rhythm • pat their knees

36 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 37 2. Students will perform the entire rondo using classroom percussion instruments. Add a different instrument for CLASSROOM ACTIVITY 6: Putting It All Together each section. 3. Students will transfer the concept of rondo from to the Waltz from The Sleeping Beauty. North Carolina Essential Standards: 4. Students will review the major features of the themes of The Sleeping Beauty, follow the call chart and determine 3.ML.1.1 Apply elemental changes including changes to dynamics, tempo, timbre or texture when singing why it is a rondo. or playing music. Note: A waltz pattern and a Call Chart for the Waltz is located at the end of this Clasroom Activities manual. 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural examples of (Silver Burdett Making Music 2010 adoption, Grade 3, Unit 6, Lesson 5, Rondo-Rama) music of various styles and cultures. 5.ML.1.1 Illustrate independence and accuracy while singing and playing instruments within a group or ensemble.

CLASSROOM ACTIVITY 5: Instrumental Rondo Objective: Students will perform a rondo using movement, various instruments and voice.

North Carolina Essential Standards: Materials: Education Concert CD, lyrics for The Sleeping Beauty (A), triangle (A), drums or cymbals (B) and barred Orff 3.ML.2.1 Interpret rhythm patterns, including notes and rests in 3/4 and 4/4 meter signatures. instruments (C)

5.ML.1.1 Illustrate independence and accuracy while singing and playing instruments within a group or ensemble. Process: 5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns and accurately and independently 1. Students will listen to the Waltz from The Sleeping Beauty and follow the Listening Chart. Students should be on classroom rhythmic, melodic and harmonic instruments. able to identify the form as Rondo form (Intro-A-B-A-C-A-B-A). 2. Review the melodic theme from the A section in Lesson 3 and practice singing it. Objective: Students will add instrumental parts to each of the sections of the Waltz. 3. Divide students into four groups: A theme Singers, (or A theme rhythm players (or dancers), B theme players Materials: Call chart and recording of the Waltz from The Sleeping Beauty, Orff instruments, triangles, drums (or dancers), C theme players (or dancers). Allow each group to practice singing/playing/dancing during their theme. Process: 4. Students will listen to the Waltz from The Sleeping Beauty and accurately perform a rondo. The final performances 1. Review rondo form of the Waltz: Intro-A-B-A-C-A-B-A. Review the word “coda” with students and encourage should include students singing the A theme while other students perform alternating skills during the B theme them to listen for it during the recording. and C theme. 2. Students will listen to the Waltz from The Sleeping Beauty while following the Listening Map. Display the Listening Map and allow students to tap/clap each icon while following the rondo pattern. 3. Display the Waltz Rhythm chart and discuss patterns to be played. Practice each rhythm using body percussion before transferring to instruments. A-Section = tap, snap, snap B-Section = clapping hands on the strong beat C-Section = patting rhythm on knees 4. Place instruments in groups of seven or eight and assign each student to an instrument. Practice playing rhythm pattern with each section without the music. Add the recording once the students are comfortable playing within their group.

Assessment: Observe student’s ability to accurately perform a rondo pattern. Note: The Listening Map is located at the end of this Classroom Activities manual.

38 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 39 Tchaikovsky’s Theatre; The Sleeping Beauty Tchaikovsky’s Waltz from The Sleeping Beauty

Narrator: Once upon a time a King and Queen were sad because they did not have any children.

Queen: It would be lovely to have a daughter to shop with. The King never wants to go to the mall.

Narrator: As the Queen sat in the garden crying, a frog hopped up to her and said…

Frog: Don’t cry my dear Queen. Your wish will soon come true.

Narrator: And so, within a year, a beautiful little princess was born to the King and Queen. All of the good fairies were invited to the christening. With them, they brought gifts of beauty, wisdom and charm.

Good Fairies : For you our beautiful princess!

Narrator: There was one fairy that was not invited to the celebration. She was not invited because she was a wicked fairy. When she heard everyone laughing and having fun, she ran into the castle and yelled…

Wicked Fairy: When the princess is fifteen she will prick her finger with a spindle and die.

Narrator: On the princess’ fifteenth birthday she met an old woman who wanted to teach her how to sew. The princess was very excited and decided that she would give it a try, but as soon as she did, she pricked her finger and dropped the spindle. Everyone in the castle fell into a deep sleep (All Characters snoring loudly).

Narrator: Years and years passed and the princess still lay in the castle fast asleep. She had been asleep for so long that roses were growing around her. One day a handsome prince was riding near the castle and an old man told him the story of the sleeping beauty. The prince decided that he would rescue the princess.

Handsome Prince: I will rescue you my sweet princess!

Narrator: The handsome prince found the slumbering princess asleep in her tower and bent to wake her with a kiss. The kiss from the prince not only broke the evil spell from the princess, but from everyone that was in the castle.

King, Queen and Princess : Oh my handsome prince, thank you for breaking that evil spell. How can we ever thank you?

Handsome Prince: Oh King and Queen, you can thank me by allowing me to marry your daughter.

Narrator: The King and Queen agreed, and soon a wedding was planned for the handsome prince and princess. All of the fairies were at the wedding, and once again they gave the princess beautiful gifts. The prince and princess hopped into their new convertible and rode away. They lived happily ever after.

40 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 41 Waltz Pattern Listening Map Tchaikovsky’s Waltz from The Sleeping Beauty

Waltz from The Sleeping Beauty Call Chart 0:00 Introduction 0:37 A 1:05 B 1:40 A (with flutes underneath) 2:15 C 2:47 A 3:16 B 3:50 A 4:15 Coda

42 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 43 “Dance of theYoung Girls” • He continued to write a variety of music, from jazz • Stravinsky continued to compose until his death from The Rite of Spring to circus music to a concerto for swing band and an at age 89. IGOR opera-oratorio. Several of his pieces incorporate • He died in New York in 1971 and was buried in American styles. Venice, Italy. • In his 70s, Stravinsky’s compositions became influenced by serialism and twelve-tone technique.

FEATURED WORK Born: June 17, 1882, Oranienbaum (Lomonosov), Russia Stravinsky’s “Dance of the Young Girls” from The Rite of Spring Died: April 6, 1971, New York City, New York The Rite of Spring, or Le Sacre du Printemps in French, is a ballet set in prehistoric Russia. It was composed between 1912-1913. The ballet shows a fertility ritual in which an adolescent girl is chosen to be sacrificed for the arrival of Biography (in Student Book) spring. The musical episodes depict a wild pagan spring ritual that is observed by the elders. While the music describes The son of an opera-singing father and piano-playing mother, grew up surrounded by music. Strangely, the actions and movements of what is happening on stage, today it is performed more in concerts without dancers his parents didn’t want him to pursue a career in music. They encouraged him to become a lawyer, and though Igor with great success. It premiered on May 29, 1913, at the Theatre des Champs-Elysees in Paris. loved playing the piano, he at first honored their wishes. Then his father died, and Stravinsky changed his plans, Occurring in Part I, Adoration of the Earth, “Dance of the Young Girls” is marked by primitivism with dissonant chords moved to Paris and became a composer. When he was 28 years old, Stravinsky wrote The Firebird, a ballet for the and a driving pulse with unpredictable accents and ostinatos. Stravinsky created texture by layering strands of music famous Ballet Russes that was so popular, Stravinsky became a celebrity overnight. More ballets were demanded, and and ostinatos on top of each other. While the music does not have a lush melodic line, Stravinsky incorporated a one of them, The Rite of Spring, was so new and unusual, members of the first audience that heard it couldn’t decide Russian folk tune and folk-like melodies in the middle of the work. if they loved it or hated it. They argued with each other, and the argument turned into a riot. The debate about The Rite of Spring made Stravinsky the world’s most famous living composer. The Rite of Spring is divided into two parts: When you hear the “Dance of the Young Girls,” one of many dances from Stravinsky’s ballet The Rite of Spring, think Part I: Adoration of the Earth about how the music makes you feel. Is it rough? Is it smooth? Are many instruments playing, or only a few? In The • Introduction Rite of Spring, you’ll hear a variety of rhythms and dissonant sounds, or notes that do not sound like they are meant • The Augurs of Spring (Dance of the Young Girls) to go together. Think, have you ever heard anything like it before? • Spring Rounds (Round Dance) • Ritual of the Rival Tribes • Procession of the Sage • The Sage (Adoration of the Earth) Fun Facts about Stravinsky (in Student Book) • Dance of the Earth • Walt Disney’s Fantasia uses The Rite of Spring as the • Stravinsky once wrote a circus polka for fifty elephants music depicting animated scenes of erupting wearing ballet tutus. Part II: The Sacrifice volcanoes, prehistoric forests and dinosaurs. • Introduction • In 1962, President John F. Kennedy honored Igor • Mystic Circles of the Young Girls Stravinsky at the White House on the composer’s • The Glorification of the Chosen One 80th birthday. • Evocation of the Ancestors • Sacrificial Dance (the Chosen One: L’Elue) Stravinsky’s Life • He began piano lessons at age nine. • Stravinsky wrote The Rite of Spring in 1913. • While in college, he became friends with Vladimir • By the time he was 30, the novelty, power and STUDENT INTRODUCTION Rimsky-Korsakov, the son of Nikolay Rimsky-Korsakov, elegance of his works won him worldwide admiration. one of Russia’s greatest composers. It was not until much later that this piece was to Stravinsky’s “Dance of the Young Girls” from The Rite of Spring • He studied piano and composition privately with considered to be one of the most important musical Nikolay Rimsky-Korsakov. works of the 20th century. CLASSROOM ACTIVITY 1: Experiencing Texture • In 1906, he married Catherine Nossenko. They had • During WWI, he wrote several smaller works. four children. She died from tuberculosis • He married Vera Sudeikin, a painter, after the death of North Carolina Essential Standards: • Sergei Diaghilev of the Ballets Russes commissioned his first wife. 4.ML.1.2 Execute the performance of vocal ostinatos, partner songs, counter-melodies and rounds in two Stravinsky to write the music for the ballet, • By 1939, with World War II looming, he left Europe or more parts. The Firebird. and moved to the United States, where he became a 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, • In 1911, he moved to Paris and wrote Petrushka. He United States citizen. 3/4, and 4/4 meter signatures. remained in Paris after the Russian Revolution. • Stravinsky eventually settled in Hollywood. 4.ML.2.2 Interpret through voice and/or instruments simple pitch notation in the treble clef in major keys.

44 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 45 4.ML.3.1 Use improvisation to create stylistically appropriate answers to given rhythmic and melodic phrases. CLASSROOM ACTIVITY 3: Listening for Texture 4.ML.3.2 Create compositions and arrangements using a variety of traditional and non-traditional sound sources. 4.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology. North Carolina Essential Standards: 5.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, dotted quarter, eighth and sixteenth 4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo and articulation while notes and rests in 2/4, 3/4, 4/4 and 6/8 meter signatures. performing music. 5.CR.1.2 Understand the relationships between music and concepts from other areas. 4.MR.1.3 Design a set of criteria for evaluating music performances and compositions. 5.ML.2.3 Apply understanding of standard symbols and traditional terms for dynamics, tempo, articulation, rhythm, Objective: Students begin to show a relationship between instrumentation and the concept of texture. meter and pitch when reading and notating music. 5.MR.1.2 Use music terminology in explaining music, including notation, instruments, voices and performances. Materials: Unpitched percussion instruments, eight beat rhythm patterns 5.CR.1.2 Understand the relationships between music and concepts from other areas. Process: 1. Lead a discussion with students about texture. Objective: Students understand how ostinatos and other musical techniques combine to create texture.

2. Display several groups of unpitched classroom percussion instruments, including groups of one instrument, several Materials: Fundamental of Music Texture Chart, Listening for Texture Chart, markers or crayons, Education Concert CD instruments, woods, metals, skins, etc. 3. Lead students in a discussion about how the different groups create new sounds, thick sounds and thin sounds. Process: 4. Display several rhythm patterns, each at least eight beats. Students pick a pattern to read and play. 1. Display the Fundamental of Music Texture Chart and discuss the ways Stravinsky used texture in his music. • One student picks an instrument and plays. How is this texture thin? Stravinsky used all elements of music to create the texture in “Dance of the Young Girls.” • Have several students read and play the pattern in several different instruments. How does this sound 2. Students listen to the “Dance of the Young Girls” and identify how many times they hear Ostinato 1. change the texture? 3. Listen again to identify Ostinato 2. • Students now choose two rhythm patterns to read and play at the same time. Play both patterns at the same time on the same unpitched instrument. Describe the texture. 4. Students identify how many times they hear Ostinato 2. • Now play the patterns using different instruments. Describe the change in the sound and the texture. 5. Students listen and identify if they hear a melody in the music as well as the canon. 5. Lead students to discover that texture is the overall quality of sound. It’s how sounds are mixed together to make • If students do recognize the melody, ask them to explain how they found this melody and what sounds a whole new sound. they felt helped them find it. 6. Students complete the sentence “Texture is ______.” and share with a partner. 6. Students will listen again to the music and color the texture chart to identify where the texture is thick/thin. 7. Students will compare chart with a partner and discuss the texture. 8. Students will complete the following sentences to share with a buddy partner. CLASSROOM ACTIVITY 2: Reading and Playing Ostinatos Note: The Fundamental of Music Texture Chart is provided at the end of this Classroom Activities manual. from “Dance of the Young Girls” Fundamental of Music Texture Chart North Carolina Essential Standards: Fundamental of Music Dance of the Young Girls 5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns accurately and independently on classroom rhythmic, melodic and harmonic instruments. Rhythm Pounding rhythms Unexpected accents to create a sense of meter change 5.ML.3.1 Use improvisation to create short songs and instrumental pieces, using a variety of sound sources, Augmentation of phrases including traditional and non-traditional sounds, body sounds and sounds produced by electronic means. Patterns of threes layered over straight rhythms

Objective: Students understand how an ostinato works. Melody Dissonance in chords and melody Wide leaps in melodic line Materials: Teacher Book, boomwhackers, unpitched percussion instruments, woods, metals, ostinato charts Ostinatos in strings and that are constant Canon between different instruments Process: Folk like melody 1. Introduce Stravinsky and the featured work to students using information from the Teacher Book. Layering of ostinatos and melody 2. Display ostinato music. Dynamics mf, f, ff 3. Students will read and use body percussion to perform each ostinato. Tempo Guisto (in exact time) 4. Perform Ostinato 1 using all seven tones of boomwhackers. 5. Sing Ostinato 2 and perform Ostinato 3 on two different unpitched instruments. Form Ostinatos, canon, folk-like melody 6. Perform the Canon Ostinato using metals and woods. Note: Ostinato 1, Ostinatos 2 and 3 and the Canon Ostinato are provided at the end of this Classroom Activities manual.

46 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 47 Stravinsky’s “Dance of the Young Girls” from The Rite of Spring Listening for Texture Chart

The instruments and rhythm created a new sound that made me think of ______. The instruments played a melody that created a new sound that made me think of ______. Ostinato 1 When I heard the ostinatos, the texture reminded me of ______.

Showing Texture with Color The teacher will play Ostinato 1 – Color in all the families you hear. The teacher will play Ostinato 2 – Color in all the families that you hear. The teacher will play Twirling Section/Melody Section – Color in all the families you hear. If texture in music means how much is happening at the same time, which section do you think has the thinnest texture? Which section has the thickest texture?

Instruments Ostinato 1 Ostinato 2 Twirling/Melody

Violin

Canon Ostinato

*color these orange

Bassoon

*color these purple

English Horn

Ostinatos 2 and 3

*color these red

Flute/Piccolo

*color these green

48 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 49 Igor Stravinsky Word Search Igor Stravinsky Word Scramble

Unscramble each of the clue words. Use the letters that appear in the numbered boxes to create the final message.

TAISONTO 2

NANCO 5

YIDMNASC 7

LEMYDO 4

LEBTLA 3

SIRSUA 1

RIOG 11 8

ORFM 6

NDNACGI 9 10

P 1 2 3 4 5 6 7 8 9 10 11

50 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 51 5.ML.1.3 Use instruments to perform rhythmic, melodic and chordal patterns accurately and independently on LOONIS classroom rhythmic, melodic and harmonic instruments. 5.ML.2.2 Recognize pitches on the treble and bass staves, including ledger lines, in order to understand the continuum of standard pitch notation.

Objective: Students practice reading music and learn to play in an ensemble setting with different instruments.

McGlohon Materials: Hand drums, frame drum, mallet instruments, scores, soprano recorder Born: September 29, 1921, Ayden, North Carolina Died: January 26, 2002, Charlotte, North Carolina Process: Complete across two days. See below.

Process for Day One: CHARLES 1. Teach the students the text that reiterates the rhythmic pattern. This text is as follows:

Born: September 10, 1924, Wilmington, North Carolina Died: July 4, 1997, New York City, New York

Kuralt • The students identify and recognize the notes’ rhythmic values. • The students clap the rhythm using rhythmic syllables (ta, ti ti, tom, etc). • Students clap this rhythm and speak it simultaneously using the text above. • Call on a student volunteer to demonstrate the rhythm pattern on the drum. FEATURED WORK “North Carolina Is My Home” • All students demonstrate this rhythm pattern on the drums. “North Carolina Is My Home” was written by two famous North Carolinians for the celebration of the State’s 400th birthday in 1984. Loonis McGlohon, who lived in Charlotte, wrote the music and Charles Kuralt, a famous national television reporter born in Wilmington, wrote the lyrics of the song. McGlohon and Kuralt performed this song throughout the country and in Europe. “North Carolina Is My Home” is the theme song for a television special with 2. Teacher will introduce the Orff bass metallophone part with the following text before introducing the the same name produced by the North Carolina Center for Public Television. melodic pattern on the instrument: The version of this song that you will hear at the North Carolina Symphony is arranged by Terry Mizesko. Terry Mizesko is the bass trombonist in the North Carolina Symphony. A native of Morehead City, Mizesko studied composition and at East Carolina University. The North Carolina Symphony has performed compositions arranged by Mizesko for the past several seasons.

• Display the score and have students identify pitch names for each pitched part. • After each individual part is notationally recognized, have students play the given notes on the STUDENT INTRODUCTION respective instruments. to McGlohon’s “North Carolina Is My Home” 3. Introduce the Orff alto xylophone part by introducing the following text and explain to the students that they only play on “my home” and “home”: CLASSROOM ACTIVITY: “North Carolina Is My Home”

North Carolina Essential Standards: 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 3/4 and 4/4 meter signatures. 4.ML.2.2 Interpret through voice and/or instruments simple pitch notation in the treble clef in major keys. • Break students into two groups, one group to play the top line of the xylophone melody and one group to 4.ML.2.4 Use standard symbols to notate rhythm, meter and dynamics in simple patterns. play the bottom line. 4.CR.1.1 Understand how music has affected, and is reflected in, the culture, traditions and history • Have the students switch parts in order to be knowledgeable on both parts. of North Carolina. • Combine the two Orff alto xylophone parts with the Orff bass metallophone parts to create a three-part 5.ML.1.1 Illustrate independence and accuracy while singing and playing instruments within a group or ensemble. harmony for all barred instrument parts. • Once the barred instrument parts have been mastered, add the frame drums to accompany the barred instruments.

52 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 53 Process for Day Two: Soprano Recorders “North Carolina Is My Home” 1. Have students learn the second recorder part first, as this part is much easier to learn. For Two Soprano Recorders • Have students finger the notes while saying the note names. • Have students play the notes on the recorder with no other instruments. composed by Loonis McGlohon • Once students have mastered this recorder part, have a few students play the recorder, a few play the arranged by Linda Musten barred instruments and a few play drums. • Have students switch parts so that equal opportunity is provided for each different part.

Lesson Extension is to teach the first soprano recorder part on the end of day two for students who are prepared for the melodic difficulty. The lesson can also be extended for students to sing the melody, which is the first recorder part, in lieu of playing that part on the recorders. Note: The score, percussion and recorder parts are provided at the end of this Classroom Activities manual.

B flat F

54 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 55 “North Carolina Is My Home” “North Carolina Is My Home” Pitched Percussion and Drum For Two Soprano Recorders, Pitched Percussion and Drum composed by Loonis McGlohon composed by Loonis McGlohon arranged by Linda Musten arranged by Linda Musten

56 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 57 “North Carolina Is My Home” Singing with your North Carolina Symphony For Two Soprano Recorders, Pitched Percussion and Drum At your concert, students will be asked to stand and sing “North Carolina Is My Home” with the orchestra. Although we encourage students to memorize the lyrics, we understand that this is not always possible. At your discretion, composed by Loonis McGlohon decide whether or not to bring song sheets or books from which your students can read. If you do choose to bring the arranged by Linda Musten lyrics, please be sure students take with them all materials they bring into the auditorium as a courtesy to our venues’ clean-up crews.

“North Carolina Is My Home” music by Loonis McGlohon lyrics by Charles Kuralt

Note: A recording of “North Carolina Is My Home” is not included on the Education Concert CD.

58 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 59 Playing with Instruments at Your Concert At your concert, you may notice other groups playing the song on recorders. Playing the song “North Carolina Is My RICHARD Home” on recorders is an opportunity we extend to all schools groups that attend and is completely optional. How- ever, if you are planning to have a student group perform on instruments, here are a few things to know: Overture to Rienzi • North Carolina Symphony Education staff members need to know that you plan to perform on recorders before your concert. Please contact Jessica Nalbone, Director of Education, at [email protected] or 919.789.5461 or ask whoever is coordinating your concert trip to do so. Performing groups will be seated in a special section and acknowledged from the stage, so it is critical that we know you are preparing to play. • Schools will play on their own, unless you make arrangements with another school to perform together. Born: May 22, 1813, , Germany • We may have too many individual groups performing on instruments at one concert, in which case you may be Died: February 13, 1883, Venice, Italy asked to perform with another school. • Any groups performing on recorders will do so after the orchestra plays “North Carolina Is My Home.” Biography (in Student Book) • This opportunity is open to other instruments such as violins, Orff instruments, boomwhackers, etc. Like many composers featured in your concert, showed an interest in music at a very young age. He • Please remind your students, whether they are performing or not, to be courteous and respectful of other studied piano as a boy and wrote variations on his favorite composers’ music. Yet it was opera with which he fell in students’ performances at their concert. love, and Wagner, now considered one of the best opera composers of all time, perfected many of its most famous musical techniques. For example, he loved the “leitmotif,” a melody that represents a specific character or idea in an opera and is played whenever that subject appears. His works often build to a conclusion but rarely conclude until the very end, so that tension grows throughout the entire work. And he also enjoyed length, as many of his operas take

“North Carolina Is My Home” several hours to perform! Altogether, these techniques showcase Wagner’s central belief, that all of the arts – music, dance, visual arts and theater – could be brought together in one “total artwork.” composed by Loonis McGlohon In today’s concert, you will hear the Overture, or the introduction, to one of Wagner’s first successful operas, Rienzi. Notice how Wagner uses different dynamics, tempos, rhythms, textures and melodies to make this music more inter- esting. Every part of Wagner’s music means something. Let the melodies guide you as you try to imagine the opera’s story just from its music.

Fun Facts about Wagner (in Student Book) • Wagner composed the famous wedding song “Here • Wagner’s Ring cycle is a gargantuan collection of four Comes the Bride” for his 1850 opera Lohengrin. operas that are all performed separate from one an • Wagner designed some new instruments such as the other. You could almost think of the Ring cycle as “Wagner Tuba” and an opera house especially for his being similar to a movie series, such as Harry Potter or own music. The Lord of the Rings, but with opera instead!

Wagner’s Life • He was a largely self-taught musician, although he • One of his first pieces was a concert overture. To keep took one course in at the University of the instrumentation straight, he wrote in different Leipzig. colors: red for strings, green for woodwinds and black • His ideal piece of music was Beethoven’s Symphony for brass and percussion. No. 9.

FEATURED WORK Overture to Rienzi Wagner finished composing Rienzi on October 23, 1840, and its first performance was on October 20, 1842. The piece was a great success for Wagner and helped launch him into many of his other operatic successes. Unlike his later operatic masterpieces, Rienzi was intended to be the German version of the French grand opera. The opera is based on the novel Rienzi, The Last of the Roman Tribunes. The plot is about a popular revolt by Roman citizens against the nobility.

60 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 61 Brief Plot Synopsis: Process: List of Major Characters: 1. Introduce the concept of opera, which is a story told through music and drama. Every opera has a , Cola Rienzi, Roman tribune which is the story behind the opera. Irene, his sister 2. Show students the list of characters and define the terms below: Steffo Colonna, a Roman patrician • Tribune: an official in ancient Rome chosen by the plebeians to protect their interests Adriano, his son • Patrician: an aristocrat or nobleman Paolo Orsino, a Roman patrician • Plebian: a commoner The story is about the Roman tribune Cola Rienzi, who aspires to unify Italy. He is caught in the hostilities between two 3. Discuss how the story is about the conflict between the common man and the ruling class. patrician families. Paolo Orsino tries to kidnap Rienzi’s sister, Irene, but Adriano (from the opposing patrician family) is in love with her and defends her. Rienzi is furious over the attempt and declares that he will overthrow the nobles and 4. Share the summary of the story with the students. win Rome and Italy for the common man. Adriano joins him in the cause due to his great love for Irene. Rienzi wins 5. Listen to the opening bars of the Overture. In what ways does it suggest a story about struggle and the battle and makes plans to execute both Colonna and Orsino. Adriano intercedes on their behalf and Rienzi instead dramatic conflict? arranges a ceremony in which they must swear allegiance to him. They plot to kill Rienzi at the ceremony but do not 6. Compare and contrast the American Revolution with what happens in the opera (i.e. they both deal with succeed. Eventually the common people rise up and kill the two patricians. conflict between aristocracy and the common man). However, the people are fickle. They soon suspect Rienzi is in league with the German emperor and is going to return 7. List some different patriotic or Revolutionary War songs. How are they similar to the Overture? How are the Roman pontiff to power. As Rienzi is on his way to church, Adriano attempts to kill him. Rienzi then finds a notice they different? of excommunication on the door of the church and must go into hiding. Adriano still loves Irene and warns her of Rienzi’s danger. He wants Irene to flee with him. She instead returns to the capitol to join her brother. Rienzi appeals to the people, but they will not listen. They set fire to the capitol and throw stones at Rienzi and Irene. Adriano sees them and, recognizing their doom, rushes to their rescue. All three die when the building collapses. CLASSROOM ACTIVITY 2: Themes in Rienzi

North Carolina Essential Standards: 3.MR.1.1 Identify the sounds of a variety of instruments and voices, including many orchestral instruments, STUDENT INTRODUCTION to Wagner’s Overture to Rienzi instruments from various cultures, children’s voices and male and female adult voices. 3.MR.1.2 Use musical terminology when describing music that is presented aurally. CLASSROOM ACTIVITY 1: The Story of Rienzi 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about and describing aural example of music of various styles and cultures. North Carolina Essential Standards: 4.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology. 3.CR.1.1 Exemplify how music is used by various groups for artistic expression within the local community. 5.MR.1.2 Use music terminology in explaining music, including notation, instruments, voices and performances. 5.CR.1.1 Understand how music has affected, and is reflected in, the culture, traditions and history of the United States. Objective: Students will be able to identify the main musical themes in the Overture to Rienzi and express how the themes made them feel and why.

Common Core State Standards: Materials: Education Concert CD, Call Chart to Wagner’s Overture to Rienzi, pencils RL3.2 Recount stories, including fables, folktales and myths from diverse cultures; determine the central message, lesson or moral and explain how it is conveyed through key details in the text. Process: RL4.3 Describe in depth a character, setting or event in a story or drama, drawing on specific details in the text 1. Show the students the call chart worksheet and identify the different themes in the music. Explain that each (e.g. a character’s thoughts, words or actions). theme comes from a different part of the opera and represents a different part of the story. RL 5.5 Explain how a series of chapters, scenes or stanzas fit together to provide the overall structure of 2. As you listen to the music as a class have each student write down the part of the story they think each theme a particular story, drama or poem. represents. Remind them that they need to clearly define the reasons why that music matches that part of the story. Student theme choices do not have to match Wagner’s original operatic themes as long as the Objective: Students will become familiar with the story of the opera Rienzi and be able to identify the students have clearly defined reasons for their choices. main characters. 3. Come together as a group to discuss the parts of the story that students matched each theme and have them share why they felt that way. Materials: Character list and summary of the story, found under the Brief Plot Synopsis in the Featured Work section.

62 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 63 Call Chart for Wagner’s Overture to Rienzi CLASSROOM ACTIVITY 3: Creating an Opera

North Carolina Essential Standards: Time Music Represents 5.ML.3.2 Create compositions and arrangements within specified guidelines. 0:00 Introduction: long notes 5.CR.1.2 Understand the relationships between music and concepts from other areas. 4.TT.1.3 Use technology tools to present data and information (multimedia, audio and visual recording, online collaboration tools, etc.). 1:13 Theme I: slow violin melody (this will be cut in the live concert) Common Core State Standards: W.6.3 Write narratives to develop real or imagined experiences or events using effective technique, descriptive details and clear event sequences. 2:57 Theme II: bold theme in winds with string Objective: Students will go through the process of creating a libretto and performing an opera of their own. accents underneath Materials: Creating Your Own Libretto worksheet, video camera, accompanying keyboard or piano

3:53 Transition Process: 1. Every opera has a libretto, which is the story behind the music. Review the libretto of Rienzi. Explain that there are many different types of operas including tragedy and comedy. Have students create their own libretto. You can 4:28 Theme III: melody with create the libretto together as a class, or have students write their individually and then vote as a class on trombone counter-theme which one to turn into an opera. Students may decide to change the number of scenes or choruses, or make other changes to the original opera form. Have fun with it! 5:41 Theme IV: dolce violin melody 2. The libretto should contain: • An opening problem. • Two situations that are related to the problem. (Students often enjoy writing a comic opera so that 6:06 Theme V: new livelier string their situations can be funny.) melody (this will be cut • A resolution to the problem. Remind them that resolutions can be positive or negative. in the live concert) An example is: • Problem: Two girls like the same boy. 7:05 Transition • Situation 1: The two girls start arguing in the hallway about who likes him more. • Situation 2: The two girls are pulling on the arms of the boy and he looks like he’s about to be torn in half. • Resolution: The next day both girls decide they don’t like the boy anymore and become best friends. 7:30 Theme VI: conversation 3. As a group write a script based on the libretto. Explain that a script contains the literal words that the characters between strings and winds, will speak as well as directions for how they will move on stage. Have students focus on developing a series of a little frantic-sounding events that bring the story from problem to solution. In a series of four scenes they should: • Scene 1: Demonstrate the problem. • Scene 2: Demonstrate situation 1. 8:20 Slower, calmer, similar • Scene 3: Demonstrate situation 2. to introduction • Scene 4: Demonstrate the resolution. 4. Each scene should include a chorus for the group to perform and a few lines of dialogue for soloists. You may 8:40 Building section, want to draw a parallel to aria and recitative. lots of half steps 5. Help students to create melodies to fit the script. You may want to notate the melodies, or just have the students improvise. You may also want to create accompaniment for the opera.

9:28 Repeat of Theme V at a 6. Using a video camera, first record the choruses using the whole class, and then record the dialogue. You can faster tempo, new key either show the video to the students in order to view the opera or use a program like Windows MovieMaker or iMovie to edit the clips into a production.

10:19 Coda

64 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 65 Creating Your Own Libretto The following form is intended to be a tool for teachers to use with students when discussing proper performance etiquette. A list of three or more characters (name and description) o Completion of this form is not required to attend your Name of Character Short Description North Carolina Symphony Education Concert. 1.

2. Concert Etiquette Student Contract

3. I, ______, promise to abide by these following guidelines during the North Carolina Symphony Concert:

I will: o A problem to be solved (use complete sentences) • Sit and remain in my seat at all times. • Be a good listener by staying silent when the conductor is speaking and when the Symphony is playing. • Show how much I enjoyed the music by clapping and not shouting! • Only applaud when the music is completely over (when the conductor’s hands go down). • Only play my instrument (if I have one) when it is my turn and listen to the conductor’s careful instruction. Two funny situations that have to do with the problem (complete sentences) o • Only sing along to the music when I am invited to sing. 1. I will remember that I may have learned words to a musical theme that I shouldn’t sing during the concert! • Be respectful of the Symphony, the conductor, the concert hall, my fellow classmates, audience members, all adults and all teachers at ALL TIMES. 2.

______Student’s Name o A solution to the problem (complete sentences)

66 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 67 “Your Elephant, The Orchestra” A story to read before your North Carolina Symphony Education Concert by Jackson Parkhurst

Three blind men were asked to describe an elephant. The There are other musicians in disguise who do extra jobs. first felt the elephant’s trunk and said, “An elephant is One of them is the librarian who puts the music on each like a fire hose!” The second felt the elephant’s side and music stand. Every player must get the correct musi- said, “No, an elephant is like a wall!” The third felt the el- cal part, or the orchestra will sound crazy. Then there is ephant’s tail and said, “You are both wrong. An elephant the personnel manager who gets to listen to everyone’s seating chart is like a rope!” problems, but also gets to give out the paychecks! There are two more people who are the official bus drivers com- seating chart Describing the North Carolina Symphony is somewhat like plete with uniforms and licenses. Without these two the trying to describe that elephant. It is a jumble of trunks percussion orchestra couldn’t go anywhere. Oh yes, there is another and tails, all of which come together to be what you will timpani musician who doesn’t have a musical instrument at all. hear and see when it comes to visit you. percussion That person is the conductor, and his or her job is to start trumpets Okay, what is the North Carolina Symphony? Well, for and stop the music and help keep all the musicians play- timpani horns sure it’s people. But that’s too simple. Well, how about ing together. The conductor is also the one who talks to trumpets this, then? It is people who make music together. That’s you during the concert. tuba true, but there is more. Wait! I think I have it now. An horns Now, what are we missing on our elephant? Oh yes, the trombones orchestra is a group of people who make music together, clarinets bassoons body. When we assemble all of our music makers, we tuba but it’s also people who work at desks to help organize have the main body of the orchestra. This body is orga- the music makers, and others who help by doing jobs like nized into smaller groups of instruments which we call clarinets bassoons driving the buses and setting up the stage for concerts. families, and these are arranged in a special way on the flutes Well, there are the parts of our creature, but how do stage so that you, the audience, get the most wonderful these parts work? The North Carolina Symphony can- sound possible. This is a chart showing how the orchestra flutes not perform without the people who work in the of- is arranged on the stage. oboes basses fice. These people do an important job. They help raise second An orchestra can, of course, only sound beautiful if each the money that pays for the orchestra. Also, when the violins cellos of these musicians works hard to play his or her best. The first basses orchestra travels they make sure that the musicians get second musicians of the North Carolina Symphony have been violins to the right town and that everyone has a place to eat violins cellos practicing and playing music since they were your age. first and sleep. Since our elephant, the orchestra, travels more violas If you add up all the years of practice of all of them, you violins than 12,000 miles a year (which is halfway around the will have a total of over 1,500 years! These individual earth!), you can see why the office workers are so impor- violas musicians are the heart of our orchestra. Trunks and tails tant. Like the tail of the elephant, the office staff is not would be pretty useless without a heart, you know. often noticed. conductor So now we have described with words our elephant, the Now a trunk is a different matter entirely. Without one an orchestra. Just as an elephant can best be understood elephant couldn’t eat peanuts or wash his back very well. conductor by seeing it, an orchestra can best be known by hearing Neither can our orchestra work well without the people it – and you have one of your very own coming to play Percussion who help them when they travel. One of these people for you. Remember, the North Carolina Symphony is your Brass is the stage manager who is responsible for setting up elephant. Percussion the necessary equipment before each concert. The North Woodwind Brass Carolina Symphony plays 175 concerts a year, and each String chair and music stand has to be in its own special place Woodwind every time. The stage manager has a crew of workers String who help him do this.

68 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 69 Sources and Selected Bibliography Jacobs, Laura. Tchaikovsky at the Millenium. New Criterion, 18(1), 21. EBSCOhost.

“Aladdin, or The Wonderful Lamp.” Children’s Books Online. Sidney H. Heath, Illustrator. J. M. Dent and Co., 1895. Jacobs, Laura. Wall of Thorns. New Criterion, Nov2007, Vol 26, Issue 3, pp 46-50. EBSCOhost. . Krull, Kathleen and Kathryn Hewitt. Lives of the Musicians: Good Times, Bad Times (and What the Neighbors Thought). “Ballet Met Columbus, The Sleeping Beauty.” BalletNotes. Ballet Met, 2012. San Diego: Houghton Mifflin Harcourt, 1993. . “Loonis McGlohon.” All Music by Rovi. Rovi Corporation, 2012. .

Barber, W. Bach, Beethoven, and the Boys: Music History as it Ought to Be Taught. Toronto: Sound and Vision, 1996. “Loonis McGlohon Biography.” Oldies.com. Rovi Corporation, 2012. .

Barry Millington, et al. “Wagner.” The New Grove Dictionary of Opera. Ed. . Grove Music Online. Oxford Music Online. McDonough, Yona Zeldis. Who Was Wolfgang Amadeus Mozart?. New York: Penguin, 2003. . “Mozart, (Johann Chrysostom) Wolfgang Amadeus.” Composer Biographies Provided by GroveMusic. Macmillan Publisher, Ltd. “Best of...Fairy Tales.” New Jersey Symphony Orchestra. . .

“Biography.” Carl Nielsen Society. Carl Nielsen Society. . “Overture to Rienzi.” Music With Ease. Musicwithease.com, 2005-2012. “The Biography of Claude Debussy.” Classics for Kids. Cincinnati Public Radio, Inc, 2012. . “Peter Illich Tchaikovsky Biography.” Encyclopedia of World Biography. Advameg, Inc, 2012. “The Biography of Piotr Ilyich Tchaikovsky.” Classics for Kids. Cincinnati Public Radio, Inc, 2012. . . “Pyotr Ilich Tchaikovsky Biography.” 8Notes.com.8Notes.com, 2000-2012. .

“The Biography of Richard Wagner.” Classics for Kids. Cincinnati Public Radio, Inc, 2012. Rachlin, Ann. Mozart (Famous Children Series). Hauppage NY: Barron’s Educational Series, 1992. . Rachlin, Ann. Tchaikovsky (Famous Children Series). Hauppage NY: Barron’s Educational Series, 1993. “A Brief Biography of Mozart.” Music Ed Magic. Criswell Online Publishing, 2012. . “Rienzi, the Last of the Tribunes.” Music With Ease. Musicwithease.com, 2005-2012. . Burkholder, J. Peter, Donald Jay Grout, and Claude V. Palisca. “Modernism and the Classical Tradition.” A History of Western Music, 8th Edition. W. W. Norton and Company, 2012. . “Rienzi, the Last of the Tribunes.” Naxos: The World’s Leading Classical Music Group. Naxos Digital Services Ltd, 2012.

“Claude Debussy.” Children’s Corner. . “The Sleeping Beauty.” New York City Ballet. New York City Ballet, 1998-2012. “Claude Debussy: ‘Golliwog’s Cakewalk’ from Children’s Corner.” Classics for Kids. Cincinnati Public Radio, Inc, 2012. . . The Sleeping Beauty. Presented by Ballet Arts, Inc. Jackson, TN. 731-668-6353.

Comeau, Gilles and Rosemary Covert. An Illustrated History of Music for Young Musicians: The Classical Period. “The Sleeping Beauty.” Tchaikovsky. 26 February, 2012. Canada: Warner Brother Publishing, 1998. .

Comeau, Gilles and Rosemary Covert. An Illustrated History of Music for Young Musicians: The Twentieth Century. Stanley, Diane. Mozart: The Wonder Child: A Puppet Play in Three Acts. Harper Collins, 2009. Canada: Warner Bros Publishing, 2000. “Tempo.” The Free Online Dictionary by Farlex. Farlex, Inc, 2012. . Fanning, David. “Preface.” . Tommasini, Anthony. An Early Wagner, but With All the Trademark Bells and Whistles. New York Times, 2012. EBSCOhost. “Golliwogs Cakewalk from Children’s Corner.” Art of Sound Music. Arts of Sound Music, LLC, 2007-2012. . Venezia, Mike. Wolfgang Amadeus Mozart (Getting to know the World’s Greatest Composers). Children’s Press, 1995.

Goulding, Phil G. Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works. Venezia, Mike. Igor Stravinsky (Getting to know the World’s Greatest Composers). Scholastic Library Publishing, 1997. New York: Fawcett Colombine. 1992. “Wagner’s Rienzi From the Leipzig Opera.” World of Opera. NPR, 2012. Hurscher, Phillip. “Overture to Rienzi.” Chicago Symphony Orchestra Program Notes. Chicago Symphony Orchestra. . . Warrack, John. “Wagner, (Wilhelm) Richard.” The Oxford Companion to Music. Ed. Alison Latham. Oxford Music Online. “Igor Stravinsky Biography.” Encyclopedia of World Biography. Advameg, Inc, 2012. . . “Wolfgang Mozart. Biography.” Bio. True Story. A+E Television Networks, LLC, 1996-2012. “Igor Stravinsky Timeline.” Boosey and Hawks. Boosey and Hawks, an Imagem Company, 2012. . .

“Inductee—Loonis McGlohon.” North Carolina Music Hall of Fame. North Carolina Music Hall of Fame, 2011. .

Isadore, Rachel. Young Mozart. New York: Penguin, 1997.

70 • NORTH CAROLINA SYMPHONY 2012/13 TEACHER WORKBOOK • 71 NOTES

72 • NORTH CAROLINA SYMPHONY