what makes music music?

North Carolina Symphony 2009-10 Teacher Workbook

North Carolina Symphony Teacher Workbook 2009-10 Authors: Marilyn Hoch, Lincoln Heights Elementary School, Raleigh, NC Ann Holland-Goldfinch, Brooks Museums Magnet Elementary School, Raleigh, NC Melissa Raley, Underwood GT Magnet Elementary School, Raleigh, NC Janice Wilson, Briarcliff Elementary School, Cary, NC Composer art copyright Nick Meglin and published with special permission by WCPE, The Classical Station Table of Contents Information about the 2009-10 Education Concert Program...... 4 Kathryn Wyatt, Director of Education and Community Engagement Author Biographies...... 5 Piotr IlyichTchaikovsky (1840-1893) ...... 6 Swan Lake: Prelude to Act III Georges Bizet (1838-1875)...... 12 Carillon from L’Arlesienne, Suite No. 1 Nikolai Rimsky-Korsakov (1844-1908)...... 18 Capriccio Espagnol, Movements IV & V Terry Mizesko (b.1954)...... 36 A Little Dance Suite, Movement II: Dos Muchachos Mariachi Aaron Copland (1900-1990)...... 40 John Henry Ludwig van Beethoven (1770-1827) ...... 50 Symphony No. 6 in F Major, Op. 68, Movement IV, “Storm” Camille Saint-Saëns (1835-1921)...... 56 Bacchanale from Samson and Delilah Additional Resources for Teachers and Students...... 63

These concerts are made possible by a generous grant-in-aid from the State of North Carolina, Honorable Beverly Perdue, Governor; Honorable Linda A. Carlisle, Secretary for Cultural Resources and the following supporters:

Education Benefactors

Education Patrons The Harford Financial Services Group • BB&T Insurance Services, Inc. • The McLean Foundation The Stephen and Mary Birch Foundation • Liberty Mutual Education Sponsors The Rolander Family Foundation • The Florence Rogers Charitable Trust • Nordstrom Foundation Dominion Foundation • Harris Stratex • Hunter Industries Inc. Education Concert Supporters The Janirve Foundation • The Mary Whiting Ewing Charitable Foundation Fund The Ina Mae and Rex G. Powell Wake County Music Education Fund The Elaine Tayloe Kirkland Fund • The Ruby and Raymond A. Bryan Foundation

North Carolina Symphony Teacher Workbook © 2009 by the North Carolina Symphony Society Inc. Reproduction of the book in its entirety is strictly forbidden. Permission is given to duplicate charts, diagrams, scores, puzzles, etc. for classroom use only. Editors: Kathryn Wyatt, Director of Education and Community Engagement, North Carolina Symphony Jessica L. Nalbone, Artistic Operations Assistant, North Carolina Symphony Andrea Blanchfield, Artistic Intern, North Carolina Symphony • 1 • Education Programs of Your North Carolina Symphony

EDUCATION CONCERTS: 40 to 45 full-orchestra concerts are given annually throughout the state to audiences of third through fifth grades; printed materials with specifically designed curriculum for the music education program are given to teachers at the start of each school year. PROFESSIONAL DEVELOPMENT FOR TEACHERS: The North Carolina Symphony currently offers an annual teacher training workshop and provides supplemental classroom resources for teachers through their website. The Symphony’s professional development programs and resources aims to address North Carolina curriculum standards in education, offer best practices in the classroom and discuss important issues facing music educators in our state. ONLINE RESOURCES: Interactive website pages are dedicated to the North Carolina Symphony’s Education and Community Engagement programs. Teachers can reserve their education concert experience online, order resource materials online and download helpful videos and presentations supporting classroom preparation for the North Carolina Symphony Education Concert. MAXINE SWALIN AWARD FOR AN OUTSTANDING MUSIC EDUCATOR: An award given annually in honor of Maxine Swalin to an outstanding music teacher in North Carolina. YOUNG PEOPLE’S CONCERTS: A six-concert Saturday morning and afternoon series designed to entertain and educate children through classical music. PRE-CONCERT TALKS: Held prior to each classical concert in Raleigh, Chapel Hill, Durham and Moore County and reach an estimated 3,300 people a year. YOUTH CONCERTO COMPETITION: An annual competition open to 10 to 21 year old musicians in two divisions with four cash prizes and an opportunity to perform with the North Carolina Symphony; nearly 100 students audition annually. YOUNG STRINGS OF THE TRIANGLE: Since 1998, this program has provided free private string lessons and mentoring from symphony musicians and partner community-musicians with eighteen minority or economically disadvantaged string players. OVATIONS!: 30-minute mini-recitals given by area young artists and chamber ensembles in advance of classical concerts in Raleigh, Chapel Hill, and Moore County. MASTER CLASSES: An opportunity for young instrumentalists to perform and be coached by visiting guest artists performing with the Symphony. Artists such as Grant Llewellyn, Music Director; Midori, violin; Yo-Yo Ma, cello; Branford Marsalis, alto saxophone; and Elena Kats- Chernin, Composer, have recently given classes. ENSEMBLES IN THE SCHOOLS: An in-school program that brings North Carolina Symphony ensembles into classrooms as intimate learning experiences. Musicians work collaboratively with teaching artists and classroom teachers to create programs that are entertaining and supportive of the North Carolina state education curriculum guidelines. INSTRUMENT ZOOS: Have your child’s fingers been dreaming of the trumpet? Ever wonder what it’s like to play the cello? Now you can find out with this hands-on pre-concert activity. Musicians will demonstrate their instruments and give you the opportunity to try them out for yourself! Instrument Zoos are held one hour prior to Young People’s Concerts and select Summerfest concerts.

• 2 • Education Programs of Your North Carolina Symphony

MEET THE ARTISTS: A fun and informative program offered to Symphony patrons at 6:30pm on select concert nights. Guest artists team up with distinguished lecturers to provide a complete concert experience which will whet the appetite for that evening’s performance! Audience members have the chance to ask questions about the performing artists and learn about the backstage and onstage moments building up to that night’s concert. OPEN REHEARSALS: Middle school, high school and college students are invited to orchestra open dress rehearsals where they will have the opportunity to observe world-class musicians, soloists and conductors at work. Conductors and artists, when available, will meet with students during the break for an interactive Q&A session. PLAY-WITH-THE-PROS: An annual side-by-side rehearsal and concert experience that places music students and community musicians next to professional musicians. In partnership with the Town of Cary. MANNING CHAMBER MUSIC SERIES: A free chamber music concert series with North Carolina Symphony musicians, guest artists and Peace College faculty. This series is hosted by Peace College as part of the Manning Chamber Music Series in Kenan Auditorium at Peace College in Raleigh. PUB CONCERTS: Special dinner evenings are paired with a discussion and chamber music performance by North Carolina Symphony musicians, held in local alternative concert spaces. The North Carolina Symphony has enjoyed great success in presenting pub concerts in area bars and restaurants, attracting new and young audiences to Symphony sponsored events. FRIDAY FAVORITES: A special noon time North Carolina Symphony concert series with shortened performances that are informal in structure. Concert Conductors speak from the stage offering personal insights into the works performed. COMMUNITY COLLEGE RESIDENCY PROJECT: Launched in the 2008-09 season, this program supports short-term residencies for soloists and small ensembles with North Carolina Community Colleges. The project will expose a broad audience from small and rural communities to talented musicians. Project collaborations include performances for public schools and community college students, master classes for advanced students and performances at civic clubs. FIDELITY FUTURESTAGE®: The North Carolina Symphony and Fidelity Investments are partnering through the 2010-2011 season to launch Fidelity FutureStage® in Wake, Durham, Chatham and Orange counties. Fidelity FutureStage® in North Carolina will help prepare and inspire underserved elementary school students for future stages in life. The program is a series of intensive in-classroom and concert hall experiences including instrumental instruction, mentoring, and general music education. YOUTH ORCHESTRA PARTNERSHIP: The top orchestra of the Philharmonic Association, the Triangle Youth Philharmonic is the official youth orchestra of the North Carolina Symphony. North Carolina Symphony musicians, guest artists, and conducting staff provide coaching and lead guest performances of Philharmonic Association orchestras.

• 3 • Introduction to the 2009-10 Education Concert Program Kathryn Wyatt, Director of Education and Community Engagement Thank you for what you do for music education and for our schools. Your commitment to enriching the lives of North Carolina’s children is essential to nurturing good citizens and strong communities. The purpose of this book is to serve as a resource for introducing your students to the power and creative spirit of classical music. In response to your requests, we hope to support you in your work of promoting music as a core subject in the classroom, and as essential in North Carolina’s curriculum. This season’s program builds on the same concept used for the past two seasons, which described the building blocks of music: rhythm, dynamics, texture, form and tempo. By exploring these fundamentals, students will have the essential tools for understanding the composition of classical music. We have chosen seven important composers from around the world, and we will perform their most exciting works. These composers use the fundamentals of music as tools to express their unique cultures and world views! Please explore the extensive education programs of your North Carolina Symphony, and contact me with any questions, thoughts or concerns. I look forward to working with you this season, and thank you for supporting the Symphony!

Sincerely,

Kathryn Wyatt, Director of Education and Community Engagement

North Carolina Symphony 4350 Lassiter at North Hills Avenue, Suite 250, Raleigh, NC 27609 • 919.789.5462 [email protected] • www.ncsymphony.org

Contact the North Carolina Symphony Education Department Kathryn Wyatt Jessica Nalbone Director of Education & Community Artistic Operations Assistant Engagement 919.789.5461 Office 919.789.5462 Office [email protected] [email protected]

www.ncsymphony.org/education 919.781.6066 Fax

Recordings of the Education Concert Program Recordings of the pieces heard on the Education Concert Program will be available online via our website, either for download or CD purchase. Please visit: http://www.ncsymphony.org/education

• 4 • Author Biographies

Ann Holland Goldfinch, Brooks Museums Magnet Elementary School, Raleigh, NC Ann Holland Goldfinch is the music specialist at Brooks Museums Magnet Elementary School in Raleigh, NC in the Wake County Public School System and co-coordinates the county’s elementary music staff development. She earned her Masters of Arts in Teaching (K-12 music), Bachelor of Music (voice major/piano minor) and Bachelor of Arts in Romance Languages (French) degrees from the University of North Carolina-Chapel Hill and holds Level I certification in Orff Schulwerk from Campbell University and Level II certification from the University of Nevada-Las Vegas. She is National Board Certified in Early/Middle Childhood Music and serves as a mentor and coach for current candidates. She has served as a clinician for North Carolina Symphony teacher training workshops and several National Paideia Conferences. She was also the registration co-chair for the 2008 National Conference of the American Orff Schulwerk Association (AOSA) and is the current vice president of the Central Carolina Chapter of AOSA.

Marilyn C. Hoch, Lincoln Heights Elementary School, Raleigh, NC Jane C. Hoch is currently entering her tenth year as an elementary music specialist at Lincoln Heights Elementary in Wake County. Jane holds a Master Level Orff-Schulwerk Certification from the University of Memphis and is a National Board Certified Teacher for Early and Middle Childhood Music Education. She received her B.S. Degree in Music Education from Tennessee Technological University and her Master of Arts in Teaching Degree from the University of North Carolina, Chapel Hill. Jane and her husband, Buddy live in Raleigh and have two adult daughters, and two wonderful grandchildren!

Melissa R. Raley, Underwood GT Magnet Elementary School, Raleigh, NC Melissa R. Raley is a native North Carolinian who has been teaching so long that her former students are now her colleagues. She is eligible to retire but is still having too much fun in the classroom to consider it. Mrs. Raley graduated from Meredith College with a Bachelor of Music in Music Education and has additional course work at University of North Carolina in Greensboro and North Carolina State University. She started her teaching career as an itinerate music teacher in Johnston County before coming to Wake County. Mrs. Raley has been teaching at Underwood Gifted and Talented Magnet School since the Magnet Program began in 1981. For the last seven years, Mrs. Raley has had the opportunity to work with students enrolled in the MAT Program at UNC-Chapel Hill. She has two children, Adrian who plays cello and Reeves, a trombone player.

Janice Wilson, Briarcliff Elementary School, Cary, NC This fall marks Mrs. Wilson’s 20th year teaching in Wake County with 19 of those years at Briarcliff Elementary in Cary and was named “Teacher of the Year” twice during her tenure. She has also taught in Robeson County and in Nashville, Tennessee and holds degrees from the University of South Carolina and St. Andrew’s College, Laurinburg, NC. She and her husband make their home in Apex, NC and have two adult sons and a spoiled dog.

• 5 • Piotr Ilyich Tchaikovsky 1840-1893

Biography (in Student Book)

Tchaikovsky was a very musical child. He began taking music lessons and playing his family’s piano at age four. His natural musical ability was confirmed when his governess heard him crying one night because he could not get Mozart’s music to stop playing in his head. His governess described him as a “child of glass” because of his very sensitive nature. Tchaikovsky’s parents wanted him to become a lawyer, and sent him off to begin his studies in St. Petersburg when he was only 10 years old. He eventually took a job as a clerk in the Ministry of Justice at age 19. He never enjoyed this job and grew determined to have a life as a composer. He left his job as a clerk to study music at the conservatory in St. Petersburg. Upon graduation, he toured throughout Europe, earning a great deal of fame for his compositions. Tchaikovsky combined the love of his native Russian folk music with the Western European ideas he learned in his studies. A wealthy widow became Tchaikovsky’s patroness, offering to pay him a regular salary so he wouldn’t need to worry about money and could devote all of his time to composing. She agreed to do so on the condition that they never meet. Tchaikovsky agreed and although they never met, they exchanged hundreds of letters. Tchaikovsky led a very orderly life. He would get up at seven in the morning, drink tea, read the Bible and begin composing at 9:30am. He spent his afternoons walking and said this was his most creative time. He enjoyed being outside and one of his hobbies was searching for wild mushrooms to eat. Tchaikovsky composed many musical compositions, including three very famous ballets: Swan Lake, The Sleeping Beauty and the holiday classic, The Nutcracker. At the concert you will hear the Prelude to Act III of Swan Lake, one of Tchaikovsky’s most beloved ballets.

FACT: Tchaikovsky came from a wealthy family. They lived in a large house with many servants. FACT: He taught music for more than 15 years at the Moscow Conservatory. FACT: His brother, Modest, was a playwright and librettist who wrote a biography of Tchaikovsky.

• 6 • Tchaikovsky’s Life • Tchaikovsky’s family lived in a large house with servants. Neighbors were always coming over for parties and concerts, since the family lived in the country and there were no concert halls or theatres. • There were no schools in Tchaikovsky’s town so his family hired a governess from France named Fanny Durbach to teach the children. At first, she taught only Tchaikovsky’s older brother, Nicholas, and his cousin, Lydia. Tchaikovsky begged his parents to take the lessons, too, and he caught up with Nicholas and Lydia quickly. • After their daily lessons, the children would make up stories. Piotr’s were the most strange and considered the best. He was very creative. • Piotr began to play the piano. After a few lessons from his mother, he taught himself. He would listen to tunes on his father’s orchestrion (like a music box but it played many tunes) and then play them on the piano. He liked the piano so much that his governess and mother became worried that he was not spending enough time outside. They actually had to pull him away from the piano and make him go play outside! • Even when Piotr was not allowed to play the piano, he would drum out rhythms using his hand. Once, he was drumming out a rhythm on a window pane and broke the glass, cutting his hand! • When Piotr was eight, his family moved to the city of Moscow. However, they stayed for just a short time, because Piotr’s father could not find a job and many people were ill with cholera. • Piotr’s family then moved to St. Petersberg and Piotr had to go to a school for boys. He did not like it because it was very hard and the other boys teased him. • In St. Petersburg, Piotr started taking piano lessons and was able to attend concerts, operas, and plays. He found it very exciting! • Piotr fell ill with the measles and took a very long time to get well. He was not allowed to do any work for six months! He was so sad that he would play the piano for hours each day to make himself feel better. His parents became worried that this might make him sick again and because they did not want him to become a musician. • When he was 10, Piotr’s parents sent him to a school to be trained to work in government. His mother stayed with him for awhile but when the time came for her to leave, he clung to the wheel of her carriage as it drove away. His friend had to grab him and take him back to school. • When he was 14, his mother died. Piotr was heartbroken, as he had been close to his mother. • Piotr began playing piano again, singing in the choir, and taking singing lessons after his mother’s death. His father asked his piano teacher if he was good enough to become a musician and the teacher said no! Piotr did not give up, though. He kept practicing and promised himself that he would be a great composer no matter what. • Tchaikovsky took a job in government but continued to compose and study music in the evenings. He later resigned from his job to be a full-time music student and then became a teacher at the Moscow Conservatory. • Tchaikovsky married in 1877 but the marriage was not happy and he tried to kill himself by wading into the Moscow River. • He resigned from his position at the Conservatory in 1878 and began to travel around Europe. • Tchaikovsky died in 1893 from cholera. • Tchaikovsky is thought by some to be the greatest Russian composer ever!

• 7 • Featured Work: Swan Lake, Prelude to Act III • Swan Lake has a very complex history and the score, libretto and choreography have been redone many times. The music has actually been rearranged several times and music by other composers has been inserted into the score for various productions. • The version of Swan Lake that we consider standard today was actually created after Tchaikovsky’s death and differs greatly from the original production. • The legend of the Swan Maiden was very popular in literature of the time. Tchaikovsky and his librettists Vladimir Petrovich Begichev and Vasily Fedorovich Geltser were influenced by tales from many cultures dealing with the swan. Tchaikovsky was also influenced by Wagner’s opera Lohengrin, which tells the story of a heroic Swan Prince. • It was thought that the swan represented womanhood in its purest form. • The original ballet was not well received. The music was thought to be impossible to dance to and the conductor said it was altogether too complex and difficult! • The choreographer of the original ballet, Julius Reisinger, was criticized greatly. One critic wrote “Mr. Reisinger’s dances are weak in the extreme…Incoherent waving of the legs that continued through the course of four hours – is this not torture? The corps de ballet stamp up and down in the same place, waving their arms like a windmill’s vanes – and the soloists jump about the stage in gymnastics steps.” • One of the dancers went to another choreographer, Marius Petipa, who would later rework the ballet to create the version we see today, and asked him to create new choreography for her in the ballet based on the music of the composer Ludwig Minkus. This music was to be part of the third act of the ballet. Tchaikovsky was appalled and created new music for her based on the work of the other composer and that fit the choreography created by Petipa. This new music was a huge success! • During the time Tchaikovsky composed this ballet, it was uncommon for composers, librettists and choreographers to work together on a production. Thus, the music, story, and dance often did not fit together well. This partly explains the poor reception the ballet received by audiences and critics. However, Tchaikovsky did have a great deal of control over the libretto for Swan Lake. • Despite these problems, Swan Lake was performed more times then other new ballets of the time. • Tchaikovsky composed the score between August 1875 and April 1876. He said “I took this work partly for money, which I need, and partly because I have long wanted to try my hand at this kind of music.” • Tchaikovsky studied ballet music of the time and was impressed by the composer Leo Delibes. He said of his music “If I had known this music earlier [music of Delibes’ score for Sylvia], I would of course not have composed Swan Lake, for it is poor stuff compared to Sylvia.” • As the deadline for the music approached, Tchaikovsky wrote to his brother saying, “I am up to my eyes in the orchestration of my ballet which must be ready by St. Thomas’s week. As I still have to finish two-and-a-half acts, I have decided to work at this most boring task in both Holy Easter weeks; to be able to do this I must get away from here [Moscow].”

• 8 • Swan Lake Characters: • The Sovereign Princess (Queen Mother) • Prince Siegfried, her son • Wolfgang, his tutor • Benno von Sommerstern, the Prince’s friend (Benno) • Odette, a good fairy (Queen of the Swans) • von Rothbart, an evil genius, by appearance a guest (often seen as a bird in the ballet) • Odile, his daughter, resembling Odette • Master of ceremonies • Baron von Stein • The Baroness, his wife • Freiherr von Schwarzfels • His wife • A herald • A footman • Court gentlemen and ladies, friends of the prince, heralds, guests, pages, villagers, servants, swans, cygnets

Swan Lake Synopsis: ACT I Prince Siegfried is getting ready to attend a royal ball where he must declare whom he plans to marry. He is upset because he cannot marry for love and flees. He sees swans flying overhead and begins to chase them so he can shoot them. ACT II Siegfried prepares to shoot the swans when they land. However, he sees before him a beautiful swan that is more woman than swan and cannot shoot her. The two dance and Siegfried learns that she is the princess Odette. An evil sorcerer named Rothbart captured her and turned her into a swan by day and woman by night. She is surrounded by other swan maidens and they live at Swan Lake, a lake created by the tears her parents cried when she was captured. Siegfried begins to swear his love to her, which will make the spell vanish, when Rothbart appears. Siegfried wants to kill him but Odette stops him, as the spell can only be broken if Rothbart is alive. ACT III The prince returns to the castle to attend the ball. The evil Rothbart arrives in disguise along with his daughter, Odile, who is dressed like Odette but wears black instead of white. Siegfried thinks she is Odette and dances with her, declaring that he will marry her. He sees Odette and realizes that he has made a mistake. ACT IV Siegfried returns to the lake to apologize to Odette and she forgives him. Rothbart appears and pulls the two apart. They realize that the spell can never be broken because of the promise Siegfried has made to Odile so they drown themselves in the lake. This causes Rothbart to lose his power and he dies. **There are other endings of the ballet, one where Siegfried and Odette are able to break the spell and live together happily.

• 9 • Student Introduction to Tchaikovsky’s Swan Lake, Prelude to Act III Focus Form (Rondo – ABACA)

North Carolina Standard Course of Study 1.01 Sing with pitch accuracy. 6.01 Identify simple music forms when presented aurally, including AB, ABA, Call and Response, Rondo, Ballad and Introduction/Coda. 6.06 Respond through purposeful movement to selected prominent music. 6.07 Show respect while listening to and analyzing music. 8.01 Identify similarities and differences in the meanings of common terms used in dance, music, theatre arts and visual arts including line, color, texture, form/ shape, rhythm, pattern, mood/emotion, theme and purpose.

Materials Recording of the Prelude to Act III from Swan Lake

Process 1. Teach the melody for the A section:

• 10 • 2. Play a recording of the Prelude to Act III of Swan Lake and ask students to count how many times the A section is heard (Answer: three times). 3. Play the recording again and ask them to stand when they hear the A section and sit when they hear different music. 4. Invite students to sing the A section theme as you play the recording a third time. As a class, they can create simple movements to do as they sing the A section theme. During the B and C sections, they should sit and listen. 5. Ask students to help you create a visual of the form (ABACA – Rondo). See if they can identify the contrasting sections as B and C. 6. Finally, tell students a brief synopsis of the ballet. Let them know that this music comes from the opening of Act III when the ball begins. They will act out this story, as follows:

Introduction – Their carriages (chairs) are arriving at the castle for the ball. They may pretend to take off their travel coats and enter the castle. They are amazed at the beautiful rooms as they enter. A Section – Students face forward and sing the theme song. B Section – Students mingle and greet one another with bows and curtsies. A Section – Students face forward and sing the theme song. C Section – Students dance at the ball or mirror move with a partner. A Section – Students face forward and sing the theme song. Coda – Students put their travel jackets back on and return to their carriages (chairs) for the journey home.

*Play the music and let the students perform the appropriate movements for each section of the Rondo. Variation – Choose several students to be the hosts and hostesses of the ball. They will sing the A section while the rest of the class plays the part of the guests at the ball, moving during the B and C sections.

Swan Lake Call Chart

Time on CD Section of Music 0:00-0:14 Introduction 0:15-0:28 A 0:29-1:01 B (includes the introduction melody returning as a bridge to A) 1:02-1:14 A 1:15-2:09 C (includes the introduction melody returning as a bridge to A) 2:10-2:22 A 2:23-end Coda

• 11 • Georges Bizet 1838-1875

Biography (in Student Book)

Georges Bizet grew up in a very musical household. His aunt was a famous singer, his father was a singer and composer, and his mother was a pianist. Georges loved to play the piano, and could already read and write music by the age of four! Shortly before his tenth birthday, Bizet began his studies at the Paris Conservatory of Music. There he composed his first symphony at the age of 17, and began to earn acclaim as both a pianist and composer. Upon completion of his schooling in Paris, Bizet won a prestigious award known as the Prix de Rome, which allowed him to study and compose in Rome for three years. Although Bizet enjoyed his time in Rome, he eventually grew homesick and returned to Paris. Bizet most enjoyed writing opera, but began to receive negative reviews from the opera critics in Paris. Georges struggled to compose operas that pleased not only the Parisian audiences but also himself. His final opera,Carmen , became his most successful and masterful work. Sadly, Bizet died before he saw the success of the piece, but many influential composers were fans, including Camille Saint-Saëns, Piotr Tchaikovsky and Claude Debussy. At the concert, you will hear Carillon from L’Arlesienne, Suite No. 1, a section of music Bizet wrote for a play in 1872. This lively provincial folk song employs the use of brass chords and strings to create a sense of drama.

FACT: Bizet was considered a “master pianist” by the age of 14. FACT: His first Symphony was written as an assignment at the Paris Conservatory. It was forgotten about and not debuted until 1935, after which it was deemed a master work. FACT: The work you will be listening to at the concert, Carillon, is featured in The Disney Channel’s Little Einsteins.

• 12 • Featured Work: Carillon from L’Arlesienne, Suite No. 1 • Bizet composed this music to be used as incidental music for Daudet’s play L’Arlesienne (The Girl from Arles) in 1872. It was not well received by critics or the public. After encouragement from a friend, Bizet reused the themes and created a suite in four movements, using a full symphony orchestra. The last movement, Carillon, featured a bell-tone pattern representing church bells at a wedding. Brass chords are set against the strings to create the sound of the carillons. • Carillons are musical instruments housed in a tower or belfry, made from bronze-cast bells. Carillons are played by striking the fist to the keyboard (baton) and/or pressing keys on a pedal board. It is the heaviest of all instruments, total bells weighing as much as one hundred tons.

• What are Dynamics? They are the “loud” and “soft” of the music. In written music, dynamics are shown by Italian words or their abbreviation. Dynamics are not exact. They depend upon what is happening elsewhere in the music, the particular instrument, the size of the room, etc. Music can quickly change to a different dynamic level or gradually increase or decrease the level of volume.

Dynamics Chart Abbreviation Italian Word English Meaning

pp pianissimo very quiet p piano quiet mp mezzo piano medium quiet mf mezzo forte medium loud f forte loud ff fortissimo very loud cresc crescendo getting louder dim diminuendo getting quieter

• 13 • Student Introduction to Bizet’s Carillon from L’Arlesienne, Suite No. 1

Classroom Activity 1: Move It When It’s Loud! Move It When It’s Soft! North Carolina Standard Course of Study 5.03 Identify symbols and traditional terms referring to expressive qualities, including dynamics and tempo. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music. 7.02 Explain personal reactions to specific musical works and styles using appropriate music terminology.

Materials Recording of Bizet’s Carillon from L’Arlesienne, Suite No. 1

Process Divide the class into two groups and designate one group FORTE and one PIANO. Each group will move freely around the room matching movements to the dynamic levels in the music. Movements depicting loud sounds should be large while movements for soft sounds will be smaller. Various body levels and arm movements will also demonstrate student understanding of the many changes in dynamic levels within Bizet’s Carillon. Students will kneel when the music does not reflect their assigned dynamic level and move in the designated space when it does. Crescendos and diminuendos should be depicted by one group rising while the other group is kneeling. A variety of colored scarves could be added to enhance the visual effect.

Classroom Activity 2: Dynamics North Carolina Standard Course of Study 5.03 Identify symbols and traditional terms referring to expressive qualities, including dynamics and tempo. 6.02 Demonstrate perceptual skills by conducting, moving to, answering questions about, and describing aural examples of music of various styles and cultures. 6.04 Identify visually and aurally a variety of instruments, including many orchestra and band instruments, and instruments from various cultures. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music.

• 14 • Materials Recording, Overhead/Chart

Process Write on board/create overhead with Dynamic Chart. Discuss Italian terms/ pronunciation. Notice it is from soft to loud in gradual increments. Play Bizet’s Carillon. As music progresses, point to correct indicator. Divide students in groups. Listen a second time to the music, have them stand/sit to indicate their dynamic level. Point out that sometimes it is a gradual change to a different level and sometimes it is sudden. • Extension of Activity 1: Make Dynamic Abbreviation cards for each student. Play Bizet’s Carillon and students hold up the card that reflects the dynamic level. Stop CD at various intervals and have students tell neighbor the instrument/family that has the melody at that time.

Classroom Activity 3: Rondo Form (ABA) North Carolina Standard Course of Study 1.01 Sing with pitch accuracy. 5.04 Use standard symbols to notate meter, rhythm, pitch and dynamics in simple musical patterns. 6.01 Identify simple music forms when presented aurally including AB, ABA, Call and Response, Rondo, Ballad and Introduction/Coda. 6.02 Demonstrate perceptual skills by conducting, moving to, answering questions about, and describing aural examples of music of various styles and cultures. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music.

Materials Recording, scarves, notes on board (G#, E, F#) words on board (Carillons, Ring the Bells, Ting-a-ling)

Process Discuss the form (ABA) and time signature (3/4). Talk to students about the bells and how they were used to convey the celebration of a wedding in the original ballet music. Play the three notes G#, E, F# on piano. Ask students to say words (Carillons, Ring the Bells, Ting-A Ling) and then sing with the notes. Sound should be “ringing” as a descant. Be sure and accent the downbeat. Practice moving the scarves in a slow, graceful movement to show the flowing melody. Play recording, students sing the bell part to A, move around room with scarves to B, feel the transition, then repeat singing the bell part to A.

• 15 • • Extension of Activity: Students are with a partner and have dynamic cards. Play the A section and one student sings at the level the other student’s card asks. This must be done slowly, at first, without the recording, to give the student time to demonstrate dynamic level. Ask students to create new lyrics/phrases to convey the feeling of the bells.

A B A

Classroom Activity 4: Dynamics North Carolina Standard Course of Study 1.05 Respond to the cues of a conductor. 5.04 Use standard symbols to notate meter, rhythm, pitch and dynamics in simple musical patterns. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music. 7.01 Devise and use criteria for evaluating performances and compositions of self and others. 7.03 Show respect for the music efforts and opinions of others.

Materials Recording of Carillon Open floor space for movement Large Stretchy Co-Oper. Elastic Fun Band or parachute SporTime Company (1-800-444-5700) or… (Parachute: usually available from your P.E. instructor)

Process Position students sitting around the perimeter of the stretchy band. Listen to the recording. Ask students to identify the form of the music as they listen. Guide the students to move away from the band or parachute. Instruct students to remember their position at the band, practice walking eight steps away from the band, then eight steps back to the band. When they move away a second time, instruct them to find a place in the room where each has enough personal space to move their arms and sway. Remind them to allow enough room for large movements in their personal space. They will use this space for the A Sections. Practice with the recording of the first A section briefly.

• 16 • Guide the students to make their way back to the perimeter of the large band, making sure each returns to their original/assigned position. They will use the band for the B section as a whole group. For the B section, you will pick up your portion of the band (or parachute) and, moving with the beat, raise and lower the band, up high and down low. If you hear the music play softly, make your movements smaller, then as the music crescendos the movement should get larger. Process: practice this once with the teacher calling out and demonstrating the sections along with the students. Then practice it again with the students making the change simply by hearing the music and identifying the separate sections by themselves.

Performance Allow for a brief whole group informal evaluation of their performance and see if they agree that their moves identified the p, f, crescendos and decrescendos in the music. If students want an opportunity to tweak their skills and if you have time, let them do the movement again. If you have time, videotape their polished version and use this as a formal evaluation. This is a great way to include self and peer evaluation!: Note: There is no introduction for this piece, so students will need to begin in their individual spaces, remembering where they will go for the B section. A section: Individual students perform improvised arm movements, up high and down low. Their moves will be small and close to their body for the soft sound, and extend outward for the loud sound. (Imagine you are the bell and that you are making the sound!) B section: Moving with the beat, the whole group listens and moves the band or parachute up and down, gently for the soft music, more vigorously for the loud sections. Each student must be aware of the music and of the movements that their classmates are performing. For the last A section, students will move away from the large band to their own space, and perform their arm swaying with individual creativeness. Ask them to remain as a statue when the music finishes and wait for a cue from their conductor (you!) before they relax their positions. You can use this time to take a photo and place their photos where they can advertise the symphony program preparation for students, colleagues and parents to view.

• 17 • Nikolai Rimsky-Korsakov 1844-1908

Biography (in Student Book)

Nikolai Rimsky-Korsakov was always more interested in his studies than in music. He began music lessons at age six, yet it wasn’t until he turned 17 that Rimsky-Korsakov began to develop a true love for music. Balakirev, an influential composer of the time, encouraged Korsakov to perform his works and begin a career in music. Nikolai was passionate about opera, and oftentimes took on unfinished projects left by his dead colleagues. He took on a position as a teacher at the St. Petersburg Conservatory, but the job did not suit him and he eventually returned to his occupation as a full-time composer. Rimsky-Korsakov was a member of a group of Russian Composers known as “The Five,” whose goal was to infuse their music with a sense of Russian pride. The group denounced the strict, Western rules that limited their ideas of music. Rimsky-Korsakov struggled to find acceptance among his peers, and was constantly trying to balance his personal style with an “appropriate” musical structure. An example of this is his obsession with counterpoint, or repeating specific phrases and layering them throughout a piece. At the concert, you will hear Capriccio Espagnol (Movements IV and V). The Spanish- influenced piece is a lively, dance-like tune that was very popular at the time it was written. Rimsky-Korsakov had been almost completely “silent” for six years until he wrote Capriccio Espagnol. The first rehearsal of the work was interrupted again and again by the spontaneous applause of the orchestra. Rimsky-Korsakov returned thanks by dedicating the work to them. All 67 names of the orchestra members were put on the score. Its first performance was October 31, 1887 with the composer conducting.

FACT: Nikolai Rimksy-Korsakov once served as the band director for the Russian Navy. FACT: He became part of well-known group of Russian composers called “The Five,” many of which were his close friends. FACT: He died in 1908 after a prolonged battle with angina, a disease of the heart.

• 18 • Rimsky-Korsakov’s Life • As a boy, Nikolai Rimsky-Korsakov was obsessed with the idea of being a sailor. Almost every member of his family served in the Navy. • By the time Nikolai was 12, he went to St. Petersburg to enter the Corp of Naval Cadets. • In St. Petersburg, he had two years of piano lessons, saw his first opera and attended symphony concerts. • When he was about 14 or 15 years old, his piano teacher introduced him to the music of Bach and other German composers. • When he turned 17, his teacher introduced him to the 24-year-old Mily Balakirev and to the 22-year-old Modest Mussorgsky, both great Russian composers with whom he would later collaborate. • When Nikolai turned 18, he was assigned to a clipper ship and set sail for a three-year cruise to foreign countries. For a time, he lost all serious interest in music. When he returned to St. Petersburg in 1865, he rejoined Balakirev and his musician friends and became more serious about composing. • Balakirev encouraged Rimsky-Korsakov to finish a symphony on which he had been working. The symphony was premiered on December 19, 1865. It quickly became the most significant symphony written by a Russian composer to date. • In the summer of 1871, Nikolai was still serving as a naval lieutenant. He was appointed that summer to be a professor of composition at the St. Petersburg Conservatory. • At this point in time, he really did not know very much about musical theory and composition, even though he had already composed a symphony. In order to be successful, he studied secretly and taught himself about harmony and musical form. He also made the smart move of marrying a fine pianist in 1872. • In his composition, he returned to his boyhood love of opera. With his newly developed skill as a composer, he wrote two operas during this period: May Night in 1878 and Snow Maiden in 1880. • Rimsky-Korsakov was known for being able to write out parts for an orchestra really well. He learned how to make an orchestra sound spectacular. Just like a great painter knows how to mix colors to achieve special effects, Rimsky-Korsakov knew how to mix the sounds of musical instruments together to get just the right sound. • With a great knowledge of theory and his ability as a good orchestrator, Rimsky- Korsakov helped his fellow musicians orchestrate their works which they were unable to complete, perhaps due to illness or working two jobs, etc. He orchestrated works of Dargomizhky, Borodin, and Mussorgsky. Glazunov, Stravinsky and Prokofiev were pupils of his. • Nikolai went on to compose mostly opera for the rest of his life. However, he is not as world-famous for his operas as for his other symphonic works. His most famous piece is a suite for orchestra called Scheherazade. • Another famous piece is his Flight of the Bumblebee, which is really a musical interlude from the third act of his opera The Tale of Tsar Saltan.

• 19 • Composer Connections Nikolai Rimsky-Korsakov was considered to be one member of a musical treasure that St. Petersburg gave to the world. This treasure was known as “The Mighty Five,” a group of young Russian composers who formed a unique bond and whose genius produced many musical masterpieces. This group considered themselves to be friends who simply wrote music because they loved doing so and enjoyed sharing it. 1. Nikolai Rimsky-Korsakov. 2. Modest Mussorgsky: a military officer, pianist and well-known composer of the piano suite Pictures at an Exhibition, the tone poem Night on Bald Mountain, and the opera Boris Godunov. 3. Alexander Borodin: a chemist who, while studying medicine, played the cello and piano with friends. He is well-known for his opera Prince Igor. 4. Cesar Cui: a military engineer who created wonderful chamber music, ballads, instrumental miniatures as well as opera. 5. Mily Balakirev: a superb pianist, teacher, composer and conductor.

Featured Work: Capriccio Espagnol • Capriccio Espagnol is a 16-minute piece for orchestra. • A “capriccio” is a musical composition for instruments. It is usually free in form, fast in tempo and brilliant in style. In other words, a capriccio is usually a loud, fast, free- sounding piece of music where each principal instrument/musician is showcased. • Although it has five movements, it is not a suite or a symphony. There are no clean breaks between all of the movements. In fact, we will listen only to the last two movements, and there is not even a second to catch your breath between the two. When you hear the trombones play one phrase of a new tune really loud and some castanets start to click, you will know that you’re now in Movement V. • Rimsky-Korsakov wrote his Capriccio Espagnol in the summer of 1887 when he was 43 years old. He had rented a place by a lake to work. • Earlier he had written down bits and pieces of some music which he was going to call Fantasy on Spanish Themes for a violin soloist and an orchestra. He decided that rather than show off the violin so much, he would show off the dazzling effects of musical sound that an orchestra could produce. • In Capriccio Espagnol, as soon as you hear the first few measures of the fourth movement, Scene and Gypsy Song, you will feel like you are in Spain.

• 20 • The five movements of Rimsky-Korsakov’s selection are organized around an Alborada (“dawn song”) melody heard at the beginning, middle and end. Alboradas are typically played on the bagpipes with the accompaniment of a side-drum. This lively opening melody is followed by a set of slow variations and returns in the middle of the Capriccio. It is followed by a fourth movement called the Scene and Gypsy Song featuring violins and cellos imitating Spanish guitars. The fourth movement opens with a series of cadenzas (elaborate flourishes or extended virtuosic passages) by the horn, trumpet, violin, flute, clarinet, and harp. It flows into the fifth movement, a colorful Fandango (Spanish courtship dance) in triple meter. The Fandango, one of the oldest and most important dances of Spain, is usually moderately fast, accompanied by a guitar, castanets, and violins, like a gypsy dance. The fifth movement ends with the Alborada. Rimsky-Korsakov created a magnificent composition for the orchestra, a showcase in which we can listen and identify these multiple and essential elements: • Change of timbres • Well chosen melodic designs • Figuration patterns for instruments • Virtuoso cadenzas for instrument solos • Rhythm of the percussion instruments We will only hear the last two movements performed in our concerts: Scene and Gypsy Song and Fandango of the Asturias.

• 21 • Call Chart: Capriccio Espagnol

Movement IV Scene and Gypsy Song Cadenza 1 Trumpet, Theme I, Fanfare Cadenza 2 Solo violins, Theme I Flute and clarinet duet, Theme I, string and percussion accompaniment Cadenza 3 Flute, followed by cymbal crash Cadenza 4 Clarinet Cadenza 5 Harp with triangle Trombone accents with violins introducing Theme II Theme I High woodwinds and strings Theme II Violins with trombone accents Theme I High violins, pizzicato/French horn and harp accompaniment Overlapping cello and oboe solos with the oboe playing some of Theme I and the cello a “longing” counter melody Theme II Flutes and oboes, while violins and cellos use pizzicato to imitate gypsy guitars, Three Crescendos, then… Theme I Woodwinds boldly restate this theme, adding trills Theme I Strings with tambourines added Theme II Violins with some of Theme II, French horns provide a staccato accompaniment Three Crescendos Two short, one longer and drawn out, then suddenly… You are in…

Movement V Fandango asturiano and Alborada Fandango Theme- loudly played by trombones (Phrase 1) Then woodwinds (Phrase 2 and 3) … hear the castanets Theme Again Bang!Strings, overlapping violin and flute solos Some of the theme by trings Violin solo with flute and piccolo … listen for the triangle New Countermelody Introduced by cellos and bassoons, clarinet solo comes in Violins state countermelody Castanets are added. Strings with rhythmical variations on countermelody Clarinet solo (brief) Horns with countermelody variations with strings on bits of the theme Castanets added Pizzicato strings with clarinets doing bits of theme Theme II From Movement IV returns (only some of the theme)…Trills Theme I From Movement IV stated by the horns Fandango Theme Phrase 1 stated by trombones two times Variations of the rest of the theme stated by woodwinds and strings Castanets are ‘frenzied’ Theme From Movement I (Alborada) returns for the Coda. Meter is now 2/4 Coda tempo is vivace assai Then the tempo goes to presto for the last 15 measures A loud, exciting and brilliant close!

• 22 • What is Rhythm? What is Tempo? Rhythm is the pattern of musical movement through time, the grouping of musical sounds, the arrangement of sounds and silences, or the pattern of beats in the music. It is generally accepted that rhythm is the whole feeling of movement in music. It drives the music forward and can be simple or complicated. Tempo is the rate of speed that the music is played. It is the heartbeat and can vary at any time in the music. The tempo is usually indicated by Italian terms and/or their abbreviations. Both terms work hand in hand and need to be understood separately and alone. Rhythm is the relationship of one note to the next, as related to the “beat.” Tempo is how fast or slow the beat is counted.

Student Introduction to Capriccio Espagnol by Nikolai Rimsky-Korsakov

Classroom Activity 1: Drama and Listening North Carolina Standard Course of Study 8.01 Identify similarities and differences in the meanings of common terms used in dance, music, theatre arts, and visual arts including line, color, texture, form/ shape, rhythm, pattern, mood/emotion, theme and purpose. 9.04 Identity and describe roles of musicians in various music settings and cultures. 9.05 Show respect for music from various cultures and historical periods.

Materials Recording of Rimsky-Korsakov’s Capriccio Espagnol Open “Floor Space” Printed copies of the scripts for Childhood Scenes Computer power point presentation: Asturias Region of Spain Castanets, triangles, hand drums Variety of wood instruments Signs: BRASS, WOODWINDS, STRINGS, PERCUSSION Call chart and excerpts for movements IV and V (Included in this material)

Process Introduce Rimsky-Korsakov to the students by having them dramatize the Childhood Scenes: A Miniature Play about Nikolai Rimsky-Korsakov as a young boy. Video tape their presentation. Listen to the symphony selections by Rimsky-Korsakov after their drama presentation.

• 23 • Childhood Scenes CAST: (Nine Students) Narrator Nikolai Rimsky-Korsakov (as a three-year-old boy) Nikolai Rimsky-Korsakov (as a six-year-old boy) Papa Rimsky-Korsakov Mama Rimsky-Korsakov Servant One/Tambourine Player Servant Two/Cymbal Player Servants Three and Four/Violinists PROPS: A table, three chairs, two small drums with mallets, two violins and bows (or, of course, pretend ones), a tambourine, finger cymbals (or a cymbal and mallet, or a pair of cymbals). SCENES: (1) The first scene takes place in the Rimsky-Korsakov living room. (2) The second scene takes place in the dining room. NARRATOR: The narrator’s lines should be read by the teacher or a student that is a good reader. Childhood Scenes: (A Miniature Play About the Composer Rimsky-Korsakov As A Young Boy)

Introduction Narrator: Today we are going to learn about a famous Russian composer named Nikolai Rimsky- Korsakov. We will visit Nikolai at different stages in his musical life. First, we will visit him in his hometown of Tikhvin, Russia right in his living room where his wealthy parents are spending time with him. Nikolai is now only three years old. The year is 1847.

Scene One Papa Rimsky-Korsakov: (Sitting in a chair, with a drum and mallet in hand, and smiling at young Nikolai.) Listen to me, Nikolai. Play on your drum what “Papa” plays on his. (Papa plays an improvised rhythmic pattern.) Nikolai: (Sitting on the floor with a drum and mallet, looks up at Papa and copies patterns on his drum exactly as Papa played it.) Papa: (Smiles, looks up at Mama who is standing and watching Papa and Nikolai) See, Mama, what a little musician we have, da? Mama Rimsky-Korsakov: (Smiling) Nyet so fast, my husband. Try another one! Papa: (Makes up another rhythm pattern on his drum.) Nikolai: (Copies it perfectly, then adds a rhythm of his own.) Papa: Well, Mama? Mama: Nyet so fast, my husband. Can he sing? Let’s find out if he can sing. (Mama sings out in a horrible, not-so-musical* voice a phrase or two of Rossini’s “Barber of Seville”) “I’m the barber of Seville, Figaro! I’m the barber of Seville, Figaro!” OK, Niki, you try for Mama. *The idea is for Mama to sound funny when she sings. Nikolai: (In a baby voice, copies words, rhythm and screeching of his Mama.) “I’m the barber of Seville, Figaro! I’m the barber of Seville, Figaro!” Papa: See, Mama, see! We have a little Mozart on our hands.

• 24 • Papa and Mama: (Both look amazed with open mouths which they then cover with their hands.) Nikolai: (Bangs drum and sings more Rossini.) “I’m the barber of Seville, Figaro! I’m the barber of Seville, Figaro!

Scene Two Narrator: Young Nikolai Rimsky-Korsakov is now six years old. The family is sitting at the dining room table. The meal is over. Papa: (Wiping his mouth and rubbing his stomach.) Mama, you are a good cook! Mama: (Smiling) Thank you, Papa. Papa: (Looking at young Nikolai.) What do you say to your mother, Niki? Nikolai: Thank you for the wonderful meal, Mother. Mama: You’re welcome, my son. Nikolai: (Looking at Papa.) Papa, after such a good meal, I really would like to hear some music! Let’s have some music, Papa! Ok? Papa: What do you say, Mama? Mama: (In her not-so-musical tones, as usual, barges into…) “I’m the barber of Seville, Figaro! I’m the barber of Seville, Figaro!” Papa and Nikolai: (Cover their ears.) Papa: (Interrupting Mama’s rendition.) Mama, mama, mama, mama! You’ve worked so hard to cook this meal! We shall have you rest and let someone else make the music for us. Mama: (Hushes, looks somewhat disappointed, and sits quietly.) Nikolai: (Looking very relieved.) Yes, Papa, let’s bring in our new servants to play some dance music for us! I’ve heard them play their instruments. There are two violinists! Another one plays the cymbals, and one plays a tambourine! Papa: Da, they will play for us now. (Papa calls out and pounds his fist on the table.) Igor! Vladimir! Nadya! Olga! Come and bring your instruments! You will play for us tonight! Four Servants: (The four servants parade in, playing their instruments and marching or dancing around the table.) Papa and Mama: (They get up and start dancing or moving to the music.) Nikolai: (Sits and claps to the beat.) Four Servants: (Just as soon as the music started, it begins to fade. The servants parade out as they play.) Mama and Papa: (Whisper to each other.) Papa: Niki, my son, Mama and I have been talking, and we have decided that you shall have piano lessons. Nikolai: Oh, Papa! Oh, Mama! Oh, boy! (He goes over to his parents. He hugs them.) Papa and Mama: (They hug Nikolai.) Narrator: From our scenes you can see that the Rimsky-Korsakov family loved music. It is true that the three-or-four-year-old Nikolai would keep the beat on a toy drum while his father played the piano. It may not be true that his mother was a horrible singer, but it is true that the family played and sang opera melodies of Mozart and Rossini in their household. We don’t know their servants’ names, but the family at one time did have four servants who played two violins, the cymbals, and the tambourine at family parties. Young Nikolai’s piano lessons did begin when he was six-years-old. By the time he was nine, he had composed his first composition.

• 25 • Classroom Activity 2: Tempo, and Rhythm/Movement IV North Carolina Standard Course of Study 5.01 Read whole, half, dotted half, quarter and eighth note and rest durations in 2/4, 3/4 and 4/4 meters. 5.04 Use standard symbols to notate meter, rhythm, pitch and dynamics in simple musical patterns. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music. 6.07 Show respect while listening to and analyzing music. 7.01 Devise and use criteria for evaluating performances and compositions of self and others. 7.03 Show respect for the musical efforts and opinions of others.

Process Display the melodic and rhythmic excerpts for the fourth movement.

Theme 1 (above)

Theme 2 (above)

• 26 • Listen to Movement IV of Capriccio Espagnol. Play the two themes from Movement Four 1. on the piano 2. or on another instrument 3. or give them to a good piano student in advance of your lesson and ask them to play the themes for the class. Play until the class easily differentiates between the two themes. Play the recording of Movement IV (Approx. 5 minutes in length). Note: You will need to stop after 5 minutes, when you hear three crescendos, the last one being very drawn out. Movement V begins without a break. You will know you have gone too far when the trombones loudly play the new theme and castanets are heard for the first time. Using the visuals, guide the class to sing the first theme, and then to create a body percussion ostinato that will compliment the song. The pattern should be in 3/4 meter.

Stamp Clap Clap Stamp Snap

Using the visuals, guide the class to read the rhythm of the second theme, using rhythmic notation syllables. Ask the students to read the rhythm again, adding body percussion: Suggestion: Pat thighs for the eighth notes. Clap (shoulder height) for the quarter notes. Practice a few times for accuracy. Demo precise movements. Perform with the piano version or the recording. Transfer the body percussion to unpitched percussion: Rhythm sticks hitting floor for eighth notes. Rhythm sticks and hand drums (held high) for quarter notes. Practice a few times for accuracy. Demo precise movements. Perform with the piano version or the recording. In a later lesson, you can divide the students into groups of eight. Four students in each group can create a group dance in triple meter, still focusing on the rhythm written above. The other four can perform with the unpitched percussion. To bring it up a notch, and to acquire an ‘imitation’ castanet effect, ask one student to hold a single stick in both hands, horizontally parallel to the floor. Their partner will use both of their sticks to tap their partner’s single stick, keeping the rhythm accurate. (Lummi sticks will give you a more pleasant sound if you have them.) Concert castanets can also be used by one student if you have them! Give them time to rehearse with the piano version or the recorded selection, and then let each group perform for their peers. Allow time for peer evaluation. Offer teacher guidance and suggestions as needed. If you have time, video tape their performances. Students love to see themselves ‘in the movies’ and learn to judge the quality of their work by being able to see it from the outside in.

• 27 • Classroom Activity 3: Tempo and Rhythm, Movement V North Carolina Standard Course of Study 2.05 Play independent instrumental parts while others sing and/or play rhythmic, melodic or harmonic parts. 5.01 Read whole, half, dotted half, quarter and eighth note and rest durations in 2/4, 3/4 and 4/4 meters. 5.02 Read pitch notation in the treble clef. 6.01 Identify simple music forms when presented aurally including AB, ABA, Call and Response, Rondo, Ballad and Introduction/Coda. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music.

Process Display the melodic and rhythmic scores for the Fifth Movement. Listen to the fifth movement of the Capriccio Espagnol. Fandango of the Asturias in 3/4 meter Alborada in 2/4 meter Play the three phrases marked on the score. (Save the counter melody for later.) Teach these three phrases to the students. Divide the class into three groups. Each group will sing their assigned phrase. Add the bass line on bass xylophones, giving this 3/4 accompaniment to a student or students to work on while the other students create movement to reflect the lyrics and character of their phrase. Their movement will be performed in concentric circles, but their preparation can be done in three separate circles to provide for special vision and focus. Inner circle moves for phrase one. Holds ending position. (Three to four students.) Middle circle moves for phrase two. Holds ending position. (Five to seven students.) Outer circle moves for phrase three. Holds ending position. (Eight to ten students.) *** Hint: You can mark the space for the inner circle by placing a hula hoop on the floor. The outlying circles can space themselves to allow for movement. Select four students to work on movement for the counter melody. While the rest of the class works on their assigned task, teach these four students the counter melody, and ask them to create movement for it. They will be positioned at the four directional points around the circle dancers: North - South - East - West. Ask these four students to take a minute to observe each circle group. They can do this individually or together. They must observe silently and not disturb the groups. After a minute they come back to you and describe each group’s movement. Then they create a movement for their part, working to create their own choreography, something different that will compliment the moves of the thematic groups. Allow time for planning and practice. This will be a multiple class period activity. When the class has practiced the moves, slowly at first, bring their choreography up to tempo. Have them perform with the piano accompaniment, then with the recording! They will notice when the Alborado theme for the coda begins. Here the tempo changes from 3/4 to 2/4.

• 28 • Phase 1 (above)

Phase 2 (above)

Phase 3 (above)

Countermelody (above)

• 29 • Classroom Activity 4: Themes, Tempo, and Rhythm, Movement V North Carolina Standard Course of Study 5.01 Read whole, half, dotted half, quarter and eighth note and rest durations in 2/4, 3/4 and 4/4 meters. 5.04 Use standard symbols to notate meter, rhythm, pitch and dynamics in simple musical patterns. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music.

Process Split the class into four groups, sitting or standing.

Group I (clappers): Each student has a partner. They face each other. They perform only during phrase 1 of Movement V (main theme).

Pat Clap Clap Pat Clap Clap Pat Clap Clap Pat Clap

Group II (Triangles): This group plays only on phrases 2 and 3 of Movement V (main theme.)

Group III (Castanets, claves, woodblocks, etc.) : This group plays only on phrase 2 and 3 of Movement V main theme.

Group IV (streamers): Each person has a “streamer” (a long strip of crepe paper glued to a tongue depressor), or they have scarves, strands of gift wrap ribbon, etc. Each person moves during the counter melody of Movement V.

Pattern: Make simple rainbow arcs overhead right to left or left to right, getting to the “end of the rainbow” arcs on beat one of each measure. Play (or have a student play) piano transcription of Movement V themes as groups perform their parts. Practice until all are well-rehearsed. Then, play the recording of Movement IV (as students listen quietly). Make sure that students are ready to begin their accompaniment and movement as soon as Movement V starts. Remember, Movement V begins without a break from Movement IV. Movement IV lasts five minutes, and Movement V lasts 3 1/2 minutes.

• 30 • Classroom Activity 5: Exploring Rhythm and Tempo Through Movement, Movements IV & V North Carolina Standard Course of Study 5.01 Read whole, half, dotted half, quarter and eighth note and rest durations in 2/4, 3/4 and 4/4 meters. 5.03 Identify symbols and traditional terms referring to expressive qualities, including dynamics and tempo. 6.03 Use appropriate terminology in explaining music, music notation, music instruments and voices, and music performances. 6.04 Identify visually and aurally a variety of instruments, including many orchestra and band instruments and instruments from various cultures. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music.

Process Using movement to create visualization of the rhythms and tempos in Movement IV, V of Capriccio Espagnol Formation of students: two or three concentric circles Inner Circle has at least eight students, with four students holding signs for BRASS WOODWINDS PERCUSSION STRINGS Have streamers to use, and four or more students with just streamers. Outer Circle consists of the rest of the class with scarves. Alternate Formation: Three scattered circles: one for signs, one for streamers and one for scarves

• 31 • Movement Activity Chart

Capriccio Espagnol Movement IV (1) Signs held up during introduction when the sections play: Brass are first (lasts approximately 34 seconds) Strings are next (approximately 39 seconds) Percussion (approximately 8 seconds) Woodwinds (approximately 10 seconds/keep the percussion and woodwind signs both up) Flute solo (sign holders place signs behind them and pick up their streamers) Clarinet solo (listening for tempo and getting ready to move streamers) Glissando (still waiting and listening!)

Theme I: Woodwinds and Strings Streamers make a figure eight Sideways/Horizontal (2) Theme II: Hold streamer high and wiggle it fast and frenzied (3) Theme I: Violins and French horn Streamers make a figure eight (4) Theme II: Flutes and oboe Streamers circle student’s body with the snake charmer quality of sound (5) Wiggle worm the streamer (6) Streamers go up and down (large movements) (7) Theme I streamers make figure (8) Wiggle worm (9) Ups and D\downs Bang!

Capriccio Espagnol Movement V (In this section the students will work with a partner and use scarves) (1) Toss scarves to partners keeping the beat to “Fandango Theme.” (2) Then students toss their scarves up and down, and catch their own scarf , with the“Fandango Theme” again. (3) Sway during Countermelody. (4) Partner Toss: Themes II and I from Movement IV reappear. (5) Partners toss scarves as if they were kites/parachutes (blow on scarf to keep it in the air) with the “Fandango Theme.” Move into the Coda. (6) Signs reappear/streamers start again/ and scarves move/posters pulsate with the beat. Movement is frenzied as is the sound! Coda tempo is vivace assai and the tempo goes to presto for the brilliant close.

• 32 • Signs for Classroom Activity 5:

• 33 • Lesson Extension with Literacy Focus North Carolina Standard Course of Study 1.01 Sing with pitch accuracy. 1.02 Match pitch within a developmentally appropriate vocal range, using head tones. 6.02 Demonstrate perceptual skills by conducting, moving to, answering questions about, and describing aural examples of music of various styles and cultures. 8.01 Identify similarities and differences in the meanings of common terms use in dance, music, theatre arts, and visual arts including line, color, texture, form/ shape, rhythm, patters, mood/emotion, theme and purpose. 8.02 Identify ways in which the principles and subject matter of other content areas taught in the school are related to those of music. 8.03 Demonstrate the character traits of responsibility, self-discipline, and perseverance while informally or formally participating in music.

Process Make copies of “More About Rimsky-Korsakov and His Capriccio Espagnol” for each student. Assign each student a “reader number.” Have students stand and read their sentences on their individual turns. If students have special reading times during the day, you might visit their classroom when possible and read to the students or supervise their group reading of the material. Make copies of the piano transcription of the themes. Have lyrics read aloud in class. Teach the theme songs to the students using the same techniques that you use in teaching other songs. Warning: Some lyrics are silly. Rimsky-Korsakov did not write the words. Also, he did not have Tchaikovsky’s flair for beautiful melodies. The tunes may prove to be a bit challenging to sing. The coda “song” is somewhat melismatic, so you might not even attempt this one with the students. It also has a trill. So having been forewarned sing all s-l-o-w-l-y, especially at first. Musical Quiz Bowl: At the end of this teaching unit you may want to play a quiz bowl game as a fun way to review the information. Here is one way to do this type of activity. Split the class into two teams. Try placing an equal number of girls and boys on each team! Set up two tables in the front of the room. Put three or four chairs at each table, with chairs facing the “audience.” Put two resonator bells with mallets on the tables, one for each team. Select panelists for the two teams. One person at each table is appointed captain of his/her team.

• 34 • Lesson Extension: Rhythm and Tempo North Carolina Standard Course of Study 1.01 Sing with pitch accuracy. 1.02 Match pitch within a developmentally appropriate vocal range, using head tones. 5.03 Identify symbols and traditional terms referring to expressive qualities, including dynamics and tempo. 6.03 Use appropriate terminology in explaining music, music notation, music instruments and voices and music performances.

Process Choose any simple, familiar melody that has a repeated rhythmic pattern in the melody (i.e. “My Bonnie Lies Over the Ocean”). Ask students to sing a phrase at a moderate pace and feel the pattern to the notes/words. Notice it has dotted rhythms and a dance-like quality. Have students clap the rhythm of the words. Next, ask students to sing it again, the same pattern, but at a faster tempo. You did not change the rhythm, but the rate of speed or the tempo. Now ask students to sing the same phrase at a very slow pace. Again, notice you did not change the rhythm, just the rate of speed or the tempo.

Italian Tempo Markings/Abbreviations

Largo: very slow Adagio: slow Andante: at a walking pace, moderate Allegro: fast Presto: very fast Accelerando (accel.): gradually faster Ritardando (rit.): gradually slower

• 35 • Terry Mizesko . 1954

Biography (in Student Book)

You might find Terry Mizesko in the North Carolina Symphony’s brass section, on the conductor’s podium at education concerts, or preparing arrangements for Symphony performances. A multi-talented musician, Mizesko has been Principal Bass Trombone with the North Carolina Symphony since 1971. Mizesko is a native of Morehead City, NC and a graduate of East Carolina University. There he studied composition and trombone with Gregory Kosteck and Eugene Narmour. Mizesko has conducted the North Carolina Chamber Players, the Governor’s School Wind Ensemble, the Raleigh Youth Symphony and the Duke University Wind Symphony. He also appeared as guest conductor with the Charlotte Symphony in education concerts. Mizesko taught trombone for more than 20 years at several area schools including Duke University, UNC-Chapel Hill and St. Augustine’s College. He now devotes much of his time to composition and his family. The North Carolina Symphony has performed Mizesko’s compositions and orchestrations for the last several seasons in classical, pops and education concerts throughout the state.

FACT: Terry Mizesko has been Principal Bass Trombone for the North Carolina Symphony for 38 years! FACT: The movements of A Little Dance Suite are meant to mimic what a day in the life of a child would be like. That is why the piece ends with a story (about Hobgoblins!) and a Lullaby. FACT: Mizesko’s two children, ages 10 and 12, are sources of inspiration for his educational compositions.

• 36 • Featured Work – A Little Dance Suite, Movement II: Dos Muchachos Mariachi • This piece is from a larger work called A Little Dance Suite that was composed in 2006 for the Canton (OH) Symphony Education Series. • The dance we will hear is called Mariachi Dance. According to the composer: “This is reminiscent of the many Flamenco guitar pieces in Spanish music. Rhythmically it is all in 3/4 time, except the verse which has alternate measures of 6/8 + 3/4. This is one form of hemiola, a very common rhythmic device, dating back to the Troubadours of the 14th century, and often heard in Spanish folk music.” • Mariachi bands got their name from the French word mariage, which means marriage. During the French invasion of Mexico in the 1860s, the French observed musical groups performing at Mexican wedding ceremonies and called them mariachi. However, there are several other meanings of the word mariachi, including a type of tree, a wooden fence platform, and a word for music groups that has long been a part of the language of the Coca Indians. There is debate on the exact origins of the word. The mariachi band contains the following parts: the violins and vocals are the top voices, the rhythm section is the harmony, and the guitarrón is the bass (like the Baroque “basso continuo”). The traditional mariachi has six to eight violins, two to three trumpets, a vihuela, a guitar, and a guitarrón. • The following instruments can be found in a mariachi band: (Taken from http://www.teachervision.fen.com/mexico/music/6757.html) • Violin. When used in the mariachi band, the violin is not altered in any way from its traditional use. • Vihuela. The vihuela is a creation of the Coca Indians of Southwestern Jalisco in Mexico. It has five strings and a bowed back, and it is slightly larger than a ukelele. It is played with a thumb pick in the rasqueado (strummed) style and is the harmonic and rhythmic foundation of the mariachi band. • Guitar. A standard guitar is used (not altered in any way) and serves to supplement the vihuela as a rhythmic element in the mariachi band. The guitar and the vihuela play the same rhythmic patterns and keep a strong foundation for the group. Typically, a guitar is used in a mariachi band about 98 percent of the time. • Guitarrón. The guitarrón is the foundation and bass instrument of the group and is the single most important element in the mariachi band. It serves not only as the bass of the group, but it gives the group its characteristic sound. A rule of thumb is that if there is no guitarrón, there should be no performance. • Trumpet. A standard trumpet is used (not altered in any way). At various times, the trumpet players are asked to perform with cup mutes. • Other instruments. There are occasions when instruments such as the flute, French horn, accordion, and organ are used. These instruments are used for specific arrangements. • The mariachi band is Mexico’s only true surviving folkloric ensemble and has changed very little since trumpets were added in the mid-1930s. • In Mexico, mariachi music is male-dominated but in the United States, women participate in mariachi bands.

• 37 • • Mariachi music can be heard in many different settings and for a variety of occasions, such as dances, weddings, and funerals. • Mariachi musicians must know how to play at least a thousand songs and must know several versions of each song! What is form? The shape of a musical composition as defined by all of its pitches, rhythms, dynamics, and timbres.

Student Introduction to Mizesko’s A Little Dance Suite, Movement II: Dos Muchachos Mariachi

Classroom Activity 1: Form (ABABA) North Carolina Standard Course of Study 6.01 Identify simple music forms when presented aurally including AB, ABA, Call and Response, Ballad, Rondo, and Introduction/Coda. 6.03 Use appropriate terminology in explaining music, music notation, music instruments and voices, and music performances. 6.04 Identify visually and aurally a variety of instruments, including many orchestra and band instruments, and instruments from various cultures. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music. 7.02 Explain personal reactions to specific musical works and styles using appropriate music terminology. 9.01 Identify the style or genre of aural music examples from various historical periods and cultures. 9.02 Describe in simple terms how elements of music are used in music examples from various cultures in the world, past and present. 9.05 Show respect for music from various cultures and historical periods.

Materials Recording of Dos Muchachos Mariachi by Terry Mizesko Scarves for the bullfighter group Form Visuals (ABABA)

Process 1. Play the A section of the piece and ask students to describe what they hear (Mexican sounding music, dramatic etc.) Label this section “A.” 2. Play the entire recording, asking students to stand when they hear the A section melody and sit when the music changes. They should count how many times A is heard during the piece.

• 38 • 3. Ask students what they heard in between the A sections (more lyrical music, strings, prominent castanets, etc.) A ? A ? A

4. Ask students to help you draw the form of the piece (ABABA) noticing whether or not the contrasting sections are the same or different (the same). 5. Divide the students into 2 groups: bullfighters and Spanish dancers. 6. Allow students to act out the music. The bullfighters will move during the A section, holding and waving scarves to attract the bulls. During the B section, the dancer group will dance to the more lyrical music. It might be helpful to show students a picture of traditional Spanish clothing so they can see how women would use the layers of their dresses in dances. You can switch parts and repeat this activity if you wish.

Extensions Teach the students a Mexican folk song to reinforce the form (refrain first, then verses). Read the book Ferdinand the Bull to introduce students to the bull fighting cultural piece. This story matches the music, as Ferdinand wants to stop and smell the flowers, which relates to the B section. The A section represents the other bulls, who are happy to be in the ring.

Call Chart: A Little Dance Suite, Movement II Dos Muchachos Mariachi Time on CD Section of Music

0:00-0:40 A (Bull Fighting Music) 0:41-1:24 B (Dancing Music) 1:25-1:56 A (Bull Fighting Music) 1:57-2:40 B (Dancing Music) 2:41-end A (Bull Fighting Music - shortened)

• 39 • Aaron Copland 1900-1990

Biography (in Student Book)

Aaron Copland was the son of Jewish immigrants from Poland and Lithuania who immigrated to America in search of a better life. Copland learned to play the piano at a relatively young age and regularly attended orchestra performances in New York City. Although this experience inspired him to pursue a career in music, he wanted to learn more in Europe before beginning his life as a composer. When he turned 20, Copland moved to Paris to study music under Nadia Boulanger, a very famous composer and piano teacher. There he began to develop his personal style. Copland wanted to create a distinctively American style of music, influenced by the jazz and pop he had grown up with on the streets of New York City. Although Copland’s earlier music was often far too complex for audiences to appreciate, he eventually found a style that audiences loved. He became most famous for his ballets, such as Billy the Kid and Rodeo. He loved the American Western style, and produced many songs for movie soundtracks. He even won an Oscar for his movie score for The Heiress! Copland’s signature is to take a relatively simple melody and breathe new life into it with exciting uses of instruments. At the North Carolina Symphony education concert, you will listen to Copland’s John Henry, a lively folk tune characteristic of those used by the American composer. You will also be invited to sing along with the orchestra to this fun folk tune. Listen closely to the lyrics - they tell the story of John Henry’s life!

FACT: Before he became a composer, Copland worked as a pianist at a resort entertaining guests. FACT: Copland once taught as a professor at Harvard University in Boston, MA. FACT: Throughout the course of his career, Copland received over 30 honorary degrees.

• 40 • Copland’s Life • Born in Brooklyn, NY in 1900. His parents were immigrants. • Copland studied music with his sister before he started formal lessons. • He served as a professor at Harvard and received a Pulitzer Prize in music. • Copland worked with famous choreographer Martha Graham and wrote ballet music for use by her dancers in a unique, modern style. • He won an Academy Award for compositions written for Hollywood Productions. • He died of respiratory failure in 1990.

Featured work: John Henry Copland wanted to establish an American “sound.” After writing the successful Billy the Kid ballet score, Copland wrote, in 1940, the radio score John Henry based on a folk ballad. Using his signature style of open, slowly changing harmonies, he painted a picture of the hero who stood tall with the likes of Pecos Bill, Paul Bunyan, and Casey Jones. The melody winds and bends with a lovely contour like a railroad track. The clarinets begin the melody and the trumpets then sound their turn. The percussion section adds the feeling of the railroad throughout the journey and the strings join the sad strains of the story. The tempo also parallels a train ride; the beginning is slow and increases as the melody “rides the rails.” Toward the end of the ride, the ritardando predicts the tragic ending to the life of this legend. The final chord symbolizes the spike that earned John Henry his musical place in American history.

• 41 • • 42 • • 43 • Student Introduction to Copland’s John Henry

What is Melody? A succession of notes forming a distinctive sequence, a tune, a song, a theme, a musical passage, the leading part of a musical composition, sounds that are pleasant because of their arrangement, or the part that one can hum. Classroom Activity 1: Melody, Melodic Direction and Melodic Contour North Carolina Standard Course of Study 1.01 Sing with pitch accuracy. 1.02 Match pitch within a developmentally appropriate vocal range, using head tones. 2.01 Play with pitch accuracy. 8.01 Identify similarities and differences in the meanings of common terms used in dance, music, theatre arts, and visual arts including line, color, texture, form/ shape, rhythm, pattern, mood/emotion, theme and purpose. 8.02 Identify ways in which the principles and subject matter of other content areas taught in the school are related to those of music. 9.01 Identify the style or genre of aural music examples from various historical periods and cultures.

Materials Literary presentation of the Folk Legend of John Henry Musical presentation of the Folk Ballad of John Henry Resources for extending the literary connection: (Check with your Media Specialist) Casey Jones Davey Crockett Pecos Bill Paul Bunyan Jim Bowie Harriett Tubman Resources for additional ballads: (Check in your textbooks and supplemental materials) Casey Jones Arkansas Traveler John Brown’s Body Ballad of Davey Crockett Sweet Betsy from Pike When Johnny Comes Marching Home Related Song Materials: “I’ve Been Workin’ on the Railroad” Material / Lesson Guide in 2009-10 North Carolina Symphony Teacher Handbook Video: American History for Children Video Series, U.S. Songs and Poems Schlessinger Video Productions / ISBN #1-57225-069-0 / ($29.95)

• 44 • Process Play Aaron Copland’s version of John Henry as the students enter the room. Read the story of John Henry to the students. Give the students an opportunity to hear the song version that they will sing at the North Carolina Symphony educational concert. Explain that this is a ballad version of the tall tale story they just heard. (Define the terms ballad and tall tale for them). Talk about the story briefly and then teach the students to sing the ballad. Lead the students to discuss how the melody enhances the message in the lyrics. Include historical information about the ‘real’ John Henry and the ‘legendary’ character that they are singing about Where could John Henry have actually lived? How many states claim this folk hero? What documentation is there to prove that John Henry was indeed a real person? Is it important for him to have been real? Why? What other folk characters are they familiar with that represent ‘larger-than-life’ characters from American history?

Classroom Activity 2: Melodic Contour North Carolina Standard Course of Study 1.05 Respond to the cues of a conductor. 6.06 Respond through purposeful movement to selected prominent music characteristic or to specific music events while listening to music. 9.01 Identify the style or genre of aural music examples from various historical periods and cultures.

Materials Engineer hats, red bandana, scarves (optional)

Process Display the railroad track movement chart, which outlines the contour of each phrase. The chart breaks apart the song by phrases and provides a visual for students to use to plan their movement. Assign the students to Phrases/Trains and guide their movement to match the contour of their particular phrase. Allow approximately three minutes for this. They must have an engine with a conductor, a caboose, and be visually connected for their locomotive movement. Then give each group an opportunity to demonstrate their phrase. Put the phrase movements with the song as a whole, with each “train” moving forward to the next train’s station, pushing the next train into motion, so that the song flows as it should. They will need to practice a few times! Practice the chug-a-chug movement between the verses (using an instrumental version, played by the teacher or the students). Move each train back to its starting station, so that they can repeat their movements for the next verse.

• 45 • Lesson Extensions: Art, Literature and Social Studies Connections North Carolina Standard Course of Study 7.03 Show respect for the musical efforts and opinions of others. 9.03 Identify various uses of music, and describe characteristics that make certain music suitable for each use. 9.05 Show respect for music from various cultures and historical periods.

Materials White drawing paper Pencils, pens, crayons John Henry visuals Various paints Recording of John Henry

Process Display the railroad track movement chart, which outlines the contour of each phrase. The chart breaks apart the song by phrases and provides a visual for students to use to plan their movement.

Social Studies: What are immigrants? How would their life be different in the 1900s? In 2009? What are the Pulitzer Prize and the Academy Award? How are they important to a person’s career? Where did the railroads get their start? Who built them? How did they affect transportation in this country? Do we still use the railroad? Listening Map with writing prompts: Take a train trip with Aaron Copland and tell how you feel and what you see. • Lone clarinet introduces theme: Why am I going to this new place? Should I go/not go? • Hammer sound: Time to board the train and bid goodbye. • Brass echoes theme: I’m seeing things new things and it’s a little scary. • Train engine sound - tempo increases: The other people on board are a little “different.” • Strings get on board - Full speed ahead: Wonder if they miss me back home? • Percussion adds to clickety-clack: What if they don’t like me? • Full orchestra: How much longer? Some folks are really nice • Journey is nearing the end - tempo decreases - melody once more: Hope I packed what I’ll need! • Reached destination with one last chord: Here I am...Glad I came!

• 46 • Language Arts & Fine Art: (tall tale and character stories) Students write their own story about a character that can do amazing things. It can be fantasy/fiction, past/present/ future. Coordinate with classroom teacher and use skills learned in the regular classroom. Coordinate with art teacher to create “tall” characters using three sheets of computer paper. Make images “larger then life” and divide into three sections to show details of the body. Attach the final copy of the story and display in music room/hallway. After viewing pictures and listening to the story of John Henry, students sketch out a figure of John Henry in an exaggerated and muscular form. Realistic skin colors, along with the non-realistic colors of blues and violets can be used for skin tones, and also background. Music: Sing “I’ve Been Working on the Railroad” and “John Henry.” Discuss the difference between a work song and a ballad. Work songs helped keep the beat to the task and made the work a little lighter. A ballad recalls the story and asks the listener to decide what happened and why? What do you feel when you hear the sound of a train whistle? (lonely, wistful, anxious, excited) Technology & Computer: Utilize websites about John Henry. Look for pictures of statues of John Henry. Discuss the varied arguments about his life and legend.

Statue of John Henry in Talcott, West Virginia

• 47 • John Henry Melodic Phrase Movement… Ridin’ the Rails

Phrase/Train 1

Phrase/Train 2

Phrase/Train 3

Phrase/Train 4

Phrase/Train 5

Choose three to six students for each train. Mark the phrase ‘stations’ on your floor. Train One will move, in the shape of their melody, forward to the Station for Phrase. Train Two moves forward to the next station, etc., until the verse has been sung. For classroom purposes, you can perform the melody and an accompaniment in between the verses as an instrumental interlude and have the trains ‘chug-a chug’ back to their starting station, then do the same movement for the next verse(s). Guide the students to show the movement of their phrase in the way their train moves: horizontal or vertical; up, down, straight line. Form: A (vocal w/ movement) B (instrumental w/ movement).

• 48 • ART Lesson Plan Title: John Henry Collage/Mixed Media

Focus and Review: connecting art and literacy, review collage technique, introduce watercolor wash, using two colors Materials White 9 x 12 paper Watercolors Brushes Black construction paper Glue Scissors White colored pencils The book John Henry by Ezra Jack Keats.

Grade Level: Adapt accordingly for grades 3-5. Objective: To create a collage with an understanding of the design principle of contrast by creating a bold silhouette against a transparent watercolor wash background, inspired by the illustrations of Ezra Keats. Arts Words: Bold, Contrast, Watercolor Wash, Silhouette, Collage National Standards • Understanding and applying media, techniques, and processes • Choosing and evaluating a range of subject matter, symbols, and ideas • Making connections between visual arts and other disciplines

Teacher Input: Read John Henry and demonstrate how to create a watercolor wash and cut out a silhouette of train, or figure with anvil, or any other subject for the collaged foreground, which may be inspired by hearing the story. Convey the concept of working in the bold style of the illustrator. Activities and Procedures • On the white paper paint the watercolor background, limiting the blending of two colors. • While the paint dries, using a white colored pencil loosely draw the subject on the black construction paper and cut out the shape, making sure it is a fairly simplified shape, whether it is a train, or figure, etc. When the painting is dry, glue the black shapes at the bottom of the page, creating a bold contrast to the watercolor background.

Lesson Plan by Deborah Dale, Art Specialist, Briarcliff Elementary School, Cary NC

• 49 • Ludwig van Beethoven 1770-1827

Biography (in Student Book)

Beethoven began his musical schooling when he was a small child. Both his father and grandfather were musicians at the Court of the Elector of Cologne, which was based in Beethoven’s hometown of Bonn. Although Ludwig’s father began his son’s musical education, it was clear that the boy had surpassed his father’s abilities by the age of nine. By age 12, Beethoven had composed his first work of music. In his young adult life, Ludwig worked as a conductor and organist for the court band. Like many other composers, Beethoven traveled to Vienna, Austria to find inspiration. Here, he played for such famous musicians as Wolfgang Mozart and Joseph Haydn, who later became one of his mentors. Beethoven was very restless, always jumping from one composition to another. His musical ideas frequently became fused together in the chaos, creating some of his most memorable works. As an adult, he began to lose his hearing. Although this loss was devastating, he continued to compose for nearly 25 more years until he died of pneumonia in 1827. At the concert, you will hear Symphony No. 6 in F Major, Op. 68, Movement IV, also known as “The Storm,” or “The Tempest.” This movement depicts what Beethoven calls “a matter more of feeling than of painting in sounds.” The music evokes the sense of an intense storm, including the emotions surrounding its arrival.

FACT: Beethoven was known for having a hot temper and occasionally lashing out at his fans. FACT: Beethoven was very fond of nature and often took long walks in the countryside to find inspiration. FACT: More than 20,000 people lined the streets of Vienna for Ludwig van Beethoven’s funeral procession.

• 50 • Beethoven’s Life • Beethoven came from a musical family. His grandfather was the master of the choir at the palace and Beethoven often accompanied him to concerts. Beethoven and his grandfather were very close. When his grandfather died, Beethoven was just three years old and was very sad. The family became very poor after his death, as he had been their main source of income. • Beethoven’s father began giving him piano lessons when he was four years old. He quickly saw how gifted Beethoven was and began forcing him to practice many hours a day. Beethoven liked to practice but sometimes wanted to go outside and play. His father would box his ears to make him keep practicing. His father wanted Beethoven to become as good a pianist as Mozart so he could travel around Europe playing concerts for money. • Beethoven also went to school during this time but he was often very sleepy in school because of his late night piano lessons. He stopped going to school when he was 11 years old. He later regretted this, as he never learned to write and count correctly. • Beethoven took piano and violin lessons from his father, but instead of playing his exercises, he would compose his own melodies. His father told him that he was wasting his time and would never amount to anything if he kept making up his own music instead of practicing exercises. • When he was between the ages of eight and 11, Beethoven began taking organ lessons and then was sent to a monastery. The monks helped him learn how to write music and Beethoven began composing pieces that he could not yet play. He could hear the music in his head, though, and knew that one day he would be able to play the pieces. • By age 11, Beethoven was such a talented musician that he was hired by the court and received a salary. At age 13, he had to leave the monastery and get a job as a court organist and composer to support his family. He earned the equivalent of $63.00 per year for his work. • At age 12, Beethoven’s first piece of music was published. It was calledNine Variations on a March. • At age 17, the archbishop sent Beethoven to Vienna to study with Mozart. Mozart was so impressed with Beethoven that he stated, “This young man will make a great name for himself in the world.” Beethoven was only able to study with Mozart for two months before he was called home because his mother was sick. • Beethoven’s mother died soon after he returned home and it became Beethoven’s job to provide for his family. He began working at the court again and started composing music for the orchestra to play. • Several years later, a very famous composer named Franz Joseph Haydn heard Beethoven’s music and invited him to come to Vienna to be his student. Beethoven went and never again returned to Bonn. • Shortly thereafter, Beethoven began going deaf and became very irritable. He said, “My career as a teacher, conductor, and pianist will soon come to an end. Now I must turn only to composing.” • In the later years of his life as his hearing loss progressed, Beethoven composed some of his most deeply moving pieces of music. He was admired all over the world! • Beethoven contracted pneumonia and after a struggle with the illness, he died on March 26, 1827. More than 20,000 people came to his funeral. He had become one of the greatest musicians of his time.

• 51 • Composer Connections The movement from Beethoven’s Symphony No. 6 that you will hear at the concert is often referred to as program music, or music written to evoke a mood or scene that is suggested by descriptive titles. The French composer Camille Saint-Saëns also composed lots of program music during his lifetime.

Featured Work – Beethoven Symphony No. 6 in F Major, Op. 68, Movement IV, “The Storm” • Beethoven composed his Sixth Symphony during the Spring and Fall of 1808. It premiered on December 22, 1808. • At this point in his life, Beethoven was already going deaf. He admitted this to friends in 1801. • Beethoven was composing his famous Symphony No. 5 around the same time as he was composing Symphony No. 6. The two are called “non-identical twins.” • The Fifth and Sixth Symphonies were premiered together. This was the only time Beethoven ever had two symphonies premiered at the same time. Several other pieces were also played at this concert. The concert did not go well, however, because the musicians did not have enough time to practice and the music was very demanding. • Beethoven named Symphony No. 6 the “Pastoral Symphony, or Recollections of Country Life” and then named each movement (Awakening the emotions full of life upon arriving in the village, Scene at the creek, Joyful reunion of peasants, The Tempest, and Pastoral Song – Feelings of joy and gratitude after the Storm).This symphony was one of only two works Beethoven actually named himself, the other being the Eroica Symphony (Symphony No. 3). His other works with names, such as the “Moonlight” Sonata, were named by other people and not by the composer himself. • The music had an “extramusical” purpose, which was to serve as an expression of nature, which Beethoven loved! He frequently took walks in the country and would often jot down musical ideas in a notebook as he walked. Speaking of his love for nature, Beethoven said, “How delighted I will be to ramble for awhile through the bushes, woods, under trees, through grass, and around rocks. No one can love the country as much as I do. For surely woods, trees, and rocks produce the echo that man desires to hear.” • Symphony No. 6 is Beethoven’s only symphony with five movements. The last three movements lead directly into one another. • The movement we will hear, Movement IV, is called “The Storm,” or “The Tempest.” Beethoven’s storm music is far more intense than any storm music previously composed, such as those by Vivaldi and Haydn. He sought to show the helpless feelings of man when facing an approaching storm. • The music of Movement IV is free-form and shows “the stages of the storm as it unravels on the horizon and it moves closer and more threatening.”

• 52 • Student Introduction to Beethoven’s Symphony No. 6 in F minor, Op. 68, “The Pastoral Symphony”

What is texture? What is musical texture? Texture is the visual and especially tactile quality of a surface. Musical texture is the general pattern of sound created by the elements of a work or passage. When several melodies are played together at once, this is said to be polyphonic. A work with a succession of chords is called homophonic. A work’s texture is defined as how the music “feels” aurally. Classroom Activities: Texture North Carolina Standard Course of Study 6.02 Demonstrate perpetual skills by conducting, moving to, answering questions about and describing aural examples of music of various styles and cultures. 6.06 Respond through purposeful movement to selected prominent music characteristics or to specific music events while listening to music. 7.02 Explain personal reactions to specific musical works and styles using appropriate music terminology. 7.03 Show respect for the music efforts and opinions of others.

Materials Recording of movement IV from Beethoven’s Symphony No. 6 Visuals for rain, thunder, lightning, wind, and calm after a storm (use google to find suitable pictures) Props, such as scarves, streamers, and fabric panels

Process 1. Using free space in the music room, lead students through a warm-up movement activity where they use movement to imitate small raindrops, larger raindrops, wind, rumbling thunder, and claps of lightning. 2. Invite students to return to their seats and give them background information about Symphony No. 6, Movement IV. Ask students to make predictions about how the music will sound and what instruments they will hear. 3. Show students visuals of each section of the storm (Light rain, distant thunder, booming thunder and flashing lightning, sheets of rain, howling wind, calm after the storm) and ask them to help you put them in order for a typical storm. 4. Allow students to listen to the music as they follow along with the visuals. 5. Invite students to move into space bubbles, or self-space, and to improvise/ experiment with movements to accompany the sections of the piece. As they listen a second time, they may perform their movements in their self-space.

• 53 • 6. Divide students into the following groups: ***You might have two groups for each word, depending on class size Light Rain Thunder Lightning Heavy Rain Wind Calm 7. Play the recording again and ask students to stand when they hear music which represents their part of the storm. Sometimes, more then one group will be standing at a time, depending on the texture of the piece (example: rain with thunder and lightning). 8. Allow each group to create a 16-beat (or you choose the length) movement sequence to act out their part of the storm. The movement sequence must involve everyone, must be silent and must match the music. 9. Allow each group to perform its movement sequence for the class one time. Put the movement sequences into order and have the class perform with the music. Sometimes, you will have a single group performing and at other times, multiple groups will be moving at once depending on the texture of the music at any given point.

Extensions • Show students the clip from Fantasia that uses this music • Ask students to create a Haiku poem to accompany their section of music. Students can create the poems independently or with their groups. Haiku is a form of ancient Japanese poetry with nature as the subject. Haiku poems follow a 5-7-5 syllable scheme (5 syllables in line 1, 7 syllables in line 2, 5 syllables in line 3) there are many examples online. **If time allows or you are collaborating with a classroom teacher, the students can word process their Haiku poems and create powerpoint slides. Then, you can play the music with the slides. Or, incorporate their movement sequences into the presentation using Photostory or Windows Movie Maker. Ask your technology specialist for help if you are interested in the technology extensions. There are lots of possibilities!

• 54 • Classroom Activities: Texture (continued) North Carolina Standard Course of Study 2.01 Play with pitch accuracy 8.02 Identify ways in which the principles and subject matter of other content areas taught in the school are related to those of music. (Science Competency Goal #4): The learner will conduct investigations and use appropriate technology to build an understanding of the concepts of sound.

Materials Melody bells or other pitched instruments Tuning forks Mallets Large bowls Stemmed glassware Water and towels

Procedure Teacher demonstrates the safe way to carefully pour water into bowl and after striking the tuning fork, place in water. The students can actually SEE the waves that are created and visualize the sound waves in the air/water. Allow students to try, being sure they are safe with the water and glass. Teacher places varied amounts of water in three stems and gently uses the mallets to strike the side of each glass. Teacher allows the students to hear/discuss the differences. Determine that the smaller amount of water has a higher pitch, as there is more air to move/vibrate. Choose a pitch on the melody bell, and allow students to add/delete water until it matches their assigned pitch. This will require many attempts and students must work quietly to hear the pitches.

• 55 • Camille Saint-Saëns 1835-1921

Biography (in Student Book)

Camille Saint-Saëns’ father passed away only three months after his birth. Camille’s mother enlisted the help of a governess around the house, who introduced Camille to the piano. It became clear that Saint-Saëns was a child prodigy when he completed his first work of music at the age of four. Camille was a precocious child who excelled in all aspects of his schooling, including Latin, which he mastered by the age of seven. To make money early in his career, Saint-Saëns played the organ in churches around Paris. He also taught at the Paris Conservatory, where his colleagues showed distress at his modern ideas about music. Camille was not only dedicated to his musical endeavors, but a variety of other activities, but was a prominent force in the field of science and wrote various texts on acoustics, religion and existentialism. He also wrote a book of poetry called Rimes familières and a very successful play. He was also very interested in astronomy. He was a member of the Astronomical Society of France, owned a telescope made to his own specifications and even was known to plan concerts around astronomical events such as solar eclipses! At the concert, you will hear Bacchanale, a dance from his opera Samson and Delilah. A Bacchanale is music which depicts a rowdy party. Listen for loud, rhythmic percussion and brass sounds which make the piece feel more energetic!

FACT: Saint-Saëns once stormed out of one of Igor Stravinsky’s performances because he disagreed with the “misuse of the bassoons.” FACT: Saint-Saëns was a true intellectual. He studied geology, astronomy, archaeology, lepidopterology (the study of butterflies and moths) and was a master mathematician. FACT: Camille could read and write and started taking piano lessons all before the age of three.

• 56 • Saint-Saëns’s Life • Camille Saint-Saëns was born a frail baby that doctors thought might not live. He was sent to the country with a nurse to soak up the fresh air and sunshine for two years and came back to Paris with “rosy red checks.” • Saint-Saëns’s father died prior to his birth. He was reared by his mother and Aunt Charlotte. He called them his “two mothers.” • As a child Saint-Saëns was very curious about everything, but especially sounds. He tried to find out how they were made and imitated the sounds he heard. His sensitivity to sounds influenced his orchestrations as a composer. • He wrote waltzes at the age of four, played Mozart’s music well at the age of five and gave a concert at the age of ten. His first paid position was as an organist in a church at age eighteen. His first symphony was written at age sixteen. It was performed and praised by composers Charles Gounod and Hector Berlioz by the time Saint-Saëns turned 20. • Camille was blessed (or cursed) with perfect pitch and an almost photographic memory. • As an encore to his first public piano recital, Saint-Saëns offered to play any one of Beethoven’s 32 piano sonatas from memory. Word of this incredible performance spread across the world. • During his lifetime, Saint-Saëns composed over three hundred works in almost every genre. • He was a composer in the French tradition; elegant, neat, clear, polished and not excessive. He lived and composed near the end of the Romantic era and is often considered a post-Romantic composer. • His Carnival of the Animals was performed only once during his lifetime. He thought the “musical joke” would damage his reputation as a serious composer. • Saint-Saëns was the first major composer to write for the cinema. One of his melodies was used as the basis for theme music in the movie, Babe. • Saint-Saëns was interested in more than just music. He was a playwright and studied many topics including archeology, astronomy, geology, insects, mathematics, and plants. • He was the father of two sons who died very young. The three-year-old fell out of a fourth story window and his baby brother died six months later. Saint-Saëns was devastated. • Saint-Saëns loved to travel and was accompanied by a servant, Gabriel, and his pet dogs. He visited the United States two times. Algiers was his favorite place to visit and it was there that he died at the age of 86. • Camille Saint-Saëns was considered to be a great organist and one of the best pianists of his day.

• 57 • Featured Work: Bacchanale from Samson and Delilah What is a “Bacchanale?” It is defined in theConcise Oxford Dictionary of Music as “feast of dancing and singing in honor of Bacchus, god of wine.” Today, the word Bacchanale describes any drunken celebration. In Samson and Delilah, the Bacchanale is the ballet section of Saint-Saëns’s grand opera. Act III has two scenes, one in the dungeon and the other in the Temple of Dagon. A musical interlude allows time for the set change. The music begins with the oboe playing a mysterious melody. Soon the music turns savage as the priests and priestesses celebrate their victory over the Israelites in wild dance. This percussion driven dance is “exotic with Oriental influences” and is danced at a very fast tempo. In the middle, the Bacchanale becomes very tender and passionate representing a private moment between the two star-crossed lovers. Soon the dance returns and in an ever-increasing frenzy, continues until the revelers collapse in exhaustion. • Samson and Delilah is an opera performed in three acts. The story is based on the Biblical story of Samson and Delilah found in the Old Testament Book of Judges, Chapter 16. • Saint-Saëns wrote thirteen operas. Samson and Delilah is his only opera that is performed on a regular basis today. • Saint-Saëns started composing the opera with Act II. He first performed selections of the opera for a select French audience improvising the orchestral accompaniment at the piano. • The French were opposed to using a Biblical story as the subject for an opera. Due to the negative response, Saint-Saëns abandoned the project for two years. With the support of Franz Liszt, the opera was taken to Weimar, Germany for its premier performance on December 2, 1877, where it was well-received; however, 13 years passed before Samson and Delilah was performed in Paris. The music in Samson and Delilah is described as dazzling, fluid, lush and romantic with brilliant orchestrations: Act I is in a dignified, oratorio style; Act II is rich and passionate; and Act III has rhythms and intervals that are influenced by the music of the Orient.

Camille Saint-Saëns’s Samson and Delilah

Characters Delilah Samson High Priest of Dagon Abimelech, satrap of Gaza An Old Hebrew Philistines’ War Messenger

• 58 • Place: Gaza Time: 1136 B.C.

Story Synopsis Act 1: A square in Gaza at night The opera opens in a square in front of the Temple of Dagon where a group of Hebrews is pleading to Jehovah for release from bondage to the Philistines. Samson, the champion of Israel, tries to boost their morale and sing an aria over the prayers of the chorus. Abimelech enters, taunting the Israelites, which inflames Samson. When Abimelech attacks an unarmed Samson, Samson manages to wrestle the sword from him and kill Abimelech. The High Priest curses Samson’s strength and plots to use Delilah’s beauty to uncover the mystery of Samson’s great strength. An old Hebrew warns Samson but as the Act ends, it is obvious that Samson will not have the power to resist her seduction. Act II: Delilah’s retreat in the Valley of Sorek Delilah is celebrating her power to trap Samson for she is certain that she can stop Samson from leading the Hebrews in their revolt against the Philistines. Instead the High Priest arrives telling of the Hebrew victory under Samson’s leadership. He offers Delilah gold but she refuses. Revenge is now her motivation. Three times Delilah has asked Samson the secret of his strength. Three times he has deceived her. As the High Priest and Delilah sing a duet, she promises to discover Samson’s secret. Delilah sets a trap and pledges herself to him. He finally succumbs and says he loves her. Delilah responds in her aria which becomes a duet when Samson joins her on the second verse. She demands that Samson reveal the secret to his great strength as proof of his love for her and disappears into her house. Samson is torn, but follows her and confides that his strength is in his long hair. Learning his secret, Delilah calls the Philistine soldiers who rush in, capture and bind Samson. Act III: In the City of Gaza Scene 1: In a dungeon in Gaza Samson’s head is shorn. He is in the dungeon, in shackles. As he turns the grinding mill wheel, he is praying for his people. Samson offers his life in sacrifice to free his people from suffering. Scene 2: In the Temple of Dagon The Philistines are preparing a sacrifice to Dagon, their god, in celebration of their victory. The priests and priestesses are singing softly as they had in Act I. The music gradually builds in intensity and emotion as they dance the Bacchanale. After the dance a young boy leads Samson into the temple where he is mocked and tauntingly, Delilah retells the story of her deception. Samson asks the boy to take him to the two main pillars of the temple. Samson prays for his strength to be restored and he pulls down the pillars, killing all within. Everyone is crushed, including Samson. The music continues for five seconds and the curtain falls.

• 59 • Composer Connections Saint-Saëns’s Samson and Delilah and Tchaikovsky’s Swan Lake were both composed in 1877. That same year the phonograph was invented by Thomas Edison in the Untied States and Charles Cros in France.

Student Introduction to Saint-Saëns’s Bacchanale from Samson and Delilah

Bacchanale will be the final selection performed on the 2009-10 North Carolina Symphony Educational Concert program. The program focus is on the combined elements of rhythm, tempo, dynamics, melody, form and texture. Use this piece as your final teaching piece and utilize the following lessons to assess student learning. The piece could also be used as a pre-test to check prior learning and revisited following the symphony to assess what students have actually learned. Classroom Activity 1: Combined Musical Elements North Carolina Standard Course of Study 6.02 Demonstrate perceptual skills by conducting, moving to, answering questions about, and describing aural examples of music of various styles and cultures. 6.03 Use appropriate terminology in explaining music, music notation, music instruments and voices, and music performances. 6.07 Show respect while listening to and analyzing music. 7.02 Explain personal reactions to specific musical works and styles using appropriate music terminology. 9.01 Identify the styles or genre of aural music examples from various historical periods and cultures.

Materials Recording of Bacchanale from Samson and Delilah by Camille Saint-Saëns Chart paper Markers

Process 1. Pass the Marker The only information given to the students prior to listening to the piece is that it will be the last selection performed at their concert. While listening to Bacchanale, students will write a word or short phrase on a piece of designated chart paper that describes the music playing at the time they are holding the marker. After writing their descriptive word, the marker is passed to the student sitting beside them. Depending on the size of the class, use a minimum of four different color markers and continue passing until the end of the piece. Establish the marker passing procedure prior to starting the music so that this can be a “silent” activity. When students are sitting beside each other and both have markers, reverse the direction the markers are being passed.

• 60 • Ask students to listen carefully. What do you hear? Is the music loud, soft, fast, slow, exciting, somber, beautiful, etc? Can you name a specific instrument? Encourage students to use the music vocabulary they have learned or reviewed while preparing for the concert. There is no right or wrong answer! Assessment: Are students making appropriate word choices? Do the words match the music? 2. Categorize It Read through the words students have chosen. Look for patterns and common themes. Identify categories. Label categories and assign a color to each one, then circle words that fit into each group with the same color. This works well in small groups, one for each piece of chart paper completed in Pass the Marker. After groups complete this segment, compare the results with other groups or as a class. What conclusions have they reached about the music based on chosen categories and word choices? Assessment: Can students create categories of like words? Can they explain how they reached their conclusion? 3. Predict a Story Students have listened to the music and explored vocabulary and ideas about what they have heard. Now it is time for them to make a predication about the story. The only new information given to them is that the two main characters in the story are Samson and Delilah. Samson is a superhero and Delilah is a beautiful woman. Delilah is to Samson as Kryptonite is to Superman.

Classroom Activity 2: Wacky Writing Curriculum Standards Met: 6.02 Demonstrate perceptual skills by conducting, moving to, answering questions about, and describing aural examples of music of various styles and cultures. 6.03 Use appropriate terminology in explaining music, music notation, music instruments and voices and music performances. 8.01 Identify similarities and differences in the meanings of common terms used in dance, music, theatre arts, and visual arts including line, color, texture, form/ shape, rhythm, pattern, mood/emotion, theme and purpose. 9.01 Identify the style or genre of aural music examples from various historical periods and cultures.

Background Team writing is a great way to have students work together to build writing skills. It is especially helpful to English Language Learners (ELL), because they can benefit from the strengths of the group in a language-based task. Students learn from and with one another and ELL students have help as they work towards proficiency in written language. We envision this activity as being completed after Pass the Marker. That way, students have familiarity with the Bacchanale by Saint-Saëns and have a student-created word bank to which they can refer as they write.

• 61 • Materials Large chart paper Markers Recording of Bacchanale by Saint-Saëns

Process 1. As a class, create a word bank of vocabulary words that might be helpful as students create their stories to accompany the Bacchanale by Saint-Saëns. You can use the vocabulary created and grouped during the Pass the Marker activity. 2. Place students into groups of 4-6 people and have the groups sit one behind the other. Group 1 Group 2 Group 3 Group 4 3. Begin the music and allow students to brainstorm a story opener. When you stop the music, the students stop writing and pass their papers to the group behind them. Group 1 passes to group 2 Group 2 passes to group 3 Group 3 passes to group 4 Group 4 sends their paper to group 1 4. Begin the music again. Each group must read the opening sentence/sentences written by the other group and begin to add onto the story to begin the middle section. 5. When the music stops, the groups pass their papers again, following the order in step 2. If you only have 4 groups, the groups will need to begin the story ending at this point. If you have more groups, you can allow students to elaborate on the body section of the story. 6. Once you make the final pass before papers are returned to their original groups, allow students to create an illustration for the story. 7. Return the papers to the original groups and allow each group to share their music inspired story with the class. It is very fun to see the direction different groups take with each story.

Extension Allow each group to act out their story to the music. 1. Share the actual story from the opera, Samson and Delilah, as well as any additional information about the featured selection, Bacchanale, that will interest your students. 2. Video of the Dance from YouTube.

• 62 • Additional Resources for Teachers and Students

Artistic Renderings of Composers 64-69

Concert Etiquette Contract 70

Families of the Orchestra Guide 71

Musical Instruments Word Search 72

Map of Europe 74

Additional Resources 75

Sources and Bibliography 76

• 63 • Piotr Ilyich Tchaikovsky 1840-1893

• 64 • Georges Bizet 1838-1875

• 65 • Nikolai Rimsky-Korsakov 1844-1908

• 66 • Aaron Copland 1900-1999

• 67 • Ludwig van Beethoven 1770-1827

• 68 • Camille Saint-Saëns 1835-1921

• 69 • The following form is intended for teachers to use as a tool where appropriate when discussing proper performance etiquette with students. Completion of this form is not required to attend your North Carolina Symphony Education concert.

Concert Etiquette Student Contract

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

I will: • Sit and remain in my seat at all times • Be a good listener, by staying silent when the conductor is speaking and the orchestra is playing. • Show how much I enjoyed the music by clapping and not shouting! • Applaud only when the music is completely over (when the conductor’s hands go down). • Play my instrument (if I have one) only when it’s my turn and listen to the conductor’s instructions carefully. • Only sing along to the music when I am invited to sing. 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 hall, my fellow classmates and audience members and all adults and teachers at ALL TIMES.

______Student’s Name

• 70 • Families of the Orchestra

Four different families of musical instruments are present in a symphony orchestra. Members of the families are “related” by the similar ways in which they produce sound.

Strings Woodwinds Violin Piccolo Viola Flute Cello Oboe Double Bass English Horn Harp Clarinet Bass Clarinet Bassoon Contrabassoon Percussion Saxophone Snare Drum Cymbals Bass Drum Tambourine Brass Triangle Trumpet Castanets Trombone Guiro Tuba Timpani French Horn Glockenspiel Xylophone Chimes Gong Keyboards Piano Harpsichord Organ

• 71 • • 72 • • 73 • Map of Modern-day Europe

• 74 • Additional Resources

Copland American Tall Tales by Mary Pope Osborne, Publisher: Alfred A. Knoph John Henry by Julius Lester, Publisher: Penguin Books John Henry: An American Legend by Ezra Jack Keats, Publisher: Alfred Knott American Legends (DVD) by Walt Disney Productions US Songs and Poems: American History for Children (DVD) by Schlessinger Video Productions Amtrack will send you paper engineer hats for your classroom! Just email: [email protected] Bizet Harry Potter on University of RochesterCarillon (bells!) (YouTube Video) Bizet’s Dream (DVD) by Hal Leonard Publishing Rimsky-Korsakov The Mighty Five: The Voice of Russia [www.vor.ru/English/treasures/Treasures_9.html] The Famous Russian Composer [www.russianlaw.net/RK/NARK.htm] Mizesko Terry Mizesko, Composer [www.terrymizesko.com] Saint-Saëns Carnival of the Animals: Classical Music for Kids by Camille Saint-Saëns/ Barrie C. Turner, Publisher: Henry Holt & Co. Classics for Kids: Camille Saint-Saëns’ Biography [www.classicsforkids.com/composers/bio.asp?id=46] Beethoven Why Beethoven Threw the Stew by Steven Isselis, Publisher: Faber & Faber Ludwig van Beethoven’s Website [www.lvbeethoven.com] Immortal Beloved (Film, 1994) Beethoven Lives Upstairs (CD and DVD) by Barbara Nichol

Tchaikovsky Tchaikovsky [www.tchaikovsky-research.net] Classics for Kids: Piotr Tchaikovsky’s Biography [http://www.classicsforkids.com/shows/showview.asp?ID=17 ] “Swan Lake Ballet Tchaikovsky Act 3, Part 1” (YouTube Video) [http://www.youtube.com/watch?v=WhjmK2KaNx0] The Story of Swan Lake (CD) with the London Philharmonic Orchestra, Producer: Magic Maestro Music Co.

• 75 • Sources and Selected Bibliography

All About Beethoven. “Symphony No. 6: The Pastoral Symphony” http://www.all-about-beethoven.com/symphony6.html

BalletNotes. “The History of Swan Lake.” http://www.balletmet.org/Notes/SwanHist.html

Barber, David W. Bach, Beethoven and the Boys: Music History As It Ought To Be Taught. Toronto, Canada: Sound and Vision,1986.

Blom, Eric. Groves Dictionary of Music, Fifth Edition, Vol.VII, 1954

Downes, Edward. Guide to Symphonic Music. New York, NY: Walker and Company, 1981.

Green, Aaron. “A Profile of Swan Lake: The History of Swan Lake.” About Classical Music. http://classicalmusic.about.com/od/historyofballet/a/swanlakeproa.htm

Gough, Catherine. Boyhoods of Great Composers. Oxford University Press, 1968, 37-46 and 86-94.

Hoffer, Charles. The Understanding of Music. Belmont, California: Wadsworth Publishing Company, 1967.

Kendall, Catherine Wolff. Stories of Composers for Young Musicians. Edwardsville, Illinois: Toadwood Publishers, 1981.

McCall, Adeline. Symphony Stories, North Carolina Symphony Society, Inc. 1981

The New Grove Dictionary of Music and Musicians, Vol. 6. New York, NY: Macmillan Publishers Ltd., 1980

NPR. Program Notes. “Beethoven’s Symphony No. 6 in F minor. Op. 68” 2006 http://www.npr.org/templates/story/story.php?storyId=5478661

Parkhurst, Jackson, The North Carolina Symphony, North Carolina Symphony Society, Inc., 1991

Randel, Don Michael. The Harvard Concise Dictionary of Music and Musicians. Boston, Massachusetts: The Belknap Press of Harvard University Press, 1999.

Teachervision. “Introduction to Mariachi Music” http://www.teachervision.fen.com/mexico/music/6757.html

Terry Mizesko, Composer. http://www.terrymizesko.com/index.htm

The Voice of Russia. “The Mighty Five” 2003 http://www.vor.ru/English/treasures/Treasures_9.html

• 76 •