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0 SCHOOLTIME CONCERTS CHECKLIST
Important items to remember . Schooltime concerts are free of charge.
. You will be shown to your seating location upon entry into Heinz Hall. Please visit our website for registration instructions at pittsburghsymphony.org/reservations.
. Schooltime concerts are approximately 45 minutes to 1 hour in length, depending on grade level.
. Tours of Heinz Hall are not available on concert days. If you wish to schedule a tour on a non-performance day, please call 412-392-4850.
. Your group is responsible for arranging and coordinating your transportation to and from Heinz Hall.
Before the concert
. Make copies of the Bus Sign as needed to display in your bus’s front right window; all members of your group must know their bus number and school name. . Use the Supplementary Materials to prepare your students for the concert. . Review the Map of Exit Doors that can be found in your Supplementary Materials. . Preview our concert by listening to our free Spotify Playlists, accessed through the concert registration resource page.
The day of the concert
. Arrive at Heinz Hall approximately 30 minutes prior to the concert. . If the members of your group are arriving separately, please meet at a central location outside of Heinz Hall and enter together as a group to better facilitate the seating process. . Place Bus Signs in the front right window of all buses. . Remind all chaperones and students of their school name and bus number. . Leave all food, drink, backpacks, music devices, cameras, electronic games, etc. on the bus. These items are not permitted inside Heinz Hall. . Remind your bus drivers that City of Pittsburgh Police officers will guide them to their parking space, in the city. Please note: the City of Pittsburgh dictates where buses can be parked. You may need to walk two to three blocks from your parking space to Heinz Hall. . Obtain a cell phone number for your bus driver.
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Table of Contents
Acknowledgements………………………………………………………..…… 3
Notes on Your Trip to Heinz Hall………………………………………………..4
Transportation and Parking Information……………………………..……… 5
Heinz Hall for the Performing Arts……………………………………...……… 6
Pittsburgh Cultural Attractions………………………………………..……….. 7
Accessibility……………………………………………………………..…………8
Standards & The Arts and 21st Century Skills..……………………..…….…. 9
Guiding Questions for Exploring a Piece of Music………………………..10
Meet the Conductors……………….………………………………………….11
Second Grade Schooltime Activities…………………………………...... 13
Fourth Grade Schooltime Activities………………………………………….28
Sixth Grade Schooltime Activities…………………………………………….35
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Acknowledgements
Grateful thanks to the City of Pittsburgh Police for their help in keeping our young audiences safe as they visit Heinz Hall.
Applause for the teachers, administrators, and parents of all the schools in the Pittsburgh Symphony Orchestra family for supporting music education programs in their districts. The PSO believes that no child’s education is complete without the study of music. Please help keep music in our schools!
Thank you to Mariann Fox from the Mt. Lebanon School District for contributing to these Supplementary Materials.
We wish to extend a special thank you to the following organizations, whose generous support allows the PSO to offer educational programs such as the Schooltime concerts:
Foundations Corporations American Eagle Outfitters The Almira Foundation C.S. McKee, L.P. Allen H. Berkman and Selma W. Berkman Charitable Trust Dollar Bank Foundation Henry C. Frick Educational Fund of Eat’n Park Restaurants The Buhl Foundation EQT Foundation The Jack Buncher Foundation FedEx Ground Anne L. and George H. Clapp Charitable First National Bank of Pennsylvania and Educational Trust Hefren-Tillotson, Inc.
Peter C. Dozzi Family Foundation Highmark Blue Cross Blue Shield
The Fine Foundation The Kraft Heinz Company Levin Furniture William Randolph Hearst Endowed Fund Lincoln Learning Solutions for Education May Emma Hoyt Foundation Macy’s Milton G. Hulme Charitable Foundation Michael Baker Corporation Robert & Louise Kahn Fund for Pittsburgh Symphony MSA Safety Incorporated/ MSA Company Orchestra Schooltime Concerts Charitable Foundation Martha Mack Lewis Foundation NexTier Bank Thomas Marshall Foundation Pirates Charities Massey Charitable Trust P.J. Dick, Trumball & Lindy Paving McKinney Charitable Foundation PNC Howard and Nell E. Miller Foundation PPG/PPG Foundation Vernon C. Neal & Alvina B. Neal Fund Triangle Tech Group A.J. and Sigismunda Palumbo Charitable Trust UPMC & UPMC Health Plan Lewis A. and Donna M. Patterson Charitable Foundation W. I. Patterson Charitable Foundation Governmental Agencies Ryan Memorial Foundation Allegheny Regional Asset District Salvitti Family Foundation Pennsylvania Council on the Arts Tippins Foundation Pennsylvania Department of Community Edith L. Trees Charitable Trust and Economic Development
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Notes on Your Trip to Heinz Hall
Please take a few moments to review these guidelines
All school buses must have a sign in the side window (next to the door) stating the school name and bus number. Be sure that all of your teachers and chaperones remember their bus number. If you have more than one bus, you may wish to assign a number to each bus on the sign (e.g., Main Street Elementary #1 of 3, Main Street Elementary #2 of 3, etc.).
Please have your students use the restrooms before they leave school. If students must use the restrooms at Heinz Hall, they should do so before or after the performance.
No food is to be brought into Heinz Hall. Any bag lunches or snacks that you bring must be left on the bus. No exceptions will be made.
Students are not to bring backpacks or book bags devices into Heinz Hall.
Video and audio recordings are strictly prohibited; however, photos taken without a flash are permitted.
Students should disembark the bus and proceed to Heinz Hall in an orderly line, each student with a partner. As educators, you know the importance of keeping your group together!
Groups are not permitted to approach the stage, nor are they permitted to take spontaneous tours of Heinz Hall. Tours may be available on a non-performance day by contacting Heinz Hall Management at 412-392-4850 in advance.
Please remember that there will be over 2,500 children in Heinz Hall for each concert. Attending to your students is the responsibility of you and your chaperones; please do not expect a PSO staff member or Heinz Hall Usher to monitor your students’ behavior. All teachers and chaperones are required to stay with their groups throughout the entire performance. Groups exhibiting inappropriate behavior will be asked to leave and will not be invited back to these free performances.
4 Transportation and Parking Information
If you are a group traveling by school bus, please inform your driver that City of Pittsburgh Police Officers will be directing buses to parking spaces in downtown Pittsburgh. Please note: the City of Pittsburgh dictates where buses can be parked. You may need to walk two to three blocks from your parking space to Heinz Hall. If you need to arrange drop off for those with limited mobility, please contact our staff ahead of the concert at [email protected].
Information about Port Authority transportation to Heinz Hall can be found on their website at www.portauthority.org. The site has a “Trip Planner” feature on the main page that will suggest which buses or T-stops to take to Heinz Hall.
The Pittsburgh Downtown Partnership offers parking reservations for those wishing to park downtown between the hours of 10:00 am and 2:00 pm in participating garages. Visit http://www.downtownpittsburgh.com/getting-around/parking/reservation to make a reservation.
Automobile parking may be available near Heinz Hall in the following garages: Sixth and Penn Garage (enter on Penn Avenue near Subway) Benedum Lot (enter on Penn Avenue) Eighth and Penn Avenue Lot (enter on Penn Avenue) Theater Square Garage (enter on Seventh Street across from Proper) Ninth and Penn Garage (enter on Penn Avenue or Ninth Street) Ninth and Penn Lot (enter on Penn Avenue) Ft. Duquesne and Sixth Garage (enter on Sixth Street near Ft. Duquesne) Smithfield Liberty Garage (enter on Liberty Avenue by Seventh Street) Stanwix and Ft. Duquesne Garage (enter on either Stanwix or Ft. Duquesne) Oliver Garage at Piatt Place (enter on OIiver Avenue)
More information can be found online at www.alcoparking.com or www.pittsburghparking.com.
For those with smart phones, visit ParkPGH (parkpgh.org) for real-time parking availability in Cultural District garages.
Highway repair and closure information is available on PennDOT’s website at www.511pa.com .
Detour information for downtown Pittsburgh is available on the Port Authority website at http://www.portauthority.org/paac/SchedulesMaps/Detours.aspx
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Heinz Hall for the Performing Arts
Heinz Hall for the Performing Arts was built in 1927, and it opened on September 6 of that year as the Loew’s Penn Theatre. The Penn Theatre was a movie theater, as well as a venue for numerous vaudeville and stage shows. It closed in 1964, and it remained vacant until 1970, when renovations began to turn the Penn Theatre into Heinz Hall for the Performing Arts.
Heinz Hall has several notable features. Among them is the famous 40-foot window in the Grand Lobby that looks out onto Sixth Street. Also in the Grand Lobby are two chandeliers suspended from the ceiling, both of which are 15 feet by 8.5 feet. These chandeliers need to be lowered by pulleys when they are cleaned or when light bulbs are replaced.
The auditorium of Heinz Hall seats 2,702 people. The theater is divided into three main seating divisions: the Orchestra level (or main floor), the Grand Tier, and the Balcony—which is subdivided into the Dress Circle, Family Circle, and Gallery. The stage of Heinz Hall has a unique feature: a moving floor. The front portion of the stage, called the apron, is on a hydraulic lift that can be lowered to create an Orchestra Pit, where musicians sit for an opera or Broadway show. The carpeting of Heinz Hall has a specially-made design of a triangle pattern, which represents the three rivers of Pittsburgh. When the original carpet was placed in Heinz Hall in 1971, an equal amount of the carpet was placed into storage. In 1995, when the carpeting in Heinz Hall needed to be replaced, the “spare” carpeting was brought out of storage and used to replace the worn carpeting.
Heinz Hall is one of the premier performance facilities in the world. Its value is estimated at more than $30 million.
6 Pittsburgh Cultural Attractions
To enhance your visit to Heinz Hall, consider also visiting these exciting Pittsburgh cultural attractions!
Andy Warhol Museum National Aviary www.warhol.org www.aviary.org
August Wilson Center for African American Phipps Conservatory and Botanical Culture Gardens culturaldistrict.org/pages/aacc www.phipps.conservatory.org
Carnegie Museum of Art and Natural History Pittsburgh Zoo & PPG Aquarium www.cmoa.org www.pittsburghzoo.org www.carnegiemnh.org
Senator John Heinz Pittsburgh Regional Carnegie Science Center History Center www.carenegiesciencecenter.org www.pghhistory.org
Children’s Museum of Pittsburgh Silver Eye Center for Photography www.pittsburghkids.org www.silvereye.org
Fort Pitt Museum Society for Contemporary Craft www.fortpittmuseum.com www.contemporarycraft.org
Frick Art & Historical Center www.frickart.org
Gateway Clipper Fleet www.gatewayclipper.com
Mattress Factory www.mattress.org
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Accessibility
The Pittsburgh Symphony Orchestra is committed to providing an environment that is inclusive and welcoming to everyone. To learn more about the services we provide or request accommodations, including assistive listening devices, sign language interpretation, and accessible seating, please contact the Education & Community Engagement Department at [email protected].
Hints for Using Activities with Children with Special Needs
By Roger C. Thomas, Jr., Music and Special Needs, Western PA School for Blind Children Additional materials adapted from Rosenber, M., Westling, D., & McLeskey, J. (2008) Special Education for Today’s Teachers: An Introduction. Upper Saddle River, NJ: Merrill Prentice Hall. Most activities can be adapted for use with children who have special needs. Before presenting an activity, plan how a child’s skills match what is required, and then adapt to help make the activity accessible.
Repetition is essential. Give assistance as needed.
For children in wheelchairs, adapt loco-motor activities to be generated with hands. For example, instead of stomping, hit hands on a tray or lap. Instead of tiptoeing, use fingertip touching. Allow extra time for projects, activities, worksheets, and breaks. Break projects into steps to allow students to see a clear, sequential process. Include instructional prompts in worksheets and for projects. Use all available resources within the classroom to support learners. Assign peer tutors and use assistive technology if necessary.
Additional Resources on the Web
Center for Applied Special Technology: cast.org
Center for Music Learning—The University of Texas at Austin:
https://cml.music.utexas.edu/online-resources/disabilities-information/introduction/
Center for Parent Information and Resources: www.parentcenterhub.org
The Kennedy Center/VSA: www.kennedy- center.org/education/vsa/programs/special_education.cfm
National Association of Special Education Teachers: www.naset.org
Special Education Guide: www.specialeducationguide.com
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Incorporating Standards
For teachers using this resource book in their classroom, all lessons and activities connect to the Pennsylvania Core Standards and National Core Arts Standards.
Pennsylvania Core Standards:
www.pdesas.org
National Core Arts Standards:
http://nationalartsstandards.org/
Using the lessons that follow help students prepare and reflect on their experience listening to live music. These lessons connect with grade level curriculum in Pennsylvania across the content areas. By covering various subject areas, these lessons can be used by educators to help enrich their students’ experience at Heinz Hall.
The Arts and 21st Century Skills
Business leaders and visionary thinkers are concerned with the preparation of students for the future. 21st Century Skills are the skills that are seen as mandatory to be successful in the workforce. These skills include: critical thinking creativity problem solving innovation communication global awareness collaboration flexibility
21st Century Skills are native to the fine arts. The fine arts are proven to cultivate: curiosity creativity imagination evaluation skills critical thinking persistence collaborative learning resilience innovation conditional reasoning
Students who possess these skills are able to tolerate and explore: ambiguity new realms of possibility expression of their own thoughts and feelings understand the perspectives of others
For more information, visit the Partnership for 21st Century Skills at: http://www.p21.org/.
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Guiding Questions for Exploring a Piece of Music
Adapted from Lincoln Center Education’s model of Imaginative Learning Entering the World of the Work of Art: A Guide for Designing an Instructional Unit, 2012. Visit www.lcinstitute.org for more information
Describe – questions that elicit pure noticing What do you notice? What do you hear? How would you describe…?
Analyze – questions that ask students to analyze various aspects of the work What do you hear that is… o similar? o different? o a pattern? What patterns or relationships can you identify in the music? How are the individual parts of the music put together? What connections do you make o to your life? o to the world? o to things you have read? o to what you are studying in school? What questions do you have?
Interpret – questions that ask students to find their own meaning in the music after considering their responses to the prior descriptions and analyses (ask students to provide evidence for their analyses and interpretations) What do you think is going on in this piece of music? What is it about? What ideas was the composer trying to convey in this music? What does it mean? What does it mean to you? Does it represent something? If yes, what? Does the music evoke any emotions? What does the music express? If this music was a metaphor for something, what might it be?
Additional Questions for Reflection What is the first word that comes to mind when you hear this music? If you were to give this piece of music a new title, what would you call it? What is surprising about this piece of music? Does this piece of music remind you of anything you’ve heard before? Do you relate to this work on a personal level? Explain. What do you think the overall mood of the music is? Does the title of the piece help you to understand the music?
10 Meet the Conductors
Having completed highly successful first seasons as music director of Tulsa’s Signature Symphony at TCC, as well as assistant conductor of the Pittsburgh Symphony Orchestra, Andrés Franco has established himself as a conductor to watch.
While maintaining his roles as principal conductor of the multimedia project Caminos del Inka, and artistic director of the Fort Worth Symphony Orchestra’s summer festival “Concerts in the Garden,” he continues to delight audiences with his imaginative programming and energetic style.
During the 2016-2017 season, Franco will make debuts with the Boise Philharmonic, Oklahoma City Philharmonic and Texas Music Festival, and will return to conduct the Fort Worth Symphony Orchestra.
A frequent guest conductor in the United States, Europe and South America, Franco has appeared with the Columbus, Elgin, El Paso, Eugene, Fort Worth, Houston, Lake Forest, Mississippi, Saginaw Bay, Springfield, St. Louis and Stockton symphony orchestras; the Chicago Sinfonietta; Orquesta Sinfónica de Castilla y León/Spain; the National Symphony Orchestra of Peru, as well as with the National Symphony, Bogota Philharmonic, Medellin Philharmonic and EAFIT Symphony Orchestra in Colombia. Festival appearances include the Cabrillo, Grant Park, OK Mozart and Oregon Bach Festivals.
Franco formerly served as music director of the Philharmonia of Kansas City, as associate and resident conductor of the Fort Worth Symphony, and as Leonard Slatkin’s assistant conductor during the 14th Van Cliburn International Piano Competition.
A native of Colombia, Franco is dedicated to preserving and performing the music of the Americas. As principal conductor of Caminos del Inka, he has led many performances of works by Latin American composers, such as Jimmy López, Diego Luzuriaga and the famous Argentine composer Ástor Piazzolla.
Born into a musical family, Franco began piano studies with his father, Jorge Franco. An accomplished pianist, he studied with Van Cliburn Gold Medalist Jose Feghali, and attended piano workshops with Rudolph Buchbinder in Switzerland, and Lev Naumov in France. He studied conducting with Marin Alsop, Miguel Harth-Bedoya, Kurt Masur, Gustav Meier, Helmut Rilling, Gerard Schwarz and Leonard Slatkin.
Franco holds a bachelor’s degree in Piano Performance from the Pontificia Universidad Javeriana in Bogotá, Colombia, as well as master of music degrees in piano performance and conducting from Texas Christian University.
Franco is married to Victoria Luperi, associate principal clarinetist in the Pittsburgh Symphony Orchestra.
11 American conductor Francesco Lecce- Chong has worked with orchestras around the world including engagements with the National Symphony Orchestra, Atlanta Symphony Orchestra, Toronto Symphony Orchestra, St. Louis Symphony, Indianapolis Symphony Orchestra, San Diego Symphony and Hong Kong Philharmonic Orchestra. He currently holds the positions of assistant conductor of the Pittsburgh Symphony Orchestra and music director of the Pittsburgh Youth Symphony Orchestra. Previously, Lecce-Chong served as associate conductor of the Milwaukee Symphony Orchestra and Grand Teton Music Festival.
Lecce-Chong has earned a growing reputation and critical acclaim for dynamic, forceful performances, garnering national distinction, including the Solti Foundation Career Assistance Award and The Presser Foundation Music Award. He has also been featured in international masterclasses with Bernard Haitink, David Zinman, David Robertson and Christopher Seaman.
As a trained pianist and composer, Lecce-Chong embraces innovative programming, champions the work of new composers and supports arts education. While working with the Milwaukee Symphony Orchestra (MSO) from 2011 to 2015, he curated and presented the works of both active and lesser-known composers, including two works commissioned by the orchestra, as well as two U.S. premieres. He also helped create the first MSO Composer Institute, providing performance opportunities for young American composers. Lecce-Chong has complemented his programming with a strong commitment to arts education for all ages. In Milwaukee, he provided artistic leadership for the MSO’s nationally lauded Arts in Community Education program – one of the largest arts integration programs in the country – and he continues to be a frequent guest speaker for arts organizations around the country.
Lecce-Chong is a native of Boulder, Colorado, where he began conducting at the age of 16. He is a graduate of the Mannes College of Music, where he received his Bachelor of Music degree with honors in piano and orchestral conducting. Lecce-Chong also holds a diploma from the Curtis Institute of Music, where he studied as a Martin and Sarah Taylor Fellow with Otto-Werner Mueller.
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Second Grade Schooltime “Meet the Orchestra” Andrés Franco, Conductor May 2, 3, 4, 8, 9, & 10, 2018 10:30 am
Muzquiz Auburn Run-Out
Dukas Fanfare to precede La Péri
Williams Suite from Harry Potter and the Sorcerer’s Stone “Nimbus 2000”
Grieg Holberg Suite, Mvt. I
Tchaikovsky “Waltz of the Flowers” from Nutcracker
Offenbach Can-Can from Orpheus in the Underworld
Bizet “Les Toreadors” from Carmen Suite No. 1
Shostakovich Festive Overture
Program subject to change
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Introducing the Instruments of the Orchestra
Developed by Mariann Fox, Mt. Lebanon School District
● Begin by telling the students that we are going to talk about families today ○ Tell the students about the people in your own family (for example: dad, mom, daughter, and son) ○ Briefly discuss how we are all one family but very different individuals ○ Ask students about how their families are made up, knowing that everyone has a different situation
● Transition by telling the students that musical instruments are also divided up into families – they are grouped by related instruments ○ Name each family (Strings, Woodwinds, Brass and Percussion)
● Show the students the introductory video from YouTube ○ Instrument Families of the Orchestra (3:48) – https://youtu.be/vQ95KUWCGT0 ○ At approximately 1:00, after “Listen to the String Family,” pause the video and play a little of “Air on the G string” by J.S. Bach ○ Continue the video ○ At about 1:30, after “Listen to the Woodwind Family,” pause the video and play a little of “Morning Mood” from Peer Gynt Suite by E. Grieg ○ Continue the video ○ At approximately 2:00, after “Listen to the Brass Family,” pause the video and play the beginning of the 4th movement of “Symphonie Fantasique” by H. Berlioz, then an excerpt (last 1:03 of piece) of the “1812 Overture” by P. Tchaikovsky, and lastly, the beginning of “Grand March” from Aida by G. Verdi ○ Finish the video
● Show the Disney video “Toot, Whistle, Plunk and Boom” (10:20) – https://youtu.be/8iVf0pPHvjc
● Strings Family focus: ○ Show the BBC National Orchestra of Wales - Strings video (3:04) – https://youtu.be/MP2_6OLummA ○ If there is a string/orchestra teacher in your building, ask them to visit your classroom and show the students real instruments (if one is not available perhaps you can borrow one or two instruments to show the students)
● Woodwind Family focus: ○ Show the BBC National Orchestra of Wales - Woodwind video (2:51) – https://youtu.be/KEt1Mm8sSkA ○ If there is a band teacher in your building, ask them to visit your classroom and show students real instruments or ask to borrow one instrument from each family
14 ● Brass Family focus: ○ Show the BBC National Orchestra of Wales - Brass video (1:57) – https://youtu.be/yE0aSxziNdY ○ If there is a band teacher in your building, ask them to visit your classroom and show students real instruments or ask to borrow one instrument from each family
● Percussion Family focus: ○ Show the BBC National Orchestra of Wales - Percussion video (1:18) – https://youtu.be/xGKpngesISI ○ If there is a band teacher in your building perhaps ask them to visit your classroom and show students real instruments or ask to borrow one instrument from each family
● Share Classics for Kids interactive music chart – www.classicsforkids.com/music/instruments_orchestra.asp ○ Read the main page ○ Have students click on each section – read the page and then click the play button to hear audio examples ○ Lastly, click the conductor – read the page and then click the play button to hear an audio clip of the entire orchestra playing together
● Read the following books aloud in the classroom: ○ “Meet the Orchestra” by Ann Hayes ○ “Zin! Zin! Zin! A Violin” by Lloyd Moss ○ "Tubby the Tuba" by Paul Tripp
● Continue the lesson with Peter and the Wolf. Discuss how each character is represented by a different instrument family. Read the story aloud, then view the Disney story video – https://youtu.be/Ot7m9i70JDg.
● Finally, discuss the composers and specific pieces we will hear at the concert – a preview of what to expect. (You can use this Spotify playlist, found on the Schooltime Concerts Resources Page.) At this time, also review proper concert etiquette, proper concert attire, and specifics from the moment we leave the school to the moment we return.
● There are also many iPad apps that you can use in centers or other classroom activities for student exploration and discovery: ○ The Young Persons Guide to the Orchestra ○ MSO Learn (Melbourne Symphony Orchestra) ○ Melody Street (website and mobile apps) ○ My Musical Friends ○ Mozart Interactive ○ The Orchestra app ○ My First Classical app
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Instrument Families of the Orchestra
Woodwind Family At one time, all of the instruments in the woodwind family were made of wood. Most modern woodwind instruments are made of wood or metal, or sometimes a combination of both materials.
All woodwind instruments are long, narrow tubes with holes or keys. To produce a sound from these instruments, the player must blow across or into the tube. The sound is then created by the vibrating column of air enclosed in the pipe or tube of the instrument. Vibrations are caused by means of a single or double reed, which is part of each woodwind instrument’s mouthpiece (except the flute).
Brass Family The brass family is comprised of instruments that are made of brass, a type of metal. All of the instruments in this family are made of long tubes, usually wrapped around several times to make the instrument easier to hold. The ends of the tubes are flared to create a “bell.”
To produce a sound on a brass instrument, a player must “buzz” his or her lips into a cup- shaped mouthpiece, which sends vibrations into the instrument. The instrument’s valves, as well as how fast or slow the player “buzzes” his or her lips into the instrument, are used to change the pitch of the sound. The brass family can add majesty and power to music, but it can also be used to play delicately and softly.
Percussion Family The percussion family provides the orchestra with accent, rhythm, and many sounds not obtainable from other instruments. There are two types of percussion instruments: those with definite pitches and those of indefinite pitch.
In most cases, sound is produced by striking the instrument with another object such as a stick, mallet, beater, or hand. Sound can also be produced through shaking or scraping. The percussion family history dates back the farthest of all orchestral instruments; the pounding of drums as a basic form of communication was common among many ancient cultures.
String Family The string family comprises more than half of the orchestra. All string instruments produce sound by the vibrations of strings over the hollow, wooden body of the instrument. The size of the instrument determines the range of its pitch; the larger the instrument, the lower its sound.
String instruments are played by drawing a bow of horsehair over the strings. Horsehair is used because of its durability and coarseness. The string orchestra covers approximately six octaves from the highest note of the violin to the lowest note of the bass.
16 Exploring the Science of Sound, Part One
adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra
Anticipatory Set: Play a piece of classical music while tapping with hands on a desk to the rhythm of the music. Fade the music out and keep tapping that rhythm. Direct the students to the sound they are hearing and pose the question, “What is sound?” (Concentrate on sound, not rhythm.)
Objective: Students will be able to identify objects around them that produce sound and describe the manner in which those objects create sound.
Materials: Classical music that contains an easily identified rhythm, such as: Blue Danube Waltz by J. Strauss, Jr., Eine Kleine Nachtmusik by W.A. Mozart, or Minuet by J.S. Bach.
Procedures: Guide students to focus on sound and think about different sounds that can be heard in the classroom, such as feet scuffling, pencils tapping, money jingling in a pocket, etc. Instruct the students to bring paper and pencil and take them outside to identify sounds in nature. (If weather does not permit, walk to the gym or cafeteria.) Inform them to focus again on sound and record what sounds are being heard and what are making those sounds. Go back to the classroom and list on the board sounds that the students heard and what kind of material made that sound (e.g., a scuffling sound made by rubber shoes; nature sounds such as dogs barking, birds chirping, or lawn mowers running). Help the students to focus on the kinds of things and materials that make sounds different. Direct the students to the different kinds of sounds that can be made by snapping fingers, clapping hands, whistling, etc.
Evaluation: Students will be evaluated on their ability to identify sound around them and the kinds of materials that make those sounds.
Other Activities: Have students make separate lists of sounds that can be heard at home, in church, while outdoors, while grocery shopping, etc., and share them with the class.
17 Exploring the Science of Sound, Part Two
adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra
Anticipatory Set: Begin the class by strumming a rubber band on a book, changing the sound as the rubber band is moved closer and farther away from the book.
Objective: Students will be able to define sound and understand how the speed of vibrations and the length of materials or instruments affect sound production.
Materials: Rubber bands and different-sized book, both in width and thickness; tuning fork; duty cards if preferred. Duty cards are given to each group (group size is usually four people), assigning students within each group a duty. The four duties may be: leader (keeps the group on task); data collector (records any activities or information needed); spokesperson (gives a response when the group is called upon); getter (gets materials needed for activities).
Procedure: Guide the students in a discussion about what sound is heard and how the sound is made. Lead them in discovering that sound is vibration. Place the students in groups of four. Give each group a handful of rubber bands and a stack of books of different lengths and thicknesses. (Caution students concerning the use of rubber bands.) Encourage students to experiment with the rubber bands and the different-sized books. The group leader should guide the group in a discussion about the different ways to use the rubber bands and the books. The data collector should record the responses from the experiments. After about 10-15 minutes, the spokesperson should report their results. As a class, summarize the results from the experiment. Emphasize the vibration movement that was created. (NOTE: The shorter rubber bands will create faster vibrations and higher pitches, and the longer rubber bands will create slower vibrations and lower pitches; i.e., changing the length of an instrument will change the sound. This concept should be emphasized throughout.) Next, demonstrate how a tuning fork is used. Strike the tuning fork against something rubber, either a rubber pad or the bottom of a sneaker. (NOTE: Do not strike the tuning fork against something hard). After striking the tuning fork: (1) hold it to your ear to hear the vibrations; (2) stick the end of it into a glass of water and watch the water vibrate; and (3) place it gently against the blackboard or something metal and listen to it vibrate.
Evaluation: The students will be evaluated on their written and oral responses concerning the effects of the speed of vibrations and the length of materials used to create the sounds.
Other Activities: Have the students hold their hands over their throat and feel the vibration of the throat as they talk, laugh, and sing. Again, emphasize the vibration movement that they feel.
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Helpful Sites & Apps to Introduce the Orchestra
Web based: s
San Francisco Symphony Kids Interactive site that includes an orchestra seating chart, instrument photos/descriptions, and sound demos http://www.sfskids.org/classic/templates/instorchframe.asp?pageid=3
Philharmonia Orchestra Includes videos of orchestra members describing and performing on their instruments, in-depth written descriptions of instruments, instrument ranges, and fun facts http://www.philharmonia.co.uk/explore/instruments
Oregon Symphony Straightforward descriptions and photos of the instruments http://www.orsymphony.org/edu/instruments/strings.aspx
Dallas Symphony Orchestra Kids Multiple sound demos for each instrument in different contexts, descriptions, and photos http://www.dsokids.com/listen/by-instrument/.aspx
Mobile apps:
The Young Person’s Guide to the Orchestra (iPad / free) Full recording of Britten’s The Young Person’s Guide to the Orchestra, animations, games, quizzes, performance videos, and photos
MSO Learn (iPad / free) Photos, instrument demos, recommended listening, musician interviews
Meet the Orchestra (iPad / $2.99) Animated characters introduce the orchestra and instruments; quizzes that increase in difficulty
My First Orchestra App (iPad / $4.99) Full album of orchestral repertoire, animated characters demonstrate instruments, narration, quizzes, conducting examples
The Orchestra (iPad / $13.99) In-depth app including videos, synchronized score reading, beat mapping, musician interviews, program notes about the included repertoire
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DIY Instruments
Having students create their own instrumentss is a wonderful way to explore sound production, spark creativity, and develop design thinking. And, it’s a lot of fun!
“Making is fundamental to what it means to be human. We must make, create, and express ourselves to feel whole. There is something unique about making physical things. Things we make are like little pieces of us and seem to embody portions of our soul.” – Mark Hatch, The Maker Movement Manifesto
Initial activities:
Gather recycled objects such as cardboard boxes, tubes, plastic containers/bottles, sturdy glass jars, rubber bands, string, paper clips, pencils, jewelry wire, etc.
Instruct students to use any of the available materials to create: A string instrument – must include a “string” (rubber band, wire, ribbon, etc.) that can vibrate across a resonators A wind instrument – sound must be manipulated by air movement A percussion instrument – sound must be produced by striking or shaking
Each instrument should be able to be played so that the pitch (where applicable) and volume can be changed. Student creations do not need to “replicate” an existing instrument; encourage students to think of new ways to produce sounds using the available materials. Positive critique and revision is an integral part of the process. Support students in their creative process by framing suggestions as alternate ways of looking at instrument design. “Mistakes” should be viewed as a beneficial way to develop creative problem solving skills and as a result of exploring, engaging, and interacting within the art-making process.
Extension activities:
Instruct students to go play another student’s instrument(s). They should determine how to produce sound and alter pitch/volume on others’ instruments without the aid of the creator. Then, students should meet with the original creator and explore similarities and differences in the ways sound was produced on the instruments.
Students can decorate their instruments to reflect their personalities. Encourage students to think about ways to express their interests through color and design. Look at album covers or concert posters for inspiration.
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History of the Orchestra
Adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra
The orchestra, which consists of the four families of instruments (percussion, woodwind, brass, and string), dates to the early 17th century. It started very small with a membership of 10 to 25 musicians. The primary function of the early orchestras in England and France were to entertain royalty. Thus, they were known as court orchestras.
In the late 18th century, the orchestra grew into the full, modern-day orchestra. This orchestra was created by Franz Joseph Haydn, who is considered the father of the symphony. The orchestra continued growing with the emergence of the Classical Era and the great composers of the time: Wolfgang Amadeus Mozart and Ludwig van Beethoven.
Moving into the 19th century and the Romanic Era, the orchestra continued to grow in size. Composers such as Gustav Mahler, Anton Bruckner, and Richard Wagner were responsible for the growth of the orchestra during this period, by writing compositions with larger instrumentation.
Composers became more aware of developing rhythmic interest during the 20th century. This new awareness contributed to the growth of the percussion family. Some of the 20th century composers responsible for the recent changes in the orchestra were Igor Stravinsky, Bela Bartok, Jean Sibelius, Petrovich Mussorgsky, Benjamin Britten, and Leonard Bernstein.
Today’s orchestras sometimes number over 100 players, who have spent years practicing many hours a day. Before being hired, a potential member must audition for the vacancy. An audition consists of playing from a prepared repertoire of music as well as sight reading. Each opening in a professional orchestra is apt to have over 200 qualified applicants. Once chosen, a player becomes a permanent member of the orchestra. In many cases, players retain the position for his or her entire career.
Orchestral Activities
Discuss how a football team needs all of its players, and how if some of them were missing, it would be difficult to win the game. Discuss how the Pittsburgh Symphony Orchestra is a team and how they all work together. Point out the fact that the Symphony is also part of a city team, and the city needs them as much as the business and sports teams. Emphasize that all these organizations work together to be a treasure to the community. Identify places where classical music may be heard other than in Heinz Hall (e.g., a high school auditorium, a doctor/dentist office, a movie theater, etc.) Divide the class into four groups. Assign each group to represent one of the four instrument families. Chorally read the book Meet the Orchestra by Ann Hayes. Each page of the book tells about a different instrument. Have the group whose instrument belongs in that family read the page.
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The Orchestra Conductor
Adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra Objectives: Students will be able to understand a conductor’s role within an orchestra setting Students will be able to conduct in simple 4/4, 3/4 & 2/4 beat patterns
Materials: Dowel rods (pre-cut to the length of a conducting baton)
Procedure: 1) Conductor’s Role a) Ask students to brainstorm what they think a conductor’s role is within an orchestra b) Discuss students’ ideas c) Explain the conductor’s role within the orchestra d) “The conductor is the musical leader of the orchestra. His or her role is to direct the musicians to play the music accurately and to interpret the mood and emotions indicated by the composer.” 2) Clap and count as a class the beat while singing a 4-beat children’s folk song 3) Using the dowel rods, guide the students in conducting to the beat of the music in the following manner: 4/4 time Place the arm at head level and move as follows: Count 1: Straight down, no lower than the chest Count 2: To the left, no farther out than the shoulder Count 3: To the right, to the right shoulder Count 4: Straight up to eye level 4) Practice as a class and in groups with the same children’s folk song 5) Repeat the previous steps using a song in 2/4 and 3/4 3/4 time Place the arm at head level and move as follows: Count 1: Straight down Count 2: To the right, to the right shoulder Count 3: Straight up to eye level 2/4 time Place the arm at head level and move as follows: Count 1: Straight down and curve to the right Count 2: Curve to the left and back up 6) Divide students into groups and choose one of the three songs
that they previously practiced 7) Choose volunteers to conduct the class as they sing the conductor’s selected song
22 Cross-Curricular Activities
Science and Music
How Size and Scale Affects Sound Bring in instruments from the same instrument family (for example, a violin, viola, cello, and bass) and allow students to not only see, but hear, the difference in the instruments. Before discussing the instruments, describe the objects using the senses. Demonstrate their ranges, talk about the difference between high and low, and correlate pitch with size.
Metal Conductors Identify all of the instruments in the orchestra that the students will see and hear when they come to Heinz Hall. Classify each instrument into one of two groups: conductors of electricity or nonconductors. To classify the instruments, describe the type of material that each instrument is made of and determine if that material is a conductor or nonconductor. Create a chart as a class.
Language Arts/Library
Reading and Understanding Books of Literature Read some of the suggested children’s story books. Afterwards, discuss literary elements in the stories describing characters, setting, and plot. Identify literary devices in stories, such as rhyme, rhythm, and personification. Identify structures in poetry, such as pattern books, predictable books, and nursery rhymes.
Suggested Reading: Meet the Orchestra – by Anne Hayes Zin! Zin! Zin! A Violin – by Lloyd Moss The Story of the Orchestra – by Robert T. Levine The Story of the Incredible Orchestra – by Bruce Koscielniak The Orchestra – by Mark Rubin Remarkable Farkle McBride – by John Lithgow
Writing Narrative Pieces After your trip to Heinz Hall, instruct students to write a narrative piece including detailed descriptions of people, places, and things experienced during the trip. The students should also include relevant illustrations and literary elements.
23 Math
Problem Solving/ Data Analysis and Graphs
Create Your Own Orchestra Tell the students that they are going to create their own orchestra. They are allowed to have 100 musicians in their orchestra. They must split these musicians between instrument families (for instance, each family may have 25 musicians). Next, they must choose how many of those musicians will play each instrument within that family, using addition and subtraction skills to ensure that they have not gone over their limit of 100 musicians.
Example: With 20 musicians in the string family, I want 10 to play the violin, 5 to play the viola, 3 to play the cello, and 2 to play bass.
After students have created their orchestra of musicians, create bar graphs displaying their orchestra. The students should have five bar graphs all together: - The Orchestra (representing how many musicians were chosen to be in each instrument family) - Woodwind Family (representing how many musicians were chosen to play each instrument within the woodwind family) - Brass Family (representing how many musicians were chosen to play each instrument within the brass family) - Percussion Family (representing how many musicians were chosen to play each instrument within the percussion family) - String Family (representing how many musicians were chosen to play each instrument within the string family) The students may color their graphs, use cut out pictures of instruments, drawings of instruments, etc. to decorate their graphs.
After each student has completed their graph, have other classmates analyze their graphs. Check to make sure students did not exceed or fall short of 100 total musicians and have included all of the instruments and families in their orchestra.
Measurement
What size is your instrument?
Ask your music department if you may borrow non-breakable instruments or older instruments (such as a recorder, drumstick, violin bow, tambourine, triangle, etc.) to compare length and weight. Set up stations throughout the room in which students (in groups or individually) use a chart, such as the one following, to record information in standard units of measurement.
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Description Length Width Weight Instrument (Big, Small, (inches/centimeters) (inches/centimeters) (ounces/grams) Long, Wide, Skinny, etc.)
Drum Stick
Violin Bow
Triangle
Art
Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts
Allow students to study an instrument of their choice: violin, bassoon, flute, etc. Have the students describe various aspects of the instrument: the material used to make the instrument, the size, shape, texture, etc.
After studying the instrument, have students paint, draw, craft, or sculpt an interpretation of their favorite instrument. Encourage the students to use their imagination when it comes to color, size, and shape.
Have the students explain their choices of why they either changed elements of the original instrument or kept them the same.
Social Studies/Geography
Identify and locate place and regions. Physical features: continents and oceans, major landforms, rivers, and lakes. Human features: countries, states and cities.
Divide the class into groups, and assign composers featured in the “Meet the Orchestra” program at Heinz Hall. Have the students use resources in the library to investigate the native country of their composer.
Create a poster including the physical and human features of each country (see above). Encourage students to be creative in decorating their poster with artifacts from the country they are researching (e.g., flags, pictures of landmarks, etc.).
Allow each group to present their poster and facts about their country and composer to the class.
25 Name that Family!
adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra
Anticipatory Set: Begin this lesson by playing a recorded selection of orchestral music from a television cartoon or popular film.
Objective: Students will be able to identify the instrument families while listening to familiar symphonic music.
Materials: Recordings of symphonic music selected from the list of classical music (following this lesson) or from popular TV cartoons or movies (e.g., Bugs Bunny cartoons, Fantasia, etc).
Procedures: Discuss the different musical families that can be heard on the selected recordings. Divide the class into four groups. Give each group a large card that names one of the four musical families. As musical selections are played, ask the groups to listen for the sound of the musical family named on their card. When they hear it, ask them to hold up their card until the sound is replaced by another musical family.
Evaluation: Students will be evaluated on their ability to distinguish the different musical families in a piece of orchestral music.
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Suggested Musical Examples
The String Family Eine Kleine Nachtmusik, Mozart (small ensemble of strings) Four Seasons, Vivaldi (strings only) “Waltz of the Flowers,” The Nutcracker, Tchaikovsky (harp) “Gigue,” Suite for Strings, Corelli “Sarabande,” Suite for Strings, Corelli “Pastoral Symphony,” Messiah, Handel Adagio for Strings, Barber Serenade in C for Strings, Op. 48, Tchaikovsky
The Woodwind Family Divertimento in B-flat, Haydn Summer Music for Woodwind Quintet, Op. 31, Barber Quintet in E-flat, Beethoven Suite for Woodwind Quintet, Cowell Arabesque No. 2, Debussy “Gavotte,” Suite in B for Winds, Op. 4, Strauss “Schnelle Viertel,” Klein Kammermusik, Hindemith Rhapsody in Blue, Gershwin (beginning: clarinet solo) “Chinese Dance” and “Dance of Mirlitons,” The Nutcracker, Tchaikovsky (beginning: piccolo, flutes, bassoons) “Violin Concerto,” Movement II, Brahms (beginning: oboe)
The Brass Family “Fanfare,” La Peri, Dukas “Prelude to Act III,” Lohengrin, Wagner Prelude and Allegro (Sextet), McKay Fanfare for Forces of Latin American Allies, Cowell Fanfare for the Common Man, Copland “Trumpet Tune,” Purcell Canzon Duodecimi Toni, G. Gabrieli “Viennese Musical Clock,” Háry János Suite, Kodály “La Forza Del Destina,” Opera, Verdi (opening: trombone) “Light Cavalry,” Suppe Overture (beginning: trumpet) “Nocturne,” A Midsummer Night’s Dream, Mendelssohn (horn) “Spanish Dance,” The Nutcracker, Tchaikovsky (beginning: trumpet) “Scherza Capriccioso,” Op. 66, Dvorak (beginning: horn)
The Percussion Family Symphony No. 9, Beethoven (beginning of Scherzo: timpani solo) Overture to Candide, Bernstein 1812 Overture, Tchaikovsky “Radetzky March,” J. Strauss, Jr. (beginning: snare drum and bass drum) “Hoedown,” Copland Ionisation, Varese Toccata for Percussion Instruments, Chavez October Mountain, Hovhaness Night Music for Percussion, Starer Háry János Suite, Kodály
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Fourth Grade Schooltime “Musicalympics” Francesco Lecce-Chong, conductor Andrew Fuller, violin November 14-16, 2017 10:30 am
Arnaud Bugler’s Holiday
Torke Javelin
Smith The Star-Spangled Banner
Glinka Overture to Ruslan and Ludmilla
Grieg In the Hall of the Mountain King
Mendelssohn Violin Concerto, Mvt. 3 Andrew Fuller, violin
Rimsky-Korsakov Flight of the Bumblebee
Strauss Sport Polka
Williams Olympic Fanfare and Theme
Program subject to change
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“Musicalympics”
Developed by Mariann Fox, Mt. Lebanon School District and Rebekah Geiselman, PSO Learning & Community Engagement Intern
Instruments of the Orchestra
Begin by introducing the instrument families of the orchestra. If this is the students’ first introduction to the instrument families, follow the suggestions for the Second Grade Schooltime concert on pages 14-15; if this a review, here are some options: Introduction to the instrument families (7:42) – https://youtu.be/DDRiRzip9ks Introduction to the instruments of the orchestra (15:37) – https://youtu.be/Sr-l2m8twX0 Instrument families (8:06) – https://youtu.be/cgcYxe_2Ys8
The Olympic Games
Ask the students what they know about the Olympics (be sure to have access to a world map before you begin, so you can show students the locations of the different countries). International sports competition held every four years Winter Olympics & Summer Olympics Hosted by a different city and country every time 2018 Winter Olympics – February 9 - 25, 2018 in PyeongChang, South Korea o Will feature 98 events in 15 different winter sports – estimated to have 90 different countries represented in the games (be sure to point out the city and country on the world map, and drop a pin on South Korea on an interactive map, such as Google Earth) o Discuss some history points about South Korea The ancient Olympic Games o The ancient Olympics were rather different from the modern Olympic Games. There were fewer events, and only free men who spoke Greek could compete, instead of athletes from any country. Also, the games were always held at Olympia instead of moving around to different sites every time. o Like our Olympics, winning athletes were heroes who put their home towns on the map. The winning athletes received a crown of olive leaves and the privilege to have a statue of them set up in Olympia. o Although winners did not receive money at the Olympics, the victor was treated much like a modern sports celebrity by his home city. His success increased the fame and reputation of his community in the Greek world. It was common for victors to receive benefits such as having all their meals at public expense or front-row seats at the theater and other public festivals. One city even built a private gym for their Olympic wrestling champion.
29 First modern Olympic games were held in Greece in 1896 – drop a pin on Greece on Google Earth.
Olympic Fanfare (Bugler’s Dream), Leo Arnaud (1904-1991)
Discuss a “fanfare”: What is a fanfare and what types of occasions might it be used for? What instruments are commonly used in a fanfare? Audio Clip of Olympic Fanfare: https://www.youtube.com/watch?v=IizWc4cJwbw Do you think of the Olympics when you hear this piece? Olympic Fanfare (Bugler’s Dream) composer Leo Arnaud (born in 1904 in France; emigrated to the US in 1931; died in US 1991) Show France on the map – drop a pin on France on Google Earth
Javelin, Michael Torke (1961-present)
What is a javelin? o Large spear designed to be thrown Discuss the javelin track and field event o Event in the summer Olympics This piece was written by American Composer Michael Torke for the 1996 Olympics in Atlanta, GA (find it on a map and drop a pin on Google Earth). It was commissioned by the Atlanta Committee for the Olympics. The piece has only one movement and is about nine minutes in length. Torke finished composing the piece in 1994. o Torke began writing this piece with three goals in mind: to use the orchestra as a virtuosic instrument, to use triads (three-note tonal chords), and to make the music thematic. o Torke’s inspiration for the title Javelin came from the “sense of valor among short flashes and sweeps that reminded me of something in flight: a light spear thrown, perhaps, but not in the sense of a weapon, more in the spirit of a competition.” o Audio clip of Javelin: https://www.youtube.com/watch?v=aaeY0MbR5NY&feature=youtu.be o What do you hear when listening to this? How do you think it represents a javelin? Do you hear Torke’s inspiration and three goals?
The Star Spangled Banner, John Stafford Smith (1750-1836)
What is a national anthem and what is its purpose? What do national anthems symbolize?
30 What is the story behind the writing of our national anthem, “The Star Spangled Banner”? Share the video “The Accurate Story Behind the Star Spangled Banner”: https://youtu.be/6hZe8CPGA1E The original melody to our national anthem was composed by British composer John Stafford Smith entitled “To Anacreon in Heaven”(find England on the map and drop a pin on Google Earth) Discuss the colors of the US flag and what each represents, as well as the significance of the colored stripes and 50 stars. What are some other American patriotic songs that you know? o Discuss the Olympic rings and the significance of the five colors.
Overture to ‘Ruslan and Ludmila,’ Mikhail Glinka (1804-1857)
What is an overture? Ruslan and Ludmila is an opera written by Russian composer Mikhail Glinka between 1837-1842 (find Russia on a map and drop a pin on Google Earth) o Michael Glinka (1804-1857) was father of Russian classical music and composer of the first Russian opera; his music influenced Russian composers who came after him, most notably “The Mighty Five” Clip of Overture to ‘Ruslan and Ludmila’: https://www.youtube.com/watch?v=Bj5ZaukB-EA&feature=youtu.be The purpose of an overture is to set the tone for the story that takes place in the opera. What type of mood or tone does this overture suggest?
In the Hall of the Mountain King from ‘Peer Gynt,’ Edvard Grieg (1843-1907)
Background story of Peer Gynt: o It was originally written as a play by Henrik Isben (written in verse, similar to poetry) that chronicles the journey of Peer Gynt from the Norwegian mountains to the North African desert (find both on map and drop pins on Google Earth). Peer Gynt falls in love with a girl but is not allowed to marry her. He runs away into the mountains but is captured by the trolls who take them to their King. Peer Gynt tries to escape but is chased by the trolls and runs into the Troll King, but eventually gets away. o Edvard Grieg added music to the play (at the request of the playwright) ten years after it was written. The work eventually began a four-movement piece, with “In the Hall of the Mountain King” being one of Grieg’s most famous and beloved compositions. o “In the Hall of the Mountain King” depicts the escape and chase scene. The main theme is played repeatedly by different sections of the orchestra. Listen for the strings tiptoeing (pizzicato) and then running (accelerando) and how the dynamics change from piano to forte. Edvard Grieg is Norway’s most famous composer. His style was based on the German Romantic tradition, but as he developed national awareness, he strove to develop a
31 “Norwegian style” of music. He utilized his home country’s folk music in his compositions. Here, we hear one of the movements from the piece, where Peer Gynt comes across several trolls, gnomes, and goblins, including the “Mountain King” o Have students follow along with the listening map (found here: https://makingmusicfun.net/pdf/worksheets/mountain-king-listening-map.pdf) as they listen to audio clip: https://www.youtube.com/watch?v=dRpzxKsSEZg o Two other fun videos: Voice Orchestra – https://youtu.be/uwKfTk4cVqQ Cartoon by Melotoons – https://youtu.be/QnLWa3ij0pk o What do you think of when you hear this piece?
Concerto in E minor for Violin and Orchestra, Felix Mendelssohn (1809-1847)
Felix Mendelssohn is a German composer (find on a map and drop a pin on Google Earth) Discuss what a concerto is. Have students define and compare a solo and an ensemble performance. o Musicians with virtuosity (great technical skill and talent) – have students fill out ‘Athletes and Musicians’ page and discuss similarities and differences Clip of Movement III. Allegretto non troppo -- Allegro molto vivace--[22:04] Full concerto: https://www.youtube.com/watch?v=I03Hs6dwj7E o Soloist: Ray Chen, who recently played a concerto with the Pittsburgh Symphony Orchestra!
Flight of the Bumblebee from ‘The Tale of Tsar Saltan,’ Nikolai Rimsky-Korsakov (1844-1908)
Nikolai Rimsky-Korsakov is a Russian, Romantic era composer who wrote the opera The Tale of Tsar Saltan that is based on a series of fairy-tale poems. Like Grieg, Rimsky- Korsakov believed in nationalist music and incorporated Russian folk tunes into his compositions. Flight of the Bumblebee was intended to musically describe the flying pattern of a bee. The whole orchestra displays high virtuosity in this challenging piece – think about the chart you just filled out comparing musicians to athletes. Clip of Flight of the Bumblebee: https://www.youtube.com/watch?v=TDomKhxlVLE What do you hear when you listen to this? How is Rimsky-Korsakov able to get the orchestra to sound like a bee? Have students predict which instrument would be a good choice to be the bumblebee and have them explain why they chose that instrument. Then, have students compare what the music would sound like if the composer was describing a bird...a turtle...an elephant...a cheetah (the possibilities are endless!).
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Sport Polka, Josef Strauss (1827-1870)
Music can be used for dances: o The polka is a lively dance! Josef Strauss (1827-1870) was an Austrian composer (find on a map and drop a pin on Google Earth) o His father was Johann Strauss I, who was an Austrian Romantic composer known as the “Waltz King” Clip of Sport Polka – https://youtu.be/LJGeLctS-UY
Olympic Fanfare and Theme, John Williams (1827-1870)
Olympic Fanfare and Theme was written for the 1984 Los Angeles Olympics by American composer John Williams o Williams was known for his movie music (Star Wars, Indiana Jones, etc.) o Williams intended the work to represent musically “the spirit of cooperation, of heroic achievement, all the striving and preparation that go before the events and all the applause that comes after them.”
Mapping Exercises
When all the pins have been dropped, show the students where all the pieces came from around the world – compare that to the Olympic events where athletes come together to compete in all the different sporting events.
Google Earth pins: https://earth.google.com/web/@47.69647195,13.34573475,971.0209526a,1001381.74341739d ,35y, 0h,0t,0r
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Athletes and Musicians
In the chart below, make a list of characteristics that an athlete must possess in order to prepare for the Olympics. Now make a list of characteristics that a musician must possess in order to prepare for a professional orchestral audition or concert. How are athletes and musicians the same? How are they different?
Athletes Musicians
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Sixth Grade Schooltime Fierce and Female: Unsung Music Makers Andrés Franco, conductor Shattered Glass Podcast, hosts Rodrigo Ojeda, piano Ariana Chiu, piano Lorna McGhee, flute February 1 & 2, 2018 10:30 am
Ellen Taaffee Zwillich Snoopy Does the Samba Mr. Ojeda, piano
Clara Schumann Toccatina, op. 6 Ms. Chu, piano
Cécile Chaminade Concertino in D Major for Flute Ms. McGhee, flute
Lili Boulanger D’un Matin de Printemps
Amy Beach Symphony No. 2 (“Gaelic”) II. Alla Siciliana - Allegro Vivace
Florence Price Symphony in E, Mvt. III
Jennifer Higdon Machine
Hannah Ishizaki City of Bridges
Gabriela Lena Frank The Mestizo Waltz
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About the Artists
Ariana Chiu, piano Ariana Chiu, currently a seventh grader at Fort Couch Middle School in the Upper St. Clair School District, recently appeared on NPR’s “From the Top,” broadcasted on Pittsburgh’s WQED 89.3 FM. She has been the first prize winner of the solo division at the Duquesne Young Artist National Competition on various occasions and has also been selected as a Steinway Society of Western PA Young Artist. Ariana became interested in music as a young child listening to Baby Einstein and started playing piano with her grandmother and father. She currently studies privately with Professor Natasha Snitkovsky. Ariana gives recitals regularly and performs for nursing homes periodically during the year. She enjoys playing music from all different time periods, and especially likes playing the works of composer Johann Sebastian Bach. Outside of her musical pursuits, Ariana enjoys camping and watching hockey games.
Rodrigo Ojeda, piano Venezuelan born pianist Rodrigo Ojeda began his piano studies at the age of ten. He completed his Bachelor's Degree in piano performance at the IUDEM (Institute of Musical Studies) in 1997 under Arnaldo Pizzolante. In 1999, he went on to complete his graduate studies at Carnegie Mellon University with Enrique Graf, where he also remained to complete his Artist Diploma certificate.
Mr. Ojeda has performed on master classes with such notable pianists as Kasimierz Giesrod (former rector of the Frederic Chopin Academy in Warsaw), Marek Joblonsky, Georgy Sandor, Marta Gulyas, and Earl Wild. His solo recitals include performances throughout Venezuela, Ecuador, and most recently, in the Piccolo Spoleto Festival in Charleston, South Carolina. He has performed concerti from an expansive repertoire of Tchaikovsky, Brahms, Gershwin, Grieg, Schumann, Mozart, Lizt (Totentanz), Cesar Frank and Prokofiev.
Currently Mr. Ojeda is an Artist Lecturer in Piano in the School of Music at Carnegie Mellon University as well as a piano faculty member in its Music Preparatory School. He has also been playing with the Pittsburgh Symphony since October 2006. His wife, Giuseppina, and son, Sebastian, reside with him in Pittsburgh, Pennsylvania.
36 Lorna McGhee, flute Scottish-born Lorna McGhee is principal flute with the Pittsburgh Symphony Orchestra and has performed as guest principal with Chicago Symphony, Minnesota Orchestra, London Symphony, London Philharmonic, Academy of St- Martin-in-the-Fields and Chamber Orchestra of Europe. Before emigrating to North America in 1998, McGhee was co-principal flute of the BBC Symphony Orchestra in England. As a soloist, she has given concerto performances with the London Symphony Orchestra, Scottish Chamber Orchestra and BBC Scottish Symphony Orchestra in the UK; Manitoba Chamber Orchestra, Toronto Philharmonia and Victoria Symphony in Canada; and the Nashville Chamber Orchestra and Oregon Bach Festival Orchestra in the United States. A career highlight was a performance of Penderecki's flute concerto with the Oregon Bach Festival Orchestra under the baton of the composer in 2004.
As a chamber musician and recitalist, she has performed throughout Europe and North America in such venues as London's Wigmore Hall, Barge Music in New York, the Louvre, Paris and the Schubertsaal of Vienna's Konzerthaus. McGhee is often featured in chamber music festivals in Canada, the United States and Australia. Her performances have been broadcast on CBC Radio in Canada, BBC Radio, NPR (USA), Netherlands Radio and ABC (Australia). She has made chamber music recordings for EMI, Decca ASV, Naxos and Meridian. Along with Duo partner Heidi Krutzen, McGhee has released two CDs on Skylark Music: Taheke, 20th century Masterpieces for flute and harp and Canada, New Works for flute and harp. As a member of Trio Verlaine (with Heidi Krutzen, harp and David Harding, viola) McGhee has most recently recorded Fin de Siècle, a CD of music by Debussy and Ravel for Skylark Music. Both the Trio and Duo are committed to broadening the repertoire and have contributed six new commissions to date.
Having taught at the University of Michigan and the University of British Columbia, McGhee has given master classes at universities and conservatoires in the UK, United States and Canada, including the Julliard School, the Royal Academy of Music and the Banff International Centre for the Arts. She is now an honorary “Fellow of the Royal Academy of Music.”
37 Shattered Glass Podcast, Hosts
Shattered Glass is a podcast featuring stories about extraordinary women shattering the glass ceiling. Marita Garrett and Monica Hershberger will be our special guest hosts at the Sixth Grade Schooltime concerts.
Listen to the newest episode of Shattered Glass, produced especially for our Sixth Grade Schooltime Concerts! http://www.shatteredglasspodcast.com/single-post/2018/01/16/1-Hannah-Ishizaki This special episode features an interview with Hannah Ishizaki, a 17 year old composer from Pittsburgh whose piece entitled “City of Bridges” will be performed at these concerts!
Marita Garrett, Co-Host Marita is the co-host of Shattered Glass Podcast, where she is delighted to share the extraordinary stories of women (and girls!) shattering the glass ceiling. In her spare time, Marita is a social entrepreneur and the 10th Mayor of Wilkinsburg. She is the first Black female to hold this role and second woman overall. She received her Bachelor's degree in Psychology from University of Pittsburgh, and later Masters in Psychology from Chatham University. In even more of the free time she has, she co-founded and helps at the Free Store Wilkinsburg. Founded in 2015, FSW is independently operated formed to fill a “needs gap” that currently exists in the Wilkinsburg community.
Also, an Ohio native – Akron specifically – Marita never had faith in the Browns and recognizes the greatness that is the Steelers. She went to high school with the living legend LeBron James. Her sheroes are her Mom, Shirley Chisholm, Lorraine Hansberry, Ella Ree Garrett, Oprah Winfrey, Gwen Ifill, Madeline Albright, Janet Jackson, Angela Merkel, and many more. In her first foray in politics, Marita lost the crucial 8th Grade Social Chairwoman race to which she questioned everything right in the world for the rest of the semester. She found solace in playing her clarinet and the hand bell choir. She plays a riveting version of "Hot Cross Buns" and still misses the white gloves worn in hand bells.
When not out and about, you find Marita taking a nap with her 2 furbabies, Marley and Kali.
38 Monica Hershberger, Co-Host Monica is the co-host and co-creator of Shattered Glass Podcast, where she interviews women in leadership to tell their stories to the world. Beyond her podcasting, she works in marketing at Fourth Economy Consulting and is an avid community volunteer. After receiving her bachelor's degree in Communications from Malone University, she worked in a number of nonprofits including the Homeless Children's Education Fund and The Children's Institute, wearing many hats in fundraising, communications, and marketing. She is a creative problem solver, community connector, and cares deeply about making the world a better place to live.
Monica is from Ohio, but has no affinity for any of their sports teams. However, she recognizes that LeBron James is a living legend. Some of her biggest heroes include: Princess/General Leia Organa from Star Wars, Gloria Steinem, Hillary Rodham Clinton, Lisa Simpson, and every woman who has ever been on Saturday Night Live. Her favorite Beatle is George Harrison and her favorite Jackson 5 member is Michael (duh). Monica was a below average swimmer on the Applewood Swim Team in 1999 and once got 6th place in backstroke. She is also a mediocre viola player and can improvise most Christmas songs. You can usually find her around Pittsburgh restaurants trying to find the best French fry.
Jessica Kaminsky, Producer Jessica is the producer of the Shattered Glass Podcast. Although she is afraid of heights, she loves shattering glass ceilings! Her favorite part about this work is that she gets to meet incredible women and girls doing awesome things, and help bring their stories to others. Her full time job is at Carnegie Mellon University in the CREATE Lab, where she works with teachers to ensure that they're using technology in meaningful ways. Jess went to the College of Wooster to study English, then the University of Pittsburgh for her Master's degree in Elementary Education.
Jess is a native Pittsburgher, owns 5 Steelers jerseys, and still loves to go to Kennywood in the summer (but never for Fright Nights). She has run four half marathons including running the Pittsburgh Half Marathon twice, and she's planning to run it again this year so cheer for her if you see her! Her sheros include Ruth Bader Ginsberg, Malala Yousafzai, Issa Rae, the Grimke sisters, and Beyoncé. She played piano for eight years and was the only girl percussionist in the school band for five years. Now she just sings loudly in her car. In her free time, she likes to cook healthy recipes while watching Top Chef.
39 “Fierce and Female: Unsung Music Makers”
Developed by Mariann Fox, Mt. Lebanon School District & Rebekah Geiselman, PSO Learning & Community Engagement Intern
Fast facts about the fierce female composers featured on our concert!
Clara Schumann (1819-1896) “Toccatina” from Soirees Musicales, Opus 6 German pianist and composer Wife of Robert Schumann Very rare at the time for a woman to perform in public or compose, and she did both! She was considered a child piano prodigy and toured nationally in Germany. Regarded as a celebrity of her time, she frequently performed her own compositions during her recitals. After marrying Robert Schumann, she began performing more of his compositions and slowly stopped composer her own pieces.
Cecile Chaminade (1857-1944) Concertino in D major for Flute and Orchestra, Opus 107 French composer and pianist Studied composition privately because her father forbade her enrollment in a conservatory First female composer granted admission to the Order of the Legion of Honour
Amy Beach (1867-1944) Symphony in E minor, Opus 32 “Gaelic” (1896) – Alla siciliare Pianist and composer After the premier of her first symphony with Boston Symphony, she was noted as “one of the boys” Became an emblem for women’s rights, noted as a symbol of women’s achievements, that women can work at the highest level in every field
Florence Price (1887-1953) Symphony No. 1 in E minor III. Juba Dance Pianist, composer, and songwriter Worked as an organist for silent film screenings First African-American woman to have her work performed by a major symphony (Chicago Symphony Orchestra)
Lili Boulanger (1893-1918) D’un martin de printemps Studied harp, violin, cello, and piano; started composition at 16 First woman to win the Prix de Rome competition for composers in 1913 Sister, Nadia Boulanger, one of the most influential music teachers of the 20th century – students included Aaron Copland, Leonard Bernstein, Philip Glass, and many more; first woman to conduct the New York Philharmonic and Boston Symphony
40 Ellen Taaffe Zwilich (1939- ) “Snoopy Does the Samba” from Peanuts Gallery for Piano and Orchestra First woman to receive the Pulitzer Prize in Music (1983) for her Symphony No. 1 (Three Movements for Orchestra) Program notes from the composer: o An open letter to the "Peanuts" Gang from Ellen Taaffe Zwilich
Dear "Peanuts", I have written some music for and about you.
FOR SCHROEDER: "Schroeder's Beethoven Fantasy" is based on a few bars of a piece you play on your toy piano (Beethoven's "Hammerklavier" Sonata). Since you love Beethoven so much, I imagine you improvising and creating a new piece (a fantasy) on Beethoven's music.
FOR LINUS: It seems that naptime is never far from your mind, or, at least, that you're always prepared with your blanket, so here's "Lullaby for Linus" just for you.
FOR SNOOPY: I think you're really "cool," and I know you like to dance, so get your paws in gear for a hot-blooded Brazilian whirl in "Snoopy Does the Samba".
FOR CHARLIE BROWN, for all those times when life causes you to cry "Good Grief!", a rather wistful, but not terribly sad: "Charlie Brown's Lament."
FOR LUCY, who can go from perfectly calm to absolutely wild in a single cartoon frame: "Lucy Freaks Out". (I hope you can hold your composure during this concert).
FOR PEPPERMINT PATTY AND MARCIE, with thanks for encouraging me in my work ("Good Going, Ellen!") and because you're such good campers: "Peppermint Patty and Marcie Lead the Parade". Yes Sir!
"Peanuts® Gallery" was commissioned for the Orpheus Chamber Orchestra by The Carnegie Hall Corporation. The music is dedicated to Charles M. "Sparky" Schulz in hopes that it will give him a small measure of the pleasure that his "Peanuts" characters have given all of us.
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42 Jennifer Higdon (1962- ) Machine Won the Pulitzer Prize in music for her Violin Concerto written for Hilary Hahn (https://www.youtube.com/watch?v=9Fw3yBxIGXQ) Won the Grammy for Best Contemporary Classical Composition for her Percussion Concerto (https://www.youtube.com/watch?v=DqsuaqRDL_A) Program notes from the composer: o I wrote “Machine” as an encore tribute to composers like Mozart and Tchaikovsky, who seemed to be able to write so many notes and so much music that it seems like they were machines! This work was commissioned in 2003 by The National Symphony Orchestra of Washington, D.C., Leonard Slatkin, Music Director, through a grant from The John and June Hechinger Commissioning Fund for New Orchestra Works. The premiere was given by The National Symphony Orchestra, Giancarlo Guerrero, conducting. WORLD PREMIERE happening at the Pittsburgh Symphony Orchestra in March (16 and 18) this year of Jennifer’s Tuba Concerto, featuring Craig Knox, the principal tuba of PSO.
Gabriela Lena Frank (1972- ) “The Mestizo Waltz” from Three Latin American Dances (2003) Pianist and composer Winner of a Latin Grammy Her pieces often reflect and refract her studies of Latin American folklore, incorporating poetry, mythology, and native musical styles into a western classical framework that is uniquely her own. Program note from the composer: o III. The Mestizo Waltz As if in relief to the gravity of the previous movement, this final movement is a lighthearted tribute to the “mestizo” or mixed-race music of the South American Pacific coast. In particular, it evokes the “romancero” tradition of popular songs and dances that mix influences from indigenous Indian cultures, African slave cultures, and western brass bands.
Hannah Ishizaki (2000- ) City of Bridges (2016) 17 year old violinist and composer from Pittsburgh. Hannah is a member of the Pittsburgh Youth Symphony Orchestra, and was the youngest woman composer ever performed by the Pittsburgh Symphony Orchestra last year when they premiered “City of Bridges” at a Fiddlesticks concert, the work you will hear at the concert.
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Heinz Hall for the Performing Arts 600 Penn Avenue Pittsburgh, PA 15222 412-392-4900
Learning and Community Engagement Department pittsburgsymphony.org/education [email protected]
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