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A Study of the Heritage, Culture, and Works of Antonín Dvořák, Edvard Grieg, and Jean Sibelius Unit Lesson Plan: MU.68.H.1.1 – MU.912.H.1.1 by Laura Pinfield

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A Study of the Heritage, Culture, and Works of Antonín Dvořák, Edvard Grieg, and Jean Sibelius Unit Lesson Plan: MU.68.H.1.1 – MU.912.H.1.1 by Laura Pinfield A Study of the Heritage, Culture, and Works of Antonín Dvořák, Edvard Grieg, and Jean Sibelius Unit Lesson Plan: MU.68.H.1.1 – MU.912.H.1.1 By Laura Pinfield For presentation at the Florida Music Educator’s Conference Session: NGSSS, Literacy Standards and Mathematical Practices: Oh My! It All Comes Down to Planning ~Orchestra Breakout Session~ January 8, 2014 Tampa, Florida 1 Pinfield 2014 Unit Lesson Plan: MU.68.H.1.1 – MU.912.H.1.1 Antonín Dvořák, Edvard Grieg, and Jean Sibelius Author: Laura Pinfield Date(s) 1/6/14 Courses: M/J Orchestras 1, 2, 3, 4 and Orchestras 1, 2, 3, 4, Honors 5 & 6 Grade Levels: 6-12 It is suggested that this lesson unit be paralleled with one or more additional unit plans. This plan, which addresses MU.___.H.1.1 is broad and open-ended in order to serve the learning process of orchestra students in any situation. The examples and resources are intended to serve as a springboard for the students and teacher to gain knowledge about the function of music in various cultures and time periods, and how culture is reflected through its music. The spiraling nature of the Next Generation Sunshine State Standards allows the plan to encompass grades 6-12. The director may differentiate instruction by customizing the plan to fit the needs of students. The majority of the lesson is intended to be experiential by playing the music of Dvořák, Grieg, and Sibelius. Over time, small segments of several classes may be dedicated to discovering the similarities and differences in the composers’ heritages and cultures, and identifying Romantic Style Period compositional characteristics. All of Dvořák’s, Grieg’s, and Sibelius’ pieces that are listed in the current Florida Orchestra Association’s (FOA) Music Performance Assessment (MPA) List, levels ES through AS, are included in this unit plan as suggestions for middle and high school orchestras of varying levels. Additional examples of music for middle school are also included. One or more of these repertoire selections may be sight-read, rehearsed in class for proficiency, or polished for a performance program. As appropriate repertoire is discovered, it should be added to this plan. Many additional Next Generation Sunshine State Standards (NGSSS) and Common Core State Standards (CCSS) may be documented as this unit plan unfolds and takes shape with students. Use the Incomplete Curriculum resource site to search and document: http://theincompletecurriculum.com/home/ 2 Pinfield 2014 Abstract Essential Questions: What are some ways music is used in various cultures? Does the function of music change over time? How are cultural traditions reflected through music? Other/additional open-ended questions: Concrete Essential Questions: What do Antonin Dvořák, Edvard Grieg, and Jean Sibelius all have in common? 1. Folk songs are used in symphonic compositions of all three composers: Dvořák: http://pianosociety.com/cms/index.php?section=910 Grieg: http://www.naimlabel.com/recording-grieg-folk-dances---songs.aspx Sibelius: http://cso.org/uploadedFiles/1_Tickets_and_Events/Program_Notes/ProgramNotes_Sibelius_Symphony2.pdf 2. Nationalistic http://library.thinkquest.org/15413/history/history-rom.htm 3. Romantic Style Period (1820-1900) These dates are commonly given, but are somewhat elastic from source to source. http://en.wikipedia.org/wiki/History_of_music#Romantic_music 4. European 5. 6. What are some things that only two of the three have in common? 1. Grieg and Sibelius are both from Nordic countries, Norway and Finland: Nordic: http://www.merriam-webster.com/dictionary/nordic Maps of Norway and Finland (and Sweden): http://www.bing.com/images/search?q=map+of+norway+and+finland&id=6BF126811B8DBCC617482B198D 5AF15A38B32C1A&FORM=IQFRBA 2. Dvořák’s and Grieg’s birth and death dates are only two and three years apart, respectively. Grieg (June 15, 1843 - September 4, 1907) http://www.classical.net/music/comp.lst/grieg.php Dvořák (September 8, 1841 - May 1, 1904) http://www.britannica.com/EBchecked/topic/174804/Antonin-Dvorak 3. What are some singularities? 1. Dvořák was from neither a Scandinavian nor a Nordic country, but was from Bohemia, which is currently called the Czech Republic. Czech Republic: http://en.wikipedia.org/wiki/Czech_Republic 2. Sibelius was a composer from the late Romantic Music Style Period, on the cusp of the 20th Century Music Style Period: Sibelius (December 8, 1865 - September 20, 1957) 3. Only Grieg is from a Scandinavian country. Scandinavian Countries: http://geography.about.com/od/europemaps/tp/scandinavia.htm 4. 5. 3 Pinfield 2014 Concrete Essential Questions, continued: What are some compositional characteristics of the Romantic Style Period of music composition? 1. http://www.classicalscore.com/romanticstyle.htm 2. Other/additional questions with concrete, definitive answers: Benchmarks Know Understand Do MU.68.H.1.1 Dvořák’s, Grieg’s, and Composers who are Show on a map or explain Describe the Sibelius’ origins of birth contemporaries set and follow geographically the functions of music Romantic Style Period similar trends. locations of: Bohemia from various cultures Composers’ use of folk Nationalism is a celebration of (Currently the Czech and time periods. songs in their symphonic a nation’s unique heritage, Republic), Norway, and works culture, landscape, and Finland. Nationalism independence. Similarities and Differences The function of music is unique among Dvořák, Grieg, and to various cultures and time Sibelius periods MU.68.S.2.2 Romantic Style Period In order to achieve an Play music composed by Transfer dates and composers authentic performance, Dvořák, Grieg, and performance Romantic Style Period musicians must have Sibelius, demonstrating techniques from compositional background knowledge about knowledge of the familiar to unfamiliar characteristics the composer, the music style composer’s intent. pieces. period, specific compositional characteristics, and performance techniques to execute the intended phrasing, articulations, and overall effect. Additional Benchmarks Benchmarks Know Understand Do Assessment Options (Formative and/or Summative): Questioning for comprehension Class Discussion Written 1. Dictation of rhythmic motive, music articulations, bowings, dynamics, etc. 2. Selected response, short answer, or extended response assessments 3. Students memorize and perform a melodic phrase from a work by Dvořák, Grieg, or Sibelius Playing 1. Individually 2. Small groups 3. Whole ensemble 4 Pinfield 2014 ESOL Strategies: Use advance/graphic organizers (Three-circle Venn Diagram, last page). Continually monitor students’ comprehension. Teach technical vocabulary supporting key concepts. Provide contextual support through modeling, audio visuals, demonstrations, body language, and facial expressions. REPERTOIRE for Sight-reading, Classroom study, or Formal Performance: Dvořák on the Florida Orchestra Association’s (FOA) Music Performance Assessment (MPA) List: ES 1184 Symphony No. 9, “New World” Theme Dvorak / Allen HL ES 1168 Slavonic Dance Dvorak / Meyer HE ES 1214 Slavonic Dance No. 1 Dvorak / Story ALFR ES 1123 New World Symphony: Largo Dvorak / Heilmann HP DS 2163 Largo from Sym. No. 9 "New World" Dvorak/Dackow TEM CS 4288 Themes from the New World Symphony Dvorak / Gruselle FJH CS 4292 Three Slavonic Dances Dvorak / Isaac HE CS 4145 Humoresque Dvorák / Longfield HL CS 4244 Slavonic Dance Opus 46, No. 8 Dvorak / McCashin FJH CS 4402 Czech Waltz Dvorak / Stroud LUD CS 4161 Largo From The New World Symphony Dvorak/Del Borgo KM BS 6206 Symphony No. 8 (Finale) Dvorak / Dackow LUD BS 6107 Largo (from Dvorák's Symphony No. 9) Dvorak / McCashin FJH BS 6286 Symphony No. 8 in G Major Dvorák / Parrish HE BS 6016 Bagatelle (Op. 47, No. 5) Dvorak / Sieving HE AS 8048 Legend Op. 59, No. 6 Dvorak/Sieving TEM AF 9085 Slavonic Dances, Op. 46 Dvorak ANY Any 1 mvt. AS 8083 Serenade, Op. 22 in E Major Dvorak ANY Grieg on the FOA’s MPA List: DS 2163 Largo from Sym. No. 9 "New World" Dvorak/Dackow TEM DS 2152 It’s Grieg to Me Grieg / Frost KM DS 2209 Norwegian Dance No. 2 Grieg / Story WB CS 4147 In the Hall of the Mountain King Grieg / Monday WYNN CS 4418 Lyric Pieces Grieg / McCashin FJH CS 4335 Two Lyric Pieces Grieg / Hellem WJ BS 6217 Two Norwegian Airs Grieg ANY Any 1 mvt. BS 6100 In the Hall of the Mountain King Grieg / Frost KM BS 6227 Wedding Day at Troldhaugen Grieg / Gruselle HE BS 6091 Highlights from Peer Gynt Grieg / Hoffman HL Any 2 mvts. BS 6093 Holberg Suite: Prelude Grieg / Isaac WYNN BS 6094 Holberg Suite: Prelude Grieg / McBrien HE BS 6167 Sarabande and Gavotte (from Holberg Suite) Grieg / McBrien HE BS 6277 Peer Gynt (Set 1) Grieg / Rosenhaus MAST Any 3 mvts. BS 6278 Peer Gynt (Set 2) Grieg / Rosenhaus MAST Any 3 mvts. BS 6236 Norwegian Dance No. 2 Grieg / Ryden LUD BS 6134 Peer Gynt Suite No. 1 Op. 46 Grieg/Gruselle FJH AS 8043 Holberg Suite, Op. 40 Grieg ANY AS 8110 Two Norwegian Airs Grieg ANY AS 8050 Lyric Suite, Op. 54 Grieg ANY Any 2 mvts. AS 8041 Highlights from Peer Gynt Grieg / Hoffman HL Sibelius on the FOA’s MPA List: ES 1064 Finlandia Sibelius / Phillippe WB DF 3007 Finlandia Sibelius / Meyer HE CS 4020 Andante Festivo Sibelius ANY AS 8067 Rakastava, Op. 14 Sibelius ANY AS 8126 Romance in C Sibelius ANY 5 Pinfield 2014 Additional music not on the FOA’s MPA list: Finlandia by Jean Sibelius, arranged by Jack Bullock Grade 1, Alfred Music http://www.alfred.com/Products/Finlandia--00-31507.aspx Peer Gynt Suite by Edvard Grieg, arranged by Del Borgo http://www.jwpepper.com/sheet-music/eprintparts.jsp?pepnum=2480339E Holberg Suite by Edvard Grieg, arranged by Christina Hans, http://www.alfred.com/Products/Prelude-to-the-Holberg-Suite--00-33666S.aspx RECORDINGS: Various Romantic Era composers: http://www.naxos.com/catalogue/item.asp?item_code=8.558155-56 Jean Sibelius: Symphony No. 2 in D Major Op. 43 (1902), Mvt.
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    GRIEG: Complete Orchestral Works CD 4 GRIEGCOMPLETE ORCHESTRAL WORKS Sung Texts CD 4 9 DET FØRSTE MØDE 9 THE FIRST MEETING Bjørnstjerne Bjørnson (1832–1910) Bjørnstjerne Bjørnson (1832–1910) Det første mødes sødme, The thrill of love’s first blooming det er som sang i skogen, is like a song in springtime, det er som sang på vågen or golden rays of sunshine i solens sidste rødme, when eventide is looming. det er som horn i uren Like distant horns resounding, de tonende sekunder in tones of muffled thunder, hvori vi med naturen all nature us surrounding, forenes i et under. our souls unite in wonder. English translation: W.H. Halverson DEN BERGTEKNE THE MOUNTAIN THRALL fra M.B. Landstad: Norske Folkeviser from M.B. Landstad: Norske Folkeviser Eg fòr vilt i veduskogin Thro’ the dark wood I did stray, kringum ein elvesteine, The Elfstones above me frowing; jutuldottri narrad meg, Elfinmaids beguiled my way; eg fann inkji vegin heim. never more shall I reach home. Eg fòr vilt i veduskogin Sad ’mid rock and tree I stray’d, kringum ein elve-runne, the elfstones hung darkly o’er me. jutuldottri narrad meg, Thou’st beguiled me, elfin maid; eg hev inkji vegen funnid. homewardpath ne’er shines before me. Eg hev vorid med jutulen I have dwelt with the elfin folk og jutulen etter meg rann, and danced with the queen of their race, gentunn sa’, eg lokkad dei, in her eyes no rapture lies, um eg dei aldri fann. no smile is on her face. Eg hev vorid med jutulen I have dwelt with the elfin folk og jutulen etter meg låg, and danced in their maddening round; gentunn sa’, eg lokkad dei, in the elfin maiden’s arms um eg dei aldri såg.
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