PRESENTS CELEBRATING ARIZONA!

Concert 2015 CELEBRATING ARIZONA! TABLE OF CONTENTS

03 CONCERT INTRODUCTION

04 MEET THE CONDUCTOR

06 ONLINE MUSIC EXAMPLES AND OTHER MEDIA

07 OVERVIEW – FOUR PERIODS OF ARIZONA HISTORY

12 GRAND CANYON LESSONS / ACTIVITIES

16 PHOENIX, ARIZONA “CONGA DEL FUEGO” LESSONS / ACTIVITIES

21 AARON COPLAND LESSONS / ACTIVITIES

25 LEARN THE ARIZONA STATE SONG (SING WITH THE SYMPHONY)

26 MEET THE ORCHESTRA ACTIVITIES

31 YOUR ROLE IN THE PERFORMANCE: A LESSON ON CONCERT ETIQUETTE

33 PRE & POST CONCERT BUS TRIVIA / REVIEW

36 TEACHER RESOURCES / STUDENT HANDOUTS

38 PHOENIX SYMPHONY EDUCATION DEPARTMENT CONTACT INFORMATION

02 CELEBRATING ARIZONA! CONCERT INTRODUCTION

STUDENTS AND TEACHERS We are so glad that you all are coming to celebrate such a wonderful occasion with The ARIZONA Phoenix Symphony. Did you all know that Arizona was the 48th state to join the union? Arizona is now 103 years old! Now, when we say Arizona is 103 years old, we mean that it’s 103 years old as an American state. Arizona has actually been around for thousands and thousands of years, and all those years can be categorized into four “periods” that you will be learning about. The first “period” is “The Period Before Written History,” which makes up most of Arizona’s lifetime. Next, Spanish explorers claimed Arizona’s territory as their own, 1912 thus beginning the “Spanish Period.” After some time, the “Mexican Period” began, and the FEBRUARY 14 “American Period” is where we are today. You will be hearing songs that have influences by some of the four “periods,” and we will even be asking for your participation in part of the performance!

TEACHERS The information in this packet is organized by lesson topics. Each lesson topic will have 103 adaptations for different grade levels. These topics were chosen based on music you will be YEARS OLD hearing the symphony play! We encourage you to give your students an overview of the Four Periods of Arizona history first, for they will be mentioned again throughout the lessons and at the concert. We also highly encourage you to go through our “Meet the Orchestra” activities so that your students can watch and listen for certain things during the performance. Another TH way to introduce your students to more listening examples is to play background music while they’re working on assignments. We have provided some extra links to songs they may enjoy! 48 These may be songs they hear the symphony play as well! STATE TO One way to incorporate music into your classroom consistently is to play music in the JOIN UNION background while your students are working. Music can effectively set the mood of a room, and it has been proven to help people concentrate. We encourage you to play any and all of the listening examples provided for your students, which can also be something else to get them excited about their upcoming field trip to Symphony Hall!

03 SAMEER PATEL MEET THE CONDUCTOR

Sameer Patel is increasingly recognized by audiences and musicians alike as one of America’s most dynamic young conductors. Recently, Sameer spent three highly acclaimed seasons as Associate Conductor of the Fort Wayne Philharmonic, where he conducted over 100 performances and invigorated the orchestra’s engagement with the community. In 2013 Sameer was one of only six conductors selected by the League of American Orchestras for the Bruno Walter National Conductor Preview with the Jacksonville Symphony Orchestra, an event that showcases emerging and talented conductors to orchestra industry professionals. In 2011 he was awarded a Felix Mendelssohn-Bartholdy Scholarship, which gave him the opportunity to study with and assist former New York Phi harmonic Music Director Kurt Masur in Germany and Finland.

Sameer has conducted orchestras throughout North America, South America, and Europe, and upcoming and recent engagements include performances with the Toronto Symphony Orchestra, Detroit Symphony, Reading Symphony, Naples Philharmonic, Jacksonville Symphony, Little Orchestra Society, San Diego Symphony, and Leipziger Sinfonieorchester. Sameer is a graduate of the University of Michigan, where he studied conducting with Kenneth Kiesler. Prior to joining the Fort Wayne Philharmonic he served as the Zander Conducting Fellow with the Boston Philharmonic. He furthered his training with conductors Gianandrea Noseda, Kurt Masur, Bernard Haitink, and David Zinman.

For more information on Sameer, please visit www.sameer-patel.com

SAMEER PATEL

04 MAESTRO SAMEER A SHORT INTERVIEW

WHERE DID YOU GROW UP? I grew up in a small town called Port Huron in the state of Michigan. It gets really cold and snows a lot in winter! But it’s beautiful in the summer because it’s right on Lake Huron.

WHAT WERE SOME OF YOUR EARLY EXPERIENCES WITH MUSIC? I started playing piano at the age of nine. Two years later, I began playing the saxophone. Even though at first I didn’t care for practicing, I became very interested in music in high school because I had really great teachers. I was lucky enough to have my first experiences conducting while in high school and have been doing it ever since!

DID YOU STUDY MUSIC IN COLLEGE? Yes, I studied at the University of Michigan. While music was my major, I am thankful I had the opportunity to study other subjects like languages, literature, and history, all of which are still passions of mine.

WHAT DO YOU LIKE ABOUT CONDUCTING? I like the creativity and teamwork involved in making music. I also like that it has taken me all over the world to meet other people who also love music. And I especially love seeing how music can help people and benefit their lives.

WHAT DO YOU LIKE TO DO WHEN YOU’RE NOT MAKING MUSIC? In my spare time I like to travel, read, follow University of Michigan football (Go Blue!), and watch tennis. I am a very curious person and enjoy learning about all sorts of things! MAESTRO SAMEER DO YOU HAVE A FAVORITE FOOD? I love all types of food, especially anything my mom makes!

DO YOU LIKE ANIMALS? I love animals! At one point I even thought about becoming a veterinarian. I especially like dogs, cats, and elephants.

HAVE YOU BEEN TO ARIZONA BEFORE? Yes, and it’s a very beautiful state! I especially love the Grand Canyon, Painted Desert, and the rock formations of Sedona.

05 OTHER MEDIA AND ONLINE MUSIC EXAMPLES

MUSIC EXAMPLES Ferde Grofé – “Grand Canyon Suite”: www.youtube.com/watch?v=N1l5vgY_3tw Arturo Márquez – “Conga del Fuego”: www.youtube.com/watch?v=BIOZrb-66eU Aaron Copland – “Hoedown” from Rodeo: www.youtube.com/watch?v=6ajQYANLiug Aaron Copland – “Appalachian Spring”: www.youtube.com/watch?v=xDRWdNn_nLk AZ State Song: www.youtube.com/watch?v=mgoWZjHq-UY&list=RDmgoWZjHq-UY#t=153 AZ State Song Sheet Music: www.azsos.gov/public_services/kids/Documents/arizonasongs.pdf Sheet Music “Simple Gifts”: www.themeandvariations.org/Scores/simple_gifts.png

VIDEOS National Park Service-Sesame Street Grand Canyon videos: MEDIA TOOLS www.nps.gov/grca/forteachers/learning/sesame-st-explores-grand-canyon.htm

WEBSITES Office of the Arizona Governor: Kid’s Page: www.azgovernor.gov/AZSpotlight/Kids_Main.asp Full Timeline-Four Periods: www.azgovernor.gov/Documents/AZSpotlight/chronology.htm National Park Service Website-Grand Canyon: Teacher Resources-Distance Learning: www.nps.gov/teachers/teacher-resources.htm?d=inmeta%3AType:Distance%2520Learning Kids’ Resources Homepage: www.nps.gov/kids/ Information on Biomes: www.kids.nceas.ucsb.edu/biomes/index.html Make Your Own Maracas Instructions: www.kinderart.com/sculpture/maraca1.shtml)

06 THE PERIOD BEFORE WRITTEN HISTORY ARIZONA’S FOUR HISTORICAL PERIODS

HIGHLIGHTS All copied from Office of the Arizona Governor’s Website: www.azgovernor.gov/Documents/AZSpotlight/chronology.htm

CIRCA 2,000 B.C. Cochise Culture develops in what is now southern Arizona. The Cochise people grow vegetable crops including corn.

CIRCA 300 B.C. Hohokam settle in southern Arizona.

1,000 B.C.-1,000 A.D. Hohokam and Anasazi people build irrigation canals, agricultural villages, roads and complex ceremonial centers.

700-1100 A.D. Anasazi culture develops into its Pueblo Period in which they use adobe bricks, stone slabs, or mud and sticks in home building. Kivas (underground ceremonial chambers) and cotton fabrics MONTEZUMA CASTLE are also developed. ARIZONA 1276-1299 A.D. Great drought in Arizona.

Circa 1400 A.D. Cultural decline of pre-historic groups.

07 THE SPANISH PERIOD (1528 – 1821) ARIZONA’S FOUR HISTORICAL PERIODS

HIGHLIGHTS All copied from Office of the Arizona Governor’s Website: www.azgovernor.gov/Documents/AZSpotlight/chronology.htm733

1540-1542 Coronado claims for Spain the vast lands that are today the American Southwest. His party, either together or in small groups, made the first systematic European exploration of the Southwest. Members of his party were the first Europeans to view the Grand Canyon.

1629 Franciscans, first Europeans to live in Arizona, establish missions in the north around the Hopi. Ultimately this venture fails.

1752 MISSION SAN XAVIER Tubac Presidio (fort) established by the Spanish became the first European community TUCSON, ARIZONA in Arizona.

1767 The Spanish government expels the Jesuits from its realm, and allows Franciscans to replace them.

1776 Tucson established.

1785-1821 Spanish troops campaign against the Apache and eventually work out a peace. Mining, ranching and missions prosper in Arizona.

08 THE MEXICAN PERIOD (1821 – 1848) ARIZONA’S FOUR HISTORICAL PERIODS

HIGHLIGHTS All copied from Office of the Arizona Governor’s Website: www.azgovernor.gov/Documents/AZSpotlight/chronology.htm

1821 Mexico gains its independence from Spain and considers most of what is modern-day Arizona as part of its land.

1835-1836 Texas War against Mexico begins the weakening of Mexican power in land close to the United States.

1846-1848 Mexican War is fought by the U.S. Army of the West which takes control of New Mexico and California. The Treaty of Guadalupe Hidalgo ends the war and the U.S. gains ARIZONA HISTORY confirmation of its title to Texas as well as the annexation of California and New Mexico (which included Arizona to the Gila River).

09 THE AMERICAN PERIOD (1848 – 1895) ARIZONA’S FOUR HISTORICAL PERIODS

HIGHLIGHTS All copied from Office of the Arizona Governor’s Website: www.azgovernor.gov/Documents/AZSpotlight/chronology.htm

1848 Discovery of gold in California. Arizona’s Gila Trail becomes one of the main routes to the California gold fields. Members of the Papago tribes help traveling gold seekers survive the harsh desert climate.

1854 Copper is discovered in Arizona, mined and commercially sold.

COPPER MINING 1863 MUSEIM Territory of Arizona is established and President Abraham Lincoln appoints Arizona Territorial officials. The Oath of Office is taken by the officials at Navajo Springs, JEROME, ARIZONA Arizona on December 29. 1870s-1890s This is the Age of Silver. Mining and ranching flourish.

1895 Phoenix is linked by rail to northern and southern railroad lines, increasing the ability to move goods and people not only east and west, but also north and south.

10 THE AMERICAN PERIOD (1906 – PRESENT) ARIZONA’S FOUR HISTORICAL PERIODS

HIGHLIGHTS All copied from Office of the Arizona Governor’s Website: www.azgovernor.gov/Documents/AZSpotlight/chronology.htm

1906 Referendum on joint Arizona-New Mexico statehood is rejected in Arizona by a vote of 16,265 to 3,141.

1912 Arizona officially becomes a state on February 14.

FEBRUARY 14, 1912 1919 ARIZONA OFFICIALLY Grand Canyon National Park is founded. BECOMES A STATE 1930 Planet Pluto is discovered at Lowell Observatory in Flagstaff.

1942 Many young Navajo men join the U.S. Marine’s Navajo Code Talkers and develop and use a word code based on the complex Navajo language. The Japanese are unable to break this secret code throughout the duration of WW II.

1944 Arizona Legislature finally ratifies the Colorado River Compact setting the stage for projects like the Central Arizona Project (CAP).

1948 Arizona Indians gain right to vote.

1965 Lorna Lockwood is elected chief justice of the Arizona Supreme Court. She is the first woman in the United States to head a state supreme court.

1975 Raul Castro becomes Arizona’s first Mexican-American Governor.

11 ACTIVITIES GRAND CANYON LESSONS

The Grand Canyon has been a beautiful landmark in Arizona since the Period Before Written History. It is now a National Park and one of Arizona’s defining features. One of America’s famous composers, Ferde Grofé, was so inspired by the landmark that he composed a song about it. Learn about Ferde Grofé and the landmark that inspired him with the activities below.

SPOTLIGHT: FERDE GROFÉ AND HIS “GRAND CANYON SUITE” Source: www.songwritershalloffame.org/exhibits/bio/C252

Ferde Grofé (1892-1972) was born in New York, but moved to California with his family when he was still very young. Both of his parents were musicians; his mother played the cello, and his father was a singer and actor. His parents tried to talk him into studying law at college, but he insisted on pursuing a career as a musician instead. His favorite music to play and compose was jazz. He started composing early on, even while playing for famous orchestras like the Los Angeles Symphony. One of his most famous works was an orchestral arrangement of George Gershwin’s “Rhapsody in Blue.” The song premiered in 1924 and brought fame to both Gershwin and Grofé. He continued to write music throughout the rest of his life, and even received an Oscar Nomination for one of his film scores. He taught for some time at the Julliard School of Music, and once toured with his wife, Anne, playing two-piano concertos. FERDE GROFÉ Much of Grofé’s music was inspired by the American landscape, though his most famous and beloved composition was the “Grand Canyon Suite.” The song premiered in Chicago in 1931. Grofé loved the composition as well, for he wrote “It became an obsession. The richness of the land and the rugged optimism of its people had fired my imagination. I was determined to put it all to music someday.” He also wrote, “This composition was born of sight, sound and sensations common to all of us. I think I have spoken of America in this music simply because America spoke to me, just as it has spoken to you and to every one of us. If I have succeeded in capturing some part of the American musical spirit, I am grateful that I was trained to do so. But this music is your music, and mine only in the highly technical sense that a copyright has been filed away with my name on it. Always we must realize that there is much more to hear. Our land is rich in music, and if you listen you can hear it right now. This is our music you hear, surging forth, singing up to every one of us.”

12 ACTIVITY #1 (K–3RD) GRAND CANYON LESSONS

EXPLORE THE GRAND CANYON WITH RANGER AMALA, ELMO AND MURRAY FROM SESAME STREET!

Duration: Materials: Varies: Each video Access to the internet averages 5 minutes www.nps.gov/grca/forkids/ (total activity: 30 minutes) sesame-street-grca.htm

The National Park Service website and Sesame Street collaborated to make educational videos for children! There are three videos to pick and choose from: Grand Canyon Seasons, Grand Canyon Habitats, and Grand Canyon Families. Each video averages about 5 minutes. You may show these to your students and tell them to think about these things while listening to the Grand Canyon Suite during the concert. What kind of music do they think will play for each season? How could the music sound like different animals that live at the Grand Canyon?

RANGER AMALA, FROM THE NATIONAL PARK SERVICE VIDEOS THAT EXPLORE THE GRAND CANYON

EXPAND Expression through Movement – when discussing what music might play for each of the Grand Canyon’s seasons and habitats, have your students dance along to the music they’re imagining! Encourage them to get up out of their seats and dance around the room. This is another way they can express these themes creatively. 13 ACTIVITY #2 (3RD–5TH) GRAND CANYON LESSONS

BIOMES AND THE GRAND CANYON

Duration: Materials: Varies Access to the internet 30-45 minutes Information on biomes: www.kids.nceas.ucsb.edu/biomes/index.html, Computer Lab (optional, for making the collage)

If you are already studying biomes in your science lessons with your students, use this to build on what you’ve already started. If your class is new to biomes, a website that will summarize them well for your students is listed in the materials for this section. You may have your students look through this website. They can click on different “Terrestrial Biomes” to read about each one. Each has information on that biome’s location, weather, plants, animals, and people. Have your students use this website, or other materials you’ve been using in your lessons, to determine which biome the Grand Canyon would be.

Once your students have placed the Grand Canyon in a biome and have reviewed the common characteristics of that biome, have your students make a collage. They will use images from the LAKE HAVASU FALLS Grand Canyon that depict the location, weather, plant life, animal life, and people that reside there. Underneath their collage, they should write a brief summary of their images. ARIZONA

14 ACTIVITY #3 (6TH AND UP) GRAND CANYON LESSONS

WRITE YOUR OWN COMIC STRIP

Duration: Materials: Varies Access to the internet About 30 minutes Grand Canyon Suite: www.youtube.com/watch?v=N1l5vgY_3tw, Paper, Writing and/or coloring utensils

Play one of the movements from “Grand Canyon Suite” for your students. (You may play any movement you’d like. We have provided some “suggested movements” below as a recommendation.) Do not tell your students the title of the movement, just tell them it is from the Grand Canyon Suite. Tell your students that after listening to the selection, they will create a graphic comic strip - they will illustrate an original story with captions that they think goes along with the music. They should address the tone and mood of the music they heard.

Suggested Movements (time frame from provided video):

SUNRISE (0:00 – ~5:15) GRAND CANYON ARIZONA PAINTED DESERT (~5:15 – ~11:00)

ON THE TRAIL (~11:00 – ~18:20)

EXPAND Below the comic strip, have your students write a short paragraph analyzing how and why their stories relate to the music selection they heard.

15 ACTIVITIES CONGA DEL FUEGO LESSONS

The Mexican Period was a very important part of Arizona’s history. Arturo Márquez lived during the American Period, but his music is reflective of traditional Mexican musical styles that prevailed during the Mexican Period. His piece “Conga del Fuego” is up-beat, fun, and showcases what he is famous for: dance music, and great rhythms!

SPOTLIGHT: “CONGA DEL FUEGO” COMPOSER: ARTURO MÁRQUEZ

Source: www.concierto.org/artists/composers/item/1122-arturo-m%C3%A1rquez

Arturo Márquez (B. 1950) is a composer and musician that was born in Alamos, Mexico. He was named after his father, who grew up in Arizona. His father was also a musician; he played the violin, was a mariachi, and also worked as a carpenter on the side. The young Arturo spent his early years listening to his father play and was inspired by the waltzes and polkas he heard. His family moved to Los Angeles, California when he was still young, and it was there that young Arturo began his music education. He studied violin, like his father, in addition to other instruments. At this time, while he was in junior high, Arturo began composing music as well. He moved back to Mexico when he was 17 to work as the director of the Municipal Band ARTURO MÁRQUEZ in Navojoa. He went to college at the Mexican Music Conservatory, where he received a COMPOSER scholarship to study composition abroad in Paris, France. There, he received another scholarship to come back to the United States, and he received his Master’s degree at the California Institute of the Arts. However, it wasn’t until the early 1990s that Arturo’s compositions were recognized outside of Mexico. He became known for the music he wrote to accompany Latin ballroom dancing. His rhythms made his music very popular. He now lives in Mexico City, where he works at the National University of Mexico, Superior School of Music and the National Center of Research.

16 ACTIVITY #1 (K–3RD) CONGA DEL FUEGO LESSONS

MAKE MARACAS AND PLAY ALONG TO “CONGA DEL FUEGO”

Duration: Materials: Varies Access to the internet for listening example, materials About 30 minutes for maracas (instructions and needed materials www.kinderart.com/sculpture/maraca1.shtml Listening Example: “Conga del Fuego” (Music begins at 0:58): www.youtube.com/watch?v=BIOZrb-66eU

Before telling your students they will be making maracas, have them listen to Marquez’s song (the link above). Ask the class after a few minutes if they can guess what country this music is from. After they guess, tell them that the composer is from Mexico!

They are going to get to play along with the song, which means they’ll need to make their own maracas! Instructions for this craft can be found at the website above. When they start coloring/decorating their instruments, tell them that the song they’re playing to is called “Conga of Fire.” They should decorate their maracas to match the theme of the song.

POPOCATEPETL Once the class has made their own maracas, have them play along with the song. VOLCANO, MEXICO

17 ACTIVITY #2 (3RD – 5TH) CONGA DEL FUEGO LESSONS

MAKE MARACAS AND LEARN ABOUT THEMES WITH “CONGA DEL FUEGO”

Duration: Materials: Varies (Whole activity: 40- Access to internet for listening example, materials 50 minutes. Can split making for maracas (instructions and needed materials at maracas and learning about www.kinderart.com/sculpture/maraca1.shtml themes activities) Listening Example: “Conga del Fuego” (Music begins at 0:58): www.youtube.com/watch?v=BIOZrb-66eU

Play the song selection (YouTube link) once for your students, and ask them what nationality they think the music represents. After they’ve guessed, let them know that the composer is from Mexico!

They will be making maracas that they will get to play along with the music while they learn about “themes” in music. Follow the link provided above to help your students make their own maracas.

Once they’re finished, teach them about “themes and variations” in music. The technical POPOCATEPETL definition of “themes and variations” is “a standard form of musical composition consisting of VOLCANO, a simple, usually harmonized melody presented first in its original unadorned form then MEXICO repeated several or many times with varied treatment based on the theme that at least some semblance of its general melodic or harmonic form is evident” (www.merriam- webster.com/dictionary/theme%20and%20variations). Simplified, the theme of a piece is the recognizable main melody (like the chorus of a pop song). The theme will be repeated multiple times throughout the piece, sometimes with “variations,” which means the melody will sound similar, but will have some subtle differences. It may be played on different notes or with slightly different rhythms. Visual example: pizza. Regular cheese pizza is the theme. Variations are pepperoni pizza, sausage pizza, etc.

Listen to “Conga del Fuego” again, first just playing the main theme for your students to hear (youtube video: 1:11-1:25). Then, tell your students you will play the song from start to finish, and they should play their maracas every time they hear the main theme or any of its variations. (They should play their maracas at three different points throughout the piece.)

18 ACTIVITY #3 (6TH AND UP) CONGA DEL FUEGO LESSONS

LEARNING “THEMES” IN MUSIC

Duration: Materials: Craft: 30 minutes, Listening Example: “Conga del Fuego” Listening: 20-30 minutes (Music begins at 0:58): www.youtube.com/watch?v=BIOZrb-66eU Listening example provided above, materials for making instruments (It is entirely up to you what you want to provide-be creative! Some suggestions are: cups, tape, glue, paper, string, beans, beads, etc.)

First, have your students listen to the beginning of “Conga del Fuego.” Ask your students if they can guess what nationality this music represents. After they’ve guessed, tell them that the composer is from Mexico! Based on their knowledge of Mexican heritage and music, they will be making their own instruments to play along with the music! They will be provided with MARACAS certain materials and will make TWO separate instruments that they think will complement the music.

Once they’ve made their two different instruments, teach your students about “themes and variations” in music. The technical definition of “themes and variations” is “a standard form of musical composition consisting of a simple, usually harmonized melody presented first in its original unadorned form then repeated several or many times with varied treatment based on the theme, so that at least some semblance of its general melodic or harmonic form is evident” (www.merriam-webster.com/dictionary/theme%20and%20variations). Simplified, the theme of a piece is the recognizable main melody (like the chorus of a pop song). The theme will be repeated multiple times throughout the piece, sometimes with “variations,” which means the melody will sound similar, but will have some subtle differences. It may be played on different notes or with slightly different rhythms.

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19 ACTIVITY #3 (CONTINUED) CONGA DEL FUEGO LESSONS

LEARNING “THEMES” IN MUSIC

Duration: Materials: Craft: 30 minutes, Listening Example: “Conga del Fuego” Listening: 20-30 minutes (Music begins at 0:58): www.youtube.com/watch?v=BIOZrb-66eU Listening example provided above, materials for making instruments (It is entirely up to you what you want to provide-be creative! Some suggestions are: cups, tape, glue, paper, string, beans, beads, etc.)

Now, they will listen to “Conga del Fuego” from start to finish. Tell your students there are two different themes in this piece. The main theme will be like the “chorus” of a pop song, which in this song is [1:11-1:25] in the video provided. The second theme is like the verses in a pop song, which in this song is [1:40-2:40] in this video. The first time you play the song MARACAS through from start to finish, see if your students can pick these out on their own. Listen through a second time, and this time they will play their instruments. They will designate one of their instruments for the main theme and their other instrument for the second theme. Whenever they hear the main theme, they should play that designated instrument. Whenever they hear the second theme, they should play that instrument. This requires active listening from your students and will teach them to really analyze the piece they’re hearing.

20 ACTIVITIES AARON COPLAND LESSONS

Aaron Copland is the most famous and renowned American composer of his time. He was only about 12 years old when Arizona became an American state! He did not grow up in the south, but much of his music was inspired by the southern regions of the United States. He combined many different “American” styles of music to create his sound, including jazz and folk music. If you listened to his music without knowing who he was, you might guess right away that the music was written about America.

SPOTLIGHT: AARON COPLAND

Source: www.classicsforkids.com/composers/bio.asp?id=14)

Aaron Copland (1900-1990) is widely known as the most famous writer of “American” music. He is a native of New York, though a lot of his music was inspired by areas in the south. His music is known as uniquely “American” because he brought a variety of styles together to make his sound, including jazz, folk, and classical. Some of his most famous compositions include Billy the Kid, Rodeo, Appalachian Spring, and Fanfare for the Common Man.

AARON COPLAND COMPOSER

21 ACTIVITY #1 (K–3RD) AARON COPLAND LESSONS

CIRCLE DANCE TO “HOEDOWN” FROM RODEO

Duration: Materials: Varies: Listening Example: 30-50 minutes www.youtube.com/watch?v=6ajQYANLiug, Large open space for dancing

First, have your students listen to the listening example without telling them anything about the piece. Have your students guess what kind of music this is (What country is it from? What comes to mind when you hear this?). If someone guesses cowboys or the Old West, tell them this song was written to depict just that! The song is called “Hoedown,” and a hoedown is a traditional barn dance. Tell them they are going to learn a simple circle dance to Copland’s song!

The easiest way to teach this is to have everyone in the class get into one big circle. Teach the dance without music first, counting the beats out loud as they learn each step. Once they’re comfortable with the dance, put it to music (play clip from 0:40-1:28). The dance moves are as follows:

A) “JOIN HANDS AND CIRCLE RIGHT” Students all join hands and, facing right, walk or skip for 8 beats. THE OLD WEST B) “NOW CIRCLE LEFT” Repeat the above process, walking or skipping while facing left for 8 beats. C) “GIRLS TO THE CENTER FOR 8” After dropping hands, girls take 8 small steps in toward the center of the circle, walking or skipping to the beat. (Optional: boys clap quietly to the beat) D) “NOW GO BACK HOME” Girls carefully take 8 small steps backward to the beat (can look over their shoulder). (Optional: boys clap quietly to the beat) E) “BOYS TO THE CENTER FOR 8” After dropping hands, boys take 8 small steps in toward the center of the circle, walking or skipping to the beat. (Optional: girls clap quietly to the beat) F) “NOW GO BACK HOME” Boys carefully take 8 small steps backward to the beat (can look over their shoulder). (Optional: girls clap quietly to the beat) G) REPEAT A-F AS MANY TIMES AS DESIRED!

22 ACTIVITY #2 (3RD – 5TH) AARON COPLAND LESSONS

THEMES AND VARIATIONS OF “SIMPLE GIFTS” IN “APPALACHIAN SPRING” (Building on previous lesson for Grades 3-5 on “Conga del Fuego”)

Duration: Materials: Varies: Listening Example: 30-40 minutes www.youtube.com/watch?v=xDRWdNn_nLk, Sheet music (optional): www.themeandvariations.org/Scores/simple_gifts.png

Aaron Copland used the traditional American folk song “Simple Gifts” in his orchestral piece “Appalachian Spring.” “Simple Gifts” is a traditional Shaker song from the 1800s, but it was not widely known until Copland incorporated it into “Appalachian Spring” in the 1900s. In Copland’s version, “Simple Gifts” is a main theme, and it is repeated over and over as different variations. Remind your students what themes and variations are from the previous lesson with “Conga del Fuego.” Now, instead of playing their maracas when they hear the theme and variations, they will be writing their own variations for “Simple Gifts!”First, have your students listen to the recording provided. Have them raise their hand whenever a new variation starts.

APPALACHIAN SPRING, DISCUSSION NORTH GEORGIA What makes each variation different than the last? Was it a change in instrumentation, change in tempo (how fast or slow), change in dynamics (loud or soft), or something else? List different ways MOUNTAINS to change the main theme into different variations.

Now, tell your students to take that main theme of “Simple Gifts” to come up with their own variations using one of the discussed techniques. You may put your students into small groups, and have each group perform their variation in front of the class. You may give each group a copy of sheet music for the theme to use while they work. That way, when they perform the piece, they can sing it on the words (from the first verse).

23 ACTIVITY #3 (6TH AND UP) AARON COPLAND LESSONS

COMBINING MUSICAL STYLES LIKE COPLAND

Duration: Materials: Varies: Listening Example: 30-60 minutes www.youtube.com/watch?v=6ajQYANLiug (Hoedown from Rodeo)

Before reading the bio on Aaron Copland, have your students listen to the listening example provided. Ask them what country the music makes them think of. Discuss what makes Copland’s music sound American. His music is made up of different combinations of jazz, folk, and classical styles. See if they can hear specific elements of those styles in the listening example! (The main jazz element is the syncopation – have your students clap along with the syncopation to get the feel of the “off-beats.”)

Tell your students they are going to split into small groups to write an arrangement of a song that will use two different music styles, just like Copland did! For this activity, make sure your students have the lyrics to “My Country ‘Tis of Thee.” Your students will use the lyrics to assist them when they write an arrangement of this song in one of these styles: pop, rap, country, rock and roll, or musical theater. You can assign each group a style, or you can have them pick their styles randomly out of a hat. Give each group approximately 15-30 minutes to MY COUNTRY, work, then have them present their songs in front of the class. ‘TIS OF THEE. 1776

1861. A. W. Auner, Song Publisher, N. W. cor. 8th and Market Sts., Philadelphia

EXPAND Discuss Copland’s diversity with musical styles. How does this relate to diversity in America? Why is it that his sound is known as “American” when it is a mixture of music with different cultural backgrounds? Why is diversity important in America and, more specifically, Arizona? 24 SING WITH THE SYMPHONY! LEARN THE ARIZONA STATE SONG

SING WITH THE SYMPHONY!

Resources:

Sheet Music (words and melody only) Page 2 www.azsos.gov/public_services/kids/Documents/arizonasongs.pdf

Listening Example (video) www.youtube.com/watch?v=mgoWZjHq-UY&list=RDmgoWZjHq-UY#t=153

The Phoenix Symphony will be performing Arizona’s most recent state song, “I Love You, Arizona.” We will be projecting the lyrics on a screen above the stage, and we need your students to sing along! Please help your students learn the melody of the piece so they can REX ALLEN, JR follow along. You may wish to print out copies of the sheet music (from the above link) to give to your students to assist them in their preparation. COMPOSER SPOTLIGHT: “I LOVE YOU, ARIZONA” COMPOSER, REX ALLEN, JR.

Source: www.rexallenjr.com/about-us/

Rex Allen, Jr. has made himself known as a country singer and songwriter, narrator, and entertainer. One of his favorite accomplishments was being the first performer ever granted permission to perform on the Great Wall of China, in 2006. He was later inducted into the Western Music Hall of Fame in 2008. Shortly after, his song “Arizona” was chosen as an alternate state song for Arizona, becoming the theme of Arizona’s Centennial celebrations in 2012. In 2013 Rex was inducted into the Arizona Music and Entertainment Hall of Fame and considers Arizona to be his “adopted homeland.” A cowboy at heart, Rex is a strong believer in the American Dream and in “good” country music.

25 LEARN THE LAYOUT MEET THE ORCHESTRA ACTIVITY

MEET THE ORCHESTRA, LEARN THE LAYOUT

Duration: Materials: 30-60 minutes Access to the internet Pages 27-30 and Page 36 in this packet

The objective of this lesson is for your students to know the four sections of the orchestra, the layout of an orchestra, and to learn about different roles within the orchestra (including positions other than musicians). There are activity sheets to hand out to your students so they can follow along with the lesson.

Meet the Orchestra Page 27 of this packet. Pass this sheet out to each of your students and learn about everyone that makes up an orchestra.

Next, visit www.dsokids.com/visit-the-symphony/orchestra-seating-chart.aspx (Dallas Symphony Orchestra) to see the layout of the orchestra on-stage. Scroll through (in the bottom left corner) to the map of the “Modern Period.” If you scroll through the other maps, you can see how orchestras have changed a lot over time! The Modern Period is what you will see when you visit The Phoenix Symphony. On their Orchestra Maps (pg 36), have your students label each section of the orchestra. Also, circle where the concertmaster sits and where the UNDERSTAND THE conductor stands! ORCHESTRA Read Personal Bios from The Phoenix Symphony Musicians and Staff Pages 29-30 of this packet. Read fun, personal bios from different members of the orchestra! For the musicians, see if your students can point to where they might sit in the orchestra.

EXPAND If you would like to make this into a coloring activity, color the Woodwinds Blue, the Brass Red, the Strings Yellow, and the Percussion Green.

26 THE PHOENIX SYMPHONY MEET THE ORCHESTRA

The orchestra is made up of all kinds of different people. The orchestra is also more than just musicians! Let’s meet everyone that’s part of an orchestra and learn about their role in making each performance successful. CONDUCTOR The conductor keeps everyone together. The conductor uses a BATON to keep the beat steady. He/she rehearses the orchestra before each performance. MUSICIANS The musicians are generally split up into FOUR sections: WOODWINDS, BRASS, PERCUSSION, and STRINGS.

More information on each individual instrument can be found on our website: Education and Community/Resources for Educators/Learn About the Orchestra.

Woodwinds: Flute, Clarinet, Oboe, Bassoon, Piccolo, Contrabassoon, Bass Clarinet Brass: Trumpet, Tuba, Horn, Trombone THE PHOENIX Percussion: Timpani, Snare Drum, Vibraphone, Tambourine, Triangle, Piano, and many more. SYMPHONY Strings: Violin, Viola, Cello, Double-Bass, Harp

One musician you will learn to recognize is the concert master. The concert master is the First Chair violinist, and he/she is the last musician to come on-stage and the first musician to leave the stage at the end of the performance. The concert master’s primary responsibility is to tune the orchestra before each performance. When you look at the layout of an orchestra, the concert master sits in the first row of violins and is all the way at the end of their row, closest to the audience.

27 THE PHOENIX SYMPHONY (CONTINUED) MEET THE ORCHESTRA

EDUCATION AND COMMUNITY ENGAGEMENT TEAM The Education and Community Engagement team is in charge of organizing all of the concerts that symphony musicians play for education and community programs outside of symphony hall. Valerie (the Education Director) and Emily (the Education Assistant) schedule concerts at schools, hospitals, and homeless shelters. They also organize many of the symphony’s unique educational programs, which are provided for students and teachers across the Valley. You can find more information on all of these programs at The Phoenix Symphony’s website under the “Education and Community Engagement” tab. Part of Emily’s job was to create all these preparation materials and activities for the concert you will be seeing!”

CEO The CEO oversees all aspects of the orchestra. Jim Ward, The Phoenix Symphony’s CEO, checks in with all departments to make sure they are meeting their goals. He works to raise money for the orchestra and keeps the orchestra’s relationships with other organizations strong.

LIBRARIAN SYMPHONY HALL The librarians are very important to the orchestra! They keep the orchestra’s library of music PHOENIX, ARIZONA organized, check out the music to each musician just like a regular librarian would in a library, and make sure every instrument has the correct music. They also organize all the bow strokes in the music so that all the musicians move their bows in the same direction (so no one sticks out), and they even fix damaged music so the musicians can read what they are playing.

OTHER ROLES Other roles in the orchestra include marketing, development, patron services, I.T., ushers, stage technicians, and house managers.

28 THE PHOENIX SYMPHONY MEET THE MUSICIANS

DIAN D’AVANZO – ASSISTANT CONCERTMASTER My name is Dian, and I am the Assistant Concertmaster for The Phoenix Symphony. What that means is that I sit in the 3rd chair of the first violin section. My job is to play the part of a first violinist, but to be prepared to move up to the 2nd or 1st chair if needed and lead the section. I also lead the PSSE orchestra for some of the education concerts, which I enjoy very much. I have two daughters; Amelia age 15, and Elena age 12. My favorite band this year is Green Day.

PETER ANDEREGG – PRINCIPAL CELLO DIAN D’AVANZO My name is Peter, and I am the Acting Principal Cello for The Phoenix Symphony. My job is to help the cello section play with the rest of the orchestra, play solo cello parts, and to tell the cellos which way to move their bows so we can play together. I also play smaller chamber music performances, perform at hospitals and homeless shelters, and work with teachers to bring music into classroom lessons. Since I’m “Acting” Principal, I could be demoted at any time based on the whim of the conductor, so if you liked the cellos at today’s concert, make sure to tell the conductor so I can keep my job! I have a twin sister who plays the violin and a degree in Mathematics from Harvard University.

PETER ANDEREGG EMERY HARVISON - TRUMPET Hi there. My name is Emery, and I am the Assistant Principal Trumpeter for The Phoenix Symphony. I sit directly between the other two trumpeters in the orchestra. I guess I’m like the glue that holds the section together. I stay very busy teaching trumpet at the Salt River Schools and Mesa Community College. In my spare time, I enjoy crafting my own decorations for one of my favorite holidays, Halloween! I have carved and painted over 50 tombstones for my yard. You can see it on Youtube at: Halloween Haunt 2012 Mesa, AZ.

EMERY HARVISON

29 THE PHOENIX SYMPHONY MEET THE STAFF

EMILY AXEN – EDUCATION ASSISTANT My name is Emily Axen, and I am the Education Assistant for The Phoenix Symphony! I spend some of my time in the office working on materials to send out to schools and community centers, and I spend the rest of my time on-site with the musicians. I set up concerts for the musicians at schools, hospitals, and homeless shelters. Before I worked for the symphony, I worked at Walt Disney World! My favorite princess is Rapunzel.

DEBBIE DAMON – PATRON SERVICES MANAGER EMILY AXEN My name is Debbie Damon and I am the Patron Services Manager at the orchestra. I spend the week overseeing the Patron Service Representatives as they answer incoming calls from people who are buying tickets to upcoming concerts. I also spend time during the week answering a lot of questions and concerns our patrons have about upcoming concerts through emails that are sent to me and by phone. Then on the weekends when we have concerts I am also at the box office at the hall making sure all the customers that need tickets for that night’s concert get in and seated so they can enjoy their evening with the symphony. I come from a family that loves music. I played the flute for nine years, have three sons and all three of them played the trombone!

DEBBIE DAMON JASON LEWIS – TECHNICAL DIRECTOR My name is Jason Lewis and I am the Technical Director for The Phoenix Symphony. It’s my job to make sure that everyone is in the right place at the right time and see that they have everything that they need to put on a stellar performance. I accomplish this by managing and overseeing the people who take care of our lights, sound, video, staging, and transportation needs. I also take care of many of the instruments that are used by our percussion section. When I’m not at work I like to travel with my wife Michelle and read science fiction novels.

JASON LEWIS

30 YOUR ROLE IN THE PERFORMANCE A LESSON ON CONCERT ETIQUETTE

YOU GET TO BE A PART OF THE PERFORMANCE! Everyone in Symphony Hall has a part to play to make the concert fabulous, and everyone’s part is just as important as the others. Here’s a little more information on your role so you can make sure you play your part well.

YOUR ROLE The Audience Member

YOUR SET Symphony Hall!

Symphony Hall is the home of The Phoenix Symphony. Since the doors first opened in 1972, millions of people have crossed its welcoming threshold and enjoyed the wonders of live music in the 2,312 seat auditorium.

Symphony Hall also features an art collection of international significance. The pieces are all SYMPHONY HALL gifts from interested and generous residents of Phoenix and include: PHOENIX, ARIZONA Venetian Light Sculptures: Hand-blown glass chandeliers designed by Robert Weymers of Beverly Hills, CA and created on the Venetian island of Murano.

Four Tapestries: Each 20 feet long and 8 feet wide. Designed by David Chethlahe Paladin of Prescott, AZ. Woven of Argentine wool by artisans at Teji dos Artisticos in Mexico City, representing a renewal of understanding of the interlocking elements of two cultures.

YOUR CO-STARS See if you can spot them all! Other roles include musicians, ushers, volunteers, education staff, etc.

31 PREPARING AND ACTING YOUR ROLE A LESSON ON CONCERT ETIQUETTE

PREPARING FOR YOUR ROLE Before the performance, make sure you use the restroom. That way, you won’t have to stand up at all during the performance!

Do not bring any food, drinks, or gum into the performance hall. You are part of our team to keep the performance hall pretty and show-ready for each performance!

Go over preparation materials with your teacher so you know what to listen for during the performance. ACTING OUT YOUR ROLE: As an audience member, you get to sit back and listen to the beautiful music that the symphony plays. While that may sound fairly simple, there are some important things to remember while playing your part:

Please enter and leave the performance hall with your group. If you run off away from your group, you will miss your cues and the performance will be put off-time! SYMPHONY HALL Your role is to actively listen to the music. To be a great listener, try to pick out certain things PHOENIX, ARIZONA in the music. What instruments do you hear playing in each section of the piece? Which instruments set the mood of the piece?

You should also actively watch the musicians on stage. During the concert, see if you can spot the Concert Master. Look to see how each instrument is held and look for techniques the players use to make their instruments sound.

As an audience member, your biggest responsibility is to keep the performance enjoyable for all the other audience members around you. That means you will stay seated throughout the entire performance, you will not talk during the performance, and you will clap at the appropriate times during the performance.

Clapping – You may clap to show your appreciation for the music being played by the musicians. It is important that you wait for your CUE to begin clapping. Your cue to clap is when a song ends and the conductor lowers the baton. There may be pauses between movements – you will be tempted to clap, but do not clap until the conductor’s baton is down at his or her side!

32 PRE CONCERT: CELEBRATING ARIZONA! BUS TRIVIA/REVIEW

These are some great topics to review with your students on the day of the performance before arriving at Symphony Hall. If you have a long bus ride to symphony hall, consider using this activity as a fun way to get your students excited and ready for the show! If you won’t be on the bus long, consider using this activity before you leave your school or the day before the concert. The answers to each question are highlighted in yellow.

REVIEW TOPIC: THE ORCHESTRA The orchestra is categorized into _____ (four) sections. What are they? (Strings, Woodwinds, Brass, Percussion). Can you yell out at least one instrument from each section? (Strings-violin, viola, cello, bass. Woodwinds-flute, oboe, clarinet, bass clarinet, etc. Brass-trumpet, horn, tuba, trombone. Percussion-snare drum, cymbals, piano, vibraphone, etc.)

Who is the concert master in the orchestra?” (First chair violinist) What makes the concert master special? (Tunes the orchestra, is the last musician on stage and the first to leave the stage)

What other people are part of the orchestra that you won’t see on stage today? (Education team, marketing, development, CEO, etc.) SYMPHONY HALL PHOENIX, ARIZONA REVIEW TOPIC: YOUR ROLE IN THE SHOW/CONCERT ETIQUETTE What is your role in today’s concert? (Audience member)

Before you begin your role in the show, remember to use the restroom!

Part of your role is to actively listen to the orchestra. What kind of things will you listen to today? (the percussionists playing Uzu and Muzu, listening for the four different instrument sections, etc.)

Another part of your role is to actively watch the orchestra. What kinds of things will you watch for? Will you be able to spot the concert master?

How can you be courteous to other audience members? (Don’t talk during the performance, stay seated throughout the show, etc.)

When may you clap to show your appreciation? (Trick question: don’t just say at the end of each song, say “when the conductor’s baton is down at his/her side)

33 PRE CONCERT: CELEBRATING ARIZONA! BUS TRIVIA/REVIEW

REVIEW TOPIC: ARIZONA TOPICS REVIEW What are the four “periods” that Arizona’s history can be categorized into? (The Period Before Written History, The Spanish Period, The Mexican Period, and The American Period). What are some characteristics of each period?

When is Arizona’s birthday as an American state? (February 14, 1912). How old does that make our state today?

PRE-CONCERT TRIVIA: Can You Name Our State Icons?

State Flag: Split in half horizontally: bottom is blue, top has 13 red-and-yellow stripes. In the center is a copper star.

State Bird: Cactus Wren

State Flower: Blossom of the Saguaro Cactus

SYMPHONY HALL State Gem: Turquoise PHOENIX, ARIZONA State Tree: Palo Verde

State Fossil: Petrified Wood

State Mammal: Ringtail

State Reptile: Arizona Ridge-Nosed Rattlesnake (eek!)

State Fish: Apache Trout

State Amphibian: Arizona Tree Frog

PREDICTIONS: You will be hearing a selection from Ferde Grofé’s “Grand Canyon Suite.” What characteristics/qualities of the Grand Canyon do you think you will hear in the music? What would the different animals sound like? How might the composer illustrate the rocks and colors of the canyon through music?

34 POST CONCERT: CELEBRATING ARIZONA! BUS TRIVIA/REVIEW

These are some great topics to review with your students on the way back from the performance. If you have a short bus ride home, you may use this to review your students upon returning to your school.

REVIEW TOPIC: YOUR ROLE IN THE SHOW Were you able to pick out the four sections of the orchestra? What specific sounds did you hear coming from each section?

After hearing all the different sounds of the orchestra, do you have a new favorite instrument? If you could choose one to play, which would you choose?

What other people did you see that are part of the orchestra that weren’t on-stage? (Ushers, lighting technicians, patron services, etc.)

REVIEW TOPIC: THE ORCHESTRA Part of your role was to actively listen to the orchestra. What kind of things did you hear SYMPHONY HALL that surprised you? What kind of emotions did you feel while listening to different sections? PHOENIX, ARIZONA Another part of your role was to actively watch the orchestra. What kinds of things did you see? How did the musicians look while playing their instruments? What did you notice about the conductor?

REVIEW TOPIC: ARIZONA TOPICS REVIEW Can you place each of the songs we heard into one of Arizona’s four “periods” that we learned about?

How did the music at the concert today give you a broader understanding of what makes Arizona special and unique?

Do you think it made a big difference having pictures displayed above the orchestra in the screen? How do pictures and/or videos add to the story that the music is telling?

35 ORCHESTRA MAP ACTIVITY (BLANK)

– 36 – ORCHESTRA MAP (COMPLETED)

– 37 – THE PHOENIX SYMPHONY CONTACT INFORMATION

VALERIE BONTRAGER Education and Community Engagement Director Phone: 602-452-0470

EMILY AXEN Education and Community Engagement Assistant Phone: 602-452-0471

PATRON SERVICES/BOX OFFICE Phone: 602-495-1999 or 1-800-776-9080

EMAIL [email protected]

WEB www.phoenixsymphony.org

Concert Program Spring 2015