Quinteto Latino, a wind quintet specializing in the interpretation of Latin American classical and contemporary music, was founded in 2001 by French hornist Armando Castellano. These passionate artists and enthusiastic educators have dedicated themselves to performing with world­class artistry in communities not traditionally served by classical musicians. By championing young and lesser­known composers of Latin American and Caribbean heritage, Quinteto Latino seeks to expand the boundaries of classical music, reach new audiences, and inspire new generations of players.

QUINTETO LATINO WIND QUINTET

Kyle Bruckmann, oboe  Diane Grubbe, flute  Shawn Jones, bassoon  Leslie Tagorda, clarinet Armando Castellano, Founder and Director, French horn “Every country has its own sounds, rhythms, instruments, songs and dance. Music helps us understand the people who make it, even if they live far away.” ‐ Aliki Join Quinteto Latino for a very special trip REPERTOIRE Györgi Ligeti – Bagatelle (short, fun piece of music) around the world through the joyful and b. Romania, (1923 – 2006) colorful music of Latin America and beyond. José Luis Hurtado (Arr.) – Son de la Bruja (Song of the Witch), Quinteto Latino share their musical‐cultural Traditional folk song, Mexico, contemporary composer and pianist roots and stories through the works of folkloric Astor Piazzolla – Libertango (Freedom Tango) Calambre and contemporary masters, connecting (Spasm) Argentina, composer and bandoneon player (1921 – 1992) students with themselves, one another and the Carmen Melendez Romero (Arr.) – Sones de Betaza (Songs world community. Through movement, gesture from Betaza) Mexico, contemporary composer and flutist and focused listening strategies, students gain George Friedrich Händel ‐ Hornpipe from Water Music, b. Germany worked in England (1685‐1759) an understanding of musical ideas and Billy Strayhorn – Take the A Train, USA; American jazz concepts while learning about building composer, arranger and pianist (1915 – 1967) community out of rich diversity… and have lots Queen Lili’uokalani ­ Aloha ‘Oe (Farewell to Thee) Hawaii; last reigning Hawaiian monarch; (1838 – 1917) of fun along the way! Students will enjoy music‐ Siyahamba (Marching Song), Traditional, Africa making as the “percussion section” in this Wolfgang Amadeus Mozart ‐ Turkish March, Austria highly interactive presentation of Nuestras (1756‐1791) Raíces de Música. Jarabe Tapatío – Traditional folk song (Mexican Hat Dance)

CONTACT: Armando Castellano | 650.704.2949; [email protected] For sound clips and more information visit: http://quintetolatino.org/

Check out Quinteto Latino on YouTube http://www.youtube.com/watch?v=Hk‐Xq8co9nY&NR=1 1 California Instructional Standards Alignment and Connections for Grades K­6: A NOTE TO TEACHERS AND PARENTS:

VISUAL AND PERFORMING ARTS – MUSIC The Quinteto Latino performance,  Artistic Perception • Gr. K ‐ 1.2 Identify and describe basic elements in music accompanying activities and materials in this (high/low; fast/slow; loud/soft; beat). guide have been developed in alignment with • Gr. 3 ‐ 1.4 Identify visually and aurally the 4 families of the California instructional standards orchestral instruments. identified in the opposite column. Activities as • Gr. 3 ‐ 1.5 Describe the way in which sound is made on well as instructional materials may be readily various instruments.  Aesthetic Valuing adapted for various grade and/or student • *Gr. 1 ‐ 4.1 ‐ Create movements to music that reflect focused ability levels, K‐6. Activities may be done listening. before or after the performance as • *Gr. 3 ‐ 4.3 Describe how specific musical elements appropriate. communicate particular ideas or moods in music.  Historical/Cultural Context • Gr. 1 ‐ 3.4 Use developmentally appropriate movements in responding to music from various genres, periods and styles (rhythm, melody, form).

HISTORY/SOCIAL SCIENCE • Gr. 1 ‐ 1.5.1 Students describe the human characteristics of familiar places and the varied backgrounds of American citizens and residents in those places • Gr. 2 ‐ 2.2 Students demonstrate map skills by describing the absolute and relative locations of people, places and environments. • Gr. 6 ‐ 2.0 Students construct various time lines of key events, people and periods of the historical era they are studying.

INSIDE THIS GUIDE:

California Instructional Standards and Connections Gr. K‐6 p. 2

Vocabulary p. 3

Before the Performance p. 4 • Audience behavior • Mini‐lesson: Introducing the wind instruments • Focused listening skills and strategies

After the Performance p. 7

More explorations of timbre/tone color p. 7‐9

Other connections: Visual Art p. 10

Social Science/Geography p. 11

Resources p. 13

Activties Sheets Supplement Wind instruments, community music map, world/country maps 2

Vocabulary

Music Spanish language wind quintet ¡Buenas tardes! – Good afternoon woodwind Family ¡Buenos Dias! – Good morning brass Family Quinteto Latino – 5 musicians (Quintet) flute Latino – People or things that come from Latin America oboe ¡Bienvenidos! – Welcome clarinet quinteto (cinco músicos) – quintet: five musicians French horn la flauta – flute bassoon el flautín – piccolo timbre el oboe – oboe rhythm el fagot – bassoon tango el clarinete – clarinet folk songs el corno fancés – French horn Latin America community Words for “music” in other languages Romania muziki (Swahili) Mexico Muzik (German) Hawaii mele; pilaho’okani (Hawaiian) Africa música (Spanish) Argentina Germany

3 BEFORE THE PERFORMANCE

A friendly word about audience behavior… Quinteto Latino assemblies are highly accessible, friendly and offer young concert‐goers ample participation opportunities. Nevertheless, it’s useful to observe certain rules and behaviors during the performance. This will contribute to a more gratifying and enjoyable experience for everyone involved—students, teachers, and musicians alike!

Make behavior expectations and consequences clear. For example, students are not allowed to run in the theatre, chew gum or talk to each other during the performance. Make these rules explicit to students. Role‐ playing how to behave, especially how to use appropriate audience etiquette is worthwhile.

• Sit quietly and LISTEN during a performance. Do not talk or fidget with the programs or other items.

• Turn off cell phones, pagers and other things that beep or otherwise make noise.

• Do not get up and leave during a piece unless it's an emergency or to remove an unruly child. Wait until the piece being performed has been finished. Doing otherwise is disrespectful to the performers.

• Cameras with flash bulbs should not be used as the flash can temporarily blind those on stage.

• Cat‐calls and booing are rude and strictly not allowed.

• Warm applause at the end of performing a piece is always welcomed!

Adapted from Tips on Audience Etiquette by Kim J. Teal http://kjt.glis.net/tealflutestudio/Etiquette.html

Focused Listening Skills ­ Strategies

We have a tendency to disdain the strange or the unfamiliar. Music is a powerful tool to stretch the concept of the familiar and serve as a vehicle for teaching tolerance, flexibility, and respect for diversity. This can begin with students discussing how music is an expression of our humanity and culture and a way of expressing and understanding ourselves.

A simple but powerful strategy for cultivating openness, expanding musical taste, as well as strengthening capacity for artistic perception includes guiding students to

• Listen with a purpose, e.g., to identify instruments they hear, voices, the beat, musical elements, style, genre etc. • Describe what they hear without evaluating it for preferences • Listen to pieces several times (at least three, with different purposes) to familiarize themselves with it • Experience the piece, (or selected excerpt) as a whole to be enjoyed and not solely as an object of study

Using this approach, students can be guided to cultivate their capacity to sustain attention, focus and concentration. Following are activities that elaborate on the approach.

4 Listening with a purpose

Listening goes beyond hearing; listening is about understanding. The richness of music offers much to be understood. Deeper listening can be developed through discussions that focus on important details.

Providing students with a purpose to guide their listening goes a long way toward addressing any potential problems with audience etiquette; more importantly, it deepens student access to the learning experience offered by the presentation.

Introducing the wind quintet instruments – Mini‐lesson outline

• Students examine pictures of instruments and listen to recordings of each. • Focus on the instrument voices to see what you notice. • Students share out: - How does the sound of these instrument voices make you feel? - What does the sound of these instruments make you think of? • Generate vocabulary using the questions above and capture words on a word wall – for students who are ready to generate a richer or more advanced descriptive vocabulary, assign overused or minimally descriptive words, such as happy, sad, fast slow, to the “Graveyard” • Hold students accountable for evidence for their ideas with follow‐up questions such as: - What makes you think that? Why do you think so? EXTENSION • Develop the concept of how sounds express emotions. Ask students to make sounds that are tired, happy, fearful, surprised or mysterious. They can listen to an instrument of their choice to hear how that instrument expresses those and other emotions in the music.

To hear the individual voices of the instruments (in an electronic version), you can visit the website, SFS Kids Fun with Music. Click on Instruments of the orchestra – woodwinds (for the French horn click on brass). http://www.sfskids.org/templates/home.asp?pageid=1

You can also listen to recordings of wind quintet music, such as the Imani Winds recording entitled The Classical Underground, featuring original compositions and works by Latin American composers.

Students can work with the Instruments of the Wind Quintet activity sheet (found in the Activities Sheets section of the study guide) as they prepare for the performance.

Wind Quintet = TIMBRE!

The voices of the woodwind quintet are particularly distinctive and convey character, emotion and mood through their rich palette of tone color. Listening to music made by the woodwind quintet offers an opportunity for a rich exploration of color or timbre. Timbre (pronounced “TAM‐ber”) is the basic element of music that describes “the aspects of a musical sound that do not have anything to do with the sound’s pitch, loudness or length. If a flute plays a note, and then an oboe plays the same note, for the same length of time, at the same loudness, you can tell the difference between the sounds, because a flute sounds different from an oboe. The difference is in the timbre of the sounds. You can think of it as the general sound one would expect of a type of instrument.” (Catherine Schmidt Jones, Timbre: the Color of Music)

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The following prompts may be used for purposeful listening of a recording before the performance, or they can be assigned to students to provide a purpose for listening as they go into the Quinteto Latino performance.

Scaffolding explorations of timbre

Each instrument chosen to be in a piece has a reason for being there that adds to what the composer is trying to communicate within the work.

• Students can choose to pay special attention to the timbre of one particular instrument of the wind quintet. Ask the students to note as they listen: - When does the instrument get a chance to “show off”? - What happens to the music when the voice of that instrument comes into the music? - What happens when that voice is missing from the music? • What happens when the different instruments play the same musical phrase? How does the character of the phrase change? *

* Listen for this in Astor PIazzolla’s Calambre, which is composed as a fugue. A fugue is a special type of music where each individual musical voice has a chance to add its voice to the group one at a time. Each instrument adds its voice by taking turns playing the subject phrase or tune (melody).

Preparing to meet the musicians - generating questions

Students can take a moment to reflect upon and note their responses to the following questions:

• Do you play or would you like to play an instrument? If so, which? • What musician (or other artist) would you like to meet? What three questions would you ask this person? • What would you like to know more about or be able to do in music (or in another art form)?

Encourage students to bring at least one question to the performance that they might be willing to ask the musicians.

EXTENSION AND FURTHER DISCUSSION Quinteto Latino is a woodwind quintet. The woodwind quintet is a small chamber ensemble. Often, chamber ensembles do not have conductors standing in front of the group, as orchestras do. How do the musicians know when to play? How does the group of musicians decide when to play? What is your hypothesis? See if your hypothesis is correct when you experience the performance. After the performance, ask the musicians questions to see if your hypothesis is correct. • What skills are needed to be a successful member of a musical ensemble? (leading, following, listening and responding, taking turns) How are these skills like the skills you need to be a good member of a sports team? Your class? Your school? Your community?

6 AFTER THE PERFORMANCE

Debrief Discussion • What did you notice about the instruments? • What did you notice about the music in the live performance? • How did the music make you feel? • What feelings were expressed in the music? • Where you surprised at any point during the performance? • What got you curious? • What is one thing you could find out more about? • What was the high point of the performance? • What have you learned about in listening to this music?

SAMPLE SENTENCE STEMS

I heard the ______(instrument)______express ____(feeling/emotion)______during the performance.

It was in the piece called___(title of the piece)______.

The ______(instrument)______makes a _(adjective)______sound.

The sound of the ______(instrument)______makes me think of ______.

Following are additional activities for the exploration of the concept of timbre in music and in other areas as well, including connections with visual art. Unless otherwise indicated, these and the aforementioned activities are adapted from music seed strategies found in Claudia E. Cornett’s Creating Meaning through Literature and the Arts, Fourth Edition.

MORE TIMBRE ACTIVITIES A. Sound Mini-field trip

1. Students go to classroom windows and listen closely to the sounds outside, OR 2. Students listen to school and body sounds and rhythms; give students a set amount of time for this focused listening. 3. Ask students to identify the sounds they heard. 4. Students can label the sounds as fast or slow, high or low.

7 MORE TIMBRE ACTIVITIES…

B. Guess who?

1. A panel of 5 students comes to the front. All students close their eyes.

2. “Leader” taps one panel member on the shoulder. Tapped person says,

“Who did that?“ loud enough for the entire class to hear. 3. Students open their eyes and guess who spoke. 4. Each time a name is guessed, ask, “How did you know?” 5. Coach for answers to describe the uniqueness of voices. 6. You can repeat the activity and have students sing, “Who did that?” Stress that each speaking and singing voice is unique.

C. Name that Instrument (Using a variety of hand percussion/rhythm

instruments) 1. Label each instrument (e.g. tambourine, shaker, etc.) 2. Students experiment with rhythm instruments to become familiar with

their sound qualities.

3. A student volunteers to be IT. Students close their eyes as IT plays an

instrument.

4. Students guess which instrument was played and give reasons for their choice. 5. Stress that each instrument has a unique sound, even though some sound similar.

VARIATION: Use a CD or selection from your Ipod featuring orchestral instruments or other musical instruments (guitar, banjo, etc.) Older students or more experienced students who can recognize the timbre of most instruments might enjoy playing Name that Instrument with a piece of music that features many different instruments in quick succession.

Pieces to try: Danzón – Arturo Marquez (See Fiesta CD in Resource Section) Rodeo – Aaron Copland Rite of Spring – Igor Stravinsky

D. Instrument cards (Using a CD or selection from your Ipod) 1. Distribute cards with pictures of instruments featured in the recordings. 2. Ask children to hold up the card that corresponds with the instrument when they hear its timbre. EXTENSION: Have students come up with a gesture or body shape that expresses the timbre of the selected instruments. You can have a discussion about how that gesture or shape expresses the timbre of the instrument. Students then perform the gesture or shape when they hear its timbre in the music selection.

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STILL MORE TIMBRE ACTIVITIES…

E. ADJECTIVE BLITZ - Language Development/Academic Language Adapted from (Catherine Schmidt Jones, Timbre Activities)

1. Students listen to excerpts from music selections featuring individual instruments. 2. Brainstorm adjectives that describe the timbre of the individual instruments. Some words that musicians often use to describe timbre are

• bright / dark • warm • scratchy • full / thin • rich • intense • heavy / light • mellow • piercing • rounded / edgy • reedy • strident • brassy • harsh • breathy

If students have trouble coming up with adjectives, you can suggest some of the above, but encourage them to come up with their own. If students on their own come up with a timbre word that musicians often use, point this out; also stress that coming up with their own words is fine, especially if they are good descriptions of sound. One approach would be to substitute touch, smell or taste sensations for color. A specific timbre might remind a student of a smooth or rough surface; of a sour or sweet flavor; or of a flowery or musky scent: silky, smooth, chocolaty, shimmery, muted.

Pieces to try

Orchestral works by Latin American composers from Mexico, Venezuela, Argentina and Cuba:

• Imani Winds ‐ The Classical Underground

• Gustavo Dudamel conducts the Simón Bolívar Youth Orchestra of Venezuela ‐ Fiesta

Orchestral works ‐ for listening for individual instruments as well as instrument families:

• For younger students: Lemony Snicket. The Composer Is Dead. Children’s picture book ages 5 and up; includes CD with original music by Nathaniel Stookey.

• Benjamin Britten ‐ Children’s Guide to the Orchestra

• Sergei Prokofiev ‐ Peter and the Wolf In this work a particular instrument is associated with a particular character in the story. Before listening to the piece, students can assign an instrument to each character. Then they listen to the piece and discover the composer’s choice of instrument. DISCUSSION: How do your instrument choices compare with the composer’s choice of instruments to represent the characters in the story? What do you think of Prokofiev’s choices?

9 Music and Visual Art = Timbre and Color Adapted from (Catherine Schmidt Jones, Timbre Activities)

CLASS DISCUSSION: ask the students if they prefer black and white or color pictures; what are their reasons for their choice? Do they prefer pictures with just one color or with many colors? Why? Tell them that one of the things that makes music more interesting and exciting is sometimes called “color.” Explain that the color of the sound is what makes one instrument sound different from another. In music, the word color refers to the timbre of the instrument or music.

Materials: • Recordings of a variety of instrumental music; music can feature individual instruments (e.g. wind quintet or other instruments). You can also work with recordings featuring non‐western music/instruments such as steel drums, South American panpipes, native American flute, Indian sitar) • Drawing paper and implements (good quality offering rich, vibrant colors) in a variety of colors; you can use pastels, crayons, markers, color pencils

1. Students listen to excerpts of pieces featuring individual instruments. Ask them to imagine that they can see the sounds. Ask them what color each instrument sound would be if they could see it. Encourage naming specific hues. Does a bassoon sound like sea green or lilac? Is a flute bright green or shimmery blue? These are exercises for the imagination. Different sounds affect people differently; there are no right or wrong answers. 2. Have the students listen to longer excerpts of instrumental music. While listening, they can make a drawing of anything that the music makes them think of. The drawing can be abstract— perhaps circles of yellow connected with red squiggles—or representational: a mysterious garden or forest. 3. Students present their picture and explain why the music made them think of those colors, shapes or objects. Encourage explanations that link specific colors, shapes or objects to specific timbres in the music.

EXTENSION: students can create artwork that reflects other aspects of the music (for example, emotional content, historical or cultural context) as well as timbre. Provide high‐quality art materials for students to work with; students can display or present their work with a paragraph they generate explaining the musical inspiration for specific aspects of the art work.

10 Music and Social Science

Music’s role and purpose as an expression of culture

Community Music Map – Group Activity When is music used in our lives? What celebrations, ceremonies or traditions have special music? Music shows up in our most important ceremonies and traditions, from birthdays to New Orleans‐style funerals. Students can consider the role and purpose of music in their lives and their community through creating a community music map.

Students brainstorm where music happens in their community – they can get specific in naming the places. They then identify the purpose of the music in that particular setting. Students can create a table as follows to help organize their thoughts and ideas:

Places in the community where music happens Purpose of music in these settings Home • with my family • Entertainment – enjoyment • in my room • Celebration: sing “happy birthday” • radio • Relaxation - background music when I do • internet homework • TV School • Learning • Music class • Playing and having fun • Circle time • Special clean-up song • Football games • Team spirit Church, synagogue, mosque • Prayer • Express happiness or sadness with others • Special ceremonies: weddings, bar • Brings people together mitvahs, Sunday services • Funerals Public spaces • Free outdoor concerts • Brings people of a whole city or town • Music at festivals together • The airport • Enjoy performances • Create an atmosphere Restaurants • Live music • Entertainment • Juke box • Relaxing background • Recorded background music • Particular ambience – create a mood to go with the food • Express culture Indoor concert venues • Large scale arenas • Entertainment / enjoyment • Performing arts halls • Recreation and play • Theatres • Gathering with friends • Dance halls / discos Gyms • Fitness machines • Pace exercise • Fitness classes Super markets • Background • Express culture

11 Students then draw a map of the various places in their community where music happens. The map can reflect relative locations of the various sites where music is found in their communities, including streets and landmarks – or the map can simply be a more generalized visual representation of the sites found in their particular community. See the Activities Sheets supplement of the study guide for an example.

DISCUSSION: • What kind of music is played in these settings? - What does it sound like? - What is the music for? What is the purpose of the music in this setting? • Who plays the music? • What instruments are used? • When was the music composed?

CRITICAL THINKING: • Why would a culture create this kind of music? • How has the music changed over time? • How does music express who you are? • How does music express the culture that made it? • How might the community music map look different for a student of another culture? For a child from colonial America? For a slave from the southern states?

Geography through Music

See the Activities Sheets supplement of the study guide for additional materials including continent, world maps and maps of individual countries for the following activities:

Map / Research skills

A. Using an atlas, globe, or other tool in the classroom or online • Students identify the continents, countries, and cultural regions from which the music featured in the performance originates (See repertoire listed on p. 1). Students also locate themselves and their family’s country of origin on the maps. • Students can write in and match the various words for music (See Vocabulary on p. 3 of the Study Guide) with the corresponding countries on the World Map OR on the sheet featuring the Individual Countries.

B. Using a single country map [Outline maps of Mexico and Argentina included OR students can trace the shape of other countries for this activity.] • Students choose one of the featured composers in the performance. • On the map, students display the composer’s birthplace, cities where the composer lived and worked (e.g., where the composer studied) and the composer’s burial place, if deceased. The dates for each item can be included.

C. Composer Timeline • Students create a timeline of the composer’s life, most important works and other milestones. Include visual images (pictures, drawings) along the line. For imaginative timeline designs ideas, see the DK Children’s Book of Art. • Create an interactive timeline online using VUVOX. Vuvox allows users to create collages that allow embedding of media, including video, music as well as images that can be gathered online (or upload your own). Free user accounts. http://www.vuvox.com/collage See a sample timeline at http://www.vuvox.com/collage/detail/01b43aa0b0

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Resources

Children’s Books Brandenburg, Aliki. (2003). Ah, Music!. New York: HarperCollins Publishers. Snicket, Lemony. (2009). The Composer Is Dead. New York: HarperCollins Publishers. DK Children’s Book of Art. (2009). Dorling Kindersley™ Limited. New York: DK Publishing

Teacher’s Books Cornett, Claudia E. (2011). Creating Meaning through Literature and the Arts – Arts Integration for Classroom Teachers Fourth edition. Boston: Pearson Publishing. Copland, Aaron. (1985). What to Listen for in Music. New York: New American Library, a division of Penguin Group.

Recordings Imani Winds ‐ The Classical Underground. (2005) Koch International Classics “Imani Winds has established itself as one of the most successful chamber music ensembles in the United States. The Grammy nominated quintet has taken a unique path. With two member composers and a deep commitment to commissioning new work, the group is enriching the traditional wind quintet repertoire while meaningfully bridging European, American, African and Latin American traditions.” http://www.imaniwinds.com/index.php

Gustavo Dudamel conducts the Simón Bolívar Youth Orchestra of Venezuela – Fiesta. (2008) Deutsche Grammaphon GmbH “Gustavo Dudamel and the Simón Bolívar Youth Orchestra of Venezuela celebrate the best in Latin American music, which ‘is all about dance, about rhythm’ (Dudamel). ‘They set the concert hall afire with an enthusiastic fervor the likes of which none of us had ever witnessed from a symphony orchestra’ (Los Angeles Times).” http://www.gustavodudamel.com/ http://www.fesnojiv.gob.ve/en/the‐simon‐bolivar‐youth‐orchestra‐of‐venezuela.html

Internet Sites

Connexions is a place to view and share educational material made of small knowledge chunks called modules that can be organized as courses, books, reports, etc. Anyone may view or contribute. Articles on numerous topics including visual and performing arts; music modules include Sound and Music Activities; Classifying Musical Instruments; and Timbre: the Color of Music. http://cnx.org/

Presentation Magazine offers free and downloadable PowerPoint templates featuring a variety of styles and images, including world maps and maps of individual countries. www.presentationmagazine.com

SFS Kids Fun with Music A project of the the San Francisco Symphony (SFS) “This website, in conjunction with live performances, provides a great way for people of all ages to hear, learn, and have fun with music.” Click on Instruments of the Orchestra to learn about instrument families. http://www.sfskids.org/templates/home.asp?pageid=1

Tips on Audience Etiquette by Kim J. Teal http://kjt.glis.net/tealflutestudio/Etiquette.html

VUVOX allows users to create interactive collages that allow embedding of media, including video, music and images that can be gathered online (or upload your own). Useful and engaging tool to create interactive timelines. Free user accounts. http://www.vuvox.com/collage

See a sample timeline at http://www.vuvox.com/collage/detail/01b43aa0b0

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