Dear Educators, For over 90 years, tri-state area teachers and students have joined the Cincinnati Symphony Orchestra to experience great music and explore musical concepts through Young People s Concerts. We believe access to the arts is important for every student, and that the skills developed through the study of music are easily related to other content areas and to life experiences. We are pleased to share this Curriculum Guide, which aims to promote an appreciation of the orchestra and develop and 21st Century Skills through music. We hope these materials provide a flexible but comprehensive resource that can be tailored to suit the needs of your students. In the following pages you ll find information for teachers and chaperones, printable texts, worksheets and/or resources for students, and standards-based lesson plans. We believe music and the concert experience can enhance learning across the curriculum. These lesson plans and extensions are provided with the idea that classroom teachers can work along with arts specialists to make connections between music and other content areas, thus providing a more integrated teaching/ learning experience for children. The plans are intended to suggest activities we believe most teachers will be comfortable presenting, utilizing the concert music as a catalyst for the activity. If you are the music specialist, you may want to share these plans with an interested classroom colleague. Please visit our website (www.cincinnatisymphony.org/youngpeople) to access the listening tracks and additional resources. A link on the program page will take you to a password protected page where you can download specific tracks for each concert. You can also choose to download a.zip file which contains all the pieces for a particular concert. All audio files are in.mp3 format and may be played through itunes or other media players or burned to a CD. You should have received a password with your order confirmation or in a follow-up email. If you have any questions about any of the CSO s education programs, please email, call, or check our website for additional details. Finally, please don t hesitate to let us know how we re doing! We will send a short evaluation survey link after each concert, but please feel free to send your comments to us throughout the year so we can make our concerts and events the best they can be. Thank you for sharing the Cincinnati Symphony Orchestra with your students, and thank you for the job you do each day to share knowledge and the love of learning with the young people in our community. We look forward to seeing you and your class at the Taft Theatre this season! Sincerely, Logan Kelly Manager of Education Programs lkelly@cincinnatisymphony.org 513.744.3347 2
CONTENTS 4 From The Conductor 5 Concert Program 6 Music on the Concert 8 LESSON: An American Journey 14 LESSON: Simple Gifts (participate in the concert!) 19 LESSON: It Don t Mean A Thing 21 LESSON: Mambo! Let s Move! 23 LESSON: The New Old World of Dvořák s Symphony 25 Your Trip to The Taft Theatre The Cincinnati Symphony Orchestra The Taft Theatre LESSON: Concert Etiquette 3
A NOTE FROM GENE CHANG ASSISTANT CONDUCTOR Dear Friends, My name is Gene Chang, and I am the Assistant Conductor for the Cincinnati Symphony Orchestra. The musicians of the orchestra and I are thrilled to welcome all of you to the Taft Theatre for our performance of An American Journey. Together this journey will take us all over the country, and back in time as well! We'll visit the Wild West of the late 1800's, the great Jazz clubs of the 1930's, and the upper West Side of New York City in the 1950 s, to name just a few of the stops we'll make as we explore the history and geography of our country through music! You might be thinking, What makes American music American? Well, just like our nation itself, the music of America is a melting pot of many different cultural and historical backgrounds, resulting in a richly diverse array of melodies, rhythms, and moods. The music you ll hear in the concert has been inspired by early American folk songs, patriotic sounds of wartime, spirituals of African slaves, and hymns of diverse religions. As this country developed, the music of immigrants became part of the sounds of America as well. People brought with them the music of their native places and incorporated them into the music of their new home, leading to new kinds of music like jazz, ragtime and gospel. As you explore, you ll find that each piece of music on this concert has important connections to our world, country, and culture. Our music reflects who we are as a people: our humor, idealism, patriotism, sentimentality, and above all the ability to bring our individuality and each of our unique gifts and talents together as we work towards common endeavors - just like when musicians of the orchestra perform! 4
November 21, 2016 at 10:30am November 29, 2016 at 10:30am GENE CHANG conductor John Philip Sousa Ferde Grofé Traditional Antonin Dvořák Traditional, arr. Spangler Aaron Copland Aaron Copland Duke Ellington Leonard Bernstein John Williams Stars & Stripes Forever On The Trail from Grand Canyon Suite Go Down Moses Symphony No. 9, From the New World, II. Largo Simple Gifts Variations on a Shaker Melody from Appalachian Spring Hoe Down from Rodeo It Don t Mean A Thing (If It Ain t Got That Swing) Mambo from West Side Story Main Theme from Star Wars 5
MUSIC ON THE CONCERT JOHN PHILIP SOUSA Stars and Stripes Forever March John Philip Sousa was born in Washington DC on November 6, 1854. He died on March 6, 1932. He was an American composer and conductor known particularly for composing American military and patriotic marches. The son of a trombonist in the Marine Band, he grew up in a musical family and learned to play many instruments. Like his father, John Philip Sousa joined the Marine Band as a musician and eventually became the band s conductor. Because his marches were so popular, he is known as The March King. Stars & Stripes Forever is arguably the most famous march in the world and is recognized by the U.S. government as the official march of the United States. With crashing cymbals, bombastic brass and chirping piccolos, The Stars and Stripes Forever gets millions of people on their feet, clapping and cheering every year. AARON COPLAND Hoedown from Rodeo Variations on a Shaker Melody from Appalachian Spring Composer, teacher, writer and conductor, Aaron Copland is one of the most famous and important American composers of the last century. Aaron Copland was born in Brooklyn, New York on November 14, 1900. As a young man, he studied music in France, but remained dedicated to writing music with a very American sound. Copland combines his classical training with jazz and the sounds of American folk songs to create a unique American sound. In Variations on a Shaker Melody from Appalachian Spring, Copland was inspired by a traditional Shaker Melody called Simple Gifts and used it as the backbone of his composition. The other piece on the program written by Aaron Copland is Hoedown. Hoedown is from a ballet called Rodeo, which tells the story of an American western cowboy and his life. FERDE GROFE On The Trail from the Grand Canyon Suite Ferde Grofé was born in New York City on March 27, 1892 and grew up in Los Angeles, Califorina. As a young man, Grofe learned several instruments. He was a violist in the Los Angeles Philharmonic orchestra, and he also performed with the more popular jazz and dance bands in the area. Grofe combined combined elements of jazz, popular music, and classical music to compose The Grand Canyon Suite, inspired by the natural sights and sounds of the Grand Canyon in Arizona. On The Trail describes describes a traveler and his donkey traveling the trail. The rhythmic and graceful music sounds like the hoof beats of the donkey. ANTONIN DVOŘÁK Mvmt. II, Largo from Symphony No. 9, From the New World Dvořák is the only composer on this concert who was not born in the United States, but he did live here for a time. He was born on September 8, 1841 in the village of Nelahozeves in Czechoslovakia. In 1892, Dvořák moved to New York City to become the director of the National Conservatory of Music. While in the United States, he became very interested in both Native American and African-American musical traditions. He drew upon these inspirations when he composed the Symphony No. 9, From the New World in 1893. The audience at the first performance went wild and this symphony has been so popular that a recording of it was taken to the moon by U.S. astronaut Neil Armstrong! The Largo from this symphony features a beautiful melody from the English horn. 6
MUSIC ON THE CONCERT DUKE ELLINGTON It Don t Mean A Thing A jazz composer, pianist, and big band leader Edward Kennedy Duke Ellington was born in Washington D.C. on April 29 1899 and died on May 24, 1974. Duke started learning to play the piano when he was eight years old. When he was fifteen, he wrote his first composition Soda Fountain Rag while working as a server at the Poodle Dog Café. After moving to New York City, Duke formed a band and performed in the most popular music clubs in the city. Duke and his band performed a genre of music called jazz, a uniquely American style of music. The music he wrote and performed made him one of the most successful and popular jazz musicians. LEONARD BERNSTEIN West Side Story Leonard Bernstein was born in Lawrence, Massachusetts on August 25, 1918. Leonard Bernstein is a musician well-known as a composer, conductor, pianist, teacher, and for his exuberant personality. Throughout his career he believed playing for young students was one of the most important things he could do, and many adults grew up learning about classical music through his New York Philharmonic Young People s Concerts which were broadcast on television. Leonard Bernstein composed the music for the musical West Side Story. West Side Story tells the story of Maria & Tony, two young people in love caught between warring teenage street gangs, the Jets and the Sharks. The Mambo comes from scene where the Jets and the Sharks meet in the gym and dance while trying to suppress their hostility towards each other. JOHN WILLIAMS Theme from Superman An important part American music is that for the stage and screen. Quintessentially American, Broadway musicals and theme songs for movies have brought fame to many composers of the 20 and 21st century. John Williams is one of the most well-known and successful composers of music for movies in the last 50+ years. He was born on February 8, 1932 in Long Island, New York. Williams has composed music for almost 80 films including Star Wars, Superman, and Harry Potter, and been nominated over 40 times for an Oscar! 7
LESSON PLAN: AN AMERICAN JOURNEY INSTRUCTIONAL OBJECTIVE(S): Students will identify the places on the map from which the pieces on the An American Journey cibcertcan be associated. Students will use problem-solving skills to design a trip to visit all of the locations that have been identified on the map. MATERIALS: Map handout (or online map graphic) and worksheet, Internet for reference Young People s Concert mp3s STANDARDS: Anchor Standard 7: Perceive and analyze artistic work Enduring Understanding: Individuals' selection of musical works is influenced by their interests, experiences, understandings, and purposes. (MU:Re7.2.6b ) Identify the context of music from a variety of genres, cultures, and historical periods. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Enduring Understanding: Understanding connections to varied contexts and daily life enhances musicians creating, performing, and responding. (MU:Cn11.1.6a) Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. (MU:Pr4.2.6c) Identify how cultural and historical context inform the performances. (MU:Re7.2.6b) Identify the context of music from a variety of genres, cultures, and historical periods. (MU:Re7.2.7b) Identify and compare the context of music from a variety of genres, cultures, and historical periods. NATIONAL MUSIC STANDARDS GRADE 5 8. American Indians developed unique cultures with many different ways of life. American Indian tribes and nations can be classified into cultural groups based on geographic and cultural similarities 17. Regions and countries become interdependent when they specialize in what they produce best and then trade with other regions to increase the amount and variety of goods and services available. GRADE 6 3. Globes and other geographic tools can be used to gather, process and report information about people, places and environments. Cartographers decide which information to include and how it is displayed. GRADE 7 16. The ability to understand individual and group perspectives is essential to analyzing historic and contemporary issues. GRADE 8 15. The movement of people, products and ideas resulted in new patterns of settlement and land use that influenced the political and economic development of the United States. 17. Americans began to develop a common national identity among its diverse regional and cultural populations based on democratic ideals OHIO SOCIAL STUDIES STANDARDS 8
AN AMERICAN JOURNEY cont. PLAN: 1. Students will be given the attached worksheets and map handout. 2. In small groups, they must first, identify and label the places on the map that are mentioned in the narrative. 3. After they have labeled the map, they must decide how they are going to visit each place. 4. They must follow the directions on the worksheet; there should be one copy of the worksheet for each of the places that they will visit. 5. After they have completed all of the tasks on the worksheet, they must write a narrative to describe their trip. OPTIONAL EXTENSION COMMON CORE STATE STANDARDS (MATH) Grade 6» The Number System CCSS.MATH.CONTENT.6.NS.B.3 Fluently add, subtract, multiply, and divide multi-digit decimals using the standard algorithm for each operation. Design a budget for your trip. Include costs for transportation, housing/lodging, and sightseeing. Use the internet to determine how much these things cost in each place that you will visit. Make a table and fill in the budget information for your trip, including final cost. 9
AN AMERICAN JOURNEY Names You and your friends are going on a trip this summer! You are going to attend many concerts in many new places. In order to get the most out of your experience, you need to become well-informed about the music you will hear and the places you will go. Here is your list: Washington D.C.: Shaker Village of Pleasant Hill, KY: The Grand Canyon: Liberty Island, New York City, NY: Harlem, New York City, NY: Miami, FL : Boston, MA: Sousa Stars & Stripes Copland Shaker Melody from Appalachian Spring Grofé On the Trail, from Grand Canyon Suite Dvořák Symphony No. 9, New World Ellington It Don t Mean A Thing Bernstein - Mambo, from West Side Story Williams - Star Wars, Main Title I. Identify and mark all of the places on the map. II. Choose AT LEAST THREE destinations, and then decide the route that you will go from one place to another. A. Will you travel by plane, train, or automobile? Maybe you will walk or cycle? 1. When you consider your travel mode, think about how much money you want to spend and how much energy you want to use, i.e. your carbon footprint. 2. Draw your route on the map and indicate your mode of travel by designing a map legend. III. Fill in the information about each place you will visit and what you will see along the way. IV. Use the internet and other information to educate yourself about the music you will hear. Use the worksheets as a guide. V. Write a narrative about your trip. Answer the following questions: How did you choose your route? Why did you choose the mode(s) of transportation that you chose? What did you see in each place? What did you see while you traveled from one city to the next? 10
MAP LEGEND UNITED STATES OF AMERICA 11
AN AMERICAN JOURNEY Names STOP NUMBER 1. CITY, STATE 2. I will be coming from 3. I will get there by 4. I chose this mode of transportation because 5. I will hear which was composed by 6. I think it is being performed in this city because 7. While I am in this city, I will also see/do/eat 12
AN AMERICAN JOURNEY FINAL REPORT Names 1. What was your favorite piece of music on your trip? 2. Why did you like it the most? 3. What was your least favorite piece of music on your trip? 4. Why did you like it the least? 5. What was the most interesting place you visited? 6. Why did you find it interesting? 7. Besides the music that you heard, what were some of the trip highlights? 9. Write a narrative that describes your trip from beginning to end. Share details about the places you visited, the music you heard, the things you saw, the people you met, and the food you ate. Also, describe the weather and the way each place looked. 13
LESSON PLAN: SIMPLE GIFTS INSTRUCTIONAL OBJECTIVE(S): Students will learn to play and/or sing Simple Gifts. MATERIALS: Piano and Voice parts for Simple Gifts Young People s Concert mp3s STANDARDS: NATIONAL MUSIC STANDARDS Anchor Standard 7: Perceive and analyze artistic work Enduring Understanding: Individuals' selection of musical works is influenced by their interests, experiences, understandings, and purposes. (MU:Re7.2.6b ) Identify the context of music from a variety of genres, cultures, and historical periods. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Enduring Understanding: Understanding connections to varied contexts and daily life enhances musicians creating, performing, and responding. (MU:Cn11.1.6a) Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. (MU:Pr4.2.6c) Identify how cultural and historical context inform the performances. (MU:Re7.2.6b) Identify the context of music from a variety of genres, cultures, and historical periods. (MU:Re7.2.7b) Identify and compare the context of music from a variety of genres, cultures, and historical periods. At the concert, one of the pieces being performed is a version of Simple Gifts arranged by Julie Spangler, the keyboardist for the Cincinnati Pops Orchestra. The really cool thing about this is that students have the chance to participate and sing along with the musicians of the Cincinnati Symphony Orchestra. In order to prepare your students for the concert, we are including a vocal part, a piano/vocal score, and an instrumental recording. Encourage students to memorize as much of the music as possible. ASSESSMENT: Students are able to sing, with musical accuracy, Simple Gifts. 14
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LESSON PLAN: IT DON T MEAN A THING... INSTRUCTIONAL OBJECTIVE(S): Children will identify similarities and differences between Ellington's music and indigenous African music, and will explore the African influence on American music as a result of the Triangle Trade. MATERIALS: Internet access & screen Young People s Concert mp3s STANDARDS: NATIONAL MUSIC STANDARDS Anchor Standard 7: Perceive and analyze artistic work Enduring Understanding: Response to music is informed by analyzing context (social, cultural, and historical) and how creators and performers manipulate the elements of music. (MU:Re7.2.6a ) Describe hos the elements of music and expressive qualities relate to the structure of the pieces. (MU:Re7.2.6b ) Identify the context of music from a variety of genres, cultures, and historical periods. OHIO SOCIAL STUDIES STANDARDS GRADE 7, WORLD STUDIES FROM 750 B.C. to 1600 A.D. TOPIC: Economic Decision Making and Skills 19. Individuals, governments and businesses must analyze costs and benefits when making economic decisions. A cost-benefit analysis consists of determining the potential costs and benefits of an action and then balancing the costs against the benefits. TOPIC: Scarcity 20. The variability in the distribution of productive resources in the various regions of the world contributed to specialization, trade and interdependence. 19
IT DON T MEAN A THING cont. PLAN: 1. Open a discussion about what the children know about the slave trade/triangle trade that existed between Europe, North America, Africa, and the West Indies during the 17th and 18th centuries. 2. After the children have shared what they know about it, project the following website on a smartboard or computer screen. https://www.eduplace.com/kids/socsci/books/applications/imaps/maps/g5s_u3/#top This is an interactive map that shows the children what was traded and with whom. This will give the children a geographical context, so that they understand how African music came to North America with those who were brought as slaves. 3. Ask the children what they know about music from West Africa. What instruments might you hear? What purpose do you think music serves in West Africa? 4. Have the children listen to some West African drumming pieces. Point out the constant repeating rhythms (ostinati, in Western terms) that occur, while the lead drummer improvises. Also, point out the syncopation. Here is a link to a youtube channel that has many examples: https://www.youtube.com/watch?v=l6mfodpxzm8 5. Next, play Ellington's "It Don't Mean a Thing" for the children, and ask them to listen for similarities between the African music and Ellington's music. This can be difficult for the children because Ellington used Western instruments. But remind them to listen for syncopation and improvisation. 6. Begin a class discussion about the similarities and differences. Create a Venn Diagram on the board, which will help the children see what is the same and what is different. Hopefully, the children will come up with many characteristics, but here are a few: Similarities: Improvisation, Syncopation Differences: Instrumentation, Written Scores 7. Every member of Ellington's band was African-American. Have the children compose a letter as though they are a member of his band. They will write a letter to a friend or relative who lives in West Africa, and they will tell said friend about the music that is they are playing in Ellington's band. Remind them to include similarities and differences between Ellington's music and the indigenous African music. ASSESSMENT: Students will participate in the conversation about Ellington's music, and will write a letter in accordance with a teacher or teacher/student designed rubric. EXTENSION: If instruments (drums, other non-pitched percussion instruments) are available, lead the children in an African drumming piece. Wil Schmid's World Music Drumming series is a good resource. There are also many pieces that are available in several Basal Series. If possible, teach the music in the way that the children would learn the music if they lived in an African village: by rote. Point out that this is a contrast to reading music, which is a Western concept. Remind them that Ellington's musicians were able to read AND play music off the cuff." 20
LESSON PLAN: MAMBO: LET S MOVE!! INSTRUCTIONAL OBJECTIVE(S): Accurately read and perform the rhythms for both Polka and Mambo Accurately perform the dance steps of the both the Polka and Mambo Use the foot rhythms for each dance as a basis for improvisation Use the foot rhythms for each dance as a basis for composition MATERIALS: Mambo rhythm sheet Mambo video STANDARDS: NATIONAL MUSIC STANDARDS Anchor Standard : Analyze the structure and context of varied musical works and their implications for performance Enduring Understanding: Analyzing creators context and how they manipulate elements of music provides insight into thier intent and informs performance. (MU:Pr4.2.3b) When analyzing selected music, read and perform rhythmic patterns and melodic phrases using iconic and standard notation. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Enduring Understanding: Understanding connections to varied contexts and daily life enhances musicians creating, performing, and responding. (MU:CN11.0.4a) Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. (MU:RE7.2.4a) Demonstrate and explain how responses to music are informed by the strucure, the use of the elements of music. PLAN: 1. Begin with body percussion patterns in 2/4 to get the kids to "feel" 2/4. Eventually, patsch the accompanying mambo rhythm on their legs. The rest on beat 1 can be tricky for the kids, but with repetition, they will get it. 2. After the children seem to be able to perform the alternating hand rhythms correctly on their legs, show the short mambo video from https://www.youtube.com/watch?v=va6tl2g0-gm. 3. Ask them to stand and put the rhythm "in their feet" while they listen to the recording. Have fun with this. Let them dance in small and large groups, let different children jump to the middle of a large circle if they feel confident. There are so many fun things that can be done with this. 4. After the children have listened and moved to the recordings, discuss the dance with the children. ASSESSMENT: Students will be observed for accurate performance of the foot rhythms. SOCIAL STUDIES EXTENSION: Explore the Cuban migration to Miami, FL. Address the following questions: When did the Cuban migration occur? Why did many people leave Cuba? How did they get to Miami? Describe the relationship between Cuba and the USA in the 1960s. Describe it today. 21
MAMBO! (REST) R L R (REST) L R L 22
LESSON PLAN: THE NEW OLD WORLD OF DVORÁK S SYMPHONY INSTRUCTIONAL OBJECTIVE(S): Students will play the English Horn theme from the Largo on their recorder Students will compare and contrast the theme with Native American flute music & African-American spirituals. MATERIALS: Internet access Speakers Young People s Concert mp3s Drawing Materials STANDARDS: NATIONAL MUSIC STANDARDS Anchor Standard 6: Convey meaning through the presentation of artistic work. Enduring Understanding: Understanding connections to varied contexts and daily life enhances musicians creating, performing, and responding. (MU:Pr6.1.6a ) Perform the music with technical accuracy to convey the creator s intent Anchor Standard 7: Perceive and analyze artistic work Enduring Understanding: Response to music is informed by analyzing context (social, cultural, and historical) and how creators and performers manipulate the elements of music. (MU:Re7.2.6a ) Describe how the elements of music and expressive qualities relate to the structure of the pieces OHIO SOCIAL STUDIES STANDARDS GRADE 5, REGIONS AND PEOPLE OF THE WESTERN HEMISPHERE TOPIC: Human Systems 8. American Indians developed unique cultures with many different ways of life. American Indian tribes and nations can be classified into cultural groups based on geographic and cultural similarities GRADE 8, U.S. STUDIES FROM 1492 TO 1877 TOPIC: Colonization to Independence 2. North America, originally inhabited by American Indians, was explored and colonized by Europeans for economic and religious reasons. 4. The practice of race- based slavery led to the forced migration of Africans to the American colonies. Their knowledge and traditions contributed to the development of those colonies and the United States. PLAN: 1. Allow the children to listen to the recording of the Largo movement from Dvořák's Ninth Symphony. Allow them to get comfortable while they do this, which will help with misbehavior while they listen. 2. After they have listened once, allow them to listen to it a second time, but this time, have them draw some images of what the music represents to them. 23
THE NEW OLD WORLD OF DVOŘÁK S SYMPHONY cont. 3. Open a discussion about the drawings. Some of the children may have drawn something concrete, like a particular landscape or thing, while others may have drawn something more abstract. Have the students put their drawings in categories. Begin with concrete versus abstract, but then let the children add new categories. This could include natural versus manmade, etc. 4. After the children have interpreted the music in their way with their own pictorial representation, tell the children that the "New World Symphony was written by Dvořák during his visit to the United States. He was very taken with the sounds he heard, and sought out the music of the Native Americans and African-Americans. It is said that the theme, which is played by the English Horn, was inspired by Native American music and African-American spirituals. Dvořák said, It is merely the spirit of Negro and Indian melodies which I have tried to reproduce in my new symphony. I have not actually used any of the melodies. Later, in 1900, he said in a letter: leave out that nonsense a about my using Indian and American motifs it is a lie! and again, It was my intention only to write in the spirit of these national American melodies." (Retrieved from https://www.theguardian.com/music/tomserviceblog/2014/sep/02/symphony-guide-dvořák-9th-new-world-symphony-tom-service ) 5. Next, play some examples of Native American flute music. Here are some links: https://www.youtube.com/watch?v=q6q0otmi4va https://www.youtube.com/watch?v=19nm5_nawqg 6. Play the Dvořák recording again, and begin a discussion about the similarities and differences between the Native American flute music and the theme in the Largo movement. 7. After they have listened for the Native American influences, allow the children to explore the African-American influences. Here is a 17 minute documentary that gives a good overview of spirituals. Encourage the children to really listen to the music that is performed. https://www.youtube.com/watch?v=8zeshn_ummu It may be helpful to include a few recordings of spirituals, which are readily available online, and then play the Dvořák recording again. Discuss the similarities and differences between what they heard in the spirituals and the Largo movement. Here are some examples: 8. After they have analyzed the music through drawing, discussion, comparison with Native American and African- American music, pass out the recorder arrangement for the theme. *This cannot be played with the recording, as it is in a different key than the orchestral score. ASSESMENT: Students will be participate in the activities and discussions and accurately play the theme on their recorder EXTENSION: Explore the widely used book: Burton, B. (1993). Moving Within the Circle: Contemporary Native American Music and Dance, 2nd ed. Wauwatosa, WI: World Music Press. There are many usable Native American songs and dances in this book. 24
YOUR TRIP TO THE TAFT THEATRE 25
26 There are 90 musicians in the Cincinnati Symphony Orchestra. The artists of the Cincinnati Symphony & Pops Orchestras are world-class, inspirational performers who have come from around the globe to live and work as members of the Greater Cincinnati community. As individuals they are artists, teachers, collaborators, friends and neighbors. We invite you to meet and get to know these extraordinary people! The Cincinnati Symphony Orchestra represents the evolution of 200 years of musical tradition in the Queen City. The fifth oldest symphony orchestra in the U.S. and the oldest orchestra in Ohio, the CSO has played a leading role in the cultural life of Greater Cincinnati and the Midwest since its founding in 1895. CINCINNATI SYMPHONY ORCHESTRA
THE TAFT THEATRE The Cincinnati Symphony Orchestra has called Cincinnati s Music Hall it s home for 120 years. During the 2016-2017 season, Music Hall is being renovated in order to preserve this amazing building for many more years of performances. All of the Cincinnati Symphony Orchestra s 2016-2017 Young People s Concerts will be performed in the Taft Theatre, our Home Away From Home. Opened in 1928, the Taft Theatre is a marvelous display of the ne-classical/art deco architecture that was popular during the time it was built. The Taft Theatre was designed by architects Architects Harry Hake, Sr. and Charles H. Kuck, who are also responsible for many other buildings in downtown Cincinnati including The Western & Southern Life building, The Queen City Club, and the Engine Company #45 Fire Station (now the Fire Museum). Today, the Taft Theatre hosts many different kinds of events including rock concerts, symphony concerts and theatre performances. When you arrive at the Taft Theatre, take a few moments before the concert starts to notice the history & beauty of the art and architecture of the Taft Theatre! 27
LESSON PLAN: CONCERT ETIQUETTE INSTRUCTIONAL OBJECTIVE(S): Students will demonstrate appropriate concert behavior during performances. STANDARDS: NATIONAL MUSIC STANDARDS CONNECTING Connect #11: Relate musical ideas and works with varied context to deepen understanding.. MU.:Pr6.1.6b Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette appropriate for venue and purpose.. PLAN: 1. Allow the children to choose a piece that they would like to perform for the rest of the class and/or another audience. They can perform in groups or individually and should have the freedom to choose anything they want. This can be something that have worked on in class, or have rehearsed elsewhere, but it should be "performance ready." 2. Give the children a short period of time to polish their piece. 3. After all groups are prepared, review the Rules of Concert Etiquette: Refrain from talking or whispering during the performance. The first and greatest rule! The musicians are working hard on stage to perform well for you - you ll want to be able to hear them. No singing or tapping fingers or feet unless the conductor tells you to! Like talking during the performance, other body movements can make a lot of noise. There will be parts of the performance where we ask you to move and sing. Please save extra movements and sounds for those moments! Applaud at the end of each piece. This lets the musicians know you enjoyed the music! Watch the conductor - he will lower his arms and face the audience when the Orchestra has finished playing. Do not leave the performance space during the music. If needed, wait for a break in the concert to visit the restroom. Follow the rules of the concert hall. Food, gum, beverages, cameras, mp3 players and other electronic devices are not allowed in Springer Auditorium Be on your best behavior. Remember that you are representing your school and teachers at Music Hall! 4. Discuss the rules with the students. 5. Find a formal setting, with chairs, for the kids to perform. The school auditorium, cafeteria, or other public space is a good option for this, but the children need to be able to sit in chairs. This is so that when they attend a concert at Music Hall, they are familiar with the expectations. 6. Remind the children to follow the Rules of Concert Etiquette guidelines that were discussed in class while they watch their classmates perform. 7. The same expectations are in place for the children at Music Hall for the YPC concerts, so review the etiquette rules with the children prior to arriving at the venue. ASSESSMENT: Students will be observed for appropriate behavior during school and CSO concerts. 28