FLYNN CENTER PRESENTS. VYO & VSO Link Up: the Orchestra Sings

FLYNN CENTER PRESENTS VYO & VSO Link Up: the Orchestra Sings

Welcome to the 2015-2016 Student Matinee Season! Today s scholars and researchers say creativity is the top skill our kids will need when they enter the work force of the future, so we salute YOU for valuing the educational and inspirational power of live performance. By using this study guide you are taking an even greater step toward implementing the arts as a vital and inspiring educational tool. We hope you find this guide useful. If you have any suggestions for content or format of this guide, please contact sms@flynncenter.org. Enjoy the show! We appreciate and value your feedback. Click here to evaluate our study guides. Click here for Teacher Feedback Forms for the performance. Click here for Student Feedback Forms for the performance. Click here for Parent Forms to help parents engage with their children around the show. This guide was written & compiled by the Education Department at the Flynn Center for the Performing Arts with inspiration from Carnegie Hall s Link Up resources. Permission is granted for teachers, parents, and students who are coming to Flynn shows to copy & distribute this guide for educational purposes only.

About the Composers Beethoven Brackett Cabaniss Dvořák Papoulis Stravinsky Orchestra Glossary The Instruments of the Orchestra Woodwinds, Brass, Percussion, Strings The Orchestra Map The Songs of Link Up Come to Play, Simple Gifts, To Make Words Sing Ode to Joy, Bought Me a Cat Oye Activities to Deepen Understanding Pre and Post Discussion Questions Tell a Story with Rhythm Rhythm Circle Your Visit The Flynn Center Etiquette for Live Performance Why is Etiquette Important? Common Core Standards The Common Core broadens the definition of a text, viewing performance as a form of text, so your students are experiencing and interacting with a text when they attend a Flynn show. Seeing live performance provides rich opportunities to write reflections, narratives, arguments, and more. By writing responses and/or using the Flynn Study Guides, all performances can be linked to Common Core: CC ELA: W 1-10 You can use this performance and study guide to address the following Common Core Standards (additional standards listed by specific activities): CC ELA: SL 1-4, RH 7, RL 7 The Flynn Center recognizes that field trip resources for schools are extremely limited, thus matinee prices for schools are significantly lower than prices for public performances. As a non-profit organization, the Flynn is deeply grateful to the foundations, corporations, and individuals whose generous financial support keeps matinees affordable for schools. A special thank you to Bruce and Ruth Ann Beers for sponsoring this matinee performance. Thank you to the Flynn Matinee 2015-2016 underwriters: Andrea s Legacy Fund, Champlain Investment Partners, LLC, Bari and Peter Dreissigacker, William Randolph Hearst Foundation, Forrest and Frances Lattner Foundation, Surdna Foundation, Tracy and Richard Tarrant, TD Charitable Foundation, Vermont Concert Artists Fund of the Vermont Community Foundation, Vermont Community Foundation, New England Foundation for the Arts, National Endowment for the Arts, and the Flynn Jazz Endowment. Additional support from the Bruce J. Anderson Foundation, Green Mountain Fund, Walter Cerf Community Fund, the Vermont Arts Council, the Susan Quinn Memorial Fund, and the Ronald McDonald House Charities.

Ludwig van Beethoven (1770 1827) grew up in Bonn, Germany, and by the time he was just 12 years old, he was earning a living for his family by playing organ and composing original music. He was eventually known as the greatest pianist of his time. Although Beethoven began to suffer from hearing loss as early as his 20s, he continued to compose. He even composed many of his most famous musical works after he had become totally deaf! Legend has it that after conducting the premiere of his Ninth Symphony, he had to be turned around to see the overwhelming applause of the audience. Beethoven s originality and innovation inspired others to change the way that they composed. Fun fact: One of Beethoven s favorite foods was macaroni and cheese! Joseph Brackett (1797 1882) was an American songwriter and an elder, or minister, in the Shaker community. Shakers are a religious group who consider music to be an essential part of the religious experience. Brackett was born in Cumberland, Maine. He did not write a lot of music but is best known as the composer of the Shaker dancing song Simple Gifts. The song, written in 1848, was largely unknown outside of Shaker communities until Aaron Copland used the melody in his 1944 composition Appalachian Spring. Thomas Cabaniss (b. 1962) lives in New York City and composes music for opera, theater, dance, film, and concerts. He worked with choreographer Hilary Easton to create a series of dance-theater works, and his music for theater has appeared in shows on and off Broadway. He has written an opera based on E. T. A. Hoffmann s The Sandman, and he scored an Oscar winning short film, The Lunch Date. His choral works include Behold the Star, available on New World Records and published by Boosey & Hawkes. He is a member of the faculty of The Juilliard School. Antonín Dvořák (1841 1904) was born in a small village in Bohemia, which is now part of the Czech Republic, a country in central Europe. He was one of seven children. His parents recognized his musical talent, and at the age of six he began his musical training. He studied music in Prague and graduated as an accomplished violin and viola player before he was 20 years old. In 1892, Dvořák moved to America to accept a position as head of the National Conservatory of Music. While in America, he wrote his Symphony No. 9, From the New World. The New York Philharmonic played the first performance of this piece at Carnegie Hall in 1893. Jim Papoulis (b. 1961) lives in New York City and composes, orchestrates, and conducts music for dance, film, ensembles, and choirs. His compositions are known for exploring new modes of musical communication by honoring and connecting classical and traditional forms with non- Western sounds. He firmly believes that music can heal, educate, celebrate, and empower the lives of children. He composed Oye while working with young children in Mexico, and through the Foundation for Small Voices, he has conducted songwriting workshops around the world. He has worked with a variety of singers and choirs, including Shania Twain, Celine Dion, Aretha Franklin, the New York Philharmonic, the Chicago Symphony Orchestra, London Boys Choir, Beijing Children s Choir, Faith Hill, Natalie Cole, Snoop Dogg, Slash, and Beyoncé. Igor Stravinsky (1882 1971) was born in St. Petersburg, Russia. He began taking piano lessons at age 9, but his father, who was a famous opera singer, actually wanted Stravinsky to become a lawyer. When he went to college, he studied law and music at the same time. In college, he took composition lessons from another famous composer, Nikolai RimskyKorsakov. The music for the ballet The Firebird made him famous as a composer, and he gave up law. Stravinsky went on to write music for other ballets, including The Rite of Spring, about a pagan ritual in ancient Russia. The opening night audience found the music and choreography so shocking that there was actually a riot in the theater!

accent: a musical marking that tells a musician to emphasize a certain note or set of notes accompaniment: music that goes along with and supports a melody bar line: a vertical line on a staff that divides the measures beat pattern: the pattern of arm movements that conductors use to indicate the meter of a piece of music. Carnegie Hall: a famous concert hall in New York City chorus: a group of singers clef: a sign placed at the beginning of a musical staff to determine the pitch of the notes common time: another name for 4/4 meter conductor: a person who leads a group in making music diction: the pronunciation and enunciation of words in singing dynamics: volume (loud or quiet) finale: the ending of a piece of music fingering: the technique or art of using one s fingers in playing a musical instrument form: the order of phrases or sections in music harmony: multiple pitches played or sung at the same time head voice: the high register of the voice, from which vibrations can be felt in the head humming: singing without opening one s lips improvise: to make up something on the spot instrument: something you play to make music leap: a musical interval with large changes in pitch measure: a group of beats framed by bar lines on a staff melody: the main tune in a piece of music meter: an organized pattern of beats mood: the feeling of a piece of music music notation: the method used to write down music so that it can be played or sung the same way again note head: the round part of a musical note note stem: the vertical line extending from the head of a note ode: a poem that expresses praise or appreciation, sometimes sung phrase: a short musical segment with a specific contour and duration that is part of a larger melody pitch: how high or low a sound is posture: the position of the body repertoire: a French word referring to the set of musical pieces you learn over a period of time rest: a rhythmic symbol that represents silence rhythm: patterns of sound and silence scale degree: a numbered pitch of a scale. In a C scale, C is scale degree 1, D is 2, and so on. solo: one singer or instrumentalist performing alone staff: the set of lines and spaces on which musical pitches are written steady beat: the pulse in music step: a musical interval spanning one scale degree tempo: the speed of music time signature: a symbol used in music to indicate meter tuning: adjusting instruments to a desired pitch unison: a single pitch that is played or sung at the same time by multiple people vibrations: the quick back-and-forth movement of air to produce a sound

COME TO PLAY by Thomas Cabaniss WINDS BLOW, TRUMPETS SOUNDING STRINGS SING, DRUMMERS P-P-P-P-P-P-POUNDING DRUMMERS P-P-P-P-P-P-POUNDING COME TO PLAY JOIN SOUND WITH SOUND COME TO SING WE LL SHAKE THE GROUND WITH SONG COME TO PLAY JOIN SOUND WITH SOUND COME TO SING WE LL SHAKE THE GROUND WITH SONG WHAT DO YOU DO WITH TIME? MAKE IT GROOVE, MAKE IT MOVE, MAKE IT RHYME WHAT DO YOU DO WITH SONG? MAKE IT SING, MAKE IT RING, MAKE IT STRONG, MAKE IT LONG WHAT DO YOU DO WITH SOUND? MAKE IT CRY, MAKE IT FLY, MAKE IT GLEAM, MAKE IT YOUR DREAM (Orchestral interlude) WINDS BLOW, TRUMPETS SOUNDING STRINGS SING, DRUMMERS P-P-P-P-P-P-POUNDING DRUMMERS P-P-P-P-P-P-POUNDING COME TO PLAY JOIN SOUND WITH SOUND COME TO SING WE LL SHAKE THE GROUND WITH SONG COME TO PLAY JOIN SOUND WITH SOUND COME TO SING WE LL SHAKE THE GROUND WITH SONG SIMPLE GIFTS by Joseph Brackett TIS THE GIFT TO BE SIMPLE TIS THE GIFT TO BE FREE TIS THE GIFT TO COME DOWN WHERE WE OUGHT TO BE AND WHEN WE FIND OURSELVES IN THE PLACE JUST RIGHT IT WILL BE IN THE VALLEY OF LOVE AND DELIGHT WHEN TRUE SIMPLICITY IS GAINED TO BOW AND TO BEND WE SHAN T BE ASHAMED TO TURN, TURN IT WILL BE OUR DELIGHT TIL BY TURNING, TURNING WE COME ROUND RIGHT TO MAKE WORDS SING by Thomas Cabaniss TO MAKE WORDS SING IS A WONDERFUL THING BECAUSE IN A SONG WORDS LAST SO LONG SO LONG ------------------ SO LONG ------------------ SO LONG. SO LONG. SO LONG. TO MAKE WORDS SING IS A WONDERFUL THING BECAUSE IN A SONG WORDS LAST SO LONG SO LONG ------------------ SO LONG ------------------ SO LONG. SO LONG. SO LONG.

ODE TO JOY by Ludwig van Beethoven JOYFUL AS WE JOIN IN SINGING, ANTHEMS OLD YET STRONG AND BRIGHT, NEAR AND FAR TO ALL WE RE BRINGING VOICES FILLED WITH HOPE AND LIGHT. SINGING BRINGS US ALL TOGETHER WHEN OUR VOICES WOULD BE SMALL, GIVES US POWER UNDIVIDED NOW UNITED ONE AND ALL. SINGING BRINGS US ALL TOGETHER WHEN OUR VOICES WOULD BE SMALL, GIVES US POWER UNDIVIDED NOW UNITED ONE AND ALL. JOYFUL IN THE SONGS WE RE SINGING JOINED IN MUSIC AND IN WORD, WITH THE POWER THAT WE RE BRINGING AS ONE VOICE WE WILL BE HEARD. SINGING BRINGS US ALL TOGETHER WHEN OUR VOICES WOULD BE SMALL, GIVES US POWER UNDIVIDED NOW UNITED ONE AND ALL. SINGING BRINGS US ALL TOGETHER WHEN OUR VOICES WOULD BE SMALL, GIVES US POWER UNDIVIDED BOUGHT ME A CAT By Thomas Cabaniss I BOUGHT ME A CAT MY CAT PLEASED ME I FED MY CAT UNDER YONDER TREE CAT SAYS I BOUGHT ME A HEN MY HEN PLEASED ME FED MY HEN UNDER YONDER TREE HEN SAYS CLUCKETY, CLUCKETY CAT SAYS I BOUGHT ME A DUCK, MY DUCK PLEASED ME FED MY DUCK UNDER YONDER TREE DUCK SAYS "QUACK, QUACK" HEN SAYS "CLUCKETY, CLUCKETY" CAT SAYS I BOUGHT ME A GOOSE... MY GOOSE PLEASED ME FED MY GOOSE UNDER YONDER TREE GOOSE SAYS, "HONK, HONK" DUCK SAYS "QUACK, QUACK" HEN SAYS "CLUCKETY, CLUCKETY" CAT SAYS I BOUGHT ME A PIG MY PIG PLEASED ME FED MY PIG UNDER YONDER TREE PIG SAYS, "OINK, OINK" GOOSE SAYS, "HONK, HONK" DUCK SAYS "QUACK, QUACK" HEN SAYS "CLUCKETY, CLUCKETY" CAT SAYS I BOUGHT ME A DOG MY DOG PLEASED ME FED MY DOG UNDER YONDER TREE DOG SAYS, "BOW, WOW" PIG SAYS, "OINK, OINK" GOOSE SAYS, "HONK, HONK" DUCK SAYS "QUACK, QUACK" HEN SAYS "CLUCKETY, CLUCKETY" CAT SAYS I BOUGHT ME A COW MY COW PLEASED ME FED MY COW UNDER YONDER TREE COW SAYS, "MOO, MOO" DOG SAYS, "BOW, WOW" PIG SAYS, "OINK, OINK" GOOSE SAYS, "HONK, HONK" DUCK SAYS "QUACK, QUACK" HEN SAYS "CLUCKETY, CLUCKETY" CAT SAYS I BOUGHT ME A HORSE MY HORSE PLEASED ME FED MY HORSE UNDER YONDER TREE HORSE SAYS, "NEIGH, NEIGH" COW SAYS, "MOO, MOO" DOG SAYS, "BOW, WOW" PIG SAYS, "OINK, OINK" GOOSE SAYS, "HONK, HONK" DUCK SAYS "QUACK, QUACK" HEN SAYS "CLUCKETY, CLUCKETY" CAT SAYS

OYE by Jim Papoulis OYE, ARE YOU LISTENING? OYE, CAN YOU HEAR THEM CALLING? WE ARE CALLING TO YOU VERSE: ESTA SOLO LLORANDO EN SILENCIO EN LA OSCURIDAD ESTA SOÑANDO DESEANDO CON ESPERANZA POR L OPORTUNIDAD ESCUCHALOS, ESCUCHALOS ELLOS TE LLAMAN CHORUS: (students sing along) OYE, ARE YOU LISTENING? OYE, CAN YOU HEAR THEM CALLING? WE ARE CALLING TO YOU OYE, ARE YOU LISTENING? OYE, CAN YOU HEAR THEM CALLING? CAN YOU HEAR US? (Orchestral interlude) OYE, OYE, OYE, OYE, OYE, OYE! OYE OYE WE ARE CALLING TO YOU OYE OYE OYE CAN YOU HEAR US? OYE, ARE YOU LISTENING? OYE, CAN YOU HEAR THEM CALLING? WE ARE CALLING TO YOU OYE, ARE YOU LISTENING? OYE, CAN YOU HEAR THEM CALLING? CAN YOU HEAR US? OYE! VERSE: ESCUCHALOS MIRALOS ESCUCHA LO QUE TRATAN DE DECIR ESTAN EN BUSQUEDA DEL CAMINO PEQUEÑAS VOCES LLAMÁNDOTE ESCUCHALOS, ESCUCHALOS ELLOS TE LLAMAN CHORUS:(students sing along) OYE, ARE YOU LISTENING? OYE, CAN YOU HEAR THEM CALLING? WE ARE CALLING TO YOU OYE, ARE YOU LISTENING? OYE, CAN YOU HEAR THEM CALLING? CAN YOU HEAR US?

Pre-Show Discussion Questions Why does an orchestra need a conductor? What are the differences among a solo, duet, trio, and quartet? Do smaller instruments play higher or lower than large instruments? Do you suppose the music we think of as modern today will be listened to 300 years from now? What comes to mind when someone says "classical music?" Do some children have a prejudice against what they think of as classical music? Why? Name all of the different kinds of music you can think of. Is there anyone who likes all kinds of music? Post-Show Discussion Questions Did all of the instruments play the same amount, or did some play more and some rest more? Can you think of some instruments that you saw at the concert that you have seen somewhere else? (strolling violinist in restaurant, quartet at wedding, brass band, street musicians) Did any of your thoughts or feelings about classical music change as a result of attending this concert? Tell a Story with Rhythm! Items needed: A story or book of the group s choosing and a rhythm box with a variety of instruments such as shakers, bells, drums, tambourines, blocks, etc. Choose a book with a theme that corresponds with your classes unit of study. This can be a myth, a children s story, or even a chapter of a novel. After the class has read it and talked about its significant actions or themes, break into groups of 3-4. Have groups decide which significant moments of the story they would like to represent and to brainstorm percussive sounds that might fit well with them. They may choose one instrument from a rhythm box and use it plus any sounds they can make with their hands, arms, or feet, to illustrate their part of the story. Then have the full group try the rhythms in sequence, each small group doing theirs, followed by the next group, etc. As a group share impressions of how the movements worked in sequence. Is there anything you d like to change? Invite an audience to listen to the story read aloud while sounds are performed or tape record the performance and listen to it as a class. Rhythm Circle Form a standing circle. Discuss how individuals can invent a rhythm using hands, feet, etc. and lead students to experiment creating a rhythm using clapping, stamping, snapping fingers, sliding feet, etc. Then choose a student to create a simple steady beat to start the rhythm circle going well. Step into the center of the circle and act as the conductor. As members of the circle are ready to add a rhythm, either uniquely their own or like another s, they raise their hand. You bring them in, and they begin their pattern and continue it throughout the session. One by one, participants enter when you point to them. You may ask the group to get louder or get softer with your gestures, and finally, you will signal the end the piece. Debrief quickly after each session: What sounds gave the rhythm circle a special feeling? How did participants feel being part of an ensemble? Now allow a student to become the conductor and repeat the process. Variations: Try the rhythm circle with percussion instruments, homemade (cans filled with pebbles) or bought (maracas, whistles, drums) Try it again with sounds created by mouth (whoops, whistles, moans, whispers) Try creating sounds that have to do with themes, such as a rainstorm, slavery, childhood, happiness, etc. Record the rhythm circle and play it back to the group for feedback. Reflection: Participants, even if they don t consider themselves musicians, may quickly perceive themselves to be part of something that truly is music. It may be easier now for the group to understand how music evolved and how simple it can be.

The Flynn Center The Flynn has been at the center of Vermont's cultural landscape for over 80 years from its earliest days as a vaudeville house through five decades as a movie theater to its present life as the region's leading performance center and arts education organization. Today, the Flynn Center for the Performing Arts is recognized internationally for its significant artistic, educational, and community outreach activities; superb technical capacity; beautiful historic setting; and worldclass presentations. At the Flynn, we celebrate a rich legacy of connecting our community with the arts. The Flynn is recognized for its stellar artistic programming in theater, dance, and music; and for educational programs that reach far into the community to advance teaching and learning. For more about the Flynn, click here. The Essentials Etiquette for Live Performances Listen, experience, imagine, discover, learn! Give your energy and attention to the performers. At the end of the show, clap for the performers time and energy. Eating, drinking, and chewing gum are not okay. Talk only before and after the performance. Turn off wireless devices. No photos, videos, texting, or listening to music. Why is Etiquette Important? A good live performance is a powerful communication between audience and performer. The more the audience gives to the performer, the more the performer can give back to the audience. The performer hears the audience laughing, senses its sympathy, and delights in the enthusiasm of its applause. Furthermore, each audience member affects those sitting near him or her, in addition to the performers onstage. Technological devices (cameras, phones, etc.) have become so prevalent in our daily lives, but using these devices is distracting to the performers onstage and other audience members trying to watch the show. Even the light from checking the time, or the buzz of a phone on vibrate can pull the people around you out of the experience. Cell phone frequencies can even interfere with the microphones in the production, and taking photos can be unsafe for performers. Additionally, an artist has the right to decide what photos and videos go out into the world. Phones keep you from being present and fully engaged with the show. Thank you for turning devices completely off! DISCUSS BEING A MINDFUL AUDIENCE MEMBER: How is going to see a live theatre performance different from seeing a movie, going to a concert, or watching TV? In small groups, come up with a list of positive audience behaviors, and behaviors that would be disruptive to performers and other audience members. Come together and create a master list.

We can t wait to see you at the theater! Teachers, a few reminders: Fill out the Seating and Travel Survey, so we can best accommodate your group s needs in regards to dismissal, bussing, students with different needs, etc. Share your experience with us! Use the feedback links, or share your students artwork, writing, responses. We love to hear how experiences at the Flynn impact our audiences. Explore other student matinees at the Flynn this season. We ve still got seats in some shows and we d love to help you or other teachers at your school enliven learning with an engaging arts experience! We have some new initiatives to deepen student connection and experience! Hello from the Flynn! Pre or Post-Show Video Chats: Help students build enthusiasm or process their experience with a free, 5-10 minute video chat before or after the show! We can set up Skype/Facetime/Google Hangouts with your class to answer questions about the content, art form, and experience. Contact Kat, kredniss@flynncenter.org to set up your chat! Autism and Sensory-Friendly Accommodations: The Flynn Center has been working diligently to break down barriers for audience members with disabilities, with a particular focus on those with sensory-sensitivities. Social stories, break spaces, sensory friendly materials, and more are available for all student matinees. Feel free to let us know ahead of time if any of these would be useful, or ask an usher at the show! Make your field trip the most meaningful learning experience it can be with a preparatory Companion Workshop in your classroom! An engaging Flynn Teaching Artist can come to your school to deepen students understanding of both content and form with an interactive workshop, enriching kids matinee experiences. Funding support is often available. To learn more, check out this link. To book a workshop, click here. Questions? Contact Lauren: schoolprograms@flynncenter.org or (802)652-4508