Read In School Concert Teacher's Pack 09 text version

Sym p h o n y No va Scotia In-Sc hool Conc erts 20 0 8- 2 0 0 9

ABOUT THIS EDUCATION PACKAGE

Symphony Nova Scotia is looking forward to visiting your school! This is an exciting cross-curricular learning opportunity for students that meets a number of the CGOs for students in all grades. Please see the program details on the following pages for specific reference to curriculum-links and student outcomes.

PREPARING YOUR STUDENTS

Past feedback from teachers has suggested that students are better able to retain learning about the structure of the orchestra, instrument identification, timbre, and musical details once they've attended the concert. There are, however three critical things that you can do to prepare your students for this experience before hand. 1. Teach your students about audience etiquette for an orchestral concert. Often, students have been exposed to footage (or a live experience) of a pop concert that includes standing, screaming, crying (!!), or other exciting activities. While it would be thrilling for Symphony Nova Scotia to experience mass hysteria over our visit, students will likely gain more from learning standard audience practices for attending a concert of classical music. Guidelines are attached. 2. Teach some or all of your students the French Canadian song "Alouette." This is easily done by rote and can be mastered by even the youngest students. Sheet music is attached. If you are short on time or your students have not yet begun their studies of French, teaching the chorus only is an excellent alternative. 3. Teach some or all of your students the Zulu song "Siyahamba." Sheet music is attached. Children of all ages are able to sing this song but it may be easier for students in the upper grades to grasp it quickly. If learning it in Zulu is intimidating, English lyrics are provided.

CHOOSING A STUDENT CONDUCTOR

The grand finale for your In-School concert will offer one student from your school the chance to conduct the orchestra. We ask that you and your administration choose this student prior to concert day. This allows the student to feel emotionally prepared for standing up in front of the whole school and trying something new. As well, it offers your school the chance to approach this opportunity as a reward. Your selection process is entirely at your discretion. Some schools have chosen their "Student of the Week," some have chosen a student who has won a recent music prize for extra-curricular performance, some have chosen a student who shows great musical promise but who needs the inspiration or motivation to take up intensive study, and some schools choose via lottery. We will be very pleased to welcome any student you choose to the podium.

AFTER THE CONCERT

Also in this package is a set of pages designed to help you channel the energy and feedback of students following the concert. The colouring pages can be used in a variety of ways: 1. Children can choose their favourite instrument to colour and cut out 2. The full orchestra sheet can be used for study purposes, followed by a quiz on instrument identification 3. Individual instruments can be distributed to students to colour and cut out, followed by a class activity of putting them in proper orchestral placement (forming the orchestra on your wall or floor!). 4. Individual instrument pages can also be used to process learning about timbre. Students can colour the front of their sheet, cut the instrument(s) out, and then write their impressions of the sound of the instrument on the back. Finally, this package also contains a feedback sheet. You can guide student feedback or leave it entirely to them. This sheet can also be distributed to classroom teachers to administer, if desired. Please note the prize opportunity for sheets returned to Symphony Nova Scotia! Teachers may also wish to create a more detailed follow-up unit on the concert's repertoire by using the provided information about the pieces as well as the chance to listen to many of them again via youtube or iTunes.

Sym p h o n y No va Scotia In-Sc hool Conc erts 20 0 8- 2 0 0 9

SNS Spring 2009 Education Prog r a m O rder: Sounds of Home: Canada's Musical M os aic

Selections include music that represents European, Middle Eastern, African, Asian, Latin American, and French Canadian cultures. The character and representational qualities of each family of instruments will be explored as we enjoy the sounds of the cultures that form our Canadian identity. Curriculum Links:

· · · Music: orchestral music, world music, folk music, instrument identification, timbre, professional music-making Social Studies: Canada, French Canada, Asia, Africa, Europe, Latin America, Middle East Personal Development: Multi-culturalism, anti-racism, community building

Beethoven, L. Bartok, B. Saint-Saens, C. arr. Isaac Traditional arr. Wagner Chan, Ka-Nin de Falla, M. Liadov, A. Clarke, Mitchell Traditional arr. Scott MacMillan Fin al e:

The Ruins of Athens, Op. 113: Turkish March Roumanian Folk Dances (excerpts) "Bacchanale" from Samson and Delilah Siyahamba (student singalong) Flower Drum Song (excerpt) Introduction & Dance of the Miller's Wife (Fandango) from The Three-Cornered Hat Suite No. 1 Round Dance and Village-Dance Song from Eight Russian Folksongs Alouette (student singalong) Three Jigs (no repeats and/or possible cuts) Student conducting Beethoven: Turkish March To t al Music:

2:00 4:00 4:00 2:00 4:00 4:00 3:00 3:00 4:00 2:00 32:00

Sym p h o n y No va Scotia In-Sc hool Conc erts 20 0 8- 2 0 0 9

AUDIENCE ETIQUETTE: The L.E.A.P. Model

Expectations of Students During a Symphony Concert

Simulation exercises and drama games that teach these guidelines for audience etiquette are often helpful for older children. For younger children, it is often helpful to provide an "etiquette model" who sits among or in front of them (facing them). The students' job is to clap when their etiquette model claps, to sit still when s/he does, to wiggle and chat when s/he does, etc. This role can be filled by a teacher or older, mature students. Guidelines: 1. Go to the bathroom before the concert so you don't have to leave part way through. Leaving in the middle disturbs others and means you miss part of the concert. 2. Listen: Concerts are for listening and watching but they are not for talking. If the conductor asks a question, you must raise your hand if you know the answer. 3. Enjoy: You can show your enjoyment of the music by clapping in between songs, by smiling, by moving your head in time to the music, and by participating! 4. Applause: a. Clap when the concertmaster (1st violin, 1st chair) appears. This is the cue that the concert is about to start. S/he will cue the oboe to give a tuning note to the orchestra. b. Clap when the conductor comes on stage. c. Clap in between pieces but not in between movements. Movements are like chapters in a novel. Although the chapter you just heard was good, there is much more to come and applause may break the suspense. The short pause between movements is also for musicians to get ready to play a new part of the piece. It is important to be quiet so they can concentrate. 5. Participate: You will have a chance to sing and clap during the concert. Don't be scared! The orchestra players are being brave in their performance so please be brave and participate.

PROGRAM DETAILS

Beethoven, Ludwig: The Ruins of Athens, Op. 113: Turkish March LISTEN: http://www.youtube.com/watch?v=umvWOzVq-Yk&feature=related CULTURAL REGION: Europe SPECIAL FEATURES: Whole orchestra, march, strong beat ABOUT THE PIECE: Composed in 1811 as background music to accompany a play, the Turkish march is filled with pomp and fanfare as if the military were on parade. The mood is light and jovial. The "Turkish" element of this piece is the use of cymbals and other percussion instruments associated with the Turkish military bands that toured Europe at the time and were very popular with the various courts. The march is in B flat major, tempo vivace and 2/4 time with a quarter note getting one beat. Its dynamic scheme is highly suggestive of a procession passing by, starting out pianissimo, poco a poco rising to a fortissimo climax and then receding back to pianissimo by the coda. Bartok, Bela: Roumanian Folk Dances (excerpts) LISTEN: http://www.youtube.com/watch?v=5CBzuSp6VxU&feature=related CULTURAL REGION: Eastern Europe (Baltics)

Sym p h o n y No va Scotia In-Sc hool Conc erts 20 0 8- 2 0 0 9

SPECIAL FEATURES: Clarinet solo ABOUT THE PIECES: The Rumanian Folk Dances and the Sonatina are works based on folksongs and dances collected by Bartók from peasants and Gypsies during his pioneering ethno-musicological field trips through Hungary in 1910-14. Both works were first arranged for solo piano, though Bartók would have originally heard these tunes played on fiddle, shepherd's flute, or bagpipe. In these, as well as his other folksong arrangements, Bartók provides simple yet imaginative settings for the folk tune, like a master picture framer crafts a matte and frame to compliment, yet not compete with, the painting or drawing it surrounds. Saint-Saens, C./ arr. Isaac: "Bacchanale" from Samson and Delilah LISTEN: http://www.youtube.com/watch?v=XWxKga2wp9Y&feature=related CULTURAL REGION: Middle East INSTRUMENT FEATURED: Oboe ABOUT THE PIECE: A bacchanale is a dramatic musical composition, often depicting a revel or bacchanal. This bacchanale comes from an opera based on the Old Testament story of Sampson and Delilah. During this scene, the priests of the temple are dancing wildly, ridiculing Sampson who has become weak. Traditional/arr. Wagner: Siyahamba (student singalong) LISTEN: http://www.youtube.com/watch?v=rbJnD_npJBs&feature=related CULTURAL REGION: Africa SPECIAL FEATURES: Hand drums and Voices ABOUT THE PIECE: This piece was originally sung without instruments and comes from South Africa. The language is Zulu. The English translation may be sung in place of the Zulu lyrics: We are marching in the light of God, We are marching in the light of God. (x2) We are marching (marching, we are marching), oo-oo! We are marching in the light of God. (x2) Easily taught by rote to children of all ages. Encourage your students to clap along and dance! Sheet music attached. Chan, Ka-Nin: Flower Drum Song (excerpt) CULTURAL REGION: China SPECIAL FEATURES: Flute solo and horn solo ABOUT THE PIECE: Chan, Ka Nin is a Chinese-Canadian composer and his music reflects these two cultures. Use of the traditional Chinese pentatonic scale is apparent in this music as well as the flute solo. de Falla, Manuel: Introduction & Dance of the Miller's Wife (Fandango) from The Three-Cornered Hat Suite No. 1 LISTEN: Available on iTunes (search "Three Cornered Hat Suite") CULTURAL REGION: Latin America SPECIAL FEATURES: Trumpet (intro), Latin Rhythms in the dance ABOUT THE PIECE: Manuel de Falla (pronounced fye-yah) was born in South America but also lived in Spain. His music is very characteristic of Latin/Spanish culture, including syncopated rhythms, dance forms, and Moorish (Muslim) influences.

Sym p h o n y No va Scotia In-Sc hool Conc erts 20 0 8- 2 0 0 9

Liadov, A.: Round Dance and Village-Dance Song from Eight Russian Folksongs LISTEN: http://www.youtube.com/watch?v=aR8lB6vrchg (beginning at 5:09) SPECIAL FEATURES: pizz strings, tambourine, piccolo CULTURAL REGION: Russia ABOUT THE PIECE: These pieces are brilliant and victorious sounding, and are a good example of nationalist music from the late 19th century that drew on folk melodies and celebrated the unique aspects (both cultural and geographic) or the composers homeland. Clark, Mitchell (arr.): Alouette (singalong French Canadian children's song) LISTEN: http://www.wat.tv/video/alouette-gentille-alouette-132qh_izbf_.html SPECIAL FEATURES: students' voices! ABOUT THE PIECE: "Alouette" is a popular Canadian[1] children's song about plucking the feathers off a skylark, a small bird. It originated with the French Canadian fur trade. The songs of the French fur trade were adapted to accompany the motion of paddles dipped in unison. Singing helped to pass the time and made the work seem lighter. In fact, it is likely that the Montreal Agents and Wintering Partners sought out and preferred to hire voyageurs who liked to sing and were good at it. They believed that singing helped the voyageurs to paddle faster and longer. "Alouette" informs the lark that the singer will pluck its head, nose, eyes and wings and tail. Many of the songs favored by the voyageurs have been passed down to our own era. Now the song is used to teach French children their body parts. Traditional/ arr. Scott MacMillan: Three Jigs SPECIAL FEATURES: fiddle/violin, Nova Scotian composer ABOUT THE PIECE: These pieces were composed in Cape Breton by Scott Macmillan who lives in Halifax part time and Mabou part time. Scott is one of Nova Scotia's most famous composers. These quick, lively pieces are based on step dances from the Celtic tradition and feature interesting metre changes along with typical figures for the fiddle. Finale: Student Conducts Turkish March (same as concert opener) Please choose the student who will conduct ahead of time by a method that is appropriate for your student body and your school policies. This is a special honour and an exciting opportunity. Please ensure that the student you choose is prepared to stand in front of his/her peers and try something new. Prior musical knowledge about conducting is not necessary.

ALOUETTE GENTILLE ALOUETTE

A - lou - et - te gentill'A-lou-et - te A - lou - et - te je te plu-me-rais

Je te plumerais la tête je te plumerais la tête Et la tête, et la tête Alouett' Alouett' Ah Ah Ah

Ah!

A - lou - et - te

gentill' A- lou- et - te

A - lou - et - te

je te plu-me-rais

CHORUS: Alouette, gentill' alouette, Alouette je te plumerai! Verse 1: Je te plumerai la tête ... Verse 2: Je te plumerai les yeux ... Verse 3: Je te plumerai le dos ...

SOPRANO 1

Si - ya - hamb' e - ku -kha - nye - ni kwen - khos ALTO

Si - ya - hamb'

5

Siyahamba

Trad. Zulu/arr. C. Murray

Si - ya hamb' e - ku - kha - nye - ni kwen - khos

e - ku - kha - nye - ni - kwen - khos Si - ya hamb' e - ky - kha - nye - ni - kwen - khos

Si - ya Si - ya

S. 1

A.

9

hamb' hamb'

e - ku - kha - nye - ni kwen - khos e - ku - kha - nye - ni kwen - khos, si - ya hamb' e - ku - kha - nye - ni kwen - khos si - ya hamb' e - ku - kha - nye - ni kwen,

Si - ya Si - ya

S. 1

ham - ba ham - ba,

ham - ba, si - ya - ham - ba,

A.

13

Oo oh

nye - ni kwen - khos

Si-ya

S. 1

ham - ba ham - ba,

ham - ba, Si-ya - hamb' e - ku - kha - nye - ni kwen,

ham - ba, si - ya - ham - ba,

A.

Oo - oh

Si-ya hamb' e - ku - kha - nye - ni kwen - khos.

ham - ba, si - ya - hamb' e - ku - kha - nye - ni kwen kho

Si - ya - hamb' e - ku - kha - nye - ni kwen kho -

nye - ni - kwen - khos, Si-ya

X

sa!

X

sa!

Copyright © C. Murray 2009

My ExpEriEncE WiTH SyMpHony nova ScoTia

Students who complete this form and submit it will be entered into a draw to win 4 free tickest to the Nutcracker in December 2009 AND 4 free tickets to Symphony Nova Scotia's Family Show, Holly's Magic Brush, February 21, 2010. Any form of feedback is encouraged! Draw, colour, write poetry, write a letter ... just tell about your experience!

Teachers who submit forms in bulk on behalf of their students will be entered into a separate draw for 4 complimentary tickets to any Symphony Nova Scotia concert in 2009-10.

Full Name: School: Class:

Age:

Symphony Nova Scotia

piccolo

tympani

clarinet flute oboe ba

s so o

n

french horn

vio l

trumpet

a

second violin

double bass first violin conductor cello

Symphony Nova Scotia

trumpets

piccolo

flutes

clarinets

first violins

second violins

french horns

cellos

cellos

double bass

double bass

oboes

bassoons

violas

tympani

conductor

Information

In School Concert Teacher's Pack 09

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