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Yannick Nézet-Séguin Music Director
Inside the MusicThe Philadelphia Orchestra 2015 -16 School Concert Curriculum Guide
Play Us a Story: Peter, the Wolf, and Friends
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Inside the MusicThe Philadelphia Orchestra2015-16 School Concert Curriculum Guide
Play Us a Story: Peter, the Wolf, and Friends
Dorff Excerpts from Three Fun Fables
Prokofiev Peter and the Wolf
2015-16 Philadelphia Orchestra School ConcertsAll performances take place in Verizon Hall at The Kimmel Center for the Performing Arts.
Tuesday, November 17 12:15 PMMonday, November 23 10:30 AM and 12:15 PMTuesday, November 24 10:30 AM and 12:15 PM
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AcknowledgementsThe Philadelphia Orchestra is grateful to the area teachers who have worked with the Collaborative Learning department on this year’s curriculum guide, Inside the Music.
2015-16 Philadelphia Orchestra School Concert Collaborative Group
Elizabeth McAnally, Lead Teacher Choral/General Music Teacher, Woodrow Wilson Middle School, School District of Philadelphia, PAChris Argerakis, Choral/General Music Teacher, Band Director, Andrew Jackson School, School District of Philadelphia, PAHelene Furlong, Choral/General Music Teacher, Edwin M. Stanton School, School District of Philadelphia, PARobin Muse, Choral/General Music Teacher, Penn Alexander School, School District of Philadelphia, PAMelissa Strong, Choral/General Music Teacher, Fleetwood Elementary School, Mount Laurel Township School District, NJLisa Tierney, Choral/General Music Teacher, James Dobson School, School District of Philadelphia, PA
The Philadelphia Orchestra is pleased to recognize the following major donors who support the School Concert program.
Wells Fargo is proud to be the Lead Underwriter of the “Raising the Invisible Curtain” initiative. Additional funding comes from the Annenberg Foundation, the Pennsylvania Department of Community and Economic Development, and the Presser Foundation.
The 2015-16 School Concert curriculum guide, Inside the Music, is made possible by the Volunteer Committees for The Philadelphia Orchestra.
School ConcertsSchool Concerts are funded in part by the Annenberg Foundation, the Julius and Ray Charlestein Foundation in memory of Morton and Malvina Charlestein, the Connelly Foundation, the Dolfinger-McMahon Foundation, the Christian Humann Foundation, the Billy Joel Fund for Music Education, the Ethel Sergeant Clark Smith Memorial Fund, the Volunteer Committees for The Philadelphia Orchestra, and an anonymous donor.
School Partnership ProgramMajor funding for the School Partnership Program is provided by the Annenberg Foundation, the Dorothy V. Cassard Fund at the Philadelphia Foundation, the Dolfinger-McMahon Foundation, the Hamilton Family Foundation, Kinder-Morgan Foundation, Lincoln Financial Foundation, the McLean Contributionship, Christa and Calvin Schmidt, the William Penn Foundation, and an anonymous donor.
©2015 The Philadelphia Orchestra Association. This material is the property of The Philadelphia Orchestra Association and may not be duplicated or reproduced without written consent from the Department of Collaborative Learning.
Contents6 Get the Most from Your Philadelphia Orchestra School Concert
About School Concerts and Additional Resources
7 Curriculum Connections National and State Standards for Music Education
9 Meet The Philadelphia Orchestra Learn more about one of the most preeminent orchestras in the world
13 Meet the Artists Get to know the performers involved in this season’s School Concert
16 Unit #1: Let’s Go to the Orchestra! The Music Is Better When We Play Together A Virtual Trip to the Orchestra
21 Unit #2: Peter and the Wolf About the Composer and His Music How to Sound Like a Hero or a Villain The Three Sounds of Peter “Setting” the Stage for a Modern-Day Peter
30 Unit #3: Three Fun Fables About the Composer and His Music Let’s Flip the Fable! Note to Teachers about Technology-based Lessons Composing a Character
38 Appendices Appendix A: Conducting Patterns Appendix B: Guide to Audience Behavior Appendix C: Classical Music for Children Appendix D: Collaborative Learning Programs
43 Glossary of Musical Terms
45 Credits
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Get the Most from Your Philadelphia Orchestra School ConcertTake full advantage of this curriculum guide, developed to accompany the School Concert program, and
prepare your students to get the most out of their concert experience with The Philadelphia Orchestra.
About this Curriculum GuideDesigned in a unique collaborative process by music educators who are leaders in their field, Inside the Music provides lesson plans and supplemental resources that will prepare your students for their concert experience. Each lesson creates meaningful opportunities for students to interact with orchestral repertoire, an integrated subject area, and each other.
Unit #1: Let’s Go to the Orchestra! presents two lessons about the traditions of orchestral performances and the value of collaboration in musical ensembles.
Unit #2: Peter and the Wolf includes three opportunities for students to discover this longtime favorite, delving into the role of music in developing setting and character.
Unit #3: Three Fun Fables focuses on the work of a contemporary composer, further exploring characterization with technology-assisted composition as well as the use of traditional classroom instruments.
To aid in your planning, a snapshot view of each lesson is provided in the shaded box at the top. In it, you will find:
• The Featured Music that provides the foundation for the lesson.
• A description of the Integrated Content Area, such as 21st Century Skills, Technology, and Language Arts.
• The Duration of Lesson, usually one or two class periods, 30-40 minutes in length.
• The Learning Objectives, with an emphasis on higher-order thinking skills.
• A convenient listing of Lesson Materials and suggested substitutions.
• Alignment with state and national Academic Standards.
Provided at the end of each lesson are adaptations for younger students and those with special needs, as well as lesson extensions for further exploration of the repertoire or lesson focus.
To assist in creating an atmosphere of collaborative inquiry, the lessons in Units 2 and 3 are inter-connected by an Essential Question: How can the elements of music be used to develop the elements of a story? You may wish to post this question in your room, referring to it during preparation for the concert as well as reflection afterward. It may also serve as
a writing prompt for students learning to express themselves through text. Students and teachers alike will find this question to be thought-provoking as they explore its myriad answers.
Additional resources include information about the composers and their music, alignment with academic standards presented in chart form, guidelines for audience behavior, definitions of musical terms, and information about conducting for further exploration with students.
It is our hope that this guide will help you and your students get the most from your Philadelphia Orchestra School Concert, and serve as a valuable resource for years to come.
Additional Resources from The Philadelphia OrchestraResource Materials OnlineVisit www.philorch.org/resources to access additional instructional resource materials referenced in this guide.
Professional DevelopmentDeepen your understanding of the music presented at the School Concert and investigate strategies for integrating orchestral music into your classroom at a free Teacher Workshop. View workshop dates and learn more at www.philorch.org/professional-development.
Orchestra Docent ProgramEnhance your group’s School Concert experience with a classroom visit from an Orchestra Docent. These enthusiastic volunteers help prepare students to attend the concert with a presentation designed to increase their knowledge and understanding of the music, musicians, and the concert hall. Docent visits are free of charge and available to school groups who purchase 25 tickets or more. For more information, contact [email protected].
Curriculum ConnectionsThe Philadelphia Orchestra works to align its School Concert program and supplemental materials
with national and state academic content standards, especially those outlined by Pennsylvania’s
Standards Aligned System.
National Core Arts StandardsPublished in June 2014 by the National Coalition for Core Arts Standards, the new Core Music Standards offer a valuable framework for achievement in music. Four artistic processes and their subsequent process components, listed below, define enduring understandings students should achieve at each grade level. Each lesson in this curriculum guide lists the corresponding national Core Music Standard.
I. Creating Imagine [MU:Cr1.1] Plan and Make [MU:Cr2.1] Evaluate and Refine [MU:Cr3.1] Present [MU:Cr3.2]
II. Performing Select [MU:Pr4.1] Analyze [MU:Pr4.2] Interpret [MU:Pr4.3] Rehearse, Evaluate, and Refine [MU:Pr5.1] Present [MU:Pr6.1]
III. Responding Select [MU:Re7.1] Analyze [MU:Re7.2] Interpret [MU:Re8.1] Evaluate [MU:Re9.1]
IV. Connecting [MU:Cn10.0 and MU:Cn11.0]
To learn more about the National Core Arts Standards, visit www.nationalartsstandards.org. To view the complete matrix of Core Music Standards for Gr. K - 8, visit http://www.nafme.org/wp-content/uploads/2014/06/Core-Music-Standards-PreK-81.pdf.
Pennsylvania Academic Content Standards for MusicPennsylvania’s Academic Standards for the Arts and Humanities, which include music, were generated by what students should know and be able to do at the end of different grade levels (in this case, grades 3, 5, 8, and 12). Because the arts and humanities are interconnected through the inclusion of history, criticism, and aesthetics, they are divided into the same four standards categories, shown below:
9.1 Production, Performance, and Exhibition of Dance, Music, Theatre, and Visual Arts
9.2 Historical and Cultural Contexts
9.3 Critical Response
9.4 Aesthetic Response
Each of the categories also contains a set of achievement standards that provide a basis of learning for sustained study in the arts. View the complete list of Pennsylvania Academic Standards for the Arts and Humanities by visiting http://static.pdesas.org/content/documents/Academic_Standards_for_the_Arts_and_Humanities.pdf.
Pennsylvania Standards for Other DisciplinesSince learning is most meaningful when it is interconnected, each lesson in this curriculum guide is intentionally integrated with other disciplines, and the corresponding standards are listed. For English Language Arts (ELA), lessons are aligned with the Pennsylvania Core Standards (adopted March, 2014). For all other disciplines, the Pennsylvania Academic Standards are listed. Both may be found at http://www.pdesas.org/Standard/Views.
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Meet The Philadelphia OrchestraThe Philadelphia Orchestra has been entertaining and educating young audiences for generations, beginning in
1921 when conductor Leopold Stokowski began his series of Children’s Concerts. The tradition continues with
this year’s School Concert series and the talented musicians and guest artists who will inspire your imagination.
The Philadelphia Orchestra is one of the preeminent orchestras in the world, renowned for its distinctive sound, desired for its keen ability to capture the hearts and imaginations of audiences, and admired for a legacy of innovation in music-making. The Orchestra is inspiring the future and transforming its rich tradition of achievement, sustaining the highest level of artistic quality, but also challenging—and exceeding—that level, by creating powerful
musical experiences for audiences at home and around the world.
Artistic LeadershipMusic Director Yannick Nézet-Séguin triumphantly opened his inaugural season as the eighth artistic leader of The Philadelphia Orchestra in the fall of 2012. He follows an extraordinary history of artistic leaders in the Orchestra’s 115 seasons, including music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, who served as chief conductor from 2008 to 2012. Under such extraordinary guidance The Philadelphia Orchestra has served as an unwavering standard of excellence in the world of classical music—and it continues to do so today.
Yannick’s highly collaborative style, deeply-rooted musical curiosity, and boundless enthusiasm, paired with a fresh approach to orchestral programming, have been heralded by critics and audiences alike. The New York Times has called Nézet-Séguin “phenomenal,” adding that under his baton, “the ensemble … has never sounded better.” He is embraced by the musicians of the Orchestra, audiences, and the community itself. His concerts of diverse repertoire attract sold-out houses, and he has established a regular forum for connecting with concert-goers through Post-Concert Conversations.
Commitment to EducationThe Philadelphia Orchestra continues its decades-long tradition of presenting learning and community engagement opportunities for listeners of all ages across the Delaware Valley—a tradition dating back to 1921 when Leopold Stokowski initiated concerts exclusively for children. Today the Orchestra introduces orchestral music to a new generation of listeners through programs for children and adults, from Sound All Around (designed for children ages 3-5) to Family Concerts (aimed at children ages 6-12 and their families) to eZseatU (allowing full-time college students to attend an unlimited number of Orchestra concerts for a $25 annual membership fee). The Orchestra engages adult audiences
more deeply in its performances through learning programs, including free PreConcert Conversations, which occur before every subscription concert, and Lecture/Luncheons with guest speakers. Musician-led initiatives, including recent highly-successful PlayINs, shine a spotlight on the Orchestra’s musicians, as they spread out from the stage into the community, and serve a key role in growing young musician talent and a love of classical music in their own dedicated roles as teachers, coaches, and mentors.
The Orchestra connects with the youth of Philadelphia through its Billy Joel School Concert Program, which improves access to the Orchestra’s School Concerts for underserved city schoolchildren and serves elementary and middle schools chosen from within the School District of Philadelphia. The Orchestra’s School Partnership Program also offers students incomparable exposure and access to The Philadelphia Orchestra and its musicians inside the classrooms of five selected schools in the Philadelphia region. The program’s teaching artists work side-by-side with classroom teachers using curriculum and materials created by the Orchestra’s Collaborative Learning department. Finally, The Philadelphia Orchestra collaborates with schools interested in having Orchestra musicians work with their students through the Musicians in the Schools program. These school visits take the form of assembly programs, performances or demonstrations, clinics, and master classes or sectionals.
A Cultural Ambassador AbroadThrough concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the United States. Outside of Philadelphia, the Orchestra performs annually at Carnegie Hall and enjoys a three-week summer residency at the Saratoga Performing Arts Center in New York—a venue that was built for the Orchestra—as well as a strong partnership with the Bravo! Vail music festival, which brings the world’s finest orchestras to Colorado each summer.
The Orchestra also has a long history of touring, having first performed outside of Philadelphia in the earliest days of its founding. The Philadelphia Orchestra was the first American orchestra to perform in the People’s Republic of China in 1973. In 2012 the ensemble reconnected with its historical roots in China and more deeply embraced its role as a cultural ambassador by launching a new partnership with the National Centre for the Performing Arts (NCPA) in Beijing, a pilot residency that united the Orchestra with talented young Chinese musicians and composers to further develop their orchestral skills. The residency also served
Academic StandardsMeet academic standards for Pennsylvania with the lesson in this curriculum guide.
Unit 1: Let’s Go to the
Orchestra!
Unit 2: Peter and the Wolf
Unit 3: Three Fun Fables
PA Academic Standards Th
e M
usic
Is B
ette
r W
hen
W
e P
lay
Toge
ther
A V
irtu
al T
rip
to
the
Orc
hest
ra
How
to
Sou
nd L
ike
a
Her
o or
a V
illai
n
The
Thre
e S
ound
s of
Pet
er
“Set
ting
” th
e S
tage
for
a
Mod
ern-
Day
Pet
er
Let’s
Flip
the
Fab
le!
Com
posi
ng a
Cha
ract
er
9.1 ARTS: Production, Performance, and Exhibition • • • • • • •
9.2 ARTS: Historical and Cultural Context • • • •
9.3 ARTS: Critical Response
• • • • • •9.4 ARTS: Aesthetic Response
• • • • • • •1.1 ELA: Foundational Skills
• •1.2 ELA: Reading Informational Text
• • • • •1.3 ELA: Reading Literature
• • • •1.4 ELA: Writing
• •1.5 ELA: Speaking and Listening
• • • • • • •15 TECH
•
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The Kimmel Center for the Performing Arts hosts the Orchestra’s home subscription concerts, as well as its concerts devoted to youth and family audiences. The Center includes two performance spaces, the 2,500-seat Verizon Hall, designed and built especially for the Orchestra, and the 650-seat Perelman Theater. Designed by architect Rafael Viñoly along with acoustician Russell Johnson of Artec Consultants Inc., the Kimmel Center provides the Orchestra with a state-of-the-art facility for concerts, recordings, and education activities.
The Academy of Music opened in 1857 and is the oldest grand opera house in the United States still used for its original purpose. Modeled on Italy’s famous La Scala in Milan, the Academy quickly became America’s most prestigious opera house, for a time rivaling New York’s competing offerings. Designated a National Historic Landmark in 1963, the Academy of Music has benefited from millions of dollars raised by the Restoration Fund for the Academy of Music for various renovations and restorations during the past 50 years. The Academy was ranked 5th most popular venue in the world for the first half of 2015 by Pollstar.
The Kimmel Center for the Performing Arts and the historic Academy of Music (where the Orchestra performed for 101 seasons) are operated together as a single cultural facility by Kimmel Center, Inc. The Philadelphia Orchestra Association continues to own the Academy of Music, as it has since 1957, and the Orchestra performs there at the highly anticipated Academy Anniversary Concert every January.
The Homes of The Philadelphia Orchestrato bring orchestral music, through performances and master classes, not only to China’s major cities but also further into the provinces, and to connect through the hearts of local musicians to their supporting communities, through the sharing of musical talents between its own musicians and Chinese musicians, engaging in music education, and spreading the joy of classical music with citizens in residential neighborhoods and at landmark historic sites. The success of this pilot program was confirmed when the Orchestra and the NCPA signed a long-term agreement to extend this partnership into future residency programs, and in May-June 2013 the Orchestra triumphantly returned for its Residency and Fortieth Anniversary Tour of China—with over 50 activities in 15 days. In June 2014 The Philadelphia Orchestra embarked on its 2014 Tour of Asia and China Residency, marking Music Director Yannick Nézet-Séguin’s first tour with The Philadelphia Orchestra. In 2015 Yannick and the Orchestra made their first joint tour of Europe.
An Orchestra that Understands the Power
of Innovation in its Art FormThe Philadelphia Orchestra has long pushed the boundaries of convention in the classical music realm. Signature to such a reputation are world or American premieres of such important works as Mahler’s Symphony No. 8 (“Symphony of a Thousand”), Stravinsky’s The Rite of Spring, Schoenberg’s Gurrelieder, and Rachmaninoff’s Symphonic Dances. The Orchestra maintains a strong commitment to collaborations with cultural and community organizations on a regional and national level. Since Orchestra President and CEO Allison Vulgamore’s arrival in 2010, The Philadelphia Orchestra has reinvigorated and launched new partnerships with Pennsylvania Ballet, Philadelphia Live Arts (FringeArts), Philadanco, Opera Philadelphia, the Curtis Institute of Music, Ridge Theater Company, and stage director James Alexander, among others.
As part of its commitment to bringing classical music to audiences where they are listening, the Orchestra returned to recording under Yannick’s leadership with a CD on the prestigious Deutsche Grammophon label of Stravinsky’s The Rite of Spring and Leopold Stokowski transcriptions of three works by Bach. A second recording of Rachmaninoff’s Rhapsody on a Theme of Paganini with pianist Daniil Trifonov was released in August. These continue the Orchestra’s remarkable history in this area, having made its first recording in 1917 and having amassed an enormous discography in the intervening years. The Orchestra also currently makes live recordings available on popular digital music services such as iTunes and Amazon, among others. In Yannick’s inaugural season the Orchestra has also returned to the radio airwaves, with weekly Sunday afternoon broadcasts on WRTI-FM.
These recent initiatives carry on a legacy that boasts an extraordinary record of media firsts, including being the first symphonic orchestra to make electrical recordings (in 1925), the first to perform its own commercially sponsored radio broadcast (in 1929, on NBC), the first to perform on the soundtrack of a feature film (Paramount’s The Big Broadcast of 1937), the first to appear on a national television broadcast (in 1948, on CBS), and the first major orchestra to give a live cybercast of a concert on the internet (in 1997). The Orchestra also became the first major orchestra to multi-cast a concert to large-screen venues through the Internet2 network.
For more information on The Philadelphia Orchestra, please visit www.philorch.org.
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Meet the Conductor Meet the Artists
Lio Kuokman Assistant Conductor Kimberly Schroeder and Michael Boudewyns NarratorsLio Kuokman is assistant conductor of The Philadelphia Orchestra. Praised by the Philadelphia Inquirer as a “startling conducting talent,” he has worked extensively in both the symphonic and operatic genres. He was the top prize winner of the third Evgeny Svetlanov Conducting Competition in Paris in 2014, for which he also received the audience prize and orchestra prize. Recent appearances have included The Philadelphia Orchestra, the Orchestre Philharmonique de Radio France, the National Arts Center Orchestra in Ottawa, the Seoul Philharmonic, the Danish National Symphony, the Fort Worth Symphony, the Hong Kong Philharmonic, the Hong Kong Sinfonietta, the Pan Asia Symphony, Hong Kong Virtuosi, the Taipei Philharmonic, and the Macao Orchestra.
Throughout Asia and the U.S, Mr. Kuokman’s opera repertoire flourishes, having conducted productions of Mozart’s Don Giovanni and The Marriage of Figaro, Bizet’s Carmen, and for Musica Viva Hong Kong, Donizetti’s The Elixir of Love, The Daughter of the Regiment, and Lucia di Lammermoor; Puccini’s Turandot; Mascagni’s Cavalleria rusticana; and Leoncavallo’s Pagliacci. He has also conducted the Curtis Opera Theatre in a double bill of Rossini’s La scala di seta and Puccini’s Gianni Schicchi. A proponent of contemporary works he has premiered Chan Hing-Yan’s chamber opera, Heart of Coral, commissioned and produced by the Hong Kong Arts Festival. Mr. Kuokman’s additional festival appearances have included performances at the Beijing International Music Festival, the Cabrillo New Music Festival, the Great Mountain Music Festival (Korea), the Hong Kong Arts Festival, and the Macao International Music Festival.
As a keyboard artist of note, Mr. Kuokman has performed as soloist with the Fort Worth Symphony, Camerata Salzburg, the Bacau Philharmonic (Romania), the China National Symphony, the Hong Kong Philharmonic, and the Shanghai Symphony. He has performed with members of Les Arts Florissants at New York’s Lincoln Center, and he is a founding member and president of the Macao Chamber Music Association.
Mr. Kuokman began his musical training at the Hong Kong Academy for Performing Arts, from which he graduated with first class honors in piano performance. He continued his graduate studies receiving a master’s degree from the Juilliard School followed by diplomas in conducting from the Curtis Institute of Music and the New England Conservatory of Music. For his contributions to the development of arts and culture, he has received a Certificate of Commendation from the Hong Kong government and a Medal of Cultural Merit from the government of Macao.
Kimberly and Michael are members of Really Inventive Stuff and are delighted to return to The Philadelphia Orchestra. Kimberly made her debut with the Orchestra in 2013; Michael debuted with the ensemble in 2000.
Since 2004 Really Inventive Stuff has had the honor of performing family and education concerts with orchestras internationally (Singapore), in Canada (Winnipeg, Victoria), and around the United States, including The Philadelphia Orchestra; the National, St. Louis, Indianapolis, Milwaukee, Kansas City, Richmond, Hartford, Des Moines, Harrisburg, New Haven, Lincoln, Richardson, Delaware, Princeton, Portland, Texarkana, Illinois, Kennett, Newark, and Annapolis symphonies; the Rochester and Westchester philharmonics; Symphony in C; and the Symphony of Southeast Texas.
This original production of Peter and the Wolf was designed and directed by Really Inventive Stuff’s co-founder and creative director, Sara Valentine. Michael premiered this solo performance in 2005 with Symphony in C and Maestro Rossen Milanov.
During the 2015-16 season, Really Inventive Stuff makes debuts with the Utah, Seattle, and Detroit symphonies. It also premieres Dvořák’s New World, a new concert for young audiences specially commissioned by the Texarkana Symphony. This vaudeville-inspired theatrical concert celebrates composer Antonín Dvořák, the year 1893, and his beloved Symphony No. 9 (“From the New World”).
In 2013 Really Inventive Stuff’s performance of Robert Kapilow’s Dr. Seuss’s Green Eggs and Ham was featured on PBS with the St. Louis Symphony.
Kimberly is the Dance Minor director at the University of Delaware. She grew up in Iowa, studying music and dance, and hopes one day to become a world-renowned cryptozoologist. Michael is visiting assistant professor of theatre at Tulane University in New Orleans. He also grew up in Iowa (although he met Kimberly in Delaware) and loves making, using, sharing, constructing, and configuring sentences using gerunds; he’s also passionate about historical trivia. They both love their pets: Kimberly has a cat named Chance and an absolutely adorable beagle named Jonson; Michael has four cats named Pip, Prudence, Phileas, and Fern. You can learn even more about Michael and Kimberly by visiting their website: www.ReallyInventiveStuff.com.
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Musicians of The Philadelphia OrchestraSeason 2015-16
Yannick Nézet-Séguin
Music Director
Walter and Leonore Annenberg Chair
Stéphane Denève Principal Guest
Conductor
Cristian Măcelaru
Conductor-in-Residence
Lio Kuokman Assistant Conductor
Charles Dutoit Conductor Laureate
First Violins
David Kim, Concertmaster
Dr. Benjamin Rush Chair
Juliette Kang, First Associate
Concertmaster
Joseph and Marie Field Chair
Ying Fu, Associate Concertmaster
Marc Rovetti, Assistant Concertmaster
Herbert Light
Larry A. Grika Chair
Barbara Govatos
Wilson H. and Barbara B. Taylor Chair
Jonathan Beiler
Hirono Oka
Richard Amoroso
Robert and Lynne Pollack Chair
Yayoi Numazawa
Jason DePue
Lisa-Beth Lambert
Jennifer Haas
Miyo Curnow
Elina Kalendarova
Daniel Han
Yiying Li
Second Violins
Kimberly Fisher, Principal
Peter A. Benoliel Chair
Paul Roby, Associate Principal
Sandra and David Marshall Chair
Dara Morales, Assistant Principal
Anne M. Buxton Chair
Philip Kates
Mitchell and Hilarie Morgan Family
Foundation Chair
Booker Rowe
Davyd Booth
Paul Arnold
Lorraine and David Popowich Chair
Yumi Ninomiya Scott
Dmitri Levin
Boris Balter
William Polk
Amy Oshiro-Morales
Mei Ching Huang
Violas
Choong-Jin Chang, Principal
Ruth and A. Morris Williams Chair
Kirsten Johnson, Associate Principal
Kerri Ryan, Assistant Principal
Judy Geist
Renard Edwards
Anna Marie Ahn Petersen
Piasecki Family Chair
David Nicastro
Burchard Tang
Che-Hung Chen
Rachel Ku
Marvin Moon
Cellos
Hai-Ye Ni, Principal
Albert and Mildred Switky Chair
John Koen, Acting Associate Principal
Yumi Kendall, Assistant Principal
Wendy and Derek Pew Foundation Chair
Richard Harlow
Gloria dePasquale
Orton P. and Noël S. Jackson Chair
Kathryn Picht Read
Winifred and Samuel Mayes Chair
Robert Cafaro
Volunteer Committees Chair
Ohad Bar-David
Catherine R. and Anthony A. Clifton Chair
Derek Barnes
Mollie and Frank Slattery Chair
Alex Veltman
Basses
Harold Robinson, Principal
Carole and Emilio Gravagno Chair
Michael Shahan, Associate Principal
Joseph Conyers, Assistant Principal
John Hood
Henry G. Scott
David Fay
Duane Rosengard
Robert Kesselman
Some members of the string sections
voluntarily rotate seating on a periodic basis.
Flutes
Jeffrey Khaner, Principal
Paul and Barbara Henkels Chair
David Cramer, Associate Principal
Rachelle and Ronald Kaiserman Chair
Loren N. Lind
Kazuo Tokito, Piccolo
Oboes
Richard Woodhams, Principal
Samuel S. Fels Chair
Peter Smith, Associate Principal
Jonathan Blumenfeld
Edwin Tuttle Chair
Elizabeth Starr Masoudnia, English Horn
Joanne T. Greenspun Chair
Clarinets
Ricardo Morales, Principal
Leslie Miller and Richard Worley Chair
Samuel Caviezel, Associate Principal
Sarah and Frank Coulson Chair
Paul R. Demers, Bass Clarinet
Peter M. Joseph and Susan Rittenhouse
Joseph Chair
Bassoons
Daniel Matsukawa, Principal
Richard M. Klein Chair
Mark Gigliotti, Co-Principal
Angela Anderson Smith
Holly Blake, Contrabassoon
Horns
Jennifer Montone, Principal
Gray Charitable Trust Chair
Jeffrey Lang, Associate Principal
Daniel Williams
Jeffry Kirschen
Denise Tryon
Shelley Showers
Trumpets
David Bilger, Principal
Marguerite and Gerry Lenfest Chair
Jeffrey Curnow, Associate Principal
Gary and Ruthanne Schlarbaum Chair
Anthony Prisk
Robert W. Earley
Trombones
Nitzan Haroz, Principal
Neubauer Family Foundation Chair
Matthew Vaughn, Co-Principal
Eric Carlson
Blair Bollinger, Bass Trombone
Drs. Bong and Mi Wha Lee Chair
Tuba
Carol Jantsch, Principal
Lyn and George M. Ross Chair
Timpani
Don S. Liuzzi, Principal
Dwight V. Dowley Chair
Angela Zator Nelson, Associate Principal
Patrick and Evelyn Gage Chair
Percussion
Christopher Deviney, Principal
Mrs. Francis W. De Serio Chair
Anthony Orlando, Associate Principal
Ann R. and Harold A. Sorgenti Chair
Angela Zator Nelson
Piano and Celesta
Kiyoko Takeuti
Keyboards
Davyd Booth
Michael Stairs, Organ*
Harps
Elizabeth Hainen, Principal
Patricia and John Imbesi Chair
Librarians
Robert M. Grossman, Principal
Steven K. Glanzmann
Stage Personnel
Edward Barnes, Manager
James J. Sweeney, Jr
James P. Barnes
*Regularly engaged musician
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The Music Is Better When We Play Together!Elizabeth McAnally, Choral/General Music Teacher, Woodrow Wilson Middle School, School District of Philadelphia, PA
Unit #1: Let’s Go to the Orchestra!Before your students visit The Philadelphia Orchestra, introduce them to the instruments of the orchestra and proper concert etiquette with the lessons and activities in this unit.
Featured Music: Peter and the Wolf
Integrated Content Area: The 21st Century Theme of Global Awareness (appreciation for diversity) and the 21st Century Critical Thinking Skill of Systems Thinking (how parts of a whole interact). See www.P21.org.
Duration of Lesson: 30-40 minutes
Learning ObjectivesAs a result of this lesson, students will be able to:• Identify orchestral instruments by sight and sound.• Categorize instruments as woodwind, string, brass, or
percussion.• Evaluate the importance of diversity in multiple settings.
Lesson Materials• Large piece of paper (butcher’s paper of several pieces of
chart paper taped together) with a drawing of the trunk and branches of a large tree
• Chalkboard, whiteboard, or chart paper• Internet access (optional, see Step 8 and Lesson Extensions)• Audio playback device• At least four crayons or colored pencils of each of the
following colors: yellow, blue, red, and brown or black• 4 index cards with questions (see Step 10)
Materials available at www.philorch.org/resources:• Recordings of School Concert repertoire• Small instrument picture for each student (plan for an equal
number for each instrument family) • Tree template
Academic Standards• PA Academic Standards (Arts): 9.1.5A, B, C, E, F, I / 9.3.5 A,
B / 9.4.5 D• PA Core Standards (ELA): CC.1.2.5.F, J / CC.1.5.5.A, D• National Core Arts Standards: MU:Re7.2.5a / MU:Re8.1.5a /
MU:Cn11.0.5a
Introduction 1. Before class begins, post a large piece of paper, such as butcher’s
paper or several pieces of chart paper taped together. On the paper, draw the trunk and branches of a large tree. (This should be a very simple outline.)
2. As students enter, distribute a small instrument picture to each student (plan for an equal number of pictures for each instrument family, even if duplicates are required). Ask students to write a word on the back of their picture that means “not the same as anyone else.” (Possible answers: unique, different, special, diverse, unusual, uncommon, rare, individual, distinct.) Record answers on the trunk of the tree picture as students share them.
3. Discuss with students what these words might describe, such as the colors of crayons in a box, the shape of clouds, or people.
4. Display the following sentence on the board or chart paper: “We’re going to the orchestra!” Have the class read the sentence together, and remind students about their upcoming field trip. Help students define orchestra as “a group of woodwind, brass, string, and percussion players that perform together.”
5. Explain that you will choose someone from the class to read the sentence aloud, and the class will try to guess who it is. Ask students to cover their eyes or put their heads down on their desks, and signal one student to speak by lightly touching their shoulder. After the selected student reads the text aloud, students may uncover their eyes, and try to guess the speaker.
6. After a few rounds of the guessing game, discuss the experience with the class. “How did we know who was speaking? How were their voices different, special, or unique?”
Development 7. Help students discover that the instruments of the orchestra also
have their own unique voices. Discuss how the size, materials, and method of sound production create a special sound for each instrument.
8. Remind everyone of the instrument picture that was given to them at the beginning of the lesson. Challenge students to hold up their picture when it matches the sound they hear. After each instrument is heard, write the name of the instrument on the branches of the tree picture. Continue as time and interest allow. (You may use the “Introduction” of Peter and the Wolf, or recordings of orchestral instruments may be found at http://www.sfskids.org/classic/templates/instorchframe.asp?pageid=3 and http://www.dsokids.com/listen/by-instrument/.aspx.)
9. Circle the word “violin” on the chart paper, and ask students which other instruments are made of similar materials or make their sound in a similar way. Help students identify violin, viola, cello, double bass, and harp as members of the String Family, and choose a student to circle their names on the picture. In a similar way, choose other students to mark the woodwind instruments with a square, the brass instruments with a star, and percussion instruments with a triangle.
10. Direct students to move to a designated area of the room with other students holding an instrument from the same family. Hand each group a question card (see below). Ask each group to quickly read the question and determine their answer.
a. String Family: “What would happen to a conversation if all the voices sounded the same?”
b. Woodwind Family: “What would happen to a picture if all the colors looked the same?”
c. Brass Family: “What would happen to dinnertime if all the foods tasted the same?”
d. Percussion Family: “What would happen to a garden if all the flowers smelled the same?”
11. After groups have had a few minutes to formulate a response, choose one student from each group to read their question and the group’s answer aloud. Ask the class, “What do the four questions and their answers have in common?”
12. Ask students to consider another question: “What would happen to music if all instruments sounded the same?” Help students discover that each instrument’s unique voice helps an orchestra make beautiful music.
Reflection/Conclusion 13. Ask each group to choose a color to represent their instrument
family (or assign one), so that one group has blue, another red, another yellow, and the last either black or brown. Provide several crayons or colored pencils of the appropriate color to each group.
14. Direct each group to send half of their students to the tree picture when their group is called. When their instrument family is heard, students may use crayons or colored pencils to decorate the tree. Following each listening segment, students return to their group, with the other students taking the next turn. The following listening guide is suggested, using “The Procession to the Zoo” from Peter and the Wolf:
Instrument Families Listening Segments
Strings, Woodwinds 0:09-0:46
Brass, Strings 1:12-1:40
Brass, Percussion 1:48-2:36
Woodwinds, Percussion (you may also include Brass if you wish)
2:50- 3:40
• To conclude the lesson, discuss the following questions with the class, or ask students to respond on an exit ticket:
a. What did our tree look like at the beginning of the lesson? (bare, boring)
b. How does it look now? (colorful, exciting, interesting) c. Is an orchestra more like the tree at the beginning of
the lesson, or more like the tree now? Why? (more like the tree now, because all the different sounds come together just like the shapes and colors on our picture)
d. How does the picture look where colors overlap? (the colors combine and look different)
e. How does an orchestra sound when instruments overlap? (the instruments combine and sound different)
• Help students select a location in the classroom to display their completed tree picture.
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Ideas for Differentiated InstructionAdaptations: • Pair/group students so that special learners can benefit from the
assistance of other students. • For Step 2, accept verbal as well as written answers. • If desired, provide individual tree pictures and crayons or colored
pencils, and allow students to complete Step 14 individually. Display the pictures in the classroom, and compare/contrast the images.
• If students have difficulty waiting for a turn, allow them to decorate their small instrument pictures from the beginning of the lesson while others are decorating the tree picture. Attach the instrument pictures to form a border around the tree.
Extensions: • Add a color key to the bottom of the tree picture, so viewers can
see which instrument family is represented by each color. • If more than one class will participate in this activity, compare/
contrast the different tree pictures in a subsequent lesson. Explain to students that just as the same image looks different when created by different artists, the same piece of music can sound different when performed by different orchestras. Compare/contrast two performances of Peter and the Wolf.
• Explore internet resources about instruments of the orchestra:» Go to http://www.sfskids.org/classic/templates/musicLabF.
asp?pageid=18 and explore how changes in instrumentation affect the listener.
» Go to http://www.dsokids.com/visit-the-symphony/orchestra-seating-chart.aspx and explore how the instrumentation of the orchestra has changed over the centuries.
» Go to http://www.classicsforkids.com/music/instruments_orchestra.asp to hear the same tune played by different instrument families.
A Virtual Trip to the OrchestraElizabeth McAnally, Choral/General Music TeacherWoodrow Wilson Middle School, School District of Philadelphia, PA
Integrated Content Area: Reading informational text and speaking and listening
Duration of Lesson: 30-40 minutes
Lesson ObjectivesAs a result of this lesson, students will be able to:• Demonstrate and describe appropriate audience behavior for
an orchestral concert• Define vocabulary such as concert etiquette, conductor,
concertmaster, usher, tuning
Lesson Materials• Chalk/white board or chart paper• Audio playback device
Materials available at www.philorch.org/resources:• Recordings of School Concert repertoire
Academic Standards• PA Academic Standards (Arts): 9.1.5.C, L / 9.2.5.H, K / 9.4.5.C• PA Core Standards (ELA): CC.1.2.5.J / CC.1.5.5.A• National Core Arts Standards: MU:Pr6.1.5b / MU:Re7.2.6a /
MU:Cn11.05a
Introduction 1. Explain to students they will soon be attending a field trip to hear
The Philadelphia Orchestra present its School Concert. Remind students of the date of their trip and the deadline for returning permission slips.
2. Allow students to work in pairs to make predictions about one or more of the following questions about the concert they’re attending: A. What will you see? B. What will you hear? C. What will you do? Using the board/chart paper record the responses and save for the end of the lesson.
3. Help students create a list of questions they have about the Orchestra and/or the concert. Post the questions in the classroom so students can add the answers they discover during preparatory and follow-up lessons.
Development 4. Discuss with students that different events and locations have
different standards and expectations of behavior. Ask students to pantomime or describe appropriate behavior for the lunchroom, the schoolyard, a football or baseball stadium, and their own living room.
5. Explain to students that they will be acting out proper concert etiquette, or appropriate behavior, for an orchestra concert. Divide the class into two equal groups and assign the role of audience to one group and orchestra to the other group. Arrange desks/chairs so that the audience and orchestra are facing each other.
6. Choose a volunteer to be the conductor (person who leads a performing ensemble) and another to be the concertmaster (leader of the first violin section). Ask those students to stand offstage. Select one or two other students to be ushers and have them stand at the door.
7. Ask the audience to line up at the door and imagine they have just left their school bus and have arrived at the Kimmel Center. Have the ushers show the audience to their seats. Remind the audience they may only whisper or speak very quietly while waiting for the concert to begin.
8. Explain that before the concert begins, the orchestra members will be onstage, warming up on their instruments. Encourage the orchestra to choose an instrument and pantomime playing it.
9. Ask the ushers to turn the classroom lights off and on, and remind students that when the lights in the concert hall are lowered, the concert is about to begin. Talking is no longer appropriate.
10. Direct the concertmaster to enter the stage and bow, while the audience applauds politely. Explain that the concertmaster will give the signal to the first chair, or principal, oboe player to begin the tuning process, so that all of the notes of the orchestra will match and sound good when they play together. The musicians need to be able to hear each other while tuning, so it’s important for the audience to be very quiet.
11. Have the conductor enter the stage and bow, while the audience again applauds respectfully. Remind students that a conductor uses gestures to lead the orchestra, and the music is not completely finished until the conductor lowers his/her arms.
12. Ask the conductor to pantomime leading the orchestra while students listen to a short excerpt from the end of a piece from the School Concert playlist. Challenge the audience not to be tricked into applauding before the conductor lowers his/her arms.
13. Remind students when the concert is over, they should remain quietly in their seats and wait for instructions about exiting the concert hall to find the bus.
14. Congratulate students for learning appropriate behavior for an orchestra concert and remind them they will demonstrate their knowledge during the field trip.
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Sergei Prokofiev (1891-1953) was born in the remote village of Sontsovka, Ukraine. His mother, a pianist, was a source of early musical inspiration. After receiving instruction from Reinhold Glière, Prokofiev studied at the St. Petersburg Conservatory, where he received the Anton Rubinstein Prize in piano. During his lifetime, Prokofiev lived in and visited many places, including Moscow, Paris, and New York. He wrote music of many genres, including symphonies, ballets, operas, film music, and piano concertos.
Originally titled How Little Peter Fooled the Wolf, Prokofiev’s popular symphonic children’s tale was composed for the Moscow Children’s Musical Theater and was intended to introduce young audiences to the instruments of the orchestra. Although the premiere of Peter and the Wolf was poorly attended, the piece quickly achieved lasting international popularity.
After a period of ill health, Prokofiev died on March 5, 1953, the same day as Josef Stalin. Despite running afoul of Soviet musical dictates during his life, he was posthumously awarded the Lenin Prize. His music continues to be performed by orchestras world-wide.
If you like Peter and the Wolf, try ...The Love for Three Oranges, Op. 33, opera Lieutenant Kijé, Op. 60, suite for orchestra Romeo and Juliet, Op. 64, ballet
Reflection/Conclusion 15. After returning desks/chairs to their places, choose students to
read aloud the predictions generated to questions A, B, and C at the beginning of the lesson. Ask the class to determine if their predictions were accurate and help them make any corrections or additions as needed.
11. Ask another student to read aloud the list of questions they created. Write in any answers they discovered during the lesson. Tell students they can add answers during other preparatory lessons and after they return from the concert. You may also decide to challenge students to find the answers to questions by asking parents, going to the library, or researching on the internet.
Ideas for Differentiated InstructionAdaptations: • Pair struggling students with a partner while answering questions
A, B, and C.
Extensions: • Using a computer and projector OR interactive whiteboard,
help students become familiar with The Kimmel Center for the Performing Arts by taking a virtual tour: www.kimmelcenter.org/facilities/tour/. If appropriate, allow volunteers to choose an area of the Kimmel Center and use the mouse to explore.
• Encourage students to write a short story or draw a picture that describes a trip to the orchestra and display their work in the classroom.
• Help students apply concert etiquette to assembly programs or performances at your school.
Unit #2: Peter and the Wolf
About the Composer and His Music
Year1936
In Music• “Pennies from Heaven” by Arthur Johnston
and Johnny Burke• Dmitri Shostakovich’s Fourth Symphony
In Literature• Gone with the Wind by Margaret Mitchell• Eugene O’Neill wins Nobel Prize for literature
In Art• Dorothea Lange’s Migrant Mother
photographs• Morphological Echo by Salvador Dalí
In History• First NFL draft• Completion of the Hoover Dam• Hitler breaks the Treaty of Versailles• Olympic Games in Berlin
Music in ContextSetting the Stage for Peter and the Wolf
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How to Sound Like a Hero or a VillainHelene Furlong, Choral/General Music Teacher, Edwin M. Stanton School, School District of Philadelphia, PA
Introduction 1. Have students form (or assign them to) groups of 3-4 students.
Give each group an index card and pencil, and ask them to make a list of stories that incorporate music. Tell students they have one minute to make as long a list as possible. (If time is limited, this activity may be done verbally as a large group.)
2. After one minute, have groups share their answers and record them on the board or chart paper (Possible answers: Frozen, Cinderella, Into the Woods, etc.).
3. Ask students how the music helped to tell the story (Possible answers: make it more exciting, emotional, or funny). Write these answers on the board or chart paper.
4. Tell students that they are going to listen to music that tells a story. List the following characters at the top of a column chart:
Boy (Peter) Bird Duck Cat Grandfather Wolf
5. Ask students to define “characteristic.” (Characteristic—a feature or quality that distinguishes a person or thing—American Heritage Student Dictionary, pg. 171, 1994.) Explain that a “character trait” is a type of characteristic that describes a character in a story or a person in real life.
6. Help students generate a list of possible traits for each character, and enter the responses in the appropriate column. Possible answers are listed below.
Featured Music: Peter and the Wolf
Integrated Content Area: Discovering how artists in the disciplines of music, language arts, and drama portray character traits.
Duration of Lesson: 30-40 minutes
Learning ObjectivesAs a result of this lesson, students will be able to:• Define the following terms and use them correctly in class
discussion: tonality, chord, improvise, characteristic, character trait, protagonist, antagonist.
• Perform and compare C-major and D-minor chords.• Identify major and minor tonality by listening.• Improvise a visual, dramatic presentation of the characters and
story of Prokofiev’s Peter and the Wolf.• Analyze the use of major and minor tonality in creating mood
and developing characters in a story.
Lesson Materials• Index cards and pencils• Resonator bells, xylophones, or other pitched instruments• Chalkboard, whiteboard, or chart paper• Audio playback device• Colored scarves (optional)
Materials available at www.philorch.org/resources:• Recordings of School Concert repertoire
Academic Standards• PA Academic Standards (Arts): 9.1.5.A, B, C, E, F, H / 9.2.5.K
/ 9.3.5.A, B / 9.4.5.D• PA Core Standards (ELA): CC.1.2.5.C, J / CC.1.3.5.A, C, G /
CC.1.5.5.A, D• National Core Music Standards: MU:Cr1.1.5a, b /
MU:Cr2.1.5a, b / MU:Pr4.2.5a / MU:Re7.1.5a / MU: Re7.2.5a / MU:Re8.1.5a / MU:Cn10.0.5a / MU:Cn11.0.5a
Boy (Peter) Bird Duck Cat Grandfather Wolf
Likes to playAdventurousLikes to eatBrave
FliesTweetsEats bread and worms
QuacksSwimsLays eggsWaddles
ScratchesMeowsRunsPlaysSneaky
Tells storiesSnoresWiseOldSpoils grandchildren
FurryBitesHowlsScratchesEats animals/meat
7. Explain that composer Sergei Prokofiev used instruments to represent characters in his story, Peter and the Wolf. As students are introduced to each character, they should show “thumbs up” if they agree that the instrument does a good job in showing the traits of that character. They will use a “thumbs down” if they disagree and a “thumbs sideways” if they are not sure.
8. Listen to the narrator introduce each character and the instrument that “plays” it (“Introduction,” 0:00-2:27). Stop after each instrument and look for the “Thumbs Up/Down/Sideways” signals. If you receive a large number of “thumbs down,” ask students why they think the instrument does not represent the character, and which instrument they would have chosen instead.
Bird—0:12-0:30Duck—0:31-0:50Cat—0:51-1:12Grandfather—1:13-1:40Wolf—1:14-2:04Peter—2:04-2:27
9. Help students select a hand motion to represent each character (This may be done during the initial listening or an immediate subsequent listening). These hand motions will help define each character during Step 21. Possible answers include:
Bird—flapping wings or finger pulses up in the airDuck—hands making the duck’s bill or paddling of webbed feetCat—right hand after left hand to imitate the cat stalking his preyGrandfather—wagging finger to the beat/rhythm (as he is angry at Peter)Wolf—scratching hands and/or snapping jawsPeter—2/4 conducting pattern
Development 10. Ask students to define “protagonist” (the main character or hero in
a story), and “antagonist” (the opponent or villain). Which character do you think is the protagonist (Peter)? Which is the antagonist (the wolf)?
11. Help students brainstorm strategies a composer might use to show the difference between the protagonist and the antagonist (dynamics, tempo, timbre, rhythm, consonance, dissonance, etc.).
12. Inform students that one way Prokofiev used to show the difference between the protagonist and antagonist was “tonality.” Define tonality as “the particular pitches or notes in a scale or key.” Explain that they will be listening to two different tonalities, called “major” and “minor.”
13. Show students the following chart of characteristics:
Happy Sad
Joyful Thoughtful
Cheerful Scary
14. Define “chord” as “a combination of three or more notes played at the same time.”
15. Distribute resonator bells, xylophones, or other pitched instruments. Allow as many students as possible to play a part of the C-major chord. Instruct players to choose C, E, or G, and to listen to the sound of the chord played as a group. Then, have them choose any two of those notes and play again, listening to the sound of the chord and comparing it to the characteristics in Column A and Column B. (If you have a limited number of instruments, have a few volunteers play the notes.)
16. Next, allow as many students as possible to play a part of the D-minor chord. Instruct them to choose D, F, or A, and to listen to the sound of the chord played as a group. As before, have them choose two of the notes and play again, comparing them to the characteristics in Column A and Column B.
17. Ask students which chord seems to fit the characteristics in Column A and which fits Column B (play them again as necessary). Help students discover that the first chord (CEG) is sometimes associated with the words happy, joyful, cheerful, and the second chord (DFA) might match sad, thoughtful, scary. Reveal/insert the headings to show that the first column is major and the second is minor.
18. Replay the initial portion of Peter’s theme (2:07-2:11) and have a few volunteers play the C-major chord while listening to this section of the music. How well does it match?
19. Replay the initial portion of the wolf’s theme (1:44-51) and have volunteers play the D-minor chord while listening to this portion of the music. How well does this one match?
20. Define improvise as “to perform on the spot without preparation.” Ask for volunteers to improvise the characters listed as they listen to the story. Remind actors to use the hand motions developed in step 9 to represent their character. Remaining students will be the hunters in the ending parade, using a drumming motion to represent the kettledrums. (You may use scarves or other props to add to the drama, but hand motions should still be used.)
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21. Listen to the story and have the student actors improvise accordingly. Establish safety parameters, such as having “spotters” if the students playing the cat, bird, and Peter stand on chairs. For timing considerations, have the students improvise the story using these excerpts:
Segment of the Story (Track) Times
The Story Begins 0:00-0:25
The Bird 0:00-0:23
The Duck, Dialogue with the Bird, Attack of the Cat
0:00-0:250:56-1:341:49-4:12
Grandfather0:00-0:321:03-2:12
The Wolf0:00-0:251:02-1:151:27-2:01
The Duck is Caught 0:00-0:37
The Wolf Stalks the Bird and the Cat
0:00-0:310:53-1:30
Peter Prepares to Catch the Wolf 0:00-1:06
The Bird Diverts the Wolf0:00-0:531:05-1:28
Peter Catches the Wolf0:00-0:451:00-1:23
The Hunters Arrive 0:00-1:10
The Procession to the Zoo0:00-0:080:54-4:53
NOTE: If you wish to create the sense of a “cliffhanger” prior to the concert, end the improvisation after 0:53 in “The Bird Diverts the Wolf.” In testing this lesson, however, students were eager to participate in the improvisation as hunters.
Reflection/Conclusion22. Reflect together on the improvisation. “Did our actions show
the character traits of each person/animal? Did we show the characteristics of major/minor tonality?”
23. Ask the students which tonality was used for the other characters in the story. Listen again to the musical selections in step 8 and determine if the tonality of the music for each character is major (bird, cat) or minor (duck, grandfather). How do our answers fit with the chart of characteristics for major/minor?
24. Ask students to add other characteristics to the major/minor chart (e.g., energetic, powerful, excited). There may be some overlap in these descriptions; explain that everyone’s perceptions of major and minor tonality are personal and acceptable.
25. To conclude, have the students reflect on the activity by sharing their responses to a prompt. Possible discussion questions include:
• What are the definitions of tonality, chord, improvise, characteristic, character trait, protagonist, and antagonist?
• Select one character from the story. Did the tonality chosen by Prokofiev for that character match their traits?
• Give an example of how a composer could use major and minor tonality to help tell a musical story. (Possible answers: major tonality for a hero, and minor tonality for a scary monster).
• How did the music, narration, and improvisation help you visualize the story?
Ideas for Differentiated InstructionAdaptations: • Pair/group students so that special learners can benefit from the
assistance of other students.Extensions: • Prior to the lesson, have the students play a guessing game
where they match the instruments with each character. Play the instrument excerpts from the Introduction at the following times to avoid hearing the narration:
Bird—0:17-0:30Duck—0:33-0:50Cat—0:53-1:12Grandfather—1:17-1:40Wolf—1:44-2:04Peter—2:07-2:27
• Allow older students to perform their improvisation for younger students.
• Introduce the pattern of whole and half steps in the major and minor scales; perform on pitched instruments and compare/contrast.
• Watch a video of Peter and the Wolf and compare/contrast with the students’ improvisation. Discuss which one the students like best, and why.
• Select another story such as “Little Red Riding Hood,” analyze the traits of the characters and choose major or minor tonality each. Create themes for the characters or improvise using the C-major and D-minor chords on pitched instruments. Have the students create an improvised (or planned) performance using a narrator, actors, instrumentalists, etc. (This could also be a small group project where each group receives a different versions of the same subject or story, such as the traditional Little Red Riding Hood, Lon Po Po, Petite Rouge: a Cajun Red Riding Hood, Carmine: A Little More Red.)
The Three Sounds of PeterRobin Muse, Choral/General Music Teacher, Penn Alexander School, School District of Philadelphia, PA
Introduction 1. Select four students to come to the front of the room and turn
their backs to the class. Have students read the same sentence one at a time, each portraying a different emotion with his or her voice; i.e. Read: What’s your name? Student 1—Angry, Student 2—Happy, Student 3—Frightened, Student 4—Sad
2. Ask the class to guess the emotion used by each speaker, and record student answers on the board or chart paper. Discuss qualities of the speaking voice that distinguished each emotion.
3. Summarize the discussion. For example, “We all have different character traits; we all have various strengths and weaknesses to our personality; we are all unique. We can use our voice to make many sounds and show a wide range of emotions and character traits.”
4. Help students consider how an instrument is similar to a voice (both produce sound and can show a wide range of emotions). Working with 2-4 students in a group, identify several features that distinguish instrument families and ways the sound of an instrument can portray emotion and character traits. (If time is limited, answer questions orally as a whole class discussion.) Use Three Sounds of Peter Listening Chart to record answers, found at www.philorch.org/resources.
5. Discuss answers and identify the elements of music that are important in expressing emotion and character traits (instrumentation, dynamics, tempo, rhythm, melody/pitch, articulation, tonality).
Development 6. As needed, provide the following explanation about Peter and
the Wolf: “The story Peter and the Wolf was written in 1936 for a children’s theater in Russia. The composer and author of the story is Sergei Prokofiev. Prokofiev combined his love of composing with a children’s story he was writing to create a musical fairy tale. Each character is represented by a different instrument and a different musical theme.”
7. Give student groups a few minutes to predict how Peter’s theme (or leitmotif) might sound. Allow groups to share their thoughts, and record answers on the board or chart paper.
8. Ask students to work with their group to complete Three Sounds of Peter Listening Chart. Play each excerpt twice (or more often as needed). After listening the first time, identify the musical elements for each section. After listening the second time, identify the character trait of Peter represented musically. a. Peter’s Theme #1: Introduction, 2:07-2:27 b. Peter’s Theme #2: Peter prepares to catch the wolf, 0:53-1:03 c. Peter’s Theme #3: Procession to the zoo, 1:14-1:38
9. Encourage students to share their answers. Discuss, “How did Peter’s theme change? What can we infer about Peter’s character from the music?”
Featured Music: Peter and the Wolf
Integrated Content Area: Interpersonal skills and self-awareness
Duration of Lesson: 30-40 minutes
Learning ObjectivesAs a result of this lesson, students will be able to:• Describe instrumental timbres and determine how they portray
emotions/traits.• Analyze how musical elements of a theme can be changed to
portray different traits of the same character.• Combine elements of music to compose a musical theme that
reflects one character trait of the student composer.
Lesson Materials• Chalkboard, whiteboard, or chart paper• Pitched and unpitched classroom instruments• Audio playback device• Staff paper and pencils
Materials available at www.philorch.org/resources:• Recordings of School Concert repertoire• Three Sounds of Peter Listening Chart
Academic Standards• PA Academic Standards (Arts): 9.1.5.A, B, C, E, F, J / 9.3.5 A,
D / 9.4.5 D• PA Core Standards (ELA): CC.1.2.5.D, H, J / CC.1.5.5.A, D• National Core Arts Standards: MU:Cr1.1.5b / MU:Cr2.1.5a, b
/ MU:Cr3.1.5a / MU:Cr3.2.5a / MU:Re7.2.5a / MU:Re8.1.5a / MU:Re9.1.5a / MU:Cn10.0.5a
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Possible Answers for LISTENING CHART #2:
Peter’s Theme Musical Elements Character Trait
Peter’s Theme #1Introduction(2:07-2:27)
StringsMezzo-pianoLegato
IndependentHappy-Go-Lucky
Peter’s Theme #2Peter prepares to …(0:53-1:03)
WoodwindsStringsPianoAdagio
ApprehensiveShrewdScared
Peter’s Theme #3Procession to the zoo(1:14-1:38)
Full OrchestraMezzo-forteMajestic
BraveCourageous
Reflection/Conclusion10. Have students work in small groups to create a “Musical Selfie.”
Provide paper, pencils, and classroom instruments as available. a. Identify a character trait of someone in the group to
represent through music. b. Create a 4-measure melodic or rhythmic theme to
represent the chosen character trait. c. Write down the theme using traditional or iconic notation.
These suggested guidelines may be used/adapted as a framework for composition:
• 2/4 or 4/4 meter • Quarter, eighth, sixteenth, half, dotted-half, and whole
notes/rests • Treble clef pitches • Pitched or unpitched classroom instruments
11. As time allows, encourage groups to perform their theme for the class. Ask the other students to consider the following questions:
• What character trait do you think this theme portrays? • In what ways did the elements of music portray the
character trait? • What changes/additions might the composers consider?
Ideas for Differentiated InstructionAdaptations: • Pair/Group students so that special learners can benefit from the
assistance of other students. • Allow students to answer questions orally rather than in writing. • Complete Three Themes of Peter Listening Chart and/or the
Musical Selfie as whole class activities.Extensions: • Listen to the music of other characters in Peter and the Wolf
to determine their traits. Discuss the musical elements used to portray the character.
• Read a portion of the story, playing the student’s original theme in place of Peter’s theme.
• Create a new character, identify its character traits, and compose a theme to represent it.
“Setting” the Stage for a Modern-Day PeterChris Argerakis, General/Vocal Music Teacher, Band Director Andrew Jackson Elementary School, School District of Philadelphia, PA
Introduction 1. Introduce Prokofiev’s Peter and the Wolf as a symphonic tale for
children with various instruments performing themes (or leitmotifs) for seven characters in the story.
2. Ask students what information they would need to know in order to describe the setting of a story or historical event. Define “setting” as “the time and place that something takes place.”
3. Ask students to describe the setting of the following:a. Thomas Jefferson’s writing of the Declaration of
Independence (Philadelphia, 1776)b. Little House on the Prairie by Laura Ingalls Wilder (Midwest
United States, late 1800s), or another work of fiction with which students are familiar
c. Our class trip to The Philadelphia Orchestra (Kimmel Center, November 2015)
4. Read the following synopsis of the story, or select student volunteers to read. Ask students to listen for the setting of the story.
The story is about a boy named Peter who lives with his grandfather. Grandfather does not want Peter going out of their garden because there are wolves around. One day Peter goes out the garden gate into the meadow and sees a duck swimming in a nearby pond. The duck is arguing with a little bird. Peter sees a cat approaching and warns the little bird who flies up into a tree.
Just then, Peter’s grandfather comes outside and scolds Peter for going into the meadow. They go back to the garden and Grandfather locks the gate. Soon a wolf appears from the woods. The cat climbs a tree to escape, but the duck is
swallowed by the hungry wolf. Peter gets a rope and climbs over the garden wall into a tree. The bird distracts the wolf by flying over his head while Peter lowers the rope and catches the wolf by his tail.
Hunters then come out of the woods and fire at the wolf but Peter stops them. They all bring the wolf to the zoo. At the end, the duck can be heard quacking in the wolf’s stomach because the wolf had swallowed her whole.
5. Encourage students to share their thoughts about the setting of the story they just heard. Tell students that the original story was written nearly 80 years ago, and the location is in a meadow. Define “meadow” as “a field habitat where grass and other non-woody plants grow.”
6. Explain to students that we will create an updated version of the story by re-casting two of the main characters (Peter, the wolf), and selecting a new setting for the story. Brainstorm what the story might be like in a modern setting. Ask students, “What if this story happened today in our neighborhood? How would the story change? How would the music change?”
7. Guide students in brainstorming other locations for the story (Possible answers: their school or neighborhood park), and agree upon a new setting.
8. Explain that we will also write lyrics for Peter’s theme and the wolf’s theme, based on “Peter/new character” capturing “the wolf/new character.”
Featured Music: Peter and the Wolf
Integrated Content Area: The concept of setting as it applies to language arts and social studies.
Duration of Lesson: 30-40 minutes
Learning ObjectivesAs a result of this lesson, students will be able to:• Perform two themes from Peter and the Wolf.• Define “setting” and use it correctly in class discussion.• Analyze how a change in setting affects the elements
of a story.• Create lyrics and edit narration to match a new setting
for a story.
Lesson Materials• Chalkboard, whiteboard, or chart paper• Audio playback device• Accompaniment instrument such as piano or guitar (optional)
Materials available at www.philorch.org/resources:• Recordings of School Concert repertoire
Academic Standards• PA Academic Standards (Arts): 9.1.5.A, B, C, E, F / 9.2.5.A, F,
K / 9.3.5.A / 9.4.5.D• PA Core Standards (ELA): CC.1.1.5.E / CC.1.3.5.C, D, G, J,
K / CC.1.4.5.M, N, O / CC.1.5.5.A, F• National Core Arts Standards: MU:Cr2.1.5a / MU:Cr3.1.5a /
MU:Cr3.2.5a / MU:Pr6.1.5a / MU:Cn10.0.5a / MU:Cn11.0.5a
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Development 9. Teach students to perform Peter’s theme:
a. Play a recording (Introduction, 2:07-2:15) or perform the first four measures of Peter’s theme (see Figure 1 at the end of this lesson).
b. Echo clap the rhythms for Peter’s theme. Break down the theme into three short phrases, as shown in Figure 1.
c. Echo sing on a neutral syllable (in phrases at first, and then the full, four measure theme).
10. Guide the students in collaboratively writing lyrics for Peter’s theme:a. Explain that we will re-cast Peter’s character with someone we
know. Remind students that Peter was brave (because he stood up to the wolf), but also defiant (because he broke a rule and left the garden). Ask students, “Who would we like to be our main character?” Accept possible suggestions (a student from class, staff member, community members) and help students make a final choice.
b. Play or sing Peter’s theme again.c. Sing the first phrase of the theme and ask students to count
how many notes they hear (6 notes). Repeat for the second phrase (7 notes), and finally the third phrase (11 notes).
d. Start with the first phrase, reminding the students that they will need to have six syllables in the phrase, starting with the words, “I am…” and fill in the remaining 4 syllables with our new character. On the board or chart paper, write “I am_________________.” Guide student to possible answers, and explain how we can sing one syllable on two notes if needed. For example, “I am Vic-tor-i-a,” or “I a-m Em-il-y.” Sing the new lyrics together.
e. Continue this process with the second phrase (7 notes). The students’ prompt will start with “And I am _________________,” or a variation of it. For example, “And I am from Phil-ly,” or “I’m from Penn-syl-va-ni-a.” Sing the new lyrics from the beginning.
f. Continue this process for the third phrase (11 notes), which will define who the wolf character will be. Guide the students to find someone to cast as the wolf (Possible answers: school principal, parents, staff/faculty). The students’ prompt will start with either, “I will cap-ture ____________,” or “I will catch___________.” For example, “I will cap-ture Ms. Johnson, I know I will.”
g. Sing the new phrase in its entirety. The final version might look like this: “I am Emily, and I’m from Pennsylvania. I will catch Mrs. Johnson, I know I will.” Rename the theme with the new main character’s name; in this example it would be Emily’s Theme.
11. In a similar manner, help students create lyrics for the wolf’s theme:a. Teach the wolf’s Theme as seen in Figure 3 at the end of this
lesson (Introduction, 1:44-1:51).b. Fill in the wolf’s name to complete the first measure (6 notes):
For example, “I am Mrs. Johnson.”c. Complete the second measure (5 notes) by asking students
how this character might respond to the lyrics from the first theme. For example, “No, you won’t catch me.”
d. Sing the completed lyrics together. The final version of the Wolf’s theme might be, “I am Mrs. Johnson. You cannot catch me!” Rename the theme with the new character’s name; the example would now be known as Mrs. Johnson’s Theme.
12. Record the new lyrics on the board or chart paper. Rehearse the new themes, asking the students if they feel that the newly written lyrics match the music. Allow students to suggest revisions if they feel they can alter the lyrics to fit more musically.
Figure 1
Figure 2
Phrase 1 Phrase 2
Phrase 1 Phrase 2
Phrase 3
Conclusion13. Explain that Prokofiev chose to include a narrator to help tell the story
of Peter and the Wolf. Tell students that they will now sing their new themes with narration.
14. Choose a student to be the narrator and provide the following narration to read upon the teacher’s cue:
Early one morning Peter opened the gate and went out into the big green meadow.(perform Peter’s theme)
Peter’s grandfather came out. He was angry because Peter had gone to the meadow. “It’s a dangerous place. If a wolf should come out of the forest, then what would you do?” Peter paid no attention to his grandfather’s words. Then, a big gray wolf came out of the forest!(perform Wolf’s theme)
15. Ask the narrator to read the narration once through for practice. Help the class discover that the narration does not match the new setting, characters, and lyrics. Accept suggestions for the necessary changes.
16. Once the narration has been revised, perform the completed work as a class. Divide the class into groups, with half singing the Peter/new character’s theme, and the others singing the wolf/new character’s theme.
17. Encourage students to extend the creative activity by discussing (or answering on exit tickets) one or more of the following prompts:
• What changes would be needed to the other characters and their themes in our new setting of Peter and the Wolf?
• Which setting for Peter and the Wolf do you like better, and why?• How would the experience of the audience be different if
Prokofiev had added lyrics to Peter and the Wolf?
Extensions • Allow students to work in small groups to complete the creative
activity in Steps 10 and 11. • Help students consider other settings for Peter and the Wolf
(outer space, the Wild West, under the sea, etc.). Collaborate with classroom teachers for suggestions that align with the social studies curriculum. Discuss how the characters, plot, and music would differ.
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Daniel Dorff (b. 1956) was born in New Rochelle, NY, and is now based in the Philadelphia area. He holds degrees in composition from Cornell University and the University of Pennsylvania. At the age of 18 he won First Prize in the Aspen Music Festival’s composition competition. He plays bass clarinet and saxophone, and is the composer-in-residence for Symphony in C. In addition to composing and performing, he is vice president of publishing for Theodore Presser Company, and is considered an expert in music engraving and notation.
In addition to music for adult audiences, Dorff is particularly accomplished at composing music for children. A long-time friend of The Philadelphia Orchestra, he has written seven commissioned works for our Collaborative Learning department, most recently A Treeful of Monkeys for a Sound All Around concert in May of this year. Originally composed for octet, Three Fun Fables is a musical setting of three well-known tales by Aesop. The world premiere of “The Tortoise and the Hare” was narrated by track star Carl Lewis.
Unit #3: Three Fun Fables
About the Composer and His Music
Music in ContextSetting the Stage for Three Fun Fables
Let’s Flip the Fable!Missy Strong, General/Choral Teacher Fleetwood Elementary School, Mt. Laurel Township School District, NJ
Year1996
In Music• Death of Ella Fitzgerald• Tan Dun wins the Glenn Gould Protégé prize• Formation of the Regional Performing
Arts Center to oversee construction of the Kimmel Center
In Literature• Lost Laysen is published, 80 years after it was written by Margaret Mitchell
• A Game of Thrones by George R.R. Martin
In Art• Gallery of Modern Art in Glasgow opens• Stephanie Welsh wins the Pulitzer Prize in photography
In History• Record 30 inch snowfall in Philadelphia• Successful cloning of Dolly the sheep• Olympic Games in Atlanta
If you like Three Fun Fables, try ...
Blast Off!Goldilocks and the Three BearsBilly and the Carnival: A Children’s Guide to Musical Instruments
Featured Music: “The Dog and His Reflection,” from Three Fun Fables
Integrated Content Area: Language Arts
Duration of Lesson: 30-40 minutes
Learning ObjectivesAs a result of this lesson, students will be able to:• Identify orchestral instruments by listening.• Compose, notate, and perform a short melody.• Analyze compositional strategies used to establish character in
a musical telling of a story.
Lesson Materials• Chalkboard, whiteboard, or chart paper• Audio playback device• Pencil and paper for each student group
• Resonator bells, xylophones, glockenspiels, recorders, melodicas, or any chromatic instruments (1 for every 3-4 students)
Materials available at www.philorch.org/resources:• Recordings of School Concert repertoire• Describing Wheel template
Academic Standards• PA Academic Standards (Arts): 9.1.5 A, B, C, D, E, F, J / 9.3.5
A, D / 9.4.5 A, D• PA Core Standards (ELA): CC.1.3.5.A, C, D, E, F, G, J /
CC.1.4.5.M, O, P / CC.1.5.5.A, D, F• National Core Music Standards: MU:Cr1.1.5a, b /
MU:Cr2.1.5a, b / MU:Cr3.1.5a / MU: Cr3.2.5a / MU:Re7.2.5a / MU:Re8.1.5a
Introduction 1. Read the first part of “The Dog and His Reflection” to the class
(choose a version from http://fablesofaesop.com/the-dog-and-the-shadow.html), stopping right after the dog sees his reflection in the water.
2. Ask students to predict what will most likely happen next. Record students’ answers on a graphic organizer, such as a describing wheel with “The End” in a circle in the middle and student predictions on the spokes.
3. Next, prompt students to add predictions that they think will probably not happen, but would be interesting. Label predictions with “Most Likely” and “Not as Likely.”
4. Read the rest of the story, and encourage students to share their reaction to the ending.
5. Introduce students to the musical telling of “The Dog and His Reflection” from Three Fun Fables, which is an excellent example of a story put to music by a modern composer. Describe Daniel Dorff as a contemporary (living) composer from the Northeast U.S., who frequently writes music for students, especially those in the Philadelphia region. Three Fun Fables were commissioned in 1996 by the Minnesota Orchestra and originally scored for a mixed octet of instruments, but will be played by the entire Philadelphia Orchestra at the School Concert.
6. Ask students to listen to Dorff’s “The Dog and His Reflection” in its entirety, paying special attention to the characters and the instruments they believe represent those characters. (It may be helpful to have students write down their thoughts while listening.)
7. Briefly discuss whether the musical version of the story ended as they predicted.
8. On the board, write the words “Dog” and “Water” and have students name the instruments that were associated with each (trombone for the dog, harp and violin for the water). Ask for a few descriptors that may explain why Mr. Dorff chose those instruments (possible answers for the trombone: low, fun, splatty, happy. Possible answers for the harp/violin: peaceful, serene, flowing.)
Development 9. Listen again to the entrance of the Water Theme (1:15-1:57).
Ask students to describe what kind of image the music evoked in their minds for the water (Possible answers: still, peaceful, silent, flowing.)
10. Encourage students to dialogue about how their perspective of the story would change if the water were somehow a villain in the story. What might the stillness of the water mean? (Possible answers: quiet, foreboding, waiting, brooding, deadly, ominous.)
11. Guide students to the idea that the water might be changed to an evil character that purposely attracts greedy people in order to make them drop their prized possessions into it, just like the dog did.
12. Move students to small groups of three or four. Give groups a few minutes to create an extra sentence or two for the narrator to say at the end of the story, in order to emphasize that the water was “evil.” (Examples: “And the water went rippling and laughing on as it enjoyed yet another prize.” or “The water was once again victorious in taking something from another greedy passerby.”)
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13. Come back together as a class, and have one student in each group read their new ending to the class.
14. Ask students to consider how the music would necessarily have to change to accommodate this new information (that the character of the water is “evil”). Would the harp and violin still be good choices? (Possible answers: They could still be used, but with lower notes or faster rhythms. Use the cymbal more loudly or with different rhythms. Use a lower instrument like the cello to make it sound scarier.)
15. Ask students to return to their groups, and distribute xylophones, resonator bells, glockenspiels, recorders, melodicas, or any available chromatic instrument. Direct students to manipulate three notes (B-D-F#, changing the water theme from its original B major to B minor; refer to Figures 1 and 2 at the end of this lesson for notation) to turn the soft arpeggio of the harp into a more unsettling or less friendly sound, matching the idea of an evil water character. Have them work together to create a new theme of no more than 8 beats, notate it using invented, iconic, or standard notation, and perform it on the provided instrument.
16. After groups have had time to create their new theme, ask them to choose an orchestral instrument or instruments that might convey the feeling of an “Evil Water” character.
17. Give each group an opportunity to perform their new “Evil Water” theme for the class, and ask them to explain which orchestral instrument(s) they would choose to play it in performance. After each performance, ask the class to provide feedback: “What compositional strategies did the composers use that were particularly successful?”
Reflection/Conclusion18. After all the groups have performed, ask students to consider their
creative process in composing the “Evil Water” theme. “How did you discover your favorite thematic ideas? Did you try many ideas before selecting one? Was it challenging to compose as a group?”
19. Help students analyze the strategies used by artists to establish character by engaging in discussion. Here are two options for discussion topics:
a. Create a brainstorm list on the board or chart paper of words that describe how a composer creates a character through music. (Possible answers: range, instrumentation, rhythm, tempo, melodic contour.)
b. Compare/contrast the original ending of the fable with the additional narration written earlier in the lesson, and Mr. Dorff’s water theme with the “Evil Water” theme created in groups. (Possible answers: choosing instruments based on timbre or range; composing music in a specific range; using specific rhythmic patterns or tempi for effect.)
20. If time allows, have students vote via exit tickets on which version of the fable (original or their own) they prefer.
Ideas for Differentiated InstructionAdaptations: • Group students so special need learners can benefit
from assistance. • Compose, notate, perform, and choose instruments for the
“Evil Water Theme” as a class instead of in small groups. • To help students consider the role of instrumentation in
developing a musical character, have students brainstorm a list of emotion words that they find interesting (e.g. scary, funny, happy, concerned), and then imagine which orchestral instruments would work best to help create that feeling for an audience.
Extensions: • Have students make a 4-panel comic or storyboard of what
happens in the original fable. Ask them to change just one panel of the story and then compare/contrast the two presentations.
• After the group composition project, write this Beethoven quote on the board: “I always have a picture in my mind when composing, and follow its lines.” Read the quote aloud, and ask students to deduce what he might have meant. Probe for how the quote relates to their group composition.
• Record/notate student compositions in Garageband or Noteflight to allow students to hear how different instrumentation changes the sound.
• Keep the water theme in major tonality by using B-D#-F#, but encourage students to still aim for an “evil” sound.
• Make a 2-column chart on the board or chart paper, and compare/contrast the creative process for authors and composers. (Possible responses: Both often have to come up with art from nothing. Both might take an idea that existed before and put their own spin on it. An author can use words, of which there are thousands and thousands, but a composer basically has 12 notes to create their art.)
• Compare/contrast the different versions of the fable found at http://fablesofaesop.com/the-dog-and-the- shadow.html.
Figure 1
Note to teachers about technology-based lessons:Using technology in a lesson can be one of the most daunting tasks for a teacher, especially if it is not something you do on a regular basis. Here are a few tips that will make this integration much easier (and a lot less scary):
1. Be patient with yourself. Go at the pace that is comfortable for you, your students, and your classroom setup.
2. Any time a lesson asks students to work on a laptop individually or with a partner, consider converting the lesson to a whole class demonstration using a teacher laptop and a projector or interactive whiteboard. This also helps if there are not enough computers for students to use in a manageable small group.
3. Practice makes perfect. Like riding a bike or learning a new workout routine, the more you incorporate technology, the easier it becomes.
4. Don’t be afraid to give up some control to your students. Often, our students know more about how to use software than we do. Empower a student (or small group of students) to become your technology assistants. They can assist students who have hit a roadblock or are having trouble finding a tool. The appointed technology assistants can help relieve the stress of what to do when things aren’t going quite right for everyone in the room.
5. Invite your computer teacher, teacher technology leader, or a colleague who is talented in the world of computers to collaborate with you. That might translate to team-teaching with you during a technology-based lesson or two, or even going into a computer lab during a technology period. Again, this relieves the pressure to be perfect and allows another set of knowledgeable hands to assist students (and you) while you work.
Technology is only intimidating if you allow it to be. Don’t be afraid to try new things with your students. What’s the worst that could happen? Think about how many new learning experiences and tools you are providing your students and yourself!
– Contributed by Lisa Tierney
Figure 2
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Composing a CharacterLisa Tierney, Choral/General Music Teacher James Dobson School, School District of Philadelphia, PA
Featured Music: “The Tortoise and the Hare,” from Three Fun Fables
Integrated Content Area: Technology
Duration of Lesson: Two 30-40 minute lessons
Learning ObjectivesAs a result of this lesson, students will be able to:• Analyze character traits and strategies for
representing them in a musical composition.• Develop proficiency in technology-assisted composition.• Compose a leitmotif that portrays a selected character trait.• Identify action in a story and revise a melody to fit the action.
Lesson Materials• Pencils and optional highlighters• Chalkboard, whiteboard, or chart paper• Audio playback device• Computer and projector for demonstration• Computers for student use (ideally at least one for every
two students)
• Garageband software• Audacity software (free for download at
http://sourceforge.net/projects/audacity/)• Headphones for students (if desired)
Materials available at www.philorch.org/resources:• Hare or tortoise handouts• Copies of “The Tortoise and the Hare” text • Recordings of School Concert repertoire
Academic Standards• PA Academic Standards (Arts): 9.1.5.A, B, C, E, F, H, J, K /
9.2.5.K / 9.3.5.A, B, D / 9.4.5.D• PA Core Standards (ELA): CC.1.1.5.E / CC.1.2.5.J /
CC.1.3.5.A, C, G, J, K / CC.1.5.5.A, D, F• PA Academic Standards (Technology): 15.3.5.A, M / 15.4.5.G, K• National Core Arts Standards: MU:Cr2.1.5a, b /MU:Cr2.1.5a,
b / MU:Cr3.1.5a / MU:Cr3.2.5a / MU:Re7.2.5a / MU:Re8.1.5a / MU:Cn10.0.5a, MU:Cn11.0.5a
DAY 1Introduction 1. As students enter the classroom, distribute either a tortoise or a
hare handout to each student (see www.philorch.org/resources). Distribute the same number of each animal in order to form partner groups.
2. Ask each student to find a partner with the same animal and write down 8-10 adjectives that describe their animal. Suggest that they consider what the animal’s personality might be, how they might act, how they might sound if they could talk. (Possible answers: Hare: Happy, confident, friendly, energetic, excited. Tortoise: Calm, quiet, happy, pokey)
3. Tell students they will be listening to a short piece of music featuring these two characters. The composer uses instruments and narration to portray the characters’ personalities throughout the story.
4. While listening to “The Tortoise and the Hare” in its entirety, ask students to place a check mark or star next to character traits on their list that they hear demonstrated, and add new ideas to their list.
5. Make two columns on the board or chart paper. Encourage students to share their answers, and collect them in the appropriate column. Compare/contrast the descriptions of the two characters.
Development 6. Ask students to think about strategies used by the composer to
portray character traits through music.a. Listen to an excerpt of the Tortoise (0:08-0:15). Help students
discover that traits such as slow, tired, or bored are portrayed by low pitches and sustained notes.
b. Listen to an excerpt of the Hare (0:16- 0:22). Here, traits such as jumpy and energetic are expressed through a fast tempo and short notes.
7. Play the first part of the piece again (0:00-2:00). When students hear the Hare in the music, ask them to raise their hand, and when they hear the Tortoise in the music, touch their nose.
8. Ask students how they knew which character was speaking (Possible answers: Instrumentation, pitch, tempo, melody).
9. Explain that a short melody associated with a particular character or action is called a “leitmotif” (sometimes also called a “theme”). Examples of famous leitmotifs are the Darth Vader theme from Star Wars and the shark theme from Jaws.
10. Tell students they are going to have an opportunity to compose a leitmotif consisting of 4-8 notes that they feel captures the character/personality of their assigned animal as it was featured in the story.
11. Direct partners to circle one adjective from their brainstorm list that they like best, or borrow one from the class list on the board. On the back of their paper, ask partners to create a word web around the selected trait by recording two or three ways to create that quality through music.
12. Using Garageband, students will open a new project, select “Piano,” and click “Choose.”
13. Direct students to save their file in the way that you prefer (such as firstname.lastinitial.roomnumber), and click “Create.”
14. When the file opens, students should see a blank track and the finger keyboard.
15. If the keyboard does not appear when the file opens:a. Select “Window.”b. Check “Keyboard.”
16. Students can experiment and create their leitmotif by clicking on the keys of the keyboard.
17. When students have created their leitmotif and can play it with proficiency, they are ready to record their melody. To record:
a. Be sure the name of the track is highlighted in green (by selecting the track) and click either the “R” key or the record button.
b. Explain that a red line will appear, meaning the computer has begun to record.
c. Students can begin playing at any time. When they are finished, clicking the space bar will stop the recording.
(Tortoise)Pokey
Low Pitch
Bassoon or Bass InstrumentsSustained Notes
(Hare)Friendly
Higher Pitches
String InstrumentsMajor Tonality
Note to Teacher: If you and your students are comfortable with technology, continue with the lesson as written. Alternately, the activity may be completed as a class using an interactive whiteboard or projector. See Lesson Adaptations if technology is not available.
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26. As students achieve their desired effect for each action spot, they should export their file to the desktop using the File menu and clicking “Export Audio.”
Reflection/Conclusion27. When each pair has created two altered melodies, they should
prepare to read the fable, playing the original leitmotif when the character is first introduced, and the altered melodies at the designated places.
28. Allow partners to share their completed work with the class. After each pair presents, ask the class to identify what changes were made and how the changes helped tell the story.
Ideas for Differentiated InstructionAdaptations: • Pair/group students so that special learners can benefit from the
assistance of other students. • If time in the technology lab is limited, complete only Day 1
(omitting Step 19), and conclude the lesson by allowing students to share their leitmotif with the class.
• If technology is not available, any pitched or unpitched instruments may be used, or allow students to create their own instruments from found objects. Students can change the articulation, dynamic level, or timbre to achieve the desired effects throughout the story.
Extensions: • Ask each group to record themselves reading the fable using
Garageband and insert their melodies into the story. Post final products online for families and friends to enjoy. (See your administrator for school policies about posting student work online.)
• Help the class select their favorite Tortoise and Hare leitmotifs from the creative activity above. Choose a narrator to read the fable, and insert the original and revised leitmotifs for both characters at the appropriate points in the story.
• Ask students to choose another fable (see http://fablesofaesop.com/) and complete this process with a partner.
Resources:http://cliparts.co/cliparts/kiK/B8K/kiKB8Ka4T.png http://www.clipartbest.com/clipart-dire8aprT http://sourceforge.net/projects/audacity/
d. If students have difficulty maintaining a steady beat while recording, suggest they use the metronome (the clicks will not record). In the Control menu, check “Metronome.” To change the tempo, go to the Track menu, select “Show Track Info,” and adjust the tempo as needed.
e. Students should listen again to their melody to be sure it sounds the way they intended, and record again as needed.
18. Explain to students that because they used Garageband to record, the computer can change the instrument playing the melody.
a. Using the Track menu, select “New Track.”
b. When prompted, select “Software Instrument” and “Create,” then choose an instrument.
c. Drag the recorded melody to the new track.d. When students play back their melody, they should hear it
played by the new instrument.
19. Once students are satisfied with their melody, they should go to the Share menu and select “Send Song to iTunes.”
20. Ask students to write a few sentences on the back of their papers to answer this question: “What strategies did you use to create music that reflects your chosen character trait?” Collect papers for use in the next lesson.
Note to Teacher: If you and your students are comfortable with technology, proceed to Day 2 as written. Or, choose one leitmotif from the last lesson and complete the activity as a class using a projector or interactive whiteboard.
DAY 221. Distribute organizers from the previous lesson and a copy of the
text used in Three Fun Fables (see www.philorch.org/resources). Ask students to sit with their partner from Day 1, and be sure partners are working on the same computer so they can access their saved work.
22. Ask partners to read the text and circle/highlight two places in the story where their leitmotif might be changed in tempo, dynamics, or pitch in order to better illustrate the character’s action.
23. Working with their new partner, students should open Audacity and iTunes. (Audacity is a program that is free for download at http://sourceforge.net/projects/audacity/.)
24. Students should drag their file from iTunes into Audacity. Explain that their leitmotif can now be changed to better illustrate the action spots they highlighted in their text.
25. Students can manipulate the way their melody sounds by adding effects from the Effect menu. Explain that when writing for an orchestra, a composer might ask instrumentalists to change the sound by adding a mute, changing the articulation, etc.
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Activities for Student Conductors: • The first beat (or “downbeat”) in each pattern matches the first
beat of the measure, and is slightly stronger than the others. Listen to one of the pieces from the School Concert Playlist. Can you clap on the downbeats?
• A conductor uses his or her right hand to make the conducting patterns shown here. Practice these patterns, making them larger for loud dynamics, and smaller for soft dynamics.
• Conductors sometimes use the left hand to mirror the right hand. Practice making a mirror image of these patterns with your left hand.
• Other times, conductors use the left hand to cue instruments or communicate expression. How would you use your left hand to tell the orchestra to play softly and smoothly? How would you tell them to play loudly and accented? How would you tell the players that it’s time to play?
• Watch Lio Kuokman, conductor of the School Concert, in a conducting competition at which he won the top prize. Go to https://www.youtube.com/watch?v=xFfmf4wHpjA (begin at 1:00). How does he communicate with the musicians?
Appendix A: ConductingAn orchestra’s conductor controls many aspects of the musical performance including tempo, dynamics, balance, and expression. Here are some activities for your students to explore their inner conductor!
Your students will learn many things by attending a Philadelphia Orchestra School Concert. Learning and displaying proper concert etiquette encourages personal responsibility and develops important social and cultural skills. Please review the following guidelines thoroughly with your students. Knowledge of the expectations in a formal concert environment will only increase their comfort—and
their enjoyment!
• Upon arriving at the Kimmel Center, everyone is expected to speak in a moderate tone of voice.
• Enter the concert hall quietly and whisper only. Ushers will be seating your group and need to be heard as they direct you to your seats.
• Follow the directions of the ushers at all times. • Please continue to whisper while in the concert hall. Members of
The Philadelphia Orchestra will be warming up on stage, and they need to be able to hear themselves.
• As you wait for the concert to begin, take a look around you at the many features of the concert hall.
• When the lights are dimmed, all whispering should stop. The concertmaster is about to enter the stage so the Orchestra can tune.
• Everyone applauds when the concertmaster and then the conductor enter the stage.
• Once the music begins, everyone should concentrate on the music. Watch the musicians and conductor closely as they work together.
• When the host is speaking between pieces of music, listen carefully. Talking distracts the musicians and other audience members.
• Show your appreciation at the end of each piece with courteous applause. Watch the conductor carefully! He/she will lower his/her arms and then face the audience when the Orchestra has finished playing.
• At the end of the concert, please remain seated and exit the concert hall quietly when you are instructed. This is the moment your teacher and the ushers will need your attention the most.
Rules to Remember: • Use of the restrooms is for emergency situations only. • Food, candy, gum, or beverages are not allowed in the concert hall. • Cameras, video recorders, mp3 players, or any other electronic
devices are not permitted in the concert hall. • Students who are disruptive may be asked to leave the concert. • See page 19 for a creative lesson plan to share these instructions with
your students and teach them proper etiquette in the concert hall.
Appendix B: Guide to Audience BehaviorPrepare your students for their concert experience
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Appendix C: Classical Music for Children Ideas for introducing children to the wonders of classical music.
Appendix D: Collaborative Learning Programs
Engaging Children with the Classics– Tips for Parents and Teachers: • Make classical music part of a wide variety of music listening
experiences at home or in the classroom. • Add classical music to the daily routine by listening in the car on
the way to school or while running errands. • Talk with children about the music they hear. Discuss how the
composer makes the music interesting or surprising. Play a guessing game to name the instruments heard.
• For concentrated listening experiences, begin with short compositions or works with shorter segments.
• Ask neighbors, family members, or older students who play to demonstrate their instrument.
• Clap, march, or dance while listening to music of varying tempos. • Use household objects to make instruments. Encourage children
to accompany listening selections or to compose their own. • Allow children to choose from a selection of classical music for
family dinnertime. • Attend classical music performances at local arts institutions,
especially those designed for children to interact with musicians and instruments.
• Set an example by listening to and expressing appreciation for many musical genres.
• Describe all music as valuable and worthy of listening.
Classical Music Composed for Young Audiences:Many classical music pieces are very engaging to children. In addition
to Prokofiev’s Peter and the Wolf and Daniel Dorff’s Three Fun
Fables, here are some works that were specifically written for young
audiences or young players. • Carnival of the Animals by Camille Saint-Saëns • The Wand of Youth, Suites 1 and 2, by Edward Elgar • Mother Goose Suite by Maurice Ravel • The Composer is Dead, story by Lemony Snicket, music by
Nathaniel Stookey • Children’s Corner Suite by Claude Debussy • The Fantastic Toyshop by Ottorino Respighi, based on music by
Gioachino Rossini • The Three Bears Suite by Eric Coates • Album for the Young by Robert Schumann • Young Person’s Guide to the Orchestra by Benjamin Britten • The “Toy” Symphony (authorship disputed, variously attributed to
Joseph Haydn and Leopold Mozart)
The Philadelphia Orchestra is continuously building on its foundation of collaborative learning and community service work locally, nationally, and internationally. This important work includes a large portfolio of community partner organizations with whom the Orchestra invests in music education for Philadelphia. Through programs such as Side-by-Sides; PlayINs; free PopUP concerts; free Neighborhood Concerts; School Concerts; and teaching, mentoring, and residency work in Philadelphia; the award-winning Collaborative Learning Department serves over 50,000 students, young people, and citizens—engaging new audiences and opening access to the joy of music.
These initiatives are built to inspire and educate learners of all ages, with a focus on communities, families, and schools.
CommunitiesThis past season alone, The Philadelphia Orchestra collaborated with more than 20 community organizations to offer free public and private performances, lectures, and discussions across a variety of topics and venues. Further, our music director, Yannick Nézet-Séguin, and musicians inspired students at all levels through community events—including the highly-successful PlayINs that offer any musician the opportunity to create music with The Philadelphia Orchestra.
SchoolsEach year the department of Collaborative Learning engages with schools by providing nearly 1,000 hours of free classroom music instruction to students using our faculty of teaching artists. Additionally, students and teachers are exposed to the beauty of music through numerous in-school performances by Philadelphia Orchestra musicians and full-orchestra performances in Verizon Hall, presented for over 200 schools.
FamiliesWith dozens of family-friendly concerts each season, the Orchestra offers unique experiences tailored to pre-school and school-aged children, including Family Concerts and our award-winning Sound All Around performances.
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Sound All Around Presented by
Named as Philadelphia magazine’s Best of Philly 2014—Best Music for Kids, Sound All Around features interactive programs for children ages 3-5 with members of the Orchestra, storyteller Charlotte Blake Alston, and pianist Lio Kuokman. These fun-filled performances are a great way for kids, families, and daycares to learn about the instrument families and interact with Orchestra musicians. Concerts are 45-minutes long and are held on Saturdays and Mondays at 10:00 and 11:15 AM in the Academy of Music Ballroom. For more information, visit www.philorch.org/soundallaround.
October 17 & 19, 2015David Fay Bass
November 7 & 9, 2015 Christopher Deviney Percussion
January 30 & February 1, 2016 Paul Demers Bass Clarinet
April 9 & 11, 2016 Blair Bollinger Bass Trombone
April 30 & May 12, 2016 Ensemble
Family Concerts Family Concerts, presented five times annually, are a lively, fun-filled introduction to the The Philadelphia Orchestra for children ages 6-12 and their families. This legacy program, in its 93rd season, takes place on Saturday mornings in Verizon Hall at the Kimmel Center. Pre-Concert Adventures, typically held in Perelman Theater, offer an interactive exploration of the music performed in each concert and are open to ticket holders at no additional cost. For more information, visit www.philorch.org/family.
Halloween Costume PartySaturday, October 31 11:30 AM
Christmas Kids’ Spectacular Saturday, December 5 11:30 AM
B… B… B… Beethoven: Those Four Famous NotesSaturday, February 6 11:30 AMMichael Boudewyns and Really Inventive Stuff
Yannick’s Guide to the OrchestraSaturday, March 5 11:30 AMYannick Nézet-Séguin ConductorPuppet KitchenBritten The Young Person’s Guide to the Orchestra
Music, Noise, and SilenceSaturday, April 2 11:30 AMMagic Circle Mime Company
Glossary of Terms Adagio: Moderately slow tempo
Allegro: Moderately fast tempo
Articulation: Manner or style in which notes are performed (e.g. legato, staccato)
Beat: Basic underlying pulse and time unit used in music
Brass family: Instruments consisting of a long tube of various types of metal and including a mouthpiece and bell, in which a vibrating column of air produces the sound (trumpet, trombone, French horn, tuba, etc.)
Chord: A type of harmony consisting of the simultaneous sounding of three or more different pitches
Chromatic instrument: Instrument that can play half steps (distance between a white key and a black key on the piano)
Composer: Person who creates, or composes, music
Concertmaster (Concertmistress): Leader of the first violin section of the orchestra
Conductor: Person who leads, or conducts, a performing ensemble
Consonance: Notes that sound harmonious or pleasant when played at the same time
Crescendo: Gradually becoming louder
Cue: Gesture given by a conductor to begin or end playing
Decrescendo: Gradually becoming softer
Dissonance: Notes that sound harsh or unpleasant when played at the same time, creating tension
Duple meter: Beats are grouped in two or multiples of two
Dynamics: Degree of loudness or softness in a musical composition (e.g. forte, piano, crescendo)
Ensemble: Any combination of musicians who perform together
Forte: Loud volume
Fortissimo: Very loud volume
Harmony: Simultaneous sounding of two or more different pitches
Improvise: The practice of creating or performing in the moment
Instrument families: Groups of musical instruments that share similar characteristics
Instrumentation: Particular combination of musical instruments included in a composition
Largo: Slow tempo
Legato: A style of articulation where notes are played in a smooth, connected manner
Leitmotif: (Also Theme) Short, recurring musical phrase associated with a particular character, place, idea, or mood
Lyrics: Words of a song
Major tonality: Organization of pitches based on a major scale (in which the pitches are separated by whole- whole-half-whole-whole-whole-half steps)
Measure: Basic grouping of beats, separated by a vertical line called a bar line
Melodic contour: Shape of a melody
Melody: Succession of notes, varying in pitch, which have an organized and recognizable shape
Meter: Grouping of notes into patterns of strong (accented) and weak (unaccented) beats
Mezzo-forte: Moderately loud volume
Mezzo-piano: Moderately soft volume
Minor tonality: Organization of pitches based on any of several minor scales; the third scale degree is a half- step lower than in major tonality
Notation: Written symbols that represent musical sound
Orchestra: (Also Symphony orchestra) Instrumental performing ensemble that traditionally includes four instrument families, with strings comprising the largest section
Percussion family: Instruments in which the sound is produced by striking, scraping, or shaking (snare drum, cymbals, marimba, triangle, guiro, etc.)
Pitched instrument: Tuned instrument that can play specific pitches
Phrase: One musical idea, comparable to a sentence in prose
Pianissimo: Very soft volume
Pitch: Highness or lowness (frequency) of a sound
Pizzicato: String instrument playing technique that involves plucking the strings
Presto: Very fast tempo
Range: Distance between lowest and highest notes in a composition, or that can be played or sung by a musician
Register: Relative highness or lowness of pitches as they relate to the overall range of a composition, instrument, or voice
Rhythm: Succession of sounds, varying in duration, which have an organized and recognizable pattern
Sforzando: To play a note with sudden, strong emphasis
Appendix D: Collaborative Learning Programs (continued)
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Glossary of Terms Staccato: A style of articulation where notes are played in a short, detached manner
String family: Instruments in which a vibrating string(s) produce the sound (violin, viola, cello, double bass, harp, etc.)
Style: Manner, mode of expression, or type of presentation
Subito: Suddenly (e.g. Subito piano, or suddenly soft)
Symphonic: Performed by a symphony orchestra
Tempo: Speed at which music is performed
Texture: Number of musical lines played simultaneously
Theme: Main musical idea of a composition; sometimes associated with a particular mood, event, or character in the music
Timbre: (Also Tone color) Unique quality of a sound, instrument, or voice
Time signature: Sign placed at the beginning of a composition that indicates the number of beats per measure (meter) and the type of note that has a duration of one beat
Triple meter: Beats are grouped in three or multiples of three
Unison: Simultaneous performance of the same melody by multiple instruments or voices
Unpitched instrument: Instrument that is not tuned and does not play a specific pitch (claves, snare drum, maracas, etc.)
Woodwind family: Instruments made of wood, originally made of wood, and/or using a reed, in which a vibrating column of air produces the sound (flute, clarinet, oboe, bassoon, etc.)
CreditsCurriculum Guide ProductionEmily Anastasi, Managing Editor Elizabeth McAnally, Editor Darrin T. Britting, Contributing Editor Joseph Cohen, Art Director Jennifer Choy, Graphic Designer Courtney Carey, Copy Assistant
Philadelphia Orchestra Staff Jeremy Rothman, Vice President of Artistic PlanningRoger Wight, Artistic AdministratorDan Berkowitz, Director of Collaborative Learning
2014-15 Philadelphia Orchestra Musicians’ Education CommitteeGloria dePasquale, cello (chair) Robert Kesselman, bass Elizabeth Hainen, harpRichard Harlow, celloAnthony Prisk, trumpet
2014-15 Philadelphia Orchestra Collaborative Learning Board CommitteeRamona Vosbikian (chair) Stacy DuttonJoseph MankoHilarie MorganRonald Kaiserman John McFadden Michael Cone
Photos: Jessica Griffin, Ryan Donnell, Chris Lee, Pete Checchia, David Fay
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