Winter Wonderland Study Guide

2009-2010 Student Matinee concerts

CanadasNationalArtsCentreOrchestrapresents

Winter Wonderland BorisBrott,PrincipalYouthandFamilyConductor

TeacherStudyGuideKindergartenGrade3

TableofContents

ThisprogramismadepossiblebytheNationalYouthandEducationTrustsupportedbyFoundingPartnerTELUS,SunLifeFinancial,MichaelPotterandVroniqueDhieux,

supportersandpatronsoftheannualNationalArtsCentreGalaandthedonorsoftheNACFoundationsCorporateClubandDonorsCircle.

WelcomeTeachers! Page3 ConcertProgram Page4 AbouttheNationalArtsCentreandthePerformers Page5 CanadasNationalArtsCentre Page5 TheNationalArtsCentreOrchestra Page6 BorisBrott,conductor Page7 MerrileeHodgins,choreographer Page7 TheSchoolofDance Page7 Bangers&Smash,percussionduo Page8 AllabouttheNACOrchestra Page9 MapoftheNACOrchestraSections Page12 ProgramNotes Page13 BernardsWinterWonderland Page13 GoldensHotLatkesandStrawberryJam Page13 TheHuronCarol Page14 WaldteufelsSkatersWaltz Page14 GlazunovsTheSeasons,Op.67 Page15 OTannenbaum(OChristmasTree) Page15 TchaikovskysTheNutcracker,Op.71 Page16 JingleBells Page17 BalletTerms Page18 MusicalGlossary Page19 PerformanceHallEtiquette Page20 ClassroomActivities Page21 SuggestedActivitiesandthe2009OntarioCurriculumfortheArts Page30 BibliographyofResourcesAvailableattheOttawaPublicLibrary Page35 ArtsAlive.ca Page37 OtheravailableNACOrchestraTeacherStudyGuides Page38

TeacherStudyGuide Page2 WinterWonderland

AudienceParticipation

We invite you and your students to sing along with the NAC Orchestraduringtheconcert.ThepiecewehaveselectedforyourparticipationisanarrangementforJingleBells.Theconductorwillannouncewhenitistimetosing.

PinchasZukermanMusicDirector,NationalArtsCentreOrchestra

ShouldyouhaveanyquestionsregardingMusicEducationattheNationalArtsCentre,pleasecontactus:

GeneralinformationTel:6139477000x390Email:[email protected]

www.naccna.cawww.ArtsAlive.caMusic

AboutthisguideAsasupporttoyourclassroomwork,wehavecreatedthisguidetohelpintroduceyoutotheprogramandcontentoftheperformance.Inityouwillfind:

Programnotesaboutthemusicyouwillhearattheconcert Biographicalinformationabouttheconductor,theperformersandtheNAC Orchestra Classroomactivitiesforyoutosharewithyourstudents

Wehopethisstudyguideishelpfulinpreparingyouforyourconcertexperience.Thelevelofdifficulty for theactivities isbroad, sopleaseassess themaccording to thegrade levelyouteach.Ifyouhaveanycommentsaboutthestudyguideortheperformancepleasewritetousatmused@naccna.ca.SeeyouattheNAC!

DearTeacher,Iampleasedthat Ionceagainhavethisopportunitytopersonally inviteyou and your students to theNationalArtsCentre tohear greatmusicperformedbyyournationalOrchestra. Ibelievemusic isbothawindowto the world and one of the greatest gifts we can offer our children.Developinganappreciationofmusicisaninvaluablelearningandgrowingexperiencethatcanlastalifetime.ThevalueweplaceasasocietyontheArts and Arts Education will be severely tested during the economicuncertainty of the months ahead. I cannot emphasize enough howstronglyIfeelthatmusicandmusiceducationhasafundamentalroletoplay in the development of our youth, and ultimately our Canadiansociety.Icanassureyouwewillcontinuetoholdourselvestothehigheststandards inthecreationofeducationalprogrammingthatwehopeyoufindisasentertainingasitisenriching.Sincerely,


(subjecttochange)

ConcertDates:Wednesday,December9,2009 10a.m.11a.m.(English) 12:30p.m.1:30p.m.(English)Thursday,December10,2009 10a.m.11a.m.(French)Locationforallconcerts:SouthamHall,NationalArtsCentreRunningtimeforallconcerts:60minuteswithoutintermission

WinterWonderlandTheNationalArtsCentreOrchestra

BorisBrott,PrincipalYouthandFamilyConductor

FEATURING:TheSchoolofDance

MerrileeHodgins,choreographerBangersandSmash,percussionduo

JonathanWade,percussionKennethSimpson,percussion

ConcertProgram

InthisStudentMatinee,studentswillhearexcerptsfrom:

BERNARD WinterWonderland GOLDEN HotLatkes&StrawberryJam TRAD. TheHuronCarol WALDTEUFEL SkatersWaltz,Op.183 GLAZUNOV TheSeasons,Op.67 IV.Winter:Snow III.Winter:Hail TRAD. OTannenbaum(OChristmasTree) BangersandSmash,percussionduo JonathanWade,percussion KennethSimpson,percussion TCHAIKOVSKY TheNutcracker,Op.71 DanceoftheSugarPlumFairy ArabianDance SpanishDance TrepakRussianDance PIERPONT JingleBells *SingalongwiththeNACOrchestra!


DesignedbyFredLebensold(ARCOPDesign),oneofNorthAmerica'sforemosttheatre designers, the building was widely praised as a twentieth centuryarchitecturallandmark.OffundamentalimportancetothecreatorsoftheNACwas the belief that, beautiful and functional as the complexwas, itwouldneedmorethanbricksandmortarand, inthewordsofJeanGascon,formerDirectoroftheNACsFrenchTheatreDepartment(19771983),"itwouldneedaheartthatbeats."A program to incorporate visual arts into the fabric of the building hasresulted in the creationofoneof the country'smostuniquepermanentartcollections of international and Canadian contemporary art. Pieces includespecial commissions such as Homage to RFK (mural) by internationally

acclaimedCanadiancontemporaryartistWilliamRonald,TheThreeGracesbyOssipZadkineandalargefreestandinguntitledbronzesculpturebyCharlesDaudelin.In1997,theNACcollaboratedwiththeArtBankoftheCanadaCouncilfortheArtstoinstallover130piecesofCanadiancontemporaryart.

CanadasNationalArtsCentre Situatedintheheartofthenation'scapitalacrossConfederationSquarefromParliamentHill,theNationalArtsCentre isamongthelargestperformingartscomplexesinCanada.Itisuniqueasthe only multidisciplinary, bilingual performing arts centre inNorth America and features one of the largest stages on thecontinent.

Southam Hall is home to the National Arts Centre Orchestra, to the largest film screen in thecountryandtotheMichelineBeaucheminCurtain.

Officiallyopenedon June2,1969, theNationalArtsCentrewasakey institutioncreatedbyPrimeMinisterLesterB.PearsonasaCentennialprojectofthefederalgovernment.Built intheshapeofahexagon,thedesignbecamethearchitectural leitmotifforCanada'spremierperformingartscentre.

Today,theNACworkswithcountlessartists,bothemergingandestablished, from across Canada and around the world, andcollaborateswithscoresofotherartsorganizationsacross thecountry.TheNACisstronglycommittedtobeingaleaderandinnovatorineachoftheperformingartsfieldsinwhichitworksclassicalmusic, English theatre, French theatre, dance, variety, andcommunity programming. It is at the forefront of youth andeducational activities, supporting programs for young andemerging artists and programs for young audiences, andproducingresourcesandstudymaterialsforteachers.

AbouttheNationalArtsCentreandthePerformers


The NAC Orchestra offers a number of programs dedicated to fostering aknowledgeandappreciationofmusicamongyoungpeople.Inadditiontoahighlypopular subscription seriesofTDCanadaTrustFamilyAdventureswith theNACOrchestra, theOrchestrapresentsavarietyofopportunities forschools to learnaboutclassicalmusic:StudentMatinees,andOpenRehearsalstoallowstudentstoheartheOrchestraperform in itshomeattheNAC. Inaddition,Musicians inthe

Schoolsprogramsincludingensembleperformancesandinstrumentsectionalstakethemusictothestudentsintheirschools.

TheNationalArtsCentreOrchestraConsistent praise has followed this vibrant orchestra throughout its history of touring bothnationally and internationally, recording, and commissioningCanadianworks.CanadasNationalArts CentreOrchestra, now under the direction of renowned conductor/violinist/violist PinchasZukerman,continuestodrawaccoladesbothabroadandatitshomeinOttawawhereitgivesover100performancesayear.

The NAC Orchestra was founded in 1969 as the residentorchestraof thenewlyopenedNationalArtsCentre,withJeanMarieBeaudetasMusicDirectorandMarioBernardiasfoundingconductorand(from1971)MusicDirectoruntil1982. He was succeeded by Franco Mannino (1982 to1987),GabrielChmura (1987to1990),andTrevorPinnock(19911997). InApril1998,Pinchas ZukermanwasnamedMusicDirectoroftheNACOrchestra.

Pinchas Zukerman has led theOrchestraontourswithinCanadain1999,2002,2004,2005,2006and2008,toEuropeandIsraelin2000,and theUnitedStatesandMexicoin2003,witheducationalactivities ranging from masterclasses and questionandanswersessions to sectional rehearsalswith youth and communityorchestrasandstudentmatinees.

TheNACOrchestrahas40 recordings to itsname, sixwithPinchas Zukerman:Haydn,Vivaldi,Beethoven,SchubertandtwoofMozart (aCDof flutequartets,andaCDoforchestralmusicandstringquintets).ThecommissioningoforiginalCanadianworkshasalwaysbeenanimportantpartoftheNationalArtsCentresmandatewithover90workscommissionedtodate.

InadditiontoafullseriesofsubscriptionconcertsattheNationalArtsCentre each season, tours areundertakento regions throughout Canada and around the world.Since the arrival of Pinchas Zukerman, education hasbeenanextremely importantcomponentofthesetours.Teacher Resource Kits have been developed fordistribution toelementary schools in the regions touredandacrossCanada,andthepublichasbeenabletofolloweach tour through fully interactive websites which arenow archived on the NACs Performing Arts EducationWebsite at www.ArtsAlive.ca. The Orchestras tour of

Western Canada in October andNovember 2008 included over 100educationevents.


BorisBrottPrincipalYouthandFamilyConductor,NACOrchestraMaestro Boris Brott began playing the violinwhen hewas threeyearsoldand firstperformedwith theMontrealSymphonywhenhewasonly five.At theageof14hewona scholarship to studyconducting and shortly afterwards,whenhewas still a teenager,founded thePhilharmonicYouthOrchestraofMontreal.Whenhewas18,BorisBrottbecametheassistantconductoroftheTorontoSymphony Orchestra. At 24, he won the Dimitri MitropolousInternational Conducting Competition in New York and becameAssistanttoLeonardBernstein.

HeisnowwellknownwithinCanadaandbeyondforhavingdevelopednofewerthansixdifferentCanadianorchestrasandguestconductedaround theworld.He isespeciallyinterestedinhelpingyoungartistsanddevelopingnewaudiencesformusic.InadditiontoconductingtheNewWestSymphony inLosAngeles,California,ofwhichhe isMusicDirector,MaestroBrottconductstheMcGillChamberOrchestrainMontreal.BorisBrott,

alongwithhiswifeArdyth,attorneyandchildren'sauthor,runstheBrottSpring,Summer,andAutumnMusic Festivals based in Hamilton, Ontario which has as its centrepiece the National AcademyOrchestra, Canada'sNationalOrchestra training school. In 2006 hewas appointed to the order ofOntario.

TheSchoolofDanceLocatedat200CrichtonStreet inOttawa,TheSchoolofDancehasan international reputationasacentreforexcellence inartseducation.Founded in1978,byMerrileeHodginsandJoyceShietze,TheSchooloffersprofessional trainingprograms inballet, contemporarydance and teacher training, aswellas leisureandrecreationalprogramsforadultsandchildren. GraduatesofTheSchoolofDanceareperformingwith companiesworldwide. Each year The School touches the livesofover70,000Ontarians with special programs for persons with disabilities, boys only classes and school visitsdesignedtoinspireinterestinthearts.TheSchoolisaCanadian,notforprofit,charitableinstitution.TeacherStudyGuide Page7 WinterWonderlandTeacherStudyGuide Page7 WinterWonderland

MerrileeHodginsChoreographer,A.R.A.D.ArtisticDirectorTheSchoolofDance

Merrilee Hodgins studied classical ballet and contemporary dance in Canada,England, Denmark and the United States. Miss Hodgins was awarded theprestigious Solo Seal of the Royal Academy of Dancing in 1971. In 1973 shebecameaPrincipalwith theAlbertaBalletCompany, laterworking inDenmark,Germany and the U.S. as a freelance artist. Miss Hodgins, a recipient of theYMYWCAs1997WomenofDistinctionAward,wasthe1997ChairoftheCityofOttawas Cultural Leadership Committee. She was a member of the board ofdirectors for Dance Ontario and has been awarded Canada Council grants toresearch and develop projects to introduce children to dance. Recent projects

includeamainstagecommissionbytheNationalArtsCentreandachoreographiccollaborationwithCanadianpoetSusanMcMaster.

BangersandSmashPercussionduoJonathanWade

A native of Ottawa, Jonathan Wade received a Bachelor of Music inperformance from the University of Ottawa where he studied with IanBernardandPierreBluse.HewentontoobtainaSuperiorStudiesdiplomainorchestral repertoire from theUniversityofMontralwherehe studiedwith the legendary timpanist Louis Charbonneau. Jonathan Wade ispresentlyapercussionistwiththeNationalArtsCentreOrchestra,apositionhe has held since 1983. He is also principal timpanist of the OttawaSymphonyOrchestra. In greatdemandbothasanorchestralplayerandachamber musician, Mr. Wade performs with many other fine ensemblesincludingThirteenStringsandCapitalBrassWorks.HeisheardfrequentlyonprestigiousconcertseriessuchastheOttawa InternationalChamberMusic

FestivalandMusic foraSundayAfternoonattheNationalGallery.HehasrecordedforCBCandRadioCanadaandreleasednumerousCDswiththeNACOandotherensembles.In2006,JonathanWadewasappointedheadofpercussionattheUniversityofOttawa.HeisalsopercussioninstructorattheOttawaYouthOrchestraAcademy.JonathanperformsregularlyintheNACsMusicintheSchoolsprogramwithBangersandSmashandtheRagtimeBrassSextet.

Kenneth Simpson, a native of Ottawa, is apercussionist with the National Arts CentreOrchestra.He is also principal percussion of theOttawa Symphony Orchestra. Very active inchamber music, Kenneth has performed on theNACs Music for a Sunday Afternoon series, theOttawa International Chamber Music Festival,Espace Musique, 13 Strings and CapitalBrassWorks. He plays with the Bel Canto WindQuintet in theNACOrchestrasMusicians in theSchoolsprogramme.He isanactive clinicianandanendorserforZildjianCymbalsinBoston,Massachusetts.KennethSimpsonobtainedaBachelorofMusic inPerformancefromtheUniversityofOttawa in1985undertheguidanceof IanBernard,principaltimpanistoftheNACOrchestra.Furtherstudycontinuedoveralongperiodwithrenownedteacher/performerPierreBeluseofMcGillUniversityinMontreal.Asastudent,Mr.SimpsonwontheNACOBursaryAwardin1983,aswellastheIsobelFirestone Scholarship at theUniversity ofOttawa in 1984. Kenneth Simpsonwas Professor ofPercussionattheUniversityofOttawafor18years,andwasafoundingmemberofthepercussionduo Bangers and Smash. Kenneth enjoys living in Ottawa with his wife Elizabeth and twowonderfuldaughtersOliviaandVeronica.

KennethSimpson


AllabouttheNACOrchestraWhatistheNationalArtsCentreOrchestramadeupof?

Firstofall,theNACOrchestraismadeupof61menandwomen,playingtogetheronavarietyofmusicalinstruments.Theyaredividedintofourdifferentsections(string,woodwind,brassandpercussion)buttheyareunited inonecommongoal:makingmusictogether.Youmightalreadyknowthatorchestrasarenotalwaysthesamesize.Smallerorchestras,withbetween20and34musicians,arecalledchamberorchestras.Largerorchestras,withbetween60and110musicians,arecalledsymphonyorchestrasorphilharmonicorchestras.

TheNACOrchestra(NACO)isasymphonyorchestra,nottoosmall,nottoobig,justtherightsizeforyourenjoymentandpleasure.

20Violins6Violas(somewhatlargerthanaviolin)7Cellos(definitelylargerthantheviola)5DoubleBasses(Twicethesizeofacello!)1Harp

All these instruments, except the harp, have fourstrings.

Their sound isproducedby the frictionofabowonastring,orpluckingthestringsbythefingers,allowingthemtovibrate.

Plucking the strings is called pizzicato (meaningpluckedinItalian).

Biggerinstrumentshavelowersounds;forexample,thesoundoftheviolinishigherthanthedoublebass.

Everystringinstrumentisconstructedofpiecesofwoodcarefullyglued togetherand coveredwith several coatsofvarnishnonailsorscrewsareused.

Didyouknowthatthebowsthatareusedtoplaysomestringedinstrumentsaremadeofwoodandhorsehair?

TheNACOSTRINGSECTIONcontains:

Violin,ViolaandCello

DoubleBassHarp


TheNACOWOODWINDSECTIONcontains:

2Flutes 2Oboes2Clarinets 2Bassoons

These instrumentsarebasically tubes (eitherwoodormetal)piercedwithholes.Asamusicianblows through their tube, theycoverdifferentholeswiththeirfingerstoproducedifferentnotes.

Somewind instrumentsuseareedtoproducesound.Areed ismadeofthinwoodwhichvibratesagainstthe lipsasamusicianblows intotheinstrumenttocreateasound.

Of the four woodwind instruments of the orchestra, only the flutedoesntrequireareed.

Clarinetsaresinglereedinstruments,whereasoboesandbassoonsaredoublereed instruments. Itmeans that the oboists and bassoonists usedoublereedsagainsttheirlipstocreateasound.

Mostwind instruments aremade fromwood, likeebony,except for the flute,which isalmostalwaysmadeofsilver.

Flutes create the highest notes, bassoonscreatethelowest.

Didyouknowthatthereedsaremadeofcane,morecommonlycalledbamboo?

Flute

TheNACOBRASSSECTIONcontains:

2Trumpets 5Frenchhorns 3Trombones 1Tuba

Brassinstrumentsaredefinitelytheloudestinthe orchestra; it explains why there are fewerbrassplayersthanstringplayers.

They are made of long metal tubes formed into loops of variouslengthswithabellshapeattheend.The longerthe lengthoftube,thelowerthesoundoftheinstrumentwillbe.

Thesound iscreatedbythevibrationsof lipsasthemusicianblowsintoamouthpiecethatlookslikealittlecircularcup.

Brassinstrumentshavesmallmechanismscalledvalvesthatallowthesoundtochange,modifyingthedistancetheairtravelsthroughthetubeeachtimetheyarepressedorreleasedbytheplayer.However,thetrombonehasaslidethatmovestochangenotes.

Didyouknowthatmostbrassinstrumentshaveaspecialspitvalvethat allows water, condensation generated by blowing in theinstrument,tobeexpelled?

TrumpetFrenchhorn

Trombone

TubaTeacherStudyGuide Page10 WinterWonderland

Clarinet,Oboe,andBassoon

TheNACOPERCUSSIONSECTIONcontains:

1setofTimpani 2otherpercussionistswhoplayXylophone,Marimba,SnareDrum,WoodBlock,Cymbalsandtonsofotherinterestingsoundinginstruments.

Percussioninstrumentshelpproviderhythmfortheorchestra.

Within this familyof instruments, thereare3 types:metal,woodandskin.

These instruments are either pitched(they produce a specificnote, like the xylophone) or unpitched (they produce a soundthathasnospecificnote,likethesnaredrum).

Percussion sounds are generally produced by hitting somethingwithastickorwiththehands.

Differentpitchesareproducedonthetimpanibychangingtheskintensioneitherbytighteningor looseningscrewsfixedtotheshell,orbyusingthepedal.

VisittheInstrumentLabonArtsAlive.caMusictotweak,tinkerandlistentoallyourfavouriteinstrumentsoftheorchestra!

Didyouknowthatatimpanilookslikeabigcauldron?Butdonttrymakingsoupinit!

Timpani

Marimba Xylophone

Cymbals

Gong

Maracas

Triangle

Snaredrum

Tambourine


MapoftheNACOrchestraSections

harp

tu

ba tro

mbo

ne

tru

mpe

t


ProgramNotes

FELIXBERNARD(18971944):WinterWonderlandTheChristmas standard WinterWonderland comes from thecomposerlyricist teamof FelixBernardandRichard Smith, thelatter presumably havingwritten thewords after a snowfilledvisionoftheparkinhishometownofHonesdale,Pennsylvania.Bernardwasborn inBrooklyn,NewYork, sonofaprofessionalviolinist.Hestudiedpianoandwentontoperform invaudevilleasatapdancer.Hisfirstbigsuccessasacomposercamein1919with Dardanella. In1934 WinterWonderlandbecameahitforGuyLombardo.Everysucceedingyearmoreandmorestarstook it into their repertories, among them Perry Como, theAndrews Sisters,Ella Fitzgerald,Cyndi Lauper,DianaRoss, Frank Sinatra,Barbara Streisand,LouisArmstrong,andevenclassicalartistslikesopranoKiriTeKanawaandTheThreeTenors.ItwasalsousedasaninstrumentalonthesoundtrackofthefilmWhenHarryMetSally(1989).


PreparedbyRobertMarkow

DANIELGOLDEN:HotLatkesandStrawberryJamLatkes or latkas, also known as potato pancakes, are shallowfried pancakes of grated potato and egg, often flavored withgrated onion. Latkes are traditionally eaten during the JewishHanukkahfestival.TheoilforcookingthelatkesisreminiscentoftheoilfromtheHanukkahstorythatkepttheSecondTempleofancientIsraellitwithalonglastingflamethatiscelebratedasamiracle. Currently an active composer, Golden has written andarrangedmusicforstringensembles,Klezmergroups,symphonyorchestra,jazzbandandstudentmusiciansatalllevels.Goldenis

currentlyafreelancemusicianandstringteacherinChicago.HeisPrincipalViolistoftheLakeForest Symphony, and performs regularly with the Ars Viva Symphony, Chicagoland PopsOrchestra, the Chicago Philharmonic and numerous other professional orchestras andchamberensemblesintheChicagoarea.HeperformsJewishandotherethnicmusiconviola,violin and mandolin. He has performed with several professional Klezmer groups and hasparticipatedinandledmanyworkshopsonKlezmermusic. KlezmerisamusicaltraditionwhichparallelsHasidicandAshkenazicJudaism.Aroundthe 15th century, a tradition of secular (nonliturgical) Jewish music was developed bymusicianscalledklezmorimorkleyzmurim.Theydrawondevotionaltraditionsextendingbackinto Biblical times, and their musical legacy of klezmer continues to evolve today. Therepertoire is largely dance songs for weddings and other celebrations. Klezmer is easilyidentifiable by its characteristic expressive melodies, reminiscent of the human voice,completewithlaughingandweeping.


TRADITIONAL:TheHuronCarolTheHuronCarolhasthedistinctionofbeingtheoldestChristmassongofCanadianorigin. It was written in 1643 by the missionary Jean de Brbeuf while he wasstationed at the French Jesuit settlement SainteMarie Among the Hurons. Thissettlementwas locatednearwhat isnowMidland,Ontario(about100kmnorthof

Toronto on the shores of Georgian Bay, Lake Huron). The original words are in the nativelanguageoftheHuronIndians(Wendat)anditsoriginaltitlewasJesousAhatonhia(Jesus,heisborn).Themelody,however,isderivedfromatraditionalFrenchfolksong,Unejeunepucelle(Ayoungmaid).In1926, English lyrics were substituted by Jesse EdgarMiddleton for a faulty French translation. Middletonincorporated imagery from the Canadianwilderness toreplacemoretraditionalconcepts:Jesus isbornnot inastablebutinalodgeofbrokenbark;Heissurroundednotbyshepherdsbutbyhunters;chiefs[nottheMagi]fromafarbringhimgiftsoffoxandbeaverpeltsratherthanprecious (butuseless!)powdersandointments. InthisformthesongisalsoknownasTwasintheMoonofWintertime. Further amendments to the text havecontinuedtothisday.ThepopularsingerBruceCockburnhasrecordedthissong.

MILEWALDTEUFEL(18371915):SkatersWaltz,Op.183Composed in1882, the SkatersWaltzwas inspiredbytheCercledesPatineursor 'RinkofSkaters'attheBoisdeBoulogne in Paris.Waldteufels introduction to thewaltzcanbe likened to thepoiseofa skaterand theglissandonotes invoke scenes of a wintry atmosphere. The otherthemesthatfollowaregracefulandswirling,asiftodepicta ringof skaters in their glory.Bellswere also added forgood measure to complete the winter scenery. It waspublished by Hopwood & Crew and was dedicated toErnest Coquelin who was the younger brother of twocelebratedactorbrothersoftheComdieFranaise.


ALEXANDERGLAZUNOV(18651936):TheSeasons,Op.67(Winter:Snow;Hail)DuetotheoverwhelmingpopularityofVivaldisFourSeasons,one could be forgiven for thinking that this composer hadsomekindofproprietary rights to thesubject.Butdozensofothershavehadagoatsettingthefourseasonstomusictoo.One of these was Glazunov, whose 35minute ballet score(about the same length as Vivaldis) was one of the firstcompositions tousher in the twentieth century. Itspremieretook place at the Hermitage Theater in St. Petersburg onFebruary7,1900,withchoreographybytherenownedMariusPetipa,whohadadecadeearlierworkedwithTchaikovskyonTheSleepingBeautyandSwanLake.GlazunovsmusictoogrewoutoftheoldRussianballettradition. Thescenario isanallegorical fantasy.There isnoplotassuch; instead,theseasonsarepresentedinfourtableaux,eachofwhichembracesaseriesofdancesillustratingfeaturesofthatseason.FirstcomesWinter(Vivaldifinishedwiththisseason),whichhasfourcompanions:frost,ice,hailandsnow,eachofwhichisportrayedinadance.(Weheartwoofthem.)Suitablyfrosty,glisteningsoundsprevail.Snow isportrayedasatinybutelegantwaltzandHailasa livelynumberfeaturingchatteringoboesandmutedtrumpets.

TRADITIONAL:OTannenbaum(OChristmasTree)OTannenbaum (OChristmasTree inEnglish) isafavoriteChristmascarolofGermanorigin.Actually,thetranslation is not quite exact, as the German wordTann means pine forest, but that wouldnt fit therhythm;besides,pine treesandChristmasgosowelltogether!Themelodyisanoldfolksongandthelyricsgobacktothesixteenthcentury.YoumayhaveheardtheexpressionMusic isauniversal language.Well,thatsstretchingthingsabit,butyoudneverknow itfrom the varied uses to which the theme of OTannenbaumhasbeenput: set todifferent lyrics, ithasservedfortheBritishLabourPartyssongTheRedFlag, forCornellUniversitysEveningSong, for theofficial state song of Maryland (Maryland, MyMaryland fits the rhythm perfectly!) and even theofficialsongofNankaiUniversityinTianjin,China.

PIOTRILYICHTCHAIKOVSKY(18401893):TheNutcracker,Op.71DanceoftheSugarPlumFairy;ArabianDance;SpanishDance;RussianDance(Trepak)The immensely popular ballet The Nutcracker has, through countlessproductions,captivatedandenchantedmillionsofchildrenandadultsalike.Formanyofus, itwas the firstballetweeversaw. Forsome,perhaps, itremains theonlyballet.Notices in thenewspapers thatTheNutcracker iscomingtotownisoneofthesurestsignsthattheholidayseasonisabouttostart. The Nutcracker has woven a magical spell in the collectiveconsciousness of nearly the entire civilizedworld to the extent that it isnearlyimpossibletobelieveitactuallyhadaveryshakybeginning.

The commission towrite TheNutcracker came in 1891 at the height of Tchaikovskysfameandpopularity.Hispreviousballetscore,SleepingBeauty,hadbeenabigsuccesstheyearbefore, and now the director of theMaryinsky Theater in St. Petersburg, Ivan Vsevolozhsky,wanted another ballet from Tchaikovsky, specifically one based on Alexandre Dumas presFrenchadaptationofE.T.A.HoffmannstaleNussknackerundMauseknig(TheNutcrackerandtheMouseKing) hence,theoftusedFrenchtitleCassenoisette,even inRussia.VsevolozhskydrewupthescenariohimselfandthegreatMariusPetipaprovidedthechoreography. Asmost people knowHoffmanns story only through Tchaikovskys ballet, it isworthnotingthatthe latterdepartsfromtheoriginaltoasignificantdegree.Amongotherthings,thefigure ofDrosselmeyer in the original, halfHoffmann himself and half aweird caricature survives(inTchaikovsky)asaneccentricuncle.TheenigmaticfigureoftheNutcrackeritself,halfinanimateobjectandhalfsufferingsoul intheoriginal, is inTchaikovskyanobjectofaffectionwhoreturnsthesentimentbyrewardinghissavior,Clara,withavisittotheKingdomofSweets.



JAMESLORDPIERPONT(18221893):JingleBells

ActIIopenswiththearrivalofClaraandherNutcrackerPriceatthecourtof theSugarPlumFairy in thatmagical,mythicalKingdomofSweets,which,inmanystageproductions,isafeastfortheeyesaswell.AlthoughtheSugarPlumFairypresidesovertheeventsthattakeplacethroughout theact,hersolodancedoesntoccuruntilnear theendoftheballet. Itfeaturesthenewlyinventedcelesta,akeyboard instrumentresemblingasmalluprightpiano inappearancebutwhose tone ismorelike that of a glockenspiel: dry, crystal clear and delicate, a perfectaccompanimentforthecharacterdepicted.

The Sugar Plum Fairy has arranged a lavish feast withentertainment for Clara and the Prince in the form of a series ofdances representing various lands and foods, among them coffee(Arabia, a languid, sensuous theme that unfolds over a rockingaccompaniment), chocolate (Spain, abrilliantbolerowith virtuosictrumpetsolos),atrepakfromRussia(fastandfuriousitsalloverinaminute!)andreedflutes(flutesandEnglishhorn).

"JingleBells"isoneofthebestknownandcommonlysungwintersongsintheworld. Itwaswrittenby James LordPierpontand copyrightedunderthe title 'OneHorseOpen Sleigh'on September16,1857.DespitebeinginextricablyconnectedtoChristmas,itisnotspecificallyaChristmassong.Itisoneofmany"joyfulsongs"writteninNewEnglandduringthelate19thcentury. The "Jingle Bells" tune is used in French and German songs,althoughthelyricsareunrelatedtotheEnglishlyrics.Bothcelebratewinterfun. The French song, titled Vive le vent ("Long Live the Wind"), waswrittenbyFrancisBlancheand contains references toFatherTime,BabyNew Year, and New Year's Day. There are several German versions of"JingleBells";thepopularRoyBlackversionChristkindlandChristmastime.

BalletTermsAdage: Inballet,aslowsectionofapasdedeuxoranexercise inadanceclassfocusingonslow controlledmovements thathighlightbalance andextension, and require strength andpoise.Adagio:Thepartofadanceclasswhereexercises forbalanceandsustainedmovementareperformed;amusicalcompositionperformedataslowtempo.Alignment:Creatingharmonywiththebodysothatunbrokenlinesareformedwiththearmsandlegswithoutdisplacementofthetorso.Arabesque:Inballet,aposeheldononelegwiththeotherlegandbotharmsextendedawayandup from thecentreof thebody;also,positioningof thearms inrelation tothe legs.Aswithpositionsofthefeet,eachpositionisdistinguishedbyanumber,suchasfirst,secondandthirdarabesque.Barre:Ahorizontalpole,eitherattachedtothewallorfreestanding,tosupportdancerswhilestretching,warmingupordoingexercises"atthebarre".Barreexerciseslikeplis,battementsand rondsde jambe form the firstpartofa traditionalballetclassandare thebasis foralltechnique.


Battement: In ballet, the "beating" of either a stretched or flexed leg. The types are : abattement tendu, a battement dgag, a battement fondu, a petit battement and a grandbattement.Corpsdeballet: Inballet,performerswhodonothave leadrolesandperformduringgroupscenesoraction.Innarrativeballets,membersofthecorpsdeballetwillperformrolessuchaspeasants,weddingguestsandswans.Enchanement:A"chain"orlinkedsequenceofmovements.

Turnout:Awayofstandingandusingthelegsthatisinitiatedinthepelvis,wherebothsidesofthebodyrotateoutwardsfromthehips,awayfromthespine.

Pasdedeux:Inballet,asequenceordancefortwodancers.Pirouette: In ballet, a spin or turn of the body performed on one leg. Pirouettesmay beperformedendehors (turningaway from thesupporting leg)orendedans (turning towardthesupportingleg).Pli:Inballet,abendingoftheknees.Thiscanbedoneeitherindemipli("halfpli"),wheretheheelsremainonthefloor,oringrandpli(largeorfullpli),where,exceptinsecondpositionofthefeet,theheelsleavetheflooratthedeepestpointofthebend.Portdebras:Inballet,armmovementsaroundthebody.

Beat Is there a strong pulse (like walking), or little sense of a beat, (likefloating)? Is the speed (tempo): fast (allegro), medium (moderato), or slow(adagio)?

Metre/TimeSignature2/4,3/4,4/4,6/8aremostcommon.Listenforthestrongbeat,thenfindthegroupingofbeats in2s,3s4s.Tryconducting in2(down/up)or3(triangle)tofeeldupleortripletime.Rhythm Are sound patterns simple, or complex? Are they fast patterns (like eighthnotes)orlongnotes(likewholenotes)?Istherhythmjazzyandsyncopated(ontheoffbeat)?

MelodyIsthetunememorable?Doesithaveleapingfromhightolow(disjunct)ornotesmoving inclosesteps(conjunct)? Istheplayingsmooth(legato)ordetachedplaying,likehotpotato(staccato)?

Harmonyismorethanonepitchsoundingatthesametime(exampledo+mi+sol,orthe I chord). Oneperson singingalone createsunison,notharmony! Are the combinedsoundsmodern,jazzy,moretraditional?DynamicsHowdramaticisthemusic?Arethereloudandsoftsections?Themusicterms(andsymbols)are:

pianissimo(pp)verysoft piano(p)soft mezzopiano/mezzoforte(mp,mf)mediumsoft/mediumloud forte(f)loud fortissimo(ff)veryloud

Texturedescribesthedensityofsound:onesound(thin),ortwosoundslayered,ormanysoundslayered,performedsimultaneously(thick).Polyphonicmusichasmanylayers,startingatdifferenttimes,likesingingtheroundFrreJacques. TimbreCanyouidentifywhatismakingthemusic:voice(male/female,adult/child),woodwinds,brass,strings,orpercussion?Formishowmusicisorganizedinrepeatingorrecognizablesections.Examples:ABA,Sonata,ThemeandVariations,Rondo,Symphony

MusicalGlossary


Teachers:Helpusensurethateveryoneenjoystheperformance!

AsateacherbringingyourstudentstoaperformanceattheNationalArtsCentre,pleasekeepinmindthatyouareresponsibleforthebehaviourofyourstudents.Itisuptoyoutoensure that the students behave in a respectful and attentive manner towards theperformersonstageaswellasNACstaffandfellowaudiencemembers.Usetheguidelinesbelowtobriefyourstudentsaboutbehaviour intheperformancehallbeforeyouattendyourNACperformance.Performersonstagerelyontheaudiencefortheenergytoperform:audiencesneedtobeattentive,quietandrespectfulinordertohelpcreatethemagicofliveperformance. Performers can see and hear everything that you do, just as you can see and heareverythingthattheydo,so:

Please save your snacks, drinks, candies and gum for another time theperformancehallisnoplaceforeatinganddrinking.Pleasediscusswhatyoulikeanddislikeaboutaperformancebutdefinitelydoitafteryouleavethehall,notduringtheperformance.Itisimportantthatyoubecomfortableinyourseatinthehallbutpleasedontleaveyourseatoncetheperformancehasstarted.Itsdistractingtothoseonstage.

Besuretoturnoffcellphones,pagersandanythingthatbeepsbeforeyouenterthehall. Musicians love to have their performance acknowledged by your applause, butremembertowaituntilthewholepieceisover.Somecomposerschoosetowritemusicinseveralmovements. Itmayseem liketheendofthepiecewhentheperformerscometotheendofamovement,butoftenapieceofmusic ismadeupofseveralmovements. Ifyougetconfusedaboutwhenapieceofmusicisfinished,watchtheperformersonstageyoullbe sure to knowwhen thepiece isoverwhen the conductor turnsand faces theaudience.Rememberthattherearealotofpeoplewhoworkveryhardtoputonaperformance:not just actors,dancers andmusicians,but administrators, frontofhouse and technicalstaff.Everyonewillhaveadifferentopinionofwhattheyseeonstage,butconsiderthatconstructivecriticismisalwaysappreciatedmorethanpurelynegativecriticism. Through the performing arts we can explore other points of view, learn new anddifferentthingsaboutourselvesandaboutothers.Everyonewhoviewsaperformancewillexperience it inadifferentway. It is important to respect thisprocessofexploration inyourselvesandthosearoundyou.

PerformanceHallEtiquette


ClassroomActivities

InstrumentsoftheOrchestra


SeeAllabout theOrchestraonpages911.UseArtsAlive.caMusic InstrumentLabto explorethesounds,construction,andappearanceofvariousinstruments.

WordWallandDiscussionListentosomeofthepieceslistedontheconcertprogram(seepage4).Whichpiecedidyoulikebest?(Musicislikefoodeachofushasdifferentfavourites,or"tastes")Whenthemusicisloud,howdidyoufeel?(soft,fast,slow,oneinstrument,orchestra)Makeawordwallofactions. (flying,hopping, twirling, jumping,clapping,crying,dancing,laughing,sleeping,..)

Makeawordwallofdescribingwords.(smooth,calm,fast,happy,exciting,rhythmic,strong,soft,loud,quiet,adventurous,.)Usethewordwalltoansweroralquestions.Example:Howdidthecomposerfeelwhenhewrotethispiece?Usethewordwalltohelpwriteasentence,or short paragraph. "I like __________________(name piece) by _________. It was__________________.Itmademefeellike__________________."

ListeningLogandListeningRecordUse the Listening Log to teach students to listen for details and tolearnmusicvocabulary.Keeplisteningsamplesshortandintriguingtostart. Selectmusic you love from your own collection or from thelibrary.Usemusicillustratingcontrastingmoods,stylesofmusic,historicalperiodsofmusic,andculturalbackgrounds.Whenthestudentsrealize that there is interest inand respect formusicofmany timeperiodsandawidevarietyofcultures,thiswillencouragestudentstoappreciatedifferenttastes,showtoleranceandrespect,andbeproudof their culturalbackground.Askeach student to takea turnbeingresponsibleforthelisteningselectionoftheday,encouragingthemto bring music from home that is appropriate for school and thatothersmightnothaveheardbefore to stretch theearsof theirclassmates. Make a music certificate for most original andinteresting selection of the week. Ensure that all selections arelistenedtocarefullyandwithrespect.

ListeningLogName:____________________________Date:___________________________________Piece:______________________________________________________________________Composer:__________________________________________________________________Circlethebestanswer:1.Describethebeat: steady changing hardtofind2.Thetimesignatureis: Duple Triple Groupsoftwo:1,2,1,2 Groupsofthree:1,2,3,1,2,3 Four:1,2,3,4,1,2,3,4 Six:1.2.3.4.5.6,1,2,3,4,5,6,3.Whatisthetempo(speed)? allegro moderato adagio (fast) (medium) (slow)4.Doesthetempochange? accelerandoritardando (speedsup) (slowsdown)5.Whichdynamiclevelsareused? forte mezzoforte piano (loud) (mediumloud) (soft)6.Whichelementsarefeatured? strong memorable interesting rhythm melody harmony7.Whattimbresarefeatured?Instruments: strings brass woodwinds percussion electronicVoices: child woman man / solo duet choir8. Whatisthemoodofthepiece?Inyourimagination,whatishappeningwhenyouhear

thismusic? ______________________________________________________________________ ______________________________________________________________________TeacherStudyGuide Page22 WinterWonderland


TheNutcrackerandHolidayTraditionsThe Nutcracker is a story set during Christmas. Use theperformanceasawayofdiscussinghowstudentsandtheirfamilycelebratespecialholidaysfromreligionsandculturesoftheworld.

TheNutcracker:BasicBalletPositionsSource:Connexionshttp://cnx.orgbyAlexVolschenk

Alldancers,eventhegreatest,useexactlythesepositionseveryday.PositionsoftheFeet FIRSTPOSITION:turnyourfeetouttothesidewithyourheelstouchingturnyourwhole

legoutatthehip,notjustthefoot. SECONDPOSITION:turnyourtoesoutonthesamelineasfirstpositionstandwithfeet

apart thespacebetweenyourheelsshouldbeabout the lengthofoneofyour feetplacethewholeofbothfeetonthefloordontrollforwardsandputtoomuchweightonyourbigtoes.

THIRD POSITION: crossone foothalfway in frontof theotheryourweight shouldbe

balancedevenlyonbothfeet. FOURTHPOSITION:placeonefootexactlyinfrontoftheotherwithsomespacebetween

them. FIFTH POSITION: your feet shouldbe turnedout, fullycrossedand touchingeachother

firmly.

Have thestudentswritea letterordrawapicture in response to theprogram.Whatdidtheylikeordislikeabouttheconcert?Whichmusicdid they likebest?Whatdifferencesdid theynoticeabout themusicrelating todifferentholiday traditions?Whatquestionsdo theyhaveaboutthemusicortheproduction?(WeLOVEtoreceivefeedbackfromchildrenwhetherwrittenordrawn.Studentscansendtheirresponsestotheaddressatthefrontofthissupplement.)

ResponsetotheConcert

MusicfromLife1. Ask the children to bring to school an object from their daily life that makes an interestingsound.

Ideas: twopiecesofwoodthatresonatenicelywhenbangedtogether atincanwithripplesonthesides,oracomb,thatcanbescrapedwithapencilorplastic

spoon driedlentilsinaplasticjar(example:bakingpowderjar,lemonjuicecontainershapedlike

alemon)orchipcan. samplesized plasticmakeup bottles (some produce a tone like a flutewhen you blow

acrossopening) largepailorplasticjuicebottle(lidremovedsoundsbest)

2. Havethestudentslistentoeachotherssounds.3. Practice loud/soft, and followingdirections. Invite a "guest conductor" todirect the "orchestra".Firstteacher,thenstudents,taketurnsleadingtheclass. Gestures:

Handsabovehead=loud Handsatchestlevel=mediumloud Handslowered=soft Handscrossandquicklymoveoutward=stopor Handstouchfloor=stop,foryoungerstudents,sittingincircle,leaderincentre)

4. RepeattheDancingRhythmsactivityfrompartone,onlythistimeusingthestudents foundinstruments.


Listen to a brief section (3060 seconds) of each of the 4 pieces from The Nutcracker. Havestudents move scarves or streamers to the music; describe how the streamer is moving (e.g.flowing,upanddown,jagged,floating).Chooseonewordandwiththeclassdescribethemusicusingmusicvocabulary;e.g.RussianDance(Trepak);excitedveryfasttempo,quicklychangingdynamicssofttoloudtosoft,manyshortnotes,manyrepeatedmelodies

Movetoeachpieceandbuildachartofthe4pieces.Usethesamemovementswhenasectionisrepeated.Sharewiththeclass.

Grade2,3:Afterseveralopportunitiestolistenandmove,havestudentsinpairs,choose2ofthepiecesand createaVenndiagram,usingdescriptivewords from the class chart,orothermusicwords (includingmoodwords)thatarepostedonawordwall. Grade1TeacherandstudentstogethercreatetheVenndiagram.StudentscanthencreateapieceofartworkrespondingtooneofthepiecesfromTheNutcracker.

ListeningActivitiesRefertotheMusicalGlossaryonpage19.

Beat,Metre,TimeSignatureListentothefollowingworkstodiscoverbeat,metreandtimesignatures: BernardsWinterWonderland TchaikovskysTheNutcracker,Op.71:RussianDance(Trepak)

WaldteufelsSkatersWaltzTrypattingyour lap (patsch) for the strongbeat,andclap theweakbeat(s) todiscover thegroupings,ormetre.Listenforthemetre,thentryconductingin2(down/up)or3(triangle)tofeeldupleortripletime. 2/4 3/4 4/4RhythmListentothecomplexrhythminTchaikovskysTheNutcracker,Op.71:ArabianDanceMelodyandHarmonyListentoselectionsfromtherepertoirelistedonpage4.Whichmelodiesarememorable? Which can youhum? Are theharmonies (combinedsounds)modern,jazzy,ormoretraditional?

DynamicsBaroqueandClassicalmusicusuallyhavedistinct loudandsoftsections;andRomantic andModernmusic usuallymake dramatic use of loud, soft andgradualchanges,and soundveryexpressive. Howwouldyoudescribe thedynamics and mood in Tchaikovskys Russian Dance (the Nutcracker,Op.71)?CompareitwithWaldteufelsSkatersWaltz.


NametheInstrument

A. Fill in the name of the instrument and identify which of the four instrument families(strings,woodwind,brassorpercussion)theinstrumentbelongsto.

B. Coloureachoftheinstruments.

1. Instrument: ________________________________ Family: ________________________________





NametheInstrumentANSWERS8. Instrument:Bassoon Family: Woodwind9. Instrument:Maracas Family: Percussion10. Instrument:Tuba Family: Brass11. Instrument:Clarinet Family: Woodwind12. Instrument:Tambourine Family: Percussion13. Instrument:Cymbals Family: Percussion14. Instrument:Xylophone Family: Percussion

1. Instrument:Frenchhorn Family: Brass2. Instrument:Timpani Family: Percussion3. Instrument:Trumpet Family: Brass4. Instrument:Cello Family: Strings5. Instrument:Flute Family: Woodwind6. Instrument:ViolinorViola Family: Strings7. Instrument:Triangle Family: Percussion


SuggestedActivitiesandthe2009OntarioCurriculumfortheArts

Rhythm(page19)

Rhythmdescribesthepatternsthataremadewithlongnotes,shortnotesandsilences(rests)e.g.long..longshortshortlong..(tatatitita).Dotherhythmpatternsyouhearhavemanyshortnotes,ormostlylongnotes?Aretheremanyrests?AccordingtotheOntarioCurriculum,TheArts:Music,glossary:rhythm.Anaspectoftheelementcalledduration.Thepatternoflongandshortsoundsorsilences.Patternscanbecreatedbybothmusicalsoundsandlyricsorwords.Rhythmdiffersfrombeat;forexample,therhythmatthebeginningofasongmightbeta,titi,tikatika,ta,whereasthebeatistheunderlyingsteadypulseofta,ta,ta,ta.Seealsobeat.rhythmicpattern.Ashort,repeatedpatternusingtwoormorenotevalues(e.g.,quarternoteandeighthnote).Asampleofsuchapatternista,titi,ta,ta.

PerformanceHallEtiquette(page20)

AccordingtotheOntarioCurriculum,TheArts:Music:C2.3identifyandgiveexamplesoftheirstrengthsandareasforgrowthasmusicalperformers,creators, interpreters,andaudiencemembers (e.g.,singing inunison,providingconstructivefeedback and suggestions for a classmates or guest performers performance) Teacherprompts:Whatcouldwedoto improveournextperformance?Howcanwedemonstrategoodaudiencebehaviorduringourschoolconcert?

byJaneWamsley

WordWallandDiscussion(page21)AccordingtotheOntarioCurriculum,TheArts:Music:The following activites Word Wall and Discussion would be connected to the OverallExpectationsthatarethesameinallgrades18: C2.Reflecting,Responding,andAnalysing:applythecriticalanalysisprocess(seepages23

28)tocommunicatetheirfeelings,ideas,andunderstandings inresponsetoavarietyofmusicandmusicalexperiences;

C3.ExploringFormsandCulturalContexts:demonstrateanunderstandingofavarietyofmusicalgenresandstyles fromthepastandpresent,andtheirsocialand/orcommunitycontexts.

Anexampleofagrade3SpecificExpectationfortheseactivities: C3.2identifyavarietyofmusicalpiecesfromdifferentculturesthroughperformingand/or

listeningtothem(e.g.,folksongs,songsforcelebrations,ceremonialmusicfromCanadianandworldsources)

Teacherprompts:WhatsongsdoyousingforDiwali?Kwanzaa?Hanukkah?EarthDayiscominginApril.Whatsongscouldweusetohelptocelebratetheearth?


InstrumentsoftheOrchestra(page21)

AccordingtotheOntarioCurriculum,TheArts:Music: Grade1:timbre:soundqualityofinstruments(e.g.,nonpitchedandpitchedpercussion), Grade2: classificationof instrumentsby listeningtotheirsound(e.g.,wind[woodwind,

brass],stringed,electronic,membrane,pitchedpercussioninstruments) Grade 3: classification of instruments by means of sound production (e.g., sounds

producedbystrumming,striking,shaking,blowing)GRADE1: OverallExpectationC2 Reflecting,Responding,andAnalyzing:apply thecriticalanalysis

process (see pages 2328) to communicate their feelings, ideas, and understandings inresponsetoavarietyofmusicandmusicalexperiences;

Specific Expectation C2.2 describe ways in which the elements of music are used fordifferentpurposesinthemusictheyperform,listento,andcreate

FundamentalConcepts:describethesoundsofinstrumentstheyhearandseeBEFOREtheCONCERT:InternetsourceNACwebsite:ArtsAlive(http://artsalive.ca/en/mus/instrumentlab)Studentswill.. listentoaninstrumentandlookatthevirtualpictures orallyrespondwithdescriptivewordsabouthowtheinstrumentlooksandsounds writethisvocabularyonaclasswordlist afterviewingandhearingafewinstruments,writearesponseabouttheinstrumentthey

wouldchoosetoplayandwhy,usingtheclasswordlist createanillustrationoftheinstrument

DURINGtheCONCERT:Teachersmaysuggestthatstudentsoccasionallyduringtheconcertwatchforandlistentotheinstrument that they had chosen; especially listening for pieces that featured theirinstrument.AFTERtheCONCERT:Studentswill talkabout/writeabouttheirchoseninstrument

Whatdidyounoticeaboutthisinstrumentduringtheconcert?(e.g.wherewastheinstrumentonstage? Howoftenwas itplayed?Howdid theperformerholdtheinstrument?...)

Whenwastheinstrumentplayed? Howdiditsound?Wereyousurprised?Why?Whynot? Isthis instrumentstillonethatyouwouldwishtoplayafterexperiencing it live in

theconcerthall? Whatotherinstrumentsdidyoufindinteresting?Surprising? Couldallofthe instrumentsplayata loudorsoft dynamic level? Whendidyou

hearloudorsoftsoundsinthemusic?TeacherStudyGuide Page31 WinterWonderland

GRADE2: OverallExpectationC2 Reflecting,Responding,andAnalyzing:apply thecriticalanalysis


Specific Expectation C2.2 describe ways in which the elements of music are used fordifferentpurposesinthemusictheyperform,listento,andcreate

FundamentalConcepts:classifytheinstrumentsoftheorchestraBEFOREtheCONCERT:InternetsourceNACwebsite:ArtsAlive(http://artsalive.ca/en/mus/instrumentlab)Studentswill.. listentoandlookatseveralinstrumentsbeingplayed:

identifythesimilarsoundcharacteristicsoftheinstrumentsinafamily(string,brass,woodwindorpercussion)

discusshowtheconstructionandmaterialsoftheinstrumentsresultedinthesoundstheyhearwhentheinstrumentsareplayed

gatherthedescriptionsontoaclasscharte.g.

withapartner,completetheNametheInstrumentsheets,usingtheinformationfromtheclasschart

DURINGtheCONCERT:Teachersmay suggest that studentswatchhow the familiesof instruments theyhavebeenstudying look and play on stage; e.g. Do all the brass instruments always pick up theirinstruments and play at the same time? What do you notice about the violins playingtogether?(thebowingisallthesamemostoften)AFTERtheCONCERT:Studentswill talkabout/writeabouttheorchestrasinstrumentfamilies:

Whatsurprisedyouabouttheinstrumentfamiliesattheconcert? Didyoueverseethebrassfamilyusemutes?When(whatpieceofmusic)? Describe the sizes of the instruments when you see and hear them live. Any

surprises? Describewhichfamilyofinstrumentsyoulikedlisteningtobest.Why? Were there any pieces ofmusic played that really featured certain families of

instruments? (Make a class list; listen to recordings of the pieces for furtherexploration)

Instrument Family/Section

Materialsanddescription OtherCharacteristics DescriptionoftheSound

trumpet Brass Metaltubingrolledaroundwithabellshapeattheend;3valvestopressdown

Howlongthetubeisandhowfasttheplayerbuzzeslipsproduceshigh/lowpitches

(studentresponseswillvary)e.g.bright


GRADE3: OverallExpectationC2 Reflecting,Responding,andAnalyzing:apply thecriticalanalysis


SpecificExpectationC2.2describeways inwhich theelementsofmusicareused in themusictheyperform,listento,andcreate

FundamentalConcepts:classificationof instrumentsbymeansofsoundproduction(e.g.,soundsproducedbystrumming,striking,shaking,blowing)

BEFOREtheCONCERT:InternetsourceNACwebsite:ArtsAlive(http://artsalive.ca/en/mus/instrumentlab)Studentswill.. Fold a sheet of paper into 4 (use recycledwhere possible), and put each of theways

instrumentsareplayedintoabox;lookingattheinstrumentsintheirfamiliesontheNACInstrumentLab,sortandlisttheinstrumentsunderthecorrectheadingse.g.

Explore classroom instruments or found sounds and create a class orchestra, play therhythm of a familiar song e.g. Frre Jacques or chant e.g. Jack Be Nimble; assigningdifferentphrasestodifferentinstrumentsinthelist

Discusshowsome instrumentscanbeplayedmorethanoneway;e.g.string instrumentscanbebowedorplucked,andhowthesoundchanges

DURINGtheCONCERT:Teachersmaysuggestthatstudentspayparticularattentiontohowtheinstrumentsarebeingplayedandhowthesoundisaffected.AFTERtheCONCERT: Reviewthechartmadebeforetheconcertandaddmoredetailslearnedbyattendingthe

liveconcert Reflectontheconcert:Whatdidyousee?Feel?Hear?Whichpiecesthatyouheardat

theconcertwouldyouliketohearagain?Why?

Strum/Scrape Strike Shake BlowViolinguiro

Triangledrum

Maracatambourine

Trombonerecorder


ListeningLogandListeningRecord(pages2122)TheListeningLogandListeningRecordwouldbeconnectedtotheOverallExpectationsthatarethesameinallgrades18: C2.Reflecting,Responding,andAnalyzing:applythecriticalanalysisprocess(seepages23



TheListeningLogisquitecomprehensiveandsuccessfulatgrades4andup.However,itcouldbe suitable for grade 3 if completed WITH the teacher the reading level would requireassistance, particularly with the music terms, which we like to introduce as they areencounteredinmusicheardorperformed.Grade1and2coulddoasimplifiedversion,orjustonequestion. Again,itcouldbedoneorally,withateacherchartgatheringtheinformation,thenstudentswriting/drawingtheirownreflections.Movementtothepiecestodemonstratehowtheyaresameordifferentisalsopossible.TheNutcracker,Op.71(page23)AccordingtotheOntarioCurriculum,TheArts:Music: C1.CreatingandPerforming:applythecreativeprocess (seepages1922)tocreateand

performmusicforavarietyofpurposes,usingtheelementsandtechniquesofmusic; C1.2applytheelementsofmusicwhensinging,playinganinstrument,andmoving C2.Reflecting,Responding,andAnalyzing:applythecriticalanalysisprocess(seepages23


C2.2describeways inwhich theelementsofmusicareused in themusic theyperform,listen to, and create (e.g., use a Venn diagram to compare how the elements of twocontrastingpiecescreatemood).Teacherprompts:Howdothesetwosongsusedynamicsdifferentlytocreateuniquelyexpressivepieces? Inwhatotherwaysdothesetwosongsdiffer?


C3.2 identify, throughperforming and/or listening, a varietyofmusical formsorpiecesfromdifferentcommunities,times,andplaces


ofResourcesAvailableattheOttawaPublicLibraryCompiledbyJanisPerkin

ChildrensServices,OttawaPublicLibrary

Bibliography


ABOUTTHEORCHESTRAFICTIONGillmor,DonTHEFABULOUSSONG(alsoavailableinmultimediaformat),c.1996Hoff,SydARTUROSBATONClarionBooks,c.1995Kraus,RobertMUSICALMAXSimon&SchusterBooksforYoungReaders,c.1990Kuskin,KarlaTHEPHILHARMONICGETSDRESSEDHarper&Row,c.1982Millman,IsaacMOSESGOESTOACONCERTFarrar,Straus&Giroux,c.1998Pare,RogerPLAISIRSDEMUSIQUECourtechelle,c.1999Soulires,RobertLHOMMEAUXOISEAUXQubec/Amrique,c.1981Tibo,GillesSIMONETLAMUSIQUELivresToundra,c.1995VanKampen,VlastaORCHESTRANIMALSNorthWindsPress,c.1989VanKampen,VlastaORCHESTRANIMAUX(French)Scholastic,c.1990VanKampen,VlastaROCKANIMALSNorthWindsPress,c.1991Waddell,MartinLECONCERTDESHRISSONSKalidoscope,c.1991Waddell,MartinTHEHAPPYHEDGEHOGBANDCandlewickPress,c.2003NONFICTIONDunleavy,DeborahKIDSCANPRESSJUMBOBOOKOFMUSICc.2001Laurencin,GeneviveMUSIQUE!GallimardJeunesse,c.1988Fron,JosUNORCHESTREETSESINSTRUMENTSNathan,c.1985Hart,AveryKIDSMAKEMUSIC!WilliamsonPublishing,c.1993Levine,SharTHESCIENCEOFSOUNDANDMUSICRiley,PeterCHANGINGSOUNDSTurner,BarrieC.LAMUSIQUENathan,c.1989MarchonArnaud,CatherineENAVANTLAMUSIQUEHachetteJeunesse,c.1993Koscielniak,BruceTHESTORYOFTHEINCREDIBLEORCHESTRAHoughtonMiffin,c.2000THENUTCRACKERFICTIONBunting,EveTHEDAYBEFORECHRISTMASDePalma,MaryNewellTHENUTCRACKERDOLLGiff,PatriciaReillyROSIESNUTCRACKERDREAMSIsadora,RachelLILIONSTAGEMcMullan,KateNUTCRACKERNOELStuchner,JoanBettySADIETHEBALLERINATyrrell,AvrilWOODLANDNUTCRACKER


NONFICTIONHoffman,E.T.A.CASSENOISETTESETLEROIDESSOURIS(illust.Zwerger)Hoffman,E.T.A.THENUTCRACKER(ed.Bell)Hoffman,E.T.A.NUTCRACKER(illust.Sendak)Hoffman,E.T.A.THENUTCRACKER(illust.Spirin)Switzer,EllenTHENUTCRACKER:ASTORYANDABALLETDANCEFICTIONBarber,AntoniaLESSONSFORLUCYChevance,AudreyTUTUCoulman,ValerieIAMABALLERINACoulman,ValerieJESUISBALLERINE!Hall,KirstenJESUISUNEBALLERINEHolabird,KatharineANGELINABALLERINE:HISTOIREHolabird,KatharineANGELINA,STAROFTHESHOWIchikawa,SatomiBRAVO,TANYAIsadora,RachelLILIBACKSTAGEMarshall,JamesPIEDSDECOCHONSSchneider,ChristineSUZIEDANSEStreatfeild,NoelBALLETSHOESTrottier,MaxinePAVLOVASGIFTNONFICTIONAugustyn,FrankFOOTNOTES:DANCINGTHEWORLDSBESTLOVEDBALLETSBrayMoffatt,NaiaLCOLEDEDANSEBrayMoffatt,NaiaDANCESCHOOLCastle,KateBALLETChausson,KarineSIJTAISUNEBALLERINEDelobbe,KarineLADANSEGrau,AndreDANCELee,LauraACHILDSINTRODUCTIONTOBALLET(includesCD)Li,CunxinDANCINGTOFREEDOM:THETRUESTORYOFMAOSLASTDANCERLipman,EvaIAMADANCERYolen,JaneTHEBAREFOOTBOOKOFBALLETSTORIES


BesuretocheckoutallofthisseasonsNACOrchestraStudentMatineeTeacherStudyGuides

availableforfreedownloadontheArtsAlive.caMusicwebsite!(seeMusicResources,ResourcesforTeachers)

KindergartenGrade3WinterWonderland

Wednesday,December9,200910a.m.to11a.m.(English)Wednesday,December9,200912:30p.m.to1:30p.m.(English)

Thursday,December10,200910a.m.to11a.m.(French)

Grade48LetsGoMozart!

Thursday,May27,201010a.m.to11a.m.(English)Thursday,May27,201012:30p.m.to1:30p.m.(English)

Friday,May28,201010a.m.to11a.m.(French)

Grade712TheOutstandingOscarPeterson

Thursday,November26,200911a.m.to12p.m.(Bilingual)Friday,November27,200911a.m.to12p.m.(Bilingual)

ABOUT THE ORCHESTRAFICTIONNON-FICTION THE NUTCRACKERFICTIONMcMullan, Kate Nutcracker NoelNON-FICTION Hoffman, E. T. A. Casse-Noisettes et le roi des souris (illust. Zwerger)Hoffman, E. T. A. The Nutcracker (ed. Bell)Hoffman, E. T. A. Nutcracker (illust. Sendak) Hoffman, E. T. A. The Nutcracker (illust. Spirin)DANCEFICTIONNON-FICTION Augustyn, Frank Footnotes: dancing the worlds best-loved balletsBray-Moffatt, Naia lcole de danseBray-Moffatt, Naia Dance SchoolGrau, Andre Dance

Documents

Winter Wonderland Study Guide