National Symphony Orchestra Young People's Concert: Inside the Music - Teacher's Guide

NSO Orchestra Look-In:

Inside the Music 2018-19 Teacher’s Guide

WELCOME to the NSO Orchestra Look-In: Inside the Music, a brand-new young people’s concert. With the help of the orchestra’s youngest but biggest fan Makayla, children go behind-the-scenes to experience the joys of orchestra performances—the instruments, the musicians, and the music—in a whole new way. This guide presents a variety of discussion questions, activities, and resources. Used along with the student Cuesheet Performance Guide and the YPC Playlist, it can help you enhance and extend your young concertgoers’ experience.

David M. Rubenstein is the Presenting Underwriter of the NSO.

Michael Butterman, Conductor Marissa Regni, NSO Violinist Written and directed by Mary Hall Surface

Using This Guide Below are suggested activities and information to cover before and after the show. What follows is the “Explore the Performance” section that presents some questions and concepts for further exploration as time allows.

In “Program Guide,” you’ll find a quick overview of the music and composers from the program.

And throughout these pages, you’ll discover links to resources to help plan additional activities and engagement for your students.

Before The Concert If you have 5 to 30 minutes: ■ Use the Cuesheet! The NSO Orchestra Look-In: Inside the Music Cuesheet Performance Guide

(https://bit.ly/2wQfOMZ) is written for young concertgoers to help them learn all about, prepare for, and enjoy the performance. Please read it together and discuss. If time is short, review pages 2, 3, and the “Team Audience” section of page 8 first.

■ Discuss visiting the Kennedy Center and how to be good audience members (see page 8 of the

Cuesheet). Take the five-minute, playful video tour of the Kennedy Center and Concert Hall with NSO Associate Conductor Emil de Cou (though you should mention to students this concert will feature guest conductor Michael Butterman): https://artsedge.kennedy-center.org/multimedia/VideoStories/welcome-to-the-kennedy-center/ concert-hall ■ Remind students of a few important things. We’re delighted they’re joining us, and we need their

help in ensuring a great concert experience for everyone. There’s no eating or drinking in the Concert Hall, and once the concert begins, students should stay seated (so they should use the restrooms beforehand). They might want to bring a sweater or jacket just in case the Hall is chilly. During the concert, after a piece of music, they’ll know it’s time to clap when conductor Michael Butterman lowers his arms and turns around to face the audience.

If you have more time: ■ Prepare on your own by listening to the YPC Playlist, which provides selected works from the

program. Your familiarity will help you direct your students’ attention to aspects of the music in meaningful ways. Review the concepts and suggestions throughout this guide and pick and choose questions and activities for before and after the concert that will best suit your students.

■ Introduce the building blocks of music: melody, rhythm, pitch, tempo, and dynamics. Encourage

students to use these words as they discuss the music in the performance.

■ Have students listen to one or more of the pieces on the YPC Playlist, having them pay attention

to the details, the instruments, and how they feel about the music. Write their ideas down, and then discuss additional impressions or how their impressions changed after hearing the music performed live.

■ Encourage children to “meet” the musicians (and librarians!) of the NSO (http://www.kennedy-

center.org/NSO/MTM/ShowMusicians/3), and notice the number of musicians playing each type of instrument and explore the bios (you can do this after the concert as well).

■ Help students explore more about orchestras and their instruments at Perfect Pitch:

(http://artsedge.kennedy-center.org/interactives/perfectpitch/). This resource can also be helpful to use after the performance.

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After The Concert As soon as possible after you attend the concert, discuss the questions below (from page 8 of the Cuesheet) to capture your students’ first impressions: ■ What was your favorite part of the concert, and why?

■ What music made you want to move or dance? Hum or sing a little if you remember the melody.

■ What stories did you imagine as you listened to the different music? Draw or describe what

you imagined.

■ Which instruments would you like to learn to play, and why?

■ What are three things Makayla loves about the orchestra, and which do you love, too?

■ How would you like to make music in your own life? Play it? Sing it? Write it? Conduct it?

Explore The Performance Here are some other questions and extended activities you might explore together to help children further engage with the ideas of the performance.

The Musical Instruments and Families Questions: What does it mean to be a family? What does it mean to be an instrument family, like woodwinds or strings? What was your favorite instrument, and why? If you could describe in one word the sound of each family, what would it be?

Go Deeper: ■ Help students recall and understand the differences among the instrument families.

For help, they can use the instrument spotter’s guide (http://artsedge.kennedy-center.org/ multimedia/interactives/instrument-spotters-guide/instrument-spotters-guide).

Then have them play a listening game. In pairs or small groups, have one person play the sound of an instrument from the Perfect Pitch Web site (http://artsedge.kennedy-center.org/interactives/ perfectpitch/) and others try to guess it (without looking, of course!). Remind students that the larger the instrument, the lower the sound.

■ Point out that orchestras generally do not include singing, but instruments are so expressive they

can sometimes sound like human voices, adding to the rich tapestry of sound an orchestra produces.

Many consider the cello as one of the closest instruments to the human voice because it plays a similar range of tones. Ask: Which instruments remind you of the human voice, and why? (Often, people also consider the violin to sound like a human voice.) Play the sounds of instruments students name on the Perfect Pitch Web site (http://artsedge.kennedy-center.org/interactives/perfectpitch/) and have the class discuss.

■ Play one of the pieces from the program and have children try to identify the instruments they can

hear. You can have them hold up cards for the instruments or assign groups of children to represent strings, woodwinds, and so forth, and have them raise their hands when they hear their family.

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The Art of Composing Questions: Which music was the fastest? Loudest? Which melodies can you still remember? Which composer impressed you the most, and why?

Go Deeper: ■ Explain that music is a pattern constructed from melodies, rhythms, pitches (high, middle, and

low notes), tempo (speed), and dynamics (volume) as well as different combinations of musical instruments. Although composers can create very different music, they all use these same basic tools to write their compositions. The two most important are melody and rhythm. ◆ The melody is a pattern of musical notes arranged by a composer. Notes are the various

tones or “pitches” we hear in music. A composer organizes a melody by moving between higher and lower notes. The melody is the part that can stick in your head or fill you with energy or lull you to sleep. Melodies carry the message of the music and also suggest ideas, memories, or emotions. ◆ Rhythm is a pattern of long and short notes that fill a melody. It’s different from the beat, which is a

steady repeating pulse (think of it as the heartbeat of the music, or the part you tap your foot to). If your students need help, this video of younger children learning the difference between rhythm and beat might be handy: https://www.youtube.com/watch?v=2Sq0WtZXDeg ■ Point out that although words aren’t a building block of music patterns, they are an important tool

for composers. Many composers use Italian words written on their music to describe how to play it (although a few German and French words appear, too).

Why Italian?

Many musical forms started in Italy, and many of the Italian markings simply became customary. Some people think the Italian words sound musical, too, adding to the appeal of using them. Several Italian terms are in the Cuesheet (page 3); here are a few more frequently found words—encourage students to use them in talking about aspects of the music: piano—to be played softly and gently pianissimo—extra soft and gentle forte—to be played strongly and loudly fortissimo—extra strong and loud crescendo—to become gradually louder diminuendo—to become gradually softer adagio—slowly allegro—upbeat and fast dolce—sweetly For more background, see “Italian: The Language That Sings” (a segment from NPR Music delving into why Italian words became dominant in music and examining several examples with musical excerpts): https://www.npr.org/templates/story/story.php?storyId=15040264 And here’s one list of musical terms that includes audio files of pronunciations: http://www.musictheory.org.uk/res-musical-terms/italian-musical-terms.php

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■ If you have access to and are familiar with the GarageBand app, it can be useful for helping children

explore musical instruments and tools of composition, such as tempo, rhythm, and dynamics. For some general teaching ideas, see https://musicedmasters.kent.edu/5-ways-garageband-can-beused-in-the-music-classroom/ ■ Remind children of the surprise video appearance by Jessie Montgomery, the only living composer on

the program. Point out that although audiences still love classical music written hundreds of years ago, and admire long-ago composers for their technical and artistic skills, there are plenty of exciting new composers like Montgomery writing new classical music for orchestras—and also films, video games, television, and more.

Have students research other living composers and share three fun facts (and, if possible, a short music excerpt). Students also might enjoy the video “Class Notes: How Do Composers Compose?” in which young American composer Jake Runestad playfully answers a wide range of questions about composing music: https://www.youtube.com/watch?v=Yk1LFEbQCKA&feature=youtu.be

The Concert Experience Questions: What surprised you about hearing the music at the concert? What did you think of helping “conduct” the orchestra with Makayla?

Go Deeper: ■ Point out that a concert hall is a very special place to hear music. Ask: How was hearing music live

different from hearing recorded music through the television or your phone? Did you notice that you could sometimes feel the vibrations from the drums? If so, how did this add to the experience?

Explain that the sounds from musical instruments come from vibrations, and concert halls are specially designed with materials like wood that help the sound vibrations travel loudly and clearly.

That’s why you can hear (and sometimes feel!) such great details in the music. For more on the science of acoustics, see “Concert Hall Acoustics: Art and Science”: http://www.acoustics.salford.ac.uk/ acoustics_info/concert_hall_acoustics/?content=index.

■ Discuss the role of the conductor, who is like the “coach” of the orchestra. Point out that conducting

can be hard, but also a lot of fun. Have students explore more with these resources: ◆ “Class Notes: What Does a Conductor Do?” (conductor Sarah Hicks discusses and demonstrates

what conductors need to know and do to lead the orchestra): https://www.youtube.com/watch?v=x_6cTbyWP88 ◆ “SFS Kids: Fun and Games with Music: Conduct” (a simulation for young children to

try conducting various classical works, including “Hoe-down” by Aaron Copland): http://www.sfskids.org/conduct/ ■ To help children see instrument vibrations in action, have them wrap several

rubber bands (ideally of different thicknesses) around a small container without a lid. Have them pluck the bands at different points and notice how they vibrate and what makes the sound change.

■ Visit Makayla’s blog, Kid Crazy for Music!

(https://goo.gl/3YwfV2) to see photos, short video stories, and more about Makayla’s behind-the-scenes experience at the NSO. ■ Have students create a short blog post or a video story like Makayla,

sharing what they loved most about the concert and the role on Team NSO they’d most like to play and why. Have them share these with the class.

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■ Encourage students to stay engaged with classical music after the concert. Some strategies include: ◆ Help children listen to the program’s music again, especially if they heard it for the first time at the

concert, and identify styles and sounds they particularly enjoy. Direct them to similar works. ◆ Assign children to spend a week or two listening for classical music in their day-to-day lives and share

where they hear it—on the radio, in television programs, in movies, in mobile phone ringtones, in video games, in commercials, in stores, at sporting and other public events, and so forth. ◆ Suggest that parents/guardians seek out other opportunities to enjoy classical music

with their children, such as NSO Family Concerts listed at: http://www.kennedy-center.org/calendar/ series/NFM or concerts performed by other local symphony and chamber orchestras. ◆ Propose music lessons to children or their parents/guardians—here is a list of all the nonprofit

organizations in the D.C. area that offer them: http://artsedge.kennedy-center.org/content/ dcmusiclessons

The Concert Story Questions: How did Makayla help teach (and get you excited) about the orchestra? Do you think Makayla (or you) could play in the orchestra, become a conductor, or be a composer?

Go Deeper: ■ Discuss how Makayla felt discouraged by her uncle (who believed she should spend more time playing

a sport than playing her violin), and also by some of her friends at school (who either laughed at her mistakes or called her a show-off when she did well).

Ask: Have you ever had people try to discourage you from or embarrass you about something you love to do and want to get better at? Why do you think they did that? How did you feel and what did you do? What made Makayla feel better? What advice would you give Makayla about doing what she loves? Write a short letter or email sharing your advice.

■ Remind students of what Marissa said to Makayla: “You have to work hard at anything you want to be

good at.” Ask: Do you agree? What would you like to be good at? Have students brainstorm ideas for achieving their goals (such as training or practicing every day, taking lessons, reading more, and so forth) and share them with a partner.

Program Guide The Cuesheet Performance Guide (pages 6–7) covers the program and the composers along with a few aspects of the music for students to listen for. We review the music again here, along with some additional resources that might be useful. But first, it might be helpful to review with your students the type of music featured at the concert, which can be called orchestral, symphonic, and classical.

Let’s break it down: Orchestral music is basically work performed by an orchestra. An orchestra has a traditional sound involving the brass, woodwinds, strings, and percussion. Students may have heard music performed by a band, or a trio, or just on the piano. But if music is performed by a full orchestra, it’s orchestral music.

One hears orchestral music in concert halls and also in film scores, pop music, and even video games.

Symphonic music employs the full power of an orchestra in a lengthy work usually consisting of four movements or sections called a symphony. In symphonic music, the musicians play many notes at the same time. Those notes might blend or clash. The melody might be passed between instruments.

The music changes keys or tempo, suddenly faster or slower, or shifts from really soft to really loud. Symphonic music allows the composer to explore what music can do while challenging our ears.

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Classical music, simply put, is just a type of classical music. Although classical music (with a lowercase “c”) refers to the world of Western concert music as a whole, “Classical music” (with a capital “C”) refers to a special brand of concert music written between 1750 and 1825 (this includes works by Mozart and Beethoven). And even though Classical music was written long ago, it can be written today using many of the ideas from that period.

The Concert Program Before the concert or before playing each of these musical pieces from the YPC Playlist for the class, be sure to review with your students pages 6–7 of the Cuesheet Performance Guide, which cover the program. If time permits, also review “The Art of Composing” section in this guide. Here’s a quick review of the program plus some additional activities and resources for each selection.

“Hoe-down” from the ballet Rodeo and Fanfare for the Common Man

by Aaron Copland (1900–1990) During the concert, listen for the…

■ string instruments (“Hoe-down”).

■ percussion and brass instruments (Fanfare).

■ playful sounds of “Hoe-down” compared with the more majestic, dramatic sounds of Fanfare.

After the concert, discuss Fanfare for the Common Man. Ask students: How did the music make you feel?

Why do you think it has remained so popular? Note that this piece is still played often—and heard at everything from political rallies to sporting events to films to television—to add a sense of pride, drama, patriotism, or camaraderie. Ask: Where in your life would you play Fanfare, and why?

Go Deeper: “The Story Behind the Song: Fanfare for the Common Man”: http://artsedge.kennedy-center.org/students/features/story-behind-the-song/fanfare-for-thecommon-man “On ‘Fanfare for the Common Man,’ An Anthem for the American Century”: https://www.npr.org/ 2018/07/19/629875534/on-fanfare-for-the-common-man-an-anthem-for-theamerican-century “Aaron Copland: About the Composer”: http://www.pbs.org/wnet/americanmasters/aaron-copland-about-the-composer/475/ Movement 2 (Scherzo) from Serenade No. 2

by Johannes Brahms (1833–1897) During the concert, listen for…

■ the sounds of the woodwinds instruments.

■ the playful, light sounds.

■ sounds that help you imagine movements (such as dancing, skipping, or riding).

After the concert, discuss what Makayla said after hearing this piece: “Listening to music is like dreaming when you are awake.” Ask: What did she mean by that? Do you agree? How would you describe listening to music? Draw pictures of what you imagined during the music by Brahms.

Go Deeper: “Brahms: 15 Facts about the Great Composer”: https://www.classicfm.com/composers/brahms/guides/brahms-facts-great-composer/ “Brahms: Breaking the Mold Beethoven Built”: https://www.npr.org/templates/story/story.php?storyId=11947519

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Movement 3 (Scherzo) from Symphony No. 4

by Pyotr Ilyich Tchaikovsky (1840–1893) During the concert, listen for…

■ the plucking (pizzicato) and striking of the strings.

■ how the sounds alternate between softer and louder.

■ how different instruments and families take turns playing the melody.

After the concert, help students explore some of Tchaikovsky’s other compositions. They might particularly enjoy his music from the ballets Swan Lake, The Sleeping Beauty, and The Nutcracker, which some consider the most beautiful of his works and which helped elevate the role of ballet music into an essential part of the storytelling.

Go Deeper: “Tchaikovsky: Facts about the Great Composer”: https://www.classicfm.com/composers/tchaikovsky/guides/tchaikovsky-facts/ “Peter the Great: Tchaikovsky at the Ballet”: https://www.limelightmagazine.com.au/features/peter-the-great-tchaikovsky-at-the-ballet/ Movement 1 from Symphony No. 4

by Felix Mendelssohn (1809–1847) During the concert, listen for the…

■ layers of music added by the woodwinds, strings, and brass.

■ woodwinds playing a pattern and the strings responding.

■ joyful and energetic melody.

After the concert, have students brainstorm a trip or experience that might inspire them to write music, similar to how Mendelssohn’s trip to Italy inspired him to write this symphony. What kinds of sounds would remind them of that experience? Have students describe instruments, styles, and so forth.

Go Deeper: More about Felix Mendelssohn: http://www.wmht.org/blogs/composers/felix-mendelssohn-1/ “Anne-Sophie Mutter’s Immortal Mendelssohn”: https://www.npr.org/templates/story/story.php?storyId=100015851 Kennedy Center program notes for Symphony No. 4 in A major, Op. 90, ‘Italian’”: http://www.kennedy-center.org/artist/composition/2982

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Movement 3 from Violin Concerto in E major, BWV 1042,

by Johann Sebastian Bach (1685–1750) During the concert, listen for…

■ the quick and varied notes for the violin.

■ how sections with the orchestra alternate with solo parts for the violin.

■ how each violin solo gets more complex.

After the concert, explain that this piece is in the Baroque style of classical music, which placed a high value on the detailed structure of a composition. Ask students to compare and contrast the style and melody here with the more contemporary style of Aaron Copland’s Fanfare for the Common Man. Go Deeper: “The Greatest” (New York Times writer Anthony Tommasini explains the process of choosing Bach as the greatest classical composer in his list of the top ten in history, which also includes Brahms): https://www.nytimes.com/2011/01/23/arts/music/23composers.html All about Bach: http://www.classical.net/music/comp.lst/bachjs.php “Starburst” by Jessie Montgomery During the concert, listen for…

■ the variety of sounds from the string instruments.

■ the sounds that suggest swirling, rising, and falling.

■ quiet moments mixed with louder and faster ones.

After the concert, have children choose one piece of music and composer from the program to research further. If they could interview that composer, what three questions would they ask?

Have them also include three things that influenced the composer’s music. Ask students to share their ideas in writing or a video post.

Go Deeper: About Jessie Montgomery: http://www.jessiemontgomery.com “10 Young Composers Who Are Redefining Classical Music”: https://theculturetrip.com/north-america/usa/articles/top-10-young-composers-who-are-redefiningclassical-music/ Additional Music on the Program (not on the YPC Playlist): ■ Overture to the opera Ruslan and Lyudmila by Mikhail Glinka ■ “Malambo” (music inspired by the dance of the same name of Argentinian gauchos, or cowboys)

from the ballet Estancia by Alberto Ginastera (the concert finale)

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More Resources These resources may help you in creating your own lessons or activities or compiling more information to share with your students.

Vlogs Kid Crazy for Music! (Makayla’s YouTube Channel, full of videos, photos, and more taking viewers behind the scenes at the NSO and Kennedy Center Concert Hall) https://goo.gl/3YwfV2

Websites Classics for Kids http://www.classicsforkids.com Perfect Pitch http://artsedge.kennedy-center.org/interactives/perfectpitch/

Articles “Teaching Kids to Compose” (a short article with general strategies for introducing children to music composition) https://www.classicalmpr.org/blog/classical-notes/2016/02/12/teaching-kids-to-compose “Ten Black Composers Whose Works Deserve to be Heard More Often” (a look at some significant but often overlooked composers and their works) https://www.theguardian.com/music/musicblog/2015/jun/02/ten-black-composers-whose-worksdeserve-to-be-heard-more-often “Classical Composers Have Been Inspired for Centuries by Insects” (delving into an unusual inspiration for writing music) https://www.npr.org/2018/07/09/627190250/classical-composers-have-been-inspired-forcenturies-by-insects “The NPR Classical 50: 50 Recordings a Fanatic or First-Timer Should Not Be Without” (a list that might provide a jumping-off point for exploring and evaluating other classical works) https://www.npr.org/series/99866406/the-npr-classical-50

Videos “George Meets the Orchestra: An Introduction to the Orchestra for Children” (a young Australian boy’s playful exploration of the Sydney Youth Orchestra and its instruments; this might be helpful in reinforcing what younger children experience at the NSO Look-In: Inside the Music performance) https://binged.it/2PbpNnL

Standards Connections The NSO Young People’s Concert connects to the National Content Standards for Music, and other subject areas such as Language Arts, specifically: Standards Connections: English Language Arts—Speaking and Listening (SL.2), Language (L.3, L.4) Standards are based on Common Core State Standards, National Core Arts Standards, and Next Generation Science Standards. For corresponding Virginia State Standards, visit: http://www.doe.virginia.gov/testing/sol/standards_docs/english/index.shtml For corresponding English Language Proficiency Standards, visit: https://ccsso.org/resource-library/english-language-proficiencyelp-standards

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David M. Rubenstein Chairman Deborah F. Rutter President Mario R. Rossero Senior Vice President Education Gianandrea Noseda Music Director National Symphony Orchestra

The NSO Young People’s Concerts are sponsored by The Volgenau Foundation.

NSO Young People’s Concerts are made possible in part by the generous support of A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; and U.S. Department of Education.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program.

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

The contents of this Teacher Guide have been developed under a grant from the U.S. Department of Education and do not necessarily represent the policy of the U.S. Department of Education.

You should not assume endorsement by the Federal Government. ©2018 The John F. Kennedy Center for the Performing Arts

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