TEACHER GUIDE
National Symphony Orchestra Young People’s Concert 2017-2018
Bernstein! Inside the Music
Emil de Cou Conductor
Dear Teacher:
NSO Violinist & Host
Bernstein! Inside the Music delivers a fun-filled and informative experience for students and educators. We hope to delight your students with the orchestra and to impress them with the legacy of celebrated American composer and conductor Leonard Bernstein and his passion for sharing music with young people. We will also introduce your students to melody and rhythm as the fundamental elements of music — and teach them how to beatbox!
Christylez Bacon
We offer four integrated resources that work together to help you prepare students for the concert:
Marissa Regni
Special Guest
1. The Cuesheet Performance Guide contains information about the concert program and related activities for students. 2. T he YPC Playlist provides select works from the program at artsedge.kennedy-center.org/multimedia/series/ AudioStories/ypc-bernstein 3. The oiid app employs ground-breaking digital technology to remix the instruments of the orchestra while they play Edvard Grieg’s “In the Hall of the Mountain King.” Find it by searching for “oiid ” in the App Store on your iPhone or iPad. 4. The Teacher Guide shares ideas on how to bring the Cuesheet, the YPC Playlist, the oiid app, and multiple online resources and creative activities to life in the classroom.
Enjoy the concert!
Students (and their teachers!) will get more out of the NSO Young People’s Concert when they are prepared for the Bernstein! Inside the Music program in advance.
Tips for Using This Guide
For starters, plan to use the YPC Playlist which provides select works from the program for grades 3 and up. Many students will require at least two opportunities to engage with the music. We also suggest these general tips: ■ Listen for yourself. Spend some time alone with the YPC Playlist and become familiar with
the oiid app. This prep time is invaluable as you bring these resources into the classroom.
■ Allow enough lead time. Some teachers introduce students to the material before the concert. ■ Prepare not only for the music but for the event. For many students, this will be their first
time at a concert with a full orchestra. They’ll be more comfortable if they know what to expect.
■ Most importantly, bring your own creativity to the process. Change these activities to fit
your classroom and add your own variations. Check out the online resources we have provided to enrich your teaching goals.
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: http://ccsso.org/Resources/Programs/Supporting_English_Language_Learners.html
FYI There are many ways to connect and stay current with what’s happening at ARTSEDGE. Here are a few— including where best to interact with our team, our content, and others interested in arts education: J oin our Facebook group to keep up with news, insights, and Facebook-only updates. This is a great place to connect with arts education supporters and other ARTSEDGE fans. Our Twitter feed is where we share short news items, provide info-bites, and quick updates. We are a Featured Provider on iTunes, Apple’s tool for downloading music, podcasts, and apps for mobile devices. From our Publishers page, you can download and subscribe to our free audio and video podcasts about the arts. Our YouTube Channel features videos that we have produced. lickr is a photosharing site; our photostreams push out pictures from in and around F the Center.
Music Master Times Three
American composer Leonard Bernstein (BURN-stine, 1918 –1990) was considered a triple-threat: a famous composer, a world-class orchestra conductor, and a classically-trained pianist. On top of his professional obligations, Bernstein made time to share his passion for music with young people, most notably through a series of televised lectures. On the 100th anniversary of his birth, performing arts organizations across the country are celebrating the life and work of Leonard Bernstein.
YPC Playlist: Bernstein’s Overture to Candide In 1956, Bernstein wrote a comic operetta based on Candide (can-DEED), a book written by a French writer named Voltaire (vohl-TAIR) in 1759. The story is about an innocent young man who has a hard time staying out of trouble. Bernstein’s Overture to Candide sets the tone for this funny, globe-trotting adventure.
Before Direct students to pages 2–5 of Cuesheet. Review the life of Leonard Bernstein. According to his son, Bernstein was proudest of his achievements as a teacher and his role in connecting children with orchestral music. To do so, he first answered some essential questions. Read below. Pose these questions to your students and guide the discussion based on the history of music and Bernstein’s responses. 1. What does music mean? Bernstein said if you want to know what music means, listen to your heart. He thought music doesn’t have a specific meaning as words do. Instead, music has a “musical meaning.” It speaks to our feelings. We know if music is happy, energetic, sad, thoughtful, or anxious—without any words. 2. What is American music? Bernstein believed American music only started sounding truly “American” when composers embraced jazz—a uniquely American form of music invented by African American musicians in New Orleans at the top of the 20th century. Jazz has a punchy rhythm and allows musicians to improvise and really let loose. 3. What is classical music? What music is Classical? Simply put: Classical music is just a type of classical music. While 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. And even though Classical music was written long ago, it can be written today using many of the ideas from that period. For example, Classical composers took a direct approach to music. Their melodies were simpler and easier to follow than earlier Baroque melodies. These composers favored a sound that highlighted one melody or theme and then developed the melody through the overall structure. So, if one movement of a work was bouncy, fun, and in a major key, there would typically be a slow and stately movement in a minor key just to make things even and give the ear a break. Music of the Classical era rarely feels too passionate or too emotional. Keep an ear out for that sense of balance or moderation. For example, if you notice a musical phrase has gone from a low note to a high note, odds are it will be answered by a phrase that moves from high back to low. 4. What is orchestral music? 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, even video games. 5. What makes music symphonic? Symphonic music employs the full power of an orchestra in a lengthy work usually consisting of four movements or sections.
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. Bernstein said the key to symphonic music is development. He told children at a concert that “… great pieces of music have a lifetime of their own from the beginning to the end of any piece; and in that period all the themes and melodies and musical ideas the composer had, no matter how small they are, grow and develop into full-grown works, just as babies grow into big, grown-up people.”
During During the concert, students will hear a live performance of Bernstein’s Overture to Candide. Encourage students to listen for the composer’s choices. Ask students to identify the melody. Bernstein chose to make the melody sound “European” because that’s where the story is set. Although the music is contemporary, it also sounds “Classical” because Bernstein was working with Classical principles such as stating a melody and then developing it by shifting the melody between instruments or revisiting it with a new tempo and rhythm. The music also sounds jazzy and peppy at times because Bernstein wanted the work to sound classical, but modern and “American.”
After Ask students to share their understanding of Classical music and what it might “mean.” Students should share their sense of Bernstein’s accomplishments as an American composer.
GO DEEPER! Learn everything you need to know about Bernstein at Leonard Bernstein at 100: https://leonardbernstein.com/ and at: http://classicalnotes.net/features/bernstein.html Watch Bernstein conduct the Overture to Candide with the London Symphony Orchestra in 1989: https://www.youtube.com/watch?v=I1ErRSLO14c Don’t know the difference between a tuba and a trumpet? Consult a Spotter’s Guide: http://artsedge.kennedy-center.org/multimedia/Interactives/instrument-spottersguide/instrument-spotters-guide
YPC Playlist: Grieg’s “In the Hall of the Mountain King”
Let’s Listen to and Make Some Music
Edvard Grieg (GREEG, 1843–1907) was a composer in Norway who took his inspiration from folk music, folk dances, and folk tales. His most famous work tells the story of Norway’s most popular folk hero, a mischievous boy named Peer Gynt. Peer has many misadventures including a crazy dramatic escape from a mountain kingdom of trolls. Grieg composed “In the Hall of the Mountain King” to describe Peer’s near-death escape from the biggest, scariest troll in all of Norway.
Before Direct students to pages 6–7 of Cuesheet. Review how music is made. Remind students of the many “tools” a composer uses including: melody a pattern of notes pitch high, middle, and low notes rhythm long and short notes tempo speed dynamics volume Distinguish between rhythm — the combination of short and long notes—and the steady beat or meter of music. Grieg’s “In the Hall of the Mountain King” presents an opportunity to listen to the entire orchestra being used to express rhythm. Explain to students that Grieg used rhythm to show Peer tiptoeing out of the mountain kingdom. He also combined normal notes with super-short notes (called staccato, stah-KAH-toh) to create a crisp, quick sound. Grieg picked up the pace with tempo when Peer is being chased by trolls. Accelerando (ak-sel-uh-RAN-doh) is an Italian word meaning that the music “gets faster.” In fact, “In the Hall of the Mountain King” is one long, slow accelerando, but it happens so gradually you might not notice.
During Listen for the rhythm in the music. Pay special attention to the staccato and the accelerando. As students listen to “In the Hall of the Mountain King,” ask if they can hear a musical pattern. Ask students to identify the accelerando.
After Ask students how they reacted to Grieg’s music and whether they can identify a mood or an emotional state that the music made them “feel.”
GO DEEPER! Step inside the music. Listen to the different orchestra sections perform Grieg’s “In the Hall of the Mountain King” with the oiid app! Find it by searching for “oiid” in the App Store on your iPhone or iPad.
YPC Playlist: Mozart’s Symphony No. 29, 1st movement Boy genius Wolfgang Amadeus Mozart (MOHT-zahrt, 1756–1791) was born in Austria to a family of musicians (his father was a well-known composer and his sister was an accomplished instrumentalist). A keyboard whiz by age four and a composer by age five, Mozart traveled and performed throughout much of Europe. Mozart mastered a variety of musical forms from concertos to symphonies to operas and beyond, and his unique and unmistakable sound is a trademark of the Classical era.
Before Direct students to pages 6-7 of Cuesheet. Review how music is made and the special tools a composer uses. The first movement of Mozart’s Symphony No. 29 offers a real demonstration of pitch in music. To move between notes, a composer could repeat the same pitch, take a step higher or lower, skip between notes, or take a big leap from low to high, or high to low. Mozart knew the rules, but he chose to write unpredictable melodies. He made his pitches skip, jump, run, and play “hide and seek.”
During Students will hear the first movement from Mozart’s Symphony No. 29. Ask students to identify the melody in Mozart’s work with particular attention to the leaps, repeated notes, low notes, and high notes.
After Encourage students to share their thoughts on the music and what emotions they felt while listening to the work. Ask students to draw any comparisons or contrasts with Bernstein or Grieg’s approach to music.
GO DEEPER! What’s the difference between tempo and pitch? For more on the composer’s toolbox and past NSO Young People’s Concert performances: http://artsedge.kennedy-center.org/multimedia/series/AudioStories/ypc-exploring-extremes http://artsedge.kennedy-center.org/multimedia/series/AudioStories/ypc-listen-up http://artsedge.kennedy-center.org/multimedia/series/AudioStories/ypc-summon-the-heroes http://artsedge.kennedy-center.org/multimedia/series/AudioStories/ypc-world-of-music.aspx Learn more about Mozart: http://artsedge.kennedy-center.org/students/kc-connections/series/cuesheet/2013-2014/ 140601-nso-mozarts-magnificent-voyage
YPC Playlist: Márquez’s Danzón No. 2 Students are introduced to Mexican composer Arturo Márquez (mar-KEZZ, b. 1950) and his work Danzón No. 2. Márquez was born in Mexico and raised in California, but lives with his family in Mexico City today. He is known to weave the sounds of Mexico into his music. In 1993, Márquez visited the dance halls of Veracruz and Mexico City and watched as welldressed couples performed the traditional danzón, an elegant and passionate dance, like a tango. The music and the dance inspired Márquez to write eight Danzónes. His popular Danzón No. 2 became acknowledged as “the second national anthem” of Mexico.
Before Direct students to pages 6–7 of Cuesheet. Review the definition of melody and rhythm. Encourage students to listen for the bittersweet melody as it travels amongst the clarinet, oboe, piano, violin, trumpet, and piccolo. Pay special attention to the use of rhythm.
During Students listen to Márquez’s Danzón No. 2. Students have an opportunity to identify which instrument is carrying the melody. Encourage students to listen for Márquez’s choices that contribute to the symphonic sound of his work.
After Encourage students to share their thoughts on the subject of cultural heritage.
GO DEEPER! Know more about Arturo Márquez: https://www.primephonic.com/arturo-marquez Know more about the music of Mexico: http://www.facts-about-mexico.com/mexican-music.html Know more about Mexico: http://www.facts-about-mexico.com/mexican-culture.html
YPC Playlist: Stravinsky’s “Danse Sacrale” from The Rite of Spring Perhaps no other composer had such a revolutionary impact on twentieth century music than Russian composer Igor Stravinsky (struh-VIN-skee, 1882–1971). Stravinsky studied piano from the age of nine. As a young man, he almost became a lawyer but instead, he managed to secure composition lessons with the famous Russian composer, Nikolai Rimsky-Korsakov. Stravinsky is famous for many great works and for his ability to change styles. In addition to symphonies, he wrote modern music, Russian music, opera, and religious music. He also shocked people with his progressive, experimental music. The 1913 Paris premiere of the ballet The Rite of Spring, featuring Stravinsky’s music and choreography by Vaslav Nijinsky, sparked an actual riot. The audience booed and hissed, pelted the musicians, and picked fist-fights in the aisles. Why such a scandal? The reason was Stravinsky’s driving rhythms, weird sounds, and harsh harmonies were nothing like the music they knew. The audience simply didn’t know how to react. (By the way, Nijinsky’s choreography was equally controversial.) Today, Stravinsky’s music has not only found acceptance, he has become a favorite of composers, orchestras, and audiences alike.
Before Direct students to pages 6–7 of Cuesheet. Review the information about melody and rhythm.
During Students listen to Stravinsky’s “Danse Sacrale” from The Rite of Spring. Encourage students to identify the rhythmic elements in Stravinsky’s work.
After Encourage students to share their listening experiences of The Rite of Spring. Ask students to explain why the work might have been perceived as challenging in its day. Is it still challenging today?
GO DEEPER! Learn about Stravinsky and his work: http://www.allmusic.com/artist/igor-stravinsky-mn0000364751/biography Read more about the riot in 1913 and The Rite of Spring: http://www.telegraph.co.uk/culture/music/classicalmusic/10061574/The-Rite-of-Spring1913-Why-did-it-provoke-a-riot.html Learn more about the ballet The Rite of Spring and Vaslav Nijinsky: https://www.arts.gov/article/joffrey-ballet-resurrects-rite-spring
YPC Playlist: Benjamin Davies’s No. 7 Aromatique and Christylez Bacon, Beatbox artist Christylez Bacon (kris-STILES bacon, b. 1986) grew up about four miles from the Kennedy Center. His family didn’t have money to buy musical instruments, so as a young boy, he drummed on upside-down buckets and trash cans—and then used his mouth (beatboxing) as his instrument. Today, he plays many instruments and tells stories through rap, which is poetry performed to a beat with music. Contemporary American composer Benjamin Davies wrote a duet for violin and percussion that provides the perfect example of how melody and rhythm work together. The music takes shape as a conversation between violin and drum. During the concert, No. 7 Aromatique will be performed by NSO violinist Marissa Regni and beatbox artist Christylez Bacon.
Before Direct students to pages 4–7 of Cuesheet. Review the information about Marissa Regni, Christylez Bacon, and beatboxing. Practice the beatbox sounds and exercises that are described.
During Students listen to Davies’s No. 7 Aromatique. Encourage students to identify the rhythmic elements and the way in which melody and rhythm work together.
After Encourage students to share their listening experiences of the live performance by violinist Marissa Regni and beatbox artist Christylez Bacon of No. 7 Aromatique. How did the melody and rhythm work together?
GO DEEPER! Learn about Christylez Bacon and his work: http://www.christylez.com/ Learn more about Marissa Regni: http://www.kennedy-center.org/Artist/A3943 Read a beginner’s guide to beatboxing: https://www.humanbeatbox.com/articles/a-beginners-guide-to-beatboxing/
YPC Playlist: Bernstein’s “Mambo” from West Side Story West Side Story, Bernstein’s 1957, Broadway-hit musical, tells the story of a boy and a girl from rival gangs who fall in love in New York City. Bernstein’s “Mambo” sets the scene for a lively, but tense high school dance.
Before Direct students to pages 2–7 of Cuesheet. Review the biographical information about Leonard Bernstein and about melody and rhythm. Tell students that Bernstein needed his “Mambo” to sound catchy while also unpredictable at the same time. Encourage students to listen for Latin dance rhythms and Latin rhythm instruments such as bongo drums and cowbells. Inform students they will even hear the human voice and hand-clapping.
During Students listen to Bernstein’s “Mambo.” Encourage students to listen for the brass and percussion that drive the dance rhythms of the work.
After Encourage students to share their listening experiences of “Mambo.” Bernstein was insistent that listening to orchestral music should be “fun.” Ask students to comment on their listening experience.
GO DEEPER! To learn about West Side Story: http://www.westsidestory.com/ http://broadwaymusicalhome.com/404.htm
Before you depart: n Remind students that no eating or drinking is permitted in the Concert Hall. n Suggest students bring a light sweater or jacket in case the hall is cold.
Preparing for the Concert
When students arrive: n Encourage students to visit the restrooms in the lobby before the concert begins. n Remind students to sit still in their seats and not to reach between rows, kick the seat in front
of them, or otherwise distract from anyone else’s concert experience.
n The Concert Hall acoustics provide an opportunity to remind students to remain quiet during
the performance and to demonstrate how extreme sounds travel from musicians to audience.
During the concert: n Students will know to clap hands and applaud the musicians when the conductor lowers his
or her arms at the end of the work and turns to acknowledge the audience.
The Concert Program At the concert, students will hear excerpts from the following works: Bernstein Grieg Mozart Márquez Williams Stravinsky Davies Bernstein
Overture from Candide “In the Hall of the Mountain King” Symphony No. 29, 1st movement Danzón No. 2 African Sketches “Danse Sacrale” from The Rite of Spring No. 7 Aromatique “Mambo” from West Side Story
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 the U.S. Department of Education. David M. Rubenstein Chairman
Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program.
Deborah F. Rutter President
Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts and the President’s Advisory Committee on the Arts.
Mario R. Rossero Senior Vice President, Education
Gianandrea Noseda Music Director National Symphony Orchestra Gary Ginstling Executive Director National Symphony Orchestra
The content of this Cuesheet may have been developed under a grant from the U.S. Department of Education but does not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the federal government. ©2017 The John F. Kennedy Center for the Performing Arts The NSO Young People’s Concerts are sponsored by The Volgenau Foundation.