Education Partners The Lexington Philharmonic thanks the following education partners for their generous support of its 2017-2018 MUSIC BUILDS programming.
To learn more about the Lexington Philharmonic partnership opportunities, contact the Advancement office at firstname.lastname@example.org or call 859.233.4226
Dear Educators, As another school year begins, the Lexington Philharmonic is proud to serve as a valuable resource for teachers and educators across the state. This November, we will feature a program entitled “CB Squared!” This spectacular event features the world premiere of No Borders: Concerto for Canadian Brass and Orchestra by composer, Chris Brubeck, and performed by renowned ensemble, Canadian Brass. In addition, this 45-minute program will also feature Rossini’s The Barber of Seville: Overture and Vaughan Williams’ The Wasps: Overture.
Letter from ScottTWO performance times—10:00AM (Elementary Schools) and This year’s Discovery concert features 11:30AM (Middle/High Schools)! Reservation and bus subsidy forms can be found at the end of this guide, as well as on our website (www.lexphil.org). We invite you to use this guide as a classroom resource in the weeks leading up to and following the Discovery concert. Here you will find lesson plans and activities to enrich your students’ Discovery concert experience, as well as introductions to the orchestra, conductor, and more! These lessons are tied to the National Core Arts Standards, as well as the Kentucky Department of Education Core Content. The Lexington Philharmonic’s goal is to offer enhancing resources and opportunities for your classroom throughout the year. We invite you to visit our website to discover all of our educational programs. We look forward to seeing you all at the Discovery Concert on Friday November 10th, and at many other LexPhil education programs throughout the year!
Scott Terrell Music Director
DISCOVERY! CONCERT a.
Practical Information for Attendees.................................................2
Composer Spotlight ........................................................................6
Meet the LexPhil Musicians...........................................................12
Orchestra Seating Chart................................................................13
Meet the Conductor........................................................................15
Activities + Lesson Plans................................................................17
PEANUT BUTTER & JELLY CONCERT SERIES a.
Practical Information for Attendees.................................................19
2017 PB+J Concerts.......................................................................20
MENU OF CURRENT IN-SCHOOL PROGRAMS..................................................21 STEM to STEAM.....................................................................................................22 GLOSSARY.............................................................................................................23 TEACHER EVALUATION........................................................................................24
Practical Information for 2017 Attendees Music Builds Discovery! featuring the Canadian Brass Friday, November 10, 2017 SINGLETARY CENTER FOR THE ARTS 10:00 AM (intended for elementary schools) 11:30 AM (intended for middle/high schools) Tickets: $4/person; $2/person for Title I schools You are welcome to attend either performance, but please keep in mind that there may be small differences in the presentation that reflect the intended audience as stated above. We’re going paperless! Register here: https://form.jotform.us/LexPhilEducation/Discovery2017 LexPhil understands that transportation costs can impact schools’ ability to attend field trips. Did you know that we offer transportation subsidies, sponsored by Toyota Motor Manufacturing, to offset some of these costs for schools? You will have the opportunity to apply for these funds while registering your school to attend Music Builds Discovery! at the link above. The Kentucky Arts Council’s TranspARTation Grant is another opportunity to receive bus funding for arts-related field trips*. Learn more here: http://artscouncil.ky.gov/KAC/Creativity/TranspARTation.htm
Important Dates September 11 October 13 October 27 November 6 November 10 December 10 Spring 2018
Kentucky Arts Council TranspARTation Grant due* Music Builds Discovery! reservations due, including requests to change ticket totals; LexPhil Bus Subsidy requests due Announcement of LexPhil Bus Subsidy recipients Payments due Concert Day—Music Builds Discovery! Final report due for Kentucky Arts Council TranspARTation Grant recipients* LexPhil Bus Subsidy checks mailed to recipients
*LexPhil does not participate in the planning or decision making for this grant opportunity. If you have questions please contact the Kentucky Arts Council directly at 502.564.3757.
Arrival Please plan to arrive 15-30 minutes before the concert starts in order to check-in your school, be seated, and allow for any necessary bathroom trips. The concert will start on time. Buses should drop off students at the Singletary Circle. Wildcat Statue
The closest place for car riders to park is Parking Structure #5, which is
between Upper St. and Limestone across the street from Kennedyâ€™s Bookstore. Address for parking garage is 574 S Upper St Lexington, KY 40508 There is a fee to park in this garage.
Before your students get off the buses, a teacher should come to the lobby to check-in your school and meet your assigned volunteer. Once you bring your students into the Singletary Center the volunteer will assist you in finding your seats. Students needing use of a ramp should use the entrance on Patterson Drive, next to the Singletary Center.
During the Concert Buses should line up along Lexington Avenue. For a smooth dismissal procedure it is critical that buses be lined up no later than 10:30 for pickup of 10:00 show attendees or 12:00 for pickup of 11:30 show attendees. Thank you in advance for communicating this to your bus drivers. The concert will last approximately 45 minutes.
Dismissal After the concert please stay in your seats! You will be dismissed from the stage in the following order: Car riders and walkers Buses will be dismissed in the order that they are parked on Lexington Avenue. Buses should pick up students at the Wildcat Statue Circle. The Singletary Center cannot accommodate requests for schools to eat lunch in the lobby. Please plan to make other arrangements if necessary.
Enjoy the Concert! Want to Hear More? Open Rehearsal Friday, November 10, 2017 - 7:30 PM Singletary Center for the Arts This is an opportunity for your students to hear and see a professional orchestra at work! Come hear the Lexington Philharmonic and the Canadian Brass in preparation for their concert on Saturday, November 11, 2017. Tickets to this event are free, but registration is required. School groups must be accompanied by a teacher. Register here: https://form.jotform.us/LexPhilEducation/OpenRehearsal
CB Squared! Saturday, November 11, 2017 - 7:30 PM Singletary Center for the Arts Tickets: $35-$85, students tickets $11, to purchase, call our box office at 859.233.4226 LexPhil does a double take in CB Squared!, featuring the talent of composer, Chris Brubeck, and Canadian Brass! Rossini’s The Barber of Seville: Overture opens, followed by Stravinsky’s playfully sublime Pulcinella: Suite and the beauty of Vaughan Williams’ The Wasps: Overture. Closing the night, we pull out all the stops in Chris Brubeck’s world premiere No Borders: Concerto for Canadian Brass and Orchestra, commissioned by LexPhil for this specific occasion.
November 10, 2017 10:00 AM & 11:30 AM
Program includes excerpts from the following:
Composer Spotlight: Gioachino Rossini
Lived from 1792-1868 Country of origin: Italy Styles: opera, sacred music, chamber music Famous Works: The Barber of Seville, The Thieving Magpie, William Tell
Gioachino Rossini was born in Italy and learned music at a young age. Both of his parents were musicians and he played the harpsichord when he was at church when he was only ten years old. At 18 he debuted his first opera, La cambiale di matrimonio. Rossini is best known for his operas, especially his Italian Comedies and was so prolific in his time that he earned the nickname “The Italian Mozart”. In 19 years Rossini composed 39 significant operas before moving to Paris to focus on chamber music. One of the main characteristics of Rossini’s work is a long steady building of sound, often referred to as a “Rossini Crescendo”.
Composer Spotlight: Ralph Vaughan Williams
Lived from 1872-1958 Country of origin: England Styles: opera, ballet, chamber music, secular and religious pieces Famous Works: Fantasia on a Theme by Thomas Tallis, The Lark Ascending
Ralph Vaughan Williams was born in England and started taking piano lessons when he was five years old from his aunt. He took his first music correspondence course from Edinburgh University when he was only eight and his love for music only grew over the years. Working as a church organist and a choirmaster for St Barnabas he earned himself a modest living and soon went on to get his Doctorate of Music at The University of Cambridge. At 42 years of age, he joined the military service for the First World War and it made a deep impression for the rest of his life. Vaughan Williams is best known for his symphonies and his style is often described as visionary, a blending of harmonies familiar with folk-songs with the French influence of Ravel and Debussy.
Composer Spotlight: Chris Brubeck
Born in 1952 Country of origin: United States Styles: Jazz, Swing, Blues, Classical Works Famous Works: Vignettes for Nonet, Travels in Time for Three, Ansel Adams: America
Chris Brubeck is an award-winning composer and performer of styles from jazz to classical music and everything in between. During the 70’s Chris began touring and recording with his father, Dave Brubeck. Chris plays bass, trombone, piano, guitar and sings and has earned international acclaim as composer, performer and leader of his own groups. Chris continues to perform and record with his two groups, “The Brubeck Brothers Quartet” with brother Dan on drums; and Chris Brubeck’s “Triple Play” with Joel Brown on guitar and Peter Madcat Ruth on harmonica. A much sought-after composer, Chris has been commissioned to write innovative works all over the country including the piece you will hear today. John von Rhein, music critic for The Chicago Tribune, calls Chris “a composer with a real flair for lyrical melody–a 21st Century Lenny Bernstein.”
Overture to the Barber of Seville From the moment of its premiere in Rome on February 20, 1816, Rossini’s The Barber of Seville has been an audience favorite. The opera is one of the finest examples of a comedic opera, full of witty music and comic intrigue in the battle of the sexes, and one of the most popular parts of The Barber has always been its overture, which sets exactly the right mood for all the fun to follow. Yet this overture had originally been composed three years earlier as the introduction to a tragic opera, Aureliano in Palmira. And, two years later, Rossini used it again as the overture to his historical opera about Queen Elizabeth I, Elisabetta, Regina d’Inghilterra. Finally, in 1816, it became the overture to The Barber of Seville. It seems hard to believe that an overture composed for a tragic opera could function so perfectly as the introduction to a comic tale, yet it does, and–on the stage or in the concert hall–this music continues to work its charm. The overture begins with a slow introduction marked Andante maestoso, which features crashing chords, gathering energy, and a beautifullypoised melody for violins. The music rushes ahead at the Allegro con brio, with its famous “laughing” main theme, full of point and expectancy. Solo oboe introduces the second theme-group, marked dolce, and this alternates with the main violin theme. Along the way are several of the lengthy crescendos that were a virtual Rossini trademark (his nickname was “Monsieur Crescendo”), and one of these drives this sparkling music home in a great blast of energy. - written by Eric Bromberger
The Wasps Overture In 1909, Vaughan Williams was invited to compose music for a Cambridge University production of Aristophanes’ play. First produced in 422 BC, this satire by the greatest comic poet of the ancient world takes as its subject the Athenian judiciary system and the apparently ageless love of litigation. Vaughan Williams' score, originally for male chorus and orchestra, was later reworked as a purely instrumental suite for the concert hall. The overture, the most popular of the excerpts, is prime early Vaughan Williams. Despite some wasp-like instrumental buzzing in the overture's opening measures and the work's association with an ancient Greek comedy, the music is thoroughly British —the melodic material owes much to English folksong, a particular passion of Vaughan Williams at the time—and the mood is good-natured rather than biting or witty. But the overall effect is winning, the atmosphere is inviting and full of promise (as with any good overture), and the characteristic sound is that of Vaughan Williams exercising his newly found voice. -written by Phillip Huscher
No Borders: Concerto for Canadian Brass and Orchestra Thoughts from Chris Brubeck The first thing I do when Iâ€™m looking to write a piece, which would be applicable to any student doing a project about anything, is a certain amount of research. I listened to some of the most recent recordings of the Canadian Brass. After listening to some of their wonderful music then the next thing I tried to do was figure out how to join Canadian Brass on a tour, see them in action and get to know them. I wanted the music I wrote to reflect their musical interests and actual personalities. When I write a piece I go into my home studio and compose using a musical computer program called Finale. The Finale program will display a complete orchestral score. You type in the notes you hear in your head. You can get the computer to play back the notes you wrote in the right rhythm, and in the right pitch and with the actual tonal quality of the instrument. There are digital recordings of every instrument in the orchestra, so you can write something for brass and strings, then go to sleep, wake up in the morning and play back what you wrote. If you like it ,you continue forward with your ideas. If you don't like it ,then you erase what you wrote and try a different direction. I already had the idea of starting this concerto in such a way that the audience would feel like they were "in" the performance not just simply watching the activity on stage like you were watching a movie or a totally traditional Classical orchestral performance. So that was the first small step in writing this piece. I also talked to everyone in the group to find out what kind of piece they wanted me to write. Should it be a "serious" piece, or something that was overtly entertaining? I think it might be fun for students to see if they can pick out the different sections of music that feature a certain kind of style. Do they hear Romantic Classical music, perhaps especially in the slow 2nd Movement? Do they hear Funk hidden in the 1st Movement? Do they hear Jazzy sections in the 1st Movement? Do they hear a heavy Spanish/Mexican musical influence in the last Movement? The nineteen minute composition is in 3 Movements, and follows a rather "traditional" format of a dramatic, fast and exciting 1st Movement; a slow and more contemplative 2nd Movement; and a 3rd Movement that really establishes an exciting groove that evolves into a rousing finale. I had discovered that everyone in the group was into the idea of a part of the piece having a Spanish/ Mexican sound. It is interesting to note that if you go into a Mexican restaurant that plays real Mexican Pop Music, you will hear a Tuba part, not electric bass. It is one of the few places you will hear Tuba featured in that way in popular music so that was a natural fit. The new concerto has received the title "No Borders." That title points to a group with a name from North of our Border (Canadian Brass) that deftly navigates all kinds of musical styles. The music is not compartmentalized, there is a fluidity to the styles as they flow together over the course of the concerto. There are no musical borders, music is universal and Canadian Brass is popular all over the world.
Masters of concert presentations, Canadian Brass has developed a uniquely engaging stage presence and rapport with audiences. Each of their concerts will show the full range from trademark Baroque and Dixieland tunes to new compositions and arrangements created especially for them – from formal classical presentation to music served up with lively dialogue and theatrical effects. The hallmark of any Canadian Brass performance is entertainment, spontaneity, virtuosity and, most of all, fun – but never at the expense of the music. Achilles Liarmakopoulos- Trombone -hailing from Athens, Greece, has toured extensively throughout North America, Europe and Asia. He occasionally tours with the world renowned Pink Martini, and is also an adjunct trombone professor at Brooklyn College at CUNY University in NY. Bernhard Scully- Horn - is the professor of horn at the University of Illinois, Champaign-Urbana. Bernhard has held the position of principal horn with the Saint Paul Chamber Orchestra and was he first horn player to win the prestigious McKnight Music Fellowship. Caleb Hudson- Trumpet -a Lexington native and acclaimed by the New York Times as “brilliantly stylish,” Caleb has won first place at the National Trumpet Competition multiple times. He currently works as assistant professor of trumpet at Colorado State University. Chris Coletti- Trumpet -joining the Canadian Brass in 2009, Chris got his professional start as Principal Trumpet of The Huntsville Symphony in Alabama. He graduated with his masters from the Julliard School and finds the emphasis on education at the Canadian Brass a perfect fit. Chuck Daellenbach- Tuba -has brought music, imagination and humour to Canadian Brass since the group was formed in 1970. Chuck grew up in Wisconsin and earned his Ph.D from the Eastman School of Music . He currently lives in Toronto.
Concert Etiquette Whether this is your first time attending a Lexington Philharmonic concert, or if you are a regular follower of the orchestra, there is always something new to DISCOVER! No matter your age, our Music Builds Discovery! concerts offer the perfect introduction to the orchestra for everyone! Attending a concert is an exciting and fun experience! The first thing you will notice when you enter the concert hall are the musicians taking their seats on stage. Some may be talking, making sounds on an instrument, or even stretching. Just as athletes warm up before a game, musicians warm up before a concert. When the lights dim and the orchestra becomes quiet, they are waiting for the concertmaster to take the stage. The concertmaster is the violinist who sits at the front of the orchestra and acts similar to a team captain. He or she helps the orchestra tune and is the spokesperson for the musicians. The concertmaster will give the cue to the oboe to begin the tuning process. After the orchestra has tuned, the concertmaster will sit down and the conductor will come out to start the concert!
When do I clap?
When the concertmaster comes out -CLAP!- This shows respect for him and the orchestra.
After the orchestra tunes, when the conductor comes out -CLAP!- This shows respect for the conductor and typically he will also acknowledge the orchestra.
Sometimes pieces of music are made up of several sections or ’movements’ of a piece. Think of movements like episodes in a television show. Most people wait until the end of the piece, but you can -CLAP!- in between each movement or “episode” if you would like.
Clapping shows respect and enthusiasm for the musicians and the music so feel free to –CLAP!- whenever it feels right to do so.
Meet the LexPhil Musicians VIOLINS
Daniel Mason Concertmaster C.A. Coleman Chair Brice Farrar Associate Concertmaster Margaret Karp Assistant Concertmaster Elizabeth Ryland Steva Assistant Concertmaster Julie Lastinger Principal Second Kerry S. Zack Chair Raymond Weaver Assistant Principal Second Julie Baker Stacey Beane Ned Farrar Julie Foster David Goist Ingang Han Chang Ji Yein Jin Kristen Kline Gi Yeon Koh ++ William Ronning Meg Saunders Gretchen Wilcox Tucker
Henry Haffner Principal Monica Workings-Stock* Elizabeth Jones Austin Han Tzu-Hui Hung Leah Swisher Claire Whitcomb
Arpi Anderson Acting Principal Merrilee Elliott
Stephen Campbell Principal Joe Van Fleet Scott Batchelder
Benjamin Karp Principal Clyde Beavers* Patrick Binford Kathryn Drydyk Rebecca Kiekenapp Marsha Pendley Lisa M. Svejkovsky
Michael Acord Principal Mark Kleine Rajesh Soodeen
BASSES Dan Harris Principal LPO Guild Chair Victor Dome* Jack Henning Susan Lucas Eli Raines Maurice Todd
* Assistant Principal ++ On leave for 2017-2018 season
OBOES David Powell Acting Principal Andreas Oeste
BASSOONS Peter Simpson Principal Matthew Schuler Julie Gray
TROMBONES Andrew S. Duncan Principal JosÃ© Mangual
BASS TROMBONE Joel Lovan
TUBA Skip Gray Principal
TIMPANI Brady Harrison Principal
David Elliott Principal Mick Sehmann Joanne Filkins David Shelton
James Campbell Principal Brian Mason
HARP Elaine Humphreys Cook Principal
Orchestra Seating Chart
An orchestra is much like a family- instruments are grouped into families based on their similar characteristics and how they produce a sound.
The orchestra is made up of four families
STRINGS, WOODWINDS, BRASS and PERCUSSION
The STRING family is the largest instrument family in the orchestra. String instruments have a wooden body and attached strings. The instruments of the string family are the violin, viola, cello, double bass, and harp. To create a sound, the player has two options—to bow the strings, which creates a continuous sound from the instrument; OR to pluck the strings with their fingers, known as ‘pizzicato.’ Other instruments in the string family include the banjo, guitar and ukulele.
The WOODWIND family in the orchestra is made up of four different instruments—flute, oboe, clarinet and bassoon. Flutes are made out of metal and create sound when air is blown across a mouthpiece at the top of the instrument, similar to blowing across a glass bottle. Clarinets are typically made out of wood and create a sound when the reed—a small piece of wood—vibrates against the mouthpiece. The oboe and bassoon are ‘double reed’ instruments, meaning they both have two reeds tied together. Both instruments are made out of wood, and create sound through the vibration of the double reeds. The BRASS family is made up of four different instruments—horn, trumpet, trombone and tuba. Each of these instruments are made of metal tubing in varying lengths that are coiled into different shapes. The different lengths and shapes give each instrument an individual sound. The trumpet has the shortest length of tubing, which is why it produces the highest pitch of the brass family. The lowest pitched instrument of the brass family is the tuba, which has the longest length of tubing. To create sound on a brass instrument, the musician must buzz their lips in a mouthpiece connected to the end of the instrument. The PERCUSSION family consists of instruments that can make sound when hit, shaken, or scraped. The most common percussion instruments found in orchestra are the snare drum, bass drum, timpani, and xylophone. These instruments are all struck with a stick or mallet that creates a vibration and produces sound. The snare drum and bass drum are untuned instruments that play rhythmic patterns. The timpani and xylophone are tuned instruments that help create both harmonies and rhythmic patterns.
Meet the Conductor When you attend an orchestra concert, the person on stage who might stick out the most to you is the conductor. He comes on stage after the orchestra tunes, stands in front of the group, leads the musicians and controls the music. But, who is this person? This fall, Scott Terrell launches his ninth season as Music Director & Conductor of the Lexington Philharmonic. In his last eight seasons with the orchestra, he has reinvigorated the ensemble, challenging its musicians and audiences alike with greater variety of repertoire, all the while maintaining a steady footing in the classics. Maestro Terrell has simultaneously maintained a healthy schedule of guest conducting with many renowned orchestral institutions around the world including the Colorado Symphony, Opera Hong Kong, National Arts Centre Orchestra of Ottawa, Phoenix Symphony, Minnesota Opera, Arizona Opera, Minnesota Orchestra, Philadelphia Orchestra, Baltimore Symphony, Vancouver Symphony, Fort Worth Opera, and Aspen Music Festival and School.
The Lexington Philharmonic was founded in 1961, then known as the Central Kentucky Philharmonic Society.
Each season LexPhil’s concerts and programs reach approximately 35,000 Kentuckians.
LexPhil reaches an additional 450,000 listeners in central, eastern and southern Kentucky through public radio.
LexPhil works with over 13,000 students each year through its in-school and community-based Music Build education programs.
LexPhil recently redesigned its Music Builds education platform based on the ‘STEM to STEAM’ movement which emphasizes the importance of integrating the arts with science, technology, engineering and math (STEM) curriculum.
The Kentucky Academic Standards (KAS) Grades Primary-12 help ensure that all students across the commonwealth are focusing on a common set of standards and have opportunities to learn at a high level.
English and Language Arts
Big Idea: Creating
Big Idea: Speaking and Listening
MU:Cr1.1 Improvise rhythmic and melodic patterns and musical ideas for a specific purpose
Engage effectively in a range of collaborative discussions with diverse partners.
MU:Cr2.1 Demonstrate and explain personal reasons for selecting patterns and ideas for music that represent expressive intent
Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively and orally.
Big Idea: Performing
Big Idea: Language
MU:Pr4.3 Demonstrate understanding of expressive qualities and how creators use them to convey expressive intent
Big Idea: Responding MU:Re8.1 Demonstrate knowledge of music concepts and how they support creators’/ performers’ expressive intent. Big Idea: Connecting MU:Cn11.1 Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life.
Use knowledge of language and its conventions when writing, speaking, reading, or listening.
Health and Physical Education Big Idea: Personal Wellness (Health Education) 2.32 Students demonstrate strategies for becoming and remaining mentally and emotionally healthy. 4.1 Students effectively use interpersonal skills. 5.4 Students use a decision-making process to make informed decisions among options.
Art and Humanities
Big Idea: Cultures and Societies
Big Idea: Humanity in the Arts
2.16 Students observe, analyze, and interpret human behaviors, social groupings and institutions to better understand people and the relationships among individuals.
2.24 Students have knowledge of major works of art, music, and literature and appreciate creativity. 2.25 In the products they make and performances they present, students show they understand how time, place, and society influence the arts and humanities. 2.26 Students recognize that people share common experiences and attitudes.
2.17 Students interact effectively and work cooperatively with the many ethnic and cultural groups of our nation and world.
Activity-We’ve Got Rhythm geared towards elementary students
Objective Following this lesson, students will:
Explain how rhythm is all around us in the natural world
Make connections between music and our spoken language
Create their own rhythm to accompany a poem
Evaluation Successful achievement of this activity will result in a rhythmic composition set to a poem.
Pre-Assessment Discuss with your class how we live in a world full of rhythm. Have them brainstorm the different kinds of rhythm - rhythms in nature (waves in the ocean; raindrops falling), rhythms in the body (heart beat, breathing, walking, etc.), rhythms in machines (rhythm of trains, cars, etc.; jackhammers; washing machines; clocks; swings; pendulums; see saws, etc.) Explain how language has a rhythm of its own. Speak multi-syllable words while stressing the wrong syllable, for example, apple, water, computer etc. Ask them to describe why it does not sound natural.
Activity Allow your students to choose a poem or give them a poem to work with. They will be setting the poem to a rhythm using drums or other percussion instruments. Have them perform their composition for the class. Depending on the child or the grade, allow them to use tonal instruments and choose different notes to go with the rhythm
Activity-Earthquake Symphonies geared towards Middle and High School students
Objective Following this lesson, students will:
Understand the music and inspiration can come from anywhere
Understand relationships between music and outside disciplines
Compose their own music using earthquakes as inspiration
Explore language used to describe music and explore feelings and expressive intent
Evaluation Successful achievement of this activity will result in the creation of a new work of music using earthquakes as inspiration.
Pre-Assessment Discuss with your class the different ways that a new composition can be inspired, such as a theme, idea, story, or even just starting with a simple melody. Brainstorm natural phenomena and ideas that could influence or inspire music. Have your students listen to parts of Beethoven’s Eroica (6:56, 22:56, 39:36, 45:27) and have them write down what they hear as it reminds them of or relates to earthquakes. Use a slinky device to demonstrate various types of waves. Simulate a fault by drawing a curved Sshaped line in the middle of a vertical piece of paper; cut along the line; have students hold the two pieces together and slowly move them up and down to see the fault zone action. Also try moving them downward and see if there is a different formation.
Activity Provide the students with sample seismograms, and a transparency with a score sheet on it. Have students mark a musical note on the score sheet transparency everywhere there is a spot on the pattern on the seismogram. Mark each “note” as a beat, and measure off 4/4 timing (four beats per measure). Students can then use instruments to play the composition they created from transcribing the seismogram into musical notation, making any modifications to enhance their earthquake symphonies. These compositions can be played to the class by the student or teacher. Have students comment of the ways that this composition reminds them or sounds like an earthquake.
LexPhilâ€™s Peanut Butter & Jelly Concerts are the perfect first-concert experience for your little listeners! Join LexPhil Saturday mornings for an engaging halfhour concert, followed by time for play and discovery at the Instrument Petting Zoo, and of course, PB&J sandwiches. Tickets are $5 each, or subscribe to all four for only $16!
Subscribe to all four PB&J Concerts and Candy Cane for only $26! TWO choices for Concert Time (for Fayette County Concerts) 10:00 AM concert and PB&J sandwiches/ 10:30 AM Instrument Petting Zoo 11:00 AM concert and PB&J sandwiches/ 11:30 AM Instrument Petting Zoo LexPhil Music Education Partners-
Toyota Motor Manufacturing, Kentucky, INC., The JM Smucker Co. Kentuckyâ€™s Touchstone Energy Cooperatives, Fifth Third Bank, Lexington Philharmonic Guild
Music Builds Friendship September 9, 2017 - 10am & 11am at Central Kentucky Riding for Hope - 4185 Walt Robertson Rd Join our string quartet in a musical experience around the world! Listen to folk songs from a variety of different countries and learn how music brings us together and connects people no matter where they live.
Music Builds Thrills October 28, 2017 - 10am & 11am at Ashland, the Henry Clay Estate - 120 Sycamore Rd and 2pm at the Community Arts Center - 401 West Main St Danville, KY 40422 Celebrate Halloween the silly way with our percussionists! Sing and dance to some spooky songs and learn how music can make everything a bit more thrilling. Halloween costumes encouraged but not required.
Music Builds Exploration March 3, 2018 - 10am & 11am at Aviation Museum of Kentucky- 4029 Airport Rd 2pm at the Hummel Planetarium- Kit Carson Dr, Richmond, KY 40475 Explore the skies, depths of the ocean, and even journey to outer space with our brass ensemble as your guide. Use your imagination to travel the universe and learn how music can take you places you never knew you could go.
Music Builds Literacy April 28, 2018 - 10am & 11am at Lyric Theatre - 300 East Third St How can you make reading even more fun and enjoyable? By adding music of course! Join our woodwinds in reading a story complete with music and sound effects and learn how reading and music go hand in hand.
Instrument Petting ZooPrice: $75 for the first hour, $25 for each additional hour Program Description – Bring LexPhil’s most popular program to your school! LexPhil’s traveling instrument petting zoo includes instruments from all the families. Students have time to touch, hold, discover, and play all of the instruments. The goal of the program is to engage student’s interest in music on a personal level and help them identify instruments they are interested in learning more about.
Teaching ArtistsPrice: Call or email for quote Program Description – One of LexPhil’s musicians will visit the classroom to help reinforce ideas that are being communicated in the class. Visits can be tailored to certain instruments or instrument families, time periods, composers, genres, or anything else the students are working on in class. Musicians can be the main presenter or work with the teacher to present.
EnsemblesPrice: Call or email for quote Program Description – Have an ensemble of musicians come and perform for your school. Choose an existing LexPhil ensemble, or work with us to develop something new.
Open RehearsalPrice: Free Program Description – Watch a dress rehearsal for one of the series concerts. Students must be accompanied by their classroom teacher or a parent to attend. Students will get the chance to listen and watch how a piece is rehearsed and fine tuned by the conductor. Dates and Locations – November 10, 2017, 7:30pm- CB Squared! Singletary Center for the Arts - 405 Rose St, Lexington, KY 40508 May 18, 2018, 7:30pm- Celebrating Bernstein Singletary Center for the Arts - 405 Rose St, Lexington, KY 40508 If interested in any of these programs please contact the education office at email@example.com or call 859.233.4226
During the 2014-15 season, the Lexington Philharmonic unveiled its Music Builds STEAM platform. This platform is based on the STEM to STEAM movement, which is devoted to broadening the basic curriculum standards for Science, Technology, Engineering and Math by adding the Arts. This educational initiative includes the Arts as a tool to strengthen the critical thinking skills needed for students to excel in all areas. LexPhil continues its Music Builds education platform during the 2017-18 season, introducing new and exciting opportunities for all students! Music Builds provides the framework on which LexPhil’s education programs develop and serve multiple arts education and cross curricular needs.
STEM to STEAM Objectives
Transform research policy to place Art + Design at the center of STEM Encourage integration of Art + Design in K-12 education Influence employers to hire artists and designers to drive innovation
Resources supporting STEM to STEAM Education(links available by accessing the Education Guide at www.lexphil.org) STEM to STEAM
Why We Need to Put the Arts into STEM
STEM vs STEAM: Do the Arts Belong?
STEM vs STEAM- The Creative Thinker
Why the ‘A’ Makes All the Difference
Taking the Leap from STEM to STEAM
Adagio - slow
Lento - slowly
Allegro con brio- to play music brisk and happily, with spirit
Meter - a pattern of strong and soft beats throughout the music
Andante maestoso -slow, with majesty
Octave - In music, an octave has all notes Arpeggio - notes of a one chord are played (A,B,C,D,E,F,G) as well as their sharps and flats included. This octave is repeated in quickly, one after the other. both higher and lower pitches. Chord - when three or more notes are Opera -a dramatic work in one or more played at the same time. acts, set to music for singers and Coda - the end, tail, or closing section of a instrumentalists. song Overture -an orchestral piece at the Common time - this is a typical beat of 4 beginning of an opera, suite, play, or other beats per measure. Many songs have this extended composition. timing and it is indicated by a "C" or haft Pizzicato - when you pluck the strings on a circle. stringed instrument, rather than playing Crescendo - growing steadily louder them with a bow Decrescendo - growing steadily quieter Score - this is the written down version of Dissonance - a combination or quality of music. Generally for a complex piece that sounds that sound unstable shows the music for a number of musical instruments. Dolce - to play a piece of music sweetly Excerpt -a short section of a piece of music Solo - played by a single musical instrument or voice Forte - to play music loudly or strongly Sonata - a song written for one or more Harmony - when several notes or chords instruments playing solo come together to create a certain sound Staccato - when each music note is played Improvisation - making up the song or sharply and by itself. melody as you play Suite -collection of short musical pieces Key - a musical key is when the notes of a which can be played one after another song are centered around a certain note or Tempo - timing or speed of the music class of notes that sound "right" when played Vibrato - the repeating changing of the Legato - to play music smoothly, to blend pitch of a note notes together
DISCOVERY CONCERT TEACHER EVALUATION fill it out online Name (optional): __________________________________________________ Date: ____________________ School/Group: _________________________________ Email: ______________________________________ 1. Please rate the following on a scale of 1 to 5 1 = Don’t Know
2 = Strongly Disagree
3 = Disagree
4 = Agree
Concert programming was suitable for all grades The conductor had a good rapport with the audience The guest artists had a good rapport with the audience The orchestra’s performance was of high quality My students were attentive during the performance We had no issues with entering, exiting, or seating
1 1 1 1 1 1
5 = Strongly Agree 2 2 2 2 2 2
3 3 3 3 3 3
4 4 4 4 4 4
5 5 5 5 5 5
Comments: ________________________________________________________________________________________________________ ________________________________________________________________________________________________________ ________________________________________________________________________________________________________ 2. What did your students enjoy most about the Discovery concert? ________________________________________________________________________________________________________ ________________________________________________________________________________________________________ ________________________________________________________________________________________________________ 3. Have you used the Educator’s Guide? Yes, in conjunction with attending the Discovery concert Yes, separately from the Discovery concert Not yet; we have attended the Discovery concert and plan on using the guide No, we did not use the Educator’s Guide 4. How did you find out about the Discovery concert? Attended previously Email Lexphil.org Family magazine Other ______________________________________________ 5. To help us better improve the Discovery concert and Educator’s Guide, please provide additional comments ________________________________________________________________________________________________________ ________________________________________________________________________________________________________ ________________________________________________________________________________________________________
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Educators! Check out our Music Builds Discovery! Guide, a companion publication for our annual education concert, Music Builds Discovery! In...
Published on Oct 2, 2017
Educators! Check out our Music Builds Discovery! Guide, a companion publication for our annual education concert, Music Builds Discovery! In...