2016-2017 Schooltime Supplementary Materials

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SCHOOLTIME CONCERTS CHECKLIST Important items to remember 

Schooltime concerts are free of charge.

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Schooltime concerts are not ticketed, though it is imperative that you give an accurate count of seats your group will require when you register. You will be shown to your seating location upon entry into Heinz Hall.

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Schooltime concerts are approximately 45 minutes to 1 hour in length, depending on grade level.

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Tours of Heinz Hall are not available on concert days. If you wish to schedule a tour on a non-performance day, please call 412-392-4850.

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Your group is responsible for arranging and coordinating your transportation to and from Heinz Hall.

Before the concert    

Make copies of the Bus Sign as needed to display in your bus’s front right window; all members of your group must know their bus number and school name.

Use the Supplementary Materials to prepare your students for the concert.

Review the Map of Exit Doors that can be found in your Supplementary Materials.

Preview our concert by listening to our free Spotify Playlists, accessed through the concert registration resource page.

The day of the concert  

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Arrive at Heinz Hall approximately 30 minutes prior to the concert.

If the members of your group are arriving separately, please meet at a central location outside of Heinz Hall and enter together as a group to better facilitate the seating process.

Place Bus Signs in the front right window of all buses.

Remind all chaperones and students of their school name and bus number.

Leave all food, drink, backpacks, music devices, cameras, electronic games, etc. on the bus. These items are not permitted inside Heinz Hall.

Remind your bus drivers that City of Pittsburgh Police officers will guide them to their parking space, in the city. Please note: the City of Pittsburgh dictates where buses can be parked. You may need to walk two to three blocks from your parking space to Heinz Hall.

Obtain a cell phone number for your bus driver.

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Table of Contents

Acknowledgements………………………………………………………..…… 3 Notes on Your Trip to Heinz Hall………………………………………………..4 Transportation and Parking Information……………………………..……… 5 Heinz Hall for the Performing Arts……………………………………...……… 6 Pittsburgh Cultural Attractions………………………………………..……….. 7 Accessibility……………………………………………………………..…………8 Standards & The Arts and 21st Century Skills..……………………..…….…. 9 Guiding Questions for Exploring a Piece of Music………………………..10 Meet the Conductors……………….………………………………………….11 Second Grade Schooltime Activities………………………………….........13 Sixth Grade Schooltime Activities…………………………………………….34

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Acknowledgements Grateful thanks to the City of Pittsburgh Police for their help in keeping our young audiences safe as they visit Heinz Hall.

Applause for the teachers, administrators, and parents of all the schools in the Pittsburgh Symphony Orchestra family for supporting music education programs in their districts. The PSO believes that no child’s education is complete without the study of music. Please help keep music in our schools!

Thank you to Jessica Kendall for creating the Sixth Grade Supplementary Materials.

We wish to extend a special thank you to the following organizations, whose generous support allows the PSO to offer educational programs such as the Schooltime concerts: Foundations

Corporations

The Almira Foundation Allen H. Berkman and Selma W. Berkman Charitable Trust Henry C. Frick Educational Fund of The Buhl Foundation The Jack Buncher Foundation Anne L. and George H. Clapp Charitable and Educational Trust Peter C. Dozzi Family Foundation The Fine Foundation The Grable Foundation The Hansen Foundation William Randolph Hearst Endowed Fund for Education May Emma Hoyt Foundation Milton G. Hulme Charitable Foundation Roy F. Johns Family Foundation Robert and Louise Kahn Fund for Pittsburgh Symphony Orchestra Schooltime Concerts Martha Mack Lewis Foundation Thomas Marshall Foundation Massey Charitable Trust McKinney Charitable Foundation Howard and Nell E. Miller Foundation A.J. and Sigismunda Palumbo Charitable Trust W. I. Patterson Charitable Foundation William Christopher and Mary Laughlin Robinson Fund of The Pittsburgh Foundation Ryan Memorial Foundation Salvitti Family Foundation Tippins Foundation Edith L. Trees Charitable Trust

American Eagle Outfitters Bender Consulting Services, Inc. C.S. McKee, L.P. Dollar Bank Foundation Eat’n Park Restaurants Enterprise Holding Foundation EQT Foundation FedEx Ground First National Bank of Pennsylvania Hefren-Tillotson, Inc. Highmark Blue Cross Blue Shield The Kraft Heinz Company Levin Furniture Lincoln Learning Solutions Macy’s Michael Baker Corporation MSA Safety Incorporated/MSA Company Charitable Foundation Nordson Corporation Foundation Pirates Charities P.J. Dick, Trumball & Lindy Paving PNC PPG/PPG Foundation Princeton Entertainment Triangle Tech Group Trib Total Media TriState Capital Bank United States Steel Corporation UPMC & UPMC Health Plan

Governmental Agencies

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Allegheny Regional Asset District Pennsylvania Council on the Arts Pennsylvania Department of Community and Economic Development

Notes on Your Trip to Heinz Hall Please take a few moments to review these guidelines  All school buses must have a sign in the side window (next to the door) stating the school name and bus number. Be sure that all of your teachers and chaperones remember their bus number. If you have more than one bus, you may wish to assign a number to each bus on the sign (e.g., Main Street Elementary #1 of 3, Main Street Elementary #2 of 3, etc.).  Please have your students use the restrooms before they leave school. If students must use the restrooms at Heinz Hall, they should do so before or after the performance.  No food is to be brought into Heinz Hall. Any bag lunches or snacks that you bring must be left on the bus. No exceptions will be made.  Students are not to bring backpacks, book bags, or personal electronic devices into Heinz Hall.  No cameras or video recorders should be brought into Heinz Hall. Photography, video, and audio recordings are strictly prohibited.  Students should disembark the bus and proceed to Heinz Hall in an orderly line, each student with a partner. As educators, you know the importance of keeping your group together!  Groups are not permitted to approach the stage, nor are they permitted to take spontaneous tours of Heinz Hall. Tours may be available on a non-performance day by contacting Heinz Hall Management at 412-392-4850 in advance.  All seat locations are “first-come, first-served,” determined by the date upon which your reservation form was received by the PSO. You will not receive tickets or a seating location prior to the concert. Simply check in with a staff member at the entrance to Heinz Hall and follow your guide to your seating location.  Please remember that there will be over 2,500 children in Heinz Hall for each concert. Attending to your students is the responsibility of you and your chaperones; please do not expect a PSO staff member or Heinz Hall Usher to monitor your students’ behavior. All teachers and chaperones are required to stay with their groups throughout the entire performance. Groups exhibiting inappropriate behavior will be asked to leave and will not be invited back to these free performances.

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Transportation and Parking Information  If you are a group traveling by school bus, please inform your driver that City of Pittsburgh Police Officers will be directing buses to parking spaces in downtown Pittsburgh. Please note: the City of Pittsburgh dictates where buses can be parked. You may need to walk two to three blocks from your parking space to Heinz Hall. If you need to arrange drop off for those with limited mobility, please contact our staff ahead of the concert at education_outreach@pittsburghsymphony.org.  Information about Port Authority transportation to Heinz Hall can be found on their website at www.portauthority.org. The site has a “Trip Planner” feature on the main page that will suggest which buses or T-stops to take to Heinz Hall.  The Pittsburgh Downtown Partnership offers parking reservations for those wishing to park downtown between the hours of 10:00 am and 2:00 pm in participating garages. Visit http://www.downtownpittsburgh.com/getting-around/parking/reservation to make a reservation.  Automobile parking may be available near Heinz Hall in the following garages:  Sixth and Penn Garage (enter on Penn Avenue near Subway)  Benedum Lot (enter on Penn Avenue)  Eighth and Penn Avenue Lot (enter on Penn Avenue)  Theater Square Garage (enter on Seventh Street across from Proper)  Ninth and Penn Garage (enter on Penn Avenue or Ninth Street)  Ninth and Penn Lot (enter on Penn Avenue)  Ft. Duquesne and Sixth Garage (enter on Sixth Street near Ft. Duquesne)  Smithfield Liberty Garage (enter on Liberty Avenue by Seventh Street)  Stanwix and Ft. Duquesne Garage (enter on either Stanwix or Ft. Duquesne)  Oliver Garage at Piatt Place (enter on OIiver Avenue) More information can be found online at www.alcoparking.com or www.pittsburghparking.com.  For those with smart phones, visit ParkPGH (parkpgh.org) for real-time parking availability in Cultural District garages.  Highway repair and closure information is available on PennDOT’s website at www.511pa.com .  Detour information for downtown Pittsburgh is available on the Port Authority website at http://www.portauthority.org/paac/SchedulesMaps/Detours.aspx

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Heinz Hall for the Performing Arts Heinz Hall for the Performing Arts was built in 1927, and it opened on September 6 of that year as the Loew’s Penn Theatre. The Penn Theatre was a movie theater, as well as a venue for numerous vaudeville and stage shows. It closed in 1964, and it remained vacant until 1970, when renovations began to turn the Penn Theatre into Heinz Hall for the Performing Arts.

Heinz Hall has several notable features.

Among them is the famous 40-foot window in the Grand Lobby that looks out onto Sixth Street. Also in the Grand Lobby are two chandeliers suspended from the ceiling, both of which are 15 feet by 8.5 feet. These chandeliers need to be lowered by pulleys when they are cleaned or when light bulbs are replaced.

The auditorium of Heinz Hall seats 2,702 people. The theater is divided into three main seating divisions: the Orchestra level (or main floor), the Grand Tier, and the Balcony—which is subdivided into the Dress Circle, Family Circle, and Gallery. The stage of Heinz Hall has a unique feature: a moving floor. The front portion of the stage, called the apron, is on a hydraulic lift that can be lowered to create an Orchestra Pit, where musicians sit for an opera or Broadway show. The carpeting of Heinz Hall has a specially-made design of a triangle pattern, which represents the three rivers of Pittsburgh. When the original carpet was placed in Heinz Hall in 1971, an equal amount of the carpet was placed into storage. In 1995, when the carpeting in Heinz Hall needed to be replaced, the “spare” carpeting was brought out of storage and used to replace the worn carpeting.

Heinz Hall is one of the premier performance facilities in the world. Its value is estimated at more than $30 million.

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Pittsburgh Cultural Attractions To enhance your visit to Heinz Hall, consider also visiting these exciting Pittsburgh cultural attractions!

Andy Warhol Museum www.warhol.org

National Aviary www.aviary.org

August Wilson Center for African American Culture culturaldistrict.org/pages/aacc

Phipps Conservatory and Botanical Gardens www.phipps.conservatory.org

Carnegie Museum of Art and Natural History www.cmoa.org www.carnegiemnh.org

Pittsburgh Zoo & PPG Aquarium www.pittsburghzoo.org

Carnegie Science Center www.carenegiesciencecenter.org

Senator John Heinz Pittsburgh Regional History Center www.pghhistory.org

Childrenâ&#x20AC;&#x2122;s Museum of Pittsburgh www.pittsburghkids.org

Silver Eye Center for Photography www.silvereye.org

Fort Pitt Museum www.fortpittmuseum.com

Society for Contemporary Craft www.contemporarycraft.org

Frick Art & Historical Center www.frickart.org Gateway Clipper Fleet www.gatewayclipper.com Mattress Factory www.mattress.org

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Accessibility The Pittsburgh Symphony Orchestra is committed to providing an environment that is inclusive and welcoming to everyone. To learn more about the services we provide or request accommodations, including assistive listening devices, sign language interpretation, and accessible seating, please contact the Education & Community Engagement Department at education_outreach@pittsburghsymphony.org.

Hints for Using Activities with Children with Special Needs

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By Roger C. Thomas, Jr., Music and Special Needs, Western PA School for Blind Children Additional materials adapted from Rosenber, M., Westling, D., & McLeskey, J. (2008) Special Education for Today’s Teachers: An Introduction. Upper Saddle River, NJ: Merrill Prentice Hall.

Most activities can be adapted for use with children who have special needs.

Before presenting an activity, plan how a child’s skills match what is required, and then adapt to help make the activity accessible.   Repetition is essential. Give assistance as needed.  For children in wheelchairs, adapt loco-motor activities to be generated with hands.

For example, instead of stomping, hit hands on a tray or lap. Instead of tiptoeing, use fingertip touching.  Allow extra time for projects, activities, worksheets, and breaks.  Break projects into steps to allow students to see a clear, sequential process.

Include instructional prompts in worksheets and for projects.  Use all available resources within the classroom to support learners. Assign peer tutors and use assistive technology if necessary. 

Additional Resources on the Web 

Center for Applied Special Technology: cast.org

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Center for Music Learning—The University of Texas at Austin: https://cml.music.utexas.edu/online-resources/disabilities-information/introduction/

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Center for Parent Information and Resources: www.parentcenterhub.org

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The Kennedy Center/VSA: www.kennedycenter.org/education/vsa/programs/special_education.cfm

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National Association of Special Education Teachers: www.naset.org

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Special Education Guide: www.specialeducationguide.com 8

Incorporating Standards For teachers using this resource book in their classroom, all lessons and activities connect to the Pennsylvania Core Standards and National Core Arts Standards.

Pennsylvania Core Standards: www.pdesas.org National Core Arts Standards: http://nationalartsstandards.org/ Using the lessons that follow help students prepare and reflect on their experience listening to live music. These lessons connect with grade level curriculum in Pennsylvania across the content areas. By covering various subject areas, these lessons can be used by educators to help enrich their students’ experience at Heinz Hall.

The Arts and 21st Century Skills 

Business leaders and visionary thinkers are concerned with the preparation of students for the future. 21st Century Skills are the skills that are seen as mandatory to be successful in the workforce. These skills include: critical thinking creativity problem solving innovation communication global awareness collaboration flexibility

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21st Century Skills are native to the fine arts. The fine arts are proven to cultivate: curiosity creativity imagination evaluation skills critical thinking persistence collaborative learning resilience innovation conditional reasoning

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Students who possess these skills are able to tolerate and explore: ambiguity new realms of possibility expression of their own thoughts and feelings understand the perspectives of others

For more information, visit the Partnership for 21st Century Skills at: http://www.p21.org/.

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Guiding Questions for Exploring a Piece of Music Adapted from Lincoln Center Education’s model of Imaginative Learning Entering the World of the Work of Art: A Guide for Designing an Instructional Unit, 2012.

Visit www.lcinstitute.org for more information

Describe – questions that elicit pure noticing  What do you notice?  What do you hear?  How would you describe…?

Analyze – questions that ask students to analyze various aspects of the work  What do you hear that is… o similar? o different? o a pattern?  What patterns or relationships can you identify in the music?  How are the individual parts of the music put together?  What connections do you make o to your life? o to the world? o to things you have read? o to what you are studying in school?  What questions do you have?

Interpret – questions that ask students to find their own meaning in the music after considering their responses to the prior descriptions and analyses (ask students to provide evidence for their analyses and interpretations)  What do you think is going on in this piece of music?  What is it about?  What ideas was the composer trying to convey in this music?  What does it mean? What does it mean to you?  Does it represent something? If yes, what?  Does the music evoke any emotions?  What does the music express?  If this music was a metaphor for something, what might it be?

Additional Questions for Reflection  What is the first word that comes to mind when you hear this music?  If you were to give this piece of music a new title, what would you call it?  What is surprising about this piece of music?  Does this piece of music remind you of anything you’ve heard before?  Do you relate to this work on a personal level? Explain.  What do you think the overall mood of the music is?  Does the title of the piece help you to understand the music?

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Meet the Conductors Having completed highly successful first seasons as music director of Tulsa’s Signature Symphony at TCC, as well as assistant conductor of the Pittsburgh Symphony Orchestra, Andrés Franco has established himself as a conductor to watch.

While maintaining his roles as principal conductor of the multimedia project Caminos del Inka, and artistic director of the Fort Worth Symphony Orchestra’s summer festival “Concerts in the Garden,” he continues to delight audiences with his imaginative programming and energetic style.

During the 2016-2017 season, Franco will make debuts with the Boise Philharmonic, Oklahoma City Philharmonic and Texas Music Festival, and will return to conduct the Fort Worth Symphony Orchestra.

A frequent guest conductor in the United States, Europe and South America, Franco has appeared with the Columbus, Elgin, El Paso, Eugene, Fort Worth, Houston, Lake Forest, Mississippi, Saginaw Bay, Springfield, St. Louis and Stockton symphony orchestras; the Chicago Sinfonietta; Orquesta Sinfónica de Castilla y León/Spain; the National Symphony Orchestra of Peru, as well as with the National Symphony, Bogota Philharmonic, Medellin Philharmonic and EAFIT Symphony Orchestra in Colombia. Festival appearances include the Cabrillo, Grant Park, OK Mozart and Oregon Bach Festivals.

Franco formerly served as music director of the Philharmonia of Kansas City, as associate and resident conductor of the Fort Worth Symphony, and as Leonard Slatkin’s assistant conductor during the 14th Van Cliburn International Piano Competition.

A native of Colombia, Franco is dedicated to preserving and performing the music of the Americas.

As principal conductor of Caminos del Inka, he has led many performances of works by Latin American composers, such as Jimmy López, Diego Luzuriaga and the famous Argentine composer Ástor Piazzolla.

Born into a musical family, Franco began piano studies with his father, Jorge Franco. An accomplished pianist, he studied with Van Cliburn Gold Medalist Jose Feghali, and attended piano workshops with Rudolph Buchbinder in Switzerland, and Lev Naumov in France. He studied conducting with Marin Alsop, Miguel Harth-Bedoya, Kurt Masur, Gustav Meier, Helmut Rilling, Gerard Schwarz and Leonard Slatkin.

Franco holds a bachelor’s degree in Piano Performance from the Pontificia Universidad Javeriana in Bogotá, Colombia, as well as master of music degrees in piano performance and conducting from Texas Christian University.

Franco is married to Victoria Luperi, associate principal clarinetist in the Pittsburgh Symphony Orchestra.

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American conductor Francesco LecceChong has worked with orchestras around the world including engagements with the National Symphony Orchestra, Atlanta Symphony Orchestra, Toronto Symphony Orchestra, St. Louis Symphony, Indianapolis Symphony Orchestra, San Diego Symphony and Hong Kong Philharmonic Orchestra.

He currently holds the positions of assistant conductor of the Pittsburgh Symphony Orchestra and music director of the Pittsburgh Youth Symphony Orchestra. Previously, Lecce-Chong served as associate conductor of the Milwaukee Symphony Orchestra and Grand Teton Music Festival.

Lecce-Chong has earned a growing reputation and critical acclaim for dynamic, forceful performances, garnering national distinction, including the Solti Foundation Career Assistance Award and The Presser Foundation Music Award. He has also been featured in international masterclasses with Bernard Haitink, David Zinman, David Robertson and Christopher Seaman.

As a trained pianist and composer, Lecce-Chong embraces innovative programming, champions the work of new composers and supports arts education. While working with the Milwaukee Symphony Orchestra (MSO) from 2011 to 2015, he curated and presented the works of both active and lesser-known composers, including two works commissioned by the orchestra, as well as two U.S. premieres. He also helped create the first MSO Composer Institute, providing performance opportunities for young American composers.

Lecce-Chong has complemented his programming with a strong commitment to arts education for all ages. In Milwaukee, he provided artistic leadership for the MSO’s nationally lauded Arts in Community Education program – one of the largest arts integration programs in the country – and he continues to be a frequent guest speaker for arts organizations around the country.

Lecce-Chong is a native of Boulder, Colorado, where he began conducting at the age of 16. He is a graduate of the Mannes College of Music, where he received his Bachelor of Music degree with honors in piano and orchestral conducting. Lecce-Chong also holds a diploma from the Curtis Institute of Music, where he studied as a Martin and Sarah Taylor Fellow with Otto-Werner Mueller.

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Second Grade Schooltime

“Meet the Orchestra” Francesco Lecce-Chong, Conductor March 1, 2, 3, 6, 7, & 8, 2017 10:30 am Muzquiz

Auburn Run-Out

Dukas

Fanfare to precede La Péri

Williams

Suite from Harry Potter and the Sorcerer’s Stone “Nimbus 2000”

Britten

Simple Symphony, Mvt. 4

Tchaikovsky

“Waltz of the Flowers” from Nutcracker

Offenbach

Can-Can from Orpheus in the Underworld

Strauss, Jr.

Tritsch-Tratsch Polka

Shostakovich

Festive Overture

Program subject to change

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Exploring the Arts through Aesthetic Education & Imaginative Learning Based on Lincoln Center Education’s Model for Aesthetic Education Today, imaginative thinking is as critical to career success as a college degree. Teaching students to examine a work of art, bring their own experience to it, and take away a new awareness and original ideas prepares them for a world that demands, and thrives on, innovation and ingenuity. – Lincoln Center Education The following lesson plan is based on Lincoln Center Education’s methodology for aesthetic education and imaginative learning. The objective is to engage students in artmaking, questioning, reflection, and contextual research so that they may “develop skills of perception and description, develop their imaginations, and transform inspiration into creative action.” Lessons can be adapted for students of any age, and they can be expanded to address subjects across the curriculum.

Color and Shape Expression Work of Art: Kandinsky’s Impression III (“Concert”) Can be found and bought from the following resources:  http://www.allposters.com  http://www.art.com Grade Level: Second Grade Supplies: Print of Kandinsky’s Impressions III painting Line of Inquiry: How does Kandinsky’s use of color and shape convey his experience at the concert hall?

Activity 1 Time: 30 seconds Description: Discussion of audience behavior at various events Questions/Procedure:  Where were you a member of an audience? o Refer to concert etiquette lesson plan – movie theatre, concert hall, sports arena, etc.  “Since you will be an audience member at Heinz Hall, describe what you think Heinz Hall will look like.” o Seats, stage, musicians, description of colors in the Hall, etc.

Activity 2 Time: 5 minutes Description: Creating pictures of yourself at Heinz Hall Questions/Procedure: 14

Using watercolors or crayons, have the students paint themselves at Heinz Hall o Encourage them to recreate what they imagine their experience at Heinz Hall will be like Activity 3 Time: 2-3 minutes Description: Showing and discussing the works of art Questions/Procedure:  Ask a volunteer to show their painting  Have the class describe what they see o Teacher can prompt for color choice, shapes, people, etc.  Break the students into small groups to allow discussion o Have the students share their paintings with the group o Encourage the students to explain the choices they made for their painting, such as color, shapes, etc. o Allow the other students to ask questions Activity 4 Time: 1-2 minutes Description: Class reflection Questions/Procedure:  Reflect as a class on what the students noticed in their classmates’ paintings o Teacher can prompt for color choice, shapes, people, etc.

Activity 5 Time: 2 minutes Description: Show Kandinsky’s painting Impression III to the class and discuss Questions/Procedure:  “This is how a famous artist named Kandinsky painted a concert hall, similar to Heinz Hall, after attending a concert.”  “What do you see in the painting?” o Allow the students to list ideas without teacher prompting  “If the artist were here, what would you ask him about his painting?” o For example, “Why did you use so much yellow?” o List the questions on the board Activity 6 Time: 2-3 Minutes Description: Learning about the work of art (Kandinsky’s Impression III) Questions/Procedure:  “Here is some information about the painting. See if these facts answer any of your questions.” o In Kandinsky’s first sketch of this work of art, the perspectives of the concert hall, some people, and a chandelier can still be seen o Kandinsky uses color and shape to represent objects within a concert hall  The black mass represents a black piano  The two white lines represent two white columns  The figures of different colors lining the bottom on the painting are suggestions of people  The red might suggest the sound mass coming from the rest of the orchestra 

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The yellow interceding the left white column suggests a chandelier The black rectangle with a red circle right next to the left column suggests a conductor

Activity 7 Time: 1-2 minutes Description: Discuss the painting again after the students obtain background knowledge Questions/Procedure:  Show the painting again  “Look at our list of questions about the art. Pretend you are the artist and answer some of the questions.”

Lesson to be continued during and after concert Activity 8 Time: 10:30-11:15am Description: Attend the “Meet the Orchestra” concert at Heinz Hall Questions/Procedure:  Ask the students to notice different elements of Heinz Hall  Ask them to mentally note what aspects of Heinz Hall were different or similar to what they expected to see Activity 9 Time: 3 minutes Description: Review Kandinsky’s painting Questions/Procedure:  Back in the classroom, look at the painting again  “Do you notice anything else or anything different in the painting?”  Allow the students to discuss aspects of the painting in comparison to their experience at Heinz Hall Activity 10 Time: 5 minutes Description: Creating pictures of yourself at Heinz Hall Questions/Procedure:  Allow the students to draw/paint themselves at Heinz Hall after they have experienced the concert

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Concert Etiquette Lesson Plan Objective: Students will be able to discuss, understand, and demonstrate appropriate concert etiquette.

Set-up: Students sit on the floor Props for skits (e.g., sporting events, concert, movie theater) Procedure: I. Understanding audience behavior a. Ask students to describe places where they were members of an audience (e.g., movie theater, dance recital, sporting event, concert, school presentation, etc.). List places on the board. b. Choose three events, one of which should be an orchestra concert, to discuss different behaviors of audience members at various events. List characteristics of audience behavior. c. Act out the events, in which the last scenario should be an orchestra concert. i. Choose students to role-play the events. Allow the rest of the class to demonstrate proper attributes of an audience member in each situation. ii. Ask the performers to evaluate the audience’s behavior for the first two skits. d. After role-playing the orchestra concert, review and evaluate the audience’s behavior (e.g., sitting with their hands to themselves, being quiet, paying attention, etc.).

II. Understanding what to expect at Heinz Hall a. Tell the students that they will be attending a concert at Heinz Hall where the Pittsburgh Symphony Orchestra will perform. b. Explain what to expect before the concert starts i. Musicians “warm-up” just like athletes or dancers. The musicians will enter the stage to practice prior to the start of the concert. ii. The concertmaster (first chair violinist) enters the stage; the audience applauds. Then the concertmaster gives a signal to the principal oboe player and the orchestra begins to tune. It is important for the audience to remain silent while the orchestra is tuning. iii. The conductor will enter the stage; the audience applauds before he conducts the first piece. When the piece is finished, the audience applauds when the conductor lowers his hands and turns to the audience to take a bow.

III. Practice activity a. Choose a group of students to be a small orchestra, a concertmaster, and a conductor.

Have the rest of the class act as the audience. b. Role-play “what to expect before the concert starts” i. Musicians warm-up ii. Concertmaster tunes iii. Conductor conducts c. Discuss the procedure for leaving after the concert: i. Do not get up from your seats after the concert ends. ii. Wait for Symphony personnel to dismiss your school from the stage. iii. Exit Heinz Hall in an orderly manner, keeping your entire group together. If some of your students must use the restroom, send them with a chaperone; hold the remainder of the group in their seats until the group has re-formed in total. Please do not hold your entire group in the lobby while students use the restrooms. Over 2,500 students will be exiting Heinz Hall and large groups waiting in open areas will disrupt the dismissal process. iv. Cross the street only at the corner and only with the assistance of police officers.

Symphony personnel will direct you to corners where police officers are present.

IV. Culminating Activity a. After the concert, review the elements of appropriate concert behavior and have the students evaluate their own behavior at the Schooltime concert.

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Introducing the Instruments of the Orchestra Sample Lesson Plan Developed by Jill Campion, Mt. Lebanon School District

Materials needed:  “Introducing the Instruments of the Orchestra” playlist on Spotify (see the Schooltime Resources Page for access to this free playlist)  Instrument family posters to display I.

Introduce – Introduce yourself; establish positive physical proximity to students and positive rapport.

II.

“You are going to experience the wonderful gift of live music given to you by the world class Pittsburgh Symphony Orchestra musicians. This will happen when you take an exciting trip to beautiful Heinz Hall.”

“Please fold your hands in your lap and listen to this.” (be careful not to talk while music is playing) Track 1 – Dmitri Shostakovich: Symphony No. 10, Second Movement (Teacher points to families on instrument posters while students listen)

III.

Individual family focus: “Can you answer this question/solve this riddle? Which family of the orchestra sits on the front edge of the stage and has the most players?”

A.

STRINGS  Point to poster  Teacher demonstrates and students “follow the leader” for bowing (with right hand – “pledge hand”)  Arco (long bow – right hand); Pizzicato (plucking)  “Name the highest string instrument: violin, then the viola (up in front of chest, bowing with the right hand, fingering the notes with the left), cello (sit tall to play –bowing with the right hand, finger with the left hand), and bass” (musicians sit on a stool to play – just inform). The harp can be used in the orchestra on special occasions. It is in the string family, as it is played upright with the fingers.

It has 47 strings and 7 foot pedals, which is how it changes key signatures.”  “In care of your neighbor, students play down- and up- bow along with the music.”

Track 2 – Wolfgang Amadeus Mozart: Eine Kleine Nachtmusik, First Movement

“Which family sits directly behind the strings?” (If necessary, give choices.) “Is it the woodwinds, brass, or percussion?”

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B.

WOODWINDS  Point to poster  “Breathing is an important component, so you need to sit tall to show me the breathing for the highest instrument, the flute.” (position hands out to the right side)  Demonstrate oboe and clarinet to the front. “These both use a reed to produce sound. The reed vibrates because the musician uses their air to play the instrument.”  Demonstrate and name the bassoon. (position hands to the lower right hand side of the body)  “Choose an instrument to play along with the woodwinds.”

Track 3 – Wolfgang Amadeus Mozart: Gran Partita Serenade, Finale

“Name the families in stage order so far—strings, woodwinds, and now _____________.”  Point to poster C.

BRASS  “B is for Brass, and B is for Buzz.” Teacher buzzes lips and students follow to learn sound vibration production.  “Close your lips and show me the position for the highest of the brass, the trumpet.” (3 fingers in right hand for valves, left hand holds trumpet)  “Show me the French horn (to the middle right side of body); bass clef trombone (seven positions with right hand slide); and the largest brass, the tuba.”  “Sit tall, careful of your neighbor, and play along with one chosen instrument; listen carefully. Do not buzz your lips at this time so everyone can listen.”

Track 4 – Paul Dukas: Fanfare to Precede La Peri

“Who sits behind/beside the brass family?”

D.

PERCUSSION  Point to poster  “There is a battery of pitched and non-pitched percussion instruments. They could sound like:” (demonstrate and have students do) Snap, clap, pat legs, stomp, and stop.  “Play along on your legs with the timpani and cymbals (teacher demonstrates) and the ‘rolling’ of the snare drum as you listen to the percussion family.”

Track 5 – Benjamin Britten: The Young Person’s Guide to the Orchestra

“Sometimes on special occasions you will get to hear this instrument. Fold your hands in your lap or play your fingers on your leg.”

Track 6 – Ludwig van Beethoven: “Moonlight” Piano Sonata

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E.

PIANO  Point to poster (The piano is in the percussion family because the hammers inside strike the strings when the keys are depressed.)

“Name all families in stage order together.

(Strings, woodwinds, brass and percussion)” “Who leads them all?”

F. 

CONDUCTOR “All students stand and learn pattern of 2 with your right hand. Follow the leader, head up, stand tall, look confident.” (Practice both mirror conducting with two hands, as well as just the right hand as the left hand is then used for cuing the families/instruments.)

Track 7 – John Philip Sousa: The Stars and Stripes Forever

“Please sit down and fold hands in your lap.”

IV.

Logistics—3 steps for students: “With the possibility of 2,600 students attending this concert, to ensure your safety you will need to: 1. Outside:  Be ready to walk to Heinz Hall from wherever the police direct your school bus to park.  Stay in line with your school.  Keep your voice at a low volume.

2. Inside:  Your usher will lead you to your red seat where you will sit down, facing the stage.  You may use your inside voice at this time.  You will see and hear the musicians on the stage warming up/tuning, similar to an athlete stretching prior to a race.  You will know the concert is beginning when you see the conductor come out onto the stage from the side stage door.

3. Concert:  There is now no talking. All students are listening to the concert, so there is no talking while the conductor is speaking or the music is playing.  You may participate when asked to by the conductor.  You may show your appreciation through applause when the conductor’s arms go down to his side. That is how you know that the piece is finished and it is time to clap.  Have a wonderful listening experience!”

V.

(If time permits): Specific concert content tasks Add listening to additional music selections, and choose from the activities below to address specific concert content.

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(If no additional time available): Proceed to VI.       VI.

Movement activities – walking/marching in place, pantomime, body percussion.

Concept recognition – beat/rhythm, fast/slow, and high/low.

Drawing to represent the music while listening.

Singing melodies of excerpts while music is playing.

Aesthetics – students describing how the music makes them feel through comparing/contrasting other experiences.

Ask students for a favorite instrument family that they heard today. Review the families instruments and play the excerpt again so all students can enjoy it.

“You will have a wonderful experience at the symphony concert!”

Concert Etiquette 

 

Etiquette is a French word that means “manners.” When we go to concerts, especially a concert by a symphony orchestra, there are certain manners we must have at the concert. Remember to use these special manners when you’re at Heinz Hall so that you have the best possible experience watching and listening to the Pittsburgh Symphony Orchestra.

Remember that you are representing yourself, your class, and your school.

Please be on your best behavior at all times! Do not bring any cameras, cell phones, or other devices that make noise. If you do, make sure you turn them off when you visit Heinz Hall.

Remember these rules when you enter Heinz Hall to WATCH the concert:

While you’re in the hall, don’t leave your seat—unless it’s an emergency.

Applaud—clap for the concertmaster and conductor when they enter the stage, and clap at the end of the pieces the orchestra plays.

Talking is not allowed—especially when the orchestra is playing or anyone is talking from the stage.

Chewing gum, candy, food, and drinks are not allowed in the auditorium.

Hands to yourself—be respectful of those around you.

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Instrument Families of the Orchestra Woodwind Family At one time, all of the instruments in the woodwind family were made of wood. Most modern woodwind instruments are made of wood or metal, or sometimes a combination of both materials.

All woodwind instruments are long, narrow tubes with holes or keys. To produce a sound from these instruments, the player must blow across or into the tube. The sound is then created by the vibrating column of air enclosed in the pipe or tube of the instrument.

Vibrations are caused by means of a single or double reed, which is part of each woodwind instrument’s mouthpiece (except the flute).

Brass Family The brass family is comprised of instruments that are made of brass, a type of metal. All of the instruments in this family are made of long tubes, usually wrapped around several times to make the instrument easier to hold. The ends of the tubes are flared to create a “bell.”

To produce a sound on a brass instrument, a player must “buzz” his or her lips into a cupshaped mouthpiece, which sends vibrations into the instrument. The instrument’s valves, as well as how fast or slow the player “buzzes” his or her lips into the instrument, are used to change the pitch of the sound. The brass family can add majesty and power to music, but it can also be used to play delicately and softly.

Percussion Family The percussion family provides the orchestra with accent, rhythm, and many sounds not obtainable from other instruments. There are two types of percussion instruments: those with definite pitches and those of indefinite pitch.

In most cases, sound is produced by striking the instrument with another object such as a stick, mallet, beater, or hand. Sound can also be produced through shaking or scraping.

The percussion family history dates back the farthest of all orchestral instruments; the pounding of drums as a basic form of communication was common among many ancient cultures.

String Family The string family comprises more than half of the orchestra. All string instruments produce sound by the vibrations of strings over the hollow, wooden body of the instrument. The size of the instrument determines the range of its pitch; the larger the instrument, the lower its sound.

String instruments are played by drawing a bow of horsehair over the strings. Horsehair is used because of its durability and coarseness. The string orchestra covers approximately six octaves from the highest note of the violin to the lowest note of the bass.

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Exploring the Science of Sound, Part One adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra

Anticipatory Set: Play a piece of classical music while tapping with hands on a desk to the rhythm of the music. Fade the music out and keep tapping that rhythm. Direct the students to the sound they are hearing and pose the question, “What is sound?” (Concentrate on sound, not rhythm.)

Objective: Students will be able to identify objects around them that produce sound and describe the manner in which those objects create sound.

Materials: Classical music that contains an easily identified rhythm, such as: Blue Danube Waltz by J. Strauss, Jr., Eine Kleine Nachtmusik by W.A. Mozart, or Minuet by J.S. Bach.

Procedures:  Guide students to focus on sound and think about different sounds that can be heard in the classroom, such as feet scuffling, pencils tapping, money jingling in a pocket, etc.  Instruct the students to bring paper and pencil and take them outside to identify sounds in nature. (If weather does not permit, walk to the gym or cafeteria.) Inform them to focus again on sound and record what sounds are being heard and what are making those sounds.  Go back to the classroom and list on the board sounds that the students heard and what kind of material made that sound (e.g., a scuffling sound made by rubber shoes; nature sounds such as dogs barking, birds chirping, or lawn mowers running).  Help the students to focus on the kinds of things and materials that make sounds different.  Direct the students to the different kinds of sounds that can be made by snapping fingers, clapping hands, whistling, etc.

Evaluation: Students will be evaluated on their ability to identify sound around them and the kinds of materials that make those sounds.

Other Activities: Have students make separate lists of sounds that can be heard at home, in church, while outdoors, while grocery shopping, etc., and share them with the class.

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Exploring the Science of Sound, Part Two adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra

Anticipatory Set: Begin the class by strumming a rubber band on a book, changing the sound as the rubber band is moved closer and farther away from the book.

Objective: Students will be able to define sound and understand how the speed of vibrations and the length of materials or instruments affect sound production.

Materials: Rubber bands and different-sized book, both in width and thickness; tuning fork; duty cards if preferred. Duty cards are given to each group (group size is usually four people), assigning students within each group a duty. The four duties may be: leader (keeps the group on task); data collector (records any activities or information needed); spokesperson (gives a response when the group is called upon); getter (gets materials needed for activities).

Procedure:  Guide the students in a discussion about what sound is heard and how the sound is made.

Lead them in discovering that sound is vibration.  Place the students in groups of four. Give each group a handful of rubber bands and a stack of books of different lengths and thicknesses. (Caution students concerning the use of rubber bands.) Encourage students to experiment with the rubber bands and the different-sized books.  The group leader should guide the group in a discussion about the different ways to use the rubber bands and the books.  The data collector should record the responses from the experiments.  After about 10-15 minutes, the spokesperson should report their results.  As a class, summarize the results from the experiment. Emphasize the vibration movement that was created. (NOTE: The shorter rubber bands will create faster vibrations and higher pitches, and the longer rubber bands will create slower vibrations and lower pitches; i.e., changing the length of an instrument will change the sound. This concept should be emphasized throughout.)  Next, demonstrate how a tuning fork is used. Strike the tuning fork against something rubber, either a rubber pad or the bottom of a sneaker. (NOTE: Do not strike the tuning fork against something hard). After striking the tuning fork: (1) hold it to your ear to hear the vibrations; (2) stick the end of it into a glass of water and watch the water vibrate; and (3) place it gently against the blackboard or something metal and listen to it vibrate.

Evaluation: The students will be evaluated on their written and oral responses concerning the effects of the speed of vibrations and the length of materials used to create the sounds.

Other Activities: Have the students hold their hands over their throat and feel the vibration of the throat as they talk, laugh, and sing. Again, emphasize the vibration movement that they feel.

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Helpful Sites & Apps to Introduce the Orchestra Web based:

s



San Francisco Symphony Kids Interactive site that includes an orchestra seating chart, instrument photos/descriptions, and sound demos http://www.sfskids.org/classic/templates/instorchframe.asp?pageid=3



Philharmonia Orchestra Includes videos of orchestra members describing and performing on their instruments, in-depth written descriptions of instruments, instrument ranges, and fun facts http://www.philharmonia.co.uk/explore/instruments



Oregon Symphony Straightforward descriptions and photos of the instruments http://www.orsymphony.org/edu/instruments/strings.aspx



Dallas Symphony Orchestra Kids Multiple sound demos for each instrument in different contexts, descriptions, and photos http://www.dsokids.com/listen/by-instrument/.aspx

Mobile apps: 

The Young Person’s Guide to the Orchestra (iPad / free) Full recording of Britten’s The Young Person’s Guide to the Orchestra, animations, games, quizzes, performance videos, and photos



MSO Learn (iPad / free) Photos, instrument demos, recommended listening, musician interviews



Meet the Orchestra (iPad / $2.99) Animated characters introduce the orchestra and instruments; quizzes that increase in difficulty

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My First Orchestra App (iPad / $4.99) Full album of orchestral repertoire, animated characters demonstrate instruments, narration, quizzes, conducting examples



The Orchestra (iPad / $13.99) In-depth app including videos, synchronized score reading, beat mapping, musician interviews, program notes about the included repertoire

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DIY Instruments s is a wonderful way to explore sound Having students create their own instruments production, spark creativity, and develop design thinking. And, it’s a lot of fun!

“Making is fundamental to what it means to be human. We must make, create, and express ourselves to feel whole. There is something unique about making physical things. Things we make are like little pieces of us and seem to embody portions of our soul.”

– Mark Hatch, The Maker Movement Manifesto Initial activities: Gather recycled objects such as cardboard boxes, tubes, plastic containers/bottles, sturdy glass jars, rubber bands, string, paper clips, pencils, jewelry wire, etc.

Instruct students to use any of the available materials to create:  A string instrument – must include a “string” (rubber band, wire, ribbon, etc.) that can vibrate across a resonators  A wind instrument – sound must be manipulated by air movement  A percussion instrument – sound must be produced by striking or shaking Each instrument should be able to be played so that the pitch (where applicable) and volume can be changed. Student creations do not need to “replicate” an existing instrument; encourage students to think of new ways to produce sounds using the available materials. Positive critique and revision is an integral part of the process. Support students in their creative process by framing suggestions as alternate ways of looking at instrument design. “Mistakes” should be viewed as a beneficial way to develop creative problem solving skills and as a result of exploring, engaging, and interacting within the art-making process.

Extension activities: Instruct students to go play another student’s instrument(s). They should determine how to produce sound and alter pitch/volume on others’ instruments without the aid of the creator.

Then, students should meet with the original creator and explore similarities and differences in the ways sound was produced on the instruments.

Students can decorate their instruments to reflect their personalities. Encourage students to think about ways to express their interests through color and design. Look at album covers or concert posters for inspiration.

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History of the Orchestra Adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra

The orchestra, which consists of the four families of instruments (percussion, woodwind, brass, and string), dates to the early 17th century. It started very small with a membership of 10 to 25 musicians. The primary function of the early orchestras in England and France were to entertain royalty. Thus, they were known as court orchestras.

In the late 18th century, the orchestra grew into the full, modern-day orchestra. This orchestra was created by Franz Joseph Haydn, who is considered the father of the symphony. The orchestra continued growing with the emergence of the Classical Era and the great composers of the time: Wolfgang Amadeus Mozart and Ludwig van Beethoven.

Moving into the 19th century and the Romanic Era, the orchestra continued to grow in size. Composers such as Gustav Mahler, Anton Bruckner, and Richard Wagner were responsible for the growth of the orchestra during this period, by writing compositions with larger instrumentation.

Composers became more aware of developing rhythmic interest during the 20 th century.

This new awareness contributed to the growth of the percussion family. Some of the 20 th century composers responsible for the recent changes in the orchestra were Igor Stravinsky, Bela Bartok, Jean Sibelius, Petrovich Mussorgsky, Benjamin Britten, and Leonard Bernstein.

Today’s orchestras sometimes number over 100 players, who have spent years practicing many hours a day. Before being hired, a potential member must audition for the vacancy. An audition consists of playing from a prepared repertoire of music as well as sight reading. Each opening in a professional orchestra is apt to have over 200 qualified applicants. Once chosen, a player becomes a permanent member of the orchestra. In many cases, players retain the position for his or her entire career.

Orchestral Activities  

 

Discuss how a football team needs all of its players, and how if some of them were missing, it would be difficult to win the game.

Discuss how the Pittsburgh Symphony Orchestra is a team and how they all work together. Point out the fact that the Symphony is also part of a city team, and the city needs them as much as the business and sports teams. Emphasize that all these organizations work together to be a treasure to the community.

Identify places where classical music may be heard other than in Heinz Hall (e.g., a high school auditorium, a doctor/dentist office, a movie theater, etc.)

Divide the class into four groups. Assign each group to represent one of the four instrument families. Chorally read the book Meet the Orchestra by Ann Hayes.

Each page of the book tells about a different instrument. Have the group whose instrument belongs in that family read the page.

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The Orchestra Conductor Adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra

Objectives:  Students will be able to understand a conductor’s role within an orchestra setting  Students will be able to conduct in simple 4/4, 3/4 & 2/4 beat patterns Materials:  Dowel rods (pre-cut to the length of a conducting baton) Procedure: 1) Conductor’s Role a) Ask students to brainstorm what they think a conductor’s role is within an orchestra b) Discuss students’ ideas c) Explain the conductor’s role within the orchestra d) “The conductor is the musical leader of the orchestra. His or her role is to direct the musicians to play the music accurately and to interpret the mood and emotions indicated by the composer.”

2) Clap and count as a class the beat while singing a 4-beat children’s folk song 3) Using the dowel rods, guide the students in conducting to the beat of the music in the following manner: 4/4 time Place the arm at head level and move as follows: Count 1: Straight down, no lower than the chest Count 2: To the left, no farther out than the shoulder Count 3: To the right, to the right shoulder Count 4: Straight up to eye level 4) Practice as a class and in groups with the same children’s folk song 5) Repeat the previous steps using a song in 2/4 and 3/4 3/4 time Place the arm at head level and move as follows: Count 1: Straight down Count 2: To the right, to the right shoulder Count 3: Straight up to eye level 2/4 time Place the arm at head level and move as follows: Count 1: Straight down and curve to the right Count 2: Curve to the left and back up 6) Divide students into groups and choose one of the three songs that they previously practiced 7) Choose volunteers to conduct the class as they sing the conductor’s selected song

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Cross-Curricular Activities Science and Music How Size and Scale Affects Sound Bring in instruments from the same instrument family (for example, a violin, viola, cello, and bass) and allow students to not only see, but hear, the difference in the instruments. Before discussing the instruments, describe the objects using the senses. Demonstrate their ranges, talk about the difference between high and low, and correlate pitch with size.

Metal Conductors Identify all of the instruments in the orchestra that the students will see and hear when they come to Heinz Hall. Classify each instrument into one of two groups: conductors of electricity or nonconductors. To classify the instruments, describe the type of material that each instrument is made of and determine if that material is a conductor or nonconductor.

Create a chart as a class.

Language Arts/Library Reading and Understanding Books of Literature Read some of the suggested children’s story books. Afterwards, discuss literary elements in the stories describing characters, setting, and plot. Identify literary devices in stories, such as rhyme, rhythm, and personification. Identify structures in poetry, such as pattern books, predictable books, and nursery rhymes.

Suggested Reading:  Meet the Orchestra – by Anne Hayes  Zin! Zin! Zin! A Violin – by Lloyd Moss  The Story of the Orchestra – by Robert T. Levine  The Story of the Incredible Orchestra – by Bruce Koscielniak  The Orchestra – by Mark Rubin  Remarkable Farkle McBride – by John Lithgow Writing Narrative Pieces After your trip to Heinz Hall, instruct students to write a narrative piece including detailed descriptions of people, places, and things experienced during the trip. The students should also include relevant illustrations and literary elements.

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Math Problem Solving/ Data Analysis and Graphs Create Your Own Orchestra Tell the students that they are going to create their own orchestra. They are allowed to have 100 musicians in their orchestra. They must split these musicians between instrument families (for instance, each family may have 25 musicians). Next, they must choose how many of those musicians will play each instrument within that family, using addition and subtraction skills to ensure that they have not gone over their limit of 100 musicians.

Example: With 20 musicians in the string family, I want 10 to play the violin, 5 to play the viola, 3 to play the cello, and 2 to play bass.

After students have created their orchestra of musicians, create bar graphs displaying their orchestra. The students should have five bar graphs all together: - The Orchestra (representing how many musicians were chosen to be in each instrument family) - Woodwind Family (representing how many musicians were chosen to play each instrument within the woodwind family) - Brass Family (representing how many musicians were chosen to play each instrument within the brass family) - Percussion Family (representing how many musicians were chosen to play each instrument within the percussion family) - String Family (representing how many musicians were chosen to play each instrument within the string family) The students may color their graphs, use cut out pictures of instruments, drawings of instruments, etc. to decorate their graphs.

After each student has completed their graph, have other classmates analyze their graphs.

Check to make sure students did not exceed or fall short of 100 total musicians and have included all of the instruments and families in their orchestra.

Measurement What size is your instrument?

Ask your music department if you may borrow non-breakable instruments or older instruments (such as a recorder, drumstick, violin bow, tambourine, triangle, etc.) to compare length and weight. Set up stations throughout the room in which students (in groups or individually) use a chart, such as the one following, to record information in standard units of measurement.

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Instrument

Description (Big, Small, Long, Wide, Skinny, etc.)

Length Width Weight (inches/centimeters) (inches/centimeters) (ounces/grams)

Drum Stick Violin Bow Triangle

Art Recognize, know, use and demonstrate a variety of appropriate arts elements and principles to produce, review and revise original works in the arts Allow students to study an instrument of their choice: violin, bassoon, flute, etc.

Have the students describe various aspects of the instrument: the material used to make the instrument, the size, shape, texture, etc.

After studying the instrument, have students paint, draw, craft, or sculpt an interpretation of their favorite instrument. Encourage the students to use their imagination when it comes to color, size, and shape.

Have the students explain their choices of why they either changed elements of the original instrument or kept them the same.

Social Studies/Geography Identify and locate place and regions. Physical features: continents and oceans, major landforms, rivers, and lakes. Human features: countries, states and cities.

Divide the class into groups, and assign composers featured in the â&#x20AC;&#x153;Meet the Orchestraâ&#x20AC;? program at Heinz Hall. Have the students use resources in the library to investigate the native country of their composer.

Create a poster including the physical and human features of each country (see above).

Encourage students to be creative in decorating their poster with artifacts from the country they are researching (e.g., flags, pictures of landmarks, etc.).

Allow each group to present their poster and facts about their country and composer to the class.

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Name that Family! adapted from Slippery Rock University’s The Treasure Hunt, created for the Pittsburgh Symphony Orchestra

Anticipatory Set: Begin this lesson by playing a recorded selection of orchestral music from a television cartoon or popular film.

Objective: Students will be able to identify the instrument families while listening to familiar symphonic music.

Materials: Recordings of symphonic music selected from the list of classical music (following this lesson) or from popular TV cartoons or movies (e.g., Bugs Bunny cartoons, Fantasia, etc).

Procedures:  Discuss the different musical families that can be heard on the selected recordings.  Divide the class into four groups. Give each group a large card that names one of the four musical families.  As musical selections are played, ask the groups to listen for the sound of the musical family named on their card. When they hear it, ask them to hold up their card until the sound is replaced by another musical family.

Evaluation: Students will be evaluated on their ability to distinguish the different musical families in a piece of orchestral music.

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Suggested Musical Examples The String Family Eine Kleine Nachtmusik, Mozart (small ensemble of strings) Four Seasons, Vivaldi (strings only) “Waltz of the Flowers,” The Nutcracker, Tchaikovsky (harp) “Gigue,” Suite for Strings, Corelli “Sarabande,” Suite for Strings, Corelli “Pastoral Symphony,” Messiah, Handel Adagio for Strings, Barber Serenade in C for Strings, Op. 48, Tchaikovsky The Woodwind Family Divertimento in B-flat, Haydn Summer Music for Woodwind Quintet, Op. 31, Barber Quintet in E-flat, Beethoven Suite for Woodwind Quintet, Cowell Arabesque No. 2, Debussy “Gavotte,” Suite in B for Winds, Op. 4, Strauss “Schnelle Viertel,” Klein Kammermusik, Hindemith Rhapsody in Blue, Gershwin (beginning: clarinet solo) “Chinese Dance” and “Dance of Mirlitons,” The Nutcracker, Tchaikovsky (beginning: piccolo, flutes, bassoons) “Violin Concerto,” Movement II, Brahms (beginning: oboe) The Brass Family “Fanfare,” La Peri, Dukas “Prelude to Act III,” Lohengrin, Wagner Prelude and Allegro (Sextet), McKay Fanfare for Forces of Latin American Allies, Cowell Fanfare for the Common Man, Copland “Trumpet Tune,” Purcell Canzon Duodecimi Toni, G. Gabrieli “Viennese Musical Clock,” Háry János Suite, Kodály “La Forza Del Destina,” Opera, Verdi (opening: trombone) “Light Cavalry,” Suppe Overture (beginning: trumpet) “Nocturne,” A Midsummer Night’s Dream, Mendelssohn (horn) “Spanish Dance,” The Nutcracker, Tchaikovsky (beginning: trumpet) “Scherza Capriccioso,” Op. 66, Dvorak (beginning: horn) The Percussion Family Symphony No. 9, Beethoven (beginning of Scherzo: timpani solo) Overture to Candide, Bernstein 1812 Overture, Tchaikovsky “Radetzky March,” J. Strauss, Jr. (beginning: snare drum and bass drum) “Hoedown,” Copland Ionisation, Varese Toccata for Percussion Instruments, Chavez October Mountain, Hovhaness Night Music for Percussion, Starer Háry János Suite, Kodály

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Sixth Grade Schooltime

A Musical Journey Through Latin America Andrés Franco, conductor Jennifer Orchard, violin Rodrigo Ojeda, piano January 26 & 27, 2017 10:30 am Ary Barroso

Brasil (Aquarela do Brasil)

Baltasar Martinez Compañón

Colección de Música Virreinal Lanchas para Bailar

Joseph Bologne, Chevalier de Saint-Georges

Sinfonia No. 2 in D Major, Opus 11 (Overture to L'Amant Anonyme) Allegro Presto Andante Presto

Claudio Rebagliati

Rapsodia Peruana for Orchestra

Astor Piazzolla

Cuatro Estaciones Porteñas (“The Four Seasons in Buenos Aires”) Primavera Porteña Ms. Orchard

Enrique Soro

Tres aires chilenos No. 3

Moises Moleiro

Joropo Mr. Ojeda

Arturo Marquez

Danzón No. 2

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Exploring the Arts through Aesthetic Education & Imaginative Learning Based on Lincoln Center Education’s Model for Aesthetic Education

Exploring the Arts through Aesthetic Education & Today, imaginative thinking is as critical to career success as a college degree. Teaching Imaginative Learning students to examine a work of art, bring their own experience to it, and take away a new awareness and original ideas prepares them for a world that demands, and thrives on, innovation and ingenuity. – Lincoln Center Education The following lesson plan is based on Lincoln Center Education’s methodology for aesthetic education and imaginative learning. The objective is to engage students in artmaking, questioning, reflection, and contextual research so that they may “develop skills of perception and description, develop their imaginations, and transform inspiration into creative action.” Lessons can be adapted for students of any age, and they can be expanded to address subjects across the curriculum.

La Pie, Effet de Neige – Monet Work of Art: Monet’s La Pie, Effet de Neige (“The Magpie, the Snow Effect”) Can be found and bought from the following resources:  http://www.allposters.com  http://www.art.com Grade Level: Sixth Grade Supplies: Print of Monet’s La Pie, Effet de Neige painting Line of Inquiry: Some of the composers featured in this concert were inspired by nature.

Visual artists and painters were inspired by nature also. How does Monet’s use of color and shape evoke the feeling of winter in his work La Pie, Effet de Neige?

Activity 1 Time: 30 seconds Description: Discuss the seasons.

Questions/Procedure:  Name the four seasons  Ask the students to share their favorite season. Why?  What does the environment look like during your favorite season? o Describe the weather, colors, specifics, etc. to that season o “Since we are in the winter season, describe what you experience during this season.”  Cold weather, snow, wildlife, activities; describe winter in Western PA, etc.

Activity 2 35

Time: 10 minutes Description: Create a winter scene Questions/Procedure:  Using watercolors or crayons, have the students paint or draw themselves in a winter scene. o Recreate a winter environment, and include favorite things about winter. Think about the previous class discussion.

Activity 3 Time: 2-3 minutes Description: Show and discuss the works of art Questions/Procedure: Take a volunteer to show their painting   Have the class describe what they see o Teacher can prompt for color choice, shapes, people, etc.  Divide students into small groups to allow discussion o Have the students share their work with the group o Students should explain the choices they made for their painting, such as color, shapes, etc. o Allow the other students to ask questions Activity 4 Time: 1-2 minutes Description: Class reflection Questions/Procedure:  Reflect, as a class, on what the students noticed in their classmates’ paintings. o Teacher can prompt for color choice, shapes, people, etc.

Activity 5 Time: 2 minutes Description: Show Monet’s painting La Pie, Effet de Neige to the class and discuss Questions/Procedure:  “This is how a famous artist named Monet painted the environment around him during the winter season.”  “What do you see in the painting?” o Allow the students to list ideas without teacher prompts.  “If the artist were here, what would you ask him about his painting?” o For example, “Why is there a bird on the fence?” o List the questions on the board Activity 6 Time: 5+ minutes Description: Learn about the work of art (Monet’s La Pie, Effet de Neige) Questions/Procedure:  “Here is some information about the painting. See if these facts can answer any of your questions.” o Monet was the founder of an art movement called “Impressionism.” o Monet used color to evoke the image of an object, landscape, or scene.  He carefully chose colors to represent his own impression of what he was painting; he emphasized what he thought was the most important aspects.

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o Monet portrayed the way light played with objects and their shadows to represent another artistic aspect in his paintings.  Additional time may be allotted for independent research about Monet and the work of art (library, classroom books, internet research, etc.)

Activity 7 Time: 2-3 minutes Description: Discuss the work of art again Questions/Procedure:  Display the painting again.  “Look at our list of questions about the art. Can you answer more of the questions now that you have done research?”

Activity 8 Time: 5+ minutes Description: Personal connection and reflection Questions/Procedure:  How is your portrayal of winter similar to Monet’s? How is it different?  How does Monet’s portrayal of a winter scene relate to your own experiences in winter?

Extension Activities:  Compose a short story based on Monet’s winter scene.  Research the historical context of the work of art. How is the art reflective of the events occurring at the time when it was painted?  Ecology connections: o Identify the human impact on the environment portrayed in the work of art. o Explain the relationships of the members of the ecosystem portrayed in the painting. o Explain how the ecosystem picture may have and/or will change over time. o Explain how people have used the resources found in this environment.

Color and Shape Expression Work of Art: Kandinsky’s Impression III (“Concert”) Can be found and bought from the following resources:  http://www.allposters.com  http://www.art.com Grade Level: Sixth Grade Supplies: Print of Kandinsky’s Impressions III painting Line of Inquiry: How does Kandinsky’s use of color and shape convey his experience at the concert hall?

Activity 1 Time: 30 seconds Description: Discussion audience behavior at various events 37

Questions/Procedure:  Where were you a member of an audience? o Refer to concert etiquette lesson plan – movie theatre, concert hall, sports arena, etc.  “Since you will be an audience member at Heinz Hall, describe what you think Heinz Hall will look like.” o Seats, stage, musicians, description of colors in the Hall, etc.

Activity 2 Time: 5 minutes Description: Creating pictures of yourself at Heinz Hall Questions/Procedure:  Using watercolors or crayons, have the students paint themselves at Heinz Hall o Encourage them to recreate what they imagine their experience at Heinz Hall will be like Activity 3 Time: 2-3 minutes Description: Showing and discussing the works of art Questions/Procedure:  Take a volunteer to show their painting  Have the class describe what they see o Teacher can prompt for color choice, shapes, people, etc.  Break the students into small groups to allow discussion o Have the students share their paintings with the group o Encourage the students to explain the choices they made for their painting, such as color, shapes, etc. o Allow the other students to ask questions Activity 4 Time: 1-2 minutes Description: Class reflection Questions/Procedure:  Reflect as a class on what the students noticed in their classmates’ paintings. o Teacher can prompt for color choice, shapes, people, etc.

Activity 5 Time: 2 minutes Description: Show Kandinsky’s painting Impression III to the class and discuss Questions/Procedure:  “This is how a famous artist named Kandinsky painted a concert hall, similar to Heinz Hall, after attending a concert.”  “What do you see in the painting?” o Allow the students to list ideas without teacher prompting  “If the artist were here, what would you ask him about his painting?” o For example, “Why did you use so much yellow?” o List the questions on the board Activity 6 Time: 2-3 Minutes Description: Learning about the work of art (Kandinsky’s Impression III) Questions/Procedure: 38

“Here is some information about the painting. See if these facts answer any of your questions.” o In Kandinsky’s first sketch of this work of art, the perspectives of the concert hall, some people, and a chandelier can still be seen o Kandinsky uses color and shape to represent objects within a concert hall  The black mass represents a black piano  The two white lines represent two white columns  The figures of different colors lining the bottom on the painting are suggestions of people  The red might suggest the sound mass coming from the rest of the orchestra  The yellow interceding the left white column suggests a chandelier  The black rectangle with a red circle right next to the left column suggests a conductor Activity 7 Time: 1-2 minutes Description: Discuss the painting again after the students obtain background knowledge Questions/Procedure:  Show the painting again.  “Look at our list of questions about the art. Pretend you are the artist and answer some of the questions.” 

Lesson to be continued during and after concert Activity 8 Time: 10:30-11:15am Description: Attend the “Inspired By…” concert at Heinz Hall Questions/Procedure:  Ask the students notice different elements of Heinz Hall  Ask them to mentally note what was aspects of Heinz Hall were different or similar to what they expected to see Activity 9 Time: 3 minutes Description: Review Kandinsky’s painting Questions/Procedure:  Back in the classroom, look at the painting again.  “Do you notice anything else or anything different in the painting?”  Allow the students to discuss aspects of the painting in comparison to their experience at Heinz Hall Activity 10 Time: 5 minutes Description: Creating pictures of yourself at Heinz Hall Questions/Procedure:  Allow the students to draw/paint themselves at Heinz Hall after they have experienced the concert.

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A Musical Journey Through Latin America Developed by Jessica Kendall, Childrenâ&#x20AC;&#x2122;s Museum of Pittsburgh

Welcome aboard our trip through Latin America! While on this adventure, we will be stopping to appreciate art and culture in Peru, Guadeloupe, Argentina, Brazil, Venezuela, and Mexico! Below is a map for you to color in each country as we pass through and draw a dotted line to connect our stops along our journey!

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First stop: Peru Our first stop will be in Peru! Peru has a long tradition of visual arts, dating back to the 9 th Century BCE. Artists of this time would work with silver, gold, and ceramics to make decorative ceramic and relief carving works that were often religious in nature. Around this time, complex textiles often bearing geometric patterns became popular throughout the region.

Among some of the most beautiful is Chuluanas pottery. This pottery originates in the Piura Region of Peru. Chuluanas is actually the name of the North Western town from where this pottery is native.

The trademark of this pottery is that it is predominantly black and white geometric patterns that decorate the pieces. This pottery is exported all over the world and is one of seven products that the government supports through its Center for Technological Innovation.

On the next page, design your very own vase in the style of traditional Chuluanas pottery!

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Next stop, Guadeloupe!

A part of the Lesser Antilles in the Caribbean, Guadeloupe is an “overseas department” of France.

Like many of the Caribbean Islands, Guadeloupe is a rich combination of culture. Being governed

by France, the official language is French, but just about all of the population also speaks Antillean Creole.

Antillean Creole is a French-Based Creole, which has elements of Carib and African languages. A creole language is defined as a stable, natural language developed from a mixture of languages.

The development of this creole makes perfect sense because the population of Guadeloupe includes people of largely African or mixed European, Lebanese, Syrian, Indian, Chinese, and Carib Amerindians.

Some examples of this dialect are (source: Wikipedia): English Hello Please Thank you Excuse me

Antillean Creole Bonjou souplé mèsi eskizé mwen

Pronounciation Bonzu Su ple mɛsi

French Origin bonjour s'il vous plaît Merci excusez-moi

Practice saying these words and noticing the differences.

Pittsburghese is definitely not a creole language, but do we have some words that seem like these “edited” versions of words? Can you figure out how they came about?

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Moving on, Argentina is next on our journey!

Along the River Plate, the natural border between Argentina and Uruguay (can you find it on the map?), a very popular international style of dance called the Tango was developed. The Tango was developed around 1880 and had both European and African influences.

The dance originated in the lower-class districts of Buenos Aires and was often done in very public settings. The music, also derived from European musical fusions, set the scene for dancing by all. The word â&#x20AC;&#x153;Tangoâ&#x20AC;? was actually originally used to describe musical gatherings of slaves around the River Plate in the late 1700s.

While teaching the Tango can be difficult, using traditional Tango music for a movement activity can be simple!

Using any Tango recording of your liking, move to feel the macro and micro beats. Fill the time and space with movements, and if you are feeling too stiff, brainstorm some ways to do that, such as using scarves, arm movements, partners, etc.

Call out or signal changes in the macro or micro beat as frequently as students can handle accurately.

Suggestions for Tango recordings: https://www.youtube.com/watch?v=7FDXPYE0nVw&list=PL56FC3254BD7364A7&index=2 https://www.youtube.com/watch?v=iW71-sVyMzM&list=PL56FC3254BD7364A7&index=1

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Next stop, the site of the 2016 Summer Olympics, Brazil!

Brazil is one of the better-known Latin-American countries. Brazil is the largest country in Latin America and all of South America. It is actually the world’s fifth largest country by area and population.

Brazil is exploding with culture and art and history. But by far, one of the most exciting things about Brazil is the Carnival of Brazil.

The Carnival of Brazil takes place between the Friday afternoon 51 days before Easter and Ash Wednesday, and it has essentially become a 6 day party, involving the whole country! It began as a way to mark the beginnings of the Lenten fast, in which there is not consumption of meat on certain days leading up to Easter. Calling it “carnival” comes from the word “cernelevare” which means to remove meat.

The Carnival is celebrated slightly differently depending on the region, but generally, it is influenced

by African-Brazilian tradition. Carnival is celebrated with large parades, lavish décor, singing, dancing, celebrating culture and folklore, and bringing the community together. …does any of that sound familiar to you?

The Mardi Gras celebrations that happen in New Orleans and throughout the United States are directly influenced by this Brazilian tradition!

Keeping in mind what you know about Mardi Gras, what sort of decorations might you see at the Carnival of Brazil?

How would you decorate for a 6-day party?

What would you wear?

Brainstorm and draw what you think the scene would look like.

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Next, Venezuela!

Venezuela is the birthplace of El Sistema, a program that brings musical opportunities to disadvantaged youth.

In 1975, Jose Antonio Abreu started this program by using found resources and donations to teach 11 students how to play various instruments in the basement of a building.

As a musician, economist, and former cabinet minister, Abreu became an activist for the cause of providing musical experience to children who would not otherwise be able to afford the opportunity.

The program has turned out several very successful students including: Gustavo Dudamel, the current music director of the Los Angeles Philharmonic, Carlos Izcaray of the Alabama Symphony, and Alcides Rodriguez of the Atlanta Symphony. The program has also sparked the formation of several other El Sistema-inspired programs in countries including the US, UK, Canada, and Portugal!

Watch a performance of Gustavo Dudamel performing Danzon No. 2 (which you will hear during the concert!) with the Simon Bolivar Youth Orchestra of Venezuela: https://www.youtube.com/watch?v=GkFHMJ28izM Research the impact of the El Sistema program in Venezuela. What tangible outcomes has it had on the country? What other things have changed as a result of community music making?

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Last but certainly not least, we go to Mexico!

Music in Mexico is central to culture and daily life! The native music has undergone one of the largest evolutions over time, with its beginnings as Aztec or Mayan ceremonial drumming and twisting, turning, and morphing into classical, casual, jazz, and ending in popular music styles of today, including rap!

The most widely recognized style of Mexican music is Mariachi. Mariachi music is so close to the heart of Mexican life that it is said to be almost a requirement at all national celebrations, public and private parties, weddings, and any other kind of celebratory gathering, and there are usually multiple bands circulating the venue!

Mariachi ensembles usually include several guitars, the guitarron (like a large bass guitar), violins, vinuelas (a kind of guitar with a rounded back), a harp with 28-40 strings, and trumpets. In some regions and situations, a small snare drum is added.

Some of the most famous Mariachi pieces include: La Bamba, La Cucaracha, and the ever-popular Mexican Hat Dance.

Watch the following video, and have students identify the instruments as they appear! https://www.youtube.com/watch?v=B-X4rx-QJZk Additional Mariachi pieces to understand style and context: https://www.youtube.com/watch?v=zZ4lrfc94n0 https://www.youtube.com/watch?v=q-Rqdgna3Yw For a movement activity, try to demonstrate the â&#x20AC;&#x153;big beatâ&#x20AC;? or the pulse in some locomotor way.

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Heinz Hall for the Performing Arts 600 Penn Avenue Pittsburgh, PA 15222 412-392-4900 Education and Community Engagement Department pittsburgsymphony.org/education education_outreach@pittsburghsymphony.org Phone: 412-392-4841 Fax: 412-392-4910 Facebook: facebook.com/PSOeducation Twitter: @PSOeducation

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