INDIANAPOLIS SYMPHONY ORCHESTRA

2018 TEACHER PACKET

Orcenith Smith, ConductorDeborah Asante, Narrator

This is designed for teachers attending the Indianapolis Symphony Orchestra’s Duke Energy Discovery Concerts. Questions or comments may be directed to the ISO Learning Community.

Indianapolis Symphony Orchestra | 32 E. Washington St., Suite 600 | Indianapolis, IN 46204

Table of ContentsJohn Williams ..........................................4

Edvard Grieg ............................................6

Ludwig van Beethoven ............................8

Claude Debussy ......................................10

James Norman .......................................12

Aaron Copland .......................................14

Gabriela Frank .......................................16

Modest Mussorgsky ...............................18

Extra Activities .......................................22

Academic Standards ..............................23

References .............................................24

Sponsors ................................................26

Orcenith Smith, Discovery Series Conductor, brings to the podium experience from conducting hundreds of symphonic and operatic performances.

He has conducted the Seattle Symphony, the Oregon Symphony, the Louisville Orchestra, the Dayton Philharmonic, and the Indianapolis Symphony Orchestra in seasonal and educational concerts. His performances include Side-by-Side, Music in Mind, St. Vincent Family Series and the Duke Energy Yuletide Celebration.

Former Music Director of the Chicago Youth Symphony, he is Music Director of Orchestras and Opera at DePauw University in Greencastle. He has conducted performances throughout the United States and abroad with orchestras from Chicago and DePauw, including concerts in Japan, Austria, Germany, The Czech Republic, Great Britain, Spain, France, and Italy. His performances also have been heard on NPR’s Performance Today, Adventures in Good Music, and on in-flight programming of USAir.

Deborah Asante is a Word Dancer, Truth Enhancer, Book Lover, Joy Discoverer, Blues Chaser, Hope Placer, World Traveler, Jazz Gatherer, Dream Farmer, Child Charmer, Justice Seeker, and History Keeper. There are so many ways to say Storyteller.

Ms. Asante is the Founding Artistic Director of the Asante Children’s Theatre. It is a cultural organization that uses the arts to foster personal and artistic development in youth and adults from all walks of life to connect with each other and grow.

Williams: “Imperial March” from The Empire Strikes Back

Grieg: “Morning Mood” from Peer Gynt

Beethoven: “Gewitter, Sturm” (Thunderstorm)from Symphony No. 6 in F Major, Op. 68

Debussy: “Nuages” from Nocturnes

Norman: Ligyrophobia

Copland: “Hoe Down” from Rodeo

Frank: “Testimonio III: Fireflies” from Peregrinos (Pilgrims)

Mussorgsky (arr. Tushmalov): Pictures at an Exhibition

Promenade

Ballet of the Unhatched Chicks

Baba Yaga

The Great Gate of Kiev

Musical Selections

Orcenith Smith, Conductor

Deborah Asante, NarratorBe sure to check out the Indianapolis Symphony

Orchestra Instrument Family Video on our website!

Standards used throughout the curriculum are listed at the end of the packet.

2 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 3

b. 1932 | AmericanPronunciation: Will-yums

John Williams was born in Queens, New York, and grew up in Los Angeles, California. He had a love of music from a young age because his father happened to be a musician, and he gave young Williams piano lessons.

Williams was pursuing music as a career in college when he was suddenly drafted to be in the Air Force at age 19. He served for three years and decided to move to New York City when he returned. He studied at Julliard and worked as a jazz pianist there until he decided to focus on composing music.

He found his way back to Los Angeles, this time playing in studios and writing musical scores for movies. To this day, he has written scores for more than 100 films including Harry Potter, Star Wars, and E.T. His IMDB page details his 234 award nominations and 120 awards won, noting that he has the most Academy Award nominations of anyone alive.

John Williams

Below: http://bit.ly/DiscVader1

Right: http://bit.ly/DiscVader2

Below: http://bit.ly/DiscVader4

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN:

Pretend you have never heard of Darth Vader. From listening to the music, how would you describe what he looks like, what his personality is like, what is likes/dislikes would be, and what his job might be?

This piece is Darth Vader’s “theme song.” It is his signature, and it has become one of the most recognizable melodies in the film series. In the first Star Wars movie ever made (A New Hope), they used a different song for Darth Vader’s character. In the second movie (The Empire Strikes Back), they debuted this theme song for him. This version was much more successful, and it remains his theme to this day.

A Section: 0:00-0:44

Bold brass section, driving percussion, loud dynamics; it sounds like an ominous/

intimidating march.

B Section: 0:45-1:03

Flutes and strings feature a quieter, fluttering

melody

C Section (A and B Blended): 1:04-1:36

The two melodies are overlapped and playing at the same time

with a quieter dynamic.

A’ Section: 1:37-End

The return of the big brass and percussion march

building to the ending.

LISTENING MAP

Video Link:Darth Vader in A New Hope: http://bit.ly DiscVader5

(NOTE: Contains Loud Laser Blasts)

WHAT YOU WILL HEAR Williams:“Imperial March” from The Empire Strikes Back

WHAT’S THE INSPIRATION? A Character!

Example: Terrified because of the loud, clashing brass; sneaky because of the quiet, darting flutes; powerful and in control because of the percussion staying steady, etc.

Check out some of these cartoons to share with your students. Have they heard of Star Wars before? What do they know about it?

The brass section is very prominent in this piece, as well as a flute feature in the middle. Listen for the contrast in the timbre/tone of the instruments and the dynamics.

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN:

Listen for the repeated rhythms that drive the piece. What kind of movement would you want to do to these rhythms? Examples: stomp, march, rush, swoop, etc.

What types of emotions do you experience/imagine when you listen to this piece? What sounds make you feel that way?

What would your theme song be, and why? It can have words, as long as they are appropriate for school.

The Ann Arbor Symphony came up with a great idea: Think of one of your pets (or one you would love to have some day). What would his/her soundtrack be?

This piece is written and played in a minor key. Imagine what it would sound like if it was played in a major key. How would that change the mood? Listen to this YouTube clip to hear what it sounds like in a major key: http://bit.ly/ImperialMajor.

Example: My theme song would be Taylor Swift’s “Shake it Off” because the music and lyrics portray someone who is fun, witty, and doesn’t let things get her down.

Use things like pitched/unpitched percussion, lyrics, found sounds, background loops created on Garage Band, background loops created with the dubstep generator (http://www.buttonbass.com/classiccube.html), or rap/sing acapella.

The A section is warm and loud, while the B section is cold and quiet, etc.

4 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 5

1843-1907 | NorwegianPronunciation: Greeg

Edvard Grieg

Edvard Grieg began playing piano at age six. His mother, a music teacher, gave him lessons. He wasn’t very popular at school, but his exceptional musical talent was first noticed by a famous violinist named Ole Bull.

Bull convinced Grieg’s parents to let him study piano at the Leipzig Conservatory. Grieg made his debut as a concert pianist in 1861, and his career took off from there. Although he suffered from health issues throughout his career, he married, had a daughter, and toured a good portion of Europe.

Grieg is remembered most as a nationalist composer because he often featured Norwegian folk tunes and dances in his compositions. He believed it was very important to develop a Norwegian style of classical music that would be unique to his country’s heritage.

ClassicFM sums it up nicely by saying, “Edvard Grieg is to Norway what George Washington is to America and William Shakespeare is to England: his country’s most celebrated human icon.”21

This piece was originally written as incidental/soundtrack music for a play called Peer Gynt, written by Henrik Ibsen in 1867. The play tells the story of an arrogant Norwegian man who made some pretty bad choices as he traveled the world.

Although this specific scene/song is set in in the Middle East, Grieg used heavy Norwegian influence in the music.

WHAT YOU WILL HEAR Grieg:“Morning Mood” from Peer Gynt

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN:

WHAT’S THE INSPIRATION? The Morning Sunrise!

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN:

LISTENING MAPThis piece can be understood in a sort of A-B-A’ form with the following sections:

A Section: 0:00-1:17Gentle opening, the sun peeks out,

birds (flute and oboe) call to each other, eventually the strings join in.

B Section: 1:18 -2:04Perhaps other animals begin to wake and join the scene; focus shifts to the nature

all around.

A’ Section: 2:04-EndReturn of the A Section with horns playing the bird call melody, then

the melody is passed around to the woodwinds, strings, and ends gently.

Check out one of these books to read with your students. Even middle school students like a good picture book if you tell them it’s like “going back in time to when they were little.”

The Good Morning Book by Lori Joy Smith shows a wide range of real and make-believe scenes where creatures are saying “good morning” to those around them.

What kinds of activities/moods do you associate with mornings? As you listen, see if they match what the music sounds like.

In this piece you will hear wind instruments commonly connected to rural/country scenes. What are they?

Is the music mostly staccato (short and separated) or legato (smooth and connected)? Why do you think the composer made this choice?

Sing aloud or play this piece on recorder! Use the activity on the next page to help you play the main melody from the piece in C Major. There are three different options to use in your classrooms.

What do you think Grieg imagined mornings to be like based on the way his music sounded?

Movement with scarves – Create a 16-32 beat phrase with a scarf solo or with a small group.

Please Note: We will not be playing recorders at the performance this year.

He liked peaceful, calm mornings because of the slow tempo, quiet dynamics, and the instruments he used.

Flute, oboe, and horn

It is mostly legato; maybe because the sun rising is a smooth, gradual event.

6 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 7

RECORDER FEATURE: MORNING MOOD TRANSPOSED TO C MAJOR

OPTION 1

OPTION 3

OPTION 2

This year we will not be playing recorders during the concert because none of the pieces are written in keys that are easily played on soprano recorder.

Here is an arrangement of the main melody that you can play without accompaniment:

We hope that you will still include recorder in your concert preparation, so we created an activity for you to use in your classroom. We have transposed the main theme of the piece Morning Mood to C Major and included some optional arrangements for you to use with your students. Included with this are 3 recordings of the piece transposed to C Major: Original Tempo, Slow Tempo, and Slowest Tempo.

If you would like to play the main melody along with one of the recordings at the beginning and end, you can use this:

Original Tempo: 0:00-0:09 and again at 2:18- 2:26 | Slow Tempo: 0:00-0:12 and again at 2:43-2:54Slowest Tempo: 0:00-0:15 and again at 3:32-3:45

The second time you play it, the last note is slightly different, but this melody will fit the harmony.

This is just like option 2, but there is an additional part that happens in the middle of the piece. It is more challenging, but your stronger players will enjoy the challenge.

Part 1

Part 3 (Repeat of Part 1 – this time the last note is slightly different, but this melody will fit the harmony)

Part 2

Original Tempo: 0:00-0:09 | Slow Tempo: 0:00-0:12 | Slowest Tempo: 0:00-0:15

Original Tempo: 0:50- 1:14 | Slow Tempo: 1:00-1:30 | Slowest Tempo: 1:18 – 1:55

Original Tempo: 2:18- 2:26 | Slow Tempo: 2:43-2:54 | Slowest Tempo: 3:32- 3:45

8 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 9

WHAT YOU WILL HEARBeethoven:“Gewitter, Sturm” (Thunderstorm)from Symphony No. 6 in F Major, Op.68

LISTENING MAP

0:00 – Calm Before the Storm – gentle strings start playing quietly and at a quick tempo

0:28 – The Storm Arrives – Thunderous timpani play, string rain pours, the wind blows

1:00 – Alternating between thunder and rain, as if lightning is striking

1:23 – There is a bit of calmer, quieter rain and the woodwinds lighten things; it gradually builds in intensity

2:24 – Return of the full storm with rain, wind, thunder, and lightning – you can hear the gusts

2:43 – The storm gradually calms

3:07 – The storm is fading

3:29 – The storm is over. The calm returns and the peasants rejoice!

Symphony 6 is called a pastoral symphony.

“Pastoral” means an artistic work that portrays or evokes rural life, usually in an idealized way. The music is meant to make the listener feel emotions connected to each scene, and to allow that listener to form his/her own idea of what the countryside looks and feels like (rather than to try to explain the scene in a literal way).

WHAT’S THE INSPIRATION? A Thunderstorm!

1) Awakening of Cheerful Feelings on Arriving in the Country 2) Scene by the Brook 3) Merry Assembly of Country Folk

4) Thunderstorm 5) Shepherd’s Song: Happy, Grateful Feelings after the Storm

This symphony has 5 movements:

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN:

How would you describe where you live? Is it rural, urban, or suburban? Is it the same or different as the rural setting of the piece?

The titles indicate how Beethoven felt about each scene, not what he was literally seeing. When you listen to Thunderstorm, what emotions come to your mind? What do you think the scene looked like? Draw it!

The scene has a beginning, middle, and end. What is the beginning? The middle? The end? Bring the scene to life by acting it out in small groups.

Event Body Percussion Instrument/Found SoundLight Rain Snaps Wood Block, Temple Blocks

Wind Rub hands together Sand Block, Rubbing Rhythm Sticks together, Breath

Thunder and Heavy Rain Pat Hands on Legs Thunder Tube, Shake a Baking Sheet

Thunder, Heavy Rain, and Lightning Stomping on the Ground Thunder Tube, Baking Sheet, Tubano Drums, Flicker the lights

(The calm peasants before the storm, the actual storm, and then the relieved and joyful peasants at the end when the storm is over.)

Make your own stormy symphony with body percussion or instruments. Here are some movements/sounds you can use:

Beethoven came from a family of musicians, but he didn’t have the best childhood. His father, who was very strict and stern, started teaching him piano and violin when he was four years old. Beethoven had no education past elementary school (which was pretty typical at that time), but he got a job as an organist at court by the time he was 12 years old.

It was a good thing that Beethoven was so talented, because he had to start supporting his family at a young age. His father was an alcoholic and couldn’t support the family, and his mother died when Beethoven was a teenager. He even impressed Mozart with his talent, and was one of the few composers that had wide recognition for his talent while he was alive.

Music was everything for Beethoven. He lacked manners and cleanliness, and he wasn’t very nice to people. He was an awful cook, and he was very rude in restaurants. When he went out to eat, one of his favorite foods was macaroni and cheese. But when the time came to pay the bill, he would sometimes refuse to pay, or simply write music on the check!

Despite his grumpy nature, he worked hard and people loved his music. He wrote music throughout his entire life, even after he lost his hearing. When he died, 20,000-30,000 people came to his funeral.

1770-1827 | GermanPronunciation: Bay-Toven

Ludwig van Beethoven

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN:Check out one of these books to read with your students. Even middle school students like a good picture book if you tell them it’s like “going back in time to when they were little.”

Split Splat! by Amy Gibson:This book has rhythmic patterns that could be fun to add instruments, sound, and/or movement.

Boom! Big, Big Thunder & One Small Dog by Mary Lyn Rae: This is the story of a dog who is scared of storms. It has fun sound effects written throughout.

Storm Song by Nancy Viau: This book has rhythmic patterns that could be fun to add instruments, sound, and/or movement.

Tap Tap Boom Boom by Elizabeth Bluemle: This book has rhythmic patterns that could be fun to add instruments, sound, and/or movement.

Think back to a thunderstorm that you have experienced. Did it interrupt anything you were doing/planning for the day? Close your eyes and try to imagine/remember the types of sounds you heard and the things you saw. Now tell a neighbor or share with the class.

The storm isn’t steady through the piece, it grows and fades in intensity. Create signs that say something like “gentle, medium, intense” and hold each one up when it corresponds to the intensity of the music.

You could also use your arms or bodies in low, medium, and high levels to do this.

Strings – rain showers | Timpani - thunder | Cymbals - lightning | Flutes - the calm after the stormInstruments play special “roles” in this piece. Here are some of the characters you will hear:

10 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 11

Create your own visual art based on the music you hear. Focus especially on the types of colors, shapes, and patterns that you imagine when you hear the music.

Look at some of the Nocturne paintings by Whistler. What kinds of colors, textures, and lines do you see? Do you think they match the music? Here are some of the paintings:

Check out this book to read with your students. Even middle school students like a good picture book if you tell them it’s like “going back in time to when they were little.”

Overall it is very quiet.

WHAT YOU WILL HEAR Debussy:“Nuages” from Nocturnes

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN:

LISTENING MAP

How might you move if you were a cloud? Create your own movement piece as a solo or in a small group to16-32 counts of the music. You can use scarves, paper, feather, shadow puppets on the board, etc.

0:00 – Opening Sky – Clarinet and Bassoons set the opening scene

0:16 – 1st English Horn Solo/ 1st Special Cloud Character

0:51– The Strings become the focus as a chorus of clouds

1:28 – 2nd English Horn Solo/2nd Special Cloud Character

2:00 – The Strings along with the Woodwinds and Horns become the focus as a chorus of clouds

3:02 – 3rd English Horn Solo/3rd Special Cloud Character

3:32 – The clouds gently roll by and out of sight

Above:Nocturne: Blue and Gold –

Old Battersea Bridge

Above:Nocturne in Black and Gold

– The Falling Rocket

Above, Left:Nocturne

Above:Nocturne in Blue and Silver – The Lagoon, Venice

Left:Nocturne: Blue And Silver – Cremorne Lights 1872

Debussy did not grow up in an especially musical household. His father owned a china shop, and his mother was a seamstress. He thought he should be a painter, his father thought he should join the navy, but his aunt insisted that he take piano lessons. Thank goodness for Debussy’s wise aunt!

He attended the Paris Conservatory to study piano, but eventually decided to focus on his compositions instead.

He could be moody and wasn’t well-received by everyone, but Debussy continued creating regardless of what people thought.

His music became popular during his lifetime, even though critics labeled it as “impressionistic.” (In his time this term was negative, as it criticized a lack of form.) He became friends with many of the

biggest names in music, art, and literature, and composed pieces that we still love today.

1862-1918 | FrenchPronunciation: Deb-you-see

Claude Debussy

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN:

Debussy was inspired to write his Nocturnes when he saw the paintings created by James McNeill Whistler.

Among his many paintings, Whistler created a series of Nocturnes that depicted landscapes in an impressionistic way. Debussy’s use of sound responded to the colors and images he saw in the paintings. Debussy said, “‘Nuages’ renders the immutable aspect of the sky and the slow, solemn motion of the clouds, fading way in grey tones lightly tinged with white.”20

WHAT’S THE INSPIRATION? The Visual Depiction of Clouds!

The Cloudspotter by Tom McLaughlin

This book is a good way to introduce the cloud theme portrayed in the piece. It does a great job of showing all the different shapes/types of clouds in the main character’s imagination.

Listen for the English horn that plays the main role of “cloud” throughout the piece. What kinds of dynamics (volume levels) do you hear?

Make a prediction: Knowing that the song is about clouds, do you think it will be legato (smooth and connected) or staccato (short and separated)?

12 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 13

This biography is special because James Norman works here at the Indianapolis Symphony Orchestra. If you’re lucky, you might catch a glance of him when you come to your concert! Here is some information about him:

James Norman grew up in Salem, Oregon. He began studying the piano in 3rd grade and the trombone in 5th grade. While his sister and brother were also musically gifted, James was the only one who decided to make music his career. Mr. Norman finished his DMA degree in composition at The University of Texas at Austin in 2008, where he worked extensively in composition with prominent American composers.

In addition to composing his own music, Norman is the Principal Librarian for the Indianapolis Symphony Orchestra. The core of his job is organizing and maintaining the library’s collection of music. As the principal librarian for the Indianapolis Symphony, he specializes in music preparation, proofreading, and notation, and relies on

a deep knowledge of orchestral and chamber repertoires. Finally, he must be well-versed in the music business, which includes music licensing, publishing, copyright law, and the intersection of music and various forms of multimedia.

When asked about which composers he enjoyed, he sang this song (to the tune of the ABC song):

“Ades, Berio, Copland, Corelli, Dallapiccola, Eotvos, Foss, Gorecki, Hildegard, Ives, Johnston, Kancheli, Lauridsen, Messiaen, Nancarrow, Ockeghem, Penderecki, Rzewski, Schnittke, Torke, Ustvolskaya, Volans, Williams, Xenakis, La Monte Young and Zimmermann….and now you know the composers I like. Next time won’t you listen with me?”

Norman resides in Indianapolis, Indiana, with his wife Holly, and sons Henry and Luke.

b. 1980 | AmericanPronunciation: Nore-man

James Norman

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN:

Check out this book to read with your students. Even middle school students like a good picture book if you tell them it’s like “going back in time to when they were little.”

Duck! Rabbit! by Amy Krouse Rosenthal & Tom Lichtenheld

This book is a fun way to discuss perspective to your students. It’s a humorous way to think about things from someone else’s perspective.

Which instruments are really good at playing bold, loud sounds?

Which instruments are really good at playing gentle, quiet sounds?

As you listen to this piece, do you think it sounds like music we are used to hearing in class and on the radio? Why or why not?

The brass and percussion instrument families are famous for their ability to be loud and proud.

The woodwind and string families are known for their ability to play soothing, quiet sounds – even though they are capable of playing loud sounds.

It is not like the music we hear most of the time. There is no predictable melody or tempo throughout. It is meant more to create a soundscape and paint pictures in your mind.

0:00 – Bold opening featuring percussion and brass (Rollercoaster = Scary)

1:02 – Dramatic shift to quieter dynamics, featuring the string and woodwind families (Roller coaster = Calm)

1:34 – The horns descending line leads into a quiet flurry of sound from the flutes/other woodwinds (Roller coaster = Calm but Nervous)

1:56 – Percussion interrupts the gentle flurry, and trumpets join in and build the sound (Roller coaster = Scary)

2:35 – A moment of calm relief with heavy string sounds (Roller coaster = Calm)

2:51 – The brass section interrupts the calm, and the dynamics grow again (Roller coaster = Scary)

3:40 – Quiet is restored as the strings play a gentle flurry of sound with the flutes and percussion adding accents (Roller coaster = Calm)

4:05 – The timpani begin playing a foreshadow to the dynamic growth that is about to happen

4:45 – The brass have joined in, making the sound bold and intense (Roller coaster = Scary)

4:56 – The bass drum adds tension to the sound (Roller coaster = Scary)

5:01 – There is a build from low to high accented by the tam-tam (cymbal)

5:27 – The brass melody from the beginning comes back, and the instruments build to a boisterous finish (Roller coaster = Scary)

WHAT YOU WILL HEAR Norman: Ligyrophobia(Pronunciation: Luhj-eye-ruh-fo-bee-uh or Luh-jee-ruh-fo-bee-uh)

A note from the composer:

“Early in the process of composing Ligyrophobia, I found myself struggling to find the right notes. You might call it writer’s block, but I wasn’t suffering from a lack of ideas. I was struggling to put the music I was ‘hearing’ on the page.

After many failed drafts, I consulted a professor of mine who suggested that I get away from “notes” all together and write the music without them. Having always composed at the piano with staff paper, I didn’t quite understand how I might accomplish composing without “notes.” My professor had me go to the blackboard and “draw” the music I was hearing. After a tentative start and continued prodding, I filled the entire blackboard. I took a photo of the mess of scribbles and scratches, and set forth to transcribe this abstract graphical outline to actual notes on the page.

I sat with my chalk sketch for a few days, and when I finally felt ready to musically depict the rendering, I had, within a few hours, completed what would become the first twelve bars of the piece. Although the process of translating the abstract was a challenge, there was a liberation in the dramatic change of perspective.”

WHAT’S THE INSPIRATION? A Tangled Idea in the Composer’s Mind!

LISTENING MAP

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN: This piece has been described as sounding like a ride on a rollercoaster. There are exciting/scary parts, and calm/relaxing parts, and you never know what’s coming next. Can you imagine when you would be on the scary twists and turns of the rollercoaster versus the calmer climbs/glides? Demonstrate that you can hear the difference by creating signs and holding them up, or using a hand motion to communicate.

Another rollercoaster activity would be to draw your own rollercoaster map that matches what the music does.

Bring art to life with sound. You can use your rollercoaster map, create an original drawing, or even make a solo/group statue to use as your inspiration. Then choose instruments and found sounds to bring the visual example to musical life.

Discuss the note from the composer above with your neighbors and as a class. Is there ever a time when you have felt “stuck” when trying to create something new (like an essay, drawing, or song). What did you do to get “unstuck?”

Scary Rollercoaster ideas - twists, turns, loops, upside curves, dramatic drops, etc. Calm Rollercoaster ideas – slow ascent to the top, straight passes, slight ramps, gentle curves, etc. Use the Listening Map for a general guide.

14 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 15

The melodies and colors of American folk music (like nods to their rhythms, melodies, and instruments) are found throughout.

Check out Agnes de Mille dancing the lead role in this YouTube video: http://bit.ly/DeMille

You can listen to the folk songs that inspired Copland. Listen to “Bonaparte’s Retreat” in this video (http://bit.ly/BonaparteRetreat), and “McLeod’s Reel” in this video (http://bit.ly/McLeodReel). Did you recognize them from Copland’s piece?

People in the “Wild West” were big into social dances like hoe downs. Discuss what a square dance looks like and some moves that are used. Create a solo or small group dance that goes with the music. Bonus points for moving to the beat and using moves that would be used in a square dance.

What types of emotions did you feel when you listened to the piece? How do you think the composer wanted you to feel about the Wild West?

32:30-35:00 has actual footage of the opening night!

Any answer will do here, but we’re looking for emotions like happy, joyful, fun, relaxed, etc.

Example: Dancing with a partner, using do-si-dos and allemands…

Copland was born in Brooklyn, New York, as the youngest of five children. He took an interest in music at a young age and composed his first piece when he was eight years old. His older sister gave him piano lessons at first, until his parents finally gave him permission to study with a professional teacher. He learned a lot about composing music from his first teacher, but eventually felt stifled because he wanted to explore new, innovative ways to harmonize.

He traveled to Paris, France, at age 21 to study at the Palace of Fontainebleau. It was there that he studied the newest musical ideas and techniques, and after he debuted his piano piece, “The Cat and Mouse”, a publisher bought it outright for approximately $35. (Copland said selling the rights to it for such a low price was his only business mistake.) It was also in Paris that he studied with the world-famous Nadia Boulanger. She introduced Copland to all the great composers and musicians of the time, and helped him make connections that would get his career off the ground.

He returned to America, determined to make a living in music. Over time, he became an acclaimed composer and conductor. It is said that Copland was the first composer to achieve a style that represented an overall, iconic sound of “America” to classical music audiences, both at home and abroad. He used his own, personal sound in his creation of ballet scores, piano solo works, orchestral works, film scores, and so on. Some of his famous works include “Fanfare for the Common Man”, “Billy the Kid”, and “Appalachian Spring”. He earned many awards in his lifetime: An Academy Award for his musical score in the movie The Heiress, the Pulitzer Prize for Music for Appalachian Spring, A Grammy Award for orchestra suite from The Tender Land, and many others.

1900-1990 | AmericanPronunciation: Cope-land

Aaron Copland

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN:Copland’s music is known for “sounding like true, iconic, American music.” As you listen to the piece, try to figure out what types of characteristics/sounds/emotions make it sound “American.”

When someone says “ballet,” what types of movements/costumes/music do you imagine? Predict whether or not they will match this particular “ballet.”

Copland used the melodies of two popular folk dance tunes: “McLeod’s Reel” and “Bonaparte’s Retreat.”

Rodeo was originally written as a ballet! Agnes de Mille choreographed and starred in its 1942 premiere at the Metropolitan Opera House. The ballet was very well received, with 22 curtain calls on opening night! Copland later created a symphonic version of Rodeo (orchestra only) that omits some sections.

Rodeo tells the story of a cowgirl living on Burnt Ranch in the “Old West.” She is a bit of a tomboy and hopes to get the attention of the Head Wrangler by showing off her wrangling skills. She is quite an accomplished cowhand, but her plan backfires when she is thrown from a bucking bronco. All the cowboys (except one) are rude to her and make fun of her, and she becomes discouraged and embarrassed.

“Hoe Down” is the last movement in Rodeo, and it takes place at a town dance. The cowgirl makes a surprising entrance in a beautiful dress, and she is quickly seen as the prettiest girl there! There is even a happy ending at the end of the night. The cowgirl ends up with the right guy for her; not the Head Wrangler but the cowboy who was kind and respectful to her all along.

WHAT’S THE INSPIRATION? The life and times of America’s “Wild West.”

Copland conducted the ISO here at

Hilbert Circle Theatre in 1974 and 1980!

0:00 - A Section: Based on Bonaparte’s Retreat The piece has an exciting start with the full ensemble playing, and then moves into Bonaparte’s Retreat. It’s the melody that was used in the “Beef, it’s what’s for dinner” commercial, and it has pronounced parts for the woodblock and xylophone.

1:29 - B Section: Based on McLeod’s Reel Trumpet and snare lead off the change with the new main melody, then hand it off to the strings. Then, the melody is given to the oboe, the violin next, and finally everyone joins in. There is a clear ending to the B section.

2:13 – This can be considered a bridge that links back to the A Section This melodic/rhythmic theme is based on the opening of the A section, but notice that the tempo (speed) and dynamics (volume) are drastically different, as well as the cadence at the end of the phrase.

2:36 - A Section: Based on Bonaparte’s Retreat The A section returns with the same excitement, and the full ensemble playing the melody from Bonaparte’s Retreat.

WHAT YOU WILL HEAR Copland:“Hoe Down” from Rodeo

LISTENING MAP

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN:

Check out one of these books to read with your students. Even middle school students like a good picture book if you tell them it’s like “going back in time to when they were little.”

Conrad and the Cowgirl Next Door by Denette Fretz

Pioneers by Martin W. SandlerThis book is nonfiction and is full of real

photos from the “Wild West”

This a square dance with a general form of ABA

This story parallels the story in Rodeo in many ways.

What do you know about the “Wild West?”(Ex. cowboys, clothing, weather, location, jobs, etc.)

16 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 17

Gabriela Frank has a very diverse background! Her mother has Peruvian/Chinese ancestry and her father has Lithuanian/Jewish heritage.

She grew up in Berkeley, California, and makes her living as a pianist and composer. Frank is known for composing music that is based on stories and cultures, especially those with Latino influence. She has a heart for civic outreach, and spends time volunteering in hospitals and prisons. She also worked on a recent project with deaf high-school students, which is really awesome because she has hearing loss herself.

Frank is a Grammy award winner. She is also known world-wide for both her compositions and talent for playing contemporary works on the piano.

b. 1972 | AmericanPronunciation: Frahnk

Gabriela Frank

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN:Check out this book to read with your students. Even middle school students like a good picture book if you tell them it’s like “going back in time to when they were little.”

Star Girl by Karin LittlewoodThis book tells the story of a little girl and her special star in the sky. It’s a fun connection to the piece.

This piece is more of a sound scape than a typical song that you might be used to hearing. Make sure to use your imagination as you listen!

Have you seen fireflies before? Where were you? What activities were going on? What kinds of emotions do you associate with fireflies?

There are many unique characteristics in this piece. Listen for glissandos throughout (when string instruments slide from one note to the next), and times when short melodic patterns are passed from one group of instruments to the next. Can you hear when it happens?

Example: 1:45-1:57

This piece was written especially for the Indianapolis Symphony Orchestra. It is part of a larger piece of music called “Pilgrims,” that tells the stories of immigrants who now live in Indianapolis. This is Frank’s description of this particular movement:

“’Testimonio III: Fireflies:’ The majority of the testimonios shared with me during my time in Indianapolis were about difficult experiences. On one occasion, a young woman described for me her passage across the Mexican border. After a good number of hours in the trunk of a car with two other women, she was let out somewhere in Arizona to stretch her legs. Momentarily blind from the long hours of darkness, she rubbed her eyes to encourage her vision to return, eventually realizing that the sparks flying crazily in front of her in the evening air were actually fireflies dancing across cemetery tombstones. These fireflies would come back to haunt her in ongoing dreams of disorientation and anxiety that she could never shake.”3

WHAT’S THE INSPIRATION? A Personal Story!

0:00 – String tremolos and persistent triangle (quiet/creepy fireflies darting)

1:09 – Strings and chimes (ominous melody, main character trying to decide where she is)

1:24 – Woodwinds and strings play darting sounds (main character sprinting through the scene trying to find her way)

1:58 – Quiet, frenzied strings with brass swells (main character hides, feeling panicked)

2:05 – Sliding glissando (main character begins to search quickly again)

2:13 – Low woodwinds play slowly (main character catches her breath)

2:22 – Woodwinds play darting sounds (main character explores, looking for help)

2:55 – Like beginning, but bigger and bolder (main character explores clues)

3:50 – The brass and percussion are featured (main character becomes brave)

4:23 – The music decrescendos (becomes gradually quieter) – (main character becomes weak and rests)

4:41 – Darting sounds from the woodwinds and percussion – (main character tries again to find a way out)

5:15 – Chimes, strings, and woodwinds fade (the main character has found her escape)

WHAT YOU WILL HEAR Frank:“Testimonio III: Fireflies” from Peregrinos (Pilgrims)

LISTENING MAP

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN:

Listen to track #7 on the CD. This is Frank introducing the piece at its world premiere here at the Indianapolis Symphony Orchestra. She describes the story behind the music. Now that you’ve heard from the composer, does it change anything you imagine when you hear the piece? How would you feel if you were in a similar situation?

When you listen to the piece, what kinds of emotions/feelings come to mind? What sounds made you feel that way?

If you had to narrate what was going on in the song (like a movie), what would the events be?

Answers will vary. Characteristics of the music like instrument families, dynamics, and tempos should help students explain why they chose certain emotions.

Use the listening map for an example.

18 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 19

Check out this book to read with your students. Even middle school students like a good picture book if you tell them it’s like “going back in time to when they were little.”

The Day the Crayons Quit by Drew Daywalt and Oliver Jeffers

Continued on Next Page

This movement is based on a rather abstract picture of chicks hatching. You’ll see it at the concert.

Have you ever seen a baby chick in real life? What do they sound like? How do they move? They are small, light, and delicate; they make little “peep” noises, and they bobble around.

Which instrument family is featured heavily throughout the piece?The woodwind family, especially the flute and piccolo.

Modest Mussorgsky grew up in a wealthy family, and his mother gave him piano lessons at a young age. At nine years old, he performed his first concerto for a large crowd at the family home. As a teenager, he attended military school and studied many subjects, including church music and Russian composers.

Even though he had a background in music, it was never Mussorgsky’s main source of income. He held positions in the department of the Russian Ministry of Communications for most of his adult life, taking only one break to focus on composing music.

He was said to have a rough, undisciplined, powerful musical style.His music was highly patriotic, and he was one of the “Russian Five” who set out to develop a distinctly Russian form of classical music.

One interesting thing about him is that he struggled to finish the projects he started, so much of his music was finished by friends like Nikolai Rimsky-Korsakov.

1839-1881 | RussianPronunciation: Muss-org-skee

Modest Mussorgsky

WHAT YOU WILL HEAR (1/4) Mussorgsky (arr. Tushmalov):“Promenade” from Pictures at an Exhibition

We are playing four movements from the larger work called Pictures at an Exhibition. They are all based on paintings by Mussorgsky’s friend, Victor Hartman. Mussorgsky wanted to bring the paintings to life in a musical way, so these movements are meant to sound like the paintings they represent.

He originally wrote the music for piano only, so Rimsky-Korsakov made an arrangement for the entire orchestra to play. The version we happen to be playing today is a little different than other versions you might hear because it was arranged by Mikhail Tushmalov.

WHAT’S THE INSPIRATION? Visual Art!

Check out this book to read with your students. Even middle school students like a good picture book if you tell them it’s like “going back in time to when they were little.”

600 Black Spots by David A. Carter

This is a pop-up book that features 3D art inspired by abstract artists. It’s fun to have students make the shapes/designs with their bodies as an introduction to Mussorgsky’s piece based on visual art.

Listen for the musical family that is featured most throughout the opening. (The string family.) Which instrument family seems to be missing until closer to the end of the piece? (The percussion family)

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN TO “PROMENADE”:

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN TO“BALLET OF THE UNHATCHED CHICKS”:

Fast, crazy movements with little body control, etc.

How would you not move in an art gallery?

LISTENING MAP OF “PROMENADE”0:00

The main theme is played predominately by the string

family.

0:35The brass family takes over the

melody back and forth with the strings and woodwinds.

1:01The brass, string, and

woodwinds all play the same melodies together.

1:16 The percussion family joins in

and drives the piece to the end.

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN TO “PROMENADE”:

How does the tempo and melody of the piece match the way you demonstrated walking through the art gallery?

The moderate tempo is like walking slowly through the art gallery, and the repeating melody and variation throughout is just like taking equal steps.

Any answer will count if the student can back it up, but an example might be someone who is wealthy because of the extravagant sound of the orchestra, etc.

What kinds of characters do you imagine promenading (walking leisurely) through the art gallery? Why?

Make your own living art gallery by posing as paintings/statues. Divide into solo/group pieces of art and “promenade-ers” to walk through and admire the artwork while you play the piece.

WHAT YOU WILL HEAR (2/4)Mussorgsky (arr. Tushmalov):“Ballet of the Unhatched Chicks”from Pictures at an Exhibition

When you’re at an art gallery, how would you walk and move through the paintings/exhibits. Can you show me? Slow, deliberate movements with no arm flailing, looking around to inspect the art, etc.

20 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 21

LISTENING MAP OF “BALLET OF THE UNHATCHED CHICKS”0:00

The chicks hatch with light fluttering of woodwinds and pizzicato strings.

0:58The music returns to the melody of the

hatching chicks from the beginning.

0:33The focus shifts to the English Horn that perhaps

represents another bird like a duck or goose

QUESTIONS & ACTIVITES TO TRY AFTER YOU LISTEN TO“BALLET OF THE UNHATCHED CHICKS”:

How would you describe the tempo (speed) of the piece? Does this match the name of the piece?It’s a very fast tempo. It matches because chicks move and hop quickly.

Did you hear the melody change a bit in the middle of the piece? The oboe took over for a minute, and made it sound like another animal. Can you guess what animal it is?

Can you move like a baby chick and duck/goose? Divide your class into two groups: Audience and Performer. Have the Performers move through the space like the animals remembering to use unique pathways and high/medium/low levels.

It sounds like a duck or goose.

This piece is based on a painting of Baba Yaga’s Hut. Baba Yaga is an infamous “wild woman” from Russian folk tales. The stories say she can be very sneaky and mean. Her hut has chicken legs, and it transports her by flying and spinning through the air. You’ll see the painting at the concert!

This piece has three main sections. Can you hear when the music changes from section to section? Use the listening map to help.

LISTENING MAP OF “BABA YAGA” This piece is essentially in ABA form.

A Section: 0:00Scary Chase Scene!

Fast Tempo, Loud Dynamics

B Section: 1:05Hiding/Sneaking Scene!

Slower Tempo, Quieter Dynamics

A’ Section: 2:19Scary Chase Scene!

Fast Tempo, Loud Dynamics

WHAT YOU WILL HEAR (3/4) Mussorgsky (arr. Tushmalov):“Baba Yaga” from Pictures at an Exhibition

Check out this book to read with your students. Even middle school students like a good picture book if you tell them it’s like “going back in time to when they were little.”

The Day the Crayons Came Home by Drew Daywalt and Oliver Jeffers

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN TO“BABA YAGA”:

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN TO “BABA YAGA”:Now that you know the music is portraying a spinning hut, what sounds/techniques did the composer use to create the sound of the spinning?

The fast tempo, the quick/short rhythms and note values, the quickly moving phrases with many different notes in them, etc.

If you had to pick one, would you say you enjoyed the A section or the B section better? Why? Examples: I like the A section better because it had louder dynamics and a faster tempo, OR I liked the B section better because it had quieter dynamics and featured the woodwind family.

What do you think Baba Yaga might look, sound, and act like? What would happen if you met her one day? Create your version of Baba Yaga or her spinning hut and act it out for the class as a solo or in small groups.

WHAT YOU WILL HEAR (4/4) Mussorgsky (arr. Tushmalov):“Great Gate of Kiev” from Pictures at an Exhibition

This is based on a painting of an elaborate, immaculate gate that Hartmann hoped to build as an actual structure. He entered it into a contest, but the contest was cancelled. You will see the painting at the concert!

Pay attention to the tempo (speed) of the music. What kind of mood does the tempo help to convey?

While all of the instrument families can be heard throughout the piece, which two families do you hear ringing out the most?

It is a slow march-like tempo. It sounds majestic, bold, grand, etc.

The brass and percussion families.

QUESTIONS TO DISCUSS BEFORE & AS YOU LISTEN TO“GREAT GATE OF KIEV”:

0:00 – Bold opening march feel with all instrument families playing

the brass and percussion families are featured

0:34 – Dynamics drop drastically and strings/woodwinds are featured

1:04 – Return of the bold feel with brass and percussion added back in

1:21 – Opening melody returns at a slow, majestic tempo

1:47 – Brass leads the build to the grand finale

LISTENING MAP OF “GREAT GATE OF KIEV”

QUESTIONS & ACTIVITIES TO TRY AFTER YOU LISTEN TO“GREAT GATE OF KIEV”:

Can you think of any special events or occasions when you would/could use this song? Important and formal events like the Olympics, special ceremonies, the end of a movie, etc. because it is so bold and sounds like a happy ending.

What types of movement does this song make you want to do? Demonstrate as a solo or group piece.

What kinds of colors/shapes/lines/images do you imagine when you hear this piece? Create an original piece of artwork.

22 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 23

OTHER ACTIVITIES:Write a Review!

Discuss in a Literature Circle!

Draw from the Music!

FOR MORE LESSON PLANS,VISIT THE INDIANAPOLIS SYMPHONY

ORCHESTRA ONLINE!

Writing a review is a great way to foster communication skills in students. There are no wrong opinions, as long as the students can explain their thoughts effectively through their writing.

Review Writing Prompt Examples:

Write a critique of the performance. Using musical terms, discuss what you liked or disliked about the performance.

Did you have a favorite instrument? What would you choose to play if you had the opportunity to perform with the Orchestra?

Did you have a favorite part of the performance? What did you think about while listening to the music?

We love getting letters from our audience members! Reviews of the performance may be mailed to:

The Learning Community, Indianapolis Symphony Orchestra 32 East Washington Street, Suite 600, Indianapolis, IN 46204

Make enough copies of the composer pages for all students in the class. Divide the class into groups and give them 5-10 minutes of silent reading time for each composer. Assign one student in each group the duty of watching the clock. Go around the circle with each student telling what they found most interesting about the composer. Discussions are encouraged!

Make sure everyone has a blank sheet of paper and drawing utensils, anything from crayons to coloring pencils to regular pens and pencils. Play a recording of a musical selection from this packet and tell students to draw whatever the music inspires to them. (If needed, play selected more than once to allow students to complete their drawing.)

Afterwords, have all the students sit in a circle. Go around the circle with each student asking what they drew and what about the music inspired that drawing.

Indianapolis Symphony Orchestra Learning Community: www.pinterest.com/isolearning

INDIANA ACADEMIC STANDARDS

NATIONAL/INDIANA STANDARDSFOR MUSIC EDUCATION

LANGUAGE ARTS:

PERFORMING MUSIC: CREATING MUSIC:

RESPONDING TO MUSIC:

SOCIAL STUDIES:

VISUAL ART:

Reading: Vocabulary development, comprehension

Singing, alone and with others, a varied repertoire of music. Improvising melodies, variations, and accompaniments.

Reading and notating music.

Performing on instruments, alone and with others, a varied repertoire of music.

Composing and arranging music within specific guidelines.

Listening to, analyzing and describing music.

Evaluating and critiquing music and musical performance.

Understanding relationships between music, the arts, and other disciplines outside the arts.

Understanding music in relation to history and culture.

Geography

Students Understand the Integrative Nature of Art Forms (Standard 14)

Individuals, Society, and Culture History

Writing: Response to performanceRecognizing that oral and written communication skills are stressed throughout Indiana’s Academic Standards, the Discovery Concert Teacher Packet includes questions to prompt classroom discussions and writing exercises. These questions are intended to enhance oral and written work.

Participate in collaborative conversations about grade-appropriate topics and texts with peers and adults in small and larger groups.

Consult reference materials, both print and digital (e.g. dictionary) to determine or clarify the meanings of words and phrases.

24 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 25

1.Althouse, Jay & O’Reilly, Judith, Accent on Composers, Van Nuys, CA: Alfred Publishing Co., 2001.

2. Berger, Melvin, A Guide to Orchestral Masterpieces, NY: Anchor Books by Doubleday, 1995.

3. Ewan, David, Orchestral Music: Its Story Told Through the Lives and Works of its Foremost Composers, NY: Franklin Watts, Inc., 1973.

4. Fuld, James J., The Book of World-Famous Music: Classical, Popular and Folk, NY: Dover Publications, Inc., 2000.

5. Kendall, Catherine Wolff, More Stories of Composers for Young Musicians, Edwardsville, IL: Toadwood Publishers, 1985.

6. Kline, Tod F., Classic Tunes and Tales, NY: Parker Publishing Co., 1997.

7. Krull, Kathleen, Lives of the Musicians: Good Times, Bad Times (And What the Neighbors Thought), NY: Harcourt Brace & Co., 1993.

8. Nicholas, Jeremy, The Great Composers: The Lives and Music of 50 Great Classical Composers, London: Quercus, 2007.

9. Sadie, Stanley, Editor, The New Grove Dictionary of Music and Musicians 2nd Edition, Vol. 9, NY: Macmillan, 2001.

10. Schonberg, Harold C., The Lives of the Great Composers, NY: W.W. Norton & Co., 1981.

11. Ludwig van Beethoven: Symphony No 6, 4th Movementhttps://www.youtube.com/watch?v=-ZVdVuskkKU&list=PLgdeGSjT3AYKlYjYC-VYNjNt7tA-IZmMF&index=2

12. Aaron Copland: Hoedownhttps://www.youtube.com/watch?v=LsReWx9XdNs&list=PLgdeGSjT3AYKlYjYC-VYNjNt7tA-IZmMF&index=6

13. Claude Debussy: Nocturneshttps://www.youtube.com/watch?v=WEpzZjB6_D4&index=4&list=PLgdeGSjT3AYKlYjYC-VYNjNt7tA-IZmMF

14. Edvard Grieg: Morning Mood (Peer Gynt Suite No. 1, Op. 46)https://www.youtube.com/watch?v=KfYw4EldCUE&list=PLgdeGSjT3AYKlYjYC-VYNjNt7tA-IZmMF&index=7

15. Modest Mussorgsky (arr. Tushmalov): ‘Pictures at an Exhibition’ - 1st orchestration:https://www.youtube.com/watch?v=NQxcMlhmXa8

16. John Williams: The Imperial Marchhttps://www.youtube.com/watch?v=-bzWSJG93P8&list=PLgdeGSjT3AYKlYjYC-VYNjNt7tA-IZmMF&index=3

Print References:

CD Recording References:

17. The Planets: 2014 Youth Concert Teacher Resource Materialshttps://www.a2so.com/wp-content/uploads/2014/09/TeacherResourceMaterials_2014-03_YouthConcert_WebOptimized.pdf?e27273

18. John Williams Biographyhttps://www.biography.com/people/john-williams-9532526

19. Edvard Grieg Biographyhttps://www.britannica.com/biography/Edvard-Grieg

20. Claude Debussy, Twenty Factshttp://www.classicfm.com/composers/debussy/pictures/debussy-20-facts-about-great-composer/paris-conservatoire/

21. Edvard Grieg Biographyhttp://www.classicfm.com/composers/grieg/

22. Darth Vader Theme Discussionhttp://www.filmmusicnotes.com/john-williams-themes-part-3-of-6-the-imperial-march-darth-vaders-theme/

23. Four Dance Episodes Form “Rodeo” - “Rodeo” Discussionhttps://www.laphil.com/philpedia/music/four-dance-episodes-form-rodeo-aaron-copland

24. History of Peer Gynthttp://www.ibsen.co/portfolio/peer-gynt/

25. James McNeill Whistler – Claude Debussy – Nocturnes in Painting and Musichttp://www.interlude.hk/front/james-mcneill-whistler-claude-debussy-nocturnes-in-painting-and-music/

26. Gabriela Lena Frank Biographyhttp://www.musicsalesclassical.com/composer/work/2388/37105

27. National Music Education Standardshttp://www.musicstandfoundation.org/images/National_Standards_-_Music_Education.pdf

28. Peregrinos (Pilgrims): A Musical Journeyhttps://www.wfyi.org/programs/peregrinos-pilgrims-a-musical-journey/television/peregrinos-pilgrims-a-musical-journey

Website References:

Below: Check out our Side-By-Side Program for High School Students!

26 INDIANAPOLIS SYMPHONY ORCHESTRA 2018 TEACHER PACKET 27

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