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2018 Learning Guide For the

Berton Family Young People’s Concerts

Presented in collaboration with:

Jacobs Music Center/Copley Symphony Hall 750 B Street, San Diego, CA

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Dear Teachers:

Thank you for attending the San Diego Symphony’s Berton Family Young People’s Concert entitled

“Symphology: The Science of Sound.” This packet contains lesson plans and composer biographies

that are designed to help you prepare your students for the program on October 26th

and 27th

, 2018. We

hope that the guide will be useful to both music and classroom teachers. Feel free to adapt or change

the lessons to suit the needs of your students depending on their age and ability.

The lessons align with Common Core standards and California Visual and Performing Arts Content

Standards:

1.0 Artistic Perception: Processing, Analyzing and Responding to Sensory Information Through the

Language and Skills Unique to Music

4.0 Aesthetic Valuing: Responding to, and Making Judgments About Works of Music

5.0 Connections, Relationships, Applications: Connecting and Applying What is Learned in Music

to Learning in Other Art Forms and Subject Areas and to Careers

If you have any questions regarding this packet please call Maria Araujo, Vice President for Learning

and Community Engagement at (619) 615-3951 or Emily Persinko, Learning Programs Assistant at

(619) 237-1967 or epersinko@sandiegosymphony.org.

We hope you enjoy the concert!

We wish to thank the education department of the Ruben H. Fleet Science Center for their assistance in

developing and presenting this program. Www.rhfleet.org

The Education & Outreach programs of the San Diego Symphony are generously supported by:

The City of San Diego Commission for Arts and Culture, The Berton Family Foundation, League of American

Orchestras, The Alexander and Eva Nemeth Foundation, Price Philanthropies, The Symphony Notables, Catherine

Van Dyke*, Qualcomm, Frank Subaru Motors, Dr. William and Evelyn Lamden, Linda and Shearn* Platt,

Anonymous, US Bank, Bank of America, Cox Communications, The Wells Fargo Foundation, County of San Diego,

Southwest Airlines, National Endowment for the Arts, Ellen Browning Scripps Foundation, Ashford University,

David C. Copley Foundation, Kenneth T. and Eileen L. Norris Foundation, ResMed Foundation, Menard Family

Foundation, City of Encinitas/Mizel Family Foundation, Samuel I. and John Henry Fox Foundation, Downtown

Lion's Club, Pratt Memorial Fund, Ellen G. & Edward G. Wong Family Foundation, Community Service Association

of San Diego City Schools, San Diego Foundation, Advocates for Classical Music and the California Arts Council.

*deceased

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Table of Contents

Meet the Orchestra 4

Where do the Musicians Sit on Stage? 5

Classifying Instruments 6

Instrumental Families 7

Meet Sameer Patel 8

What Does a Conductor Do, Anyway? 9

Concepts of Energy 10

Lesson 1: What is a Sound Wave? 12

What is the Scientific Method? 13

Lesson 2: Also Sprach Zarathustra By Richard Strauss 14

Lesson 3: Pizzicato Polka By Johann Strauss, Jr. 16

Lesson 4: Sandpaper Ballet By Leroy Anderson 17

Orchestral Instrument Activity 18

Composer Biographies 23

Meet the Scientists 26

Quick Facts about Symphony Hall 27

Tips for Listening 28

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Meet the Orchestra

The modern symphony orchestra consists of 75-100 musicians and up to 20 different musical

instrument types. There are four main groups or families of instruments: Strings (violin,

viola, cello, bass, and harp), Woodwinds (flute, oboe, clarinet, bassoon), Brass (trumpet, horn,

trombone and tuba), and Percussion (including the piano). Can you find them in the theater?

The word “symphony” means “sounding together.” Your orchestra is called the San Diego

Symphony because it is located in the city of San Diego*, California and it is a group of

musicians who live and work in the area. If you were to start up a neighborhood or classroom

orchestra, what would you call it? Think of special characteristics that you could include in the

name.

San Diego Symphony Orchestra

*Its members are some of the top players in the country, who live and work in the area.

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Where do the Musicians Sit

on Stage?

*Please note that conductors may choose to change these seating arrangements at times

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Classifying Instruments Many people are familiar with the instrument families, but there are other ways of classifying

instruments. Instruments can be classified according to how they produce sound! Below you will

find four classifications, how they produce sound, and examples of each.

AEROPHONES

Primary cause of sound is vibrating air

Examples include: flute, recorder, bas-

soon, trombone, trumpet

MEMBRANOPHONES

Sound is made primarily by a vibrating

membrane

Examples include: bass drum, snare

drum, timpani

IDIOPHONES

Produce sound without the use of

strings or a membrane

Examples include: cymbals, gong, tri-

angle, marimba

CHORDOPHONES

Produce sound primarily through the

vibration of a string or strings

Examples include: piano, double bass,

cello, violin, guitar

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Instrumental Families Teacher’s “Cheat Sheet” to be used with the following activity.

Strings: Violin, Viola, Cello, Bass

What do they have in common?

They are all made of wood and have the same

basic shape

They have two parts—the instrument itself and

the bow

Sound is made by either drawing the bow

across the strings (called arco) or by plucking

the strings with the finger (called pizzicato)

They sit in the front because they are quiet in-

struments

How are they different?

They are different sizes which affect the pitch

(the smaller the instrument, the higher the

pitch; the larger the instrument, the lower the

pitch

Violin and viola are held under the chin while

being played and the cello and bass stand on

the floor

Woodwinds: Piccolo, Flute, Clarinet, Oboe, Bassoon

What do they have in common?

They all have a similar tubular shape

Sound is made by blowing air through the in-

strument

Most are made of wood (the flute is made of

precious metals like silver, gold or platinum,

but used to be made of wood)

They sit behind the string section because they

are louder (but not as loud as the brass instru-

ments)

How are they different?

The piccolo and flute do not have reeds

The clarinet is a single reed instrument

The oboe and bassoon are double-reed instru-

ments

They are different lengths, which affects the

pitch (the shorter the instrument, the higher the

pitch; the longer the instrument, the lower the

pitch)

Brass: Trumpet, French Horn, Trombone, Tuba

What do they have in common?

They are all made of metal

They are all just tubes with a mouthpiece at-

tached and a flared bell at the end

Sound is made by buzzing the lips into the

mouthpiece

They sit behind the woodwinds because they

are very loud

How are they different?

The tubes are different lengths which affects

the pitch (the shorter the tube, the higher the

pitch; the longer the tube, the lower the pitch)

They are different shapes

The trombone changes pitch with a slide, the

trumpet, horn and tuba change pitch with

valves

Percussion: Various drums, cymbals, tambourine (this family also

includes piano and harp).

What do they have in common?

They all make sound by being shaken or struck

by a stick, hammer, mallet or hand

They sit in the back of the orchestra (or to the

side) because they are loud

How are they different?

Made of different materials, including

wood, metal and plastic

They are different shapes

They make different sounds

Some have a definite pitch and some do not

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Meet Sameer Patel

Where did you grow up? I grew up in a town called Port Huron in the state of Michigan. It gets

pretty cold there during the wintertime, so I’m definitely happy to be

here in sunny San Diego!

What were some of your early experiences with music? I started playing piano at the age of nine, and two years later I started

playing the saxophone in band. Even though I didn’t care for practic-

ing when I started, I became very interested in music in high school

because I had really great teachers. I was lucky enough to have my

first experiences conducting while in high school, and I have been

doing it ever since!

Did you study music in college? Yes! I went to the University of Michigan, and to this day I’m a big fan of its football team! Go

Blue!

What do you like about conducting? It’s incredible how so many people on stage can make such a grandiose sound, and I love the

teamwork and creativity that goes into this. I also like that it allows me to get to know our audi-

ence members (like you!) through our concerts.

What do you like to do when you’re not making music? I’m a very curious person and enjoy learning about a variety of things. I’m constantly reading a

book, for instance! I also enjoy exploring San Diego and spending time with friends and family.

Do you have a favorite food? I love all types of food, especially ethnic food. We’re lucky that here in San Diego we have so

many great restaurants!

Do you like to travel?

Yes, I love it! I’ve been fortunate to travel extensively throughout Europe and have also been to

Asia, Africa, and South America!

Do you like animals? You bet! I’m a San Diego Zoo member, and love going to see the different animals there. I also

grew up with cats and a dog, and I even help foster an orphaned elephant in Kenya.

What is your favorite place in San Diego? I love Balboa Park. I live pretty close to it, so I enjoy running through the park in the mornings

or visiting the many museums. I also love being by the water. Growing up in Michigan, I lived

right on Lake Huron, so I’ve always felt a sense of wonder when being near a large body of wa-

ter. So because of that, I also really enjoy going to Coronado and Sunset Cliffs and being near

the Pacific Ocean!

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What Does a Conductor Do, Anyway?

When we watch an orchestral concert, we are looking not only at the musicians, but at the

conductor and wondering, what exactly do they do? For our purposes today, we’ll refer to a

conductor as “he”, though there are also female conductors.

First, a conductor chooses music for the concert, usually in collaboration with a person on

staff of the orchestra.

Second, a conductor spends most of his time studying the music so that he knows each and

every part that the individual musicians play and how they work together. Studying music

is a solitary activity and does not take place with musicians or even onstage. Most conduc-

tors prefer a quiet room in which to study their music scores.

Third, a conductor will practice with musicians in a rehearsal to have them play the music

just as he is imagining it in his head. He will sometimes talk to the musicians to convey his

ideas but more often he communicates his ideas through his gestures, eye contact and other

body language. The conductor works on articulation (how sounds are played), tuning,

phrasing, and overall energy and communication within the orchestra.

Fourth, he performs the music with the orchestra in front of an audience. This is when all

the hard work pays off! At this time, no words are used to communicate to the musicians—

only gestures, eye contact and body language.

Learn to Conduct

When working with the musicians, you’ll see the conductor using their hands or a baton to

communicate with musicians. The conductor uses each of his hands differently. With the right

hand he keeps the beat with a specific pattern (see below), with the left hand, he communi-

cates the expressive qualities of the music.

Conducting in 2 Conducting in 3 Conducting in 4

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Concepts of Energy

“Energy can appear in many forms-as the energy of motion or in the form of heat

and light. It can appear in the flow of electrical current or on an atomic or

molecular scale as a chemical energy. In physics, energy is defined as “the ability

to do work” or “the ability to make things move.” In biology, energy provides

living things with the ability to grow and to reproduce. Light, heat, sound,

magnetism, and electricity are all manifestations of energy.

Artists use energy in its various forms to create movement or intensity in a work

of art. Some sculptural forms, such as mobiles use wind or heat energy to

maintain their motion. Other works of art use the energy produced by neon and

laser light to generate compositions of varied, brightly colored designs.

In the visual arts, energy often is expressed metaphorically. Students learn to

evoke the quality of energy in their artwork. Bold lines, forceful brush strokes,

and bright colors all contribute to vitality of expression in drawing and painting.

By learning to evaluate the expressive qualities of their own work, students

develop the ability to recognize the quality of energy in the work of other artists.”

Tolley, Kimberley. The Art and Science Connection: Hands-on-Activities for Intermediate

Students. Addison-Wesley, 1994.

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How do you think musicians use energy? Do they use light, heat, sound,

magnetism, or electricity to make music?

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Lesson 1: What is a Sound Wave?

Material from Rice University Lesson Plan 1.5.1 Sound and Music Activities

Schmidt-Jones, Catherine. “1.5.1 Sound and Music Activities.” OpenStax CNX,

cnx.org/contents/GOQaowEz@1.52:M8ISkDD_@16/Sound-and-Music-Activities.

CALIFORNIA STATE LEARNING STANDARDS ADDRESSED

Heat (Thermal Energy) (Physical Sciences)

3a. Students know energy can be carried from one place to another by heat flow or by waves, including water,

light and sound waves, or by moving objects.

Terms and Concepts Sound Waves - When something vibrates, it makes a sound. The vibrations travel out in all directions from the

"something" in the same way that ripples travel out from a pebble that has been dropped in water. But instead of

being waves of water, these are waves of vibrations of air: sound waves. Because it is the air itself that is

vibrating, sound waves, unlike water waves, are invisible. Frequency - or Pitch - Think of water waves again. They can be close together or far apart. If they are close

together, there are more of them; they are more frequent. Frequency is the term that scientists and engineers use

to describe how many pulses of a sound wave arrive at your ear in one second. Musicians use the term pitch. A

sound with a higher frequency (more waves) has a higher pitch, and sounds higher. Amplitude - or Dynamic Level - Water waves can also be great, big, tall waves, or small ripples. The size of a

wave is called its amplitude. In sound waves, the bigger the wave, the louder the sound is. Musicians call the

loudness of a sound its dynamic level.

Music is the art of sound, so let's start by talking about sound. Sound is invisible waves moving through the air

around us. In the same way that ocean waves are made of ocean water, sound waves are made of the air (or

water or whatever) they are moving through. When something vibrates, it disturbs the air molecules around it.

The disturbance moves through the air in waves - each vibration making its own wave in the air - spreading

out from the thing that made the sound, just as water waves spread out from a stone that's been dropped into a

pond.

Surf rolling down a beach, leaves rustling in the wind, a book thudding on a desk, or a plate crashing on the

floor all make sounds, but these sounds are not music. Music is sound that's organized by people on purpose,

to dance to, to tell a story, to make other people feel a certain way, or just to sound pretty or be entertaining.

Music is organized on many different levels. Sounds can be arranged into notes, rhythms, textures and

phrases. Melodies can be organized into anything from a simple song to a complex symphony. Beats,

measures, cadences, and form all help to keep the music organized and understandable. But the most basic

way that music is organized is by arranging the actual sound waves themselves so that the sounds are

interesting and pleasant and go well together.

A rhythmic, organized set of thuds and crashes is perfectly good music - think of your favorite drum solo - but

many musical instruments are designed specifically to produce the regular, evenly spaced waves that we hear

as particular pitches (musical notes). Crashes, thuds, and bangs are loud, short jumbles of lots of different

wavelengths. The sound of surf, rustling leaves, or bubbles in a fish tank are also white noise, the term that

scientists and engineers use for sounds that are mixtures of all the different wavelengths (just as white light is

made of all the different wavelengths, or colors, of light).

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What is the Scientific Method?

The scientific method is a procedure that consists of observation, measurement, and experimentation to

formulate and modify hypotheses in order to develop a theory.

The steps of the scientific method are to:

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Lesson 2: Also Sprach Zarathustra

By Richard Strauss ESSENTIAL QUESTION/OBJECTIVE How would you describe the sounds you hear in this piece? How many instruments are played? Potential

answers include long/sustained notes by a few at the beginning of the piece, gradual increase in volume and

number of players; large volume contrasts (Duration, timbre, dynamics and instrumental texture exploration)

How is this music organized? Can you hear a sequence of events? (Structure/ Music plan)

CALIFORNIA STATE LEARNING STANDARDS ADDRESSED

1.0Artistic Perception: Identify instrument voices, families/colors, and sound variables such as duration and

volume, and learn the specific music terminology. Identify patterns, sections and structure in a piece of

music as the composer organized it. Follow how graphic notation illustrates (maps) the piece structure.

1.4 Describe music according to its elements, using the terminology of music (instrumental families,

orchestra, piano, forte, dynamics, contrabassoon, woodwinds, trumpets, brass)

MATERIALS Prep CD tracks, screen, Zarathustra Music Map http://www.uen.org/utahlink/lp_res/cma07.gif

LISTENING REPERTOIRE

“Also Sprach Zarathustra” by Richard Strauss (CD Track 1)

PRIOR KNOWLEDGE Students should be familiar with music instrument names and types (classifications). The lesson provides

further practice to this skill.

BACKGROUND INFORMATION “Also Sprach Zarathustra” (meaning “Thus Spoke Zarathustra”) is a tone poem—music that depicts

something. In this case, Strauss wants to evoke a sunrise to symbolize the earliest time of civilization. He uses 4

trumpets and gradual, sudden changes in volume to depict the bright sun rising in the sky. What do you hear next?

What do you think he is describing next? Listen for the throbbing timpani pulses (describe what an accent is).

PROCEDURES

Play the CD section of “Also Sprach Zarathustra” by Strauss (CD Track 1)

Prompt the students to answer the following questions:

1) What do you hear? What is producing the sound? How many musicians do you think are playing? How

does the sound change through the piece?

Potential answers: Aerophones, Membranophones, Idiophones, Chordophones, Brass, Drums, Air, skin etc.

Explain that this section was the “dawn” of the movie 2001: A Space Odyssey.

Place the Zarathustra Music Map on a screen or document camera.

Play the CD section again, following the instrumental pattern on the map.

Have the students explore and discuss why certain sections are depicted as “stars,” some appearing

larger and bolder than others? What do the stars represent?

Have the students listen again to the music and follow the music map to check on their answers.

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INDICATORS OF SUCCESS

Students will identify musical instruments, dynamic and texture changes and follow the music

map as they listen.

Students will identify the at least two different instrument groups (brass and percussion).

Students will identify pitch changes in the timpani. There is a pattern of 2 different pitches played

by the timpani in this piece repeatedly (high sound and low sound).

LESSON EXTENTION

Play the CD section of Fanfare pour preceder La Peri By Paul Dukas (CD Track 2)

Prompt the students to answer the following questions:

1. What do you hear? What type of instruments do you think is providing the sounds?

2. How do these sounds compare to the sounds in Zarathustra? How do they differ?

Topics associated with Brass Instruments: Fanfare, Celebration Music, Outdoor

Events, Military, Heroism, Authority, Importance, etc.

Students should successfully identify that both pieces use brass instruments

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Lesson 3: Pizzicato Polka By Johann Strauss, Jr.

ESSENTIAL QUESTION/OBJECTIVE What is articulation? How are string instruments played? How may one elongate the sound on a

string? Students will learn to distinguish two types of string family articulations bowing and

plucking.

CALIFORNIA STATE LEARNING STANDARDS ADDRESSED

1.0 Artistic Interpretation: Students read, notate, listen to, analyze, and describe music and

other aural information, using the terminology of music

1.4 Describe music according to its elements, using the terminology of music

MATERIALS Prep CD

LISTENING REPERTOIRE

“Pizzicato Polka” by Johann Strauss, Jr. (CD Track 3)

Britten’s Guide to the Orchestra (CD Track 11)

PRIOR KNOWLEDGE

Pizzicato- the technique string players use that involves plucking strings.

Bowing- the technique string players use that involves rubbing the bow across the strings on the

instrument

BACKGROUND INFORMATION Johann Strauss, Jr. composed “Pizzicato Polka” with his brother Josef in 1869, and it was pub-

lished in 1870. It became very popular, especially in Italy.

PROCEDURES

Play CD track 3. Ask students:

1. What instruments are being played in this piece? 2. How are the instruments being played in this piece? (pizzicato)

3. What is the duration of the notes like? Long or short?

Demonstrate what pizzicato looks like on a string instrument.

Play CD Track 11

1. What technique are the string players using to create sound (They use a bow to

create friction with the strings)

2. How does using the bow affect the length of the note? (It makes the note last longer)

Demonstrate what using a bow on a string instrument would look like.

INDICATORS OF SUCCESS

Students will actively listen and participate in following the music at it is played.

Students will be able to identify the two articulations for string instruments as they listen.

Students will be able to describe note lengths.

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Lesson 4: Sandpaper Ballet By Leroy Anderson

ESSENTIAL QUESTION/OBJECTIVE

What is friction? Students will understand how sound is created through friction. What is a sand

block? Students will learn about this instrument and that some percussion instruments have

definite and others non-definite pitch sounds (See page 22 for examples).

CALIFORNIA STATE LEARNING STANDARDS ADDRESSED

1.0 Artistic Perception: listen to individual and groups of instrument sounds. Identify the

medium that produces the sound, timbres, tuned and untuned instruments, music patterns and

structure in a piece of music as the composer organized them.

1.4 Describe music according to its elements, using the terminology of music

MATERIALS

Prep CD, computer and projector screen

LISTENING REPERTOIRE

“Sandpaper Ballet” by Leroy Anderson (CD Track 4)

PRIOR KNOWLEDGE

Students should know that an accompaniment is a musical part that supports a more prominent

one, generally a melody. They should know most music has a melody and an accompaniment.

BACKGROUND INFORMATION Leroy Anderson composed “Sandpaper Ballet” in 1954 as a tribute to the soft-shoe style of

dancing associated with vaudeville. Vaudeville dancers would use sheets of sandpaper as rhyth-

mic accompaniment to their routines.

PROCEDURES Play CD (Track 4) and listen to the piece (without telling class the title). Find out if any

students can correctly guess the sound.

Introduce the concept of friction. Ask students:

1. How is sound produced with the sandpaper? (rubbing pieces together, friction)

2. Is it playing a melody? ( No, the instrument has no definite pitch, it plays a rhythm)

3. Can we produce a similar sound with just our hands? (yes)

4. Can you think of a family of instruments that use friction to make sound? (Strings)

5. What are the other instruments playing? (Harmony/Melody)

6. Can you tell which family of instruments plays the melody in this piece? (Strings

play the melody first, then woodwinds, then there is alternation of instrument groups)

Ask students to get together in groups and explore how other instruments generate sound.

INDICATORS OF SUCCESS Students will produce clear pitched sounds and non-pitched sounds upon request.

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Orchestral Instrument Activity

Copy the following pages of instruments onto colored paper and cut along the bold lines to make

cards. Put tape on the back of each card and tape them around the room, on the walls, chalkboard,

desks, etc. The students pick a partner. They walk around the room with paper, pencil and a book for a

writing surface, and write the name of each instrument in its correct family box (string, woodwind,

brass, percussion). After about 10 minutes, they should return to their seats and check their answers.

STRING WOODWIND

BRASS PERCUSSION

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String Orchestral Instruments Play CD 11 to introduce the sounds of the string instruments.

Violin Highest sounding of all the string

instruments

Similar to soprano voice in a choir

Held under chin when played

Viola Second highest sounding string

instrument

Similar to alto voice in a choir

Held under the chin when played

Cello

Second lowest instrument

Similar to tenor voice in a choir,

but has a very wide range

A peg at the base of the cello rests

on the floor; instrument is held

between knees of player

Bass Lowest sounding string instrument

Similar to bass voice in a choir

Player stands up or sits on a high stool

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Woodwind Orchestral Instruments Play CD track 9 to introduce the sounds of the Woodwind instruments

English Horn

Oboe Double reed is used in the mouthpiece Medium high pitch

Creates a thin, buzzing sound

Requires great breath control from the

player

Developed from the shawm in the 1700s

English horn is lower version of the oboe

Bassoon Double reed is used in the mouthpiece

Low range

Sounds like a low oboe

Is 9 ft. 2 in. long and is folded in two

Early bassoons had only 2 keys; more keys

were added to allow for extra notes

Contrabassoon reaches even lower pitches

Flute and Piccolo

Highest sounding of all woodwind

instruments

Held sideways when played

Flute is 26 inches long and has a light,

lovely sound

Piccolo is half the length of a flute and

has a very high, clear, piercing sound

Clarinet Bass Clarinet Clarinet

Single reed is used in the mouthpiece Wide range from low to high

Sounds hollow and mellow

Easily handles changes in tempo and vol-

ume

Bass Clarinet reaches lower pitches and

curves up at the bottom like a saxophone

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Brass Orchestral Instruments Play CD Track 10 to show students what brass instruments sound like

Trumpet Highest sounding of the brass instru-

ments

Similar to soprano voice in a choir

Trumpets date back to at least 1350 BC -

Straight trumpets were found in the tomb

of Pharaoh Tutankhamen

Sounds brilliant and strong

Length uncoiled is 6 feet

Different kinds of mutes can be inserted

in the bell to muffle or change the sound

French Horn Medium-low range Similar to alto voice in a choir

Hunting horn originally, then inner coils of

tubing were added to produce more pitches Right hand is placed in a bell to control

pitches and tone

Sounds warm and rich

Length uncoiled is 16 feet

Trombone • Medium-low range

• Similar to tenor voice in a choir

• Trombone design has been the

same for 500 years

• It was called the sackbut (French

for “push-pull”) in medieval days.

• Sounds powerful and majestic

• Length uncoiled is 9 feet

Tuba • Lowest sounding brass

instrument

• Similar to bass voice in a choir

• Developed in the 1800s

• Sounds deep and rich

• Length uncoiled is 16-18 feet

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Percussion Orchestral Instruments Play CD track 12 to introduce the sounds of the Percussion instruments

Timpani Also called kettledrum Definite pitch instrument:

tuned to precise notes

Drum head, usually

plastic, is stretched over a

copper kettle

Drum head skin can be

tightened to raise the

pitch

Played in groups of 3-5 drums

Produces deep tones and can sound like thunder

Bass Drum Indefinite pitch instrument: no specific pitch is

played

Sounds very low, strong tones

Snare Drum Indefinite pitch instrument Snares (wire strings) are

stretched along the bottom of the

drum head and vibrate when the

drum is struck.

Sounds are loud and sharp.

Cymbals Indefinite pitch instrument Two circular brass discs that

look like large dinner plates

Ancient Greeks and Romans used them in their

religious rituals

Sounds loud, exciting tones

Other Percussion Instruments Pictured are xylophone, castanets, maracas and

triangle

There are many other percussion instruments such

as the glockenspiel, celeste, tubular bells, gongs,

vibraphones, woodblock, etc.

Tambourine Indefinite pitch instrument Can be shaken or hit with hand or against knee

Rolled sound is made when thumb rubs along the

edge of the head

Sounds high, jingling tones

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Composer Biographies Meet Richard Strauss

Life Dates: 1864-1949

Country of Origin: Germany

Musical Era: Late Romantic

Richard (pronounced Ree’ kard) Strauss was born in Munich, Germany.

His father was a professional horn player for the Munich Opera and was

also his music teacher during childhood. Strauss started piano lessons at

the age of four and composed many pieces starting from the age of six.

During his high school years he had his first and only lesson in music

composition. By the age of 18 he had written around 140 pieces!

At the age of 21, Strauss became conductor of the Meiningen Court

Orchestra. One year later, he conducted for the Munich Court Opera.

During this time he also traveled to Italy, where he found inspiration for

several of his compositions. Around the end of the 19th century, Strauss began writing for the opera. His

first two attempts were not quite successful. In 1905, his opera Salome was a huge success and

considered ground-breaking. By the end of his career, Strauss had written many operas.

Meet Russell Peck

Life dates: 1945-2009

Country of origin: United States of America

Musical era: 20th century

Russell Peck’s music has been played by hundreds of orchestras

around the world, such as the London, Boston, and Montreal

Symphonies. One interesting feature of Peck’s music is that many

of the compositions have interesting and descriptive titles, rather

than being titled “Concerto No. 1” or “Symphony No. 5” as many

composers identify their music. Some of Russell Peck’s pieces

include “The Upward Stream”, “Mozart Escapes” and the piece

you are about to hear, “The Thrill of the Orchestra”.

Peck was born in Detroit, Michigan on January 25th, 1945. In high

school, he played the trombone in band and orchestra. He continued his studies in music and

eventually earned his doctoral degree in composition. In addition to composing music, Peck taught

as a professor of music at several universities.

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Meet John Williams

Life Dates: 1932-Present

Country of Origin: U.S.A.

Musical era: 21st century

In a career spanning more than five decades, John Williams has

become one of America’s most accomplished and successful

composers for film and for the concert stage.

His 45-year artistic partnership with director Steven Spielberg

has resulted in many of Hollywood’s most acclaimed and

successful films, including Schindler’s List, E.T. The Extra-

Terrestrial, Jaws, Jurassic Park, the Indiana Jones films, and War Horse. Mr. Williams composed

the scores for all eight Star Wars films, the first three Harry Potter films, and Superman. He holds

the Academy Award record for the most nominations for a living person; he has been nominated 51

times!

Meet Paul Dukas Life dates: 1865-1935

Country of origin: France

Musical era: Late Romantic, early 20th Century

French composer Paul Dukas was born in Paris on October 1st, 1865.

His family was Jewish and he had two siblings. He took piano lessons

when he was young and began writing music when he was 14 years old,

and two years later he began his formal music education at the

Conservatoire* de Paris. One of his closest friends at the conservatory was the famous composer

Claude Debussy. He won many prizes for his compositions, and later began his career as a music

critic in addition to composing.

Dukas’s music was influenced by many composers, including Beethoven, Berlioz and Debussy. His

musical compositions include an opera, ballet, and works for orchestra as well as solo piano. Only a

few of his many compositions remain because he was known to be a perfectionist and would

destroy compositions he wasn’t completely satisfied with. His most popular composition is entitled

L’apprenti sorcier (The Sorcerer’s Apprentice), an orchestral work that was featured in the Disney

film “Fantasia”.

Meet Johann Strauss, Jr.! Life dates: 1825-1899

Country of origin: Austria

Musical era: Romantic Johann Strauss was a composer and violinist born in Austria. As a child, he

learned how to play the violin in secret because his father wanted him to be a

banker, not a musician. His father, Johann Strauss I was a musician and did not

want his son to live a musician’s life. However, with the support of his mother,

Strauss was able to concentrate fully on his career as a composer. He studied

counterpoint and harmony with Joachim Hoffmann. He made his composition

debut at Dommayer’s Casino in Hietzing in 1844. He was awarded the honorary

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bandmaster position of the 2nd

Vienna Citizens’ Regiment. His father was the bandmaster of the 1st

regiment. Rivalry between father and son ensued and lasted until his father’s passing in 1849. After

that, Strauss, Jr. combined both his and his father’s orchestras and led a successful career. He wrote

more than 500 musical compositions. 150 of his compositions were waltzes, including the famous

The Blue Danube.

Meet Leroy Anderson

Life dates: 1908 – 1975

Country of Origin: United States

Musical Era: Contemporary

Anderson did not believe music would hold any future for him, so he

decided to be a language teacher. Deciding to give music a final

shot, he took the position as director of the Harvard University Band

and in 1936, he was discovered by Boston Pops Orchestra director,

Arthur Fiedler, who loved the arrangements Anderson created for

his band.

In 1976, shortly after his death, he was awarded a star in the Hollywood Walk of Fame for his

contributions to the recording industry. In 1988 he was inducted into the Songwriters Hall of Fame,

and Harvard University renamed its music building in his honor.

Meet Tan Dun! Born: 1957 Country of Origin: China Musical Era: 21st Century

The world-renowned artist and living composer Tan Dun, has made

an unforgettable mark on the world’s music scene with a repertoire

that spans the boundaries of classical music, multimedia

performance, and Eastern and Western traditions. A winner of

today’s most prestigious honors including the Grammy Award,

Oscar/Academy Award, Grawemeyer Award, Bach

Prize, Shostakovich Award, and most recently Italy’s Golden Lion

Award for Lifetime Achievement, Tan Dun’s music has been

played throughout the world by leading orchestras, opera houses, international festivals, and on

radio and television. This past year, Tan Dun conducted the grand opening celebration of

Disneyland Shanghai which was broadcast to a record-breaking audience worldwide.

Tan Dun’s individual voice has been heard widely by international audiences. His first Internet

Symphony, which was commissioned by Google/YouTube, has reached over 23 million people

online. His Organic Music Trilogy of Water, Paper and Ceramic has frequented major concert

halls and festivals. Paper Concerto was premiered with the Los Angeles Philharmonic at the opening

of the Walt Disney Hall. His multimedia work, The Map, premiered by YoYo Ma and the Boston

Symphony Orchestra, has toured more than 30 countries worldwide.

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Meet the Scientists Victor Minces PhD. Research Scientist at the Department of Cognitive Science and Listening to Waves Program

University of California, San Diego

After studying fine arts and physics at the University of Buenos Aires, Argentina, Victor Minces

obtained his PhD in computational neuroscience at the University of California in San Diego. Since

2010 he has been studying the science of music, in particular the influence of music in education

and children's development.

Julie Medina Education Manager of School Programs

Fleet Science Center

Julie is a graduate of the Florida Institute of Technology in Melbourne, FL and received both her

Bachelor of Science and Master of Science degrees in Marine Biology. She has been in the

education field for over 10 years and has taught at a variety of institutions ranging from a local

county zoo to Disney’s Animal Kingdom. She loves spreading science knowledge to all learners

and hopes to excite an interest in everybody she encounters. .

Jackie Valentine Exhibits Experience Lead

Fleet Science Center

Jackie Valentine has worked at the Fleet Science Center since 2014 performing in the Don't Try

This At Home Science Show as well as running the Fleet's maker space: Studio X. Previously, he

worked as an educator for the Cajon Valley Union School District and Star Education based in Los

Angeles. He also has a musical background with training in several instruments including classical

piano, guitar and percussion.

About the Fleet Center

The Fleet Science Center connects people of all ages to the possibilities and power of

science to create a better future. Their mission is to realize a San Diego where everyone

is connected to the power of science.

At the science center, you can explore and investigate more than 100 interactive

exhibits that pique your curiosity and become immersed in an IMAX film adventure that shows the

wonders of the planet—and beyond—in the Eugene Heikoff and Marilyn Jacobs Heikoff Giant

Dome Theater. For young science enthusiasts, the Fleet hosts school field trips, science workshops

and educational camps. For adults, they offer events like Fleet Night of Science and community

events, such as Two Scientists Walk Into a Bar. In the community, they also provide free

neighborhood science events weekly through 52 Weeks of Science. Teachers are encouraged to join

their Teacher Partner Program and take advantage of our professional development opportunities.

For information regarding current admission prices, please call (619) 238-1233 or visit their

website at fleetscience.org.

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Quick Facts about Symphony Hall

in the Jacobs Music Center

When was Symphony Hall built?

• Opened in 1929 as the Fox (movie) Theatre

• Construction cost was $2.5 million (today’s cost would be $50 million)

• Included a huge $50,000 pipe organ used to accompany the black and white silent movies

What style of architecture is used?

• Interior motif is in a Rococco theme, typical of French Renaissance

• Wall designs copied from towns in France

When was the theatre remodeled?

• 1985 - $6 million dollar renovation project

• Summer of 2012, bathrooms were expanded and remodeled

• Summer of 2013, lobbies were remodeled

How many seats are in Copley Symphony Hall?

• 2251 seats

When did the San Diego Symphony start?

1910

How many concerts are played each season?

•Over 100 full-orchestra concerts

•The Symphony performs Classical, Pops and Educational concerts for a variety of people. We also

host a film series and an international music series.

The Fox Theatre in 1929

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Tips for Listening Please share this information with all adult chaperones and students.

Going to a concert may be a new experience for your students. The following guidelines will help them

and those around them enjoy the concert more fully.

Concert manners begin the moment you enter Symphony Hall in the Jacobs Music Center. An

usher will lead you from the lobby into the chamber. You will be asked to walk in a single-file

line to your seating area. Symphony Hall is a big place and we don’t want you to get

separated.

After you are shown your seats, teachers and students are asked to remain seated. When

people stand and talk in the aisles, it takes much longer to get everyone seated.

At this time, you’ll notice the musicians warming up onstage. Just as an athlete warms up be-

fore a big game, the musicians have to also. Watch them to see if they do anything you don’t

expect.

When the lights go down you’ll know the concert is about to start. When the concert- master

walks onstage, clap enthusiastically! He will help the orchestra tune.

After the concertmaster sits down, the conductor will walk onstage. Again, clap loudly for the

conductor and the musicians. Then get ready to listen.

While the music is playing, listen and watch carefully. Think about things you learned from

your teacher and that you might already know. Keep your hands to yourself and do your best

to sit still.

Sometimes the conductor might ask the audience a question or ask you to clap along. This is

your turn to add to the concert experience. Please answer him so he knows you are listening.

When he turns to face the musicians, be silent and ready to listen actively again.

If a neighbor is talking, try to ignore them or quietly get the attention of your teacher.

After the orchestra plays the last piece and the clapping ends, please stay seated until the head

usher dismisses you. As you leave, make sure you have your personal belongings with you. As

you exit the hall, please stay together in a single-file line.

On your way back to school, talk to your friends about what you saw and heard. Tell them

your favorite piece and ask them what their favorite piece was. Maybe your teacher will quiz

you on instrumental families. You can write a letter to the musicians or Maestro Patel

when you get back to your classroom. Be sure and tell your parents about

the concert when you get home!

No audio or video

recording allowed

No food or drink in the Hall