opera in the neighborhoods is generously sponsored by an ... · • musical forms (new musical form...

BACKSTAGEPASS!

The Magazine of

Lyric Opera of Chicago’s

2013/14Opera in the Neighborhoods

Opera in the Neighborhoods is generously sponsored by an anonymous donor. Leadership support for Lyric Unlimited is provided by The Hurvis Family Foundation

Authors: Jason A. Helfer and Stephen T. Schroth, Educational Studies Department, Knox College • Photos: Dan Rest See Backstage Pass! in color at www.lyricopera.org/education/opera-in-the-neighborhoods.aspx

[ teacher’s edition ] The Barber of Seville

Dear Teacher:This teacher’s guide contains three distinct sets of materials for teachers to use. Additionally, the teacher’s guide contains suggestions to assist teachers in supporting the reading and writing of their students.

• The centerpiece of the guide are the two unit plans that will assist students in making connections through work in content areas and in preparation for attending a production of The Barber of Seville. The unit plans utilize allegory and the plot of The Barber of Seville and may result in Reader’s Theater performances.

• Second, suggestions for lesson outlines are provided for extension activities that may be used with the other articles in Backstage Pass!

• Finally, there are stand- alone lesson materials (third and sixth grade math activities aligned with Common Core Standards for Mathematics) and lesson plans for music and art specialists that provide teachers additional ways of teaching academic content to students.

The articles contained in Backstage Pass! were constructed to assist students in understanding that a musical composition is created in the world, that composers are affected by the conventions of time and place in which they live, as well as those events that are affecting the world in general (e.g., war, famine, prosperity, technology). Therefore, while these short articles are not necessarily tied directly to the music of The Barber of Seville, each article contains material that may spark the interest of a child to realize opera as work that people do and from which people derive meaning. These articles should be used for students requiring differentiation based upon interest or readiness level.

Optimally, a teacher would use the entire student guide. However, this may not be realistic. If that is not possible, it is suggested the teacher spend time on the following articles to prepare students for attending The Barber of Seville:

• plot synopsis (The Barber of Seville: The Story of an Opera – p.4 in Backstage Pass!)

• musical forms (New Musical Form Sweeping the Land & How to Write a Libretto – pgs.8 & 11 in Backstage Pass!)

• interview (Rossini Speaks: An Interview with the Composer – p.9 in Backstage Pass!)

Each teacher that attends the Opera in the Neighborhoods professional development will also receive a CD of selections from The Barber of Seville. This CD should be used in conjunction with New Musical Form Sweeping the Land. Additionally, selections may be played during instruction to familiarize students with the music from The Barber of Seville. The teacher’s guide also contains a listing of video clips at the end of the document.

Thank you for your commitment to the Opera in the Neighborhood Program.

Enjoy the Show!

Table of

Contents

A Note on Reader’s Theater ..........................................................................................................................................................4

Supporting All Readers in the Classroom .....................................................................................................................................5

Supporting All Writers in the Classroom .......................................................................................................................................7

UNIT PLANS

Reader’s Theater ....................................................................................................................................................................8

How to Write a Libretto ..........................................................................................................................................................9

EXTENSION IDEAS FOR ARTICLES IN BACKSTAGE PASS!

Lesson Plan – Rossini Speaks: An Interview with the Composer ........................................................................................13

Lesson Plan – Everyone’s a Critic: Writing Your Own Review ..............................................................................................15

Lesson Plan – A Musical Storm ...........................................................................................................................................17

Lesson Plan – The Barber Is In: A Master of All Trades .......................................................................................................19

Lesson Plan – Beaumarchais: A Real Life Figaro? ...............................................................................................................21

Lesson Plan – A Trio Plus One (or Two or Three): The Trilogy of Figaro ...............................................................................23

Lesson Plan – The Tutor: How People Learn(ed) Music .......................................................................................................25

ADDITIONAL MATERIALS

Math Activities ......................................................................................................................................................................27

Music Lesson Plan #1 ..........................................................................................................................................................33

Music Lesson Plan #2 ..........................................................................................................................................................35

Art Lesson Plan ....................................................................................................................................................................37

APPENDICES

Appendix A: The White Snake ..............................................................................................................................................39

Appendix B: Operatic Forms ................................................................................................................................................41

Appendix C: Write Your Own Libretto ..................................................................................................................................42

Appendix D: Learning Standards .........................................................................................................................................44

Appendix E: Musical Examples ............................................................................................................................................48

Appendix F: Everyone’s a Critic Blackline Master ...............................................................................................................50

Appendix G: A Trio Plus One (or Two or Three): The Trilogy of Figaro .................................................................................52

Appendix H: The Tutor: How People Learn(ed) Music .........................................................................................................53

Appendix I: Scene Design Blackline Master ........................................................................................................................54

Appendix J: Costume Design Blackline Masters .................................................................................................................59

Appendix K: Graph Paper (for grade three math lesson question #8) .................................................................................69

Appendix L: Backstage Pass! Puzzle Key ............................................................................................................................71

Backstage Pass! [ teacher’s edition ] 4

A Note on Reader’s Theater

Reader’s Theater is a proven and popular means to build children’s fluency, comprehension, and love of literature. Teachers use Reader’s Theater to check for student understanding, build enthusiasm for reading, and to allow students to model appropriate oral reading technique. Although several variations of Reader’s Theater exist, the best practice asks students to write synopses of their favorite scenes from a work they have read as a group. Reader’s Theater allows students to engage with a work on a different level than many are used to doing, and repeated readings permit all to have a deep understanding of certain crucial plot elements. Participating in Reader’s Theater activities also permits students a better understanding of the craft of constructing a libretto insofar that it enables them to see how a familiar stories are taken and adapted for dramatic effect.

Before beginning, teachers must often instruct students on the process of writing a script. Teachers must emphasize, for example, that while stage directions may be included, scripts feature mainly dialogue. The characters’ names, followed by a colon, are used to indicate who is speaking. Additionally, the action in the play is moved along through dialogue and exploits of the characters. While some teachers enjoy preparing simple sets, costumes, and other props, this is often unnecessary as the focus of scripts is primarily upon building reading competencies. To that end, short scripts are often prepared, and students practice reading works that they and their peers have prepared. Students do not need to memorize the script, and indeed reading aloud from it often helps to build their reading fluency. That being said, children should make an effort to read with appropriate expression, as this helps to increase the dramatic impact of the play. Many teachers select an especially strong script to use as a culminating activity to close a unit of instruction. In that case modest costumes and sets are often used to enhance the experience for parents, administrators, and other visitors to the classroom who might watch the Reader’s Theater performance.

In preparation for attending a production of The Barber of Seville, students might be asked to write a script based upon The Barber of Seville. Depending on the grade level with which Reader’s Theater is used, an appropriate script might be a single page or extend to several pages. It may be preferable to highlight a single scene or moment from the story or opera, as condensed versions of an entire work can often become unwieldy and cumbersome. The students themselves should generate the scripts used. Many teachers find it useful to have all students in the classroom make an attempt to craft a script and then select certain ones for “production.” Although shorter scripts often have a limited number of characters, a single script can be used with multiple groups of students. Indeed, repeated readings provide students with a chance to practice skills and see multiple interpretations of the same piece.


Supporting

All Readers

in the Classroom

The articles in Backstage Pass! are written at various reading levels. Though the synopsis is a fictional text, all other articles are informational texts. Considering the reading level of students in any given classroom varies widely, some general strategies for supporting readers who struggle are provided.

– Prior to Reading ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––• Understand the Purpose for Reading – Inform students that they will be reading the story of The Barber of Seville.• Preview the Text – Provide students the opportunity to skim the text. Let them identify unfamiliar ideas or words.• Activate Background Knowledge – Ask questions about the text (e.g., Why might an idea be important? How might two ideas

connect together?). The teacher should assist students in making connections to their prior knowledge.• Predict – As students scan the text, ask groups to predict what might come next.

– While Reading [ The suggestions below are for decoding AND comprehension ] ––––––––––––––––––––––

• Cross-check – Check one cue with another (e.g., Does this word look right, sound right, and make sense?)• Reread – When a child does not know what a word means, or has difficulty decoding a word, they should return to the

beginning of a sentence or paragraph and reread.• Predict and Confirm – Ask questions that help support critical thinking through reading (e.g., What word do I expect to see?

What do I think will happen next? Did that make sense? Am I finding the answers to my questions about this topic?). Active reading requires that a student do more than decode the words in the text. Students should read and ask questions while reading to understand the ideas within the text. Teachers should model this behavior for students.

• Skip, Read On, and Go Back – Students may skip unfamiliar words and read to the end of the sentence or paragraph using this information to try and make sense of the text. Students should consider how the unfamiliar word may make sense in the context of the sentence or paragraph. Using the context, go back and reread to try to determine the meaning of the word.

• Connect Background Knowledge to the Information in the Text – Students should think about what they already know about the subject and determine how the information is similar. If students have questions about the topic, they should ask for help.

• Think About Explicit and Implicit Information – Students should think about what information is given directly (e.g., the facts provided in the text) as well as what is implied (e.g., how a character’s actions show feelings, why things may have happened based on the clues in the text, and how the “big ideas” are supported by facts in information texts).

• Stop and Review – Students should stop and think about what has happened in the story or text so far, or what information has been given.

• Note taking – When students are reading they should be encouraged to underline unfamiliar words, write one sentence summaries for each paragraph, or develop a simple outline consisting of main ideas and supporting ideas.


– Backstage Pass! Reading Level Key –––––––––––––––––––––––––––––––––––––––––––––––––––––The following reading level icons can be found at the top of each article in Backstage Pass!:

– After Reading –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

• Retell and Summarize – Tell or write what happened in the story, including characters, plot, and important events. If students read an informational text, review what information was presented. The teacher may wish to use think-pair-share or an attribute web.

• Use a Graphic Organizer – Teachers may wish to provide students with a graphic organizer (e.g., story map, biography wheel, or Venn diagram) to illustrate what they have read.

• Draw Conclusions – Consider the predictions made before and during reading. Consider how the information read relates to what the student already knew about the topic. Were their questions answered? Do students have more questions about the subject?

• Reread – If there are sections that are confusing, reread the text or a section of the text to help students understand it better.• Discuss and Respond – Discuss what they have read with a peer. Students may wish to ask questions of each other. The text

should serve as the arbiter for the questions.• Write to Support Understanding – Write about what they have read. Teachers should ask direct and deliberate questions that

require students to refer to the text (e.g., Who is Rosina? What type of person is Figaro?). The questions should run the range from knowledge through evaluation questions.

Late Elementary

Middle School


Supporting

All Writers in the Classroom

The Reader’s Theater and How to Write a Libretto unit plans require students to write. So, too, does Everyone’s a Critic article. Recognizing that writing can be challenging for students, general strategies can be used to assist in developing confident writers.

Some children are reticent to write due to the technical and cognitive demands of the task. For instance, to write one must understand and be able to plan and organize, generate ideas, ‘translate’ those ideas into print, understand audience, elaborate and describe ideas, understand mechanics, and above all else, have some level of motivation for the task of writing.

The general process of writing consists of several stages: brainstorming, planning and organization, drafts, feedback, revision, editing, and publishing. A student will begin with an idea, construct a tentative organizational scheme, write, receive feedback, revise, receive additional feedback, revise again, and publish the document.

Teachers must plan deliberate experiences for students to complete the writing process. Informing students of what is expected and serving as the central organizer for the writing process makes writing far less intimidating.

When working with young writers, it is especially important for the writing tasks to be clearly defined. Indeed, in addition to clearly structuring the process components, the most powerful teaching strategy a teacher can use with young writers is to model the writing process.

Thus, teachers should: • Explicitly teach about various purposes of writing (narrative, informative, persuasive writing). Provide examples that students

can utilize in their writing. • Provide instruction on voice (tone) and intended audience. Allow students to consider for whom they are writing. What sorts

of information or detail is necessary when writing for a specific audience (e.g., parents, elected officials, an audience at the theater)?

• Model good writing and structure by thinking aloud during instruction. While modeling, make known your deliberate decisions prior to putting the pen to the page (or fingers to the keyboard).

• Make assignments for real-world purpose. One way of doing this is to embed writing into various content areas. Allow students to engage in experiences that are completed “in” school, but not necessarily “for” school. Students should be using the same thinking as experts in the field.

• Set aside time to write daily. This requires that the teacher has a good sense of how much time is necessary in order to complete a project.

• Use paired writing or peer collaboration. Students may feel more confident when working with a peer. Often, this makes the task of writing less daunting since there is someone to share in the work.

• Utilize a variety of stimulus materials like photos, cartoons, graphic novels, newspapers, plays, and menus. Writing is more than a technical exercise. Rather, various materials can be used that demonstrate the power of communicating ideas through texts. In addition to using various materials, encourage students to write within those frameworks (graphic novel, newspaper, photo collage).

• Teach self-monitoring skills and serve as a monitor of student progress. Model expectations for monitoring throughout the writing process and strive to best ensure that students are internalizing these skills while writing.

• Use technology such as audio recorders and word processors. For students who may need additional assistance in putting their ideas on the page, technology may be a powerful tool. Thus, the act of writing allows an individual to produce interesting ideas in a way that can be understood by others. If this means that a student requires an audio recorder, word processor, or “human scribe,” this should be provided to him or her.

Finally, it may be the case that the demands of the classroom and time make it impossible for students to engage in small group or individual writing work. If so, it is entirely appropriate for a teacher to work with writing through whole group instruction.


UNIT PLAN

Reader’s Theater

– Description ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––During this unit, students will create and perform their own Reader’s Theater presentation of The Barber of Seville. For students in younger grades, the teacher may serve as “copywriter.” For students in late elementary or middle school (or for students in early elementary who have demonstrated readiness) the teacher may place students in groups in order to complete the project.

The synopsis to The Barber of Seville has been written as a dialog. This was done deliberately in case a teacher would like to use the synopsis as a Reader’s Theater script.

The teacher may wish to invite parents, administrators, and other classes to these performances.

Below is a list of standards aligned with the unit plan.

Common Core Standards - Reading1

Common Core Standards – Writing

National Standards - Music

State of Illinois Standards

Grades 3-6 1,2,3,4,5,6,7,8,9,10 3,4,5,6, 9,10 8, 9 25A, 25B, 27A, 27B

EARLY/MIDDLE ELEMENTARY MIDDLE/LATE ELEMENTARY or MIDDLE SCHOOL

DAY 1 The teacher will read The Barber of Seville plot synopsis aloud.

Students will read The Barber of Seville plot synopsis.

DAY 2

At the conclusion of the story, the teacher will ask students to summarize the story including plot elements and proper sequence. On the board or using a large tablet of paper, the teacher will make sure students have the correct sequence of events and include all characters.

After reading the story again, the teacher will place students in working groups. The students will be responsible for summarizing the story in the correct sequence, including all characters, as well as understanding the motivations of each character.

DAY 3 and DAY 4

Prior to the beginning of class, the teacher will have a list of the characters in the story and the sequence of events listed on the board. The teacher will assist students in developing a script that encompasses the story.

The teacher will show students an example of how their script may be organized. In their assigned groups, students will begin preparing a Reader’s Theater script of The Barber of Seville. Students may either handwrite or type their script on a computer.

DAY 5Prior to class, the teacher will have prepared copies of a script for the students. When class begins, each child will receive a script. The teacher will assist the children in rehearsing the play.

Student groups will rehearse their script in preparation for performance.

DAY 6 Students will perform their script. Students will perform their script.

–––––––––––––––––––––––––––––––––––––– 1 For additional detail, teachers should consult the grade level standards for Reading, Writing, and Speaking and Listening.


UNIT PLAN How to Write

a Libretto

– Description ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––In this unit students will use The White Snake, a Grimm fairy tale, to construct a libretto. The libretto can be performed as a Reader’s Theater. Other activities may be used with this unit. For instance, students may create set designs and costume designs.

Below is a list of standards aligned with the unit plan.

Common Core Standards - Reading2

Common Core Standards – Writing



Grades 3-6 1,2,3,4,5,6,7,8,9,10 3,4,5,6, 9,10 8, 9 25A, 25B, 27A, 27B

– Day One –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––The teacher should have either a recording of The Barber of Seville or have internet access. Prior to the beginning of the lesson, the sites listed at the conclusion of this guide, or the tracks on the CD (provided at the Opera in the Neighborhoods’ professional development session), should be cued up.

• The teacher places a T-chart on the board (Figure One). The teacher will ask students to suggest basic elements of a story (plot, setting, characters) and to what these refer.

Figure One:

Story: The White Snake Opera: The Barber of Seville

Fairy Tale

Plot

Setting

Characters

• The teacher will read The White Snake (Appendix A) to the class.

• At the conclusion of the story, the teacher will ask students for information about the plot, setting, and characters. This information should be posted on the T-chart. Special care should be taken to ensure that students are aware of the details of the story (e.g., a story takes place in a specific time and place, not just “in the old West”). The teacher should prompt students to provide this detail.

• The teacher will point to the word “Libretto” on the T-chart and define the term (A libretto is the story to an opera. The libretto is written prior to the writing of the music for the opera. Most librettos are developed from stories already in existence. If the libretto is the story to an opera, do you think the libretto would require similar elements to a story?) The teacher should list the common elements on the T-chart. (Figure Two)

–––––––––––––––––––––––––––––––––––––– 2 For additional detail, teachers should consult the grade level standards for Reading, Writing, and Speaking and Listening.


Figure Two:


Fairy Tale

Plot

Setting

Characters

Libretto

Plot

Setting

Characters

The teacher should next introduce the differences between a traditional story that is read or heard and a libretto.

• The libretto is, in some ways, more complicated than a traditional story.

• The libretto must tell the story through the operatic forms composers used, especially those in Mozart’s time.

• These forms are the aria, duet, trio, ensemble, recitative, and chorus.

• Before you can begin writing a libretto, you need to understand how these forms work.

MOST IMPORTANTLY, the teacher must ensure that students understand the operatic forms, and for what purpose the operatic forms are used (the operatic forms are listed in Appendix B).

This information may be placed on a chart or a chalk/white board to guide the students in their choices.

• The teacher should ask students to take out their copy of Backstage Pass! and turn to A New Musical Form Sweeping the Land. Depending upon the grade level and readiness level, the teacher may choose to read the text to the students or have students read silently or aloud. After each definition is read, the teacher should play a recording of the form. On the T-chart, the teacher should list and define each form as it is described within Backstage Pass! (Figure Three on p.11).

• The lesson should conclude with a review of the necessary elements in an opera (plot, characters, setting), how these are organized (through a libretto), and how the libretto itself is organized (through arias, duets, trios, ensembles, recitatives, and chorus).

– Day Two –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––In this lesson, the teacher will assist the students in constructing the outline for their libretto. The students will need to use Backstage Pass! The teacher should have copies of The White Snake on hand as well as writing materials.

• The teacher should review information presented during DAY ONE. The T-chart should be visible to the students.

• Students should be placed in small groups. Each group should have a copy of The White Snake.

• The teacher will point out that the way the plot is developed in an opera is through the use of these operatic forms previously reviewed. The teacher should utilize the information in the Write Your Own Libretto article in Backstage Pass!

• Using this information, the teacher will ask the students to list the setting(s) (in order), the characters (and a short description of their personalities), and the plot sequence. This step must be completed prior to moving forward in the unit.

• At this point only the general sequence of events, setting(s), and characters are necessary.


Figure Three:


Fairy Tale

Plot

Setting

Characters

Libretto

Plot

Setting

Characters

Operatic Forms:Aria – One person singingDuet – Two people singing (sometimes together)Trio – Three people singing (sometimes together)Ensemble – Four of more people singing (sometimes

together)Recitative – short musical statements that are sung in a

conversational way.Chorus – a large group of singers that are not named.

Often used to transition between scenes or emotional states.

– Days Three & Four –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––The next two days will focus on extending the structure of the libretto to the written document. Students will need to decide how to balance the story through the use of the operatic forms. The text can be handwritten or typed.

The teacher shall remind students of the following guidelines (see Appendix C for additional detail):

• They will write the text for their libretto over the next two class sessions.

• Often, the text for the libretto is taken directly from the original story, though this is not always the case. Students may need to edit, modify or add text in many instances.

• In order for the dramatic scope of the libretto to “work,” it is essential a variety of operatic forms are utilized. To rely only on arias or recitatives will make for a less interesting piece.

• They are to consider how the overall shape of the drama is accentuated by utilizing a variety of operatic forms.

• The operatic forms can be used within scenes and also as a way to separate scenes.

• The libretto must be clear in terms of time and place (setting).

• They will need to construct and practice their work. It must be understandable and accessible to those listening to the performance.

• The librettos will be read as a Reader’s Theater on DAY FIVE of the unit.

In order to best ensure that the librettos are completed in a reasonable timeframe, the teacher should set an expectation for the amount of work completed during a class session.


– Day Five –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––Student groups will perform their libretto projects utilizing a Reader’s Theater format.

– Assessment –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––The student groups should be assessed on their proper application of the different operatic forms within their libretto (Figure Four).

Figure Four:

Developing Proficient Commendable Exemplary

Structure The structure of the libretto does not take into consideration the original story and operatic forms are not utilized in ways that highlight the plot, settings, and characters of the original story.

The structure of the libretto takes into consideration the original story and utilizes operatic forms in ways that highlight the plot, settings, and characters of the original story (two exceptions).

The structure of the libretto takes into consideration the original story and utilizes operatic forms in ways that highlight the plot, settings, and characters of the original story (one exception).

The structure of the libretto takes into consideration the original story and utilizes operatic forms in ways that highlight the plot, settings, and characters of the original story.

Development The libretto is confusing. The operatic forms are not utilized in ways that create an understandable plot.

The libretto reads well. The operatic forms are utilized in ways that create a strong and understandable plot (two exceptions).

The libretto reads well. The operatic forms are utilized in ways that create a strong and understandable plot (one exception).

The libretto reads well. The operatic forms are utilized in ways that create a strong and understandable plot.

Performance The performance was acceptable. The characters, plot and setting were not as clear as necessary in order to assist the audience in making sense of the story.

The performance was proficient. The characters, plot and setting were brought to life through the structure and development of the libretto (two exceptions).

The performance was commendable. The characters, plot and setting were brought to life through the structure and development of the libretto (one exception).

The performance was exceptional. The characters, plot and setting were brought to life through the structure and development of the libretto.

– Additional Notes –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

• Teachers may wish to allocate additional time if they wish to allow students to create sketches for sets and costumes.

• Teachers may wish to add additional days to this unit plan should they find it necessary.

• Teachers may wish to revise FIGURE FOUR to align with Language Arts goals as directed by curricular demands.

• Common Core Language Arts standards and State of Illinois Fine Arts Standards are located in Appendix D.


LESSON PLAN

Rossini Speaks: An Interview

with the Composer

(p.9 in Backstage Pass!)

– Description ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Students will take the roles of advertising executives who are promoting a new business. The business might be a travel agency, an automobile manufacturing company, or a cell phone provider. In this role, each student will identify works of visual art that they admire, appreciate, or approve of and then pair that visual art work with a piece of music that they believe captures elements and expressive qualities that are similar in each work and in order to market the new company (Fine Arts).

Below is a list of standards aligned with the lesson plan.

Common Core Standards – Speaking and Listening3

National Standards - Art



Grades 3-6 1,2,3,4,5,6 3,4,5,6 8, 9 25A, 25B

– Procedure –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––1. Instruct students to think about possible businesses that could be promoted. Teacher might choose to assist students in

brainstorming ideas, which could be charted and posted for children to use. 2. Assisting students to identify a piece of visual art. Possible places to begin include:

a. The Art Institute of Chicago http://www.artic.edu/aic/ b. The Metropolitan Museum of Art http://www.metmuseum.org/ c. The J. Paul Getty Museum http://www.getty.edu/

3. Ask students to identify elements and expressive qualities in the pieces they have selected. Some anticipated elements and expressive qualities the students may identify include, calm, serene, exciting, exhilarating, and the like.

4. The teacher will then have students investigate some musical pieces that possess some of the same elements and expressive qualities as the works of visual art they have identified. If students are less familiar with symphonic music or opera, the teacher might play the following for small groups of students:

a. Mendelssohn’s Symphony No. 3 (Scottish Symphony)b. Rossini’s Barber of Seville Overturec. Beethoven’s Symphony No. 6 (Pastoral Symphony)d. Tchaikovsky’s Swan Lake Overture

5. Students will create an advertising display that shows the visual art and play the music they have selected, explaining the connection they see between the elements and expressive qualities in both and how it assists in marketing the business.

–––––––––––––––––––––––––––––––––––––– 3 Please also consult the specific Common Core Standards for the grade level which you teach.


– Outcomes –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

As a result of this activity, students will:

Know Understand Be able to

• that composers use a variety of elements and expressive qualities in their works.

• that certain elements and expressive qualities are commonly used by composers, including fast and slow tempi, form (such as rondo, theme and variation), and crescendo, ritardando, fermata, meter, sforzando.

• that composers and artists use elements and principles combine within an art form to express ideas.

• that similarities exist in and among the arts (e.g., pattern, sequence and mood).

• compare and contrast the elements and principles in two or more art works that share similar themes.

• articulate their ideas about the fine arts and music and present these to their peers.

– Product Possibilities –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Students may display their findings using a variety of products. A very simple way to demonstrate the connections might be to use a print or a slide of a work of art and play the music they believe expresses similar elements and expressive qualities from a CD, tape, or audio file. More complex products might include embedding the audio in a PowerPoint slide or creating a web site that displays both the visual art and the music.


LESSON PLAN Everyone’s a Critic: Writing

your own Review of an

Opera Performance


– Description –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Students will pretend they are a classical music reviewer for the local newspaper. Their job is to provide readers with a sense of the performance of The Barber of Seville. After watching the OIN production they will write a review. The review should include descriptions of the singing, sets, acting, and costumes. It is not their job to inform readers if the performance is “good” or “bad.” Rather, they are to use language in such a way so that they can understand what to expect from the performance without having seen it (Language Arts, Fine Arts).


Common Core Standards – Writing4

Common Core Standards – Speaking and Listening5

National Standards - Music State of Illinois Standards

Grades 3-6 1,2,3,4,5,6,7,8,9,10 1,2,3,4,5,6 8, 9 25A,25B,26A,26B,27B

NOTE: This assignment can be introduced prior to attending the opera. It is best used, however, after the students have seen the production. This means, of course, that the playing of the orchestra must be altered to the performance on the piano if students are reviewing the live performance.

– Procedure –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––1. Inform students that the purpose of writing a review is not to express their feelings about if the performance is “good” or “bad.”

Rather, a helpful review provides enough detail for the reader to “recreate” aspects of the performance through writing.2. Select a clip from the opera (please find musical examples at the back of the teacher’s guide – Appendix E).3. Ask the children to watch the clip once.4. Hand out the blackline master entitled: Everyone’s a Critic (Appendix F).5. Allow the students multiple opportunities to watch and listen to the clip.6. After students have completed the blackline master, instruct them in the appropriate form of a review:

a. Introduce the performance (time and place).b. Express one’s feelings about the piece (e.g., “I am reminded of what a lovely composition it is.”).c. Describe the singing of the cast in general.d. Describe the singing of an individual or two.e. Describe the playing of the orchestra in terms of how the music sounded (e.g., light, heavy, funny, sad).f. Describe aspects of the sets, costumes, and lighting that were of special interest.

7. Allow students the opportunity to revise their work.8. Have students type or neatly print their review and share it with their classmates.9. Students should be critics of the review! They should consider if the review was detailed and if it provided the reader with a

sense of what was performed.

––––––––––––––––––––––––––––––––––––––4 Please also consult the specific Common Core Standards for the grade level which you teach.5 Please also consult the specific Common Core Standards for the grade level which you teach.


– Outcomes –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––



• that reviews of opera must include descriptive information on the singing, sets, acting, and costumes.

• that reviews of live performances are not always evaluative (e.g., the performance was “good” or “bad”).

• construct a review written with an appropriate audience in mind using standard written English and within a 250-400 word limit.


Written review of a performance, Imovie


LESSON PLAN

A Musical Storm (p.13 in Backstage Pass!)

– Description ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Imagine that you are a contemporary of Rossini’s, living in Chicago in 1855. You own and operate an opera house in the Midwest. You wish to promote this great composer’s work, The Barber of Seville, to a Midwestern audience that knows little about him or his work. You must prepare an advertising campaign promoting The Barber of Seville that will both inform the public about Rossini and his opera and entice them to come and see it (Fine Arts, Language Arts, Social Studies).



Common Core Standards – Speaking and Listening11 State of Illinois Standards

Grades 3-6 1,2,3,4,5,6,7,8,9,10 1,2,3,4,5,6 16A,16B,16C

– Procedure –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––1. Review with students places that they can locate information about this history of the City of Chicago and Rossini. Sources

might include:a. Chicago History Museum http://www.chicagohs.org/ b. The Chicago Historical Society http://www.chicagohs.org/history/ c. The Encyclopedia of Chicago http://encyclopedia.chicagohistory.org/ d. Gioachino Rossini—Naxos Records http://www.naxos.com/person/Gioachino_Rossini/26313.htm e. Classical Net http://www.classical.net/music/comp.lst/rossini.php

2. Review with students some of the principles of design. Remind them that:a. The eye is drawn first to pictures—be sure to include some eye-grabbing graphics.b. Captions underneath or near pictures assist the viewer in making sense of what is being presented.c. Headlines will assist in tying together the theme of the poster.d. Copy, if used, should be sparse and only cover major topics that need to be covered.

3. Students will display their advertising posters for The Barber of Seville.



– Outcomes –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––



• how to ask historical questions and seek out answers from historical sources.

• how to use historical maps to make inferences about historical eras.

• how people in different times and places viewed the world in different ways.

• that key individuals and events shaped the development of the local community.

• identify the differences between historical fact and interpretation.

• produce a poster that contains details related to Rossini and The Barber of Seville that would appeal to a nineteenth century audience.


A poster, an iMovie, or advertisements for placement in magazines or newspapers.


LESSON PLAN –

The Barber Is In: A

Master of All Trades


– Description ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Students will think about the many trades and occupations engaged in by Figaro: barber, mail carrier, counselor, physician, dentist, knife sharpener, and sometimes even blacksmith/arms maker. Students will assume the role of professional job placement counselors and investigate which employment options might be best for Figaro to pursue full time. Teacher will assist the students to recall all of these occupations from the Master of All Trades article, charting the results. For this project students will investigate the average earnings for each of these occupations today, as well as the training and preparation necessary, if any, to engage in them (Math, Social Studies, Science).




Grades 3-6 1,2,3,4,5,6,7,8,9,10 1,2,3,4,5,6 13B,15A,17C,18C

–Procedure ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––1. Discuss with students the various trades and occupations in which Figaro is engaged in The Barber of Seville. Anticipated

student responses might include:a. Barberb. Mail carrierc. Counselord. Physiciane. Dentistf. Knife sharpenerg. Blacksmith/arms maker

2. Teacher will assign the students, either individually or in groups, various occupations based upon those listed above. 3. Students will investigate the salaries of the various occupations. A variety of sources exist that can assist with this investigation,

including:a. The United States Census Bureau http://www.census.gov/hhes/www/income/incomestats.htmlb. Salary.com http://www.salary.com/salary/index.asp

4. Teacher will next explain to students that, unlike in Figaro’s day, many occupations that deal with the public now require professional licensure. This is acquired from state or local governments and often requires study as well as the ability to demonstrate certain professional skills.

5. Students will investigate the licensure requirements, if any, of the various occupations. A variety of sources exist that can assist them with this investigation, including:

a. State of Illinois Division of Professional Regulation http://www.idfpr.com/dpr/ b. Illinois State Board of Education http://www.isbe.state.il.us/certification/default.htm

6. Students will create a pamphlet or other written document that compares given occupations to the others listed with regard to income, licensure, hours worked and other data considered to be pertinent.

–––––––––––––––––––––––––––––––––––––– 6Please also consult the specific Common Core Standards for the grade level which you teach. 7Please also consult the specific Common Core Standards for the grade level which you teach.


– Outcomes –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––



• the contributions men and women have made to science and technology.

• the ways in which institutions meet the needs of society.

• that social institutions contribute to the development and transmission of culture.

• that occupations use scientific and technological knowledge and skills.

• select and perform computational procedures to solve problems with whole numbers.

• explain how economic systems decide what goods and services are produced, how they are produced, and who consumes them.


The product could take a number of formats, including a brochure, a poster, an advertising circular, a magazine article, a web site, or a recruiting circular.


LESSON PLAN

Beaumarchais:

A Real Life Figaro?


– Description ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Students will explore the biographies of famous scientists, including some who lived during the time The Barber of Seville was composed, as well as those who lived before and after. For this investigation, students will create trading cards of famous scientists that provide details of their lives, accomplishments, and significance to current scientific inquiry (Language Arts, Social Studies, Science).




Grades 3-6 1,2,3,4,5,6,7,8,9,10 1,2,3,4,5,6 12E,17C

– Procedure –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––1. Ask students some of their hobbies and interests. Chart some student responses. Anticipated student responses will include

answers such as, football, opera, baseball, and the like. 2. Discuss with students some of the ways people can pursue their passions for certain topics. Mention that many individuals

collect trading cards of players, actors, and singers that they like. If possible, show the students an example of a trading card.3. Tell students that many scientists have also have made creations that make them heroes to others in the field. Ask students if

they know of any such scientists. Some responses might include:a. Isaac Newtonb. Charles Darwinc. Francis Daltond. Joseph Dalton Hookere. Albert Einsteinf. Jonas Salkg. Charles Richard Drewh. Emmett W. Chappellei. Sulamith Goldhaberj. Deborah S. Jink. Linda B. Buck



4. Teacher shall next introduce a format for the trading cards. Any format may be used,

Isaac Newton

Lived: 1642-‐1727 Accomplishments: Theory of Universal Gravitation and the Three Laws of Motion Fields of Study: Mathematics, Physics, Astronomy, and Natural Philosophy Country of Origin: England Influenced: John Keill, Nicolas Fatio

5. Teacher will either assign students an eminent scientist or allow them to choose one, either from a list or independently. 6. Teacher will allow students time to work researching their scientist. Depending upon available resources research might be

conducted using encyclopedias, the Internet, or the library.7. Students will share the results of their findings at a card show held at the end of the investigation. If the teacher desires, cards

could be reproduced and shared with the class.

– Outcomes –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––



• living things and persons create and work in relationship to their environments.

• scientific knowledge is built upon the findings, discoveries, and work of those who came before.

• relationships exist among location of resources, population distribution, and economic activities (e.g., transportation, trade, communications).

• how to choose and analyze information sources for individual, academic, and functional purposes

• select and perform computational pidentify questions and gather information.

• identify appropriate resources to solve problems or answer questions through research.


Trading cards, posters, or comic books could be used to demonstrate knowledge of eminent scientists.


LESSON PLAN A Trio Plus One

(or Two or Three):

The Trilogy of Figaro

(this article does not appear in Backstage Pass! and

can be found in Appendix G – p.52)

– Description: –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

How composers were funded, or made their living, changed greatly from the eighteenth to the nineteen centuries. Composers such as Franz Josef Haydn (1732-1809) spent much of his career as a court musician and composer for the aristocratic Esterházy family on their remote estate in Hungary. As such, Haydn had his basic needs for food and shelter taken care of, and he was paid to compose music, including symphonies, string quartets, and operas, for the entertainment of the Esterházy family. Toward the end of his life, thanks to a pension, Haydn was able to compose for commissions, which allowed him a greater degree of freedom. Haydn’s compatriot, Wolfgang Amadeus Mozart (1756-1791), also worked for commissions but also spent much of his life seeking aristocratic patronage. Although Mozart did receive a post as chamber composer to Emperor Josef II, the annual remittance he received (800 florins) was not enough to sustain him and his family, therefore leaving his finances on forever shaky ground. Only with Ludwig van Beethoven (1770-1827) do we first find composers who were able to make their living primarily through commissions. While this meant that composers were continually looking for new sources of money or commissions, they also had more freedom to compose what they liked. Gioachino Antonio Rossini (1792-1868) fell into this latter category, as he composed for commission operas that were then shown to the general public (Language Arts, Social Studies, Fine Arts).




Grades 3-6 1,2,3,4,5,6,7,8,9,10 1,2,3,4,5,6 16A,27B

– Procedure –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Students will assume the role of certain composers and create a biography that focuses upon how the composer thought about his work and how to promote it to others. To assist this, the teacher might:

1. Review with students that composers have needs for food, shelter, and other ancillary essentials just like all people.2. Inform students that while composers during the eighteenth century worked mainly on retainers for aristocratic families or

church leaders, by the nineteenth century the bulk of their income came from commissions and publishing royalties.3. Teacher will assist students in listing some of the more prominent composers of the eighteenth, nineteenth, and twentieth

centuries. Anticipated members of such a list might include:a. Franz Josef Haydnb. Antonio Salieric. Wolfgang Amadeus Mozartd. Ludwig van Beethovene. Gioachino Antonio Rossini

––––––––––––––––––––––––––––––––––––––12Please also consult the specific Common Core Standards for the grade level which you teach.13Please also consult the specific Common Core Standards for the grade level which you teach.


f. Giuseppe Verdig. Clara Schumanh. Fanny Mendelsohni. Scott Joplinj. Duke Ellington

k. Benjamin Britten

l. Charles Ives

m. Thelonious Monk

n. Amy Beach

o. Thea Musgrave4. Teacher will place students into groups of three or four. Each group will be asked to assume the role of a composer, and then

to create materials that that composer would use to promote those interested in sponsoring his work. The teacher will want to guide students to focus on certain areas that should be considered, including:

a. To whom will the materials be directed?b. Is the composer informing an aristocratic patron of work completed or soliciting new commissions?c. How will the different audiences affect the tone of the materials?d. Which works of the composer will he wish to feature in his materials?e. What format will be most effective for the appropriate audience?

5. Students will share their findings and completed projects with each other, perhaps evaluating the effectiveness of other groups’ materials.

– Outcomes –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––



• composers require some source of income, either patrons willing to support them or clients willing to buy their works, in order to live.

• during the eighteenth century most successful composers had patrons who supported their work while by the nineteenth century many composers had moved to commissions for income.

• composers need to have people interested in their work in order for them to devote themselves exclusively to their art.

• how one presents oneself varies depending upon the audience one is trying to persuade.

• iresearch the lives of composers in able to find information necessary for a given task.

• interpret information gathered and turn it into a persuasive piece.

- Product Possibilities ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Product possibilities for this guided investigation might include a résumé, a portfolio, a blog, a PowerPoint presentation, a letter, a report, or an iMovie.


LESSON PLAN

The Tutor: How People

Learn(ed) Music

(this article does not appear in Backstage Pass! and

can be found in Appendix H – p.53)

– Description –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Students will explore how individuals learned how to produce music, either by playing an instrument, singing, or composing. This guided investigation will reinforce to students the value of hard work and emphasize that producing music is a skill that can be acquired by all, albeit with varying degrees of accomplishment. If the teacher herself is a musician, she may share some of her experiences. If not, the teacher can ask members of the school community, including other teachers, parents, administrators, staff, to work with the class (Language Arts, Social Studies, Fine Arts).




Grades 3-6 1,2,3,4,5,6,7,8,9,10 1,2,3,4,5,6 16A,27B

– Procedure –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

To make the guided investigation successful, the teacher might:

1. Review with students some of the various ways one may produce music. This might include:a. Playing a musical instrumentb. Singingc. Composing musicd. Conducting a choir, band, or orchestra

2. Discuss with students some things they want to know about how individuals learned how to make music. 3. Formulate a series of questions that might be asked of someone who is proficient at music making. Such questions might

include:a. When did you first start learning about music?b. What was the first instrument you played? c. How old were you when you began playing an instrument?d. Have you ever received music lessons?e. If you did receive music instruction, how old were you when you began? How long did you continue?f. Can you play more than one instrument? If so, what was it like learning how to play the second (or third, or fourth)

instrument?g. What was the hardest part about learning about music?h. What part of making music do you enjoy the most?i. What do you suggest for young people wanting to learn about music?

–––––––––––––––––––––––––––––––––––––– 14Please also consult the specific Common Core Standards for the grade level which you teach.15Please also consult the specific Common Core Standards for the grade level which you teach.


4. Next, the teacher might help the children to formulate a list of people who might be asked these questions. Such a list might include:

a. The teacher b. The school’s music teacherc. The principald. Other teachers in the buildinge. Parentsf. High school students

– Outcomes –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––



• learning to produce music takes time and effort.

• proficient musicians were once beginners.

• the ability to produce music comes from a combination of talent, work, and desire.

• the desire to produce music must at some point be followed by steps to initiate lessons and work to achieve a higher level of mastery.

• iresearch the lives of composers in formulate questions related to a set subject.

• interview adults, peers, and others who produce music.

• share the results of these interviews with a larger audience.


Information gained from the interviews might be shared by means of a chart, a poster, a graph, an iMovie, a web site, or a blog. The results might also be put together to form a newsletter regarding classroom or school activities.


Additional

Materials

• Math Activity for grade three

• Math Activity for grade six

• Music Lesson (conducting)

• Music Lesson (composing)

• Art Lesson (scenic /costume/lighting design)

Opera in the Neighborhoods – The Barber of Seville Name:

Date:

Use the information above to answer the following word problems. Please show your work.

1. Dr. Bartolo asks Figaro for a shave and a haircut. He gives Figaro $5.00. How much change will Figaro return to Dr. Bartolo?2. Don Alfonso loves candy! Sadly, after eating too much candy, Dr. Bartolo has a tooth ache. When Figaro looks into Don

Alfonso’s mouth he sees that four teeth need to be extracted! How much will this cost Don Alfonso?3. Rosina has heard enough of Dr. Bartolo’s babbling. She stops by Figaro’s shop and asks for three (3) doses of Headache

Remedy I and four (4) doses of Headache Remedy II. How much will she spend altogether? If she gives Figaro, $3.00 how much change will she receive in return?

4. Figaro is mixing batches of his Headache Remedy I. He has 10 grams of feverfew, 25 grams of belladonna, and 15 grams of red pepper. Each dose requires 2 grams of feverfew, 5 grams of belladonna, and 3 grams of red pepper. How many doses can he mix with the quantity of ingredients? How much of each ingredient would he need to mix seven doses?

5. Count Almaviva wants to purchase a surprise for Rosina. He is in a hurry, so he gives Figaro $15.00. If Figaro creates a gift package that includes two haircuts, how many Hot Towel Treatments will Count Almaviva be able to afford? How much change will Figaro return to Count Almaviva?16

6. After a long week of work, Figaro is balancing his receipt book. The following list includes the amount of money Figaro collected each day of the week:17

Day Money Collected

Monday $40.25

Tuesday $30.50

Wednesday $50.50

Thursday $30.75

Friday $20.25

Total

Please make a bar graph of his earnings. Remember to label the graph carefully.

Figaro The Barber

a full-service barber shop since 1639

Services & Prices[ ]

Shave: $2.50

Haircut: $2.00

Shave & Haircut: $3.75

Tooth Extraction: $5.00

Headache Remedy I: $.25 (per dose)

Headache Remedy II: $.50 (per dose)

Hot Towel Treatment: $1.50

Emergencies of any sort: $5.00 per

hour (or for a single treatment)

7. Figaro needs to calculate how much his supplies cost for each day her worked. Using the information below. Calculate the amount of profit he made each day and for the entire week.

Day Money Collected Supplies Difference

Monday $40.25 $10.25

Tuesday $30.50 $10.00

Wednesday $50.50 $30.75

Thursday $30.75 $20.50

Friday $20.25 $15.50

Total

8. Figaro needs to renovate his barber shop. Currently, he works in a space that is 225 square feet. He needs an additional 150 square feet of space to serve his ever growing customer base. Using a piece of graph paper (provided in Appendix K), design a space that is 225 square feet and then add on the additional 150 square feet so that Figaro has additional workspace. Keep in mind that as a designer, you must think first about how Figaro currently uses the space (what types of equipment does he use, is there a waiting room, for example). In your redesign, you must create more usable space.

––––––––––––––––––––––––––––––––––––––16Problems one through five and seven align with Operations and Algebraic Thinking Domain 3.OA, Standards 5 and 8.17Problems four, six and eight align with Measurement and Data Domain 3.MD standard 2, 3, and 7b

Opera in the Neighborhoods – The Barber of Seville Name:

Date:

1. Figaro was mixing an elixir to help Dr. Bartolo sleep. Figaro looks in his recipe book for elixirs and reads the following, “for insomnia mix 2 parts St. John’s Wort with 3 parts Fennel and 1 part sugar.” How many parts TOTAL of each ingredient will Figaro require for seven days worth of the elixir? For 20 Days?18

2. Don Alfonso has many students who study music. The ratio of students who study voice to those who study piano is 3:1. If he has 30 voice students, then how many study piano? Don Basilio teaches other instruments, too. The ratio of students who study violin to those who study trumpet is 5:1. If he has 14 violin students, how many students study trumpet? How many music students does Don Basilio have altogether?19

3. Dr. Bartolo is calculating his yearly household budget. Use the information below to answer the following questions:20 a. How much money will Dr. Bartolo need for food for six months?b. How music money will Dr. Bartolo need for electricity for nine months?c. How much money will Dr. Bartolo need for phone and internet for four months?d. How much money will Dr. Bartolo need for Rosina’s allowance for one year?e. How much for Rosina’s allowance if he provides her with an additional $5 per month for six months of the year? f. Dr. Bartolo budgets $200 per month for miscellaneous expenses. If he spends $320 one month, how much less will he

need to spend for each remaining month in order to stay in budget? g. How much money will Dr. Bartolo need to budget for the entire year?

Category Amount per Month

Food $365

Electricity $125

Phone $95

Internet $80

Allowance (for Rosina) $75

Haircuts/Shaves/Sleep Elixir $30

Miscellaneous (opera tickets, meals out) $200

4. It is the end of the month and Figaro needs to send his clients their bills. Use the information in the chart to answer the questions below:21

–––––––––––––––––––––––––––––––––––––– 18Common Core 6RP 1,2,3b 19Common Core 6RP 1,2,3b

20Common Core 6NS 2 21Common Core 6NS 3

Service Cost

Shave $2.50

Haircut $2.00

Shave & Haircut $3.75

Tooth Extraction $5.00

Headache Remedy I $.25 (per dose)

Headache Remedy II $.50 (per dose)

Hot Towel Treatment $1.50

Emergencies of any sort $5.00 per hour (or for a single treatment)

Bill for Dr. Bartolo:

Six (6) shaves

One (1) shave & haircut

15 Headache Remedy I

10 Headache Remedy II

Three (3) Hot towel treatments

How much does Dr. Bartolo owe Figaro for one month of service and supplies?

Bill for Count Almaviva

15 shaves

Two (2) shave & haircut

12 Headache Remedy I

5 Headache Remedy II

15 Hot towel treatments

Two (2) Emergencies

How much does Almaviva owe Figaro for one month of service and supplies?

5. The chart below lists the earning by quarter for Figaro’s business. Please look at the data and write a short business summary in which you:

a. Describe the nature of the attribute (what is being analyzed).b. Construct a general analysis of trends throughout the reported data.

c. Provide a central question (the data is answering what question), title, and key for the data table.22

6. The chart below lists the earning by month for Don Alfonso. Please look at the data and:

a. Find the mean, median, and modeb. Using a piece of graph paper, construct a graph, provide a central question (the data is answering what question? How

is this representation assisting in understanding the question?), title, and key for the data table.c. Construct a general analysis for the data trends or deviations (why would one month or set of months have greater or

less earnings)? 23

January 2,000

February 2,000

March 1,750

March 4,000

April 3,500

May 3,500

June 3,500

July 1,500

August 1,500

September 2,000

October 4,000

November 3,500

December 3,500

–––––––––––––––––––––––––––––––––––––– 226SP 2, 5b 236SP 2, 5c


MUSIC

LESSON PLAN #1

– Materials ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

CD (overture to The Barber of Seville), CD player, teacher-generated musical form handout, conducting pattern handout, and a song the children have previously learned in 4/4 or 2/4 time.

– Concepts ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

musical form, dynamics, tempo, articulation, timbre

– Standards –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

[ Music National Standards ] 1. Singing, alone and with others, a varied repertoire of music.2. Performing on instruments, alone and with others, a varied repertoire of music.4. Composing and arranging music within specified guidelines.5. Reading and notating music. 6. Listening to, analyzing, and describing music.7. Evaluating music and music performances.

– Procedure –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Prior to the lesson, the teacher will either copy the teacher-generated musical form handout for each child or use the information on the form handout to create a figure on the chalk/white board.

1. The teacher asks students to listen to the overture from The Barber of Seville for the ways in which Rossini makes the composition change in various sections.

2. The teacher asks students to share their ideas for each section of the form. The students shall either list these on their handout or the teacher will write them on the board.

3. The teacher shall explain that composers make choices about timbre (instrumentation in a section of music), tempo, articulation, and dynamics. However, it is the conductor who makes these musical choices come to life through sound.

4. The teacher shall introduce two conducting patterns to students 4/4 (down, in, out, up) and 2/4 (down, up). Students should learn the movements and say the pattern together.

5. The teacher shall play the overture again. Students should try to conduct with the piece.6. The teacher shall ask students for suggestions as to how a conductor may show dynamics and articulation. 7. Student suggestions will be attempted by class members using a familiar song that the students have previously learned. 8. The teacher shall select students to conduct the previously learned song. The students shall conduct their peers and teacher

accompanying the piece.


– Assessment Criteria ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Below are three categories that may be used for the assessment of student work. Additional criteria can be developed by the teacher and/or class.

• Tempo: The student is able to keep a steady tempo while conducting.

• Dynamics: The student is able to show dynamic contrasts while conducting.

• Articulation: The student is able to show changes in articulation while conducting.

–Extension Activity –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

Ask students to listen to two versions of the overture to The Barber of Seville. Have them compare and contrast how each conductor approaches the tempo, dynamics, articulation, and tempo.


MUSIC

LESSON PLAN #2

– Materials ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

rhythm and melodic instruments and mallets, paper (can be staff paper), pencils

Note: This lesson can work even if the music classroom does not have melodic instruments available. Students may use their bodies or desks and chairs to create rhythms if the classroom is not equipped with percussive classroom instruments.

– Concepts ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

dynamics, articulation, form, tempo, rhythm, melody

– Standards –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

[ Music National Standards ]2. Performing on instruments, alone and with others, a varied repertoire of music.4. Composing and arranging music within specified guidelines.5. Reading and notating music.6. Listening to, analyzing, and describing music.7. Evaluating music and music performances.

– Procedure –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––1. The teacher will play the overture to The Barber of Seville. The teacher will explain the Rossini Crescendo (The Rossini

Crescendo begins with instruments playing softly. As additional instruments are introduced the “volume” naturally increases while the duration of each note decreases. This gives a very unique sonic impression to this listener.)

2. The teacher will tell students that they will use classroom instruments to create an overture that will use a Rossini Crescendo.3. The teacher will introduce the students to ABA form by placing the following figures on the board:

4. The teacher will ask the students to describe what this picture could mean in terms of musical form (e.g., how many sections of music will each group compose? [Three] How many DIFFERENT sections is each group responsible for? [Two, since the first and last sections are the same] Where should you place the Rossini Crescendo? [Anywhere, but most often in Rossini’s music, the crescendo occurs at the end of the piece]).

5. The teacher should place students in groups (or let students choose their own groups).6. The teacher will explain that each group will need to notate their overture. Students may use either traditional or non-traditional

notation. 7. The teacher, with the students, should brainstorm about the expressive concerns for which the students are responsible

(articulation, tempo, dynamics).


8. The teacher should provide guidelines for length of each section. Suggested guidelines for length will provide students with a place to begin their work. It is suggested that the first and third sections last 30 seconds and the second section lasts 15 seconds.

9. The students will begin composing. The teacher should provide time for students to work, rehearse, and share and their developing overtures.

10. Each group will perform their overture for the class.


Below are six possible categories that may be used for the assessment of student work. Additional criteria can be developed by the teacher and/or class.

• Form: The composition follows the requirements for form.

• Rossini Crescendo: The composition includes a Rossini Crescendo.

• Articulation: There are clear differences of articulation within each section.

• Dynamics: Apart from the Rossini Crescendo, the composition includes dynamic contrasts.

• Notation: The notation (standard or non-standard) makes sense and the performance is indicative of what is written on the page.

• Tempo: The performers keep a steady tempo throughout the composition OR the performers are able to keep a steady tempo in sections and transition from one tempo to the next easily.

– Extension Activity ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

If students have participated in the conducting lesson plan, a student, not necessarily from the group whose composition is being performed, can use the score and conduct the overture.


ART LESSON PLAN

– Materials ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

pencils, colored pencils, shoe boxes, construction paper, glue, scissors, scene design blackline master (Appendix I)24, costume design blackline master (Appendix J)

– Concepts ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

focal point, composition, space

– Standards –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

[ National Art Education Association ]1. Understanding and applying media, techniques, and processes2. Using knowledge of structures and functions3. Choosing and evaluating a range of subject matter, symbols, and ideas5. Reflecting upon and assessing the characteristics and merits of their work and the work of others6. Making connections between visual arts and other disciplines

[ College and Career Readiness Anchor Standards for Speaking and Listening ]

Comprehension and Collaboration1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’

ideas and expressing their own clearly and persuasively.2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.

Presentation of Knowledge and Ideas4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization,

development, and style are appropriate to task, purpose, and audience.5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of

presentations.6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or

appropriate.

––––––––––––––––––––––––––––––––––––––24The blackline master sketch sheets have been organized by scene. Students can choose to modify the setting of the opera, should they so desire.


– Lesson Sequence ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––1. The teacher and students will read the synopsis to The Barber of Seville located in Backstage Pass!2. After reading the synopsis, the teacher shall ask students the different settings either directly identified in the synopsis or

those that the students imagine while reading the synopsis. The teacher should list these on the board or other location where students can easily reference them.25

3. The teacher should hand out copies of the scene design blackline master.4. The teacher will ask the whole group to select a scene from the opera and design a set. 5. The teacher will ask students to help list items necessary for the set (e.g., buildings, other objects, and their placement).26 6. The teacher will sketch student suggestions.7. The teacher will make students aware that while the class is creating a 2D sketch, the placement of objects should, to the best

of the students’ abilities, reflect the 3D of a real stage.8. The teacher will place students in groups.9. Each group will work select a scene and create a sketch for it.

10. Each group will present their work to the class and explain the reasoning behind their choices.


Below are four criteria upon which this work may be assessed.1. Focal point: The students’ drawing (or 3D creation) has a clear focal point that makes sense within the context of the synopsis

when the students describe the scene they have created.2. Composition: The overall composition of the sketch (or 3D) is well balanced.3. Space: The use of space is such that the set design does not appear cluttered or would not be distracting to the overall

movement of the scene by performers.4. Oral presentation: The students’ oral presentation is clear, well organized, and assists the listener in understanding both the

overall creative vision as well as the rationale behind choices.

––––––––––––––––––––––––––––––––––––––25This lesson can be modified to either focus on or include in addition to the sets, costume designs and/or lighting design. For example, step two above, if a teacher chooses to emphasize costume design, would focus on listing the different characters, describing general physical characteristics, and thinking through the synopsis to ascertain if a character would require more than one costume (e.g., Don Alfonso is a disguise for Count Almaviva). The children would then create a costume (or costumes) for the character and present their work to the class. 26If the teacher wishes and has available materials (shoe boxes, construction paper, glue, scissors), she may wish to allow students to take their sketch and create a 3D version. If this is the case, then the teacher would explain this next step after step number 9.


Appendix A:

The White Snake

Source: Grimm, Jacob and Wilhelm. Household Tales.

Margaret Hunt, translator. London: George Bell, 1884,

1892. 2 volumes. Adapted by Jason A. Helfer and

Stephen T. Schroth.

– The White Snake –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

A long time ago there lived a king who was famed for his wisdom through all the land. Nothing was hidden from him, and it seemed as if news of the most secret things was brought to him through the air. But he had a strange custom; every day after dinner, when the table was cleared, and no one else was present, a trusty servant had to bring him one more dish. It was covered, however, and no one knew what was on the covered dish. The King never took off the cover to eat of it until he was all alone.

This happened night after night after night. One day the servant was overcome with such curiosity that he could not help carrying the dish into his room. When he had locked the door to his room, he lifted up the cover, and saw a white snake lying on the dish. He could not deny himself the pleasure of tasting the white snake, so he cut off a little bit and put it into his mouth. No sooner had it touched his tongue than he heard a strange whispering of little voices outside his window. He went and listened, and then noticed that it was the sparrows who were chattering together, and telling one another of all kinds of things which they had seen in the fields and woods. Eating the snake had given him the power of understanding the language of animals!

It so happened that on this very day the Queen lost her most beautiful ring, and suspicion of having stolen it fell upon the trusty servant, who was allowed to go everywhere in the castle. The King ordered the man to be brought before him, and threatened him with execution unless he could identify the thief before the next day. In vain the servant declared his innocence to the king to no avail.

Sad and afraid, the servant went down into the courtyard. Some ducks were resting together quietly by a brook. While they were making their feathers smooth with their bills, they were having a confidential conversation together. The servant stood by and listened. They were telling one another of all the places where they had been waddling about all the morning and what good food they had found. One duck mentioned that he had, by accident, swallowed the Queen’s ring. The servant at once seized him by the neck, carried her to the kitchen, and told the cook to prepare her for supper. The cook cut off her head, and as she was being prepared for cooking, the Queen’s ring was found inside her.

The King felt very bad for threatening the servant and allowed him one wish. The servant did not ask for anything except a horse and some money for traveling.

His request was granted and he set out on his way. One day the young man came upon a pond. He saw three fishes caught in the reeds and gasping for water. As he stepped closer he heard the fish lamenting that they must perish so miserably. The young man, because he had a kind heart, got off his horse and put the three prisoners back into the water. They quivered with delight, put out their heads, and told the young man that his good deed would not soon be forgotten.

The young man rode on, and after a while, it seemed to him that he heard a voice in the sand at his feet. He stopped and listened. He heard an ant-king complain about creatures who were not aware of the ants upon which they trampled with each step. Hearing this, the young man turned on a side path and the ant-king told him that his good deed would not soon be forgotten.


The path led him into a wood, and here he saw two old ravens standing by their nest, throwing out their young ones. The poor young ravens lay upon the ground, flapping their wings and asking for assistance. The kind, young man sold his horse and bought food for the birds. The young birds told him that his good deed would not soon be forgotten.

Since his horse was gone, the young man had to walk. Eventually, he came to a large city. There was a large crowd in the streets. A man rode up on horseback and informed the people that anyone who desired the hand of the King’s daughter in marriage must complete a difficult task. Those who tried and failed would be executed. Many had already unsuccessfully made the attempt. When the young man saw the King’s daughter he was so overcome by her great beauty that he forgot all danger, went before the King, and declared himself a suitor.

The young man was led out to the sea, and a gold ring was thrown into it. The King ordered the young man to fetch this ring up from the bottom of the sea. Failure to do so would mean his death. All the people grieved for the handsome youth; then they went away, leaving him alone by the sea.

The young man stood on the shore and considered how he should approach this challenge. Suddenly he saw three fishes come swimming towards him. They were the very fishes whose lives he had saved. The fish in the middle held a clam in its mouth. It laid the clam at the feet of the youth. When the young man opened the clam, a gold ring was in the shell. Full of joy, the young man took it to the King expecting to receive the hand of the King’s daughter.

When the proud princess saw that the young man was not her equal, she scorned him and required him to perform another task to demonstrate his worthiness. She went down into a garden and cut open ten bags of seeds. The young man was told he must pick up each and every piece of grain and put it back into the bag before sunrise. Failure to do so would mean his death.

The youth sat in the garden and considered how he might perform this task. He could think of nothing and sat sorrowfully awaiting the sunrise, when he would be led to his death.

As soon as the first rays of the sun shone into the garden, to his surprise he saw all ten sacks standing side by side, quite full, and not a single grain was missing. The ant-king had come in the night with thousands and thousands of ants, and the grateful creatures had by great industry picked up all the seeds and gathered them into the sacks.

The King’s daughter came down into the garden. She was amazed to see that the young man had completed the task. Even so, he could not yet conquer her proud heart. She told the young man that he must bring her an apple from the Tree of Life.

Although the youth did not know where the Tree of Life was located, he set out and wandered through three kingdoms. One evening he approached some woods and lay down under a tree to sleep. He awoke to a rustling in the branches when a golden apple fell into his hand. At the same time three ravens flew down to him, perched themselves upon his knee, and reminded him that they were the young chicks he had saved by selling his horse for money for food. The birds had traveled the world to find the Golden Apple.

The youth, full of joy, set out for the Kingdom. He took the Golden Apple to the King’s beautiful daughter, who could make no more excuses. They cut the apple from the Tree of Life in two and ate it together. The princess’s heart became full of love for him, and they lived happily ever after.


Appendix B:

Operatic Forms

– ARIA –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– • Used to introduce a character,

• When a character is considering an idea,

• When a character is feeling a few (one or two) emotions, and

• When the character is reflecting on a situation that has or will occur.

– DUET –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––• Used when two characters meet,

• When two characters are or have fallen in love,

• When two characters are in the process of making a commitment to each other or toward some cause,

• When two characters are planning a course of action, and

• When two characters are saying goodbye.

– TRIO ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––• Used when three characters are plotting a course of action,

• When three characters are reflecting (each in a different way) upon a situation that has or will occur, and

• When one character is “the odd person out” and is reflecting upon a situation while the other two characters are united in a cause, in love, or plotting revenge.

– ENSEMBLE ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––• Most often used at the end of an act (in other words, use this form as a finale),

• When four or more characters are reflecting upon a situation (often, but not always, each character is thinking/feeling/considering something different. Each character is connected to the plot, but each in a different way), and

• Sometimes the ensemble develops from a duet or trio.

– CHORUS –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––• Used to accentuate the central idea in an aria or ensemble (choruses are not used as often for this purpose in duets and trios)

and

• To introduce a situation or setting.

– RECITATIVE –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––• A conversation where the majority of the plot is shared (who goes where and when and with whom),

• The central plot complications are often shared through recitative, and

• Only one person sings at a time during a recitative.


Appendix C:

Write Your

Own Libretto

The example developed below is based upon the information contained in Backstage Pass! The purpose of this appendix is to assistance teachers while they provide support to students as they develop their own libretto, using Jack and the Beanstalk as an example.

1. Students have read or have listened to the story of Jack and the Beanstalk.

2. Students list the central characters, the essential elements of the plot (in sequence), and the setting.

Characters:

• Jack

• Jack’s mother

• The giant

• The giant’s wife

Essential Elements of the Plot:

• Jack and his mother are poor.

• Jack goes to the market and trades a cow for magic beans.

• Jack climbs up the beanstalk three times and takes objects belonging to the giant and his wife.

• The giant’s wife assists Jack in two of the instances.

• The last time that Jack tries to escape, the giant follows him down the beanstalk eventually falling to the ground.

x3. Assuming that students are familiar with operatic forms and their appropriate uses, students need to use the characters and

the plot and create a set of scenes and acts. The simplest way to make a distinction between scenes is to consider if a new character has entered, or if a character has departed. A change in setting is also a useful way to distinguish between scenes. The determination of where and how many acts an opera will contain is more arbitrary. Students will need to decide this based upon creating a balanced libretto (e.g., assuming a two act opera, if the text was set to music, each act is roughly equal).

ACT ONE – Scene one

Mother (Aria): sings of the plight of being poor

Mother and Jack (Recitative): speak about options

Mother and Jack (Duet): speak wishfully about luck

4. Using this structure, each portion should be extended.

ACT ONE – Scene oneSETTING: Early spring, the inside of a shabby farmhouse. A field can be seen through the windows at the back of the room. The farmhouse has a main floor where the kitchen is located and a loft where Mother and Jack sleep.

The mother is sitting at a wood table covered with a drab tablecloth. A fireplace, cutting block, a few chairs, a wash basin, and other items are placed around the main floor.

MOTHER (ARIA): Ah, spring is springing and my head is ringing. We have no food and no money. Our clothes are full of holes and my shoes are falling apart. If only, even for a short time, a bit of luck would come our way. Just a little bit of luck.


(Jack enters. Mother does not notice him as she is lost in thought)

MOTHER & JACK (RECITATIVE)

JACK: Mother….

MOTHER: (Startled) What, who is there? Oh! Jack my wonderful son.

JACK: Do not be sad. I will find that bit of luck for us, I just know it!

MOTHER: My dear and kind boy. I hope you are right, but one of your age should not have to worry about such things.

JACK: Mother, I am not worried, I will find a bit of luck. Just you wait.

MOTHER: I’ll wait, but what can we do to find some luck?

JACK: Do we have anything we can sell at the market?

MOTHER: Only our beloved cow. If we sell her, I will miss her so.

MOTHER & JACK (DUET)

JACK: A little luck will come our way. I can feel it.

MOTHER: A little luck should come our way. We really need it.

JACK: I’ll show you luck. Off I go to take the cow to market!

MOTHER: Yes, let’s hope so. Show me luck and goodbye to my sweet cow.

JACK & MOTHER: Luck, luck, sometimes hard work is not enough, what we need is some luck!

PLEASE NOTE: The stage directions and setting are included should the students wish to expand on their work and perform the libretto as a spoken drama.


Appendix D:

Learning Standards

Below are the Common Core State Standards in Reading and Writing, State of Illinois Standards in the Fine Arts, and the National Standards in Music. At the beginning of each unit plan in the teachers’ guide, information regarding the alignment of standards is provided. The standards that follow may be used when planning extension/enrichment activities to be used with other articles in Backstage Pass!. Of course, programs that use additional standards in the development of instructional units may need to be consulted as required.

– Common Core Standards –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

[ College and Career Readiness Anchor Standards for Reading ]Key Ideas and Details

1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text.

2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.3. Analyze how and why individuals, events, and ideas develop and interact over the course of a text.

Craft and Structure4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings,

and analyze how specific word choices shape meaning or tone.5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section,

chapter, scene, or stanza) relate to each other and the whole.6. Assess how point of view or purpose shapes the content and style of a text.

Integration of Knowledge and Ideas7. Integrate and evaluate content presented in diverse media and formats, including visually and quantitatively, as well as in

words.8. Delineate and evaluate the argument and specific claims in a text, including the validity of the reasoning as well as the

relevance and sufficiency of the evidence.9. Analyze how two or more texts address similar themes or topics in order to build knowledge or to compare the approaches the

authors take.

Range of Reading and Level of Text Complexity10. Read and comprehend complex literary and informational texts independently and proficiently.

[ College and Career Readiness Anchor Standards for Writing ]Text Types and Purposes

1. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

2. Write informative/explanatory texts to examine and convey complex ideas and information clearly and accurately through the effective selection, organization, and analysis of content.

3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

Production and Distribution of Writing4. Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and

audience.5. Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach.6. Use technology, including the Internet, to produce and publish writing and to interact and collaborate with others.


Research to Build and Present Knowledge7. Conduct short as well as more sustained research projects based on focused questions, demonstrating understanding of the

subject under investigation.8. Gather relevant information from multiple print and digital sources, assess the credibility and accuracy of each source, and

integrate the information while avoiding plagiarism.9. Draw evidence from literary or informational texts to support analysis, reflection, and research.

Range of Writing10. Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or

a day or two) for a range of tasks, purposes, and audiences.

[ College and Career Readiness Anchor Standards for Speaking and Listening ]

Comprehension and Collaboration1. Prepare for and participate effectively in a range of conversations and collaborations with diverse partners, building on others’

ideas and expressing their own clearly and persuasively.2. Integrate and evaluate information presented in diverse media and formats, including visually, quantitatively, and orally.3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric.

Presentation of Knowledge and Ideas4. Present information, findings, and supporting evidence such that listeners can follow the line of reasoning and the organization,

development, and style are appropriate to task, purpose, and audience.5. Make strategic use of digital media and visual displays of data to express information and enhance understanding of

presentations.6. Adapt speech to a variety of contexts and communicative tasks, demonstrating command of formal English when indicated or

appropriate.

[ Standards for Mathematical Practice ]1. Make sense of problems and persevere in solving them. 2. Reason abstractly and quantitatively.3. Construct viable arguments and critique the reasoning of others.4. Model with mathematics. 5. Use appropriate tools strategically. 6. Attend to precision.7. Look for and make use of structure.8. Look for and express regularity in repeated reasoning.

– Illinois Learning Standards ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

[ Science ]

Early Elementary12.E.1b Identify and describe patterns of weather and seasonal change.13.B.1c Describe contributions men and women have made to science and technology. 13.B.1d Identify and describe ways that science and technology affect people’s everyday lives (e.g., transportation,

medicine, agriculture, sanitation, communication occupations).

Late Elementary 13.B.2b Describe the effects on society of scientific and technological innovations (e.g., antibiotics, steam engine, digital

computer).

Middle School 12.E.3b Describe interactions between solid earth, oceans, atmosphere and organisms that have resulted in ongoing

changes of Earth (e.g., erosion, El Nino).


13.B.3b Identify important contributions to science and technology that have been made by individuals and groups from various cultures.

[ Social Science ]

Early Elementary15.A.1a Identify advantages and disadvantages of different ways to distribute goods and services. 16.A.1b Ask historical questions and seek out answers from historical sources (e.g., myths, biographies, stories, old

photographs, artwork, other visual or electronic sources).16.A.1c Describe how people in different times and places viewed the world in different ways.16.B.1a (US) Identify key individuals and events in the development of the local community (e.g., Founders days, names of

parks, streets, public buildings).17.C.1a Identify ways people depend on and interact with the physical environment (e.g., farming, fishing, hydroelectric

power). 17.C.1b Identify opportunities and constraints of the physical environment. 18.C.1 Describe how individuals interacted within groups to make choices regarding food, clothing and shelter.

Late Elementary 15.A.2a Explain how economic systems decide what goods and services are produced, how they are produced and who

consumes them. 16.A.2b Compare different stories about a historical figure or event and analyze differences in the portrayals and

perspectives they present.16.A.2c Ask questions and seek answers by collecting and analyzing data from historic documents, images and other

literary and non-literary sources.17.C.2a Describe how natural events in the physical environment affect human activities.16.B.2a (US) Describe how the European colonies in North America developed politically.17.C.2b Describe the relationships among location of resources, population distribution and economic activities (e.g.,

transportation, trade, communications).18.C.2 Describe how changes in production (e.g., hunting and gathering, agricultural, industrial) and population caused

changes in social systems. 16.C.2c (W) Describe basic economic changes that led to and resulted from the manorial agricultural system, the industrial

revolution, the rise of the capitalism and the information/communication revolution.

Middle School 15.A.3a Explain how market prices signal producers about what, how and how much to produce. 16.A.3b Make inferences about historical events and eras using historical maps and other historical sources.16.A.3c Identify the differences between historical fact and interpretation.16.B.3a (US) Describe how different groups competed for power within the colonies and how that competition led to the

development of political institutions during the early national period.16.B.3d (W) Describe political effects of European exploration and expansion on the Americas, Asia, and Africa after 1500

CE.16.C.3c (W) Describe the impact of tech¬nology (e.g., weaponry, transportation, printing press, microchips) in different

parts of the world, 1500 - present.17.C.3a Explain how human activity is affected by geographic factors.17.C.3b Explain how patterns of resources are used throughout the world.18.C.3a Describe ways in which a diverse U.S. population has developed and maintained common beliefs (e.g., life, liberty

and the pursuit of happiness; the Constitution and the Bill of Rights).

[ Fine Arts ]

Early Elementary25.A.1c Music: Identify differences in elements and expressive qualities (e.g., between fast and slow tempo; loud and soft

dynamics; high and low pitch/direction; long and short duration; same and different form, tone color or timbre, and beat).

25.A.1d Visual Arts: Identify the elements of line, shape, space, color and texture; the principles of repetition and pattern; and the expressive qualities of mood, emotion and pictorial representation.

25.B.1 Identify similarities in and among the arts (e.g., pattern, sequence and mood).


26.A.1c Music: Identify a variety of sounds and sound sources (e.g., instruments, voices and environmental sounds).26.B.1d Visual Arts: Demonstrate knowledge and skills to create visual works of art using manipulation, eye-hand

coordination, building and imagination.27.B.1 Know how images, sounds and movement convey stories about people, places and times.

Late Elementary 25.A.2c Music: Identify elements and expressive qualities such as tone color, harmony, melody, form (rondo, theme and

variation), rhythm/meter and dynamics in a variety of musical styles. 25.A.2d Visual Arts: Identify and describe the elements of 2- and 3-dimensional space, figure ground, value and form; the

principles of rhythm, size, proportion and composition; and the expressive qualities of symbol and story. 25.B.2 Understand how elements and principles combine within an art form to express ideas. 26.A.2c Music: Classify musical sound sources into groups (e.g., instrumental families, vocal ranges, solo/ensembles).26.B.2d Visual Arts: Demonstrate knowledge and skills to create works of visual art using problem solving, observing,

designing, sketching and constructing.27.B.1 Know how images, sounds and movement convey stories about people, places and times.27.B.2 Identify and describe how the arts communicate the similarities and differences among various people, places and

times.

Middle School 25.A.3c Music: Identify and describe changes in elements and expressive qualities (e.g., crescendo, ritardando, fermata,

meter, sforzando).25.A.3d Visual Arts: Identify and describe the elements of value, perspective and color schemes; the principles of

contrast, emphasis and unity; and the expressive qualities of thematic development and sequence.25.A.3e Visual Arts: Analyze how the elements and principles can be organized to convey meaning through a variety of

media and technology.25.B.3 Compare and contrast the elements and principles in two or more art works that share similar themes.26.A.3c Music: Describe the processes involved in composing, conducting and per¬forming.26.B.3d Visual Arts: Demonstrate knowledge and skills to create 2- and 3-dimensional works and time arts (e.g., film,

animation, video) that are realistic, abstract, functional and decorative.27.B.3 Know and describe how artists and their works shape culture and increase understanding of societies, past and

present.

– National Standards ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

[ Music ]1. Singing, alone and with others, a varied repertoire of music.2. Performing on instruments, alone and with others, a varied repertoire of music.3. Improvising melodies, variations, and accompaniments. 4. Composing and arranging music within specified guidelines. 5. Reading and notating music. 6. Listening to, analyzing, and describing music. 7. Evaluating music and music performances. 8. Understanding relationships between music, the other arts, and disciplines outside the arts. 9. Understanding music in relation to history and culture.

[ Art ]1. Understanding and applying media, techniques, and processes2. Using knowledge of structures and functions3. Choosing and evaluating a range of subject matter, symbols, and ideas4. Understanding the visual arts in relation to history and cultures5. Reflecting upon and assessing the characteristics and merits of their work and the work of others6. Making connections between visual arts and other disciplines


Appendix E:

Musical Examples

–Overture –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––http://www.youtube.com/watch?v=OloXRhesab0King’s Singer’s - http://www.youtube.com/watch?v=Oio1G-7aopo&feature=related

–Aria ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––Ecco ridente in cielo (Almaviva – Gently the dawn is breaking)

Juan Diego Florez - http://www.youtube.com/watch?v=0Jtyz78mCPg&feature=relatedLuigi Alva (historic video) - http://www.youtube.com/watch?v=TWD9T2n20rA&feature=relatedRamon Vargas - http://www.youtube.com/watch?v=XvI1RHpCu9g

Largo al factotum (Figaro – Make way for the jack-of-all-trades)

Leo Nucci - http://www.youtube.com/watch?v=3skh44qlxM8Simon Keenlyside (concert version) - http://www.youtube.com/watch?v=sOvgeLXYgG8Robert Merril (historic video) - http://www.youtube.com/watch?v=7gvkxhA90rw&feature=related

Una voce poco fa (Rosina – A voice a little while ago)

Joyce DiDonato - http://www.youtube.com/watch?v=ysGFMx6NOEYJoan Sutherland - http://www.youtube.com/watch?v=MKXlZs06Er4&feature=relatedCeclia Bartoli - http://www.youtube.com/watch?v=5lwT2ocznpU&feature=related

Se il mio nome (Almaviva – If my name)

Reinoldo Macias - http://www.youtube.com/watch?v=55A8A2-FgJETito Schipa (historic recording – taken from a movie) - http://www.youtube.com/watch?v=xvaIvv9z408&feature=relatedGiuseppe DiSetfano (recording only) - http://www.youtube.com/watch?v=96Xujhkb1pU&feature=PlayList&p=453CC4915EDD D867&playnext=1&playnext_from=PL&index=37

A un dottore della mia sorte (Bartolo – to the man of my acumen)

Claudio Desderi - http://www.youtube.com/watch?v=kK5tXenDWQ8John Del Carlo - http://www.youtube.com/watch?v=W9fpuXxg4OUCarlos Feller - http://www.youtube.com/watch?v=lIMvCHl_Dyo

Contro un cor (Rosina – Against a heart)

Terese Berganza - http://www.youtube.com/watch?v=drut-wk6h94Joyce DiDonato - http://www.youtube.com/watch?v=sZr9k6RRQzIMaria Ewing - http://www.youtube.com/watch?v=jN6afehIWmQ

Cessa di piu resistere (Almaviva – Cease to resist)

Rockwell Blake - http://www.youtube.com/watch?v=Dw6cC6wTgh8Juan Diego Florez - http://www.youtube.com/watch?v=YsmaiDLENIk&feature=related

– Duet ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––Dunque io son (Rosina, Figaro – I’m his love)


Joyce DiDonato & Peter Mattei - http://www.youtube.com/watch?v=-5dciDjZvWcJennfier Larmore & David Malis - http://www.youtube.com/watch?v=HzZLEYzd5gECeclia Bartoli & Bryn Terfel (concert version) - http://www.youtube.com/watch?v=laq09ppogw0&feature=related All’idea di quell metallo (Almaviva, Figaro – The idea of that metal)

David Kuebler & Gino Quilico (with Russian subtitles – but good video quality) - http://www.youtube.com/watch?v=svaz9fAc_FkRockwell Blake & Leo Nucci - http://www.youtube.com/watch?v=VIVpc1FkNjE&feature=relatedPablo Elvira & Ernesto Palacio - http://www.youtube.com/watch?v=paOeqoDr4Aw

– Trio –––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––Ah, quell colpo…Zitti, zitti, piano, piano (Almaviva, Figaro, Rosina – At last we are here…hurry, scurry, hurry, scurry)

Teresa Berganza, Luigi Alva, & Rolando Paneri (historic recording) - http://www.youtube.com/watch?v=EX7iN60JXVcBeverly Sills, Alan Titus, Henry Price - http://www.youtube.com/watch?v=yeIMP2YPaVM&feature=related

–Ensemble ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––Fredda ed immobile (Almaviva, Rosina, Figaro, Bartolo, Basilio, Berta, chorus – Cold and motionless)

Roberto Servile, Sonia Ganassi, Ramon Vargas, Angelo Romero, Franco deGrandis (Music ONLY http://www.youtube.com/ watch?v=mO0ga8tw7wc

Buona sera, mio signore (Bartolo, Figaro, Rosina, Almaviva, Basilio – Good evening, my lord)

Maria Bayo, Juan Diego Florez, Bruno Pratico, Pietro Spagnoli, Ruggero Raimondihttp://www.youtube.com/watch?v=Jrj2dLMIYKAhttp://www.youtube.com/watch?v=ZXnFPrclULM&feature=related

Act II Finale (Rosina, Berta, Almaviva, Figaro, Basilio, Bartolo, Chorus)

Cecilia Bartoli, Gino Quilico, David Kuebler, Carlos Feller, Robert Lloyd, Chorus - http://www.youtube.com/ watch?v=YSC0yvBuMt0Reinaldo Macias, Carlos Chausson, Vesselina Kasarova, Manuel Lanza, Nicolai Ghiaurov, Chorus - http://www.youtube.com/watch?v=ab7NPjGsOQg

– For use with the MUSICAL STORM article –––––––––––––––––––––––––––––––––––––––––––––––Rigoletto Storm:http://www.youtube.com/watch?v=pkD3Y42Eo6Y http://www.youtube.com/watch?v=Ar3LBg2ddKQ&feature=related

Otello Storm:http://www.youtube.com/watch?v=YCyni4paOvg&feature=related http://www.youtube.com/watch?v=x2u6l7mA3iQ (Concert Version)

Die Walkure Prelude:http://www.youtube.com/watch?v=VI7CeQ_LOX0 http://www.youtube.com/watch?v=lYH2-TqAIdc (Concert Version)


Appendix F:

Everyone’s a Critic

Blackline Master

Everyone’s a Critic NAME:

– Directions ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––– Watch and listen to the video. Focus on one element at a time (singing, orchestral playing, sets, costumes, lighting). Write down what you see and hear in the appropriate space. Be as descriptive as possible.

SINGING:

ORCHESTRAL PLAYING:

SETS:

COSTUMES:

LIGHTING:


Appendix G:

A Trio Plus One

(or Two or Three):

The Trilogy of Figaro

The Barber of Seville is one of three plays written by Beaumarchais. Two of the three plays – The Barber of Seville and The Marriage of Figaro were made into operas. Rossini composed Barber and Mozart composed Figaro. The third play, The Guilty Mother was never made into a prominent opera.

Both The Barber of Seville and The Marriage of Figaro were ideal for opera. The central themes of each are both timely and eternal. For example, both operas emphasize love. In The Barber of Seville, Count Almaviva and Rosina demonstrate the power of love. So too, in The Marriage of Figaro, the Count and Countess as well as Figaro and Susanna show the power of forgiveness. Though these themes were present in both plays, the music of the opera made their messages more touching.

In addition to those eternal themes, each opera demonstrated the tension between royalty and servants in the 17th and 18th century. Both Rossini and Mozart highlighted the most powerful moments of Beaumarchais’ social commentary. While some scholars doubt that Beaumarchais wrote a social satire, the time frame in which each opera was first produced made the class distinctions between Count Almaviva and Figaro apparent. In both operas, for instance, Figaro is presented as a man who is able to outsmart his esteemed employers even though he is of a lower class. Also, in each opera Don Basilio, the music teacher, is portrayed as a less than honorable man who delights in gathering and dispensing gossip and is easily persuaded by bribery.

The third play, The Guilty Mother, was never made into a popular opera, possibly due to its depressing subject matter. However, the French composer Jules Massenet (1842-1912) wrote an opera entitled Cherubin, which premiered in 1905. Cherubin, unlike The Guilty Mother, is a lighthearted piece, which is based on the character, Cherubino. In The Marriage of Figaro Cherubino is a pageboy who causes all sorts of mischief. So, Almaviva presents Cherubino with a military commission to remove him from the estate. In Cherubin, we meet up with Cherubino and see how this commission plays out. Unlike The Marriage of Figaro and The Barber of Seville, Cherubin is less frequently performed.

Two other composers set The Barber of Seville to music: Giovanni Paisiello (1740-1816) and Nicholas Isouard (1775-1818). Paisiello’s version premiered in 1782 and Isouard’s piece premiered in 1796. In fact, even after the premiere of Rossini’s Barber, the Paisiello version was more popular with the public for a number of years.


Appendix H:

The Tutor: How People

Learn(ed) Music

Within The Barber of Seville, Rosina takes music lessons from Don Alonso (Count Almaviva in disguise).

The use of private tutors for instruction in music and subjects has a long history, reaching farther into the past than the 17th century, the time period for the story of The Barber of Seville. While what tutors teach has not changed drastically over time, the population of individuals who receive this sort of instruction and the purpose of the instruction has changed over the centuries.

There was very limited public schooling during the 17th century in Europe and America. Those who attended a school for instruction were most often orphans or boys from poor families. These institutions were run by the Church. Most families with money, however, would hire private tutors to teach their children specific skills. Girls, like Rosina, commonly received singing lessons and harpsichord or piano instruction from private music tutors, like Don Alonso.

In America during the 17th and 18th century, music teachers often traveled from town to town offering lessons in how to sing and read music. Traveling, or ‘itinerant’ music teachers, often taught “shape note singing.” “Shape notes” were a type of musical notation in which notes had shape that would tell the performer what pitch to sing.

Now, people with an interest in music often take private lessons with an experienced teacher. In these situations there is one student and one teacher whose central responsibility it is to ensure that the student learns how to read music and perform their instrument with technical accuracy and appropriate expressivity.

While the music teacher has been with us for many centuries, the largest difference over time has to do with who learns music. During the time when The Barber of Seville was to have occurred, only wealthy families could afford the private musical teacher. The purpose of this tutelage was not to assist the young girl in becoming a professional musician, but to equip the young woman with the socially expected “feminine” accomplishments, which included signing and playing a musical instrument as well as needlework, painting, or other fine arts. The itinerant music teacher in America was trying to piece together a living and, though his skills, strengthen the commitment of a community to congregational singing. The modern day music tutor works with students having identified and exceptional abilities in music as well as those seeking to learn a musical instrument for their own personal enjoyment.


Appendix I:

Scene Design

Blackline Master

Scene 1: A town square

Scene 2: A Room

in Dr. Bartolo’s Villa

Scene 3: The Music R

oom in D

r. Bartolo’s Villa

Scene 4: Outside D

r. Bartolo’s Villa


Appendix J:

Costume Design

Blackline Masters


Appendix K:

Graph Paper (for grade three math lesson

question #8 on pg. 29)


BACKSTAGE PASS!

Puzzle Key

T R I O B N T R O L O T R A B J N D B B A R B E RD U Y A N I S O R B E J O R A G I F I O V H S F EW D E I N A P M O C C A R T S E H C R O I R P B LR E W E I V E R P E R F O R M A N C E S V B L A QA P P R E N T I C E S H I P T E N O R K A E O R TR G H V A N E T R U M P E T B Y M J F M M C T I EA T C G I S Q P B A M A T C H M A K E R L E Y T UU H T P R D C S G L S E V I L L E Z O E A I A O DT D U A A O S N O L A B Y S O N A R P O S P C N BO C O M P O S I T I O N N C O D N E C S E R C E SF R C P T E N O I T A L U C I T R A I G F E V O ST B E A U M A R C H A I S X F U T D Y L A T I W AR C H O R U S V V H K M S E R E N A D E F S Z H BN T V E R U T X E T L T R E L B M E S N E A F O HE U C I R Q Y D R O H C I S P R A H X G I M B I M

Italy Figaro Soprano Tenor Baritone BassHarpsichord Orchestra Aria Duet Ensemble TrioChorus Plot Serenade Matchmaker Trumpet ArticulationCrescendo Apprenticeship Rosina Almaviva Bartolo AlonsoBarber Seville Beaumarchais Texture Reviewer PerformanceComposition Accompanied Masterpiece

– Page 10 [ in Backstage Pass! ] ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––


– Page 16 [ in Backstage Pass! ] ––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––––

B1

T2 R U M P E3 T AN O4 R5 O S I N A

C6 O M P O S E R TE C S7 O P R A8 N OM H L R

L9 I B R E T T O ID10 U E T11 L S F12 A

E13 T I Q U E T T E IN R G

C14 O U N T A L M A V I V AR R15 O S S I N I

O

Across2. Rossini played this instrument as a child [TRUMPET] 5. In love with a poor student [ROSINA] 6. A person who writes music [COMPOSER] 7. The highest female vocal range [SOPRANO] 9. The book or script of an opera [LIBRETTO]

10. A musical form in which two people sing together or separately [DUET]

13. Another word for proper behavior [ETIQUETTE]

14. Wears many disguises [COUNTALMAVIVA] 15. Composer of The Barber of Seville [ROSSINI]

Down1. The rich old man who wishes to marry someone much

younger than he [BARTOLO] 3. When more than three people sing at the same time

[ENSEMBLE] 4. The group that accompanies opera singers

[ORCHESTRA] 8. A musical form in which one person sings [ARIA]

11. The highest male vocal range [TENOR] 12. The Barber of Seville [FIGARO]

The Barber of Seville

The Barber of Seville

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