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What child does not love a good story?

Every child can identify with Peter, the adventurous and confident young boy who ignores his grandfather’s admonition to stay safely near home. In the course of his exploration of the forbidden meadow with his friend the bird, they meet a duck, a cat, and a wolf, all represented by different instruments in the orchestra. The wolf, of course, is a character that represents danger in folk tales around the world. As the tale plays out, hunters come to the rescue and the story ends happily for everyone (except perhaps the duck, who departs the scene inside the wolf )!

Paired with this well-known classic are scenes from two iconic ballets: Rodeo and Billy the Kid, each by Aaron Copland. Young concert-goers will delight in the dramatic, colorful music of both of these works. The “Hoe Down” from Rodeo will be familiar to many listeners, as it is often used in film and television to evoke a festive Wild West atmosphere. “Prairie Night & Celebration Dance” from Billy the Kid does a magical job of musically illustrating both the vastness of the early American frontier and the folksy joy of a frontier town gathering.

Each of the works on this Youth Concert also provide unparalleled opportunities to encourage focused listening, expand language development and musical understanding, and explore emotions. Because the stories are vividly told in various combinations of music, words, and imagery, they also create especially fer-tile learning experiences for ESL students and those with limited language experience.

Once you’ve familiarized yourself with the music on the concert, please use this Teacher’s Guide and the accompanying CD as resources to prepare your students for a deeply rewarding and enlightening concert experience. As always, your feedback is greatly appreciated, so let us know how these lesson and activity suggestions worked for you and your students.

Musically Yours,

VISIT THE DALLAS SYMPHONY ORCHESTRA’S EDUCATIONAL WEB SITE: www.DSOkids.com

Feedback: www.surveymonkey.com/r/dsoyouthconcerts

Activities for Peter and the Wolf Teacher’s Guide were prepared by the Dallas Symphony Orchestra’s Curriculum Development Team. This volume of the teacher’s guide was produced and edited by Dallas Symphony Orchestra Education staff members Sarah

Hatler and Jamie Allen. Materials in this teacher’s guide can be photocopied for classroom use. If you have any questions about the concerts or material in this guide, please call the DSO Education Department at 214.871.4006.

The Dallas Symphony Orchestra Presents:

Peter and the WolfOctober 4 and 5, 2017

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Table of Contents

Concert specific information Repertoire and CD track list Concert guidelines for teachers Who’s Who Composer biographies Peter and the Wolf storyline Characters and Instruments

Pre-Concert Activity Concert conduct Concert Activities 1. Listening Map 2. Musical Story Time 3. Calling All Actors! 4. The Character of Instruments 5. Diorama

Post-Concert Activity Student review Symphony YES! Request Form About the Meyerson

p. 3p. 4p. 5p. 6-7p. 8p. 9

p. 10

p. 11p. 16p. 18p. 20p. 22

p. 24p. 25p. 26

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1. Copland, “Hoe Down” from Rodeo2. Copland, “Prairie Night” from Billy the Kid3. Copland, “Celebration Dance” from Billy the Kid

Excerpts from Peter & the Wolf4. Peter (strings)5. The Bird (flute)6. The Duck (oboe)7. The Cat (clarinet)8. Grandfather (bassoon)9. The Wolf (French horns)10. Hunters (timpani & bass drum)11. Prokofiev, Peter & the Wolf (narrated by Sir John Gielgud)

Musical recordings under license from Naxos of America, Inc. www.Naxos.com(P) 2007 HNH International Ltd. All rights reserved. Unlawful duplication, broadcast or performance of this

Repertoire and Youth Concert CD Track List

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Before the Concert• Please contact Thomas Mears at 214.871.4054 at least 30 days prior to your Youth Concert experience if you need to connrm or make changes to a reservation. • Please prepare your students by using materials in this book or on the www.DSOkids.com website.• Students should be briefed on concert etiquette in advance.• • Please contact Thomas Mears at 214.871.4054 at least 30 days before the concert if your group includes any students or teachers with special needs, including wheelchairs, or if you are in need of infrared headsets for the hearing impaired.

The Day of the Concert• Before leaving school, please allow time for students to visit the restroom.• Learn your bus driver’s name and be sure you can recognize him/her.• Plan to arrive at the Meyerson at least thirty minutes before concert time.

UUpon Arrival at the Meyerson• If you arrive by bus, please DO NOT UNLOAD BUSES UNTIL YOU ARE GREETED BY A DSO STAFF MEMBER. Also, please be sure you and your driver have been given matching bus numbers by a DSO staff member. • Check in with a volunteer in the main lobby; a volunteer will guide your group to your seating area. (Seating sections are assigned on the basis of group size).• All students should be in their seats at least nve minutes before the concert time.• No food or drink, including chewing gum, is permitted in the concert hall.

DDuring the Concert• The use of cameras and recorders is prohibited.• Please turn off cellular phones and any other electronic devices. • Students and teachers should remain in their seats for the entire concert.• Restrooms are located on all levels and should be used for urgent needs only.• If students must visit the restroom, please have an adult accompany them.• • Students not maintaining acceptable standards of behavior will be asked to leave, and may jeopardize their school’s future attendance at DSO events.

After the Concert • Please remain in your seats until your school is dismissed.• Upon dismissal, listen carefully and follow instructions for departing the building.• • Please DO NOT call your bus drivers’ cell phones. We have an efficient protocol in place for calling buses back to the Meyerson, and preemptively calling your bus driver back will cause a delay in the dismissal process.

Back at School• Refer to this guide or www.DSOkids.com for follow-up activities.• Student letters/artwork expressing reactions to the concert are appropriate and appreciated.

Mailing Address: AAttn: Education Department, Youth Concerts

Dallas Symphony Orchestra2301 Flora St., Schlegel Administrative Suites

Dallas, TX 75201Fax Number: 214.871.4511

E-mail Address: dsokids@dalsym.com

Concert Guidelines for Teachers

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Who’s Who

Ruth Reinhardt is Assistant Conductor of the Dallas Symphony Orchestra (DSO), where she recently gave her critically acclaimed subscription debut stepping in to replace Stanislaw Skrowaczewski on short notice in a concert selected by the Dallas Morning News as one of the year's highlights. With the DSO, Ruth conducts a wide variety of the orchestra's extensive concerts and programs, including its contemporary alternative ReMix Series, regular subscriptions for DSO on the GO programs performed in neighboring cities and communities, as well as concerts during DSO's innovative SOLUNA

Festival.

Reinhardt has recently guest conducted the Cleveland Orchestra, Seattle Symphony and the Orchester Musikkollegium Winterthur in a concert televised throughout Switzerland. In summer 2017, she made debuts with the Indianapolis Symphony Orchestra and Malmö Symphony Orchestra.

Born in Saarbrücken, Germany, Ms. Reinhardt began studying violin at an early age and sang in the children's chorus of Saarländisches Staatstheater, Saarbrücken's opera company. She attended Zurich's University of the Arts (Zürcher Hochschule der Künste) to study violin with Rudolf Koelman, and began conducting studies with Constantin Trinks, with additional train-ing under Johannes Schlaefli and Ulrich Windfuhr. She had the opportunity to participate in conducting masterclasses with, among others, Bernard Haitink, Michael Tilson Thomas, David Zinman, Paavo and Neeme Järvi, Marin Alsop and James Ross. Post-university, she studied with Alan Gilbert at The Juilliard School, where she received her master's degree in conducting.

Prior to her appointment in Dallas, Ruth was a conducting fellow at the Seattle Symphony (2015-16), Boston Symphony Orchestra's Tanglewood Music Center (2015), and an associate conducting fellow of Marin Alsop's Taki Concordia program (2015-17). During her time at Juilliard, she led the Juilliard Orchestra as well as concerts with New York City's ÆON Ensemble, with whom she has led a collaboration with the Koronos Quartet.

A precocious talent, she had already by age 17 composed and conducted an opera, for and performed by the children and youths of her native city.

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Russian composer Sergei Prokofiev demonstrated remarkable musical ability at the tender age of five. A budding pianist and talented chess player, young Prokofiev studied composition privately with composer Reinhold Glière. During his studies, Prokofiev composed his first symphony and learned various composition techniques. Later in life, Prokofiev was introduced to another composer, Alexander Glazunov, who later encouraged Prokofiev to study composition and piano at the St. Petersburg Conservatory.

Quincy Roberts, narrator, has made a name for himself as vocalist, entrepreneur and philanthropist. Growing up in Southern Dallas, Quincy attended Dallas Public Schools and graduated from the prestigious Booker T. Washington High School for Performing and Visual Arts. He continued his collegiate education at the Indiana University Jacobs School of Music and obtained a Bachelors in Vocal Performance.

Mr. Roberts made his Dallas Symphony Debut as the Voice of God in Britten's opera Noah's Flood during the 2016 Soluna Festival. He has performed as a soloist with the Cincinnati Symphony, Opera Carolina, Mobile Opera and The Dallas Opera.

Quincy is the CEO of Roberts Trucking Inc., a commercial construction materials logistics firm. He has been named as a 2017 finalist for the world renowned Ernst and Young Entrepreneur of Year Award. Other notable recent accomplishments include the Dallas Black Chamber Quest for Success Award, Goldman Sachs 10,000 Small Business Program's Highest Job Growth Award and the coveted Dallas Business Journal's 40 under 40 Award.

Quincy currently resides in Dallas with his wife and two children. He serves on the Board of Trustees at the Dallas Opera and sponsors a number of local organizations including the Dallas Metroplex Musician's Association, Two-Wins Foundation, and the Kappa Kamp at Paul Quinn College to name a few. An advocate for community financial literacy and entrepreneurship Quincy serves a mentor to several startup and emerging entrepreneurs.

Composer Biographies

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In 1936, Prokofiev was commissioned by the Central Children’s Theatre in Moscow to write a symphony for children. The Theatre asked Prokofiev to create a symphony that would “cultivate musical tastes in children from the first years of school.” To satisfy their request, Prokofiev composed Peter and the Wolf - a meticulously crafted composition that introduces children to instruments through story telling.

Prokofiev completed the score and narration for Peter and the Wolf in four days. The composition was premiered on May 2, 1936. The premier was not well attended and Prokofiev stated that the piece “failed to attract much attention”- hardly the case today!

Although one of the greatest American composers, Aaron Copland did not grow up in a musical family. His parents were Russian immigrants who never even went to a concert. After several attempts to obtain musical instruction including a correspondence course, he eventually went to a school in Europe where a young teacher named Nadia Boulanger influ-enced him to become a composer.

By his mid-twenties his work was known by other composers. Copland borrowed from American legends and folk music and incorporated them into his music. Such musical pieces include: Billy the Kid and Appalachian Spring, for which he won a Pulitzer Prize for music. He was one of the first composers to successfully incorporate jazz rhythms into symphonic music. He was very helpful and generous to other young composers, often promoting their music along with his own. Because Copland had a habit of composing at night with the help of his noisy piano, he had to move several times.

Fun fact: Copland has actually conducted the Dallas Symphony Orchestra twice!

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Peter and the Wolf Storyline

One morning, a young boy named Peter opened his gate and walked out into the big green meadow that was beyond it. On a branch of a big tree in the meadow sat a little bird that was Peter's friend. "All is quiet!" the bird chirped. A duck came waddling around. She was glad that Peter had not closed the gate and, seeing that it was open, decided to take a nice swim in the deep pond in the meadow.

The little bird saw the duck and flew down upon on the grass. The bird settled next to her and shrugged his shoulders. "What kind of bird are you if you can't fly?" said the bird. The duck replied, "What kind of bird are you if you can't swim?" and dove into the pond. The bird and the duck kept arguing, and the duck swam around the pond while the little bird hopped along the edge of the pond. Suddenly, something caught Peter's attention. He looked around and noticed a sly cat crawling through the grass. The cat thought; "That little bird is busy arguing with the duck, I'll just grab him while he is busy!” Very carefully, on her little velvet paws, she crept towards him.

"Look out!" shouted Peter and the little bird flew up into the tree for safety, while the duck quacked as loud as he could at the cat, from the middle of the pond. The cat walked around the tree and thought, "Is it worth using up so much energy and climbing up so high into the tree? By the time I get there the bird will have flown away."

Just then, Peter’s grandfather came out of their house. He was upset because Peter had gone in the meadow without his permission. "The meadow is a dangerous place! If a wolf should come out of the forest, then what would you do? You would be in great danger!" But Peter paid no attention to his grandfather's words. Boys like him are not afraid of wolves.

Grandfather took Peter by the hand, locked the gate and led him home. No sooner had Peter gone back into his house, than a big gray wolf came out of the forest. In a second, the cat climbed up the tree. The duck quacked, and leapt out of the pond. But no matter how hard the duck tried to run, she just couldn't outrun the wolf.

He was getting closer and closer and catching up with her! Then, he grabbed her with his teeth and with one gulp, swal-lowed her. And now, this is how things stood: the cat was sitting on one branch, the bird on another, not too close to the cat. And the wolf walked around and around the tree, looking at the cat and the bird with very hungry eyes.

In the meantime, Peter, without the slightest fear, stood behind the closed gate and watched everything that was happen-ing. He ran home, got a strong rope, and climbed up the high stone wall that divided his yard from the meadow. One of the branches of the tree around which the wolf was walking stretched out way beyond the stone wall. Grabbing hold of the branch, Peter carefully and quietly climbed onto the tree. Peter said to the bird: "Fly down and circle over the wolf's head. Try to distract him! But, be careful that he doesn't catch you."

The bird flew around the wolf and almost touched the wolf's head with his wings while the wolf snapped angrily at him with his jaws, from this side and that. Oh, how the bird annoyed the wolf — how he wanted to catch him! But the bird was clever and very quick, and the wolf simply couldn't do anything about it.

Meanwhile, Peter made a lasso with the rope and carefully let it down from the tree, catching the wolf by the tail. Peter pulled on the rope with all his might! Feeling himself caught by the rope, the wolf began to jump wildly trying to get loose. But Peter tied the other end of rope to the strong tree, and the wolf's jumping only made the rope round his tail tighter.

Just then, two hunters came out of the woods, following the wolf's trail and shooting their guns as they went. But Peter, sitting in the tree, said: "Don't shoot! Birdie and I have caught the wolf. Now help us take him to the zoo." Then came the triumphant procession. Peter was at the head. After him came the two hunters leading the wolf. And winding up the pro-cession were Grandfather and the cat.

Grandfather shook his head discontentedly. "Well, what would have happened if Peter hadn't caught the wolf? What then?" Above them flew Birdie chirping merrily. "My, what brave fellows we are, Peter and I! Look what we have caught! A giant wolf!" Perhaps, if you listen very carefully, you will hear the duck quacking inside the wolf, because the wolf, in his hurry to eat her, had swallowed her alive.

Characters and Instruments from Peter and the Wolf

Duck

Cat

Bird

Wolf

Peter

Grandfather

Hunters

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Oboe

Clarinet

Flute

French horn

Violin

Bassoon

Timpani

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Learning ObjectiveTo learn the proper behavior for a concert environment.

EvaluationDid student responses in the discussion exhibit an understanding of the proper behavior at a concert? At the concert, did students demonstrate good citizenship?

Teaching SequenceLead a class discussion that touches on the following topics: • Which rules of good citizenship apply to concert attendance? • Why is good citizenship important? • How can good conduct help others enjoy the music? • Should food, drink, and chewing gum be brought to the concert hall? • When does an audience applaud and when does it sit quietly? • Does the Meyerson Symphony Center belong to all the citizens of Dallas? • Do future concert-goers deserve to see the beauty of the Symphony Center?

Extension ActivityReview the following “applause rules”:

Have students take turns playing “conductor”. The conductor should face away from the rest of the class, wave his or her arms, stop and start waving a few times, then stop waving and turn to face the class. At this time the class should applaud. The game should continue until everyone in the “audience” knows when to applaud. Discuss how applause signals the au-dience’s appreciation, and, with the class, make a list of other situations where applause is appropriate, (for example, at sporting events, assemblies, and award ceremonies).

• Clap when the concertmaster enters at the beginning of the concert.• Clap when the conductor enters at the beginning of the concert.• Clap to welcome any soloists whenever they enter during the concert.• During the performance, watch the conductor. Whenever the conductor puts his or her hands down and turns to face the audience the music is completed and the audience should applaud.

TEKS ConnectionsMusic: 117.12 1(A), 2(B), 6(A, C);117.181(A), 2(B), 6(A,

Pre-Concert ActivityConcert Conduct

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Listening Map

Learning ObjectiveThe students will demonstrate engaged listening when they follow the steps on the listening map that correspond to the music they hear.

Resources• Peter and the Wolf (track 11 on the

accompanying CD)• Copy of the listening map for each

student (pages 14-15) • Pencil

Teaching Sequence1. Early one morning, Peter opened the gate and went out into a big green meadow (Peter's theme). Teacher prompt: Draw Peter opening the gate.

2. On the branch of a big tree sat a little bird, Peter's friend. "All is quiet" chirped the bird happily (bird's theme). Teacher prompt: The bird sounds like the flute or tuba? (circle one)

3. Soon a duck came waddling around. She was glad that Peter had not closed the gate. She decided to take a nice swim in the deep pond in the meadow (duck's theme). Teacher prompt: The duck sounds like the violin or oboe? (circle one)

4. Seeing the duck, the little bird flew down upon the grass, settled next to the duck and shrugged her shoulders. "What kind of bird are you if you can't fly?" she said. To this, the duck replied, "What kind of bird are you if you can't swim?" and dived into the pond. Teacher prompt: Draw a line showing the movement of the duck. Draw another line showing the movement of the bird.

5. They argued and argued- the duck swimming in the pond, the bird hopping on the shore. Teacher prompt: Draw lines showing the duck (oboe) and the bird (flute) having an argument.

6. Suddenly, something caught Peter's attention. He noticed a cat crawling through the grass. Teacher prompt: The cat sounds like the string bass or clarinet? (circle one)

7. The cat thought, "The bird is busy arguing; I'll just grab her." Stealthily, she crept toward the bird on her velvet paws. Teacher prompt: The sound of the creeping cat is loud or soft? (circle one)

8. "Look out!" shouted Peter, and the bird immediately flew up into the tree. Teacher prompt: Draw the bird flying up into the tree.

Note to TeachersThe following is the story of Peter and the Wolf. As you listen to the music, read the "teacher prompts" which correspond to the numbered panels on the Listening Map. Visual clues on the map relate to concepts found in the music and/or narration. Where there are two choices, students should circle the picture representing their answer. The teacher should help students at each panel by using the "teacher prompt" to elicit a response. You may want to stop the CD as needed or listen to sections more than once and discuss as a class what is heard.

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9. The duck quacked angrily from the middle of the pond. Teacher prompt: Draw a quacking duck in the pond.

10. The cat stalked around the tree and thought, "Is it worth climbing up so high? By the time I get there, the bird will have flown away." Teacher prompt: I hear the cat, bird, or duck? (circle two)

11. Grandfather came out. He was angry because Peter had gone to the meadow. "It is a dangerous place. If a wolf should come out of the forest, then what would you do?" Teacher prompt: The grandfather sounds like a bassoon or flute? (circle one)

12. Peter paid no attention to Grandfather's words. Boys like him are not afraid of wolves. Teacher prompt: The music sounds like Peter is afraid or unafraid? (circle one)

13. Grandfather took Peter's hand, led him home, and locked the gate. Teacher prompt: Draw the locked gate.

14. No sooner had Peter gone when a big, gray wolf came out of the forest. Teacher prompt: The wolf sounds like a French horn or drum? (circle one)

15. The cat climbed quickly up the tree. Teacher prompt: Draw a line showing the cat climbing up the tree.

16. The duck quacked and in her excitement jumped out of the pond. Teacher prompt: Draw the duck jumping out of the pond.

17. But no matter how hard the duck tried to run, she couldn't escape the wolf. He was getting nearer, nearer, catching up with her, and then... he got her. With one big gulp, he swallows her. Teacher prompt:When the wolf chases the duck, the music gets faster or slower? (circle one)

18. And this is how things stood: the cat was sitting on one branch, the bird on another, not too close to the cat. Teacher prompt: I hear trumpet, clarinet, or flute? (circle two)

19. The wolf walked around and around the tree looking at them with greedy eyes. Teacher prompt: I hear the wolf along with this percussion instrument: cymbal or maracas. (circle one)

20. In the meantime, Peter, without the slightest fear, stood behind the closed gate watching all that was going on. Teacher prompt: Draw Peter's expression as he looks over the gate.

21. Peter ran home, took a strong rope and climbed up the high, stone wall. Teacher prompt: I can hear Peter's actions played by the violins or French horns? (circle one)

22. Grabbing a hold of the branch, Peter lightly climbed over onto the tree. Peter said to the bird, "Fly down and circle around the wolf's head. Take care that he doesn't catch you." Teacher prompt: Draw the wolf's head.

23. The bird almost touched the wolf's head with her wings while the wolf snapped angrily at her from this side and that. Surprise! Teacher prompt: Count the number of times the wolf snaps at the bird and write that number in panel 23.

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24. Gosh, the bird really worried the wolf. He wanted to catch her. The bird was clever and the wolf couldn't do anything about it. Meanwhile, Peter made a lasso and carefully lowered it down. He caught the wolf by its tail and pulled with all his might. Teacher prompt: What sounds represent the lasso, the vio-lin (strings) or bassoon (woodwinds)? (circle one)

25. Feeling himself get caught, the wolf began to jump wildly trying to get loose. Teacher prompt: The music sounds heavy or light? (circle one)

26. Peter tied the other end of the rope to the tree. The wolf's jumping only made the rope around his tail tighter. Teacher prompt: Listen carefully. When the wolf jumps around, I hear the flute or snare drum? (circle one)

27. Just then, the hunters came out of the woods following the wolf's trail and shooting as they went. Teacher prompt: Count the number of gunshots you hear and write that number in panel 27.

28. But Peter, sitting in the tree said, "Don't shoot! Birdie and I have already caught the wolf. Now help us take him to the zoo." Teacher prompt: Draw the wolf tied-up next to Peter.

29. Imagine the triump and parade with Peter at the head. After Peter, the hunters are leading the wolf, and winding up the parade is grandfather and the cat. Grandfather shook his head and said, " Well! And if Peter hadn't caught the wolf, what then?" Above them, the birdie flew chirping merrily, "My, what fine ones, Peter and I! Look what we have caught!" Teach prompt: Circle each character as you hear his music OR instrument that has played his theme during the story. (Note- the actual character themes are not necessarily played at this point but the characters are represented by various instruments). Draw a line showing the bird's movements.

30. And if one would listen very carefully, he could hear the duck quacking in the wolf's belly because in his hurry, he had swallowed her alive. Teacher prompt: Draw the duck in the wolf's belly.

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LOUD

soft

1

6

2

5

3

4

7 8 9

12

13

11

14

10

15

HEAVY

light

slower

Faster15

20

16

19

17

18

21 23

26

27

25

28

24

22

3029

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Learning ObjectiveStudents will engage in focused listening and respond creatively to what they hear.

Teaching Sequence 1. Prepare your students for some quiet listening time. Tell them that while they listen to some music, they should be thinking of words they use to describe the music they hear. Once they are ready, play track 2 or 3 on the accompanying Youth Concert CD. Each track is about 2-3 minutes long. 2. After listening to the music, collect a number of describing words for the music from the students and write them on the board. 3. Listen to the track a second time. This time collect ideas for characters inspired by the music. As a group, choose four of the characters to be in your story. 4. Listen to the track a third time. This time collect action ideas, inspired by the music, for the four characters in your story. 5. Remind your students that a good story has a beginning, a middle, and an end. With this in mind, engage the class in creating a story that uses describing words, action ideas, and characters from steps 2-4. 6. Choose four students to act out the story silently while you tell it out loud (no music). Time permitting, you might want to try this more than once with different groups of students.

Musical Story Time Resources

• Copland "Prairie Night" or "Celebration Dance" from Billy the Kid (track 2 or 3 of the accompanying CD)

Pre-Assessment Ask students to think of a time when they listened to music. Did it ever made them think of a picture, a story or a feeling? Tell them that they will be listening to some new music and create a story together that they think fits with the music they hear.

Culminating ActivityHave four students act out the story silently while the music is playing. Experiment with adding other students to the performance as background elements (such as clouds, trees or mountains).

Questions for ReflectionDid having the music playing make it easier or harder to act out the story? After becoming more familiar with the music in this way, would your students keep the same describing words from number 2 in the Teaching Sequence? Would they add any new ones?

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Evaluation Did the students engage in focused listening and respond creatively to what they heard?

Extension ActivityMany composers enjoy telling stories with their music, even if there is no accompanying narration. Find recordings of the following wonderful pieces and use them in the same way as you did the excerpt from Aaron Copland’s P"rairie Night" and/or "Celebration Dance": The Sorcerer’s Apprentice by Paul Dukas, Don Quixote by Richard Strauss, Petrushka by Igor Stravinsky.

TEKS ConnectionsFine Arts: 117.3, 117.6, 117.8 (a) 1 & 2; (b) 4Language Arts: 110.11, 110.12, 110.13 (b) 4, 5, 6, 12, 14, 16, 21 & 23

Web ConnectionTake photos or videos of your class engaged in this Musical Story Time activity and send them to j.allen@dalsym.com. We may post them on the DSOKids website!

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Calling All Actors!

Learning ObjectiveStudents will identify the musical themes for the characters in Prokofiev’s Peter and the Wolf by pantomiming each character as the corresponding theme is played.

Resources• Peter and the Wolf story line (page 8)• Peter and the Wolf (track 11 on the accompanying CD)• Musical theme for each character in the story without verbal

identification (tracks 4-10 on the accompanying CD)

VocabularyPantomime- a play without words, in which the actors express themselves by gestures

Pre-AssessmentTell students that just as artists draw or paint pictures to show how people look, composers sometimes use music to describe the characters of a story. They will soon be going to a concert where music will tell the story of a boy named Peter and his adventures with some animal friends and a wolf. In Peter and the Wolf, Prokofiev used a different musical theme for each character in the story. Ask students if they have heard any music that tells how someone might move or behave. (Possible responses could include Star Wars, The Lion King or some cartoons seen on TV).

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Teaching Sequence1. If you have not done the listening map lesson with the students, be sure they are fa-miliar with the story. The full story is on page 8.2. Tell students that when an actor uses movement without words to show what a character does, it is called pantomime. Lead the class in pantomiming someone who is angry, sad or happy.3. Repeat the activity while playing the theme for each character (Tracks 4-10)• Bird • Duck• Cat• Grandfather• Wolf• Hunter4. Play each theme without verbal identification, and ask the class to identify the character it represents by pantomime.

Culminating ActivityOrganize your class in a way that it suits you and your students (small groups, whole class, one demonstration group, etc.) Play all or portions of Peter and the Wolf and let students pantomime each character as they hear the corresponding theme.

EvaluationAfter hearing the themes, did students identify the corresponding characters in Peter and the Wolf?

TEKS ConnectionsELA: 110.11b (4,6,8), 110.12b (7,9), 110.13b (3,6,8,14)Art: 117.2b (2,3), 117.5b (1,2), 117.8b (1,2,3A)Music: 117.3b (1,3B,4B), 117.6b (1,5B,6A), 117.9b (1, 5C, 6A)Theater: 117.4b (1-3), 117.7b (1-3), 117.10b (1-3)

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The Character of Instruments

Learning ObjectiveStudents will explore the physical traits of the characters from Peter and the Wolf and then use that experience to relate to the music.

Resources• Peter and the Wolf (track 11 on

the accompanying CD)• Peter and the Wolf storyline

(page 8) • Pictures of characters and

instruments (page 9)

Pre-AssessmentAsk students to remember a time they pretended to be someone or something else. As an exercise, ask students to briefly pretend to be a particular animal or character. Help students understand that in order to pretend to be another character, one needs to identify what makes that character unique.

Teaching Sequence1. Using the character pictures, briefly review the basic sequence of the story of Peter and the Wolf. Display the appropriate picture as you discuss each character. 2. Tell or remind the students that each character in the story is represented by a musical instrument. As you name each instrument, place its picture on the board next to the matching character picture. 3. Discuss with students how each of the characters might move in terms of speed, quickness, shape, size and weight. Discuss how each character might behave. Have students compare how Peter might move differently than the grandfather; how the duck’s movements are different from the bird’s, etc. Note students’ responses on the board. Your list may look similar to this one: • Peter: carefree, light, playing, skipping, exploring • Grandfather: big, slow, serious, strict, stern• Bird: quick, fast, light, small • Duck: waddling, shaking itself, clumsy, plump• Cat: sneaky, steady, smooth, pause to arch back • Wolf: heavy, licking lips, sniffing the air, mean looking, • Hunters: alert, brave, quiet, careful, deliberate 4. Assign students into 7 groups – one for each character. Allow them time to practice imitating their assigned character. Invite students who are good at a certain character to show off their acting individually. Then invite others to imitate. 5. One at a time, listen to the opening themes of each of the characters from Peter and the Wolf, identifying the representative instrument of each one. Help students understand how each instrument sounds like its character in terms of speed, quickness, shape, size and weight. Ex: Does the bassoon’s heavy tones sound slow and old like the grandfather? Is the clarinet’s sound steady and smooth like the cat? Do the French horns sound low and heavy like the wolf? Do the strings sound loose and carefree like Peter?

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Culminating ActivityAs you play each character’s theme, have the students (or an individual or small groups) stand up and move appropriately with the music while the others practice their best audience etiquette.

EvaluationDid students explore the physical traits of the characters from Peter and the Wolf and then use that experience to relate to the music?

5B, 6A); 117.9b (1, 5C, 6A)Theater: 117.4b (1, 2, 3, 5); 117.7b (1, 2, 5); 117.10b (1, 2, 5)

TEKS ConnectionsELA: 110.11b (4,6,8); 110.12b (4A, 9); 110.13b (6,9)PE: 116.2b (1-2); 116.3b (1-2); 116.4b (1-2)Music: 117.3b (1, 3B, 4B); 117.6b (1,

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Diorama

Learning ObjectiveStudents will demonstrate an under-standing that orchestral instruments can be used to tell a story by creating dioramas that visually represent a scene from Peter and the Wolf.

VocabularyScene- a stage settingDiorama- a life-like scenic representation of a story, usually depicted in a miniatureCharacter- a person or animal in a play, poem, story or book

Resources/Materials• Peter and the Wolf story (page 8)• Peter and the Wolf recording (track 11 on the accompanying Youth Concert CD)• Pictures of the main characters with instruments

found in the story (page 9)• Other pictures that could be used to represent

the main characters. These can be taken from National Geographic magazines, newspapers, and/or advertisement flyers.

• Scissors• Glue• Card stock cut into strips, 1” x 6”• Shoe boxes, cereal boxes, or other small boxes• Green twigs, dirt, various sized pebbles or rocks

and other items that can be used to create a woodland scene.

Pre-AssessmentAsk the students to name the main characters in the Peter and the Wolf story and review the storyline.

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Teaching SequenceDay 1: 1. Re-familiarize the students with the story line by reading the synopsis, on page 8, and listening to the music.2. Tell the students that each of the characters is represented by a different instrument in the orchestra as indicated below. • Peter = violin • bird = flute• duck = oboe• cat = clarinetAsk the students why they think the composer used those particular instruments to represent the characters. Day 2: 1. Display and review the list of characters and their matching instruments. Briefly review the story line.2. Divide the class into pairs of students. Assign each student a specific character. Have the students find and cut out pictures of their assigned character. Glue the character picture to one side of the 6” cardstock strip and glue a picture of the instrument portraying that character on the back. Day 3: 1. Keeping the groups and assigned student partners the same, allow time to build the one-scene diorama around the assigned character, using the box as the stage, the prepared character pieces, and other materials assemble for this purpose. 2. Send photos of a Peter and the Wolf diorama to j.allen@dalsym.com. You may just see your diorama scene on DSOkids.com!

• grandfather = bassoon• wolf = French horn• hunters = timpani

Culminating ActivityHave the students present and explain their diorama scene.

EvaluationDid students learn that orchestra instruments can be used to tell a story and create dioramas that visually represent a scene from the story of Peter and the Wolf?

Extension ActivityCreate a Diorama Museum display. Ar-range the entire class set of dioramas in a way that represents the correct story line sequence. Invite the principal, parents, or another class to see the display.

TEKS ConnectionsELA: 110.11b(4,6,8); 110.12b(7,9); 110.13b(3,6,8,14)Art: 117.2b(1-3); 117.5b(1-2); 117.8b(1-3A) Music: 117.3b(1,3B,4B); 117.6b(1,5B,6A); 117.9b(1,5C,6A)Theater: 117.4b(1-3); 117.7b(1-3); 117.10b(1-3)

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Although phones and electronic devices cannot be used in the symphony hall, there are still ways to remember your special trip to the orchestra! Draw and caption your favorite conconcert moment from “Peter and the Wolf.”

If you would like your picture to be featured on DSOKids.com, please have your teacher send your picture to:

Sarah Hatler Dallas Symphony Orchestra 2301 Flora St., Schlegel Administrative Suites Dallas, TX 75201

Fax to: 214.953.1218 E-mail E-mail to: s.hatler@dalsym.com

Peter and the Wolf

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Symphony YES! Request Form

Symphony YES! is a perfect way to prepare your students for or follow up from a Youth Concert. Each ensemble will come directly to your school, introduce their instruments to the class, perform an engaging variety of repertoire, and interact directly with students.

Please fill out the following information to be considered for a Symphony YES! booking. You will be contacted by the DSO Education Coor-dinator after reviewing your information. After scheduling the visit, you will be faxed or mailed a Symphony YES! School Agreement Form. This form must be filled out completely and signed by the partic-ipating teacher and school principal. Failure to return the Symphony YES! School Agreement Form will result in a cancellation. Fax, mail or e-mail the completed and signed agreement form with full payment to the information listed below.

All teachers who schedule a Symphony YES! visit will receive one Music Fun Facts booklet to prepare their students before their scheduled visit. Copies of the book may be made for classroom use.

Today’s Date: __________ School Name: _____________________ ________________ ___________

School Phone: ________________________________ School Fax: __________________ _________

Address: ____________________________________ City, State, Zip: ________________ _________

Contact Teacher Name: _________________________ Contact Teacher Phone: ______________ ______

Contact Teacher E-mail Address: ______________________________________________________ __

Classroom Grade Levels (PreK-6): __________________

Please indicate your first and second choices of ensemble. Each ensemble costs $350:

_____Brass Quintet (grades 3-6, two performances per visit)

_____Percussion (grades 3 and 4, two performances per visit)

_____String Duo (grades PreK-3, two performances per visit)

_____String Trio (grades K-3, two or three performances per visit)

_____String Quintet (grades 4 and 5, two performances per visit)

_____Woodwind Quintet (grades 2-4, two performances per visit)

The ensembles usually perform on Friday mornings. Please indicated your first and second choices for a performance month:

1. ______________________ Has a Symphony YES! ensemble visited

2. ______________________ your school in the past school year? ________

Comments:

Be sure to make a copy of this completed form for your records. This performance is NOT BOOKED until you receive and return the Symphony YES! School Agreement Form with FULL PAYMENT. You will be e-mailed a copy of this request. Questions? Contact the Education Department at 214.871.4006 or email: dsokids@dalsym.com.

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About the Morton H. Meyerson Center

One of the world’s greatest concert halls, the Meyerson Symphony Center was made possible through the efforts of the citizens of Dallas. Over ten years were spent in the planning and construction of the Meyerson, which opened on September 6, 1989.

World-renowned architect and major arts supporter I.M. Pei was chosen to design the building, working closely with acoustician Russell Johnson. Pei’s design combines basic geometric shapes, with a rectangle (the concert hall) set at an angle within a square (the outer walls). Segments of circles also enclose the building.

In the concert hall, every detail was designed to make the sound or acoustics as perfect as possible for orchestral music. For example, the heating and air conditioning system is located in a different building so that no vibrations from the ma-chinery can be felt in the concert hall. Acoustical features include:

• Double sets of doors at all entrances

• Terrazzo and concrete floors

• Mohair fabric on the seats

• Walls covered with African Cherrywood

• Sound-absorbing curtains which can be drawn over the walls

• A reverberation chamber with 72 acoustical doors used to “tune”the hall

• The canopy over the stage, which can be raised and lowered to enhance the sound

Fun Facts about the Meyerson!The Meyerson Symphony Center has:

• 2,056 seats

• 30,000 sq. ft. of Italian travertine marble

• 22,000 limestone blocks from Indiana

• 35,130 cubic yards of concrete

• 918 panels of African cherrywood around the concert hall

• 216 panels of American cherrywood around the stage

• 62 acoustical curtains

• 4 canopies with a combined weight of 42 tons

• 72 concrete acoustical doors, each weighing up to 2.5 tons

• 50 bathrooms

• An 85 foot high ceiling in the concert hall

• A 40 foot hollow area under the stage to increase resonance

• An organ with 4 keyboards, 61 keys, 32 pedals, 84 ranks, 65 stops and 4,535 pipes