the planets

THE PLANETS a curriculum

Imagine this curriculum is a solar systemImagine this curriculum is a solar system

Each unit is a planet

Each planet boasts three tourist attractions

Center of History and Context Learn the name, history, and geography of the planet

Museum of Listening and Learning

Navigate through a more in-depth guide to features of the planet

Landscape of Making Music Jump in and explore each planet

Lead a trek across the solar system

Learn about each planet

Excite your students about this new galaxy

And, on March 19, 2009, at Hil l Auditorium

T a k e t h e m t he r e !T a k e t h e m t he r e !

Dear Teachers, You know your students and their unique abilities. You know the depth of your schools resources and how to use them most effectively. You teach under tremendous demands and great expectations. The work that you do with your students today keeps music alive and growing tomorrow. Please let this curriculum make your life a little easier. The Planets: a curriculum is a framework for you to build upon. The structural design of these materials:

Includes use in the classroom and the music room Encourages any teaching style Provides a pliable foundation to support standards and benchmarks Allows for the needs of various skill levels

The TEACHER OVERVIEW functions as the guide for using this curriculum. Please take the time to read and understand the structure and function of these materials.

The format is consistent, aiding in quick and easy access The content is streamlined, allowing for minimized preparation time The youth concert repertoire is examined globally and small-scale Each unit is focused on an individual aspect of musicianship

I have strived to provide you with a useful tool to prepare and excite your students about THE PLANETS. The youth concert and The Planets: a curriculum continue the Ann Arbor Symphony Orchestras long-standing devotion to the quality musical education of our community. In the A2SO 80th Anniversary Season, we salute the dedication that you show to our young audience EVERY DAY. Thank you for the work that you do, and for your dedication to the A2SO education programs. Prepare your students for liftoff. Join the Ann Arbor Symphony Orchestra on a magical journey through THE PLANETS. I sincerely hope you enjoy the ride. See you at the Symphony! Laura Dunbar Education and Outreach Director

THE PLANETS Youth Concert Sponsors

The Carl and Isabelle Brauer Fund

Benard L. Maas Foundation

copyright 2008 Ann Arbor Symphony Orchestra

CONTENTS

YOUTH CONCERT REPERTOIRE 1 TEACHER OVERVIEW

Introduction 2 Appendices Explanation 3 The Planets Timeline Project 4 Timeline Key 5

Unit Structure 6 Unit Teaching Outline 7 UNIT 1 LISTEN Zarathustra | Strauss 10 1.1 History and Context 11 1.2 Listening and Learning 13 1.3 Making Music 15 UNIT 2 PLAY Jupiter | Mozart 17

2.1 History and Context 18 2.2 Listening and Learning 20 2.3 Making Music 22 UNIT 3 SING Jupiter | Holst 24

3.1 History and Context 25 3.2 Listening and Learning 27 3.3 Making Music 29 UNIT 4 COUNT Mars | Holst 32

4.1 History and Context 33 4.2 Listening and Learning 34 4.3 Making Music 35 UNIT 5 COMPOSE Star Wars | Will iams 37

5.1 History and Context 38 5.2 Listening and Learning 40 5.3 Making Music 41


UNIT 6 ANALYZE Cello Concerto | Schumann 43

6.1 History and Context 44 6.2 Listening and Learning 46 6.3 Making Music 48 UNIT 7 IMPROVISE Violin Concerto | Glazunov 52

7.1 History and Context 53 7.2 Listening and Learning 55 7.3 Making Music 56 UNIT 8 SYNTHESIZE The Planets | A2SO 57 APPENDIX A BIOGRAPHIES Ann Arbor Symphony Orchestra A.1

Arie Lipsky | Conductor A.2 Andrea Jarrett | Violin A.3

Nathaniel Pierce | Cello A.4 Tony England | Astronaut A.5

APPENDIX B A2SO RESOURCES

Listening Worksheet (master) B.1 Introduction to the Orchestra B.2 Young Persons Guide to the Classical Concert B.4

APPENDIX C ACKNOWLEDGEMENTS CD Credits C.1

CD Track Information C.2


1

THE PLANETS

YOUTH CONCERT REPERTOIRE

Also Sprach Zarathustra Richard Strauss I. Einleitung (Introduction or Sunrise) Symphony No. 41 in C Major, K. 551 W. A. Mozart Jupiter

IV. Molto Allegro The Planets Gustav Holst Jupiter, the Bringer of Jollity Mars, the Bringer of War Star Wars Medley John Williams Arr. James H. Burden Cello Concerto in A Minor, Op. 129 Robert Schumann

III. Sehr lebhaft

Violin Concerto in A Minor, Op. 82 Alexander Glazunov

III. Allegro


2

THE PLANETS TEACHER OVERVIEW

This curriculum is designed to allow classroom teachers and music teachers to prepare students for THE PLANETS . Teachers can easily expand or contract each activity by adding or omitting details depending on the level of the learners, or the time allotted. The information included by the teacher can be specific to the needs of the particular class. Please review the teacher overview (pages 2-9). This section clarifies the structure and format of the curriculum. These explanations are meant to aid in fast preparation for classroom use. Once the format is understood, lesson plans can be produced quickly and easily. TEACHER OVERVIEW CONTENTS 1. Appendices Explanation Explanation of resources included in appendices. 2. The Planets Timeline Project

Explanation of the timeline entries included in each unit. This project provides a means of globally connecting the music of the youth concert.

3. Unit Structure Explanation of the purpose of each unit-section of the curriculum.

4. Unit Teaching Outline Detailed walk through a mock unit of the curriculum with explanation of structure, teacher options, and suggestions.


3

APPENDICES EXPLANATION

Appendix A: Biographies Learn about the concert participants

A.1 Ann Arbor Symphony Orchestra A.2 Arie Lipsky | Conductor A.3 Andrea Jarrett | Violin A.4 Nathaniel Pierce | Cello

A.5 Tony England | Astronaut

THE PLANETS will be introduced by a NASA astronaut.

Appendix B: A2SO Resources Resources for teachers

B.1 Listening Worksheet (master) Described in Unit Teaching Outline Thanks to Sue Sinta for offering this worksheet.

B.2 Introduction to the Orchestra

Descriptions of each family of the orchestra B.4 Young Persons Guide to the Classical Concert

Tips for a young audience including dos & donts, and applause guidelines

Appendix C: Acknowledgements C.1 CD Credits

Orchestra, conductors, and soloists on the accompanying curriculum CD. Licenses granted by Naxos of America, Inc.

C.2 CD Track Information

Track listing for accompanying CD


4

THE PLANETS TIMELINE PROJECT

This project offers a global learning approach to The Planets repertoire. The timeline project provides a consistent format for introducing each composer and piece at the beginning of each unit. Timeline entries cover the birth and death of each composer, and the date(s) of each piece being covered. Each unit of the curriculum, and the corresponding timeline entries, are color-coded. The timeline entries have been designed to easily hang around your classroom and are included at the beginning of each unit. Use the timeline key (page 5), to hang the entries in the correct global, chronological order, leaving space for colors that intersect with one another. When all of the units have been covered, and all of the timeline entries hang around the classroom, the timeline will provide a visual representation of the span of time students have covered. The various colors help indicate the interconnectivity of the music and composers they have explored. You may also utilize the timeline as a means of reviewing the material covered at any point during use of the curriculum. Concurrently, students can read composer names and composition titles at any time they are in your classroom. Geography A geography section is included in the introductory materials of each unit. If a world map is available in your classroom, students may mark cities and countries of the composers and music discussed. This would serve as a second method of globally connecting the materials covered in the curriculum. Discussion of geographical context could easily be done in as much or as little detail as students capability allows.


6

UNIT STRUCTURE

The structure of each unit includes three sections to provide a consistent, routinized approach to the study of each piece of repertoire. As students are familiarized with these sections, a classroom routine can easily exist. The Unit Teaching Outline provides further discussion of the form and function of each section. 1. History and Context

To be completed in 10 minutes Easily accomplished in the classroom or the music room Includes the timeline project and geography discussed on page 4 Provides students with a basic understanding of the cultural

context and time of each composer and composition A brief history of each composer is included in this section Composer facts to be included at teacher discretion

2. Listening and Learning

To be completed in 20 minutes Easily accomplished in the classroom or the music room Students are introduced to each piece of repertoire by listening Further examination of historical, cultural, and musical elements

applied to each piece of repertoire 3. Making Music

To be completed in 20 minutes Best accomplished in the music room with available instruments Uses each piece of repertoire as a basis for students to make

music Focuses on specific musicianship skills

The following UNIT TEACHING OUTLINE provides examples of material covered in each of the sections. Please begin to familiarize yourself with the style and format of the units.


7

UNIT TEACHING OUTLINE Youth Concert Repertoire

HISTORY AND CONTEXT (10 minutes) | Classroom or Music Room Introduce Repertoire

Encourage students to pronounce titles Definitions will be included when necessary

Timeline Entries for composer and composition

Use timeline entries to introduce the composer Use timeline entries to show students the time in

the composers life when the piece was written Geography Composer country

Use to give geographical context to students If a map is available, mark countries visited Multiple entries are always included to be mentioned

at teachers discretion Structure Form of composition

Definition of form will be included if applicable Introduce students to the form or structure here Structure will always be further defined in

Listening and Learning section Focus Specific movement

As above, this is an introduction; further details will be discussed in Listening and Learning sections.

The History and Context sections are meant to develop a classroom system for the introduction of each unit, composer, and piece.


8

LISTENING AND LEARNING (20 minutes) | Classroom or Music Room Identify Tools while l istening to music

Close eyes Imagine imagery Notice different types of sounds Optional Worksheet: Musical Elements = Emotions

and Feelings

Each Listening and Learning section begins with the entry above.

Optional Worksheet: Musical Elements = Emotions and Feelings can be used here as a student-listening map. By the end of the curriculum students will have a collection of their own analyses of the youth concert repertoire. (Worksheet - Appendix B.1)

LISTEN Track # on accompanying CD Youth Concert Repertoire

After identifying methods of listening and/or preparing to use the Optional Worksheet, LISTEN to the music

The remainder of the Listening and Learning sections include an in-depth study of prominent features of each piece. Prompts include:

Introduce Repertoire form and structure Discuss Compositional techniques or process Connect Use of l iterature for compositional inspiration Understand History of instrument use Expand Format of the larger piece excerpted here Listen After discussion, l isten again (excerpts)

Each type of Listening and Learning activity will include specific information for the particular focus.


9

MAKING MUSIC (20 minutes) Music Room

Each Making Music section includes active projects for students. Each focuses on a particular facet of musicianship.

UNIT 1 LISTEN

Students connect movements and gestures to music UNIT 2 PLAY

Students play counterpoint examples of varying degrees of difficulty extracted from the youth concert repertoire

UNIT 3 SING

Students sing a melody extracted from youth concert repertoire

UNIT 4 COUNT

Students practice rhythms extracted from youth concert repertoire

UNIT 5 COMPOSE Students create a melody of familiar themes UNIT 6 ANALYZE

Students analyze concerto form and the anatomy of the cello UNIT 7 IMPROVISE Students improvise over a bass line UNIT 8 SYNTHESIZE A categorical review of the material covered Each activity is flexible to allow for varying student ability.


5

TIMELINE KEY | CHRONOLOGICAL

1756 UNIT 1 1788 LISTEN 1791 1810 UNIT 2 1850 PLAY 1856 1864 UNIT 3 1865 SING 1874 1896 UNIT 4 1904 COUNT 1916 1928 UNIT 5 1932 COMPOSE 1934 1936 UNIT 6 1949 ANALYZE 1977 1980 UNIT 7 1983 IMPROVISE 1999 2000 UNIT 8 2002 SYNTHESIZE 2005 2009


10

LISTEN

UNIT 1

Also Sprach Zarathustra

I.Einleitung (Introduction or Sunrise)

Richard Strauss

1864 Richard Georg Strauss born

(June 11)

1896 Also Sprach Zarathustra composed

1949 Richard Georg Strauss dies (September 8)


17

PLAY

UNIT 2

Symphony No. 41 in C Major, K. 551

Jupiter IV. Molto Allegro

Wolfgang Amadeus Mozart

1756 Wolfgang Amadeus Mozart born

(January 27)

1788 Symphony No. 41 in C Major composed (August 10 completed)

1791 Wolfgang Amadeus Mozart dies

(December 5)


24

SING

UNIT 3

The Planets:

Jupiter, the Bringer of Jollity

Gustav Holst

1874 Gustav Theodore Holst born (September 21)

1916 The Planets composed (Began in 1914)

1934 Gustav Theodore Holst dies

(May 25)


32

COUNT

UNIT 4

The Planets:

Mars, the Bringer of War

Gustav Holst


37

COMPOSE

UNIT 5

Star Wars Medley

John Wil liams

1932 John Towner Wil liams born (February 8)

1977 Star Wars

1980 Episode V: The Empire Strikes Back 1983 Episode VI: Return of the Jedi 1999 Episode I: The Phantom Menace

2002 Episode II: Attack of the Clones 2005 Episode II I : Revenge of the Sith

2009 *BLANK for composed medley title/date


43

ANALYZE

UNIT 6

Cello Concerto in A Minor, Op. 129

II I . Sehr lebhaft

Robert Schumann

1810 Robert Schumann born (September 21)

1850 Cello Concerto in A Minor composed (October 10 - 24)

1856 Robert Schumann dies

(July 29)


52

IMPROVISE

UNIT 7

Violin Concerto in A Minor, Op. 82

II I . Allegro

Alexander Glazunov

1865 Alexander Glazunov born (August 10)

1904 Violin Concerto in A Minor composed

1936 Alexander Glazunov dies

(March 21)


57

SYNTHESIZE

UNIT 8

The Planets

Ann Arbor Symphony Orchestra

1928 Ann Arbor Symphony Orchestra forms 2000 Conductor Arie Lipsky joins A2SO

2009 The Planets: Youth Concert

(March 19)


11

UNIT 1: LISTEN TEACHING OUTLINE

Also Sprach Zarathustra I. Einleitung

1.1 HISTORY AND CONTEXT (10 minutes)

Introduce Also Sprach Zarathustra Translate Thus Spoke Zarathustra

Zarathustra is a name Students repeat Discussed in Listening and Learning

Timeline

1864 Richard Georg Strauss Born (June 11) 1896 Also Sprach Zarathustra composed 1949 Richard Georg Strauss Dies (September 8)

Geography Germany

Born in Munich, Germany Lived in Berlin, Germany for many years Visited Vienna and New York Died in Garmisch-Partenkirchen, Germany

Structure Tone Poem in nine movements

Each representing part of a story Discussed in Listening and Learning

Focus I. Einleitung (Introduction or Sunrise)


12

Brief history of Strauss 1864 Born in Munich, Germany

Received music education from his father

1870 Began writing music at the age of six

1870s Loved opera, grew up listening to Wagner 1894 Married a soprano who inspired his music

Composed hundreds or works until his death

1880s - Composed during the: 1940s Late Romantic period / Early modern era

Wrote 18 operas, which boosted his fame. Some of the most famous:

1905 Salome 1908 Elektra

Wrote 10 tone poems, most famous: 1896 Also Sprach Zarathustra

Wrote many concertos, orchestral works, music for the ballet, and vocal/choral music

Had the rare pleasure of receiving fame and fortune for his music during his life

1914-1918 Survived the horrors of World War I

Conducted many orchestras around Europe and the United States during his career

1920s Played piano on early recordings of his own music 1949 Lived to be 85 years old


13

1.2 LISTENING AND LEARNING (20 minutes) Identify Tools while l istening to music


and Feelings LISTEN Track 1 Also Sprach Zarathustra (mm. 1 21)

Many students will recognize the theme, referencing their own experience of the music from media/film

Discuss the following facts, highlighting the importance of the history and context of repertoire

Define Tone Poem (Noun)

An orchestral form in which a poem or narrative provides an illustrative basis for composition.

Discuss Connect to Compositional Process

This music is meant to describe this story. How could a story affect a composer? Strauss was inspired by the literature/author below

Literature Also Sprach Zarathustra

A prose poem about the fictional character Zarathustra, a Persian religious leader from around 1000 B.C

Philosophical discussion of morality the struggle between good and evil, right and wrong

Author Friedrich Nietzsche (1844 1900)

German philosopher


14

Structure Nine Movements Read English translation of movement titles Encourage students to think about these as

concepts of inspiration for Strauss Define / discuss each movement briefly 1. Introduction or Sunrise 2. Of the Backworldsmen 3. Of the Great Longing 4. Of the Joys and Passions 5. The Grave-Song 6. Of Science 7. The Convalescent 8. The Dance Song 9. Song of the Night Wanderer

LISTEN Track 1

Imagine a sunrise as the title and literature suggest Critique Introduction or Sunrise

Does this sound like a sunrise? What makes it sound like a sunrise?

Connect Compositional techniques and imagery

Composers use different techniques to create different types of sounds


15

1.3 MAKING MUSIC (20 minutes) LISTEN Track 1

Encourage students to listen for different types of textural sounds / compositional techniques

Identify Three sounds

Lead students to identify three textural sounds 1. Solo in trumpet 2. Rhythm in timpani 3. Full orchestra texture

Explore Methods of participation in music

Discuss ways the body can be an instrument Singing, clapping, stomping, etc.

Discuss ways to move to the music Swaying, turning, jumping, etc. Imitate playing instruments

Decide upon three sound/action combinations Apply to mm. 1-21 with the Sound = Action Project

Project Sound = Action

Example combination 1. Solo in trumpet = Singing along on La 2. Rhythm in timpani = Stomping 3. Full Orchestra texture = Run in place

Practice Teachers score attached

Practice without the recording Encourage students to sing the melody and

articulate the rhythm bah, bah, bah while practicing the designated movements

LISTEN Track 1

Combine all skills to move and sing with recording Discussion Connect unit components

Music based on literature Sounds representing imagery

Ways to LISTEN, JOIN, and MOVE with music


16

TEACHERS REDUCED SCORE

Also Sprach Zarathustra I. Einleitung (Introduction or Sunrise)


18

UNIT 2: PLAY TEACHING OUTLINE Symphony No. 41 in C Major, K. 551

Jupiter

2.1 HISTORY AND CONTEXT (10 minutes) Introduce Symphony No. 41 in C Major, K. 551 Jupiter IV. Molto Allegro

Point out facts included in title (form, number, key signature, catalogue number, nickname, movement)

Define Molto Allegro (Italian tempo marking) Molto - very Allegro - brisk and lively Timeline

1756 Wolfgang Amadeus Mozart born (January 27) 1788 Symphony No. 41 in C Major composed

(August 10 completed) 1791 Wolfgang Amadeus Mozart dies (December 5)

Geography Austria Born in Salzburg, Austria Lived in Vienna, Austria for most of his life Visited Paris and Munich Died in Vienna

Structure Symphony in four movements Each differing in tempo Discussed in Listening and Learning

Focus IV. Molto Allegro


19

Brief history of Mozart 1756 Born in Salzburg, Austria, full name:

Johann Chrysostom Wolfgang Amadeus Mozart 1761 Began performing on violin and piano at the age of five Toured Europe performing for royalty during childhood 1773 Accepted post as a court musician in Salzburg Composed abundantly during the Salzburg years 1781 Moved to Vienna, continued composing there 1782 Married Constanze Weber, they had six children

Received limited fame during his lifetime, and no fortune

Composed over 600 works during the: 1750 1820 Classical Period

Brief list of types of compositions: Symphonies Concertos for piano, violin, horn, oboe, etc. Solo piano music String quartets and other chamber music Opera Sacred music (choral and instrumental) 1791 Lived to be 35 years old; most likely died at such a

young age because he was unable to afford proper health care


20



and Feelings LISTEN Track 2 Jupiter Symphony, IV. Molto Allegro Define Symphony (Noun) A large orchestral work, often in four movements Structure Four movements of Jupiter Symphony

Discuss tempo markings and translations I. Allegro vivace Allegro brisk and lively Vivace very lively, up-tempo II. Andante cantabile

Andante walking pace Cantabile in a singing style

II I. Menuetto: Allegretto Menuetto dance like Allegretto a little lively IV. Molto Allegro Molto very Allegro brisk and lively


21

Discuss Prominent musical features Discuss textural sounds students heard

Expand on Unit 1 Discuss tempo Do these features make this movement sound like

Jupiter? How? Discuss Compositional nicknames

Mozart did not name Symphony No. 41 Jupiter Nicknamed by Johann Peter Salomon, pianist

Salomon played an early edition transcribed for piano, coining the nickname

Was this nickname fitting? Why or why not? LISTEN Track 3 Jupiter Symphony, IV. Molto Allegro (excerpt)

Encourage students to listen and decide for themselves if the nickname fits


22

2.3 MAKING MUSIC (20 minutes) Identify Jupiter theme

Teach students by playing and/or singing

LISTEN Track 4 Jupiter Symphony (opening)

Challenge students to listen for the theme Introduce Cantus Firmus

A simple melody forming the basis for a composition with multiple voices or instruments.

Discuss Function and use of a cantus firmus

Basis for expansion Build melody to accompany CF Creates counterpoint

Introduce Counterpoint

The relationship between two of more voices, each voice independent of the others.

Play Modified counterpoint using the cantus firmus

Extracted from Jupiter Symphony Three-part exercises (Part 1, Part 2, C.F.) Play learner-appropriate examples Students alternate parts

Example A Simple Counterpoint (1:1) Example B Moderate Counterpoint (2:1) Example C Advanced Counterpoint (4:1) *Use score examples to i l lustrate use of cantus firmus.


23

Jupiter Symphony Excerpts

Critique Mozarts use of counterpoint and cantus firmus

Point to new understanding of counterpoint Connect to nickname


25

UNIT 3: SING TEACHING OUTLINE

The Planets: Jupiter, the Bringer of Jollity

3.1 HISTORY AND CONTEXT (10 minutes) Introduce The Planets

Timeline

1874 Gustav Theodore Holst born (September 21) 1916 The Planets composed (began in 1914) 1949 Gustav Theodore Holst dies (September 8)

Geography England Born in Cheltenham, Gloucestershire, England Studied and taught in London, England Visited New York Died in London

Structure Suite in seven movements

Each named after a planet and its corresponding Roman deity

Discussed in Listening and Learning

Focus IV. Jupiter, the Bringer of Joll ity Define Joll ity (Noun)

Lively and cheerful activity or celebration


26

Brief history of Holst 1874 Born in Cheltenham, Gloucestershire, England Studied violin, trombone, and piano 1886 Began to compose at the age of twelve 1890s Studied at the Royal College of Music in London Greatly influenced by the poet Walt Whitman Early 1900s Became interested in Hindu mysticism and spirituality

which led to his exploration of astrology - the basis for The Planets

1905 Appointed Director of Music at St. Pauls Girls School in

London 1907 Appointed Music Director at Morley College Held both teaching positions for many years Continued to compose and became fascinated with

English folk tunes, often incorporating them into his larger works

1915 Attempted to enlist in the British army during World

War I but was denied due to his poor health 1920s His fame grew in England with the success of The

Planets 1923 Retired from teaching and devoted the last 11 years of

his life to composing

Composed over 200 works including opera, ballet music, symphonic and choral music

1934 Lived to be 60 years old


27



and Feelings LISTEN Track 5 Jupiter, the Bringer of Jollity

Discuss the following facts, highlighting the importance of the history and context of repertoire

Review Compositional Process

Also Sprach Zarathustra Music inspired by a story (Unit 1)

The Planets Music inspired by astrology

Define Astrology (Noun)

The study of the movement and position of celestial bodies (or planets) and their spiritual effect on people and the natural world.

Focus Jupiter, the Bringer of Joll ity

In the solar system, Jupiter is the fifth planet from the sun

In Roman mythology, Jupiter was the king of the gods, the sky, and thunder

This movement is meant to showcase Jupiters power to bring joy and celebration

(Refer to definition of Jollity)


28

Structure Seven Movements Each movement represents a planet and an

astrological figure Pluto not included because it was undiscovered at

the time of composition Encourage students to think about these as

concepts of inspiration for Holst Define / discuss each movement briefly 1. Mars, the Bringer of War (Unit 4) 2. Venus, the Bringer of Peace 3. Mercury, the Winged Messenger 4. Jupiter, the Bringer of Joll ity 5. Saturn, the Bringer of Old Age 6. Uranus, the Magician 7. Neptune, the Mystic

LISTEN Track 5

o Think about planets and astrology Critique Jupiter, the Bringer of Joll ity

o Does this sound like a celebration? o Does the music sound like Jupiter, God of the sky? o Could the main melody represent Jupiter parading

across the sky? o Correlate the use of compositional techniques with

representation of imagery


29

3.3 MAKING MUSIC (20 minutes) LISTEN Track 6 Jupiter, the Bringer of Jollity (excerpt)

Encourage students to listen carefully to the melody Sing Encourage aural memory

Ask students to sing the melody they just heard (Help this out for at least a few measures)

Critique Use of this melody

In Jupiter used as heroic and triumphant theme Can you imagine this theme used another way?

This section can be completed by one of the following:

Extracting a melody for a new use Path I I Vow To Thee My Country

Holst extracted theme from Jupiter to set a poem by Cecil Spring-Rice (1859 - 1918, British)

This new arrangement became a patriotic anthem for England in the years surrounding World War I

The tune continues to be used as a hymn tune, titled, Thaxted

Path II Text chosen by teacher

Write or choose a text that you deem appropriate

Two scores have been included Introduce Path I / Path II Sing Path I / Path II

Rehearse sections Focus on good vocal technique

Discuss New use of this melody


30


31


33

UNIT 4: COUNT TEACHING OUTLINE

The Planets: Mars, the Bringer of War

4.1 HISTORY AND CONTEXT (10 minutes) Introduce The Planets: Mars, the Bringer of War Connect Mars mvt.1 | Jupiter mvt. 4

Structure: Seven Movements Timeline Review Orange entries Geography England (add more details)

Born in Cheltenham, Gloucestershire, England Studied and taught in London, England Visited New York Died in London

Review Astrology (from Unit 3)

Noun: the study of the movement and position of celestial bodies (or planets) and their spiritual effect on people and the natural world

Focus I. Mars, the Bringer of War

In the solar system, Mars is the fourth planet from the sun

In Roman mythology, Mars was the God of War This movement is meant to sound like the power of

Mars


34



and Feelings LISTEN Track 7 Mars, the Bringer of War Discuss Sounds of war

What makes this sound like war? Identify snare drum playing march rhythms Identify trumpets imitating bugle

Introduce History of Drum in War

Soldiers marched across battlefields A pulse was needed to march together A drummer led the marching soldiers E.g., Speed of drum rhythm set the tempo of the

battle Drum signals relayed directions E.g., A drum roll was the a signal to stop

Introduce History of Bugle in War

Bugle originally made out of animal horns Bugle developed as a means of communication Bugle signals informed people trouble was nearing Bugle signals informed soldiers of battle plan

Connect Compositional techniques and imagery

Composers use different techniques to create different types of sounds

LISTEN Track 8 Mars, the Bringer of War (excerpt)

Use new understanding of instrument history to listen for the sounds of war.


36

Compare Marching in 3 Student or teacher drum the following patterns Students may count / march / conduct

How should we handle an uneven meter? MARCH Left | Right / Right? Left | Right | Left? Right | Left | Right? CONDUCT Down | Out | In, 3 pattern COUNT 1-2-3-1-2-3-1-2-3 Compare Mars rhythm

Teacher plays rhythm Challenge students to march

Critique Mars march rhythm

Uneven meter Does this still sound like a march? Does this still sound like a war?

LISTEN Track 8 Mars, the Bringer of War (clip)

Encourage students to listen with new understanding of rhythm


38

UNIT 5: COMPOSE TEACHING OUTLINE

Star Wars Medley


Introduce Stars Wars Medley Define Medley (Noun)

A collection of individual songs performed as a continuous piece, typically arranged by a second composer.

Arranged by James H. Burden Timeline

1932 John Towner Will iams born (February 8) 1977 Star Wars 1980 Episode V: The Empire Strikes Back 1983 Episode VI: Return of the Jedi 1999 Episode I: The Phantom Menace 2002 Episode II: Attack of the Clones 2005 Episode III: Revenge of the Sith 2009 *BLANK for your composed medley title/date

Add to timeline at end of unit

Geography USA Born in Floral Park, NY Lived in Los Angeles, CA and Boston, MA Travels across US conducting and composing

Structure Medley

Major musical themes from Star Wars Discussed in Listening and Learning


39

Brief history of Will iams 1932 Born in Floral Park, New York Began piano lessons at an early age 1948 Moved to Los Angeles, California with his family 1952 Drafted into the United States Air Force and during his

service arranged music for the Air Force Band 1955 Began study at the Juilliard School in New York City as

a piano major 1960s Returned to Hollywood and began composing music for

film, building a good reputation for this art 1974 Began his first collaboration with Steven Spielberg on

The Sugarland Express 1980 Became conductor of the Boston Pops Orchestra Continues to compose and conduct Famous fi lm scores: Jaws (1975) Stars Wars (all movies) Close Encounters of the Third Kind (1977) Superman (1978) Indiana Jones Trilogy (1981, 1984, 1989) E.T. the Extra-Terrestrial (1982) Home Alone (1990) Hook (1991) Jurassic Park (1993) Schindlers List (1993) A.I.: Artificial Intelligence (2001) Harry Potter and the Sorcerers Stone (2001) Harry Potter and the Chamber of Secrets (2002) Harry Potter and the Prisoner of Azkaban (2004)


40



and Feelings LISTEN Track 9 Star Wars Medley

Encourage students to list or speak aloud recognized themes (Optional: Make list of themes while listening)

Discuss List recognizable features

This may include themes, textures, instruments, etc. Include the term melody in this discussion

Connect Use of a Melody (Unit 3)

Melody as structural feature Melody as extractable feature Melodies combined as arrangements Melody as soundtrack theme

Define Soundtrack

A musical accompaniment to a film, often including character-specific themes.

Critique Star Wars Medley

Did you recognize this music? Did you picture certain scenes or characters?


41

5.3 MAKING MUSIC (20 minutes) Review Medley

A collection of individual songs performed as a continuous piece, typically arranged by a second composer.

Introduce Class Space-themed Medley project Score attached

Work with students in groups to create class medleys

Themes can be sung or played Themes can transition to one another without

musical interludes Encourage students to think about the piece

globally

Advanced projects could include musical interludes and expanded cadences.

This project could easily be applied to music outside of this curriculum.

Title Name class composition(s)

Create timeline entries for the new compositions Blank timeline entry included


42

Twinkle, Twinkle Little Star

Theme from Jupiter, the Bringer of Joll ity

Theme from Star Wars

Theme from Also Sprach Zarathustra

Theme from Jupiter


44

UNIT 6: ANALYZE TEACHING OUTLINE Cello Concerto in A Minor, Op. 129

III. Sehr lebhaft 6.1 HISTORY AND CONTEXT (10 minutes)

Introduce Cello Concerto in A Minor, Op. 129 II I. Sehr lebhaft Translate Sehr lebhaft

Very Lively

Timeline 1810 Robert Schumann born (September 21) 1850 Cello Concerto in A Minor composed 1856 Robert Schumann dies (July 29)

Geography Germany Born in Zwickau, Saxony, Germany Studied in Leipzig, Germany Visited Switzerland and Belgium Died in Bonn, Germany

Structure Concerto in three movements

Identify as Concerto Form Fast, Slow, Fast mvts.

Discussed in Listening and Learning Focus I I I. Sehr lebhaft


45

Brief history of Schumann 1810 Born in Zwickau, Saxony, Germany Began composing before the age of seven

Schumanns father was a publisher and immersed him in literature during his childhood

1826 Schumanns father died and left him to be raised by his

mother who did not support his musical aspirations 1828-29 Studied law in Leipzig and Heidelberg per his familys

wishes 1830s Left law and studied music full time, focusing on piano

performance

Suffered an injury of his right hand permanently ending his chance of being a successful concert pianist

Focused on composition, especially the combination of his two loves: music and literature

1840 168 songs for piano and voice Married pianist Clara Wieck

Wrote compositions ranging from songs to solo piano music, symphonic works, choral music, opera, and chamber music

1850s Suffered from worsening health with symptoms that

may have affected his ability to think clearly Continued to compose until his death 1856 Lived to be 46 years old


46



and Feelings LISTEN Track 10 Cello Concerto in A Minor, Op. 129

III. Sehr lebhaft Review Concerto

A three to four movement piece wherein an orchestra accompanies a solo instrument.

Introduce Form

Concerto is a form Tone Poem is a form (Unit 1) Symphony is a form (Unit 2)

Discuss Tempos of Typical Concerto Form

Movement I fast tempo Movement II slow tempo Movement III fast tempo

Discuss Characteristics of a Concerto

Often challenging for the soloist Most popular concerto instruments:

Violin, Piano, Cello Usually explores the limits of the solo instrument Example: Double stops = playing two strings at once Often includes soloist improvisation Orchestra plays a supporting role Connect 3rd movement fast tempo to concerto form


47

Critique Cello Concerto in A Minor Did this music highlight the cello? Did this piece sound challenging for the cello? Why?

Conclude Cello and human voice

Many have said that the cello is the instrument that sounds the most like the human voice

Ask students to discuss their opinions, including why or why not


48

6.3 MAKING MUSIC (20 minutes) *6.3 focuses on the analysis of how a cello makes music Define Cello (Noun)

Third largest member of the string family, played by a bow vibrating the four strings, held by an endpin leaning on the floor and stabilized between a players knees

Discuss Anatomy of the Cello

How does the cello make music? Provide students with Anatomy of the Cello

worksheet (next page)

Strings Four strings made of gut, wire, nylon, or other synthetic material (Range / pitch discussed below) Strings are vibrated by a bow or plucked by a finger

Scroll / Neck

Usually carved out of a single piece of wood Provide support for the nut

Nut

Raised piece of wood connecting the fingerboard and the scroll Strings rest on the nut to connect to the pegs

Pegs

Four pegs - one for each of the four strings Strings are coiled around the pegs Turning pegs tunes the string by tightening or loosening

Fingerboard

Strings are positioned over the fingerboard Players hold down strings against the fingerboard to change the

pitch of the string


49

Body Carved out of wood (typically spruce, maple, poplar, or willow) The curved-in sides of the cello are called ribs Sound from the string vibration moves into the body

F hole

Named for the shape much like the letter F The holes allow the sound to come out of the body

Bridge

Raised piece of wood which holds the strings off of the body Held in place by the tension of the strings (not glued)

Fine Tuner

A small knob that turns to tune the strings more slightly than the pegs

Tailpiece

Traditionally made of ebony or another hard wood Attaches the end of the strings to the body of the cello

Endpin

A pin that comes out of the cello and allows the player to lean the cello on the floor

Bow

Made from wood and horse hair The end of the bow the player holds is called the frog

Strings

Pitches: C-G-D-A Range

Play string pitches and range on piano


50

Connect Cello-playing technique to pitch Focus on fingerboard / string interaction Cellists press down on strings in various positions on

the neck to change the pitch of the string to the note desired

Players learn to feel the distances they must move fingers along the neck to achieve the desired pitch

Apply Hand position to changing pitch

The lowest note on a cello is the C string (Play a low C on the piano)

Cellists put down a finger in the first position at the top of the string, raising the pitch by a half step (Play C to C# for students to hear the difference)

Identify Modality of Concerto is minor

Remind students of the title of the concerto (Focus on A Minor)

What does A Minor mean? (Key signature, minor modality)

Play A minor scale Compare with A major scale Do these scales sound the same?

Connect Modality to cell ist hand position

Play A minor scale again Play A minor triad by first playing a C and then

adding the A and E (Leading the students ear to identify the 3rd of the chord)

Repeat the process in A major Connect C versus C# as third of the chord to cellist

hand position changing C to C# Conclude Analysis of the cello

Does understanding the anatomy of the cello help understand the music?

What more would you like to learn about the cello? About any instrument?


51


53

UNIT 7: IMPROVISE TEACHER OUTLINE Violin Concerto in A Minor, Op. 82

III. Allegro


Introduce Violin Concerto in A Minor, Op. 82 II I. Allegro Define Allegro (Italian tempo marking)

Brisk and lively tempo

Timeline 1865 Alexander Glazunov born (August 10) 1904 Violin Concerto in A minor composed 1936 Alexander Glazunov dies (September 8)

Geography Russia Born in St. Petersburg, Russia Lived in Saint Petersburg Visited US and toured Europe Died in Paris, France

Structure Concerto in three movements

Review Concerto Form Discussed in Listening and Learning

Focus I I I. Allegro

Compare Unit 6 & 7 Both focus on last movement of a concerto


54

Brief history of Glazunov 1865 Born in St. Petersburg, Russia 1874 Began studying piano at the age of NINE 1878 Began composing at the age of 13

Considered to be a musical prodigy based on his early development and accomplishments Studied with Rimsky-Korsakov (another famous Russian composer

1882 Glazunovs first symphony was premiered by Rimsky-

Korsakov (Glazunov was only 16) 1884 The Russian Symphony played his music as part of their

concert season because Glazunov had already gained such fame

1890s Wrote only three symphonies, two string quartets, and

a ballet, claiming to suffer from a creative crisis 1905 Became Director of the St. Petersburg Conservatory 1907 Received an honorary Doctorate of Music from the

universities of Oxford and Cambridge

Began conducting internationally while continuing to compose and enjoying great fame

1914-18 Worked tirelessly during World War I to preserve the

conservatory and improve the work done there 1929 Exiled himself to France to escape the civil war in

Russia 1936 Lived to be 70 years old, dying in Paris


55



and Feelings LISTEN Track 11 Violin Concerto in A Minor, Op. 82

III. Allegro

Review Concerto form A three-four movement piece wherein an orchestra

accompanies a solo instrument. Fast, Slow, Fast movements Often challenging for the soloist Usually explores the limits of the solo instrument Often includes soloist improvisation Orchestra plays a supporting role Connect 3rd movement fast tempo to concerto form

Critique Violin Concerto in A Minor

Did this music highlight the violin? Did this piece sound challenging for the violin?

Compare Schumann 3rd mvt. / Glazunov 3rd mvt.

Listen to a portion of the Schumann to remind students (Track 10)

Are these two movements similar in tempo? Similar in mood? What differences do you hear?


56

7.3 MAKING MUSIC (20 minutes) Discuss Improvisation (Noun)

Create or perform music spontaneously or without preparation

Connect Improvisation to Concerto form

A concerto often includes improvisation by the featured soloist

Project Student improvisation

Set up stations around the room with classroom instruments (Orff instruments ideally)

Students take turns playing the bassline ostinato Students take turn improvising over the bassline

A simple do / sol bass l ine can be sufficient

Advanced options could include I, IV, V, I progressions

*Record class improvisations if possible allowing students to l isten and critique their own performances.

Encourage Student jam sessions Allow students to work in small groups or solo for

the class Discuss Improvisation experience

Encourage students to share their personal experience of improvising


58

UNIT 8: SYNTHESIZE TEACHER OUTLINE

The Planets | Ann Arbor Symphony Orchestra

Categorically review the materials and repertoire covered. Use the timeline as a teaching tool to connect with students learning experience from each of the units. Use Appendix B as preparation for seeing the orchestra and observing proper concert etiquette. Review Repertoire

Also Sprach Zarathustra Symphony No. 41 in C Major, K. 551, Jupiter The Planets: Jupiter, the Bringer of Jollity The Planets: Mars, the Bringer of War Star Wars Medley Cello Concerto in A Minor, Op. 129, III. Sehr lebhaft Violin Concerto in A Minor, Op. 82, III. Allego

Review Composers

Richard Strauss Wolfgang Amadeus Mozart Gustav Holst John Williams Robert Schumann Alexander Glazunov

Review Timeline Project

Now hanging around the classroom Emphasize the span of time covered

Review Geography covered

Germany Austria England United States of America Russia


APPENDIX A

BIOGRAPHIES

Ann Arbor Symphony Orchestra A.1 Arie Lipsky | Conductor A.2 Andrea Jarrett | Violin A.3 Nathaniel Pierce | Cello A.4 Tony England | Astronaut A.5


A.1

Ann Arbor Symphony Orchestra

From a visionary group of musical enthusiasts who first gathered in 1928, to the highly polished ensemble it is today, the Ann Arbor Symphony Orchestra continues to share its passion for orchestral music with the greater Ann Arbor community. Since turning fully professional in 1986, the A2SO has seen tremendous growth both artistically and in its audience reach. By maintaining an intergenerational approach in its education and outreach offerings, the A2SO brings the joy of music and a real appreciation for excellence to new audiences of all ages, reaching more than 47,000 children and 36,000 adults each year, and has grown to become a main player in Ann Arbors world of art and culture.

The A2SO: passionate about excellent music, committed to offering quality education programs, and dedicated to the communities which it serves.


A.2

Arie Lipsky | Conductor

Arie Lipsky is in his ninth season as Music Director of the Ann Arbor Symphony Orchestra. He was born in Israel where he received extensive training as a cellist and as a flutist. At the age of nine years he won his first of several prestigious musical competitions after which he began to appear in concerts throughout Israel and Europe. Mr. Lipsky subsequently began serious study of composition and conducting. His mentors include Semyon Bychkov, Yoel Levi, and Kurt Mazur in conducting, and Pablo Casals and Leonard Rose on cello. He holds degrees in Aeronautical Engineering and in Music, which he received before serving in the Israeli Army.

After moving to the United States, Mr. Lipsky served as Assistant Conductor of the Cleveland Institute of Music and the Ohio Opera. He moved to Buffalo, New York in 1984 to be the Buffalo Philharmonics principal cellist and in 1990, he became the Resident Conductor. In early 1995, on short notice, Mr. Lipsky replaced the late Eduardo Mata conducting the Israel Chamber orchestra, where his success resulted in return engagements with many of Israels orchestras. Mr. Lipsky conducts major orchestras in the United States, Canada, and Europe.

An elegant and expressive conductor, Lipsky garners high praise from some of the worlds best conductors. Semyon Bychkov, Music Director of LOrchestre de Paris, calls Mr. Lipsky a born conductor, and Yoel Levi, former Music Director of the Atlanta Symphony Orchestra, says that as a musician Arie is first class; his technique is excellent, his memory outstandinghe knows how to communicate and is well deserving of respect and admiration.

Mr. Lipsky records on the Fleur de Son Classics label. His CD recordings of Schubert overtures and concertos by Sierra and Bruch have won high critical acclaim. Arie is also a member of the New Arts Trio in residence at the Chautauqua Institute School of Music, where he serves as Director of Chamber Music. The most recent CD recordings of the New Arts Trio have received the highest praise from Fanfare Magazine.


A.3

Andrea Jarrett | Violin

This information was unavailable at the date of publication. The biography will be included in the youth concert program.


A.4

Nathaniel Pierce | Cello

This information was unavailable at the date of publication. The biography will be included in the youth concert program.


A.5

Tony England | Astronaut

Tony England was born in Indiana, but when he was ten years old his family moved to West Fargo, North Dakota, which he considers to be his home. He always wanted to be a pilot, but his less-than-perfect eyesight put an end to that dream (or so he thought). Tony became interested in science and math and went to the Massachusetts Institute of Technology (MIT) to study physics. He discovered that he liked to do field work, so Tony switched to the field of geophysics, which combines geology and physics. He got his PhD from MIT, where he created theories to predict the electrical properties of the moon and the planets. It was this work that brought him to the attention of the National Academy of Sciences, which was urging NASA to bring scientists into the Apollo and Skylab space programs as scientist-astronauts. Still remembering his dreams of being a pilot, Tony jumped at the chance, and joined the Apollo program in 1967. One of the first things that he got to do was attend Air Force flight school, where he learned to fly several different jets, including the T-37 and T-38.

Tony was scheduled to fly on the Apollo 19 mission, but NASA canceled the Apollo program before he had a chance - - the last Apollo mission to the moon was Apollo 17. Even though he never got a chance to go to the moon, Tonys time in the program was still exciting. He was a part of the support team for Apollo 13 - - the mission made famous in the recent movie - - and was in the control room when the Houston, we have a problem, message came down from the astronauts in the space capsule. He helped the NASA engineers design the CO2 scrubber that helped the astronauts to return safely to Earth, and read the instructions on how to build the scrubber over the radio to the astronauts in space. He was quite pleased that, when the astronauts returned to Earth, the scrubber they had built was exactly the same as the model that the engineers had designed on the ground.

When Tony left NASA in 1972, he joined the United States Geological Survey where he went on and led scientific expeditions to the Arctic and Antarctica. NASA asked him to come back to the program in 1976, but he turned them down since he was too busy with his other work. NASA asked him again in 1979, saying that this would be his last chance to go into space. Tony decided he could not say no.


A.6

Tonys return to NASA was as a part of the new space shuttle program. He spent most of his first three years flying in shuttle simulators, helping the programmers and engineers who were designing the shuttle to perfect its computer navigation software. In 1985, Tony finally got his chance to go into space onboard the Challenger space shuttle. On his eight-day mission, Tony was a mission specialist, responsible for conducting many of the experiments in the onboard laboratory. Although flying the shuttle and running the experiments were complex, Tony enjoyed the challenge.

For Tony, the most wonderful thing about being out in space was the view of the Earth below. From orbit, Tony was able to see the Aurora Australis above Antarctica and the Perseid meteor shower, both astronomical events that people on Earth never get to see from above. He was also able to see his hometown in North Dakota as the shuttle flew overhead, and the headlights from cars outlining the highways at night. If he regrets anything from his voyage, it was that he was not able to spend more time looking at the view. Things were so busy on the shuttle that only twice did he get the chance to spend an extended period viewing the sights from above. Once, for four hours when their equipment overheated and they had to wait for it to cool down, and again on the last night of the mission when he did not have to get a lot of sleep to work the next day.

After returning to Earth, Tony spent a few more years at NASA. Then he went to the University of Michigan where he is now a professor of electrical engineering, teaching and doing research in environmental remote sensing. He enjoys cross-country skiing, sailing, and flying with his wife Kathy, who is also a pilot. They have two grown daughters and one granddaughter, and plenty of pets and other animals in and around the house - - including a skunk!


APPENDIX B

A2SO RESOURCES

Listening Worksheet (master) B.1 Introduction to the Orchestra B.2

Young Persons Guide B.5 To The Classical Concert


B.1

MUSICAL ELEMENTS = EMOTIONS & FEELINGS

COMPOSER COMPOSITION METER Is there a beat? How does it swing? Does it stay the same? MODE Is the mode major or minor? Does it change or stay the same? DYNAMICS Is the music mostly loud or soft? Does it change or stay the same? TEMPO Is the music fast or slow? Does it change or stay the same? INSTRUMENTATION What instrument family plays the most? What solo instruments do you hear? Does the full orchestra play? MOOD / CHARACTER Is the music smooth or bumpy? Does it change or stay the same? HOW DOES THIS MUSIC MAKE YOU FEEL?


B.2

Introduction To The Orchestra

An orchestra consists of four basic families of instruments. String Family 1. Violin highest string instrument 2. Viola looks like a violin but is a little bigger and has a lower sound 3. Cello lower than viola, stands on the floor, held between the knees 4. Bass biggest and lowest string instrument, players stand up to play 5. Harp stands upright with 46 strings and 7 pedals, strings are plucked The strings sit in the front section of the orchestra because their sound is softer than most of the other instruments. If they sat further back on the stage their sound could be drowned out. They often play more than the other instruments. Woodwind Family 1. Piccolo a miniature flute with a very high and shrill sound 2. Flute highest woodwind instrument, players blow in the mouthpiece 3. Clarinet smooth, warm sound, players blow and vibrate one reed 4. Oboe bright, warm sound, players blow and vibrate a double reed 5. Bassoon deeper and richer than the oboe, players blow a double reed The woodwinds often play the melodies of orchestral music. Their sound is fairly soft so they sit just behind the string section, in the center of the orchestra. Brass Family 1. Trumpet highest brass instrument, players buzz in the mouthpiece 2. Trombone lower than a trumpet, players slide a valve to control pitch 3. French Horn mellow, warm sound, round with a bell shaped opening 4. Tuba lowest, biggest brass instrument, with a huge bell opening The brass section is the loudest of the instruments and sits in the very back of the orchestra.


B.3

Percussion Family The percussion family has many instruments that can be interchanged with each piece of music the orchestra plays. Percussion instruments make sounds by striking, smashing, tapping, or shaking. Many percussion instruments exist, and many different items can be turned into a percussion instrument. Some of the more common percussion instruments are: Timpani (kettle drums) big copper drums that play an actual pitch Snare and Bass drums drums played with different types of mallets Cymbals round brass discs banged together or hit with mallets Triangle a triangular, metal instrument, which creates a ding sound Xylophone metal bars, each pitched with a different note, mallets used Others: glockenspiel, chimes, marimba, vibraphone, castanets, and gong The piano is also considered a percussion instrument because inside a piano strings are struck by a hammer when a key is played. There are usually only two or three percussion players in an orchestra. Each plays many different instruments. Since there are so many kinds of percussion instruments that a composer may want to use for a particular piece, the percussion players must be able to play most any instrument in the percussion family. Orchestra Size The orchestra size is not fixed. It changes with every work performed, depending on the choice of the composer to include or not include various instruments. Generally the orchestra size ranges between 40-80 players.


B.4

Young Persons Guide To The Classical Concert

Before the concert begins you should:

1. Go to the restroom 2. Talk to your friends 3. Look around the hall and notice the architecture and decor 4. See who is there in the audience 5. See what is happening on the stage to prepare 6. Stretch

When the concert begins use a l istening method to enjoy the music.

Watch the musicians play (You can see who is playing at any given time, and sometimes you can actually watch musical melodies being passed from one section of the orchestra to another.)

Close your eyes and imagine

(This is a great way to enjoy the music by adding your imagination to think of images that the music brings to you.)

During the concert you should:

1. Be quiet 2. Sit still 3. Use your eyes and ears only 4. Enjoy the music

Clap when:

1. The concertmaster comes on stage and tunes the orchestra 2. A person comes out to make an introduction 3. The conductor comes on stage to begin the concert 4. The soloists come on stage to play with the orchestra 5. An entire piece has been played

Warning: Most symphonic works are in section called movements. There are often pauses between movements but the piece is not over. When all of the movements have been played - - CLAP!!!


APPENDIX c

ACKNOWLEDGEMENTS

CD Credits C.1 CD Track Information C.2


C.1

CD Credits

The Planets Gustav Holst Royal Scottish National Orchestra David Lloyd-Jones, Conductor Also Sprach Zarathustra Richard Strauss Slovak Philharmonic Orchestra Sdenek Koslar, Conductor Violin Concerto in A Minor Alexander Glazunov Polish National Radio Symphony Ilya Kaler, Violin Camilla Kolchinsky, Conductor Star Wars: Main Title John Williams GoteborgsMusiken Alexander Hanson, Conductor Cello Concerto in A Minor Robert Schumann Ireland National Symphony Maria Kliegel, Cello Andrew Constantine, Conductor Symphony No. 41 in C Major Wolfgang Amadeus Mozart Cologne Chamber orchestra Helmut Muller-Bruhl, Conductor Licenses granted by Naxos of America, Inc.


C.2

CD Track Information

1. Also Sprach Zarathustra Strauss

I. Einleitung (Introduction or Sunrise)

2. Symphony No. 41 in C Major, K. 551 Mozart Jupiter IV. Molto Allegro

3. Symphony No. 41 EXCERPT Mozart 4. Symphony No. 41 EXCERPT (Opening) Mozart 5. The Planets Holst

Jupiter, the Bringer of Jollity

6. Jupiter, the bringer of Joll ity EXCERPT Holst 7. The Planets Holst

Mars, the Bringer of War

8. Mars, the Bringer of War EXCERPT Holst

9. Star Wars Medley Will iams

10. Cello Concerto in A Minor, Op 129 Schumann III. Sehr lebhaft

11. Violin Concerto in A Minor, Op. 82 Glazunov

III. Allegro

01. Cover02. Verse, Letter, and Sponsors03. Table of Contents 04. Opening 05. Timeline Key06. Unit Cover Sheets 07. Unit 1 Listen 08. Unit 2 Play 09. Unit 3 Sing 10. Unit 4 Count 11. Unit 5 Compose 12. Unit 6 Analyze 13. Unit 7 Improvise 14. Unit 8 Synthesize15. APPENDIX A16. APPENDIX B17. APPENDIX C

the planets

Documents

unit structure

e t h e

planets youth concert

unit teaching outline

music room

music jump

music alive

auditorium t