What Makes Music,
M
usic 2O22/23
Made possible by
NORTH CAROLINA SYMPHONY EDUCATION SUPPORTERS The North Carolina Symphony gratefully acknowledges financial support from Wake County, the City of Raleigh, and the State of North Carolina. NCS also gratefully acknowledges the following supporters:
EDUCATION SUSTAINERS
EDUCATION BENEFACTORS
Anonymous (2), Anonymous Trust / Simple Gifts Fund, The Bastian Family Charitable Foundation
EDUCATION PATRONS The Backyard Foundation, Robert P. Holding Foundation, Inc., Samuel P. Mandell Foundation, James J. and Mamie R. Perkins Memorial Fund, Youths’ Friends Association Inc.
EDUCATION PARTNERS Mark and Gayle Acuff Alamance County Government Anonymous Anonymous Fund Bailey Endowment, Inc. The Harold H. Bate Foundation Bell Family Foundation Bertsch Family Charitable Foundation, Inc. BlueCross BlueShield of North Carolina The Borden Fund, Inc. R.A. Bryan Foundation, Inc. Mary Grey Burney Foundation Carteret Community Foundation The Cole Foundation Mr. and Mrs. Jeffrey A. Corbett Corning Incorporated Foundation Craven County Community Foundation Curi Edna Williams Curl and Myron R. Curl Charitable Fund The Dickson Foundation, Inc. Dover Foundation, Inc. William C. Ethridge Foundation, Inc. The Lundy Fetterman Family Foundation Trust George Foundation, Inc. Gipson Family Foundation Granville County Community Foundation Gregory Poole Equipment
The Hellendall Family Foundation of North Carolina Iredell County Community Foundation Harry and Virginia Killian Charitable Endowment Lenoir County Community Foundation Dr. Neil McLeod Moore County Community Foundation New Hanover County Government Onslow Caring Communities Foundation Onslow County Government Outer Banks Community Foundation Poole Family Foundation Prescott Family Charitable Trust W. Trent Ragland, Jr. Foundation Rete Mirable Fund Rockingham County Community Foundation Florence Rogers Charitable Trust E.T. Rollins, Jr. and Frances P. Rollins Foundation The Norman and Rose S. Shamberg Foundation The Eddie and Jo Allison Smith Family Foundation, Inc. Southern Bank Foundation Swearingen Foundation Tannenbaum-Sternberger Foundation, Inc. The Titmus Foundation The Unifour Foundation, Inc. Endowment Vance County Community Foundation Alex and Barbara Wilson Charitable Foundation, Inc. Margaret C. Woodson Foundation
MUSIC EDUCATION ENDOWMENT FUNDS The Joseph C. and Diane E. Bastian Fund for Music Education The Ruby and Raymond A. Bryan Foundation Fund The Mary Whiting Ewing Charitable Foundation Fund The Hulka Ensemble and Chamber Music Programs Fund The Janirve Foundation Fund The Ina Mae and Rex G. Powell Wake County Music Education Fund The Elaine Tayloe Kirkland Fund
SCHOOL SYSTEM SUPPORTERS Chapel Hill-Carrboro Schools Cumberland County Schools Durham Public Schools Edgecombe County Schools Harnett County Schools Lee County Schools New Hanover County Schools Orange County Schools Wake County Public Schools Supporters are current as of July 2022
Authors: Laura Black, Melissa Coxe, Pamela Day, Erin Fossa, Mary Michael, Jennifer Starkey Designer: Jennifer Blackman, Graphic Designer, North Carolina Symphony Editors: Jason Spencer, Director of Education, North Carolina Symphony; Christopher Short, Education Assistant, North Carolina Symphony; Rhoda Yakowenko Education Intern, North Carolina Symphony North Carolina Symphony, 3700 Glenwood Avenue, Suite 130, Raleigh, NC 27612, 919.733.2750, or toll free 877.627.6724 www.ncsymphony.org/education North Carolina Symphony Student and Teacher Handbook © 2022 by North Carolina Symphony Society, Inc. Reproduction of this book in its entirety is strictly prohibited.
Arturo
Márquez BORN: December 20, 1950, Álamos, Sonora, Mexico
BIOGRAPHY (in Student Book) Arturo Márquez was born in Mexico and grew up listening to a variety of musical genres. One of the avenues of exposure was from his father who was a mariachi musician. Growing up around the musical culture of Sonora, Mexico during his childhood helped influence his drive to become a composer and musician. Márquez began his musical education and composing at the age of 16 in La Puente, California in 1966. He later went on to study at the National Conservatory of Music in Mexico, followed by studies with French composer Jacques Castérède in Paris. Some of his most popular compositions draw inspiration from danzón, the ballroom dancing born out of Cuba in the 1800s. His later compositions take inspiration from Mexican urban music.
FUN FACTS (in Student Book) • Márquez was born in the Sonoran Desert, where summer temperatures can reach more than 110°F! • After completing his composition studies at the Music Conservatory of Mexico, he received a scholarship to continue his studies in Paris from the French Government. • In addition to playing in a mariachi band, his father played the violin and worked in construction to support his family.
FEATURED WORK: Conga del Fuego Nuevo The term “Conga” hails from Cuba and refers to the music of special street ensembles composed of wind instruments and percussion that perform during the carnivals in Havana and Santiago de Cuba. Of African origin, it was developed by enslaved people brought to Cuba from central Africa. It also refers to a quick dance using short sliding steps. The sound of this street music fills this infectious, highly rhythmic piece and comes into prominence during its quieter, slower middle section. In this piece, Márquez has taken the traditional characteristics of the conga and given in new life in symphonic form as the melody floats above the syncopated rhythms below.
FUNDAMENTAL OF MUSIC: Finale Listen for all the elements of music, including tempo, rhythm, dynamics, form, texture, and melody.
36 • NORTH CAROLINA SYMPHONY
Classroom activities provided by Mary Michael, Turner Creek Elementary, Wake County
CLASSROOM ACTIVITY #1: Singing the Melody NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC: 4.ML.1 Apply expressive qualities when singing or playing a varied repertoire of music representing genres and styles from diverse cultures. 4.MR.1.4 Classify instruments into Western orchestral categories of wind, string, percussion, and brass. 4.CR.1.2 Understand the relationships between music and concepts from other areas 4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, and eighth notes and rest in 2/4-, 3/4-, and 4/4-meter signatures. 4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo, and articulation while performing music. 4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures. OBJECTIVE: Students will work in teams, each team representing a family of the orchestra. They will create movements with props reflecting the expressive qualities and elements of the music. Movements will reflect the dynamic levels, tempo, rhythm, texture, and form. MATERIALS: • Video Recording: Conga del Fuego Nuevo
• Parachute/Scarves/Streamers • Castanets/Bells PROCESS: 1. Review the elements of music—dynamics, tempo, rhythm, texture, melody, and form. 2.
Divide students into teams and give each team a prop to use. For example, the parachute represents the string family, ribbon streamers the woodwind family, scarves the brass family, and castanets the percussion family. Balls may be used to represent the steady beat of the tempo.
3.
Allow students the opportunity to experiment with types of movements they will create with their props. Challenge them to use high, medium, and low levels or draw shapes for example rainbow arches, figure eights, waves, and swirls.
4.
Invite the students to experience the elements of music through pantomiming their prominent instrument and all the elements featured in the piece.
5.
Play the piece and invite students to move their props according to their learning team’s plan. Encourage and remind them to reflect instrumentation, melodic line, and the expressive qualities of the music.
6.
Ask students to describe the expressive qualities of their movement.
2022/23 TEACHER WORKBOOK • 37