NCS 2023/24 Teacher Guide for Education Concerts

w H At m a k E s music

NORTH CAROLINA SYMPHONY EDUCATION SUPPORTERS

These concerts are made possible by a generous grant-in-aid from the State of North Carolina; the Honorable Roy Cooper, Governor; and D. Reid Wilson, Secretary, North Carolina Department of Natural and Cultural Resources. NCS also gratefully acknowledges the following supporters:

EDUCATION SUSTAINERS

EDUCATION BENEFACTORS

Anonymous, Anonymous Trust / Simple Gifts Fund, The Bastian Family Charitable Foundation, The Mildred Sheffield Wells Charitable Trust

EDUCATION PATRONS

The

EDUCATION PARTNERS

Mark and Gayle Acuff

Anonymous

Anonymous Fund

Avidex

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

The DeLeon Carter Foundation

Carteret Community Foundation

celito

The Cole Foundation

Mr. and Mrs. Jeffrey A. Corbett

Craven County Community Foundation

Curi

Edna Williams Curl and Myron R. Curl Charitable Fund

Deloitte

Dr. Albert Joseph Diab Foundation

The Dickson Foundation, Inc.

Dover Foundation, Inc.

Drucker + Falk

William C. Ethridge Foundation, Inc.

The Lundy Fetterman Family Foundation Trust

First Citizens Bank

Fox Rothschild LLP

George Foundation, Inc.

GFL Environmental

Gipson Family Foundation

Granville County Community Foundation

Gregory Poole Equipment

The Hellendall Family Foundation of North Carolina

Hopper Piano and Organ Co.

Iredell County Community Foundation

Harry and Virginia Killian

Charitable Endowment

Kiwanis Club of Raleigh

Sandi Macdonald & Henry Grzes

Dawn & Gregg MacLaren

Dr. Neil McLeod

MGN Family Foundation

NACEO: National Association of Chief Executive Officers

New Hanover County Government

North Carolina Symphony Boards of Trustees

Onslow Caring Communities Foundation

Onslow County Government

Outer Banks Community Foundation

Paradox Consulting Partners

Poole Family Foundation

W. Trent Ragland, Jr. Foundation

Raleigh Fine Arts Society, Inc.

Rete Mirable Fund

Florence Rogers Charitable Trust

E.T. Rollins, Jr., and Frances P. Rollins Foundation

Mrs. Frances P. Rollins

RSM US LLP

The Norman and Rose S. Shamberg Foundation

Mr. and Mrs. Henry L. Smith

Smith Anderson

The Eddie and Jo Allison Smith Family Foundation, Inc.

The Sorin Group

Southern Bank Foundation

Swearingen Foundation

TCHROA: Triangle Chief Human Resources Officers Association

The Titmus Foundation

Towne Insurance

UNC Health

VACO

Vance County Community Foundation

Wells Fargo

Alex and Barbara Wilson Charitable Foundation, Inc.

Margaret C. Woodson Foundation

Mrs. Darliene Woolner

Authors: Luke Arno, Rody J. Huertas, Caitlin Joyner, Alexis Kagel, Eileen Mueller, Tonya N. Suggs

Designer: Jennifer Blackman, Graphic Designer, North Carolina Symphony

Editors: Jason Spencer, Director of Education, North Carolina Symphony

Antoinette Trice, Education Intern, North Carolina Symphony

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 Fund for Chamber Music

The Janirve Foundation Fund

The Elaine Tayloe Kirkland Fund

The Ina Mae and Rex G. Powell Wake County Music Education Fund

The Jennie H. Wallace Music Educator Award Fund

SCHOOL SYSTEM SUPPORTERS

Chapel Hill-Carrboro City Schools

Cumberland County Schools

Durham Public Schools

Edgecombe County Public Schools

Harnett County Schools

Johnston County Public Schools

Lee County Schools

New Hanover County Schools

Orange County Schools

Wake County Public School System

Supporters are current as of August 2023

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 © 2023 by North Carolina Symphony Society, Inc.

Reproduction of this book in its entirety is strictly prohibited.

Table of Contents

Dear Teachers and Educators, Welcome to the 2023/24 North Carolina Symphony teacher workbook! As the new school year approaches, the North Carolina Symphony is proud to introduce programming for our 2023/24 Education Concerts, accompanied by this curriculum-aligned teacher workbook. Our Education Concert for grades 3-5, What Makes Music, Music? will teach core musical concepts including tempo, rhythm, and dynamics, in alignment with the state curriculum. The concert, available in person and online, features a range of musical cultures with selections by composers of diverse backgrounds including Scott Joplin, Amy Beach, Zequinha de Abreu, Camille Saint-Saëns, and more.

In alignment with the North Carolina Essential Standards set by the Department of Public Instruction, the resources on the following pages have been designed to introduce the key concepts of music through a carefully crafted concert program. You will also find Classroom Extension activities for each piece, connecting to NC Essential Standards in Science, Math, ELA, Social Studies, and Technology. Thank you to the authors of this year’s material—Luke Arno, Rody Huertas, Caitlin Joyner, Alexis Kagel, Tonya Suggs, and Eileen Mueller— who contributed countless hours of their time and ability to ensure this workbook is a valuable resource to teachers statewide.

The 2023/24 season ushers in a new era for the North Carolina Symphony as we welcome our new Music Director, Carlos Miguel Prieto. Prieto, who will become the sixth Music Director of the NCS, has personal roots in North Carolina and has been a regular guest conductor with the orchestra since 2011, serving audiences statewide. He is celebrated worldwide for his collaborative style, charismatic conducting, expressive interpretations, and fostering cultural exchange through music—premiering and personally commissioning works by composers of the Americas. Through the years, Prieto has led the NCS in a range of adventurous programs featuring works by Anna Clyne, Gabriela Ortiz, and many others.

Leading one of the most extensive music education programs of any orchestra, the North Carolina Symphony is honored to educate, engage, and inspire students who will one day become leaders in the state of North Carolina and beyond. To help ensure we are continually reaching the highest standards, we enjoy reading comments and feedback from students and teachers. Please email feedback to education@ncsymphony.org or mail student letters to the address below.

Thank you for all that you do to enrich the lives of students across North Carolina!

Information about the 2023/24 Education Concert Program

Education Concert Experience

Our 2023/24 Education Concert for grades 3-5, What Makes Music, Music? will be offered in person and online via our Virtual Interactive Stage program. Visit ncsymphony.org/education for in-person and online concert reservations.

Teacher Workshop

The best way to prepare for your concert is to attend the Teacher Workshop held at the start of each year. A recording of each presentation, supplemental resources, and PowerPoints, will be available online after the workshop. The workshop and handbooks are free to music educators this year. If you have not yet registered for access to the workshop recording and materials, please register online. Workshop-register

“Simple Gifts”

The highlight of our Education Concert each year is the opportunity to sing or play along with the Symphony! Whether you are attending the concert in-person or watching online, the conductor will ask everyone to stand and sing “Simple Gifts” with the orchestra. Although we encourage students to memorize the lyrics, we understand that this is not always possible. Each teacher can decide whether to use song sheets or books their students can read. Your students should be encouraged to sing loudly so our musicians can hear them!

Playing on Recorders

For those attending the in-person concert, you are welcome to have students prepare the song “Simple Gifts” on recorders or other wind/string instruments. Playing “Simple Gifts” on recorders is an opportunity we extend to all school groups that attend and is completely optional. If you are planning to have students perform on instruments, here are a few things to know:

• Let us know in advance that you are planning to play recorders or other instruments, by contacting your district arts coordinator or education@ncsymphony.org. Performing groups will be seated in a special section and acknowledged from the stage, so it is critical that we know you are preparing to play.

• Each school will perform on their own unless they have arranged with another school to perform together.

• We may have too many individual groups performing instruments at one concert, in which case you may be asked to perform with another school.

• Any groups performing on recorders will do so before the full orchestra plays “Simple Gifts”.

• This opportunity is open to other instruments including violins, Orff instruments, Boomwhackers, etc.

• Please remind your students, whether they are performing or not, to be courteous and respectful of other students’ performances at their concert.

Post-Concert Feedback

Whether your students attended in person or watched online, we love to hear your feedback! If you have comments you would like to share following our Education Concert, please email them to education@ ncsymphony.org. If your students would like to write thank you notes, please send them to the address below. Thank you notes will be distributed to musicians at the conclusion of the season.

NC Symphony Education

3700 Glenwood Avenue, Suite 130

Raleigh, NC 27612

Education Program Overview

Programs for preschool students and teachers

NORTH CAROLINA SYMPHONY MUSIC DISCOVERY: The North Carolina Symphony’s Music Discovery program, a part of PNC’s Grow Up Great Initiative, combines music and storytelling for our youngest audiences.

Programs for elementary school students and teachers

EDUCATION CONCERTS: Approximately 40 full-orchestra concerts given annually throughout the state to audiences of third through fifth grades. Digital and printed materials with a curriculum specifically designed for the music education concert are given to teachers at the start of each school year. This year’s Education Concert will be available in person and online. Visit ncsymphony.org/education for in-person concert reservations.

VIRTUAL INTERACTIVE STAGE: To support remote learning, NCS has launched an interactive music education initiative that brings the concert hall to the classroom and reliably delivers a program that supports the learning objectives and standards for music. The live, virtual host discusses musical concepts and interacts with classroom or at-home students while presenting pre-recorded segments of the NCS Education Concert. Registration for the Virtual Interactive Stage program will open in Fall 2023.

EDUCATION CONCERT WORKSHOP: The Symphony’s professional development programs and resources aim to address North Carolina curriculum standards in education, offer best practices in the classroom, and discuss critical issues facing music educators in our state. The annual Teacher Workshop provides supplemental classroom resources and lessons for teachers through the North Carolina Symphony website.

ENSEMBLES IN THE SCHOOLS: An in-school program brings North Carolina Symphony small ensembles into classrooms for an intimate learning experience. A string quartet and woodwind quintet are available for booking. Our musicians teach the elements of music and listening through this interactive program. Performances can be adapted for grade levels K-12.

MEET THE INSTRUMENTS: Through our Meet the Instruments! Series, sponsored by MetLife Foundation and Puffin Foundation West, Ltd., students will get to know the instruments that make up an orchestra—as well as the North Carolina Symphony Musicians who play them!

Programs for middle, high school, and collegiate students and teachers

FRIDAY FAVORITES CONCERTS: A Friday afternoon concert series is perfect for young adult audiences. These 60-minute performances feature great classical music in a fun and informal setting. Discounted student group rates will be offered along with pre-registration.

WORKSHOPS FOR STUDENTS: Young instrumentalists perform for and are coached by visiting guest artists. Artists such as Randall Goosby, violin; Zuill Bailey, cello; Caroline Shaw, composer; Michelle Cann, piano; and James Ehnes, violin, have given classes.

OPEN DRESS REHEARSALS: Middle school, high school, and college students are invited to orchestra open dress rehearsals where they will have the opportunity to see the North Carolina Symphony at work. Conductors, symphony musicians, and guest artists meet with students during the break for a Q&A session.

Competitions and awards

MUSIC EDUCATOR AWARDS: Awards and cash prizes are given annually in honor of Maxine Swalin, Jackson Parkhurst, and the North Carolina Symphony Musicians, to outstanding music teachers in North Carolina who make a lasting difference in the lives of students of all backgrounds, positively affect their community in a lasting way, and are role models among music educators. Individuals are nominated by their peers and colleagues who write letters of support on their behalf.

KATHLEEN PRICE AND JOSEPH M. BRYAN YOUTH CONCERTO COMPETITION: This annual competition is open to musicians between the ages of 13 and 23, in both junior and young artist divisions, with a cash prize awarded to the first and second place winners in each division.

Community Programs and Education Partnerships

OVATIONS: 30-minute recitals are given by local young artists and chamber ensembles before Classical Series concerts in Raleigh.

For more information about the education programs of the North Carolina Symphony, please visit our website at ncsymphony.org/education, or contact our Education Department at education@ncsymphony.org.

SYMPHONY

FAMILY FUN CONCERTS

with your North Carolina Symphony

Halloween Weekend

Halloween

Spooktacular

SAT, OCT 28, 2023 | 1PM & 4PM

MEYMANDI CONCERT HALL, RALEIGH

Michelle Di Russo, conductor

Happy Halloween! Enjoy frightful fun from the movies, including music from E.T., Jurassic Park, Indiana Jones, and more— plus a costume contest!

Young People’s Concert Series Sponsor: WakeMed Children’s

Thanksgiving Weekend

Holidays at Hogwarts

WED, NOV 22, 2023 | 4PM

FRI, NOV 24, 2023 | 3PM

SAT, NOV 25, 2023 | 3PM

MEYMANDI CONCERT HALL, RALEIGH

Michelle Di Russo, conductor

All aboard the Hogwarts Express! Join your North Carolina Symphony for selections from your favorite Harry Potter films. Concert Sponsor: Publix Super Markets Charities

Family Concert

Mozart’s Magnificent Voyage

SAT, JAN 6, 2024 | 1PM & 4PM

MEYMANDI CONCERT HALL, RALEIGH

SUN, JAN 7, 2024 | 3PM

RIVERFRONT CONVENTION CENTER, NEW BERN

Michelle Di Russo, conductor Classical Kids LIVE!

Journey back in time to Mozart’s childhood and into the fantastic world of his most famous pieces, including The Magic Flute, Eine kleine Nachtmusik, and more.

Young People’s Concert Series Sponsor: WakeMed Children’s New Bern Series Sponsor: CarolinaEast Health System

Family Concert

Peter and the Wolf

SAT, APR 6, 2024 | 1PM & 4PM

MEYMANDI CONCERT HALL, RALEIGH

Michelle Di Russo, conductor

Gather the kids to meet Peter a nd his friends—the duck (played by the oboe), the bird (flute), the cat (clarinet), and more— as they try to catch the wolf!

Young People’s Concert Series Sponsor: WakeMed Children’s

Tickets on sale now!

ncsymphony.org | 919.733.2750

Author Biographies

Luke Arno, West Pine Elementary School, Moore County Schools, West End, NC

Luke Arno teaches general music at West Pine Elementary School in Moore County, North Carolina. He has a bachelor’s degree in music education and a master’s degree in music theory from UNC-Greensboro. He has served as the education choreographer and dance leader for the Carolina Philharmonic. He also serves as the Education Co-Chair of the North Carolina Symphony Moore County Chapter Board of Advisors He is certified in World Music Pedagogy from Smithsonian Folkways and Global Education from NCDPI. His primary instrument is the saxophone, but he enjoys making music of any kind. He lives with his wife, who also teaches elementary music, their one-year-old son, and their two cats.

Alexis Kagel, Central Elementary School, Orange County Schools, Hillsborough, NC

This is Alexis Kagel’s 16th school year teaching elementary music. Born and raised in Illinois, she came to North Carolina to study music education at Elon University, and to escape the winters in Chicago. Her main instrument was French horn, which she still breaks out whenever it’s time to teach her students about brass instruments. These days she spends much more time playing ukulele with her students. She has taught in Alamance County and Wake County as well as Orange County. She is a National Board-Certified Teacher and completed her Orff Schulwerk certification this summer. She has sat on the board of the Central Carolina Chapter of the American Orff Schulwerk Association since 2016, serving as Recording Secretary, Vice President, President, and now Past President. When she’s not teaching, she enjoys performing aerial arts. She lives in Burlington with her husband, 5-year-old daughter, and two dogs.

Rody J. Huertas, Frank Porter Graham Elementary School, Chapel Hill-Carrboro City Schools, Chapel Hill, NC

Born and raised in Puerto Rico, Rody J. Huertas is a professional trombonist in jazz, classical, and Latin American musical styles. As a trombonist, he has performed for more than 19 years in Puerto Rico, the continental United States, France, Spain, Egypt, Belgium, the Netherlands, Spain, and Turkey. He holds a master’s degree in music education from the Conservatory of Music of Puerto Rico. From 2012-2019, he co-founded a non-profit organization that seeks to educate communities about the artistic expressions of Puerto Rican folklore, while rescuing the values, sensibility, and motivation of Puerto Ricans with psychoeducational workshops and spectacles with a social-community focus. In 2023 he finished his third level of the Orff Certification and the World Music Drumming Level 1. Since 2005, Huertas has contributed to the vibrant and growing music scene in Puerto Rico and North Carolina as a performer, educator, and composer/arranger.

Eileen Mueller, Banks Road Elementary School, Wake County Public School System

Eileen Mueller is a Nationally Board-Certified Teacher with a master’s degree in curriculum and instruction. She has been teaching for 22 years, and 18 of those years have been with the Wake County Public School System! Prior to relocating to Wake County, she taught for three years in New York City. When not at school, she loves spending time with her family, going to shows and concerts, and traveling.

Caitlin Joyner, Hobbton Elementary School, Sampson County Schools, Newton Grove, NC

Caitlin Joyner is a K-5 music educator from Sampson County, North Carolina. She is a graduate of Western Carolina University, where she was a member of the Pride of the Mountains Marching Band, and an alumna of the music fraternity Sigma Alpha Iota. She is involved at her local community theater, where she has previously helped as assistant music director. At her church, where she serves as assistant music director and occasional pianist, she has also directed the children’s choir. She has been appointed future director of the Children’s Community Choir at Charity Rebuild Center with the Eastern Baptist Association. In her free time, she loves playing board games with her friends and family, and spending time with her shih tzu dog, Joey. Joyner is also a recipient of the Simple Gifts Love of Learning grant, and has traveled to Germany, Switzerland, Austria, and Hungary for an immersive learning experience in the home countries of some of history’s greatest composers.

Tonya N. Suggs, Wildwood Forest Elementary School, Wake County Public School System, Raleigh, NC

Tonya Suggs has taught Elementary Music, Orchestra, Guitar, Elementary Band, and Chorus. She holds a master’s degree in performance/Suzuki pedagogy and a bachelor’s in music from East Carolina University as well as a bachelor’s degree in marketing from North Carolina Agricultural and Technical State University. She has studied with Jesse L. Suggs, Jr., Elaine Campbell, Ara Gregorian, and Fritz Gearhart, and with Dr. Rachel Huang at UNC-Greensboro. She is certified in Suzuki Books 1-10. Currently, she is a teacher leader with the Connected Arts Network (CAN), a virtual nationwide professional learning community, and the instructor and Artistic Director of the Wake Forest Community Youth Orchestra. She has served as a strings coach for the Raleigh Children’s Orchestra in Raleigh, as a conductor/ teacher with Kidznotes, and as District 3 President of the North Carolina Music Educators Association. She also is a member of the Durham Symphony and has performed with the Raleigh Symphony.

Want to become an author for the North Carolina Symphony? Contact us!

education@ncsymphony.org

INtRoductioN

Listen to all the different instruments!

Notice how the various elements of music—tempo, texture, dynamics, melody, rhythm, and form—come together to create a feeling of energy and motion.

FEATURED

WORK: Bacchanale from Samson and Delilah

Saint-Saëns’ opera Samson and Delilah premiered in 1877 and has become one of the composer’s most enduring works. Among the many memorable moments in the opera, the Bacchanale stands out as a vibrant and captivating orchestral interlude.

The Bacchanale is featured in Act III of the opera, transporting the audience to an exuberant celebration in the Philistine city of Gaza. Derived from the word “bacchanalia,” which refers to the wild festivals dedicated to the Greek and Roman god of wine, Bacchus, this piece captures the essence of celebration and indulgence.

Charles Camille

SaiNt- S AËns

BORN: October 9, 1835, Paris, France

DIED: December 16, 1921, Algiers (El Djazair), Algeria

BIOGRAPHY (in Student Book)

Charles-Camille Saint-Saëns was a great composer, organist, conductor, and pianist of the Romantic era. He was introduced to the piano by his mother and great aunt, who recognized his musical curiosity and potential from a very young age. It became clear that he was a child prodigy when he completed his first work of music at the age of four—and he played his first concert when he was 10 years old!

To make money early in his career, Saint-Saëns played the organ in churches around Paris. He also taught at the Paris Conservatory, where his colleagues showed distress at his modern ideas about music. He also wrote books on acoustics and philosophy—plus a book of poetry and a successful play. He was a member of the Astronomical Society of France, owned a telescope made to his own specifications, and sometimes even planned concerts around astronomical events such as solar eclipses.

FUN FACTS about Camille Saint-Saëns (in Student Book)

• Saint-Saëns loved animals, and even wrote a famous piece of music called The Carnival of the Animals.

• He studied astronomy, archaeology, geology, and lepidopterology (the study of butterflies and moths)— and was also a master mathematician.

• By the age of three, he could read, write, and play piano.

Classroom activities provided by Luke Arno, West Pine Elementary School, Moore County

CLASSROOM ACTIVITY #1: Moving with the Form

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.MR.1.2 Use musical terminology when describing music that is presented aurally.

4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of a variety of styles and cultures.

OBJECTIVE: Students will use guided movement to share changes in musical form.

MATERIALS:

• Video Recording: Bacchanale from Samson and Delilah

• Balloons/Scarves

• Optional: Computer with internet access

• Optional: Display Screen

PROCESS:

1. Introduce students to the story of Samson and Delilah: Samson was incredibly strong. He was a leader of the Israelites and used his strength to protect them from their enemies, the Philistines. He was so strong that he once defeated 1,000 Philistines on his own. Samson fell in love with a beautiful woman named Delilah. She worked secretly with the Philistines to get Samson to reveal the source of his strength. She tricked him into telling her that his hair was the secret to his strength. She cut Samson’s hair, tied him up, and brought him to the Philistine priests at their temple. There, Samson prayed for God to restore his strength and pushed down the pillars of the temple, crushing the priests and himself.

2. Discuss the form of Bacchanale

a. “A” section: Played by strings.

b. “B” section: Melody played by oboe/English horn

c. Development: Played by strings.

3. Give students balloons and teach them movements for each section. Model for students how they should move differently for each section. These slides can be used for demonstration: Introduction-Slides

4. Using a recording, have students move in response to Bacchanale.

CLASSROOM ACTIVITY #2: Phrygian Improvisation

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.ML.3.1 Use improvisation to create rhythmic and melodic ostinato accompaniments.

4.ML.3.1 Use improvisation to create stylistically the correct answers to given rhythmic and melodic phrases.

OBJECTIVE: Students will use the musical form as a guide to shape improvisation.

MATERIALS:

• Xylophones/Metallophones

• Alto/Soprano Xylophones

• Hand Drums

• Maracas/Shakers

PROCESS:

1. Discuss with students the difference between Major/Minor and Phrygian mode. Demonstrate a song for students playing the same song in the three tonalities/modes.

2. Review rhythms with quarter notes, eighth notes, and quarter rests.

3. Using body percussion, teach the following ostinato:

4. Have one group of students play the ostinato on hand drums while another group plays the following ostinato on bass xylophone/metallophone:

5. Have a third group of students play steady eighth notes on maracas or shakers.

6. On alto and soprano xylophones (It is recommended that C and D be removed), remaining students will improvise an eight-beat melody while the other instruments are playing. Students should observe the following guidelines:

a. The melody lasts 8 beats.

b. The rhythm should be just quarter and eighth notes.

c. The melody should begin and end on E.

7. If time allows, students can perform their improvisation as a solo. Otherwise, they should play at the same time.

8. Rotate so that all students get to play all instruments.

CLASSROOM EXTENSION ACTIVITY: Know Your Strength

Provided by Eileen Mueller, Banks Road Elementary School, Wake County

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC, SCIENCE, TECHNOLOGY, SOCIAL STUDIES

4.MU.MR.1 Understand the interacting elements to respond to music and music performances.

4.MU.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.

4.P.2.1 Compare the physical properties of samples of matter: (strength, hardness, flexibility, ability to conduct heat, ability to conduct electricity, ability to be attracted by magnets, reactions to water and fire)

RL.3.3 Describe characters in a story and explain how their actions contribute to the sequence of events.

6.C.1 Explain how the behaviors and practices of individuals and groups influenced societies, civilizations and regions.

6.C.1.1 Analyze how cultural expressions reflected the values of civilizations, societies and regions (e.g. oral traditions, art, dance, music, literature, and architecture)

4.TT.1.3 Use technology tools to present data and information (multimedia, audio and visual recording, online collaboration tools, etc.).

OBJECTIVE: Students will learn about Bacchanale from Samson and Delilah. Students will test three different shaped columns made from paper to find out what the strongest shape is and connect that to Samson’s extreme strength as well as ancient architecture.

MATERIALS:

• Video Recording: Bacchanale from Samson and Delilah

• Introduction-Story of Samson for background information

• Samson and Delilah Introduction-Animated Story

• Samson Introduction-Video Story : another video option

• Paper Column Introduction-Paper Column video

• Three pieces of copy paper per group

• Scotch or masking tape

• A small stack of paperback books or other similarly weighted items

PROCESS:

1. Open lesson by watching video performance of Bacchanale from Samson and Delilah

2. Have a discussion on the music and the feelings it conjures up and the mood that is created.

3. Read the opera synopsis to the students. Here is a good kid-friendly version: Introduction-Summary

4. Discuss Samson and his character traits. Help the children understand that it is good to be strong physically, but it is much more important to be strong mentally and spiritually.

5. Show the STEM paper column challenge video Introduction-Paper Column video (stop at the 2:30 minute mark)

6. Place students in small groups. Distribute three pieces of paper and tape to each group. Students will follow the directions from the video and below to create three columns: circular, triangular, and square.

a. SQUARE COLUMN: Fold one piece of paper in half and then fold each end in half again towards the center fold, so the paper is split into four even segments. Fold the paper into a square and secure it with tape.

b. TRIANGULAR COLUMN: Fold the second piece of paper into thirds to create a triangular column.

c. CIRCULAR COLUMN: Tape the edges together to form a circular column.

7. Have students look at the three columns. Which do you think will hold the most weight? Students discuss their predictions.

8. Stand the square column up. Slowly stack paperback books on the end of the column until the column crushes. Students record the number of books in their notebook.

9. Do the same for both the triangular column and the circular column.

10. Examine the data. Which shape provided the strongest column? Did the other students get the same results?

11. Explain the findings. Which column supported the most weight? The cylinder should support the most weight because it doesn’t have any edges. That means that all of the weight can’t be put on one single area. All of the weight is evenly shared by the circle. The square and triangle columns try to support all the weight on their edges and corners. That doesn’t work too well, and soon the walls fold in on themselves and collapse. Encourage students to take notice when they are out and about to notice columns outside and inside of buildings. What shapes do you see?

12. Extension Activity: Share websites on famous columns from around the world. Students can choose one historic structure to research and present their findings using Google Slides. Presentations should include the history of the building/statue and a picture of it.

Introduction-Columns-1

Introduction-Columns-2

Introduction-Columns-3

DYNAMiCS

The softness or loudness of the sound

Dynamics in music refers to the volume of the composition. The words are often written in Italian. Some of the most common are piano (p), soft; pianissimo (pp), very soft; mezzo-piano (mp), moderately soft; mezzo-forte (mf), moderately loud; forte (f), loud; and fortissimo (ff), very loud.

FEATURED WORK: Overture to The Magic Flute

The Magic Flute, K. 620, is an opera in two acts by Wolfgang Amadeus Mozart with a German libretto by Emanuel Schikaneder. The work is in the form of a Singspiel, a popular form during the time it was written that included both singing and spoken dialogue.

Wolfgang Amadeus

M ozaRt

BORN: January 27, 1756, in Salzburg, Austria

DIED: December 5, 1791, in Vienna, Austria

BIOGRAPHY (in Student Book)

Wolfgang Amadeus Mozart showed promise at an early age. Watching his older sister practice the piano helped shape his understanding of musical concepts. It wasn’t long before his father, an accomplished composer and musician, began tutoring him to advance his playing. At just six years old, he and his sister started performing for audiences. The stress of touring led to frequent health issues within the family and made for a difficult childhood. These obstacles didn’t stop him from carrying on as a composer and a performer.

As he got older, Mozart eventually arrived in Vienna where he wrote music, taught lessons, and performed in various venues. His life wasn’t long, but he performed often and collaborated with other composers to create timeless art. He continued to write operas, string quartets, symphonies, and more until the end of his life, becoming one of the most well-known composers in history.

FUN FACTS about Mozart (in Student Book)

• He loved animals and had many different pets, including a horse, a dog, and two songbirds: a starling and a canary.

• He was disorganized and would refuse to organize his music. Decades after Mozart died, Ludwig Ritter von Köchel catalogued everything and revealed how much music Mozart had written.

• He spoke 15 languages! Travelling the world as a musician helped him pick up languages from every stop he made.

Classroom activities provided by Luke Arno, West Pine Elementary School, Moore County

CLASSROOM ACTIVITY #1: Dynamic Changes

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.ML.2.3 Recognize standard symbols and traditional terms for dynamics, tempo, and articulation.

3.MR.1.2 Use musical terminology when describing music that is presented aurally.

4.ML.2.4 Use standard symbols to notate rhythm, meter, and dynamics in simple patterns.

4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music from a variety of styles and cultures.

OBJECTIVE: Students will compare and contrast dynamics at various points in the music.

MATERIALS:

• Video Recording: Overture to The Magic Flute

• Computer

• Index cards/sticky notes

• Optional: Display Screen

PROCESS:

1. Introduce/review terms for Dynamics. (pp, p, mp, mf, f, ff)

2. Have students match dynamic terms with the following:

a. Dishwasher mf

b. Lawnmower (gas) f

c. Whisper p

d. Watch pp

e. Refrigerator mp

f. Motorcycle ff

Fun Fact: The trombone is louder than all of these!

3. Pass out index cards to students in groups.

4. On an interactive white board, go to https://bit.ly/MagicFlute

5. When the music stops, students should write down what dynamic levels they heard in the last section on cards/sticky notes. They should be able to put their cards in order that they hear them. They can change their previous cards depending on what they hear later.

6. Have students compare their answers to what another group has written down. The answers do not have to be exact, but both groups should check to see that they recognize contrasts and changes in dynamics.

CLASSROOM ACTIVITY #2: Dynamic Movements

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.ML.2.3 Recognize standard symbols and traditional terms for dynamics, tempo, and articulation.

3.MR.1.1 Illustrate the corresponding response to conductor gestures for meter, tempo, and dynamics.

3.MR.1.2 Use musical terminology when describing music that is presented aurally.

4.ML.2.4 Use standard symbols to notate rhythm, meter, and dynamics in simple patterns.

4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music in a variety of styles and cultures.

OBJECTIVE: Students will explore dynamics in music expressed through movement.

MATERIALS:

• Video Recording: Overture to The Magic Flute

• Balloons/scarves

PROCESS:

1. Review Dynamic levels and terms with students.

2. Conduct a 4/4 pattern for students and have them clap a steady beat. Demonstrate how the conductor can show different dynamic levels with their pattern. Have students name the dynamic level conducted and respond with clapping at the appropriate level.

3. Discuss storyline of The Magic Flute Dynamics-Story

4. Give each student a balloon. Practice tapping the balloons at different heights to reflect different dynamic levels.

5. Use the balloons to move to the Overture to The Magic Flute, responding to the different dynamics heard in the music. Begin with students mirroring, eventually allowing students to move independently.

CLASSROOM EXTENSION ACTIVITY: Learning About Sound with Pan Flutes

Provided by Eileen Mueller, Banks Road Elementary School, Wake County

NORTH CAROLINA ESSENTIAL STANDARDS IN MATH, SCIENCE, MUSIC, AND ELA

4.SL.2 Paraphrase portions of a text read aloud or information presented in diverse media and formats, including visually, quantitatively, and orally.

2.MD.1 Measure the length of an object in standard units by selecting and using appropriate tools such as rulers, yardsticks, meter sticks, and measuring tapes.

4.MD.1 Know relative sizes of measurement units. Solve problems involving metric measurement; Measure to solve problems involving metric units: centimeter, meter, gram, kilogram, liter, milliliter.

4.MU.MR.1 Understand the interacting elements to respond to music and music performances.

4.MU.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.

4.MU.MR.1.4 Classify instruments into Western orchestral categories of wind, string, percussion, and brass

2.P.1 Understand the relationship between sound and vibrating objects.

2.P.1.1 Illustrate how sound is produced by vibrating objects and columns of air.

4.TT.1.3 Use technology tools to present data and information (multimedia, audio and visual recording, online collaboration tools, etc.).

OBJECTIVE: Students will learn about The Magic Flute by listening to a story. Students will then create a pan flute using straws to illustrate that sound vibrations can be seen, heard, felt, and amplified.

MATERIALS:

• Video Recording: Overture to The Magic Flute

• The Magic Flute by Kyra Teis: Dynamics-Story Read Aloud (To buy the book: Dynamics-Book)

• Shorter video synopsis: Dynamics-Story

• “Meet the Flute and Piccolo” video from the North Carolina Symphony: Dynamics-NCS Video

• “How to Make a Pan Flute” Dynamics-Pan Flute Video

• 8 plastic straws per student

• Tape

• Pen

• Rulers

• Scissors

PROCESS:

1. Introduce students to The Magic Flute by reading aloud the book or video by Kyra Teis. If limited on time, view the shorter video synopsis.

2. Lead a discussion to ensure students understand the opera, the characters, plot, etc.

3. Discuss the significance of the flute in the opera and how it helped Prince Tamino through his harrowing journey to Princess Pamina.

4. Show the “Meet the Flute and Piccolo” video to familiarize students with the instruments and the woodwind family. Another option is to show this performance of The Magic Flute: Dynamics-Performance.

5. Explain to students that they will now create their own instrument that is in the woodwind family, a “magic pan flute,” using everyday items. Share the “How to Make a Pan Flute” video with directions. Pause throughout to make sure students understand each step.

6. Provide each student with a ruler, 8 straws, pen, and scissors.

7. Students measure and cut straws the following lengths: 20cm, 18cm, 16cm, 14cm, 12cm, 10cm, 8cm, 6cm. Provide help as needed with the measuring portion of lesson.

8. Students line up their straws in length order. Teacher can decide whether students or the teacher will tape the straws together. Another option is to show a few students how to tape the straws and designate them as class helpers to show others.

9. Questions to ask the students:

a. What is sound? Sound is a series of waves that travel through the air and are interpreted by our ears and brain.

b. Why do we hear sound when we blow into this flute? The pan flute is an end-blown flute. Sound is produced by the vibration of an air stream blowing across an open hole at the end of the tube. The air moves through the straw, vibrating along the way and out to the end.

c. Why do we hear different sounds? This is what we call pitch. The pitch of a music note is determined by its sound wavelength. Each straw produces a music note of different pitch in a musical scale called an octave. The wavelength that can be played depends on the length of the instrument.

10. Give the students time to explore their new instrument and create sounds!

RhYtHM

A pattern of notes of varied lengths and accents... the beat or the pulse of the music

“Rhythm” refers to placement of sounds as they move through time, usually forming a pattern. Every change in the pattern is a new rhythm.

FEATURED WORK: Bal masqué , Op .22

Bal masqué, written in 1894, takes inspiration from the festive and masked balls of the 19th century. Bal masqué exhibits Beach’s innovative use of chromaticism, lush harmonies, and rhythmic complexity, creating a rich tapestry of sound that captures the whimsical and mysterious atmosphere of a masquerade. With its colorful orchestration and dynamic shifts, Bal masqué remains a remarkable testament to Beach’s unique musical voice and her significant contribution to American classical music.

BORN: September 5, 1867, Henniker, New Hampshire

DIED: December 21, 1944, New York, New York

BIOGRAPHY (in Student Book)

Amy Marcy Cheney began formal piano lessons at the age of six and soon gave public recitals of the works by Beethoven and Chopin. She also performed her own pieces. In 1875, her family moved near Boston, and she was advised to enroll in a European conservatory— but she declined and studied piano privately, even translating essays on orchestration from French for herself. She performed as a pianist with notable orchestras including the Boston Symphony Orchestra and the Handel and Haydn Society.

In 1885, at the age of 18, she married Henry Harris Aubrey Beach, a Boston surgeon who was 24 years older than her. She was not allowed to tutor; she limited her recitals to two per year (under the name “Mrs. H. H. A. Beach”) and wrote music. In 1896, her “Gaelic Symphony” was premiered by the Boston Symphony. It was the first complete symphony composed and published by an American woman. Later in life she changed her name to Amy Beach, toured Europe, and went on to write and give speeches about music and performing.

FUN FACTS about Amy Beach (in Student Book)

• By age one, she could sing forty songs. By age three, she had learned how to read.

• She was one of the first American composers to succeed without European training, and one of the most respected and acclaimed American composers of her era.

• Later in life, she founded “Beach Clubs” to encourage music education for children and served as the first president of the Society of American Women Composers.

Classroom activities provided by Alexis Kagel, Central Elementary School, Orange County

CLASSROOM ACTIVITY: Playing with Triple Meter

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.ML.2.1 Interpret rhythm patterns, including notes and rests in 3/4- and 4/4-meter signatures.

3.ML.3.1 Use improvisation to create rhythmic and melodic ostinato accompaniments.

4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, eighth notes and rests in 2/4, 3/4, and 4/4 meter.

5.ML.1.2 Use music terminology in explaining music, including notation, instruments, voices, and performances.

5.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, dotted quarter, eighth, and sixteenth notes and rest in 2/4-, 3/4-, 4/4- and 6/8-meter signatures.

5.ML.1.3 Use instruments to perform rhythmic, melodic, and chordal patterns accurately and independently on classroom rhythmic, melodic, and harmonic instruments.

OBJECTIVE: Students will recognize examples of duple, triple, & quadruple meters. They will be able to create rhythmic patterns in triple meters.

MATERIALS:

• Video Recording: Bal masqué, Op. 22

• Listening examples in duple and triple meter (see below for examples)

• Scarves

• Drum and mallet

• 3/4 rhythmic notation

• Rhythm sticks

PROCESS:

1. Present to students that much of the music they hear can be broken down into patterns of two, three, or four. These are duple, triple, and quadruple meters. There are many other meters in music, but we’re talking about the music they will interact with daily. You don’t have to look at a piece of music to discover the meter, just listen for where the strong first beat and then how many beats follow it.

2. Demonstrate how to clap duple, triple, and quadruple meters, accenting the first beat.

3. Play “Time Tag” to further demonstrate the difference between duple, triple, and quadruple meters.

a. The teacher plays a drum with a mallet, hitting the drumhead on beat 1 and tapping the side on the other beats. The teacher plays the drum either in a time signature in duple or triple meter, first telling them which they are using, and then eventually having them guess.

b. Students may only take a step on the 1st beat.

c. One student has a scarf, and they are “it.” They also may only walk on beat 1 and may only tag other students with the scarf on beat 1.

d. If a student is tagged, they get a scarf and they are also “it.” Eventually there will be more students with scarves than students without. The game ends when every student has a scarf, or whenever they decide.

4. Play or sing short clips of songs in duple, triple, and quadruple meter, and challenge them to quietly tap the beat to discover which it is. Listen for the strong first beat. You can choose a mix of songs your students are familiar with or unfamiliar with. You can also choose from many different genres. Here are a few examples to get started.

Duple Meter: The Stars and Stripes Forever – John Philip Sousa

“Harvey the Wonder Hamster” – “Weird Al” Yankovic

Triple Meter: “Happy Birthday”

“Fallin’” – Alicia Keys

“Rainbow Connection” – Paul Williams and Kenneth Ascher for the Muppets

Underwater Theme – Koji Kondo for Super Mario Bros.

Quadruple Meter: “Happy” – Pharrell Williams

“Let it Go” – Kristen Anderson-Lopez and Robert Lopez for Frozen

“Dance Mode” – Joff Bush for Bluey

5. When students can accurately guess if the song is duple, triple, quadruple, play Bal masqué and see if they can find the meter. Explain that Bal masqué is a waltz written by American composer Amy Beach. A waltz advances in triple meters.

6. Using rhythm sticks, see if students can play rhythms in 3/4 along to the beat of the music. Use the ones below or create your own. Demonstrate tapping the rhythms in a variety of ways as well (ex. tap the floor, tap high, tap low, etc.)

7. When students are ready, challenge them to play a rhythmic pattern of their choice in 3/4 using rhythm sticks. Their pattern could be one you taught, or they could improvise a new pattern. Depending on your students, you could have them work by themselves, in pairs, or in small groups.

8. Have half of the students play their rhythms while the other half of the class watches and keeps a steady beat. When finished, have students share what they noticed and wondered about the performing students’ patterns.

CLASSROOM EXTENSION ACTIVITY: Creative Composers

Provided by

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC, SOCIAL STUDIES, TECHNOLOGY

4.ML.2 Interpret the sound and symbol systems of music.

4.MU.ML.3.2 Create compositions and arrangements using a variety of traditional and non-traditional sound sources.

4.ML.3 Create music using a variety of sound and notational sources.

4.MU.MR.1 Understand the interacting elements to respond to music and music performances.

4.MU.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.

4.TT.1.3 Use technology tools to present data and information (multimedia, audio and visual recording, online collaboration tools, etc.).

5.H.2.3 Compare the changing roles of women and minorities in American society from Pre-Colonial through Reconstruction.

OBJECTIVE: Students will learn about musical composition and create their own songs.

MATERIALS:

• Video Recording: Bal masqué, Op. 22

• New Hampshire Public Radio: Rhythm-Broadcast

• World’s Most Notable Female Composers: Rhythm-List of Women Composers

• Bal masqué Rhythm-Manuscript

• Composing website: Rhythm-Composing for Kids

• Hot Cross Buns Piano Tutorial: Rhythm-Tutorial

• Three-note song video: Rhythm-Three Notes

• Music sheet template: Rhythm-Music Sheet

• Music certificate template

• Composing Music with math: Rhythm-Math Activity

PROCESS:

1. Introduce the piece by showing the Bal masqué performance

2. Ask students to describe the music: what do they notice and wonder?

3. Amy Beach has an interesting life story, so be sure to spend time discussing her childhood, limitations, talents, and achievements by using the biographical Info on Amy Beach and the New Hampshire Public Radio broadcast (be sure to click on the listen button).

4. Discuss the word “compose/composition.” Musical composition can mean an original piece of music, the structure of a musical piece, or the process of making a new piece of music. A composition is a piece of music (the word “composition” means “putting together”, so a composition is something where music notes have been put together). When a composer writes a piece of music he or she is making a musical composition.

5. Show the Bal masqué manuscript and ask students what they notice and wonder. Ask if they feel confident in their ability to compose a song. Generally, the consensus should be no because reading and writing music is no easy task.

6. Let students know that today they will compose their first piece using a website

7. Teacher will model how the website works with the Hot Cross Buns tutorial. Show students the features of the website and how they can listen and share a link to their piece.

8. Students will practice by playing this simple 3-note song. Provide students with time to explore on the website.

9. Students can then write their song on the sheet music template to practice writing notes.

10. Teacher will present students with a certificate using this template to celebrate their music composition achievements!

EXTENSION IDEAS

1. Research world’s most notable female composers using the list of women composers. Students can then share information using Google Slides.

2. Try some fun math-related ideas in the Composing Music with Math blog.

F oRM

How the sections of music are put together...the structure

Form can be described as the map, layout, or blueprint for the music’s structure. It is the overall organizational plan the composer creates, dividing the composition into sections arranged in a specific order.

FEATURED WORK: The Entertainer

The Entertainer is a celebrated ragtime composition that emerged in 1902. It quickly became one of Joplin’s most renowned works and played a significant role in popularizing ragtime music. The piece is characterized by its infectious syncopated melodies and lively rhythms. Thanks to its timeless appeal, The Entertainer has endured as a classic in American music, receiving widespread recognition when it was prominently featured in the film The Sting in 1973. With its catchy melodies and vibrant rhythms, Joplin’s The Entertainer remains an iconic piece of ragtime history.

Scott J opliN

BORN: circa 1867, in eastern Texas

DIED: April 1, 1917, in New York, New York

BIOGRAPHY (in Student Book)

Scott Joplin was an American composer and pianist who achieved fame for his ragtime compositions and was often referred to as the “King of Ragtime.” His father was a musician from North Carolina who quickly recognized his son’s musical talent, so he started piano lessons as a child. After his father left the family in Arkansas, Scott’s mother wanted him to continue with his music—but it was hard to find a teacher. A musician named Julius Weiss was impressed with Scott’s talent, teaching him for free and helping his mother find a used piano. By the 1880s he was able to make a living for himself playing piano in music clubs—but he always thought of ragtime as a form of classical music that should be heard in concert halls.

As a performer, Joplin was best known for his piano rags. A “rag” is a piece of music with a unique rhythm. Instead of emphasizing the main beats, composers accent the off-beats, also known as syncopation. In a rag, it’s as if the composer took a piece of music and “ragged” it or tore it up, because when the pieces are all put together, they don’t quite match!

FUN FACTS about Joplin (in Student Book)

• His nickname was the “King of Ragtime,” but he called himself “The Entertainer.”

• He wrote two operas. The score for the first was stolen from him and never recovered, but the second was eventually performed—in 1972.

• He had perfect pitch, or the ability to sing any pitch without having to hear it first.

Classroom activities provided by Tonya N. Suggs, Wildwood Forest Elementary School, Wake County

CLASSROOM ACTIVITY #1: Listen and Design

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC

2.ML.1.4 Apply changes in music to the elements of dynamics, tempo, melody, and form.

2.MR.1.2 Illustrate melodic patterns, dynamics, and forms.

4.MR.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music variations of styles and cultures.

OBJECTIVE: Students will show and illustrate the piece by creating a Rondo Friendship Bracelet.

MATERIALS:

• Video Recording: The Entertainer

• Exercise: Label the Rondo Form

• Exercise: Designing a Rondo Friendship Bracelet

• Glue stick and/or tape

• Pencil

• Scissors

• Crayons

PROCESS:

1. Lead students in a general discussion of how various items are put together across the world.

Example: Patterns and/or colors when writing a paper, library books, clothing, etc

2. Tell students they will learn about form. A general definition of form is how something is put together. In music compositions, different themes are put together to make a whole composition.

3. Share with students that a rondo is a type of musical form.

4. Explain to students that sections within a music composition can vary from 2 to 4 themes, or more.

5. Each theme is given a letter to distinguish from other themes.

Example: A A B B A C C D D

6. Tell students this may include an introduction and an interlude. Explain introduction and interlude.

7. Refer to Label the Rondo Form exercise with letters after listening. Read directions and have students place letters as they listen to The Entertainer

8. Have students listen to The Entertainer and fill in the order of the rondo form. Listen as a class and discuss the correct rondo form for this piece.

Label the Rondo Form

Following discussion of the definition of rondo form, have students listen to The Entertainer and label/write in the letters that represent each theme as well as an intro and interlude (ex: Intro-A-A-B-B-A-A-C-C-Interlude-AA). Students will place the sections in the order they hear below. Tell students they may hear repeated sections.

9. Give students the Designing a Rondo Friendship Bracelet worksheet. Follow directions on the worksheet. This sheet can be photocopied so that students may cut out the patterns to complete the activity. Students may work in partner groups.

10. Label the back of each differing pattern and then cut it out.

11. Students will listen to The Entertainer. As they listen, students can place the patterns in the order that they hear it. At this point, the different patterns are placed in a particular order. Students do not need to have glued parts yet. After the piece is played, the teacher will ask the class:

a. How many parts were there to this piece? (6)

b. What was the order of themes in this form? Have students share. Share the correct answer.

12. Tell the students this form is a rondo.

13. Ask the students to share info with their classmates and then the class and discuss the following questions with the class and a classmate.

a. Was there a recurring theme? (Yes)

b. What letter did they assign the recurring theme? (A)

c. How many different sections were there and what were they labeled? (B, C, D)

14. Share the correct rondo form for The Entertainer. (Intro A A B B A C C Interlude D D)

15. Show your example of how you assigned letters to the unique designs to create your bracelet.

16. Have students create their rondo bracelets by gluing the parts together and sharing with the class partners.

17. How does the rondo form create an interesting, varied design in their bracelet using rondo form?

Create a Rondo Friendship Bracelet

Neatly cut out the pattern blocks. Assign a different pattern (your choice!) to each part of the rondo—A, B, C, D, Intro, and Interlude—and label the patterns on the back.

As you listen to The Entertainer, arrange the labeled pattern blocks in the order that you hear them played. Once you have the correct order, glue your patterns together to create a unique Rondo Friendship Bracelet.

CLASSROOM ACTIVITY #2: Create and Compose

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

4.ML.3.2 Create compositions and arrangements using a variety of traditional and non-traditional sound sources.

5.ML.3.2 Create compositions and arrangements within specified guidelines.

OBJECTIVE: Students will create a rondo musical composition on Songmaker or the Chrome Music Lab.

MATERIALS:

• Video Recording: The Entertainer

• Chromebook / Songmaker / Chrome Music Lab

PROCESS:

1. Ask students what they think it means to compose.

2. Share with your students that composing music means to write and create music.

3. Tell students they will compose a short music instrumental composition in rondo form using their Chromebook. Their rondo music composition will have at least 3 parts.

4. Have students go to Songmaker in Chrome Music Lab: Form-Songmaker

5. Teachers will explore and demonstrate basic functions to show students how to navigate in the program.

6. Demonstrate how basic program functions work in general.

7. Suggest students first establish the rhythmic foundation which is on the last two dotted rows at the bottom of the screen.

8. Students can later use the colored grid, which represents pitched sounds representing the 7 music pitches and which also correlate to the boom whacker colors. The last two dotted lines are the rhythmic bass and “high hat” sound of a drum set.

CLASSROOM ACTIVITY #3: Step and Move!

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, and eighth notes and rests in 2/4-, 3/4-, and 4/4-meter signatures.

OBJECTIVE: Students will demonstrate the form of rondo through various body movement and step patterns.

MATERIALS:

• Video Recording: The Entertainer

• Rhythm sticks

PROCESS:

1. Have the students form several lines. There will be 5 students in each line.

2. Pass out rhythm sticks.

3. Introduce and show students the following movement and step patterns.

4. Teachers may show a video to teach the students how it is done.

A Section VIDEO

Click rhythm sticks together in “x,” tap under each lifted knee and back together in “x” shape and end phrase with 3 taps

VIDEO DEMONSTRATION

Measure Count

m. 22-23 8 counts

Body Percussion/”Step” Pattern

Alternating small “V” step and tap ground then sticks click sticks together; right foot leads, step (front-rightleft, back-right-left) 2x

m. 24-25 8 counts

m. 26,27 8 counts

m. 28-29

8 counts

m. 30-31 8 counts

m. 32-33 8 counts

m. 34-35 8 counts

3 steps forward and click and back 3 steps and click (left foot leads and tap floor with both hands)

Alternating small “V” step and tap ground then sticks click sticks together; right foot leads, step (front-rightleft, back-right-left) 2x

Double clicks above head then under each starting with left knee, above head to under right knee

Alternating small “V” step and tap ground then sticks click sticks together; right foot leads, step (front-rightleft, back-right-left)

3 steps forward and click and back 3 steps and click (left foot leads and tap floor with both hands)

Side-step to left and right alternately

m.36-37,38

8 counts

March in place for 8 steps while tapping sticks at waist level 2x, above head 2x then 1x -front at waist, 1x -cross on thighs and 1x -front waist again m.

VIDEO DEMONSTRATION

Measure Count

m. 55-56 8 counts

Body Percussion/”Step” Pattern

Step right and pat alternating stick pattern on right thigh

m. 57-58 8 counts

Step left and pat alternating over left thigh

m. 59-62 8 counts

Students hit sticks twice out to side buddy twice then cross inward to own sticks once then repeat starting inward (out-out-in-cross, in-in-out in 4 counts, then back to out-out-in-out for 4 counts)

m. 63-64

8 counts

Step right and pat alternating stick pattern on right thigh

m. 65-66 8 counts

m. 67-70,71

(REPEAT)

16 counts

Step left and pat alternating over left thigh

Sticks hit in “T Shape” 4 times on left and 4 times (“T shape) on right, “T Shape” 4 times on left and once up-down-up

(Same as m. 34-37 moves) Side-step to left and right alternately

m. 72-75

16 counts

March in place for 8 steps while tapping sticks at waist level 2x, above head 2x then 1x -front at waist, 1x -cross on thighs and 1x -front waist again

D Section (COLLABORATIVE) (Students turn to partner)

VIDEO DEMONSTRATION

Measure Count

Body Percussion/”Step” Pattern

m. 76-81

8 Counts in 3 sequences or 24 counts

Tap floor twice, tap sticks together twice, Tap partner’s sticks twice in front of them, Tap own sticks twice

m. 82-83

8 counts

Stick pattern: right-left-right, left, right (in same rhythm as m. 82 to first beat of m. 83)

m. 84-87

8 Counts in 3 sequences or 24 counts

Tap floor twice, together twice, Tap partner’s sticks twice in front of them, Tap own sticks twice

m. 88-89

8 counts

Back step-click 4x, Forward step-click 4x

m. 90-91 (REPEAT)

8 counts

Back step-click 4x, Click sticks together 2 times and bow

m. 92

4 counts

Click rhythm sticks out (to side partners’ sticks) -in-out (to start partner’s sticks then bow)

CLASSROOM ACTIVITY #4: Rondo Movement Piece

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, and eighth notes and rests in 2/4-, 3/4, and 4/4-meter signatures.

OBJECTIVE: Students will reinforce their knowledge of rondo form and will collaborate in groups to create movement for the different themes of rondo form in The Entertainer by Scott Joplin.

MATERIALS:

• Video Recording: The Entertainer

PROCESS:

1. Review the meaning of rondo form in music.

2. Have students reflect on the music from The Entertainer by Scott Joplin. What emotion do they feel as they listen to it?Why?

3. Have students share individually.

4. Invite a student or students to the whiteboard to write the parts of the rondo form what they remember from earlier activities based on rondo form.

5. Share with students they will learn a movement piece based on rondo form. Reinforce classroom expectations remind students of the importance of working together respectfully.

6. Share with students, and they will all learn the A section and the intro.

7. Demonstrate the Intro and A part of rondo form for The Entertainer Teach the movement to the students in slow motion and counting. Credit to LaShiska Davis of Right Moves Dance Academy for assistance with “A” movement for this period dance.

8. Refer to the tutorial video link

9. Students will now collaborate with other classmates for the next part of the activity.

10. Reinforce classroom expectations and respect that should be demonstrated in groups. Encourage students to value everyone’s ideas and incorporate parts of it as much as possible.

11. Have students split into 4 groups and assign a section from rondo.

Example: Group 1 – B section; Group 2 – C section; Group 3 – interlude section; and Group 4 – D Section

12. Share with students they will now create their own movement/dance for their group. Teachers can allow each group to listen to their piece and create movements as a group.

13. While one group is working, the other groups can work on a worksheet such as a word-search puzzle about Scott Joplin or read the biography from student books and discuss with their groups quietly. Students may also quietly brainstorm movements until their group is called to listen to their section and work exclusively.

14. After all groups have created their moves, the whole class will perform the Intro and A sections of The Entertainer and each group thereafter will share just their movements when they hear their assigned section in the piece.

CLASSROOM EXTENSION ACTIVITY

Provided

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC AND SCIENCE

2.P.1 Understand the relationship between sound and vibrating objects.

2.P.1.1 Illustrate how sound is produced by vibrating objects and columns of air.

4.MU.MR.1 Understand the interacting elements to respond to music and music performances.

4.MU.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.

4.TT.1.3 Use technology tools to present data and information (multimedia, audio and visual recording, online collaboration tools, etc.).

OBJECTIVE: Students will familiarize themselves with Scott Joplin’s The Entertainer. In doing so, they will learn about ragtime and the mechanics of the player piano. Students will then make a kazoo to see the role air has on sound and vibration.

MATERIALS:

• Toilet paper rolls

• Wax paper (pre-cut circles with a 3-inch diameter)

• Rubber bands

• Pencil

• Stickers, markers, crayons (optional)

• Video Links:

Form-Orchestral Arrangement

Form-Player Piano

Form-Scott Joplin and the Player Piano

Form-Biography of Scott Joplin

Form-Kazoo & Banjo

Form-How to Make a Kazoo

Form-Make a Kazoo

PROCESS:

1. Introduce The Entertainer with this orchestra version. Ask students to share opinions and what they notice and wonder.

2. Take some time to discuss Scott Joplin and his musical style and his accomplishments. These two videos are great resources: (1) Scott Joplin and the player piano video and (2) biographical video on Scott Joplin.

3. Show The Entertainer on the player piano video and ask students how they think a player piano works. Here is a brief explanation: Player pianos were powered by foot treadles, like old sewing machines, that pumped air through the machine. It was “programmed” by a paper roll with up to 88 holes—one for each key. When air went through a hole, it caused a small pneumatic device to strike a particular key.

4. Make sure you emphasize that the sound was produced by the force of air.

5. Ask students if they can name other instruments that rely on air. Then play this video and lead a discussion about the kazoo and share how they work: A kazoo player hums, rather than blows, into the bigger and flattened side of the instrument. The oscillating air pressure of the hum makes the kazoo’s membrane vibrate. The resulting sound varies in pitch and loudness with the player’s humming.

6. Tell students that they will make their own kazoo using toilet paper rolls and wax paper.

7. Show one of the tutorial videos on making a kazoo.

8. Students can decorate their kazoo with stickers, markers, or crayons and let the tunes flow!

tempo

The speed of the music...how fast or how slow

Form can be described as the map, layout, or blueprint for the music’s structure. It is the overall organizational plan the composer creates, dividing the composition into sections arranged in a specific order.

FEATURED WORK: “Can-Can” from Orpheus in the Underworld

“Can Can” is a lively and iconic composition by Jacques Offenbach, featured in his operetta Orpheus in the Underworld

Set in the mythical realm of Greek mythology, the operetta humorously portrays the adventures of Orpheus and Eurydice. Dance, performed during a raucous infernal party, serves as a highlight of the production. The music is characterized by its catchy melodies and energetic rhythms; exuberant can-can dance steps involve high kicks and choreographed leg movements. With its playful spirit, “Can-Can” has become synonymous with French cabaret culture and remains an enduring emblem of enthusisam and enjoyment of life.

Jacques

O FFeNbacH

BORN: June 20, 1819, Cologne, Germany

DIED: October 5, 1880, Paris, France

BIOGRAPHY (in Student Book)

Jacob Offenbach was born in Germany, the seventh of ten children. His father Isaac played the violin in cafés and served as a cantor in synagogues. When Jacob was six, his father taught him to play the violin; within two years he was composing his own songs and dances. By age nine, he had taken up the cello and joined his brother Julius (violin) and sister Isabella (piano) to perform at local dance halls, inns, and cafés.

In 1833, young Julius and Jacob went to Paris to study at the famous Paris Conservatory. They adopted French names and became Jules (Julius) and Jacques (Jacob). Jules was a diligent student and later was the conductor of his brother’s orchestra.

Jacques is remembered for his nearly 100 operettas, such as Orpheus in the Underworld and The Tales of Hoffmann. He also composed a variety of other music including orchestral pieces and chamber music.

FUN FACTS about Jacques Offenbach (in Student Book)

• He was always a prankster and once conspired with another cellist that in a concert they would each play half the notes.

• The French government gave him their greatest award, the “Legion of Honor,” for writing Orpheus in the Underworld.

• He was famous for his generosity and hospitality.

Classroom activities provided by Caitlin Joyner, Hobbton Elementary School, Sampson County

CLASSROOM ACTIVITY #1: Comparing Tempos through Movement

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.ML.2.3 Recognize standard symbols and traditional terms for dynamics, tempo, and articulation.

4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo, and articulation while performing music.

OBJECTIVE: Students will show understanding of tempo through movements using scarves, ribbons, and other manipulatives.

MATERIALS:

• Video Recording: “Can-Can” from Orpheus in the Underworld

• YouTube: Tortoises from Saint-Saëns’ The Carnival of the Animals: Tempo-Tortoises

• Scarves, ribbons, fans

PROCESS:

1. Review Tempo terms with flash cards and ‘I Have/Who Has’ game

a. Students each receive a card that has a tempo term and a definition of a different tempo term

b. Students are to put themselves in order so that as they go around the circle, the tempo term matches the definition the person has before them.

2. Depending on the number of students and terms you want to use, you may want to split the group.

3. Listen to the Offenbach recording and discuss which tempo marking students think is most appropriate for the piece.

4. As a class, students will choose which dance prop to show the tempo of the music, allowing all students to have a choice and use whichever prop they like best (scarves, ribbons, fans, etc.)

5. Students will split into groups of 4 or less and have the chance to choreograph movements to the music.

a. Movements MUST show the tempo of the music, and change with the different sections

b. Play the music while students are working with their groups so they can hear what they are working towards!

6. Once students have had a chance to create their own motions, they will present them to the class.

7. As a class, pick and choose parts from each group’s movements to make one big class performance.

8. If time allows, repeat steps 2-6 with Saint-Saëns’ Tortoises from The Carnival of the Animals (same melody as “Can-Can”!)

This can open a discussion as to how tempo creates mood and atmosphere in a piece of music. Students will hear the same melody but in two different tempos, which drastically changes the mood of the piece.

CLASSROOM ACTIVITY #2: Conducting the Class in a Rhythm Play Along

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.ML.2.3 Recognize standard symbols and traditional terms for dynamics, tempo, and articulation.

4.ML.2.3 Interpret standard symbols and traditional terms for dynamics, tempo, and articulation while performing music.

5.ML.2.3 Apply understanding of standard symbols and traditional terms for dynamics, tempo, articulation, rhythm, meter, and pitch when reading and notating music.

OBJECTIVE: Students will show understanding of tempo while conducting the class in a rhythm play along.

MATERIALS:

• Video Recording: “Can-Can” from Orpheus in the Underworld

• Classroom instruments

• Pencils

• Index cards

• Conductor batons/dowel rods/cleaning rods.

PROCESS:

1. Review of tempo terms

a. Students partner up (If odd number of students, have one group of three)

b. Each pair gets a stack of flashcards with tempo terms on them

c. Students hold flashcards to their foreheads so their partner can see the tempo term. The partner must guess the term.

There is no skipping in this version! Students must guess the term correctly to the point or lose the point if they get it wrong after they guess. Students alternate back and forth: one student guesses, then the other student takes a turn. After every pair has completed their stack of flashcards, students return to their seats, and take turns choosing an instrument.

2. Once all students have an instrument to use, they are given an index card and a pencil (if they didn’t bring their own) and are instructed to create a four-beat pattern (or ostinato) that they can play on their individual instruments.

a. For activities like this, I limit them to using quarter, half, and eighth notes, along with quarter rest to keep it simple.

b. I also limit their ostinato to four beats so they can easily memorize it.

3. All students will take turns playing their ostinatos individually. After all students have had a chance to perform, we will take a vote on which ostinatos we think fit best with “Can Can” to use as an ostinato.

a. For more advanced classes, we will choose multiple (think three or four) and break into groups.

b. For EXTREMELY advanced groups, every child will perform their own ostinato.

4. The teacher will practice conducting the class along with the recording while students perform the chosen ostinatos.

5. Once the class feels comfortable playing while watching the conductor, students can volunteer to take turns conducting the class. Students will need to focus on watching the conductor for tempo changes, speeding up, slowing down, or performing in cut time.

CLASSROOM EXTENSION ACTIVITY:

Understanding Tempo and Speed with Cans

Provided by Eileen Mueller, Banks Road Elementary School, Wake County

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC, SCIENCE, PHYSICAL EDUCATION, AND TECHNOLOGY:

4.MU.MR.1 Understand the interacting elements to respond to music and music performances.

4.MU.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.

3.ML.1.1 Apply elemental changes, including changes to dynamics, tempo, timbre, or texture, when singing or playing music.

3.P.1.1 Infer changes in speed or direction resulting from forces acting on an object.

PE.4.MS.1.4 Identify tempo in slow and fast rhythms.

4.MS.1 Apply competent motor skills and movement patterns needed to perform a variety of physical activities.

4.TT.1.3 Use technology tools to present data and information (multimedia, audio and visual recording, online collaboration tools, etc.).

OBJECTIVE: Students will learn about tempo by listening to Jacques Offenbach’s “Can-Can” from Orpheus in the Underworld. Students will then participate in a movement and music activity using tin cans.

MATERIALS:

• Video Recording: “Can-Can” from Orpheus in the Underworld

• Can-Can video from Tom & Jerry to pique their interest: Tempo-Tom & Jerry

• “What Is Tempo?” video: Tempo-Definition

• Video clip from Stomp: Tempo-Stomp

• Can-Can with cans video: Tempo-Can Can Can-Can

• Tin cans for students

PROCESS:

1. Begin by showing the can-can video from Tom & Jerry to pique their interest. Ask students if they have heard the song before.

2. Watch the North Carolina Symphony’s performance of “Can-Can” from Orpheus in the Underworld.

3. Introduce Jacques Offenbach using the Student and Teacher workbooks.

4. Lead a discussion about what they observed in the piece—speed, tempo, etc. Discuss how “Can-Can” is well-known for its demonstration of tempo.

5. Watch the “What Is Tempo?” video. Also view the graphic on the next page that connects tempo speeds with commonly known animals.

6. Explain to students that everyday items have been used as instruments all throughout history. Show clip from Stomp where trash can lids are used as instruments. Be sure to point out the tempo changes in the clip.

7. Pass out two tin cans per student—soup cans or soda cans will work. Explain that they will use the cans to play along with Offenbach’s “Can-Can.”

8. Show this video with actual cans to demonstrate and have students follow along. Let the music-making begin!

9. Let students know they can use cans to play along with any song! Brainstorm other homemade instruments they can use in lieu of cans. Encourage them to be creative and make music out of everyday items they have at their disposal.

10. Alternate Idea: students can make drums out of cans and balloons. Directions are found here: Tempo-Making a Drum

t EX t UR e

The overall sound of the instruments that are playing...it’s how the music feels

Texture is the aspect of music that describes how melody and harmony interact in a piece of music. There may be an instrument played alone or many parts played at the same time. There may be a single melody supported by harmony, or multiple independent melodies being played by different instruments simultaneously, or in a call and response format. These compositional choices influence the mood or feeling of a piece of music. A “thin” texture may be one instrument playing a simple melody. A “thick” texture may be more than two instruments playing complex line together. The texture usually becomes thicker or heavier when more instruments play together and when their parts are denser.

FEATURED WORK: The Sea and Sinbad’s Ship from Scheherazade

The Sea and Sinbad’s Ship is a captivating movement from Nikolai Rimsky-Korsakov’s symphonic suite Scheherazade. Inspired by the tales of One Thousand and One Nights, the piece depicts the adventurous journey of Sinbad the Sailor across the vast seas. The music paints a vivid picture of the rolling waves, the grandeur of Sinbad’s ship, and the sense of exploration and wonder. Through its lush orchestrations, the composition evokes the beauty and power of the sea, employing soaring melodies, dramatic shifts in dynamics, and intricate orchestral textures. Rimsky-Korsakov’s mastery of orchestration shines in this piece, creating a mesmerizing musical portrayal of Sinbad’s epic voyage.

Nikolai

R imskY- koRsAKov

BORN: March 18, 1844, Tikhvin, Russia

DIED: June 21, 1908, Luga, Russia

BIOGRAPHY (in Student Book)

Nikolai Rimsky-Korsakov came from a powerful family. He joined the Navy at 12 and came to love music while studying mathematics and navigation, when his older brother recommended he take piano lessons to help him overcome shyness. Mily Balakirev, an influential composer, encouraged Rimsky-Korsakov to perform his own works. Along with Balakirev, Borodin, Cui, and Mussorgsky, he was a member of a group of Russian composers known as “The Five” or “the Mighty Handful.” Though he started with little formal knowledge of composition, Rimsky-Korsakov wrote by intuition between his voyages at sea. After he took on a position as a teacher at the St. Petersburg Conservatory, he stopped composing for three years—studying at night and lecturing during the day until he became renowned for his orchestrations. He later went back to his old music and re-wrote much of the orchestration.

Rimsky-Korsakov struggled to find acceptance among his peers and was constantly trying to balance his personal style with an “appropriate” musical structure. His obsession with counterpoint is an example of this, repeating specific phrases and layering them throughout the piece.

FUN FACTS about Rimsky-Korsakov (in Student Book)

• He is probably best known for his work “The Flight of the Bumblebee,” but he produced a lot of varied compositions and works during his life.

• He was a mentor and teacher to hundreds of musicians including composers Igor Stravinsky and Sergei Prokofiev.

• Though he nearly gave up composing several times, he completed 11 operas in the last 15 years of his life.

Classroom activities provided by Alexis Kagel, Central Elementary School, Orange County

CLASSROOM ACTIVITY #1: Creating a Sea of Texture

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.ML.1.3 Use instruments to perform rhythmic and melodic patterns accurately and independently on classroom rhythmic and melodic instruments.

4.MR.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter and eighth notes and rests in 2/4, 3/4, 4/4 meter.

4.ML3.2 Create compositions and arrangements using a variety of traditional and non-traditional sound sources.

4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of many styles and cultures.

5.ML.1.3 Use instruments to perform rhythmic, melodic

OBJECTIVE: Students will be able to create a piece using classroom instruments representing contrasting textures.

MATERIALS:

• Video Recording: The Sea and Sinbad’s Ship from Scheherazade

• The Arabian Nights, retold by Wafa Tarnowska, Illustrated by Carole Henaff, available on EPIC: Texture-Arabian Nights

• The Seven Voyages of Sinbad the Sailor, retold by SAID, illustrated by Rashin, available on EPIC: Texture-Sinbad

• Pitched percussion instruments (if available)

• Non-pitched percussion instruments or body percussion

• Sinbad’s Rhythm Cards

PROCESS:

1. Introduce the stories of Scheherazade and Sinbad by showing illustrations or reading short excerpts of the The Arabian Nights and/or The Seven Voyages of Sinbad the Sailor

2. Explain that Rimsky-Korsakov was inspired by these stories to write his piece. The cello part sounds like Sinbad’s ship, bobbing on the waves. If you have pitched percussion instruments available, teach them a simplified version of the cello “waves” pattern:

3. Explain that in the excerpt of the piece that will be played by the North Carolina Symphony, the texture is changed by adding or subtracting instruments and changing the register in which the instruments are playing.

4. Together, students will create a piece using body percussion or classroom instruments that change texture like the The Sea and Sinbad’s Ship

5. Teach students the rhythms on “Sinbad’s Rhythm Cards” or create your own.

6. In small groups, have the students choose 1-2 cards to play as their rhythm. They can use body percussion or classroom instruments to play their rhythm. Give groups time to practice, and if you have xylophones/metallophones assign a few students to play the “Waves pattern.”

7. As a group, experiment with layering groups’ rhythms. Mimicking The Sea and Sinbad’s Ship has the “waves pattern” group provided a constant baseline. Add the other groups in one by one or start with all groups playing and subtract them. After each playthrough, have students reflect on what they experienced and heard. What did they notice about the texture? What do they wonder about their performance? What could they change to make a new effect?

8. Have students listen to the excerpt of The Sea and Sinbad’s Ship. Compare it to what they created together.

Sinbad Rhythm Cards

CLASSROOM ACTIVITY #2: Mapping Sinbad’s Voyages

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.CR1.2 Understand the relationships between music and concepts from other areas.

4.ML.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of a variety of styles and cultures.

4.CR.1.2 Understand the relationship between music and concepts from other areas.

OBJECTIVE: Students will be able to create a listening map based on aural musical examples.

MATERIALS:

• Video Recording: The Sea and Sinbad’s Ship from Scheherazade

• The Arabian Nights, retold by Wafa Tarnowska, Illustrated by Carole Henaff, available on EPIC: Texture-Arabian Nights.

• The Seven Voyages of Sinbad the Sailor, retold by SAID, illustrated by Rashin, available on EPIC: Texture-Sinbad

• Paper or digital drawing platform (Ex. Google Canvas)

• Pencils, crayons, markers, etc.

PROCESS:

1. One Thousand and One Nights is a collection of Middle Eastern and South Asian tales that were originally told as oral stories and compiled into a manuscript sometime between the 8th century and the 14th century. The framing device for these tales is the story of Scheherazade.

You can show pictures and/or read excerpts from The Arabian Nights to give your students more background knowledge about these tales and an introduction to Scheherazade and her story.

2. Many people across the world have been inspired by these tales, including Nikolai Rimsky-Korsakov. He composed a symphonic suite with each movement focusing on a different story from One Thousand and One Nights. The first movement is about Sinbad, a merchant from Baghdad who went on many adventures. Show students illustrations or read excerpts from The Seven Voyages of Sinbad the Sailor to give them an idea of Sinbad’s adventures.

3. The Sea and Sinbad’s Ship is an example of program music: it’s designed to make you think of a particular image or story. Play contrasting clips from The Sea and Sinbad’s Ship

a. Ask students what is happening on the ship during that part of the music? Have them use their hands to illustrate how large the waves may be in that section.

b. What parts of the music sound like smooth seas vs. choppy, stormy seas? How does the music sound different?

c. Does the texture make a difference? When there are lots of layers of sound is the effect different than when there are just one or two instruments playing?

4. Have students create a listening map.

Note: The NC Symphony will be playing a short excerpt from the piece. You can create a listening map just of the excerpt or with the whole piece.

5. The piece begins with a theme in the low brass representing the angry Sultan and a theme played by the violin representing Scheherazade. The rest of the movement represents Sinbad and his ship on the sea. The section played by the Symphony will be the section right after Scheherazade’s theme at the beginning.

a. Pause between contrasting sections of the music to allow students time to draw.

b. When finished, have students compare their maps. Are there similarities/differences? Encourage students to think about their map when they go to a concert and imagine what is happening in the story when they hear the music. If a video of the orchestra playing the piece is available, have students follow their listening map as they watch and make changes, as needed.

CLASSROOM EXTENSION ACTIVITY: Sailing with Sinbad

NORTH CAROLINA ESSENTIAL STANDARDS IN SCIENCE:

EX.3.P.1.2 Describe the effect of a push or a pull on the motion of an object (e.g., how far, direction, and extent.)

EX.5.P.1.1 Describe factors that would make it easier or harder to push or pull an object (wheels, round, flat, heavy, light).

EX.5.P.1.2 Compare changes in motion (speeding up, slowing down) under certain conditions (e.g., steeper ramp, more weight, or force.

OBJECTIVE: Students will create sailboats and measure the effects of materials and cargo on their voyage.

MATERIALS:

• Video Recording: The Sea and Sinbad’s Ship from Scheherazade

• Long shallow pool of water (kiddie pool, under the bed storage container, etc.)

• Boat building materials (tinfoil, wax paper, modeling clay)

• Sail materials (pipe cleaners, straws, plastic bags, paper, coffee filters)

• Small objects to weigh down the boats (legos, erasers, marbles, etc.)

• Straws to blow the sails

• Rulers/Stopwatch to measure boat’s voyage.

PROCESS:

1. Introduce the stories of Scheherazade and Sinbad by showing illustrations or reading short excerpts of The Arabian Nights and/or The Seven Voyages of Sinbad the Sailor

2. The story of Sinbad takes place during the Islamic Golden Age, between the 8th century and 13th century. Ask students how they think Sinbad’s ship would have traveled? Did it have a motor like ships do now? Look at pictures from the book, or pictures of ships from that era. Ships would have moved with sails and/or oars.

3. Over Sinbad’s seven voyages, he traveled all over the seas east of Africa and south of Asia, most of the time returning with riches he found on his trip. How do students think adding the weight of those gems would affect the ship? Today they’ll find out using the Engineering Design Process!

4. ASK: If the students can identify the problem.

Lay out the perimeters for their boats. What materials do they have available and where will they be sailing? How will they make their boat float? What will they have to carry in their boat as cargo? As the teacher, decide how they will measure their ship’s voyage and let the students know. You may choose to have them time how fast their boat travels, or you may decide to have them measure how far their boat travels with a single breath.

5. IMAGINE: Students brainstorm solutions and research ideas.

In small groups, students imagine what their boats might look like. Show them examples of real ships with sails and have them brainstorm. Remind students that they will need to make sure their boat floats and can be pushed by the wind. Plus, they will want room in their ship to carry their cargo.

6. PLAN: Draw a design for a prototype.

Allow the students to use some of the ideas from their brainstorming to help design their prototype? Have them decide what materials they will use for the boat, the sail, and how they will connect the two.

7. CREATE: Students build a working prototype.

a. Give students time to create their model, based on their design, using the materials provided.

b. As they build, they may discover problems with their design. THAT IS OK! Have them adjust their design and see if they can find a solution.

8. TEST: Students evaluate their prototype through testing.

a. Have students first test if their boat is buoyant. If it is not, move to the improve step.

b. Have students test if their sail works. Using a straw to blow through, have students blow on their sail and see if they can make their boat move. If not, move to improve the step.

c. If their boat floats and the sail work, have students take data. Allow them time to see how long it takes them to get their boat from one end of the water to the other or measure the length it travels in a single breath.

d. Have students carefully add small objects one by one to their boat as cargo. Have them test their ship multiple times with different amounts of cargo. Did the amount of cargo affect the time/distance of their voyage?

9. IMPROVE: Based on the results of their tests, students can revise their designs.

a. If their ship either did not float or did not have a working sail, have students redesign their ship and revise their prototype.

b. If their ship did work, challenge them to see what would happen if they changed materials for either the boat or the sail. Did their data improve with the changes?

10. BONUS: While testing their ships, play The Sea and Sinbad’s Ship to set the mood of their voyage. When finished, students will be able to share their findings with their classmates. Which ship was the fastest/traveled the furthest? Why do they think it was the most successful?

MelodY

The main idea of the music...the line that you walk away singing

Melody is a sequence of individual notes that form a satisfying whole. When harmony is added, the melody is the principal singing part. In a choral environment, it can be tempting for singers to listen to the melodic line. Harmony is quite important to the melody—it supports and balances the melody so that it can shine through as the easiest part to recognize.

FEATURED WORK: “Simple Gifts”

The song “Simple Gifts” was written by Joseph Brackett, Jr. in 1848. This timeless Shaker hymn encapsulates the essence of simplicity, humility, and the pursuit of a harmonious life. The song’s melodic and lyrical charm resonates with audiences across generations.

Classroom activities provided by Caitlin Joyner, Hobbton Elementary School, Sampson County

CLASSROOM ACTIVITY: Melody Sequencing with Simple Gifts

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

3.ML.1.3 Use instruments to perform rhythmic and melodic patterns accurately and independently on classroom rhythmic and melodic instruments.

4.ML.1.3 Use voice and/or instruments to execute melodic movement through pentatonic melodies on the treble staff

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.2.2 Interpret through voice and/or instruments simple pitch notation in the treble clef in major keys.

5.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, dotted quarter, eighth, and sixteenth notes and rests in 2/4-, 3/4-, 4/4-, and 6/8-meter signatures.

5.ML.2.2 Recognize pitches on the treble and bass staves, including ledger lines, to understand the continuum of standard pitch notation.

OBJECTIVE: Students will read individual measures of music and sequence themselves and their measures in the proper order.

MATERIALS:

• Video Recording: “Simple Gifts”

• Cookie sheet music staves and magnets: Melody-Craft Tutorial

• Index cards with note names and notes lengths

• Classroom xylophones (or any other classroom melodic instrument)

PROCESS:

1. Students will listen to the recording of “Simple Gifts” from the North Carolina Symphony to learn the piece and become familiar with it, the lyrics, and the melody. In this lesson, students will listen to the piece once again and sing along with the song to ensure they have the melody and the song in their heads.

2. Each student will receive:

a. A cookie sheet staff with corresponding bag of magnets

b. A piece of paper that has note names and values written out, but not on the staff

c. A xylophone and mallet

3. To begin, students will look at the paper with the note information on it, and then place the appropriate music note magnets on the staff in the correct order.

4. Each student will practice performing their own measure of music on their instrument. Emphasize rhythmic and melodic aspects of their performance.

5. After students have completed the above tasks, they will be tasked with seating themselves in the correct measure order so as they go around the room and take turns playing the measures, it will be in the correct order. Start by finding the first measure of the melody that students are not familiar with, and work from there.

6. As students work themselves in the proper order, begin at the beginning of the line and each student will take turns playing their measure. If done correctly, they will play through the entire verse and chorus (and another verse if needed for numbers) of the song.

If students come to a section that they think does not sound right, they can problem solve together to try and figure out if the issue is with the notation, the playing, or if they are not in the correct order

7. A similar process to all of this can be done with boom whackers or handbells, where students must put themselves in the correct order with their note name.

CLASSROOM EXTENSION ACTIVITY: Pioneering Without Water

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC, ELA, SOCIAL STUDIES, AND SCIENCE

4.MU.MR.1 Understand the interacting elements to respond to music and music performances.

4.MU.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.

1.L.1.1 Recognize that plants and animals need air, water, light (plants only), space, food and shelter and that these may be found in their environment.

1.L.2.2 Summarize the basic needs of a variety of different animals (including air, water, and food) for energy and growth.

W.4.5 Conduct short research projects that build knowledge through investigation of different aspects of a topic.

W.4.6 Recall relevant information from experiences or gather relevant information from print and digital sources; take notes and categorize information, and provide a list of sources.

SL.4.1 Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grade 4 topics and texts, building on others’ ideas and expressing their own clearly.

5.C.1 Understand how increased diversity resulted from migration, settlement patterns and economic development in the United States.

4.TT.1.3 Use technology tools to present data and information (multimedia, audio and visual recording, online collaboration tools, etc.).

OBJECTIVE: Students will become familiar with “Simple Gifts,” as used in Aaron Copland’s Appalachian Spring. Students will then connect the ballet to pioneer life and exploring the frontier and the challenges they faced accessing resources.

MATERIALS:

• Video Recording: “Simple Gifts”

• Synopsis of Appalachian Spring: Melody-Synopsis

• Video of “Simple Gifts” in the Appalachian Spring ballet: Melody-Ballet Performance

• Pioneering Without Water: Melody-Pioneering

PROCESS:

1. Introduce the piece with the North Carolina Symphony’s performance of Simple Gifts. Have students share opinions and what they notice.

2. Share the synopsis of Appalachian Spring and show the video of “Simple Gifts” from the ballet. Explain to students that Appalachian Spring tells the story of a young pioneer husband and his bride beginning a life together on the American frontier. The scene in which “Simple Gifts” is played is their wedding day. Created as the war in Europe was coming to an end, the ballet captured the imagination of Americans who were beginning to believe in a more prosperous future.

3. Ask probing questions about pioneers and life on the frontier to elicit prior knowledge. Explain that today they will participate in a task where they pretend they are pioneers living in the early 1800s. Read aloud the Pioneering Without Water task. Students will work in small groups to brainstorm solutions to the problem presented in the task, which is that many pioneers only had access to contaminated water on their westward journey.

4. As you read the task to the class, ask if they have any prior knowledge on contaminated water. If they were taught EL curriculum in 3rd grade, they did an entire unit on how millions of people around the world do not have access to clean water.

5. Groups will conduct research to come up with a solution that could have worked with the resources that pioneers had available to them in the 1800s. They will record their findings and ideas on the task worksheets.

9. End the lesson by having the students share their ideas.

FiNALe

All elements work together to form music!

Listen for all the elements of music, including tempo, rhythm, dynamics, form, texture, and melody.

FEATURED WORK: Tico Tico no fubá

Tico Tico no fubá is a lively Brazilian choro song composed in 1917. It has since become one of Brazil’s most iconic musical pieces, recognized worldwide for its catchy melody and vibrant rhythms. The song showcases the virtuosity of musicians with its fast-paced and intricate arrangements, often performed on the piano or various instruments such as the guitar and flute. Tico Tico no fubá has been covered by numerous artists across different genres and remains a beloved piece of Brazilian musical heritage, embodying the joyful spirit of Brazilian music.

Zequinha De A bReu

BORN: September 19, 1880, Santa Rita do Passa Puatro, Brazil

DIED: January 22, 1935, São Paolo, Brazil

BIOGRAPHY (in Student Book)

Zequinha de Abreu was a Brazilian composer who first displayed a talent for music when he was given a harmonica at age seven. He studied music theory and composition and learned to play the flute and saxophone. De Abreu’s compositions were known for their distinctive Brazilian flavor, blending European classical music with the rhythmic and melodic influences of his native country.

His biggest hit, Tico-Tico no fubá, became a worldwide sensation. He played a significant role in popularizing choro music, which combines Afro-Brazilian rhythms, improvisation, and intricate melodies. Today, Zequinha de Abreu is celebrated as one of Brazil’s most influential composers and his music continues to enchant audiences, preserving his legacy as a prominent figure in Brazilian music history.

FUN FACTS about Zequinha de Abreu (in Student Book)

• In addition to his music, de Abreu owned a local store and became mayor of his hometown.

• Tico-Tico no fubá is said to have been named by a member of de Abreu’s band who thought the energetic dancers looked like a flock of the little sparrow-like birds called “tico-tico.”

• The song has appeared in many places including the Tom & Jerry cartoon “Muscle Beach” and even the 2016 Summer Olympics.

CLASSROOM ACTIVITY: Dancing with Choro Music!

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:

2.ML.1.4 Apply changes in music to the elements of dynamics, tempo, melody, and form.

3.ML.2.3 Recognize standard symbols and traditional terms for dynamics, tempo, and articulation.

4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of a variety of styles and cultures.

OBJECTIVE: Students will understand the concept of form in music and identify the changes. Students will identify some instruments that are used to play choro Music Style.

MATERIALS:

• Video Recording: Finale-What Is Choro?

• Video Recording: Tico-Tico no fubá

• Rhythm sticks or hand drums

• Optional: Scarves

• Slides from workshop presentations

PROCESS:

1. Begin the class talking about the country of Brazil and their different styles of music, including samba, Balao, bossa nova, samba, reggae, etc.

2. Review form and articulation terms.

3. Watch the video: What is Choro?

4. After watching, ask students:

a. What instruments did you see in the video?

b. What is choro music?

c. Can you mention a choro music composer?

d. How did the music make you feel and why?

e. Have you ever heard this style of music before?

5. Have students read the biography of Zequinha de Abreu in the workbook and discuss the meaning of Tico-Tico no fubá (“Tico-Tico in the maize flour”)

6. Have students stand and move to the music as they listen to Tico-Tico no fubá

7. After listening and moving, ask students:

a. Can you identify the changes?

b. What musical form can you identify?

8. Have students in a circle with scarves, hand drums, and rhythm sticks. As the music plays, allow the students to play a steady beat or create movements with the scarves.

9. Have students choose a partner. Partners stand in front of each other forming a circle. As the music plays, students will create movements:

a. Scarves: Students move their scarves in different ways for each section. When they hear the sections repeat, they should repeat the same movement.

b. Rhythm Sticks: Play the steady beat with each partner (right hand to right hand, left hand to left hand). Students can walk around the circle after doing 4 beats with the partner to switch with another student. For example:

c. With Hand Drums: “A” student is the drummer, and “B” student is the drum. “A” student plays the drum and “B” student holds the drum steady in front of the “A” student. Then the students switch. Create different patterns with each section. Same concept as the rhythm sticks.

CLASSROOM EXTENSION ACTIVITY: Bird Research

Provided by Eileen Mueller, Banks Road Elementary School, Wake County

NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC, SCIENCE, ELA, AND TECHNOLOGY

4.MU.MR.1 Understand the interacting elements to respond to music and music performances.

4.MU.MR.1.2 Explain personal preferences for specific musical works and styles, using appropriate music terminology.

4.CR.1 Understand global, interdisciplinary, and 21st century connections with music.

4.L.1 Understand the effects of environmental changes, adaptations and behaviors that enable animals (including humans) to survive in changing habitats.

W.4.5 Conduct short research projects that build knowledge through investigation of different aspects of a topic.

RI.4.1 Refer to details and examples in a text when explaining what the text says explicitly and when drawing inferences from the text.

RI.4.2 Determine the main idea of a text and explain how it is supported by key details; summarize the text.

RI.4.3 Explain events, procedures, ideas, or concepts in a historical, scientific, or technical text, including what happened and why, based on specific information in the text.

4.TT.1.3 Use technology tools to present data and information (multimedia, audio and visual recording, online collaboration tools, etc.).

OBJECTIVE: Students will learn about Zequinha de Abreu’s Tico-Tico no fubá. Students will then do research on the rufous-collared sparrow, the bird which the song is based on.

MATERIALS:

• Video Recording: Tico-Tico no fubá

• Disney’s Saludos Amigos that featured Tico-Tico no fubá: Finale-Saludos Amigos

• Birdnote information on rufous-collared sparrow and Tico-Tico no fubá: Finale-Birdnote

• Smithsonian National Zoo info on rufous-collared sparrow: Finale-Smithsonian

• Animalia info on rufous-collared sparrow: Finale-Animalia

• Videos of rufous-collared sparrow: Finale-Bird Video 1, Finale-Bird Video 2

• Bird report template—two options: Finale-Bird Report 1, Finale-Bird Report 2

PROCESS:

1. Begin by playing a clip from Disney’s Saludos Amigos that featured Tico-Tico no fubá

2. Play the North Carolina Symphony’s performance of Tico-Tico no fubá and lead a discussion on how the music makes the students feel. Generate a list of characteristics that come to mind when listening to it.

3. Discuss history of the piece and choro music: The Brazilian composer Zequinha de Abreu (1880-1935) wrote Tico-Tico no fubá in 1917. It belongs to the choro genre, a style of instrumental music that developed in 1870s Rio de Janeiro. While choro means lament, the music is often upbeat and rhythmic.

4. Discuss meaning behind the song found here. Be sure to click on the “Listen Now” button.

5. Students will then research the rufous-collared sparrow using these websites

a. Smithsonian National Zoo

b. Animalia

6. Students will record findings in the bird report template. There are two options to choose from: #1, #2

7. Give the students adequate time to research the rufous-collared sparrow. As an extension, you can have them create a Google Slide presentation on the bird, its habitat, diet, and adaptations.

What Does the Conductor Do?

In the performance, it may look like the conductor is simply waving a wand from the Harry Potter movies in his or her hand as the orchestra plays the music. However, there is more to the job than waving a baton. The work of conductors usually starts months before the performance and can take a lot of time and study. They are responsible for:

A. Selecting the music

The selection of the music is based on the type of program the conductor would like to present to the audience. The program can be a collection of show tunes, a collection of works from one composer, or a program that is thematic—following some idea like Nature or Science Fiction. Music selection is also based on whether the orchestra currently owns the piece and has the right instruments to perform it.

B. Preparing to rehearse

Once the music is selected, conductors will begin studying the music so they are ready to lead and rehearse the orchestra. They usually do some analysis (looking at the details of the music) of the melody and the different instruments that present it, the harmony, and the structure—how the music is put together to present the idea the composer had when they wrote it. Conductors will look at the individual parts or at each line from each instrument to see if there are any difficult parts that may require more attention in rehearsal. They will begin to establish an interpretation of the work…in other words, how fast or slow, the tone color to use, the dynamics to use in different sections, etc. Just as artists choose colors and brush styles to use in applying those colors to a painting, conductors use sound and how that sound is presented to paint their musical picture for the audience. Conductors may listen to some recordings of other conductors/orchestras to hear how they performed the piece and then decide if they would like to perform it like they did or differently, creating their own interpretation. Occasionally, conductors have the opportunity to look at copies or even the original of a score penned by the composer to see what the composer noted as far as the dynamics and the tempo settings.

C. Rehearsing the orchestra

Conductors will spend the most time rehearsing the orchestra. They watch the score as they listen to each of the sections/instruments play the parts and then they will stop and give the orchestra directions on how to play the music better. Perhaps it should go faster here, or slower here, or maybe the strings need to be louder here because they have the melody and the conductor wants the audience to hear the melody more clearly. Conductors have the chance to stop the piece and correct a part of it during rehearsal.

D. Conducting the performance

During the performance, conductors visually reminds the orchestra of those things covered in rehearsal. They keep the group together by conducting the meter and the spirit of the piece, encouraging the musicians to perform their very best.

Vocabulary

Baton: A handled stick the conductor uses to conduct the orchestra

Thematic: How pieces are related to each other based on a common theme or idea

Analysis: To closely examine and understand the piece of music

Melody: The primary tune(s) of the work

Harmony: The music supporting the melody

Structure: How the piece is constructed, its form

Interpretation: Based on an understanding of the composer and the particular piece, the conductor will decide on tempos and dynamics to best represent the composer’s ideas

Dynamics: How loudly or softly the music is played

Tempo: How fast or slow the beat goes

Meter: How the beat is divided into groups of notes

horns

Seating Chart

Seating Chart

percussion

trumpets

timpani

trombones

tuba

clarinets

bassoons

utes

second violins

rst violins

Sections

Sections

Percussion

Brass

Woodwind

String

conductor

oboes

violas

basses

cellos

“Your Elephant, The Orchestra”

A story to read in class before your North Carolina Symphony Education Concert

Three blind men were asked to describe an elephant. The first felt the elephant’s trunk and said, “An elephant is like a fire hose!” The second felt the elephant’s side and said, “No, an elephant is like a wall!” The third felt the elephant’s tail and said, “You are both wrong. An elephant is like a rope!”

Describing the North Carolina Symphony is somewhat like trying to describe that elephant. It is a jumble of trunks and tails, all of which come together to be what you will hear and see when it comes to visit you. Okay, what is the North Carolina Symphony? Well, for sure it’s people. But that’s too simple. Well, how about this, then? It is people who make music together. That’s true, but there is more. Wait! I think I have it now. An orchestra is a group of people who make music together, but it’s also people who work at desks to help organize the music makers, and others who help by doing jobs like driving the buses and setting up the stage for concerts.

Well, there are the parts of our creature, but how do these parts work? The North Carolina Symphony cannot perform without the people who work in the office. These people do an important job. They help raise the money that pays for the orchestra. Also, when the orchestra travels they make sure that the musicians get to the right town and that everyone has a place to eat and sleep. Since our elephant, the orchestra, travels as much as 12,000 miles a year (which is halfway around the earth!), you can see why the office workers are so important. Like the tail of the elephant, the office staff is not often noticed.

Now a trunk is a different matter entirely. Without one an elephant couldn’t eat peanuts or wash his back very well. Neither can our orchestra work well without the people who help them when they travel. One of these people is the stage manager who is responsible for setting up the necessary equipment before each concert. The North Carolina Symphony plays more than 175 concerts a year, and each chair and music stand has to be in its own special place every time. The stage manager has a crew of workers who help him do this. There are other musicians in disguise who do extra jobs. One of them is the librarian who puts the music on each music stand. Every player must get the correct musical part, or the orchestra will sound crazy. Then there is the personnel manager who gets to listen to everyone’s problems, but also gets to give out the paychecks! There are two more people who are the official bus drivers, complete with uniforms and licenses. Without these two, the orchestra couldn’t go anywhere. Oh yes, there is another musician who doesn’t have a musical instrument at all. That person is the conductor, and their job is to start and stop the music and help keep all the musicians playing together. They are also the one who talks to you during the concert. Now, what are we missing on our elephant? Oh yes, the body. When we assemble all of our music makers, we have the main body of the orchestra. This body is organized into smaller groups of instruments which we call families, and these are arranged in a special way on the stage so that you, the audience, get the most wonderful sound possible. This is a chart showing how the orchestra is arranged on the stage. An orchestra can, of course, only sound beautiful if each of these musicians works hard to play his or her best. The musicians of the North Carolina Symphony have been practicing and playing music since they were your age. If you add up all the years of practice of all of them, you will have a total of over 1,500 years! These individual musicians are the heart of our orchestra. Trunks and tails would be pretty useless without a heart, you know.

So now we have described with words our elephant, the orchestra. Just as an elephant can best be understood by seeing it, an orchestra can best be known by hearing it—and you have one of your very own coming to play for you. Remember, the North Carolina Symphony is your elephant.

Jackson Parkhurst was for many years the Director of Education for the North Carolina Symphony.