Legends and Heroes Teacher's Guide (pdf) - DSO Kids

Page 3Heroes and Legends From Around the World - RepertoireOverture from Orpheus in the UnderworldBy Jacques OffenbachEntrance of the Queen of Sheba from SolomonBy George Frideric HandelI Got Plenty of Nothin’ from Porgy and BessBy George GershwinAnitra’s Dance from Peer GyntBy Edvard GreigThe Bird from Peter and the WolfBy Sergei ProkofievThe Grandfather from Peter and the WolfBy Sergei ProkofievTroika from Lieutenant Kije SuiteBy Sergei ProkofievWitch’s Ride from Hansel & GretelBy Engelbert HumperdinckLincoln Portrait (excerpt)By Aaron CoplandSymphony No. 3, Mvt. 3By Ludwig van BeethovenRide of the ValkyriesBy Richard WagnerSymphony No. 6 “Pathétique”, Mvt. 3By Piotr Ilyich TchaikovskyPlease note: Due to time limitations, some works will not be played in their entirety;program subject to change without notice.Volume Two- Legends and Heroes From Around the World

Heroes and Legends From Around the World - Meet the ComposersPage 4For further information about these composers, check out www.DSOKids.com!Ludwig van Beethoven (born Bonn, Germany, 1770; died Vienna, Austria, 1827) Beethoven grew up in Bonn, Germany in avery unhappy home. He was forced to practice the piano by his father, an abusive alcoholic, who would punish him mercilesslywhen he made mistakes. By the time he was twelve, he was earning a living for his family by playing organ and composing.He was eventually known as the greatest pianist of his time. Beethoven never married even though he did proposeto plenty of women who rejected him (he wasn't very attractive and he had a rather nasty temper). Yet in spite of his unpleasantpersonality, Beethoven is best defined by his music. Although Beethoven gradually lost his hearing, he composedmany of the most famous musical works of all time, such as his ninth symphony, after he had become totally deaf.Aaron Copland (born Brooklyn, NY, 1900; died Westchester, NY, 1990) Although he was probably one of the greatestAmerican composers, Aaron Copland did not grow up in a musical family. His parents were Russian immigrants who nevereven went to a concert. After several attempts to obtain musical instruction including a correspondence course, he eventuallywent to a school in Europe where a young teacher named Nadia Boulanger influenced him to become a composer. Coplandborrowed from American legends and folk music and incorporated them into his music. Such musical pieces include:Billy the Kid and Appalachian Spring, for which he won a Pulitzer Prize for music. He was one of the first composers tosuccessfully incorporate jazz rhythms into symphonic music.George Gershwin (born Brooklyn, New York, 1898; died Hollywood, California, 1937) Gershwin first discovered music whenhe was 10 years old and heard a friend's violin recital in a school auditorium. He began taking piano lessons immediately,and at age 16 began working for a publishing house in New York as a “song plugger,” playing tunes on the piano in order toboost sales. After several similar jobs, Gershwin began receiving commissions to write songs, teaming up with his brother,lyricist Ira Gershwin. The brothers wrote the music for many Broadway hits including Lady Be Good, Tip-Toes, Strike Upthe band, Funny Face, Girl Crazy and Of Thee I Sing. Gershwin was interested in both 'serious' and popular music, andcomposed in both styles, becoming one of the first composers to incorporate the characteristics of jazz into classical music.Edvard Grieg (born Bergen, Norway, 1843; died Bergen, Norway, 1907) During almost all of Grieg's lifetime, his nativecountry, Norway, was struggling to become an independent nation. Until 1814, Norway was subject to Denmark; from 1814until 1905 it was forced into a union with Sweden. Because Grieg's music played an important part in creating the Norwegianidentity, he is regarded as a hero in his country. Many of his compositions are based on the sound of Norwegian folksongs, and paint a musical picture of the mountains, forests, fjords, and streams of his beautiful country. Grieg's firstmusic lessons were from his mother, and he began composing when he was nine years old. A famous Norwegian violinist,Ole Bull, encouraged him to go to the Leipzig Conservatory when he was fifteen. Although Grieg and his wife, a singer,lived a number of years in Denmark, and traveled extensively throughout Europe performing his music, they eventually returnedto his beloved Norway.George Frideric Handel (born Halle, Germany, 1685; died London, 1759) Handel was the son of a barber-surgeon who haddefinite plans for his son. He wanted George to become a lawyer, but George was captured by the sound of music. Georgestudied with the organist of St. Michel’s Church in Halle, where he learned how to compose and to play violin and oboe aswell as organ and harpsichord. In 1717 one of his most famous pieces of music, Water Music, was performed at a royalparty that took place on a barge floating down the Thames River. George wrote operas and oratorios plus music for instrumentsand ensembles. He established the Royal Academy of Music as well as an Italian opera company, and in 1740 completedMessiah, an oratorio (a lengthy choral work usually of a religious nature without action or scenery ) that is still performedevery year all over the world.Volume Two- Legends and Heroes From Around the World

Heroes and Legends From Around the World - Meet the ComposersEngelbert Humperdinck (born Sieberg, Germany, 1854; died Neustrelitz, Germany, 1921) For most famous composers, wehave long lists of the pieces they wrote. Humperdinck is very different. During his life in Germany, he had several differentjobs--teaching, conducting, and writing music criticism. At one time he was even hired to tutor the son of the famous composerRichard Wagner. But he is famous only because he composed the beautiful opera, Hansel and Gretel for which his sisterwrote the libretto (the words to an opera). Another one of his operas, The King’s Children, is also occasionally performed.Although he wrote other music, it is for Hansel and Gretel, his beautiful setting of the well-known children’s story,that he will always be remembered.Page 5Jacques Offenbach (born Cologne, France, 1819; died Paris, France, 1880) Offenbach was the son of a musician, author, andbookbinder who also served as cantor at a local synagogue. Offenbach was the seventh child in his family and took violin lessonsfrom his father. The whole family was musical and in the evening often played chamber music together. Offenbach soon discoveredthat the cello was his favorite instrument and began to study with a local teacher. He began to compose music at age 6 andgave his first concert at age 12. At 14, he was accepted at the Paris Conservatoire to study cello. He soon began composing operettas,and is known today as the father of the operetta, a light-hearted version of the opera that includes spoken and sung dialogue.Offenbach’s melodies were infectious and full of fun. He produced 3 to 7 opera productions each year, many were performedin London. His first big success came about in 1858 with a two-act version of Orphée aux Enfers (Orpheus in the Underworld)that poked fun at many of the more prominent figures of the day. Offenbach’s influence has spread everywhere, but muchof his work remains unknown. He is still known for his overtures, a few songs from his famous operettas, and a very famous dancemelody called a can-can.Sergei Prokofiev (born Sontsovka, Ukraine, 1891; died Moscow, 1953) Prokofiev, whose mother was a pianist, was a childprodigy (he composed his first piano piece at age five and his first opera when he was twelve years old) as well as a virtuosopianist. From 1904 to 1914 he attended the St. Petersburg Conservatory where he won the Anton Rubenstein Prize for thebest student pianist. He left Russia in 1917, and lived in the United States and France. He moved back to Russia in 1936,just as the Communists were coming into power and dictating very strict rules for everyone -- even for the kind of musiccomposers could write! From this time on, Prokofiev had to be very careful; otherwise the Soviet government would censorhis music. Very soon after his return to Russia he wrote Peter and the Wolf in one week in April, 1936. Remembering hisown childhood, he invented the entire story and wrote the narration himself. He wished it to be a child’s introduction to theinstruments of the orchestra. He always remembered his happy childhood, and much of his music is playful and full of humor.Richard Wagner (born Leipzig, Germany, 1813; died Venice, Italy, 1883) Wagner is known as one of the most progressivecomposers in history. As a boy, he was interested in literature and particularly loved the plays of William Shakespeare. Atage 15 he wrote a play and at 16 his first music compositions. Later in his teenage years, he attended Leipzig University tostudy and as a result he became more interested in music composition. His first symphony was written and performed in1832. While his very first opera, Die Feen (The Fairies) was never heard, very soon he was considered the master of Germanopera! Like many other composers of his time, Wagner had severe financial problems. He moved from place to placeand took several types of jobs so that he and his wife could pay the rent, have food to eat and money to compose and producehis operas. At the age of 27 Richard Wagner began work on his monumental cycle of four musical dramas, Der Ring desNibelungen (The Ring of the Nibelungs). It is made of four separate operas and about 18 hours of music that includesthemes that have specific meanings. It took 22 years to complete “The Ring” but it remains on of the most remarkable operacompositions of all time.Volume Two- Legends and Heroes From Around the World

Page 6Heroes and Legends From Around the World - Who’s WhoAssociate Conductor Lawrence Loh leads the Dallas Symphony Orchestra in avariety of concerts throughout the season. He also assists Maestro AndrewLitton, DSO Music Director, and guest conductors as the understudy conductorfor various subscription and tour performances. His personable mannerand ability to connect with audiences during his youth and family concertshave been hallmarks of his tenure at the DSO. Before moving to Dallas, hecompleted a three-year tenure as Associate Conductor of the Colorado SymphonyOrchestra. While in Denver, Mr. Loh was Music Director of the DenverYoung Artists Orchestra, and also taught at Denver University’s LamontSchool of Music. A graduate of Indiana University and the University ofRochester, in May of 1998, he received his Artist Diploma in Orchestral Conductingfrom Yale University. Mr. Loh received further training as a conductingstudent at the world-renowned Aspen Music Festival and School. Born insouthern California in 1970 of Korean parentage, he makes his home in Dallaswith his wife Jennifer, a high school math teacher and their son, Charlie.Carl Johnson is a performer/director/writer/educator with over 20 yearsexperience. Since 1997, he has served as Education Manager with the DallasSymphony, as well as Writer/Director of the Music Memory Project radioprogram for WRR 101.1 FM in Dallas. Formerly, he was Adjunct Professor ofVoice at Texas Christian University and prior to that, Artistic Director ofthe Fort Worth Opera. Mr. Johnson has also taught in public school, directedchurch choirs, performed as soloist with symphony orchestras, and has beenfeatured as pianist and vocalist with his own trio.Volume Two- Legends and Heroes From Around the World

Page 7GENERAL ACTIVITY ONE- Instrument IDTeaching ObjectiveStudents will demonstrate an understanding that orchestral instruments are grouped intofamilies based on their similarities and differences.Resources• Pictures of orchestral instruments (may be downloaded from DSOKids.com- http://dsokids.com/2001/instrumentchart.htm)• Small pieces of paper or cards with instrument names and/or pictures on them.Pre-AssessmentShow students a picture or a seating chart of an orchestra. Be sure that the chart showspictures of the instruments of the orchestra (see page 32 or download a chart from theInternet at DSOKids.com- http://dsokids.com/2001/instrumentchart.htm) Ask students tolook at the chart and tell you what they know about the orchestra. Answer the followingquestions:-What are some of the instruments?-Who leads the orchestra?-Is the orchestra divided in any way?Teaching SequenceVolume Two- Legends and Heroes From Around the World

Page 8GENERAL ACTIVITY ONE- Instrument ID, Cont.Culminating ActivityPlay short excerpt of symphonic music as the students move into instrumental family groups.If appropriate for your students, designate a place in the room for each family to stand, otherwiseallow students to work that out on their own. This game can be played several timesuntil students become proficient with all instruments.EvaluationDid students demonstrate an understanding that orchestral instruments are grouped intofamilies based on their similarities and differences?Extension Activities1. Instrument “Who Am I” game - Tell students that they are to pretend that they are theinstrument pictured on the piece of paper. Have students take turns giving clues to theother students or teams in the class. Remind students that they are pretending to be thatinstrument. Some examples of clues could be, “My family has very long necks. Althoughmy family gets played two different ways, they are mostly very similar in appearance. I amthe smallest member of my family. I have the highest voice in my whole family, etc.” Answer:violin. Allow students to play until everyone has shared their clues.2. Have students bring pictures of their own family and discuss in class how they are similarin appearance to other family members as well as the characteristics that make them individuals.Co-Curricular Connections/TEKSEnglish Language Arts and Reading: 110.5 3.3C, 3.4; 110.6 4.23B; 110.7 5.23B; 110.216.22BSocial Studies: 113.5 3.16A,B,E; 113.6 4.22B,C; 113.7 5.25B,C; 113.22 6.21B,CMusic/Fine Arts: 117.12 3.1A, 3.1B; 117.15 4.1A, 4.1B; 117.15 5.1A, 5.1 B; 117.33 6.1A,6.1BVolume Two- Legends and Heroes From Around the World

Page 9GENERAL ACTIVITY TWO- The Music Listening GameTeaching ObjectiveStudents will improve their listening skills.ResourcesRecordings of music which will be performed on the Youth Concert (Excerpt from Lieutenant Kije Suite, by Prokofiev,can be found at- http://www.dsokids.com/2001/dso.asp?PageID=232)Pre-AssessmentAsk students to describe what they expect to hear when they listen to music. List students’ responses on thechalkboard.Teaching Sequence1. Play the basic listening game. Ask students to be very quiet and write down or remember everything theyhear during a two to five-minute period.2. At the end of the time ask each student how many things they heard. Encourage the lists to be as long aspossible, including everything from sounds made by other students to air-conditioning noise. (In a few days,you can play the game a second time and compare how listening skills have improved.)3. With no other activities going on, have students listen to a work of music once.Culminating ActivityAfter listening, lead a discussion by asking general questions such as:• How did the music make you feel? Why?• What was the mood of the music? Why do you say that?• How would you move your body to this music? Explain why you chose that movement.• Can you make a facial expression that describes the music? Why did you choose that expression?• Can you think of one word that describes the music? Why did you choose that particular word?• Did the music make you think of a certain person, place or thing? Why?• What did you picture in your mind while listening to the music? Why?(Keep in mind that there is no right or wrong answer to these questions because music is a personal experience.Discussions like this assist students in becoming more self-aware. If class does not respond initially, try listeningto the music again, this time allowing the students to move quietly to the music.)EvaluationDid students’ listening skills show improvement?Extension ActivityHave students listen to another work of music, then create an original work of art inspired by what they heard.Co-Curricular Connections/TEKSFine Arts/Music: 117.12 3.1, 117.15 4.1, 117.18 5.1, 117.33 6.1Fine Arts/Theatre: 117.13 3.1C, 117.13 4.1C, 117.19 5.1C, 117.32 6.1CLanguage Arts: 110.5 17, 110.6 18, 110.7 18, 110.22 9Volume Two- Legends and Heroes From Around the World

Page 10GENERAL ACTIVITY THREE- Musical JournalsTeaching ObjectiveStudents will record how their response to music changes after repeat listenings.Resources/Materials• Music Journal worksheet for each student or notebook paper (page 11)• Pencils• Recordings of the music that will be played at the Lone Star Symphony Concert (Excerpt from Lieutenant KijeSuite, by Prokofiev, can be found at- http://www.dsokids.com/2001/dso.asp?PageID=232)Pre-AssessmentAsk students if they have ever tasted a new food. With repeated tastings, did their opinion of the food change?Ask students if they have ever been introduced to a new student at their school. After they got to know theother student, did their opinion of that student change? This happens with music...the more you listen, the moreyou hear. Sometimes a musical piece that you first hear becomes a favorite after repeated listenings.Teaching Sequence1. Pass out the Music Journal worksheets and pencils. Play one of the pieces that will be heard at the concert.Ask students to list the name of the piece and the composer.2. After the initial hearing, ask students to record their reactions, any emotions they may have felt, and anything else that they hear in the music.3. Over a period of time, listen to the music repeatedly. After each hearing ask the students to record their reactionsin their Music Journals.Culminating ActivityCompare students’ initial reactions to their latest reactions.EvaluationDid students’ recorded reactions change over time after repeat listenings?Extension ActivityHave students write a paragraph essay before attending the symphony concert, titled“I Imagine an Orchestra Concert.” Have students include writing about their anticipation of the concert as well.Immediately after attending the concert, have the students write a paragraph essay titled “My Orchestra Experience.”Ask students to write about their reaction to the concert and how their expectations were or were notmet.Co-Curricular Connections/TEKSFine Arts/Music: 117.12 3.1, 117.15 4.1, 117.18 5.1, 117.33 6.1Language Arts: 110.5 10, 14; 110.6 11B, 15; 110.7 11B, 15, 110.22 11B, 15Volume Two- Legends and Heroes From Around the World

Page 11GENERAL ACTIVITY THREE- Musical Journals, Cont.Musical Journals WorksheetListen to one of the musical selections that will be performed at the upcoming Legends andHeroes From Around the World Symphony Concert. After you listen to the piece, record yourreactions and any emotions you feel as you listen to it.Name of piece:Composed by:1st Listening2nd Listening3rd Listening4th Listening5th ListeningVolume Two- Legends and Heroes From Around the World

Page 12GENERAL ACTIVITY FOUR- Concert EtiquetteTeaching ObjectiveStudents will demonstrate an understanding of appropriate audience behavior in a variety of settings.Pre-AssessmentAsk students how they would behave at a symphony concert.Teaching Sequence1. Ask students to describe places where they were members of an audience. Answers could include attending a movie, a theater, asports arena, at home watching television, a concert hall, etc. List the answers on the chalkboard.2. Discuss the appropriate audience behavior for each of the settings listed above. For example, how would audience behavior at agolf tournament be different from a football game? How would the audience behave at a rock concert compared with a classicalconcert or a recital by a single person?3. Choose students to act as performers in at least three of the settings listed above. For example, they may pretend to be playing asport like golf or tennis; or they could pretend to be playing instruments in an orchestra or a rock band. Allow the students to performwhile the rest of the class pretends to be in the audience.4. Before and after each performance, review with the class where they are pretending to be and help the class evaluate the appropriateaudience behavior for each location. Point out that some behaviors that are fine in one setting are considered inappropriate inanother. Ask performers if they felt that the audience’s behavior was appropriate for their performance and why.Culminating ActivityTell students that they will soon be going to a concert where they will see an orchestra. Show them pictures of the Meyerson SymphonyCenter. Help students create a rubric for correct behavior at a symphony concert. See example below. Have students use their rubricto evaluate their behavior after the concert.Action Ideal BehaviorNeeds Improvement————–Outstanding1——————————————–10TalkingBodyListeningClappingTalks softly before and after concert, but doesnot talk once the performance beginsKeeps body quiet with little movement duringthe performanceActively listens during performanceClaps when the concertmaster and conductorenter and at the end of each piece of music.Clapping can be enthusiastic; but yelling,shouting, whistling and stomping are not appropriate.EvaluationDid student responses indicate an understanding of the appropriate audience behavior as an audience member in a variety of settings?Co-Curricular Connections/TEKSEnglish Language Arts and Reading: 110.5 2-4; 110.6 1-5; 110.7 1-5; 110.22 1-5Music/Fine Arts: 117.12 3.6; 117.15 4.6; 117.18 5.6; 117.33 6.6Theater/Fine Arts: 117.13 3.1, 3.2, 3.3; 117.16 4.1, 4.2, 4.3; 117.19 5.1, 5.2, 5.3; 117.34 6.1, 6.2, 6.3Volume Two- Legends and Heroes From Around the World

Page 13CONCERT-SPECIFIC ACTIVITY ONE– Character PortrayalTeaching ObjectiveStudents will examine their understanding of the nature of heroism by comparing the character traitsof various figures, both real and fictional, then listening to how those traits are depicted through music.VocabularyCharacter trait– The unique attribute of a character. The way a character looks, thinks and acts thatmakes the individual distinct from all others.Hero - A person noted for feats of courage or nobility of purpose, especially one who has risked or sacrificedhis/her life.Resources• Enough copies of the Character Map for each student (found on page 15)• Chalk or marker board, chalk or markers• Recordings of musical selections from concert repertoirePre-AssessmentAsk students to name some heroes. List them in a column down the left side of the board. Answersmight include any number of real or fictional heroes that the students may have read about, seen ontelevision or at the movies. Generate a class discussion by asking students questions such as:Do you think a hero has to be brave? Do you know anyone in real life that you would consider a hero?What is heroic about them? What character traits (besides bravery) contribute to make your person ahero? Honesty? Loyalty? List answers in a column down the right side of the board.Teaching Sequence (to be completed BEFORE THE CONCERT)1. Ask students to listen to the following statement: Heroes show traits such as honesty, simplicity,courage, curiosity, humility, loyalty, humor, nobility, optimism, and love. Add the previous words tothe list of character traits on the board. Explain or define any that the students don’t understand.2. Tell students that soon they will go to a concert where characters from stories and real life will beportrayed through music.3. Pass out a copy of the Character Map on page 15 to each student. As a class, complete the CharacterMap, reading each brief summary and having students fill in the “Character Traits” column foreach character.4. Challenge students to hypothesize how music might describe a character.5. Let each student choose a character from the Character Map on page 15. At the concert, theyshould listen to hear how the music portrays their character. What instruments are used? Doesvolume or speed of the music play a part?Volume Two- Legends and Heroes From Around the World

Page 14CONCERT-SPECIFIC ACTIVITY ONE– Character Portrayal, Cont.Culminating Activity (to be completed AFTER THE CONCERT)Younger students: Have students describe the music that portrayed that character. Whatdid they like about the music and character at the concert. Was the music successful in describingtheir character? Why or why not?Older students: Have students write about their experience at the concert. Encourage themto incorporate information about the characters and their stories, descriptions of the music,and their overall impressions of how effective the music was at portraying their character.EvaluationDid student responses suggest an understanding of the character traits that contribute toheroism and how music can depict them?Extension ActivityLooking at the character traits listed in the column on page 16, ask students which charactertraits they share. Hove younger kids talk about it; have older kids write about it in an essayor their journal.Co-Curricular Connections/TEKSFine Arts/Music 117.12 3.1 A,B, 3.5A,C, 3.6A,B; 117.15 4.1 A,B, 4.5A,D, 4.6; 117.18 5.1A,B,5.5A,E, 5.6; 117.33 6.1 B, 6.5A,B,D, 6.6Science– 112.5 2A, 112.6 2A, 112.7 2A, 112.22 2AEnglish Language Arts and Reading: 110.5 1A,D, 11B,H,I,J, 13A,B, 14A,B; 110.6 1A,C,12A,G,H,I, 14A,C, 15A,E,F; 110.7 1A,C, 12A,G,H,I, 14A,C, 15A,E,F; 110.22 1A,C,D, 12E,F,G,14A,C, 15A, E,FVolume Two- Legends and Heroes From Around the World

Page 15CONCERT-SPECIFIC ACTIVITY ONE– Character Portrayal, Cont.CHARACTER MAPName of Character Character Traits Real or FictionalOrpheus, from Orpheus in the Underworld:Orpheus goes to the underworldto rescue his love.Queen of Sheba, from Solomon: TheQueen of Sheba and her entouragemake their entrance as the queen visitsKing Solomon.Porgy, from Porgy and Bess: Porgyprofesses that he has no money, butcounts the many ways that he is successful.Anitra, from Peer Gynt Suite: the fictionalPeer Gynt, on one of his manyadventures meets the beautiful Anitra.Bird, from Peter and the Wolf: HelpingPeter to capture a dangerous wolf, thebird is portrayed by a flute.Grandfather, from Peter and the Wolf:Slow and deliberate, the grandfatherscolds Peter for going out of the housewhere he is in danger.Lieutenant Kijé, from Lieutenant KijéSuite: Lieut. Kijé is a fictional hero inventedto cover up a mistake.Witch, from Hansel and Gretel: A contrastto heroism, this villain rides herbroom, laughing and swooping about.Abraham Lincoln, from Lincoln Portrait:A simple, yet courageous figurewho grew up in a log cabin, Lincoln ledthe U.S. through a critical part if its historyin the mid 1850's.Unknown hero, from Symphony No. 3:Originally dedicated to Napoleon Bonapart,Beethoven rededicated this piecewhen he heard that the Frenchman hadcrowned himself emperor.Valkyries, from Ride of the Valkyries: InNorse mythology, these figures fly tocollect heroes who have fallen in battle.Heroism, from Pathetique: Depicts theidea of heroism.Volume Two- Legends and Heroes From Around the WorldFictional, mythRealFictional, mythFictional, folk figureFictionalFictionalFictionalFictional, folk figureRealReal ideaFictional, mythReal idea

Page 16CONCERT-SPECIFIC ACTIVITY ONE– Character Portrayal, Cont.CHARACTER MAP– with answersName of Character Character Traits Real or FictionalOrpheus, from Orpheus in the Underworld:Orpheus goes to the underworldto rescue his love.Queen of Sheba, from Solomon: TheQueen of Sheba and her entouragemake their entrance as the queen visitsKing Solomon.Porgy, from Porgy and Bess: Porgyprofesses that he has no money, butcounts the many ways that he is successful.Anitra, from Peer Gynt Suite: the fictionalPeer Gynt, on one of his manyadventures meets the beautiful Anitra.Bird, from Peter and the Wolf: HelpingPeter to capture a dangerous wolf, thebird is portrayed by a flute.Grandfather, from Peter and the Wolf:Slow and deliberate, the grandfatherscolds Peter for going out of the housewhere he is in danger.Lieutenant Kijé, from Lieutenant KijéSuite: Lieut. Kijé is a fictional hero inventedto cover up a mistake.Witch, from Hansel and Gretel: A contrastto heroism, this villain rides herbroom, laughing and swooping about.Abraham Lincoln, from Lincoln Portrait:A simple, yet courageous figurewho grew up in a log cabin, Lincoln ledthe U.S. through a critical part if its historyin the mid 1850's.Unknown hero, from Symphony No. 3:Originally dedicated to Napoleon Bonapart,Beethoven rededicated this piecewhen he heard that the frenchman hadcrowned himself emperor.Valkyries, from Ride of the Valkyries: InNorse mythology, these figures fly tocollect heroes who have fallen in battle.Bravery, Humor, PerseveranceNobilityHumility, Optimism, PerseveranceCuriousity (Peer Gynt),Playfulness, Humor, PerseveranceCaution, WisdomCourageCunning, Manipulativeness(example of character traits also beingimportant to villainous figures)Simplicity, Honesty, CourageCourage, NobilityFearlessness, PerseveranceThe complete heroic ideal depicted.Try to hear all the various aspects ofVolume Two- Legends and Heroes From heroism Around in excerpt. the WorldHeroism, from Pathetique: Depicts theidea of heroism.Fictional, mythRealFictional, mythFictional, folk figureFictionalFictionalFictionalFictional, folk figureRealReal ideaFictional, mythReal idea

Page 18CONCERT SPECIFIC ACTIVITY TWO–Painting Pictures in Words and Music, Cont.How Would You Describe a Hero?WORDSMUSICVolume Two- Legends and Heroes From Around the World

Page 19CONCERT SPECIFIC ACTIVITY THREE– Heroes: Napoleon vs. BeethovenTeaching ObjectiveStudents will explore the characteristics of a hero by examining the lives of Napoleon and Beethoven, and charting the similarities anddifferences, writing a compare/contrast paper.VocabularyExile – The state or period of forced absence from one’s country or homeResources• Short biography of Beethoven (one can be found at http://www.dsokids.com/2001/dso.asp?PageID=57)• Short biography of Napoleon (see page 20)• Recording of Beethoven’s Symphony No. 3, the Eroica• Paper, pens• DictionaryNote to Teacher:Beethoven originally dedicated his 3 rd Symphony to Napoleon. He withdrew his dedication when Napoleon declared himself emperor,thinking that he would become a tyrant. The symphony was renamed “Sinfonia Eroica, Composed to Celebrate the Memory of a GreatMan.”Pre-AssessmentBrainstorm the characteristics of a hero and list them on the board. Ask students what they know about Beethoven and/or Napoleon.Teaching Sequence1. Share with the class the information in the Teacher’s Note (above).2. Discuss with the class who the heroes are in their lives – parents, teachers, professional athletes, rock stars, firemen and women, policemen,etc.3. Ask students to give examples of times when they have overcome challenges (for example: deciding whether to cheat on a test, overcominga physical handicap, standing up for a friend who is being bullied). Discuss with students different types of heroes – those whostruggle and triumph or do not triumph over external forces, those who struggle and do or do not triumph over internal forces, or acombination of the two.4. Ask students to read the biography of Napoleon and discuss whether they think that he was a hero. Did his hero status change duringhis life?5. Ask students to read the biography of Beethoven and discuss whether they think that he was a hero.6. Using a chart, show the heroic attributes of Napoleon, Beethoven, and the student’s personal hero. Discuss similarities and differences,with special attention to what each overcame to become heroes in the students’ estimation.Culminating ActivityWrite a compare/contrast paper about the three heroes. If available, play the recording of Beethoven 3 rd Symphony as students write.EvaluationDid students demonstrate understanding of the various characteristics of a hero through discussion and the writing of a compare andcontrast paper?Co-Curricular Connections/TEKSFine Arts/Music 117.12 3.6A,B; 117.15 4.6; 117.18 5.6; 117.33 6.6English Language Arts and Reading: 110.5 9A,B,D,F,G, 10A,B,C,D, 13A,B, 14A,B,C,D; 110.6 10A,B,C,E,F,G,H,I,L, 11A,B,C,D,14A,B,C, 15A,C,E,F; 110.7 10A,B,C,F,G,H,I,L, 11A,B,C,D, 14A,B,C, 15A,C,E,F,G; 110.22 10A,B,C,E,F,G,H,I,L,M, 11A,B,C,D,14A,B,C, 15A,C,E,F,G,HSocial Studies: 113.5 3A,B,C, 16A,B,C,E, 17A,B,C, 18A,B; 113.6 22B,C,D,E, 23A,B,C,D,E, 24A,B; 113.7 22A,B, 25B,C,D,E,26A,B,C, D,E, 27A,B; 113.22 18A,B,C,D, 21B,C,D,E, 22A,B,C,D,E, 23A,BVolume Two- Legends and Heroes From Around the World

Page 20CONCERT SPECIFIC ACTIVITY THREE–Heroes: Napoleon vs. Beethoven, Cont.Napoleon Bonaparte (1769-1821)Napoleon grew up in a time following a revolution in France. The country was in turmoil andeveryday living standards were poor. Napoleon entered the army and he quickly rosethrough the ranks because he was talented and smart. In his first major battle, older,more experienced leaders disagreed with his strategy, but his victory led to his being promotedto general. For driving out occupying foreign armies, and for bringing needed reformsto make France a better place to live, Napoleon became a very popular hero with thepeople.Napoleon went on to win battle after battle, inspiring his soldiers, who were often poorlytrained and did not have good equipment. He made bold promises, but he was true to hisword, and he looked after his men. His soldiers were proud to serve him, and were completelyloyal to him.Napoleon was also a good politician. With the support of the people and the army, he declaredhimself France’s emperor. He organized the law, he stabilized the currency, madethe tax law more fair, and he improved the educational system. But he was too ambitious,pursuing war in places such as Spain and Russia. He was eventually defeated by the Britishat the Battle of Waterloo. He spent the last difficult years of his life as an exiled prisonerof war on a small island, and died at the age of 52.Volume Two- Legends and Heroes From Around the World

Page 21CONCERT SPECIFIC ACTIVITY FOUR-Meet the Characters: “Lieutenant Kijé – A Fictional Hero”Teaching ObjectiveThe students will recognize that heroes can be fictional by creating their own hero and writingshort story about his/her adventures.VocabularyHero - A person noted for feats of courage or nobility of purpose, especially one who has riskedor sacrificed his/her life.Pre-AssessmentAsk students to define the word “hero.” Have students share what a “hero” means to them.How does an individual learn about a hero? (by reading a newspaper or novel, by another personsharing stories/information such as through an interview on TV, or by seeing the hero’s storyin a movie/video, and through real life events.)Teaching Sequence1. Continue discussion on heroes with class. Can heroes be fictional or must they be real? Discussa hero from a story recently read or movie recently seen? Was the story fiction ornon-fiction? Consider the question, “Would Spiderman be considered a hero?”2. Share with the class that one of the pieces they will hear at the Dallas Symphony YouthConcert comes from the Lieutenant Kijé Suite, Op. 60, by Sergei Prokofiev. Lt. Kije was afictional Russian hero . Share the story with the class.In this story the Czar was reading a list of officers and their duties. (Czar wasthe title for the Russia’s king for many centuries. The Czar’s rule was absolute, and hewas not to be disagreed with or disobeyed.) While he was reading, the Czar mistookseveral words for the name of an officer. The courtiers who brought the informationto the Czar were afraid to tell him that those words were not a name of a person. Theywere afraid to tell the Czar that he was wrong. So the courtiers deliberately invented asoldier by that name, Lieutenant Kijé. Many heroic adventures were invented as welland attributed to Lieutenant Kijé. When the Czar says he wished to meet this LieutenantKijé, it became necessary for the courtiers to invent ways to keep the Czar fromfinding out that Lieutenant Kijé was fictional. So, they arranged an immediate hero’sdeath.Volume Two- Legends and Heroes From Around the World

Page 22CONCERT SPECIFIC ACTIVITY FOUR-Meet the Characters: “Lieutenant Kijé – A Fictional Hero,” Cont.In 1933 this story was made into a Russian movie called “The Czar Sleeps” which pokedfun at the Russian rulers of the 1800s. The music for the movie was written by Sergei Prokofiev,who was a well-known classical composer. At the Dallas Symphony Youth Concert, studentswill hear a selection from Prokofiev’s music that celebrates Lieutenant Kijé’s adventures.Culminating ActivityHave students draw on the list of heroic characteristics to create their own fictional heroand write a short story about his/her adventures.EvaluationDo students’ heroes and short stories demonstrate an understanding that heroes can befictional?Extension Activity1. Create a “Hero Display” on the bulletin board. Include newspaper articles if appropriatesynopsis of stories, and photos of heroes. Include both fictional and non-fictional heroes.Display the student stories about heroes as well.2. “Publish” the Hero Stories by making a bound class set of the students’ writing.3. Have students illustrate their stories with a drawing of their hero.4. Ask students to describe what kind of music they would create to accompany theirhero’s story, especially which instrument(s) they would use to represent their hero.Co-Curricular Connections/TEKSFine Arts/Music: 117.12 3.1 A,B, 3.5A,C, 3.6A,B; 117.15 4.1 A,B, 4.5A,D, 4.6; 117.18 5.1A,B,5.5A,E, 5.6; 117.33 6.1 B, 6.5A,B,D, 6.6Fine Arts/Art: 117.44.2A,B; 117.17 5.2A,C; 117.32 6.2A,C; 117.32 6.2A.CEnglish Language Arts and Reading: 110.5 1A,B,C,D, 3C, 4A, 9A,B,D,F,G, 10A,B,C,D, 13A,B,14A,B,C,D,; 110.6 1A,B,C, 4A, 10A,B,C,E,F,G,H,I,L, 11A,B,C,D, 14A,B,C, 15A,C,D,E,F; 110.71A,B,C, 4A, 10A,B,C,F,G,H,I,L, 11A,B,C,D, 14A,B,C, 15A,C,D,E,F,G; 110.22 1A,B,C,D, 4A,10A,B,C,E,F,G,H,I,L,M, 11A,B,C,D, 14A,B,C, 15A,C,E,D,F,G,HVolume Two- Legends and Heroes From Around the World

Page 23CONCERT SPECIFIC ACTIVITY FIVE-Teaching ObjectiveStudents will gain an understanding of how musical instruments can represent characters in a story.VocabularyPitch– The relative high or low sound of a musical noteTheme– A musical excerpt that represents a characterResources• Synopsis of Peter and the Wolf: http://www.dsokids.com/2001/dso.asp?PageID=442 (one copy per student if reading individually)• Soundclips of bassoon and flute: http://www.dsokids.com/2001/dso.asp?PageID=154 (bassoon) and http://www.dsokids.com/2001/dso.asp?PageID=158 (flute)Pre-AssessmentAsk the students to think of movies or TV shows in which a character is identified by a particular musical theme - i.e., "The Lone Ranger,"“Star Wars,” etc. Discuss what about the music makes the theme match the character in the movie or show.Teaching Sequence1. Tell the class that in the upcoming Dallas Symphony Youth Concert they will hear musical excerpts that will describe a specific characterin a story. This will be the character’s theme. The theme will announce the arrival of that character within the musical story.2. Read Peter and the Wolf and identify the main characters.3. List the main characters and ask students to name the characteristics that describe each one's personality. Under each of the character'snames, list the descriptive words students suggest. Re-read the story as needed.4. Challenge the class (working individually or in small groups) to pretend to be a composer, and to think of how the music would sound ifthey wrote a theme to describe the grandfather and the bird in the story. What musical instrument(s) would they use? (The soundsof the different instruments in the orchestra can be explored at http://www.dsokids.com/2001/instrumentchart.htm) Would the instrumenthave a low or high pitch? Would the music be loud or soft? Smooth or choppy? And so on... (NOTE: There are no right orwrong choices. The point is to let students imagine how they might describe the characters musically).5. Tell students that a Russian composer, Sergei Prokofiev, wrote music to describe each of these characters in a musical setting of Peterand the Wolf.6. Listen to the excerpts describing these characters. Name the instruments which play the theme of the grandfather and the themeof the bird. (bassoon=grandfather, flute=bird). List characteristics for the two themes. (You may download information about eachinstrument with photo and sound clip from http://www.dsokids.com/2001/instrumentchart.htm)Culminating ActivityAfter listening to the excerpts a second time, ask students to write a paragraph discussing why the bassoon and the flute were goodchoices to represent the grandfather and the bird. In their writing, students should use the descriptive words the class listed for theboth the characters of the grandfather and the bird and the sounds of the bassoon and flute and the musical characteristics of the twothemes.EvaluationDid students demonstrate an understanding of how musical instruments can represent characters in a story.Co-Curricular Connections/TEKSFine Arts/Music 117.12 3.1 A,B, 3.5A,C, 3.6A,B; 117.15 4.1 A,B, 4.5A,D, 4.6; 117.18 5.1A,B, 5.5A,E, 5.6; 117.33 6.1 B, 6.5A,B,D, 6.6English Language Arts and Reading: 110.5 1A,D, 11B,H,I,J, 13A,B, 14A,B; 110.6 1A,C, 12A,G,H,I, 14A,C, 15A,E,F; 110.7 1A,C, 12A,G,H,I,14A,C, 15A,E,F; 110.22 1A,C,D, 12E,F,G, 14A,C, 15A, E,FVolume Two- Legends and Heroes From Around the World

Page 24CONCERT SPECIFIC ACTIVITY SIX-A Portrait of Honest AbeTeaching ObjectiveStudents will understand that character traits can be portrayed through music by learning about Abraham Lincoln.VocabularyBob-tailed nag – A horse with a bobbed tailGray – A gray horseResources• Marker board or chalk board• Markers or chalk• Song sheet (and recording) of “Camptown Races”• A recording of Lincoln Portrait by Aaron Copland, if available• Legends about Lincoln drawn from Internet search using “Abraham Lincoln legends” (for example,www.Anecdotage.com or http://ntap.k12.ca.us/whs/projects/history/lincoln.html.Pre-AssessmentAsk students if they can think of anyone from American history that could be considered a hero. Answers might includeBen Franklin, George Washington, General Patton, etc.Teaching Sequence1. Tell students that they will learn about an American hero whose accomplishments have become larger than life. Tellthem that legends often spring up concerning heroes - their accomplishments are exaggerated or even made up insome cases, but these exaggerations come from true strengths in their character. Ask students to listen to the followingclues and try to guess this famous person’s name:*He was born in Kentucky*He grew up in a log cabin*He was well known for being honest*His portrait is on the penny*He was a good wrestler*He was the 16 th president of the United States.Tell students that his name was Abraham Lincoln. Tell them that Lincoln became famous because of the courage andwisdom with which he led our country through the Civil War, a very serious and important struggle in our country’shistory.2. Share with students legends that have sprung up about Lincoln. Ask them how these legends spring from Lincoln’sreal-life traits.3. Tell students that Lincoln was pivotal to the history of our country and that a famous composer named Aaron Coplandwrote a piece of music for orchestra called Lincoln Portrait. In this composition, he included famous quotes that AbeLincoln quotes, and music popular in the mid 1800’s. Copland included the Stephen Foster song “Camptown Races”which was popular during Lincoln’s lifetime. Tell them that soon they are going to be hearing this piece when they attend a Youth Concert at the Meyerson Symphony Center. If available, use a song sheet or recording of “CamptownRaces” or a recording of Lincoln Portrait.Volume Two- Legends and Heroes From Around the World

Page 25CONCERT SPECIFIC ACTIVITY SIX-A Portrait of Honest AbeCulminating ActivityHave students think of a fictional or real-life character whose personal strengths or accomplishments make them seemheroic. If possible, encourage them to consider a character around whom a legend has sprung up. Have them write ashort report about this person. Point out that when they are finished, a reader should be able to identify the personalstrengths of the person in their story. Have them choose appropriate music to accompany a reading of their story. Theyshould be able to explain why they chose the music they did – what characteristics of the music are appropriate to thetraits of their hero.EvaluationDid students’ responses indicate an understanding of character traits of a hero, and how these traits can be portrayedthrough music?Co-Curricular Connections/TEKSFine Arts/Music: 117.12 3.5A,BC, 3.6A,B; 117.15 4.5A,D, 4.6A,B,C; 117.18 5.5A,B,E, 5.6A,B,C; 117.33 6.5A,B,D, 6.6A,B,CEnglish Language Arts and Reading: 110.5 1A,B,C,D, 3C, 4A, 14A,B,C,D,; 110.6 1A,B,C, 4A, 15A,D,E,F; 110.7 1A,B,C, 4A,15A,D,E,F,G; 110.22 1A,B,C,D, 4A, 15A,D,E,F,G,HSocial Studies: 113.5 3A,B,C, 16A,B,C,E, 17A,B,C, 18A,B; 113.6 22B,C,D,E, 23A,B,C,D,E, 24A,B; 113.7 4D, 21B, 22A,B,25B,C,D,E, 26A,B,C, D,E, 27A,B; 113.22 18A,B,C,D, 21B,C,D,E, 22A,B,C,D,E, 23A,BCamptown Races– Song SheetCamptown ladies sing this song,Doo-da, Doo-daCamptown racetrack's five miles longOh, de doo-da dayGoin’ to run all nightGoin’ to run all dayI bet my money on a bob-tailed nagSomebody bet on the grayVolume Two- Legends and Heroes From Around the World

Page 26CONCERT SPECIFIC ACTIVITY SEVEN– “Porgy and Bess”Teaching Objective:Students will discover the distinctive traits of the characters in the opera “Porgy and Bess.”VocabularyOpera– A theatrical work set to music in which all or most of the text is sung with instrumental accompanimentCharacter trait– The unique attribute of a character. The way a character looks, thinks and acts that makes the individual distinctfrom all othersResources• Opera synopsis, found on page 29, one copy per student• Transparency with the names of each of the eleven characters, information found on page 27• Character Wheel, found on page 28• A file card and pencil for each student• Vis-à-vis pens• Eraser or sponge• Internet website: www.classical.net/music.1st/works/gershwin//porgy&bess.htmlPre-Assessment:Ask if any of the students have seen Porgy and Bess or know its story.Teaching Sequence:1. Distribute one copy of the opera synopsis to each student and facilitate a class read-aloud of Porgy and Bess.2. While reading, have the students circle the names and/or descriptions of each of the eleven characters.3. Ask the students to use the file card and pencil provided to list and distinguish the major and minor characters.4. Facilitate a discussion of character traits by having the students respond to the following questions.a. Who are the major characters? Who are the minor characters?b. Do you like or dislike any of the characters? Why?c. Does any one of the characters in the opera story remind you of anyone that you know or have read about? If so, howare they alike?d. Did any of the major characters change? If so, how?e. Suppose you had a chance to meet one of the characters. What would you say to him or her?Culminating ActivityAsk each student to choose one of the characters and complete the Character Wheel found on page 28. Share the results.EvaluationDid students distinguish each character in the opera by their individual traits?Extension ActivityAsk the students to write a response to the following question: If you could be any character in this opera, who would you be? Why?Tally the responses.Co-Curricular Connections/TEKS:Fine Arts/Music: 117.12 3.1 A,B, 3.5A,C, 3.6A,B; 117.15 4.1 A,B, 4.5A,D, 4.6; 117.18 5.1A,B, 5.5A,E, 5.6; 117.33 6.1 B, 6.5A,B,D, 6.6English Language Arts and Reading: 110.5 1A,B,C,D, 3C, 4A, 9A,B,D,F,G, 10A,B,C,D, 13A,B, 14A,B,C,D,; 110.6 1A,B,C, 4A,10A,B,C,E,F,G,H,I,L, 11A,B,C,D, 14A,B,C, 15A,C,D,E,F; 110.7 1A,B,C, 4A, 10A,B,C,F,G,H,I,L, 11A,B,C,D, 14A,B,C, 15A,C,D,E,F,G; 110.221A,B,C,D, 4A, 10A,B,C,E,F,G,H,I,L,M, 11A,B,C,D, 14A,B,C, 15A,C,E,D,F,G,HVolume Two- Legends and Heroes From Around the World

Page 27CONCERT SPECIFIC ACTIVITY SEVEN– “Porgy and Bess,” Cont.Character Identifications /Descriptions(For Teacher Use Only)Major Characters:· Porgy, a lonely, crippled man who loves Bess.· Bess, a beautiful, weak woman who is admired by many men.· Crown, a flashy, dangerous gambler who pursues Bess.· Sportin’ Life, a drug dealer who also pursues Bess.Minor Characters:· Clara, Jake’s wife and the mother of a young child.· Jake, Clara’s husband and a fisherman.· Serena, Robbins’ widow.· Robbins, Serena’s dead husband.· Maria, a feisty shopkeeper.· A police detective· Peter, a half-deaf old man.Volume Two- Legends and Heroes From Around the World

Page 28CONCERT-SPECIFIC ACTIVITY SEVEN– “Porgy and Bess,” Cont.Character wheelWhat character saysWhat character doesCharacterNameWhatcharacter thinksWhat others sayabout characterVolume Two- Legends and Heroes From Around the World

Page 29CONCERT-SPECIFIC ACTIVITY SEVEN– “Porgy and Bess” SynopsisAn Opera in Three Acts by George GershwinAct ICatfish Row is a poor fishing community in Charleston, on the coast of South Carolina. It isnighttime in the busy courtyard and people are dancing, couples strolling, and children playing.Clara is singing a lullaby, but can’t get her baby to sleep. Her husband Jake breaksaway from his dice game to sing to the baby. Good-hearted, crippled Porgy enters on hisgoat cart and his friends begin to tease him for falling in love with Bess. Bess enters onthe arm of the flashy, dangerous Crown. Though Serena has begged her husband, Robbins,to stay out of the dice game, he gets into an argument with Crown, and is killed. Bessgives Crown money to run away. Sportin’ Life offers to take Bess to New York, but just asBess is making up her mind, the police come and everyone scatters. Bess hides in Porgy’sroom.Scene iiRobbins' body is laid out with a saucer on his chest, as neighbors come in to comfortSerena and put money in the saucer to help pay for the burial. Porgy leads them in a prayerfor the Lord's help to fill the saucer. A Detective warns Serena that the body must beburied the next day. He looks around the room and accuses Peter of killing Robbins. Theold man says that Crown did it; but Peter is hauled off to jail anyway. A sympathetic undertakersoon enters and agrees to bury Robbins for the amount of money collected in thesaucer.Act IIA month later, Bess is living happily with Porgy. A shopkeeper, Maria, threatens Sportin’Life for peddling illegal drugs near her place. Sportin’ Life again tries to persuade Bess tocome with him, but Porgy chases him off. He joins Bess in expressing their happiness. Thecommunity assembles for a picnic on Kittiwah Island. Porgy cannot make the trip, but hepersuades Bess to go.Scene iiIt is evening on the island and the picnic is in full swing. Sportin’ Life tells everyone thatthere is more to the world than what they learned in Sunday School, but Serena calls themall sinners! As they prepare to leave, Crown, who has been hiding on the island, finds Bess.He wants her to stay with him, and though she tries to leave, he overpowers her.Volume Two- Legends and Heroes From Around the World

Page 30CONCERT-SPECIFIC ACTIVITY SEVEN– “Porgy and Bess” Synopsis, ContScene iiiJake and a fisherman are about to go fishing, though a storm is approaching. In Porgy’sroom, Bess is finally home after spending two days on the island with Crown. She convincesPorgy that she really loves him, and he assures her he will protect her. The storm getscloser and the hurricane bell rings!Scene ivAs the storm rages, everyone is praying and singing. Suddenly, there is a knock on thedoor and there stands Crown, who has come for Bess. He and Porgy fight and Crownpushes Porgy to the floor. Clara sees Jake’s fishing boat upside down in the river, and sheruns to the river, followed by Crown.Act IIIThe townspeople mourn those that were lost in the storm. Sportin’ Life is not mourning; hethinks that Crown is not dead and he can’t wait to see what happens in a showdown betweenBess’ two lovers. Crown appears at the gate, moving toward Porgy’s door. As Crown passesa window, Porgy reaches through a shutter and stabs him to death.Scene iiThe Detective comes to investigate Crown’s death, and drags Porgy away to identifyCrown’s body. Sportin’ Life offers Bess some illegal drugs, and again invites her to travelwith him to New York. She tries to refuse, but finally gives in.The Final SceneA week later, life has returned to normal. Porgy returns from a week in jail, where he wonmoney playing dice which he spent on nice gifts for all his friends. He realizes that Bess isnot there to greet him. Serena and Maria tell him that Bess has gone to New York. Porgycalls for his goat cart so that he can bring Bess back. Helped onto his cart, he starts offtoward New York.Volume Two- Legends and Heroes From Around the World

Page 31RESOURCES FOR TEACHERSBOOKS- visit Amazon.com to find a large range of music related media, including:Apel, Willi. Harvard Dictionary of Music. Harvard University Press, 1967.Barber, Nocola. The World of Music. Silver Burdett Press, 1995.Blackwood, Alan. The Orchestra; An Introduction to the World of Classical Music. A Quarto Book:Millwood Press, 1993.Cutler, Jane. The Cello of Mr. O. Dutton Children’s Books, 1999.Hays, Ann. Meet the Orchestra. Gulliver Books, Harcourt Brace Jovanovich, 1991.Hoffer, Charles. Concise Introduction to Music Listening. Wadsworth Publishing Company, 1984.Koscielniak, Bruce. The Story of the Orchestra. Houghton Mifflin Co., 2000.Kruckenberg, Sven. The Symphony Orchestra and its Instruments. Crescent Books, 1993.Moss, Lloyd. Zin! Zin! Zin! A Violin. Simon & Schuster, 1995.Nye, Robert & Bergethon, B. Basic Music. Prentice Hall, Inc., 1983.Van der Meer & Berkeley, Michael. The Music Pack. Alfred A. Knopf, Publisher, 1994.RECORDINGSRecordings of much of the repertoire featured on Dallas Symphony Orchestra Youth Concertsare included in many music curriculums. Please check with your school's music teacher or mediaspecialist. Tower Records, Border’s, Barnes & Nobles and Amazon.com carry a wide selection oforchestral recordings.VIDEOThe Dallas Symphony Orchestra's television series for children, Amazing Music, features MusicDirector Andrew Litton as your guide to “Emotions in Music,” “Pictures in Music,” “Families of theOrchestra,” and “Jazz.” (See page 41 for an order form.)MOVIES“Music of the Heart” with Meryl Streep- Miramax, rated PG, 124 minutes“Small Wonders”: documentary: Miramax, rated G, 77 minutesCLASSROOM MATERIALS Sources for pictures of instruments, books, audio and videotapes:• DSO Symphony Store; call 214-871-4066 for information• Friendship House; call 1-800-791-9876 for a free catalog or visit http://www.friendshiphouse.com/• Music Educators National Conference (MENC); call 1-800-828-0229 for a free catalog orvisit http://www.menc.org/• Music In Motion; call 1-800-445-0649 for a free catalog or visit http://www.musicmotion.com/• American String Teacher’s Association: visit http://www.astaweb.com/ONLINEwww.DSOKids.comwww.playmusic.orgwww.nyphilkids.orgwww.artsalive.cawww.sfskids.orgThe Dallas Symphony’s website for teachers and students.A children’s website from the American Symphony Orchestra LeagueThe New York Philharmonic’s website for teachers and studentsAn education website sponsored by the National Arts Centre in CanadaThe San Francisco Symphony’s educational website for childrenVolume Two- Legends and Heroes From Around the World

Page 32Orchestra Seating ChartVolume Two- Legends and Heroes From Around the World

Page 33Concert Guidelines For TeachersBEFORE THE CONCERT• Please prepare your students using materials in this book or at www.DSOKids.com.• Students should be briefed on concert etiquette in advance.• Please contact Jessica Schmidt at 214/871-4006 at least one week before the concertif your group includes any students or teachers with special needs, includingwheelchairs or deaf students requiring infra-red headsets.THE DAY OF THE CONCERT• Before leaving school, please allow time for students to visit the restroom.• Clearly mark buses or cars for speedy identification and memorize bus numbers.• Learn your bus driver's name and be sure you can recognize her/him.• Plan to arrive at the Meyerson at least 30 minutes before concert time.UPON ARRIVAL AT THE MEYERSON• Check in with a volunteer in the main lobby; a volunteer will guide your group to your seatingarea. (Seating sections are assigned on the basis of group size.)• All students should be in their seats at least 5 minutes before concert time.• No food or drink, including chewing gum, is permitted in the concert hall.DURING THE CONCERT• The use of cameras and recorders is prohibited; please turn off cellular phones.• Students and teachers should remain in their seats for the entire concert.• Restrooms are located on all levels and should be used for urgent needs only.• If students must visit the restroom, please have an adult accompany them.• Students not maintaining acceptable standards of behavior will be asked to leave, andmay jeopardize their school's future attendance at DSO events.AFTER THE CONCERT• Please remain in your seats until your school is dismissed.• Upon dismissal, listen carefully and follow instructions for departing the building.BACK AT SCHOOL• Refer to this guide or www.DSOKids.com for follow-up activities.• Student letters/artwork expressing reactions to the concert are appreciated.Mailing address: Youth ConcertsDallas Symphony Orchestra2301 Flora Street, Schlegel Administrative SuitesDallas, TX 75201-2497Fax number: 214/953-1218E-mail address: jschmidt@dalsym.comVolume Two- Legends and Heroes From Around the World

Page 34Arriving and Departing the Meyerson Symphony CenterBUSES - Please memorize bus numbers and be sure you know your bus driver!Arrivals: Buses unload in front of the Meyerson Center on westbound Flora Street. After students disembark,buses should proceed around the block and park along Leonard Street north of Flora. Please followinstructions from Symphony personnel.Departures: Buses remain parked on Leonard Street. Students are dismissed by school and directed totheir buses. Follow directions from Symphony personnel.CARS AND VANS - Cars and vans park in the Arts District Garage which is entered from Ross Avenuebetween Leonard and Pearl Streets. Take ticket, (parking fee is $1.00 per hour), and proceed to levelsfour through seven. The Arts District Garage has an overhead clearance of 7 feet. (On level 3 of theparking garage, there is a walk through into the lower level of the Symphony Center.) After parking,take the Symphony Center elevators to the Lower Lobby, assemble your group in the Lower Lobby, thentake the stairs to Main Lobby. (An elevator is available for the physically challenged.)A note to schools arriving in carpools: Please provide all of your drivers with a map and clear instructionson where to park (Arts District Garage ONLY). Following identical routes is recommended so that yourgroup arrives at the Meyerson at approximately the same time. Be sure all drivers and chaperones knowto meet in the Lower Lobby. Please do not come upstairs until your entire group has assembled.DIRECTIONS TO THE MEYERSON SYMPHONY CENTERFrom Southbound I-35E Stemmons, east on Woodall Rodgers Freeway (exit marked TO HOUSTON, I-45 and US-75), exit at Pearl Street, bear to the left when ramp divides. Take Pearl Street to Ross Avenue(two blocks); turn left onto Ross.From Northbound I-35E Stemmons, east on Woodall Rodgers Freeway (exit marked TO SHERMAN, I-45 and US-75), exit at Pearl Street, bear to the left when ramp divides. Take Pearl Street to Ross Avenue(two blocks); turn left onto Ross.From Central (US-75), I-30 or I-45, west on Woodall Rodgers (366), exit at St. Paul (exit curves left),turn left onto Woodall Rodgers access road, cross Olive Street and turn right onto Pearl Street. Go twoblocks to Ross Avenue and turn left.From Downtown or East Dallas, north on Pearl Street, turn right onto Ross Avenue.From the Dallas North Tollway, south on the Tollway, after the main toll plaza, stay in the left lane andtake the Hines Blvd. exit on the left towards downtown. Continue to follow signs to downtown, PearlStreet and the Arts District. Turn slightly left to access Pearl Street, then stay on Pearl to Ross Ave.Turn left onto Ross.Then, from all directions, buses go two blocks to Leonard Street, turn left, go one block to FloraStreet, turn left again and pull up to the Meyerson entrance. Cars turn left into the Arts DistrictGarage from Ross Avenue at the green awning.Volume Two- Legends and Heroes From Around the World

Page 35M e y e r son Area MapVolume Two- Legends and Heroes From Around the World

Page 36About the Morton H. Meyerson Symphony CenterOne of the world's greatest concert halls, the Meyerson Symphony Center was made possiblethrough the efforts of the citizens of Dallas. Over 10 years were spent in the planning and constructionof the Meyerson, which opened on September 6, 1989.World-renown architect I.M. Pei was chosen to design the building, working closely with acousticianRussell Johnson. Pei's design combines basic geometric shapes, with a rectangle (the concert hall) setat an angle within a square (the outer walls). Segments of circles also enclose the building.In the concert hall, every detail was designed to make the sound or acoustics as perfect as possiblefor orchestral music. For example, the heating and air conditioning system is located separatelyso that no vibrations from the machinery can be felt in the concert hall. Acoustical featuresinclude:• the canopy over the stage which can be raised and lowered to enhance the sound,• double sets of doors at all entrances,• terrazzo and concrete floors,• mohair fabric on the seats,• walls covered with African cherrywood,• sound-absorbing curtains which can be drawn over the walls, and• a reverberation chamber with 72 acoustical doors used to "tune" the hall.FUN FACTS ABOUT THE MEYERSONThe Meyerson Symphony Center has:• 2056 seats,• 30,000 sq. ft. of Italian travertine marble,• 22,000 limestone blocks from Indiana,• 35,130 cubic yards of concrete,• 918 panels of African cherrywood around the concert hall,• 216 panels of American cherrywood around the stage,• 62 acoustical curtains,• 4 canopies with a combined weight of 42 tons,• 72 concrete acoustical doors, each weighing 2.5 tons,• 50 bathrooms,• an 85 foot high ceiling in the concert hall,• a 40 foot hollow area under the stage to increase resonance, and• an organ with 4 keyboards, 61 keys, 32 pedals, 84 ranks, 65 stops and 4535 pipes.Volume Two- Legends and Heroes From Around the World

Page 37Dallas Symphony OrchestraCONCERT NEWSFeaturing Reviews Written by Students~ Student Review ~Student__________________________________________ AgeSchool______________________________________________GradeConcert Attended____________________________________ Date~ ~Describe your concert experience. (What happened first, second, next, etc.)____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Name one of the musical pieces you heard at the concert and describe it._______________________________________________________________________________________________________________________________________________________________________________________________________________Choose two musical instruments you heard at the concert and compare their appearanceand their sound._________________________________________________________________________________________________________________________________________________________________________________________________________What did you enjoy the most and what did you enjoy least at this concert?____________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________________Please have your teacher send your Review toYouth Concerts, Dallas Symphony2301 Flora Street, Schlegel Administrative SuitesDallas, TX 75201Or FAX to: (214) 953-1218Or EMAIL to: jschmidt@dalsym.comVolume Two- Legends and Heroes From Around the World

Page 38TEACHER'S EVALUATION FORMDALLAS SYMPHONY ORCHESTRA YOUTH CONCERTS, 2004-2005IMPORTANT! Comments from teachers’ evaluations of DSO Youth Concerts are key elements in planning future programs. Please share yourthoughts, opinions and suggestions. Form may be photocopied for use by all teachers attending the concert.1. I attended: (Check one.) Lone Star Symphony Grade Level Date Legends and Heroes from Around the World Grade Level Date Carnival of the Animals Grade Level Date2. Please rate the following on a scale of 1 to 6Poor---ExcellentSuitability of programming 1 2 3 4 5 6Conductor's rapport with audience 1 2 3 4 5 6Orchestra performance 1 2 3 4 5 6Logistics (seating, exiting, etc.) 1 2 3 4 5 6Students' attentiveness 1 2 3 4 5 6Comments1. Was the Teacher’s Guide helpful? Is there anything that you would like to see added to it?2. Did you use the DSOKids.com website during your Youth Concert experience?________________3. If the answer to the above question is “yes,” did you find the website helpful? Why or why not?____________________________________________________________________________Please describe how you used the site: (ex: When did you use it? Where did you access it? How did you use it?)________________________________________________________________________________________________________________________________________________________(Optional) Name________________________________________________________________School_______________________________________________________________________Title________________________________________________________________________Please fax completed evaluation form to 214/953-1218,or mail to: Youth Concerts: Dallas Symphony Orchestra, Meyerson Symphony Center2301 Flora Street, Schlegel Administrative Suites, Dallas, Texas 75201Volume Two- Legends and Heroes From Around the World

Page 39Amazing Music VideosThe Dallas Symphony Orchestra's AMAZING MUSIC concerts are the perfect introduction to the orchestra, featuringfast-paced explorations led by Music Director Andrew Litton. Litton, who was inspired to become a conductor byLeonard Bernstein's Young People's Concerts, is a strong advocate for music education as well as a charming host forthe concerts.Designed to be educational as well as entertaining, Amazing Music programs are a natural for the classroom, especially in thelight of current research that validates music as an effective teaching tool. Therefore, the Dallas Symphony Orchestra hasdeveloped Classroom Editions of Amazing Music for the educational market, supplementing a special time-coded version ofeach video with a booklet containing lesson plans developed by educators. The activities support in-school use of the programswith curriculum that integrates music with other classroom subjects.The Dallas Symphony Orchestra’s AMAZING MUSIC programs have been broadcast on A&E and PBS.Order FormNAMEADDRESSCITY STATE ZIPTELEPHONE (daytime)(evening)Please send me the following “Classroom Editions”:Volume 1, Emotions in MusicVolume 2, Pictures in MusicVolume 3, Families of the OrchestraVolume 4, Jazz#Total number of Classroom Editions ________ x $40.00=Texas residents add 8.25% sales tax x .0825=(Tax exempt? Please include a copy of your tax exempt certificate)Shipping:1-3 Classroom Editions= + $6.50=4+ Classroom Editions= + $8.50=TOTAL: $Enclosed is a check payable to Dallas Symphony OrchestraMastercard/Visa Discover American ExpressCARD #EXPIRATION DATESIGNATUREMAIL form to Dallas Symphony Orchestra Store, 2301 Flora Street, Suite 300,Dallas, TX 75201-2497FAX form to 214/871-4505, Attention: Symphony StoreVolume Two- Legends and Heroes From Around the World

Page 40THANKS!The Dallas Symphony Orchestra gratefully acknowledges the following contributors who support DSO Education Programs:Youth Concert Series Sponsor – Cecil and Ida Green FoundationDallas Public Schools Transportation Sponsor - Texas Instruments FoundationYouth Concert SponsorsBank of AmericaExxon Mobil CorporationHoglund FoundationPhilip R. Jonsson FoundationEndowed Concert SponsorsDr. Anson L. Clark Endowment FundThe Meadows FoundationThe Meyerson FamilyWendy and Emery RevesAnne J. StewartThe Carl and Susan Summers FoundationSpecial Students at the Symphony Sponsor- Junior Symphony BallEducation SponsorsTACAEDS FoundationHawn FoundationHarold Simmons FoundationSymphony YESCitigroupRoy and Christine Sturgis Charitable TrustYoung Strings7-ElevenNational Endowment for the ArtsThe Andrew Family FoundationDean FoodsFossilTexas Commission on the ArtsDSOKids.com SponsorsThe Andrew Family FoundationCecil and Ida Green FoundationMr. and Mrs. Vance TorbertVerizonA big round of applause to the Dallas Symphony Orchestra League Volunteers who so graciouslyserve as ushers for Youth Concerts.Volume Two- Legends and Heroes From Around the World