student and teaher guide o Àer design, omposer pages, lesson … · 2015. 10. 20. · grieg i....

Concert Introduction………..………….………………………………....………..…………….…………….....2

Calling all Artists! ……..……...…………….……….………….………………………..……………….……......3

Instrument Families…………………….……….…..…………………………………………………………...….4

Machine, by Higdon…………………………………………………………………………..……...…..………....6

Composer Jennifer Higdon…...…..………………..……….……………….……………………………….….7

I. Preludium from the Holberg Suite by Grieg….....……………….…………………...……..….…...8

Composer Edvard Grieg………..………………………..………..……….…………………..………..………..9

II. Ostinato from St. Paul’s Suite by Holst….…….…………...…………………………….…..……....10

Composer Gustav Holst………..…....….………………...…….……………………………………..……....11

I. Vivace from Symphony No. 7 by Beethoven……………………..……………..……..…............12

Composer Ludwig Van Beethoven………...……………......………..…………………..…………….…13

“Warehouse Medicine” from The B-Sides, by Bates…………...….….……..………..……....…14

Composer Mason Bates……..……………………..……….….……..…….…………..………………….....15

“Largo al factotum” from The Barber of Seville, by Rossini…..…..……....………..……….…16

Composer Gioachino Rossini…………...………………………………………..…..…….…...…………...17

“Largo al factotum” Questions for Students…………………………..…………...………..………..18

“Largo al factotum” Libretto……….……………..………………………........…..…….…...…………...19

IV. Allegro non troppo from Symphony No. 5 Op. 47, by Shostakovich…....………..…..20

Composer Dmitri Shostakovich……………...………...…..…………………..…...…………..………….21

Star Wars Main Title, by Williams…………..………….……….………......….…...…………………….22

Composer John Williams…………………..………………………………….....…...………………..……...23

The Conductor’s Role…….……...………..…………………..….……….…………..…………………………24

KSO Youth Concert Puzzle and Power Listening……..…...………….………..……………………..25

Show What You Know……………………….….……………...…………….…………….…………………….26

Post-Concert Reflection……………………..…………..…………………………...………………………….28

Thank You to KSO Youth Concert Design Team……...….…..…….……..………………………..…32

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Student and Teacher Guide cover design, composer pages, lesson formatting and graphic design by Cori Somers

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Dear Students,

Welcome to the Kalamazoo Symphony Youth Concert of 2016! We will explore a very exciting musical idea and discover how this idea teaches us to achieve success. In music, when a composer repeats a small musical idea over and over, we call it an ostinato. When we hear composers use ostinato, we are reminded to keep moving even when we fail.

We will also learn that many composers experienced significant obstacles during their lives. Some lost their hearing, others faced unfairness, others experienced failure, and some even survived threats to their lives. Despite these challenges, these composers did not give up, but kept on moving forward. With great perseverance, these composers impacted people’s lives and are remembered for their great success.

At the Kalamazoo Symphony, we value your participation. In this concert, we invite you to conduct from your seats, create patterns of your own, and submit artwork that may be shown on the stage. Most importantly, you will have fun as you explore the wonders of the symphony orchestra. We look forward to seeing you at the Kalamazoo Symphony concert, enjoying the music that keeps you moving! - Maestro Daniel Brier

CONCERT PROGRAM

Higdon Machine

Grieg I. Preludium from the Holberg Suite

Holst II. Ostinato from St. Paul’s Suite

Beethoven* I. Vivace from Symphony No. 7

Bates* “Warehouse Medicine” from The B-Sides

Rossini* “Largo al factotum” from The Barber of Seville

Shostakovich* IV. Allegro non troppo from Symphony No. 5 Op. 47

Williams Star Wars: Main Title

* Indicates a student participation piece or guest artist!

Youth Concerts are made possible in part by: The Burdick-Thorne Foundation, Education for the Arts, John E. Fetzer

Institute Fund, Diane S. Robertson Foundation, Mignon Sherwood DeLano Foundation, Schupan And Sons, Tyler-Little

Foundation, Youth Concert Luncheon supporters , Dorothy U. Dalton Foundation, Harold and Grace Upjohn Founda-

tion, Irving S. Gilmore Foundation, Kalamazoo Symphony Orchestra League, Michigan Council for Arts and Cultural

Affairs, National Endowment for the Arts, Pfizer Corporation, Upjohn Mason Grandchildren’s Chair in Music Education,

Zoetis

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As you study the musical concept of an ostinato and the social concept of perseverance,

you will become inspired by your own ideas and creativity.

This year we invite you submit artwork based on Dimitri Shostakovich’s work

Symphony No. 5, Movement IV, Allegro non troppo.

We have given some guidelines and art lesson ideas to your teachers

to help this activity have some direction.

All artwork chosen will be displayed on our screen during the KSO’s performance of Shostakovich’s

Symphony No. 5. We will have a special presentation for each day of the week to

be sure that pieces chosen from your school will be shown

when your school is at the concert.

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Special thanks to Cori Somers from the Kalamazoo Symphony Orchestra for creating this lesson.

By Jennifer Higdon

http://jenniferhigdon.com/audio/Machine-Clip.mp3

http://jenniferhigdon.com/audio/Machine-Clip.mp3

Jennifer Higdon did not begin studying or listening to classical music until she was a teenager! Jennifer taught herself flute when she was fifteen and played in her high school’s concert band in Tennessee. She heard very little classical music before she went to Bowling Green State University to major in flute performance. She did not begin to study composition until she was 21 years old!

Higdon claims that her late exposure to classical music had an important effect on her style: “Because I came to classical music very differently than most people, the newer stuff had more appeal for me than the older.” Higdon’s music is clearly written in a modern style, featuring interesting combinations of instruments. Although written in a modern style, Higdon’s music relies heavily on traditional sounds and structures. Higdon’s unique combination of old and new is very popular. Her music is traditional enough for the audience to understand and enjoy, but original enough that the audience and orchestra are exposed to something new and challenging.

Chris McGovern: Okay, so, you taught yourself the flute, which, by itself is an incredible achievement, then your flute teacher Judy Bentley wants you to write an original piece for the flute. How did this impact your artistic abilities, and then how did things progress from there?

Jennifer Higdon: I think having a chance to actually organize sound onto the page completely opened my musical world. Once I had written that first piece and heard it played, I became entranced with the idea of doing it more and more. I also must have had an innate interest in it, because I recently found some sketches that I had made (very primitive) when I was in high school, attempting to write music. But I have to admit, everything in my musical world changed profoundly with the first composition. It has been a steady road since them, filled with lots of dips, backslides, forward jumps and hefty climbs….actually about 30 years worth! But worth every frustration and joy.

CM: Before you started, we’ve learned that you grew up with virtually no classical music around you, and later on when you learned the flute, it led to composition. Was the sound of classical music something you needed to acquire a taste for around this time, or was that more or less simultaneous with where you were headed?

JH: I don’t know that I needed to acquire much taste in it…since it hadn’t been part of my world, I found it kind of interesting to listen to when I first encountered it. I probably have had to develop a taste for older classical (the Romantic and Classical periods). I really had my first experiences through 20th century music, which I loved. So some of the music felt natural, and some of it, I still really have to try to sit through calmly (meaning it’s more of an effort). But the developing interest in it was quite simultaneous (I’m still learning the standard rep).

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http://www.dsokids.com/listen/by-instrument/flute/.aspx

Special thanks to Lisa Stucky, Diane Glass and Beverly Ropp from Portage Public Schools for designing this lesson.

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from the Holberg Suite By Edvard Grieg

= =

=

=

= Pizzicato Long note melody

La Ti

Do

Taking melodic shape

0:03 / 0:31

0:59 1:05

1:16 / 1:24

1:35

1:28

1:41

1:57 2:09 2:03

0:15 0:21

Trill

Trill

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Grieg had a genius ability to create perfect melodies rooted in the national folk tradition of Norway. He enjoyed composing new harmonies and became a model for many European composers. The secret behind Grieg's world fame lay in his ability to create new piano music that could be played by amateurs in homes all over the world.

It is almost impossible to listen to Grieg without sensing a light, fresh breeze from the blue waters, a glimpse of sparkling glaciers, a recollection of the steep mountains and of life in the fjordland of western Norway, where Grieg was born and dearly loved to roam.

But this romantic image of the composer, and of his art and environment was only half the truth. Success did not come easily to Grieg. His life was a struggle in which he encountered both success and adversity. In the 1860s he worked hard to support both himself and his family as a conductor, music teacher and a performer. In these fields he was successful, but it took time to win the recognition of other musicians and of the public. His harmonies seemed dissonant to a public still striving to understand Beethoven and Mozart. He decided to compose in his own country, but he also needed outside inspiration. If he was ever going to make a living composing, he needed a broader musical market than Norway and Scandinavia could provide. Grieg traveled to many European countries to compose and make a name for himself. In 1874 Grieg was awarded an annual artists' grant, and could support himself without needing to teach or to conduct. He returned to his home town of Bergen. As the years went by, Grieg composed more slowly, and each new was completed after a very long composing process. This was when he wrote the famous Holberg suite for strings.

In 1885 Grieg moved into his new home "Troldhaugen," outside Bergen. There he and his wife Nina lived for the rest of their lives. The last twenty years of Grieg's life were mainly spent composing and long concert tours in Europe. Around the turn of the century, you could hear Grieg’s music not only in the great concert halls, but in cafés , spas, restaurants, and silent films everywhere. In some circles he was regarded as nothing more than a composer of popular music. Grieg's music faded from the minds of musicians and the public.

Since then the pendulum of history has swung back again, and this time to Grieg's advantage. His works are now performed in concert halls throughout the world, and the number of Grieg recordings is increasing. Works long considered insignificant have been rediscovered by a new generation of musicians.

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from St. Paul’s Suite By Gustav Holst

1 measure each 2 measures each

Special thanks to Stephanie Measzros from Kalamazoo Public Schools for designing this lesson.

12 measures in 3

CODA

1:19-1:34

Introduction

(In 1 or fast 3)

Theme (In 1 or fast 3)

0:11-00:17

0:31-0:44

Theme

(In 1 or fast 3)

1 drop = 1 sound

2 measures 2 measures


1 drop = 1 sound

1 measure

0:18-0:24

4 measures 2x

1:42-1:49

1:35-1:41

(Pause)

1 measure 2 measures

1 measure each

1 measure

0:25-0:30

6x

0:45-1:05 (In 1 or fast 2)

1 measure each 4x


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Gustav Holst was born into a very musical family. His father was a pianist and his mother (who died when he was 8) was a singer. Gustav had weak eyes, but no one realized that he needed to wear glasses. His chest was also weak, but no one paid much attention to his asthma. He had to rest while climbing stairs. In his youth, Gustav hated practicing the violin, but enjoyed the piano, which he had began to practice as soon as his fingers could reach the keyboard. His father Adolph was determined to make young Gustav a good pianist, but even in his youth Holst was troubled with neuritis in his hands that made his long hours of practice very painful.

He studied composition at the Royal College of Music in London (where he was a teacher later in his life). While in college, the neuritis in his right hand was so bad that practice was impossible and he could not keep up his technique any longer. He decided to take up the trombone. It would allow him to play in orchestras and provide him with an in-come. Also, the experience would be useful to him as a composer. He even thought that maybe playing the trombone would help strengthen his chest and lungs.

In college he met another composer: Ralph Vaughan Williams. They soon became wonderful friends. Holst and Vaughan Williams were known to spend many hours having deep conversations about music and life, but their music composition styles were very different. After he finished college, Holst played his trombone professionally. He soon found that it was difficult to earn a living as a trombonist and composer, so in 1904 he took a job as the Director of Music at the St. Paul's Girl's School in Hammersmith, a job that he held until he died!

In 1913, the new music wing of St. Paul's was opened and he was given a large sound proof room for his work. On weekdays he would teach in it, but on Sundays and holidays he spent hours composing there. The first piece he wrote there was St. Paul's Suite. It was during his time as a teacher that he also composed his most famous work, The Planets. Throughout his life, Holst continued to compose orchestral music, wind ensemble music, operas, chamber music, and vocal music of many different styles, and had a great interest in various kinds of literature, poetry and astrology. Gustav loved to travel, he walked and biked everywhere and was a vegetarian. He was a quiet man, that preferred to stay out of the public’s eye, even when his pieces were gaining world wide popularity.

Holst enjoyed traveling to many countries, including America. In early 1923, he accepted an invitation to go to the United States to conduct and lecture at a music festival at the University of Michigan in Ann Arbor!

Listen for all of

these amazing

sounds

throughout

Beethoven’s

Symphony!

from Symphony No.7 By Ludwig Van Beethoven

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Special thanks to Norma-Jean Forshey from Kalamazoo Public Schools for designing this lesson.

Dynamic Changes!

Dynamic Changes!

7:10-8:25 Rhythmic Theme

Rhythmic Theme

Melodic Theme

Dynamic Changes!

Dynamic Changes!

Rhythmic Theme

0:02-2:37 Rhythmic Theme

4:39-7:09

2:38-4:38

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Beethoven, one of seven children, grew up in Bonn, Germany in a very unhappy home. He was forced to practice the piano by his father, who would punish him mercilessly when 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.

In his early twenties, he went to Vienna, Austria to study with a very well-known composer named Joseph Haydn. Beethoven had an unusual skill where he could hear music in his head and then write it down without ever playing it on the piano. Even though his first two symphonies are very much in the same style and form as Haydn, it wasn’t long until Beethoven's writing developed beyond that of his teacher. Eroica, his Third Symphony was so different from the ones that had come before that it changed music forever. Its originality and innovation even inspired others to change the way that they composed. It was originally dedicated to Napoleon Bonaparte, but when Beethoven heard that Napoleon had proclaimed himself Emperor of France, he went into a rage and destroyed the title page.

At the age of 26, he began to realize that he was losing his hearing, which got worse as he got older. Although Beethoven gradually lost his hearing, he continued composing. He composed many of the most famous musical works of all time, such as his Ninth Symphony with the famous “Ode to Joy” them, after he had become totally deaf! Beethoven never married and didn’t have any children. In fact, he spent most of his life alone. Many people think he is one of the greatest composers in the history of music. He composed hundreds of important pieces, including many symphonies. Beethoven became quite ill during the last years of his life with gout, rheumatic fever, and a variety of other illnesses. He began to sketch out a Tenth Symphony while suffering on his deathbed, but he never got to complete it. He died on March 26, 1827. Three days later, 20,000 people gathered at his funeral to say good-bye to the loved and respected composer.

http://www.dsokids.com/listen/by-instrument/piano/.aspxhttp://www.dsokids.com/listen/by-instrument/organ.aspx

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www.youtube.comembedbrw5zMewByQ from the B-Sides By Mason Bates

B 2:06

to 3:03

BRIDGE (3:04 – 3:18)

A 0:00 to

2:06

A 3:19 to

4:41

1217 Griswold Street

Special thanks to Kim Licavoli from Allegan Public Schools for designing this lesson.

CD 2:11 CD 2:19 CD 2:39 CD 2:57

http://www.youtube.com/watch?v=brw5zMewByQ

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Mason Bates is an American composer of symphonic music and DJ of electronic dance music. He spins as DJ Masonic in the San Francisco Bay area. Distinguished by his innovations in orchestration and large-scale form, Bates is best known for his expansion of the orchestra to include electronics. The second-most performed living composer in the United States, he has worked closely with the San Francisco Symphony and currently holds the position of composer-in-residence with the Chicago Symphony Orchestra. In January 2015 he was named composer-in-residence of the Kennedy Center for the Performing Arts.

Mason Bates lives in two musical worlds. In one, he spends his nights playing some of the most world's most exclusive dance clubs. In the other, he creates pieces as the composer-in-residence for the Chicago Symphony Orchestra.

"I never thought of these two things as compatible when I started getting interested in DJing about 10 years ago," Bates tells Weekend All Things Considered host Guy Raz. "I would keep these two lives pretty separate — I would write a piece for the Phoenix symphony and then I would go and DJ for a few hours in San Francisco."

Bates says it took a while for him to realize how the two genres could be integrated. "It was a real revelation," he says. Bates says that classical fans have put up the most resistance to what he's doing, but that in general, people have been receptive to the cross-pollination of classical and electronic music.

"I've found that there's a remarkable amount of curiosity across these two worlds," Bates says. "There might be an image of the classical patron as someone who is fairly distrustful of pop music," he says, but he maintains that classical audiences can be converted: "They're open-minded if something works."

https://en.wikipedia.org/wiki/Composer

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Special thanks to Jeanna Cervantes-Hickman from Kalamazoo Public Schools for designing this lesson.

from Barber of Seville By Gioachino Rossini

Woodwinds & Brass (0:13)

||: La la la la la

La la la la :||

Crescendo

(0:26-0:36)

Introduction (0:00) (0:06)

Interlude Flute (0:50)

(1:44) (1:58)

Ascending Modulation

(1:51)

Operatic Recitative Into Development of B

(2:07-3:20)

Orchestra Only Orchestra Only

(4:24-4:46)

Coda

(4:10-4:23) C Theme: Rhythm Pattern altered

(3:20) Figaro! Figaro! Figaro!

Recap of Theme A: (3:32-3:47)

(1:34)

Piccolo

Key Change

Strings Strings

A =

B =

C =

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Rossini was the son of Giuseppe Rossini, a poor trumpeter who played in miscellaneous bands and orchestras, and Anna Guidarini, a singer and daughter of a baker. Rossini spent his entire childhood surrounded by music and the theatre, as his mother was a singer for the stage. He was often arrested due to voicing his support for Napoleon. At age 14, in 1806, Rossini entered Bologna’s Philharmonic School (now the G.B. Martini State Conservatory of Music) and composed his first opera. At age 15 he had learned the violin, horn, and harpsichord. Rossini often sang in public, even in the theatre, to earn some money for his family. Rossini was influenced by the German school of composition, following the compositional style of Haydn and Mozart. Rossini composed 40 operas in 20 years’ time. Rossini is known for his work in the genre of the then-fashionable Venetian style of opera buffa (comic opera). Rossini broke the traditional form of opera buffa by embellishing his melodies. Rossini created an effect that became known as the “ Rossini Crescendo”, which he began to use consistently. His fame spread from Naples to Rome, where he became a sought after opera composer. Rossini’s opera Il barbiere di Siviglia (1816; The Barber of Seville) was considered a failure. The Romans, who knew and loved the version of the original play, disliked the new opera. However, when it was given elsewhere in Italy it was received with unbounded success. In 1819 Rossini left Italy for Paris after his work La donna del lago (The Lady of the Lake) was not well received by the opera audiences in Venice. They did not understand Rossini’s bel canto and comic style. Rossini left for Paris where he was fawned over and made doubly famous. In 1845 Rossini’s wife Isabella Colbran died. In 1847 Rossini married Olympe Pélissier. After a period in Italy, he returned to Paris in 1855, never again to leave it. He enjoyed his retirement in Passy, France.

http://www.britannica.com/art/opera-seriahttp://www.britannica.com/art/violinhttp://www.britannica.com/art/horn-musical-instrument-grouphttp://www.britannica.com/art/harpsichordhttp://www.britannica.com/biography/Wolfgang-Amadeus-Mozarthttp://www.britannica.com/art/opera-buffahttp://www.britannica.com/art/comic-operahttp://www.britannica.com/topic/The-Barber-of-Seville-opera-by-Rossini

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from Barber of Seville By Gioachino Rossini

1. Listen for the rhythm. Is it fast or slow? Does it speed up or get slower? Where does this happen?

2. Listen to the voice. Is it male or female? What is the energy level that the singer uses to tell the story?

3. In what language is this sung? How can you tell? Which words are the most memorable?

4. What instruments do you hear? What instruments grab your attention the most?













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from Barber of Seville

Make Way for the Handyman

Make way for the handyman of the city. Hurrying to his shop now that it is already dawn. Ah, what a fine life, what a fine pleasure For a barber of quality! Of quality! Ah, well done Figaro! Well done, very good! Very fortunate indeed! Ready to do everything, Night and day He is always on the move A more plentiful fate for a barber, A more noble life, no, it cannot be had. Razors and combs Lancets and scissors, At my command Everything is here. There are the tools, Then, of the trade With the ladies... with the gentlemen... Everyone asks for me, everyone wants me, Ladies, children, elders, young girls; Here is the wig... The beard is ready... Here is the blood... The ticket is ready... Here is the wig, the beard is ready, The ticket is ready, hey! Figaro! Figaro! Figaro!, etc. Alas, what a fury! Alas, what a crowd! One at a time, please! Hey, Figaro! I am here. Figaro here, Figaro there, Figaro up, Figaro down, Quicker and quicker I am like lightning: I am the handyman of the city. Ah, well done Figaro! Well done, very good; You will never lack for luck!

Largo al factotum

Largo al factotum della città. Presto a bottega che l'alba è già. Ah, che bel vivere, che bel piacere per un barbiere di qualità! di qualità!

Ah, bravo Figaro! Bravo, bravissimo! Fortunatissimo per verità! Pronto a far tutto, la notte e il giorno sempre d'intorno in giro sta. Miglior cuccagna per un barbiere, vita più nobile, no, non si da. Rasoi e pettini lancette e forbici, al mio comando tutto qui sta. V'è la risorsa, poi, del mestiere colla donnetta... col cavaliere... Tutti mi chiedono, tutti mi vogliono, donne, ragazzi, vecchi, fanciulle: Qua la parrucca... Presto la barba... Qua la sanguigna... Presto il biglietto... Qua la parrucca, presto la barba, Presto il biglietto, ehi! Figaro! Figaro! Figaro!, ecc. Ahimè, che furia! Ahimè, che folla! Uno alla volta, per carità! Ehi, Figaro! Son qua. Figaro qua, Figaro là, Figaro su, Figaro giù, Pronto prontissimo son come il fulmine: sono il factotum della città. Ah, bravo Figaro! Bravo, bravissimo; a te fortuna non mancherà.

http://lyricstranslate.com/en/largo-al-factotum-make-way-handyman.html#ixzz3ebNIek3vhttp://lyricstranslate.com/en/largo-al-factotum-make-way-handyman.html#ixzz3ebNIek3vhttp://lyricstranslate.com/en/largo-al-factotum-make-way-handyman.html#ixzz3ebNIek3v

Special thanks to Marcia Working from the Crescendo Academy of Music for designing this lesson.

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from Symphony No. 5 By Dmitri Shostakovich

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Dimitri Shostakovich was born in 1906 as the second of three children. He was born in St. Petersburg, Russia, during the beginnings of the Russian Revolution. As a child, he was a prodigy as both a pianist and composer. At the age of eight, his talent became apparent after beginning piano lessons with his mother Sofiya. He entered the Petrograd Conservatory at the age of 13 in 1919 and completed his Symphony No. 1 when he was only 19 years old. For some time, he wrote traditional music that was well received by Russian audiences. Shostakovich was extremely modest and did not comment on his music.

In 1917, the new leadership of the country, under the direction of Joseph Stalin, had its own ideas as to what appropriate music should sound like. In the midst of a government that strongly enforced the style and elements of symphonic music, the works that Shostakovich produced as an adult reveal his genius. Not only do they show great depth, but also his struggle to make his music fresh and original without overstepping the boundaries established by the former Soviet Union. The government insisted that composers use folk and folk-like elements, straight forward rhythms, minimal dissonance and simple harmonies. Not adhering to these expectations, especially in the years of Stalin's regime, may have literally meant death.

Shostakovich is well known for his huge body of works, which includes several operas, 15 symphonies, numerous chamber works and concerti. Shostakovich’s works highlight the role of the artist and the dilemma of humanity in the face of war.

World War I (1914-1918) unraveled Europe’s old system of empires. The Russian Empire crumbled from within in 1917, with two revolutions and a long Civil War. In early 1917 the Russian people revolted against the rule of the Romanov family and their poor treatment of average Russians, who were starving and dying by the millions in the war. By March of that year, Russians were protesting, and Tsar Nicholas II was the symbol of their anger. The Tsar became so fearful of his own people he eventually stepped down.

The protesters now found themselves in charge. Their revolution meant they now had to govern Russia, which was very difficult as the war continued and a new group of protesters--the Communists--demanded to be put in charge. They wanted to make Russia a new country where workers were in charge. That October, the new "majority" party, or Bolsheviks, led by Vladimir Lenin, led a revolution and took charge. They immediately signed a treaty with Germany that ended World War I on the eastern front.

Russia now isolated itself from European affairs as it underwent a three-year civil war between Lenin's Communists (they wore red) and those who supported the restoration of the Tsar (they wore white). By the time the Reds had defeated the Whites, the Tsar and his family had been killed and Russia was ruled by a “soviet” Communist system. This new Russia claimed that average Russian workers were now in charge. However, the reality was that their freedoms were destroyed under the leadership of a brutal dictator named Joseph Stalin. The Russia Stalin created would play key roles in both World War II and the Cold War."

http://www.makingmusicfun.net/htm/f_mmf_music_library/music_dictionary_c.htm#composerhttp://makingmusicfun.net/htm/f_mmf_music_library/hey-kids-its-a-piano.htm

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Special thanks to Beth Stachura from Comstock Public Schools for designing this lesson.

By John Williams

https://www.youtube.com/watch?v=YKA9DQZC510&feature=player_embedded

https://www.youtube.com/watch?v=YKA9DQZC510&feature=player_embeddedhttps://www.youtube.com/watch?v=YKA9DQZC510&feature=player_embedded

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John Williams is the winner of five Academy Awards, four Golden Globes, and 22 Grammys, and has composed many of the most popular and recognizable film scores in cinematic history (Jaws, Superman, Indiana Jones, E.T., Jurassic Park, the Harry Potter Films, and Star Wars). He crafts themes that become living, breathing characters in their own right, but it may come as a surprise that the man who writes music for space pirates and evil glactic empires prefers a fairly old-fashioned method of composition. “I work very much in what some would consider old school,” he says, “in front of the keyboard with pencil and paper. The piano is my favorite tool. Over the decades there has been so much amazing technological change in the music business, but I’ve been so busy that I never really retooled.”

Williams explains that it used to be standard practice for a film composer to write music that was then passed off to assistants to flesh out for full orchestra. By contrast, he typically composes fully orchestrated sketches, with eight to 10 lines indicating winds, brass, strings, and percussion. “The music library then transfers these directly to a computerized score from which instrumental parts are made,” he says. “We can reprint parts, edit as needed, change the bowings, etc.” He admits the irony is not lost on him that his work quickly becomes state of the art despite its more traditional be-ginnings.

Somewhat surprisingly, Williams prefers not to read scripts before he tackles writing his first ideas on a score. “I’ve always preferred to write only to footage,” he says. A little like a set designer, he writes music according to a story’s mood and setting, and the feeling that a particular scene might be trying to convey. The process starts with a “spotting” session, deciding in meetings with the director which scenes will feature music and which will not. For four decades, Williams has enjoyed a fruitful (to say the least) collaboration with director Steven Spielberg, and—for most of the previous Star Wars films—George Lucas as director and/or screenwriter.

John Williams was born in Queens, New York in 1932. His father, a jazz drummer and classical percussionist, was his first music teacher. The family moved to Los Angeles when he was 12 years old. Mr. Williams went to UCLA to study composition. After serving in the Air Force, he attended the Julliard School in New York. While in school he worked as a jazz pianist, playing in clubs and on professional recordings. He composed many familiar theme songs for events such as the Olympic Games, the Special Olympics, and the re-dedication of the Statue of Liberty. He composed the theme for NBC News as well. Mr. Williams has also written many concert pieces, including concertos for cello, flute, clarinet, violin, trumpet, and tuba. Mr. Williams conducted the Boston Pops Orchestra from 1980-1993 and has appeared as guest conductor with orchestras in the United States and England.

Largo: Try a slow tempo. Presto: Try a fast tempo.

Sing “This Old Man” or “Old McDonald” while

you conduct a pattern in two beats with your

right hand:

ONE-two,

ONE-two

1 2

“This old man,

1 2

He played one…”

Duple Pattern

2

4

Triple Pattern

3

4

ONE-two-three,

ONE-two-three

Sing “My Country ‘Tis of Thee” or “Rock-a-

bye Baby” while you conduct a pattern in

three beats with your right hand:

1 2 3

“My coun - try,

1 2 3

Tis of thee…”

Four/Four Pattern

4

4 ONE-two-three-four,

ONE-two-three-four

Sing “Frere Jacques” or “Bingo” while you

conduct a pattern in four beats with your

right hand: 1 2 3 4

“Fre-re Jac-ques

1 2 3 4

Fre-re Jac-ques”

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Enjoy the sounds and sights at the concert

Zoom in to hear the details of the sound

Zoom out to hear all the sounds at once

Notice the feelings that the music communicates

Watch and hear individual instruments

Watch the conductor to see “hand signals”

Remember information about the music and composers

25

Ludwig Van Beethoven’s Vivace is from Symphony No. _____.

1. Beethoven’s Symphony No. 7 is full of ______________.

a. Repeated Themes b. Timpani c. Crescendos d. All of those things!

2. By the time Beethoven was 12 years old, he supported his family by playing the________.

a. Organ b. Violin c. Trumpet d. Cello

3. Despite losing his _____________, Beethoven is considered to be one of the best composers of all time.

a. Right Arm b. Left Leg c. Hearing d. Eye Sight

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St. Paul’s Suite is composed by __________________.

1. How many different instruments do you hear in this string orchestra?

a. 2 b. 5 c. 4 d. 3

2. Holst started out playing the piano as a child but in college he was forced to switch to the ___________.

a. Clarinet b. Bass c. Trombone

3. How does this continued ostinato make you feel throughout the piece?

a. Calm b. Happy c. Sleepy d. Excited e. _________?

Edvard Grieg composed the ______________Suite.

1. What is an ostinato?

a. A long pause b. A repeated phrase or pattern c. A beautiful melody d. A large musical instrument

2. Which rhythmic pattern do you hear most throughout this piece?

a. b. c.

3. Grieg played the ___________.

a. Clarinet b. Bass c. Piano d. Saxophone

Machine is composed by ____________________

1. Machine was written to represent______________?

a. Gears b. Hammers c. Springs d. Saws

2. Jennifer Higdon was _______ years old when she was first introduced to playing an instrument.

a. 5 b. 12 c. 15

3. How would you describe the tempo of Machine?

a. Andante b. Allegro c. Largo

“Warehouse Medicine” was composed by___________________.

1. “Warehouse Medicine” was written about what famous Michigan city:

a. Ann Arbor b. Kalamazoo c. Detroit d. Portage

2. Mason Bates is a living composer:

a. True b. False

3. Mason Bates is a composer by day and a ______________ by night.

a. Opera Singer b. DJ c. Tap Dancer d. Rapper

The ____________________ is a comedic opera composed by Gioachino Rossini.

1. In opera you not only have to sing beautifully, you also have to be able to :

a. Dance b. Juggle c. Act

2. Largo al factotum is sung by Figaro, the barber, in what language?_____________.

a. Italian b. English c. Spanish

3. What best describes Figaro’s personality to you?

a. Confident b. Silly c. Mischievous d. Serious

Dmitri Shostakovich’s Allegro non troppo is from Symphony No.____. 1. Shostakovich wrote compositions that used elements of _______________due to government restrictions.

a. Russian Arias b. Russian Folk Songs c. Russian Jazz Standards d. Russian Pop Songs

2. True or false, the orchestra ostinato in this symphony is the same repeated rhythm pattern and the same repeated pitch.

a. True b. False

3. Shostakovich composed during which major revolution of his time?

a. The French Revolution b. The Russian Revolution c. The Spanish Revolution

John Williams wrote the film score for ___________________ .

1.This composer is most famous for:

a. Broadway b. Ragtime c. Film Score d. Opera

2. The main theme in this piece begins like this:

a. b. c.

3. What best describes John Williams’ music to you?

a. Saddening b. Exciting c. Thrilling d. Mysterious e. Adventurous

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29

Many thanks to the teachers who helped design this year’s

materials. We appreciate your hard work and dedication!

Cindy Cross Hillside Learning and Behavior Center Allegan ISD

Courtesy of Naxos of America

8.553477 Beethoven: Symphony No. 7 8.557890 Grieg: Holberg Suite

8.550823 Holst: St. Paul’s Suite 8.556652 Shostakovich: Symphony No. 5

8.555922 Rossini: The Barber of Seville

Major funding provided by: Burdick-Thorne Foundation, Diane S. Robertson Foundation, Tyler-Little Foundation and Schupan and Sons

Mary Foster Arcadia Elementary Kalamazoo Public Schools

Marcia Working Orff Instructor Crescendo Academy of Music

Jeanna Cervantes - Hickman

Winchell Elementary

Kalamazoo Public Schools

Beth Stachura Green Meadow Elementary and North Elementary Comstock Public Schools

Kim Licavoli North Ward and Dawson Elementary Allegan Public Schools

Stephanie Measzros El Sol Elementary Kalamazoo Public Schools

Norma-Jean Forshey M.L. King-Westwood Elementary Kalamazoo Public Schools

Lisa Stucky Moorsbridge Elementary Portage Public Schools

student and teaher guide o Àer design, omposer pages, lesson … · 2015. 10. 20. · grieg i....

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