2016 Young Peoples Concert Teachers Guide

7/25/2019 2016 Young Peoples Concert Teachers Guide

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presents

Teachers Guide

Young People's Concerts2015-2016

Musical Moods


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Table of ContentsLetter To Educators Page 2

National and State Education Standards Page 3How To Use This Guide Page 4

Guide to Audience Behavior Page 4Musical Moods Program Page 5

Notes for the Teacher Page 6 - 10Lesson Plans

Lesson #1: Introduction to the Musical Instrument Families Page 11 Lesson #2: Create Your Own Orchestra Page 11 Orchestra Seating Chart Page 12 Instrument Family Identication cards Page 13 - 14

Student Activity Sheet #1: Instruments of the Orchestra Page 15 Lesson Plan #3: Meet the Composers Scavenger Hunt Page 16 Student Activity Sheet #2: A Composer Scavenger Hunt Page 17 Student Activity Sheet #2: ANSWER KEY Page 18 Lesson Plan #4: Characteristics of Instruments Page 19 Lesson Plan #5: Overture to The Barber of Seville Page 20 Lesson Plan #6: Morning Mood Page 20 Lesson Plan #7: The Comedians Galop Page 21

Lesson Plan #8: The Star Spangled Banner Page 21 Student Activity Sheet #3: Fill in the Blank Page 22 Young Artist in the Spotlight Page 23 Lesson Plan #9: Beethovens Storm and Pastorale Page 24 Lesson Plan #10: William Tell Overture Page 24What is the EPO made up of? Page 25 - 26The Vibrant River Sculpture Page 27 - 31STEAM at cMoe with The DaVinci Institute Page 32

About Maestro Alfred Savia Page 33Evaluation Form Page 34

City of Evansville, Evansville Philharmonic Guild, Gibson County Community Foundation,

Helen M. McKinney Charitable Trust, Pike County Community Foundation, Perry County Community

Foundation, Warrick Community Foundation,West Side Nut Club, and

The Mesker Music Trust, Fifth Third Bank, Trustee

Young Peoples Concert Sponsors


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February 1, 2016

Greetings Educator!

The Evansville Philharmonic Orchestra welcomes you and your students to the 2016 Youth Concerts on March 16, 17,

and 18, 2016. This years theme is Musical Moods and will explore how composers create different moods using

elements of music as well as spotlighting an Evansville Philharmonic 2015 Young Artist Competition prize winner,

Spemcer Sharp.

The Teachers Guide is made available to teachers as a resource to assist you in preparing your students to attend the

Young Peoples Concerts. Also available for download are mp3s of the pieces to be featured at the Young Peoples

Concerts so that you may use these mp3s to familiarize students with the music they will hear.The mp3s are forclassroom instructional use only and may not be duplicated or sold. I hope you nd these materials not only helpful

in preparing students for the Young Peoples Concerts, but also for classroom use throughout the year.

Another orchestra resource, available to teachers who have internet access, is the League of American Orchestras

education interactive site in which students can take a virtual tour of an orchestra stage, learn about the instrument

families, conductors, how to compose music, and be introduced to different featured musicians of the month. You

can visit their site at http://www.playmusic.org.

As you know, lesson planning is an ongoing process that develops and changes with time. TheTeachers Guide is also

a work in progress and as such I welcome any suggestions or observations you have on how the contents can better

serve your needs in future publications. An Evaluation Form is included in the back of thisGuide so you can easily

share your comments and return them to the EPO Education Department after the concert.

In addition, this year The Da Vinci Institute is offering a post-concert opportunity for the rst 200 students who

register. Immediately following each of the 10:45 am concerts, registered students will walk to the Childrens

Museum of Evansville and spend 90 minutes rotating through the entire museum and participating in activities that

connect the music of the Young Peoples Concert to science and technology. Students are encouraged to bring a sack

lunch to eat at cMoe as well. If your group is interested in attending, please send me an email.

Finally, the Evansville Philharmonic Orchestra supports the philosophy that teachers are the primary leaders in a

comprehensive music education program that includes not only classroom instruction, but also unique learningopportunities that can be provided by a professional orchestra. We welcome you and your students to the 2016 Young

Peoples Concerts and thank you for your continued dedication to the musical enrichment of young students in the

Tri-State.

I look forward to seeing and meeting you in person soon at the Victory! In the meantime, feel free to contact me with

any questions you may have at 812/425-5050 ext. 316 or [email protected].

Summer Bennett

Alice May Director of Education & Community Programs

Evansville Philharmonic Orchestra 2


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he Evansville Philharmonic Orchestra has an ongoing commitment to support the National Standards for Artsducation and the Indiana State Standards. Standards addressed through our Young Peoples Concerts are listed bel

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National and State Education Standards

National Standards

Music:

3. Improvising melodies, variations and accompaniments.6. Listening to, analyzing and describing music.7. Evaluating music and music performances.8. Understanding the relationships between music, the other arts and disciplines outside the arts.9. Understanding music in relation to history and culture.

Dance:

NA-D.K-4.1. Identiying and demonstrating movement elements and skills in performing dance.

NA-D.K-4.2. Understanding choreographic principles, processes, and structures.NA-D.K-4.5. Demonstrating and understanding dance in various cultures and historical periods.NA-D.K-4.7 Making connections between dance and other disciplines.

Art:

3. Choosing and evaluating a range of subject matter, symbols, and ideas.6. Making connections between visual arts and other disciplines.

World History:

5th Grade - Era 6: The Emergence Of The First Global Age, 1450 - 1770Language Arts:

7. Evaluating Data12. Applying Language Skills

ndiana State Standards

Music:

3. CREATING MUSIC: Improvising melodies, variations and accompaniments.6. RESPONDING TO MUSIC: Listening to, analyzing and describing music.7. RESPONDING TO MUSIC: Evaluating music and music performances.8. RESPONDING TO MUSIC: Understanding relationships between music, the other arts and

disciplines outside the arts.9. RESPONDING TO MUSIC: Understanding music in relation to history and culture.

Dance:

1. Students demonstrate knowledge and skill of dance elements.3. Students reect upon, evaluate, and analyze dance experiences.

7. Students integrate dance with the other arts and disciplines outside the arts.Social Studies:

9. Historical ThinkingIntegrated Studies:

14. Students understand the integrative nature of art forms including dance, theater, music, visual art

and media art.


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How To Use This GuideNote: These materials were designed for use in many different instructional settings. Whether you are a 3rdgrade classroom teacher, a general music teacher or a home-school instructor, the lessons are designed so thatanyone can teach them. Adaptations may be necessary. The important thing is that students have an opportunityto explore all of the materials in preparation for the concert. Their enjoyment and yours will be greatly enhanced.

1. Teacher preparation: Read all of the materials. Preview the mp3s provided online2. Begin to review the enclosed information with your students. Each lesson should take no more

than 25 minutes and (for grades 3 - 5) should provide good transition time between other subjects.3. Each activity can be used as an extension that can be done after students attend the Concerts to

reinforce and enhance many of the concepts covered during the performance.

Guide to Audience BehaviorYour students will learn many things by attending the Young Peoples Concerts, including concert etiquette. Pleasereview these guidelines thoroughly with your students. The knowledge of the expectations in a concert situationwill increase their comfort in this new environment - and increase their enjoyment!

Upon arriving inside the lobby of the Victory Theatre, everyone is expected to speak in a moderate tone of voicIts ne to talk, but no yelling, please. Evansville Philharmonic Guild members will be seating your class, and

they need to be heard when they direct you to your seat. Please sit on your bottom at all times, and keep your hands and feet out of the aisles. When the music begins, all talking (even whispering) should stop. Once the music begins, everyone should concentrate on the music. Listen carefully! Noisemakers to avoid (things you didnt think about!):

Velcro fasteners on wallets, purses, coats, glovesBeepers, cell phones and the alarm on your watch

Jingling jewelryAny kind of electronic toy

Show your appreciation for the music at the end of each piece by applauding. Watch the conductor carefullyto make sure the music has really ended. Sometimes it seems like the end, then the music starts again. Theconductor usually puts his hands down by his sides when the piece is over.

Avoid yelling on the way out of the hall or the lobby area. This is the moment when your teachers and the usherneed your attention the most. Watch and listen!


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Francis Scott Key Star Spangled Banner

Giacchino Rossini Overture to The Barber of Seville

Edvard Grieg Mvt. I , Morning Mood fromPeer Gynt

Dmitri Kabalevsky The Comedians Galop

Antonin Dvok Violin Concerto in A minor, op. 53

I. Allegro ma non troppoSpencer Sharp, Violin (2015 Young Artist Competition Grand Prize Winner)

Ludwig van Beethoven Symphony No. 6 (Pastorale) IV. Storm V. The Shepards Hymn - Thanksgiving after the Storm

Symphony of Color Artwork Projected

Giaocchino Rossini Storm & Finale from William Tell Overture

MUSICAL MOODS Program


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This section of the Teachers Guide is to provide you, the teacher, with some basic background information in ordto supplement your knowledge. Here, you will nd information about the pieces and the composers, as well as

denitions to key terms in order to assist you in preparing your students for the concert.

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Notes for the Teacher

Giacchino Rossini

(1792 - 1868); Nationality: Italian

man, fond of women, and a very good cook. He liked to host dinner parties for his friends. He had fun teasing andplaying tricks on his friends. (Those characteristics are also found in his music.) Rossini was married two timesand both wives were opera singers. When criticized about his life-style, he responded that one should not expectmuch more of a man born on leap day!

Overture to The Barber of Seville:The Barber of Seville is Rossinis most popular opera. Its effervescentoverture presents a perfect platform for the amusing plot in which the barber, Figaro, stage-manages a romancebetween Count Almaviva and Rosina, and puts to ight the old suitor, Dr Bartolo. The music for The Barber of S

ville was composed in just under three weeks, although the famous overture was actually recycled from two earliRossini operas, and thus contains none of the thematic material in the opera itself.

Storm & Finale from William Tell Overture: The opera, William Tell, is based on a legend about the Swiss heroWilliam Tell. According to the legend, William Tell was an expert with a bow and arrow who shot an apple off hisons head. The overture quickly became a standard concert item. It was a radical piece for Rossini; whereas mosof his overtures have at most a slight connection to the action of their operas (like The Barber of Seville Overturethis one is structured as four self-contained episodes specically preguring the action and some of the musica

content that would follow. The overture opens with a pastoral depiction of the Swiss countryside

(with ve solo cellos). There follows a storm on the lake, a herdsmans melody played by solo English horn with

ute warbling above, and a spirited nal section that would itself become one of classical musics most famous

melodies.

Fun Fact: The overtures to Rossinis The Barber of Seville and William Tell have been used so often in lms,television, advertisements, and more that they may be better known as pop-culture touchstones than for their usein the original settings. (Hi-Ho, Silver!) Rossinis music had a particularly notable run in cartoons from bigHollywood studios in the 1940s and 50s. The rst fully realized incarnation of Woody Woodpecker appeared in

1944s The Barber of Seville; the same overture was heard in the 1941 Looney Tunes Notes to You, with PorkyPig, and in Kitty Foiled, a 1948 Tom and Jerry outing. Then of course, Elmer Fudd got a clean shave from BugsBunny in The Rabbit of Seville (1950), voted one of the 50 Greatest Cartoons of All Time by members of theanimation eld. The William Tell Overture also got a workout starting in 1935 with The Band Concert, starring

Mickey Mouse as a conductor continually interrupted by Donald Duck playing Turkey in the Straw. The over-ture was also used in Yankee Doodle Daffy (1943) and Bugs Bunny Rides Again (1947), before being permanentlco-opted by The Lone Ranger.

Rossini, a robust Italian man with an outgoing personality, was born in a small town,Pesaro, on the east coast of Italy on February 29, 1792 (leap day). His father was amusician and his mother was an opera singer. As a boy, he was a singer and played thecello and horn. At 15, he entered a music school in Bologna, Italy where he learnedto compose music. Rossini once said to give him a laundry list and he would set it tomusic! His rst successful composition was completed at age 18 in Venice, Italy, and

his masterpiece, The Barber of Seville, was rst performed in Rome, Italy when he

was only 24 years of age. He composed thirty operas, the last of which was WilliamTell, with its famous overture, storm scene, and ballet music. Rossini was a lazy


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dvard Grieg

843 - 1907); Nationality: Norwegian

uring almost all of Griegs lifetime, his native country, Norway, was struggling to become an independent nation. U14, Norway was subject to Denmark; from 1814 until 1905, it was forced into a union with Sweden. Because Griegusic played an important part in giving the Norwegian people their own identity, he is regarded as a hero in Norwayany of his compositions are based on the sound of Norwegian folk songs. They paint a musical picture of the mounrests, fjords, and streams of this beautiful country.

riegs rst music lessons were from his mother, and he began composing when he was

ne years old. A famous Norwegian violinist, Ole Bull, encouraged him to go to theeipzig Conservatory when he was fteen. When he graduated four years later, he was an

complished pianist andmposer.

though he lived a number of years in Copenhagen, Denmark, and he and his wife, anger, toured Europe performing his music, his last years were spent in his belovedorway. In 1885, Mr. and Mrs. Grieg moved to a villa called Troldhaugen, which means

Hill of the Mountain Men. He built a little cabin, overlooking the mountains and a fjord, with a piano and a writingsk. Here some of his most famous compositions were written.

vt. I, Morning Mood fromPeer Gynt: Morning Mood is a composition belonging to Edvard Griegs Peer Gyntp. 23, written in 1875 as incidental music to Henrik Ibsens play of the same name, and was also included as the rs

four movements in Peer Gynt Suite No. 1, Op. 46. The melody in the piece is alternating between ute and oboe. T

ece depicts the rising of the sun during act 4, scene 4, of Ibsens play, which nds the eponymous hero stranded in t

oroccan desert after his companions took his yacht and abandoned him there while he slept. The scene begins with llowing description: A grove of palms and acacias at dawn. Peer Gynt is up a tree, protecting himself with a brokef branch from a swarm of apes. Though Morning Mood may sound like morning dawning over a Norwegian or

is most famous of Griegs lyrical melodies actually paints sunrise shimmering on the sands of Northern Africa at th

ginning of Act IV.

urther Reading:

he Story ofPeer Gynt: Peer is a lazy and boastful, yet charming, peasant lad whose mother se constantly chastiser his lack of initiative. How lazy is Peer? So lazy that he fails to pursue the wealthy Ingrid, who in desperation choowed another. Peer crashes the wedding feast where he meets the beautiful Solveig, who is immediately attracted to

et, Peer abducts the bride and makes off into the wilderness where he inexplicably abandons her. Now a fugitive, Pegins a series of adventures that take him to various parts of the world: to America, where he deals in the slave tradeChina, where he sells sacred idols; to North Africa, where he takes the guise of a religious prophet and dallies with

edouin dancer Anitra, who robs him; and, then, to Cairo, where he is locked up in a madhouse.

he only respite he has in his aimless wanderings is a brief, secret return to Norway to attend to his dying mother andsee Solveig again. The years pass and Peer, now an old man, returns to Norway where he plans to settle down. Butmust face one nal obstacle, the Button Molder. The Molder judges that Peer has not developed his character much

spite his travels; he is not evil enough for hell or good enough for heaven. All he is good for is to be melted down iolders ladle. Faithful Solveig intervenes, fortunately, and her redemptive love saves Peer, who nally nds a purpo

fe in her loving embrace.

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mitri Kabalevsky

1904 - 1987); Nationality: Russianhe son of a Russian mathematician, Dmitri Kabalevsky was encouraged to study

mathematics, but was fascinated with poetry, painting, and the piano. An accomplishedoung pianist, Dmitri played piano in the silent picture theaters. At the age of 21, Dmitrittended the Moscow Conservatory against the wishes of his father. There he studied

music composition and later, at the age of 28, became a professor at the conservatory.

As a member of the Communist Party during World War II, Dmitri composed manyatriotic songs as well as wrote and performed the music for silent pictures shows.Kabalevskys efforts to connect children to the world of music found him composingmusic for children as well as teaching a groups of 7 year olds how to listen and to verbalize what they heard in themusic. He wrote a book called Music and Education: A Composer Writes about Music Education which was publishhe United States in 1988.

Kabalevsky was awarded many state honors for his music and was elected the head of several organizations dealingwith music and the teaching of children. He also received an honorary degree of president of the International SocietMusical Education. While Kabalevsky wrote various kinds of music, he was most noted in Russia for his vocal songsantatas, and operas. Here in the United States, Kabalevsky was known for his orchestral works. He frequently trave

verseas as a member of the Soviet Committee of the Defense of Peace and promoted friendship between the SovietUnion and other countries.

he Comedians Galop: Kabalevskys Comedians Suite is a collection of the music he wrote for a play at the Centrahildrens Theatre in Moscow called The Inventor and the Comedians. The comedians in this play were a troupe ofctors who went from town to town setting up their show and trying to attract a crowd, just as the circus does.

A galop is a fast, lively ballroom dance in 2/4 timewhich means you count 1, 2, 1, 2 while you are dancing. It was

f the most popular dances in the early 19th century, perhaps because it was so easy to do. Partners held each other, ahey did while waltzing, formed a line and used springing steps to go quickly down the room. The music usually only

asted 2 to 3 minutes because the galop was tiring.

COMING JUNE 2016!The newly re-formed Tales & Scales troupe

Now a part of the Evansville Philharmonic Orchestras Education Program

Call (812)425-5050 for more information or to book a performance


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Ludwig van Beethoven

(1770 - 1827); Nationality: German

Ludwig van Beethovens father was a singer, and it was obvious early on that Beethoven

musical genius. As a child he travelled and performed, and soon started to support his famAs a young man Beethoven moved to Vienna, intending to study under Mozart. He did stwith and befriend Hadyn, and soon his career as a brilliant pianist, conductor and compotook off. In fact he was the rst musician who managed to make a living from his music

without being employed by a king or noble and working for the court.

At age 30, Beethoven began to go deaf, and soon was unable to play the piano or conducmore. He carried on composing, however, and produced some of his best music after he hlost his hearing completely.

most.

Mvt. I, Allegro ma non troppo from Violin Concerto in A minor, op. 53: The Violin Concerto in A minor isconsidered one of the masterpieces of Dvoraks so-called Slavic period. It presents compelling folkloric melodieand an overall positive expression. In his stylisation of the violin part, the composer makes the most of theinstruments lyricism, while again betraying his sense of the full, resonant orchestral sound. The piece is one of

Dvoraks most popular and most frequently performed works and is today an essential part of the internationalviolin repertoire.

Dvok was inspired to write the concerto after meeting Joseph Joachim in 1878, and composed the work with th

intention of dedicating it him. However, when he nished the concerto in 1879, Joachim became skeptical about

it. Joachim was a strict classicist and objected to Dvoks abrupt truncation of the rst movements orchestral

tutti. Joachim also didnt like the fact that the recapitulation was cut short and that it led directly to the slowsecond movement. It is also assumed that he was upset with the persistent repetition found in the third movemenHowever, Joachim never said anything outright and instead claimed to be editing the solo part. He never actuallyperformed the piece in public.

In Italian, the language that classical music is most often associated with, an instruction of Allegro Ma NonTroppo means to play fast, but not overly so. The entire rst movement is serious and dramatic, rich in color

harmony.

Antonin Leopold Dvok was born in the Bohemian (Now Czech Republic) village

of Nelahozeves. While he was young he grew up listening to local folk songs and haan obvious talent for music from very early on in his life. As a youngster, he was anapprentice butcher, but as he got older he got bored with his simple life. He moved tothe city of Prague. From 1857-1859 Dvok studied at the Prague Organ School Of

Music. Starting in 1873, Dvok decided that he would dedicate himself to teachingand composing music. His success continued when he won the Austrian State stipenthree times. Dvoks success did not stop within his own country. His fame spread

through England and continued to the United States. opera and theater with hisclassmates. It was the works of Rossini, Bellini, Verdi and Mozart that he enjoyed th

Antonin Dvok

(1841 - 1904); Nationality: Czech


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enition of Key Terms:

Concerto: a composition for an orchestra and one or more solo instruments, typically in three movements.Harmony:the sounding of two or more musical notes at the same time in a way that is pleasant or desired.Incidental Music: music used in a lm or play as a background to create or enhance a particular atmosphere.

Melody: the principal part in a harmonic composition; a rhythmical succession of single tones producing a distincmusical phrase or idea.Overture: An overture is an instrumental piece that serves as an introduction to something bigger. One of the jobof an overture is to set the mood for whatever it introduces. For example, if the music is light and happy, it could ba sign that the opera may be happy or funny. If the music is heavy and dark, it could be a sign that what is comingmay be very dramatic.Orchestration: to compose or arrange music for performance by an orchestra.Programmatic: instrumental music that carries some extramusical meaning, some program of literary idea, legscenic description, or personal drama.Recapitulation: In sonata-form, it marks the end of the main argument and the beginning of the nal synthesis for

which that argument has prepared the listeners mind.Rhythm: the beat of music; the regular pattern of long and short notes. Certain kinds of music, such as blues ormarches, have a very characteristic rhythm.Symphony: an elaborate musical composition for full orchestra, typically in four movements, at least one of whictraditionally in sonata form.Tone Color: the combination of qualities of a sound that distinguishes it from other sounds of the same pitch andvolumeTutti: a passage to be performed with all voices and instruments together.

eethoven was a difcult, bad-tempered and emotional man but he also had a circle of very close friends who helped

al with his worst times. In his later years people communicated with him through his conversation books: they write to him and he would reply, either by speaking or writing. Although many of the 400 or so books he lled in this

ere destroyed, enough remain that we have good insight into his later years.

ymphony No. 6 (Pastorale):Beethoven was undoubtedly one of the greatest composers who ever lived. Wagner cam a titan, Tchaikovsky referred to him as a god, and the thought of being compared with him caused Brahms tolay writing his rst symphony until he was forty-four years old. Ludwig van Beethoven has been a profound inue

n almost every major composer since his own time, either inspiring them or intimidating them.

he Symphony No. 6 in F major occupies a place of distinction in Beethovens catalogue of works. It is the onlymphony to which he appended a descriptive title, one of the only pieces of program music he ever wrote, and the on

ne of his symphonies which departs from the standard four-movement form. It is natural that Beethoven would comwork like the Pastorale Symphony; his love of Nature is well documented. Throughout the course of his life hisvorite form of relaxation was taking long walks in the countryside. The programmatic effects such as the imitationsthe babbling brook, various birdcalls, and rustic festivals all show the inuence of those perambulations. Pastoral

familiar to most people either from the concert hall, radio broadcasts, recordings, or the combined efforts of Messrsney, Stokowski, and Mouse in the animated feature lm Fantasia.

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Procedure: (can be done in class or as homework with a parent)

1. Tell students that today you are going to teach them about families of the orchestra.2. Pass out the Instrument Family Identication Cards.

3. Review the instruments on each sheet and dene the 4 Instrument Families of the Orchestra.4. Identify where each of these instruments sit in the orchestra by using the Orchestra Seating Chart. Color

each family a different color (e.g. Brass - yellow, Strings - red, Woodwinds - green, Percussion - blue)5. As students follow, read aloud the instructions on Activity Sheet #1.6. Have students answer questions individually or as a class, or assign for homework.7. Now ask students to pick an instrument and do their best to pantomime how it might be played. Tell them t

make observations at the orchestra concert and be prepared to share with the class afterwards.

Lesson Plan #1: Introduction to the Instruments ofthe Orchestra

Objectives:

Students will learn the four families of the orchestra. Students will compare and contrast instruments of the four

families of the orchestra.

Materials:

Student Activity Sheet #1 (one copy per student), page 15 Instrument Family Identication Cards Orchestra Seating Chart Pencils Crayons

Lesson Plan #2:

Create Your Own OrchestraObjective: Students will experience the roles of the conductor, the musicians, and the audience.

Materials:

None needed

Procedure:

1. Take a short song, well-known to the students, and have them take turns conducting the class. Use anunsharpened pencil or a blunt pointer as the conductors baton. Most students will want to concentrate onstarting and ending together. Some students might be encouraged to make changes in tempo (speed of the beaor dynamics (loudness) through their conducting. Encourage students to create their own conducting movemenand not worry about doing it right.

2. As the students follow the role of the conductor, they are playing the role of musicians. Explain how it isimportant for the musicians to follow the conductor to the best of their ability and to perform as musically asthey can.

3. Help the students list the jobs of the audience. For example, it is the job of the audience to enter calmly andgo directly to their seats, to be polite, to listen very carefully as the music is played (and not talk), to applaud athe end of pieces, and to leave in a calm manner. Role play a whole concert with a conductor, musicians, and aaudience.

4. As the activity unfolds, ask the students what they have to think about and do to be good conductors, musician

and audience members. 11


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Orchestra Seating Chart

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Brass Family

The brass family includes the trumpet, French horn,trombone, and tuba.Theyre called brass instruments

because theyre all made out of that same shiny metal. Toplay these instruments, musicians buzz their lips againstthe mouthpiece while also blowing air through the horn.Brass instruments can make loud, powerful, importantsounds, and are often used to announce kings, queens,and even presidents!

Woodwind Family

The woodwind family is made up of the ute, oboe,

clarinet, and bassoon. Just like the name woodwind, allof these instruments are made out of wood, except theute, and sound is created by blowing wind through them.

Even though the ute is made out of metal, its still called

a woodwind instrument because it used to be made out ofwood. Because woodwinds can play lots of fun fast notes,you hear them a lot in cartoon music!

Instrument Family Identification Cards

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String Family

The violin, viola, cello, and double bass all make up the stringfamily. Theyre all made of wood and each instrument has four

strings stretched across it. There are two ways to make soundson string instruments: by drawing a bow across the strings, orby plucking them with your ngertips. The special name for

the nger plucking is called pizzicato (pits-uh-KAH-toh).Even

though string instruments all look very similar, some soundhigher or lower than others because theyre all different sizes.

Percussion Family

Percussion instruments are some of the oldestinstruments in the world. Just about anythingyou can imagine that is hit, scraped, or shakencan be a member of the percussion family!

Percussionists (the musicians who playpercussion instruments) get to play lots ofdifferent instruments, like the timpani or kettledrum, the triangle, the tambourine, and thexylophone. These types of instruments can beseen everywhere, from a symphony orchestra,to a rock band, to a Native American ritual!

Instrument Family Identification Cards

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Instruments of the Orchestra

NAME:_______________________________ DATE:_______________

There are FOUR families of instruments in the orchestra. In some ways they are similar and in some ways they aredifferent!

STRINGS:these have strings that are bowed and pluckedBRASS:these are made of brass and are blown through a mouthpieceWOODWINDS:these are blown through a reed (except utes)

PERCUSSION:these are hit

1) CIRCLE the instrument that does not belong in the group. Explain why.

2) Circle TWO instruments that are HIT (percussion).

3) Circle TWO instruments that are played with a BOW (strings).

4) CIRCLE the instrument that does not belong in the group. Explain why.

FUN PANTOMIME:Now pick an instrument on this worksheet and show your teacher, parent or class how itshould be played!

Student Activity Sheet #1

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Lesson Plan #3: Meet the Composer Scavenger HuntObjective:

Students will become familiar with the composers featured on the Musical Moods program.

Materials:

Student Activity Sheet #2 (one copy per student), page 17

Composer Bio sheets, pages 6 - 10

Procedure:

1. Tell the students that a person who creates stories and writes them down is called an author. A person whocreates musical pieces and notates them onto staff paper is called a composer. Ask the students to name acomposer. If someone mentions one of the composers in this lesson (see list below), ask him/her to share whhe/she knows with the rest of the class.

2. Prior to the lesson, post the Composer Bio sheets all around the classroom in unusual places such as cabinetdoors, inside the classroom door, on the back of chairs, on the blackboard, inside a bookshelf, etc.

3. Tell the class that today they will be getting to know the composers whose music they will hear at the EPOconcert. Pass out the student Scavenger Hunt Worksheets and have the students read over the questions to

become familiar with what kinds of information they will be seeking. Students may work in pairs for thisactivity.

4. Have students move freely around the room collecting the data requested on the Scavenger Hunt Sheets.5. After students have completed their fact nding, have entire class gather to review collected answers as a gro

Listen to the sample sound bites from the mp3 study tracks.

16

Classical GuitarWith AnaVidovic,Guitar & Beethovens

Pastorale

Symphony No. 6

This activity made

possible, in part, with

support from the

Indiana Arts

Commission and the

National Endowment

for the Arts,

a federal agency.

Saturday, March 19, 7 pm

Victory TheatreAlfred Savia, Conductor

812/425-5050www.evansvillephilharmonic.org

CONCERT SPONSOR:

Evansville Surgical Associates

GUEST ARTIST SPONSOR: Pittsburg Tank & Tower


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Student Activity Sheet #2A Composer Scavenger Hunt

17

1. Which composer was born in Russia? ____________________________

2. Which composer was born in Norway? _______________________________

3. Which composer set a laundry list to music? _______________________

4. Which composer went deaf later in his life? ___________________________

5. Which composer was an apprentice butcher? ___________________________

6. Which composer played piano for silent movies? _____________________________

7. Which composer had a father who was a singer? ___________________

8. Which composer was a good cook? __________________________

9. Which composer wrote music for children? _____________________________________

10. Which composer won the Austrian State stipend three times? _________________________________

11. Which composer was the rst musician to make a living from only music? _______________________

12. Which composers married singers? ________________________ and ______________________

13. Which composer was well known for his theories on music education? __________________________

14. Which composer was inspired by Norwegian folk songs? _________________________________

15. Which composer wrote the William Tell Overture? __________________________________

16. Which composer was bad-tempered? ________________________

17. Which composer enjoyed playing tricks on his friends? __________________________

18. Which composer wrote Peer Gynt? _____________________________________

19. Which composer was fascinated with painting, poetry, and the piano? __________________________

20. Which composer played the cello and horn? _____________________


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ANSWER KEY

18

Student Activity Sheet #2A Composer Scavenger Hunt

1. Which composer was born in Russia? Kabelevsky

2. Which composer was born in Norway? Grieg

3. Which composer set a laundry list to music? Rossini

4. Which composer went deaf later in his life? Beethoven

5. Which composer was an apprentice butcher? Dvorak

6. Which composer played piano for silent movies? Kabelevsky

7. Which composer had a father who was a singer? Beethoven

8. Which composer was a good cook? Rossini

9. Which composer wrote music for children? Kabelevsky

10. Which composer won the Austrian State stipend three times? Dvorak

11. Which composer was the rst musician to make a living from only music? Beethoven

12. Which composers married singers? Grieg and Rossini

13. Which composer was well known for his theories on music education? Kabelevsky

14. Which composer was inspired by Norwegian folk songs?Grieg

15. Which composer wrote the William Tell Overture? Rossini

16. Which composer was bad-tempered?Beethoven

17. Which composer enjoyed playing tricks on his friends? Rossini

18. Which composer wrote Peer Gynt? Grieg

19. Which composers was fascinated with painting, poetry, and the piano? Kabelevsky

20. Which composer played the cello and the horn? Rossini


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Lesson Plan #4: Characteristics of Instruments

Objective:

Students will listen to, analyze, and describe music.

Students will evaluate music and music performances.Students will understand music in relation to history and culture.

Materials:

paper and crayons or markerspaper and penWebsite: http://www.dsokids.com/listen/by-instrument/.aspx

rocedure:

. Discuss with students how musical instruments have their own personalities and charateristics. Point out howthe ute creates high and lilting sounds, and as a result, is often used by composers to depict the personalities

or characteristics of birds. Can students suggest other instruments that describe a particular character, animal,person or feeling? Make a list on the board. (For example, a tuba might describe an elephant; the bassoon mightbe like an old man; a harp may depict sh in an aquarium.)

. Listen to samples of instruments on the www.dsokids.com website. Ask students to list on paper descriptions ofthe intruments personlity. Is it an animal or person? How does it move? What kind of mood is it in?

. Pass out paper and crayons or markers. Ask students to create an instrument of their own design. It can combineknown instruments or be their vision or a futuristic music maker. Tell students to write descriptive words aroundthe border of their drawing that describe the personality and feelings of their instrument design.

. Post drawings around the room and engage students in a gallery walk where each student describes theircreation to the class as you walk past each illustration.

19


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Lesson Plan #6: Morning Mood

Objective:

Students will use musical elements (melody, tempo, dynamics, etc) to determine a musical mood.

Materials:

EPO Teachers GuideRecording: Grieg - Morning Mood from Peer Gynt

Procedure:

1. Listen:Listen to Griegs Morning Mood from Peer Gynt.2. Analyze: This is the melody from Morning Mood. Connect the note heads with your pencil, and notice how

the line looks. What kind of mood does the melody create - peaceful or excited?

Lesson Plan #5: Overture to The Barber of SevilleObjective:

Students will learn all about Overtures.

Materials: EPO Teachers GuideRecording: Rossini - Overture to Barber of Seville

Procedure:

1. Learn: Talk about what an Overture is (see denition of key terms, pg 10).

2. Discuss: Overtures are used for many things. See how many uses for an Overture you can think of. Someexamples might be musicals, operas, movies, TV shows, and video games. Can you sing the melody to sodifferent Overtures from the list you created? How do they set the mood for what is to come?

3. For Fun: Watch the Rabbit of Seville (https://vimeo.com/132879094)

3. More Analysis: Talk about the tempo and dynamics of the piece. What kind of mood do they create?

4. Visualize: Listen to the piece again. As you listen, you can imagine the rst hint of light that slowly increases color and brightness. You can see along with the composer how morning begins. Is the sunrise completed

before the composition is over? Listen for musical clues!


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Lesson Plan #7: The Comedians Galop

21

Objective:

Students will be able to recognize humor in music through movement.

Materials:

EPO Teachers GuideRecording: Kabelevsky - Comedians Galop

Procedure:

1. Learn:Kabalevskys The Comedians is an example of Caricature which involves exaggerated portrayal of apersons mental, physical, or personality traits in wisecrack form. Caricatures can be insulting, complimentary,political or can be drawn solely for entertainment.

2. Listen: Listen to Kabelevsky - Comedians Galop. Brainstorm different ideas for Caricatures. For example, themusic is joyous and witty, quite effectively capturing the tumbling actions of the clownish entertainers.

3. Move: Have the students take turns, individually or as a group, interpretting Kabelvskys music as theirCaricature.

Lesson Plan #8: The Star Spangled Banner

Objective:

Students will be able to sing along to our national anthem during the Young Peoples Concerts.

Materials:

EPO Teachers GuideRecordings: Key - Star Spangled Banner Student Activity Sheet #3 (one copy per student), page 22

Procedure:

1. Listen and Discuss:First, play the musical selection Key-Star Spangled Banner for the students. Discuss theanthem with the students. Are there any words they couldnt hear? Do they know what all the words mean?What does dawn, gleaming, and perilous mean? It may help to also explain that oer is a contraction oover.

2. Fill in the Blank: Hand out the Student Activity Sheet #3 to each student. Tell students to ll in the blanks

while they listen to the song. Play track 1 again.Hint: it may be helpful to pause after each line to give student

enough time to write. It may also help students if the track is played a few times.3. Sing Along: Play track 1 again and ask students to sing along with the vocalist in the recording. Explain tostudents that at concerts where our national anthem is played, it usually starts with a snare drum roll which isthe cue for the audience to stand, take off their hats, place their right hands over their hearts and turn towards thag. For this years concerts, we want to encourage all of the students to sing along with the orchestra!


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Student Activity Sheet #3

1.

2.

3.

4.

5.

6.

7.

8.

9.

10.

11.

12.

13.

14.

15.

16.

Many people believe they know the words to our national anthem, but its surprising how many are wrong! See whYOU know by writing the missing word in each blank below.

Oh, you

the light

what so we

twilights last ?

and bright

the fght

oer the we watched

were so streaming

the red

bursting in

gave through the

that our was there.

Oh, that

banner yet

the land of

and the of the ?Name

Star-Spangled Banner Writing Activity: Fill In The Blank

-

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Young Artist in the Spotlight

Spencer Sharpis 18-years-old and has already performed and studied across the world. He performsapproximately 25 solo concerts per year, in 11 states to date. He spent three weeks in Beijing, China (age11), where he performed in recitals and studied in Masterclasses with Chinese Master Teachers; and spenttwo weeks in Salzburg, Austria (age 12), studying with famed Russia violinist Vadim Gluzman at the Mo-zarteum Conservatory of Music. At age 13, Spencer was selected to attend the Great Mountain InternationalMusic Festival and School in Pyeongchang, South Korea, where he was privileged to perform in severalpublic concerts and study with violin master teacher Joel Smirnoff and legendary Korean violin teacher NamYun Kim.

Spencer began playing violin at age 5, and won his rst concerto competition at age 8 at the International

Music Festival. He won the same competition again at age 9, both times performing solo with the Interna-tional Music Festival Orchestra.

He has been featured on television and radio many times in the past six years, even making an appearancein the 2008 Jerry Lewis Telethon at the Paducah afliate. He has been the winner of numerous music per-formance competitions and talent competitions in his life. He was the 2011 Illinois State Fair Junior TalentCompetition winner against 45 competitors.In November, Spencer won the Louisville Classical 90.5 Young Artists Competition, and as the winner, wasfeatured on the radio in their Lunchtime Classics series, performing for an hour as the featured guest clas-sical artist. Spencer won second prize in the 2011 Alexander and Buono International String Competition out

of hundreds of entries, and will be performing solo in New York City.

Spencer has performed solo with the Lebanon Symphony Orchestra, Starling Chamber Orchestra, and hasbeen featured in the Columbus Symphonys Young Artists Showcase.

Because of his practice and performance schedule, he is homeschooled, and is currently in the 12th grade.Spencer is very honored and excited to be the winner of the Evansville Philharmonic Young Artist Competi-tion for the second time.


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Lesson Plan #9: Beethovens Storm and PastoraleObjective:

Students will use music as a guide to draw a picture.Materials:

EPO Teachers GuideRecordings: Beethoven - Symphony No. 6, IV. Allegro and Beethoven - Symphony NV. Finale Allegretto

Procedure:

1. Listen: Listen to the Fourth and Fifth movements of Beethovens Symphony No. 6.2. Discuss:Beethoven helps us hear the thunder, the lightning, the wind the rain, and the calm after the storm.

Listen carefully. Can you hear each of those things? How do you think Beethoven wants us to feel during thpiece of music? Which instruments make each of the sounds?

3. Create: Ask the students to draw a picture of what they heard. Please send any outstanding artwork to the EEducation Department!

24

Lesson Plan #10: William Tell OvertureObjective:

Students will learn how music tells a story.

Materials:

EPO Teachers GuideRecording: Rossini - William Tell Overture - Storm and Rossini - William Tell OvertuFinale

Procedure:1. Discuss:Review the purpose of an overture. (The purpose of an overture is to set the stage for what you wil

hear later - both musically and the mood of the upcoming story.)2. Listen and Write: Have the students listen to the music and create their own story on paper.3. Discuss: Have students share their story behind the music. Then read Rossinis story behind the Overture.

The storm breaks and such a storm! The wind shrieks and whistles and brandishes the trees as if they were gi-ant brushes sweeping the sky. Peal after peal of thunder echoes from the mountain walls. Lightening ashes again

This is followed by the sound of hail. Then, as is the habit of mountain storms, these furious forces of nature retrealmost as suddenly as they attacked, with the same little spattering patterns of raindrops.

After the storm, the shepherd gathers his ock. The air is clear and one can see for miles. Across the valley sound

the call, which the Swiss herdsman blows on his Alpen horn. Finally, the calvary comes in and there is a spiriteddrive to the end.


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What is the EPO Made Of?First of all, the Evansville Philharmonic Orchestra is made up of 80 men and women, playing together on a varieof musical instruments. They are divided into four different sections (string, woodwind, brass and percussion)they are united in one common goal: making music together. You might already know that orchestras are not alwthe same size. Smaller orchestras, with between 20 and 34 musicians, are called chamber orchestras. Larger

orcehstras, with between 60 and 110 musicians, are called symphony orchestras or philharmonic orchestras.

The EPO is a philharmonic orchestra, not too small, not too big, just the right size for your enjoyment and pleasu

Did you know the Evansville Philharmonic Orchestra is a non-prot organization? The Evansville Philharmonic

Orchestra is also the largest arts institution in the Tri-State area. Since 1934, the Orchestra has presented qualityprograms that appeal to musical tastes ranging from Beethoven to the Beatles.

The music of the Evansville Philharmonic Orchestra is a source of joy, solace, and inspiration to thousands ofpeople. The high quality programs provided annually by the Orchestra continue to improve the quality of life incommunity.


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The EPO STRING SECTIONcontains:

26 violins

10 violas(somewhat larger than a violin)

8 cellos(denitely larger than a cello)

7 double basses(twice the size of a cello)

The EPO WOODWIND SECTIONcontains:

3 utes

3 oboes2 clarinets3 bassoons

The EPO BRASS SECTIONcontains:

3 trumpets4 French horns3 trombones1 tuba

The EPO PERCUSSION SECTIONcontains:

1 set of Timpani3 other percussionists who play Xylophone, Marimba,Snare Drum, Wood Block, Cymbals, and many otherinteresting instruments

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Vibrant River


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This Study Guide is created to

accompany the Evansville Philharmonic

Orchestra Teachers Guide: Thrill of theOrchestra for the 2014-2015 Young

Peoples Concerts during March 18, 19,

& 20, 2015, at the Victory Theatre in

Evansville, Indiana.

DaVinci Institute

The DaVinci Institute

is a network of

Evansville, Indiana,

community leadersthat facilitates

opportunities for

creativity and

collaboration for

K-12 learners so that

the disciplines of the

arts and humanities

are vital components

of the educational

experience and

integral with the study

of science, technology, engineering and

math (STEM).

Vibrant River Project

During the summer of 2013, the

DaVinci Institute hosted a round table

discussion at the Arts Council of

Southwestern Indiana to explore ways

to better understand and highlight the

Roger Stoller sculpture, Vibrant River,

recently installed on the Ford Center in

downtown Evansville, Indiana. A

tangible outcome of this discussion was

the development of activities that are

designed to introduce students to the

Vibrant River sculpture as a

critical focal point of public art in

Evansville. We are continually looking

for creative ideas that intersect areas of

STEM with the Arts and humanities. Forexample, engineers worked with Roger

Stoller to ensure the scope, weight, and

size of this work did not compromise

the building structure: How is math

important to art? How might you apply

the math and engineering concepts into

an art project? Please see the contact

information below to

share additional

integrated learning

ideas and

opportunities for

students.

Standards

Please see page 3 of

this study guide to

align the National and

Indiana State

Standards in Music,

and Art to your

lessons.

Contact Us

For more information and to share

additional ideas, please contact:

Dr. Vic Chamness

EVSC Director of Science

[email protected]

812.435.0904

DaVinci Institute: Study Guide

With special thanks to:

Summer Bennett,

Alice May Director of

Education and

Community Programs

Evansville Philharmonic

Orchestra

Activities:Threeareprovidedbelow.

Also,pleasecheckoutourwebsite:

http://evansvilledavinci.weebly.comtolearn

moreandtoshareyourideaswhich

wellpostforalltosee.

28


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Activity #1

See What You Can Find

Objective: Students will take on the job of an artist by

creating symbols in an original work of art.

Materials: Pictures of Vibrant River and links to Courier &

Press articles, accessible via QR code on the images page.

Procedures:

1. Have the students look at the photos of Vibrant River.

2. Review the terms abstract art and symbol from the

vocabulary list of key terms.

3. Have them nd abstract symbols within the Vibrant

River sculpture. How many can they nd?

4. Ask the students what symbols they would have

included to represent Evansville if they had been the

artist.

5. On the day of the eld trip, recreate the same

procedures with them taking time to look at the actual

sculpture as you enter/exit the Victory Theatre for the

Young Peoples Concert.

6. Encourage a discussion about how the actual sculpture

looks different from the two-dimensional photos they

saw prior to their visit.

7. Note: Teacher may choose to divide the class into

groups or teams and have a contest.

Activity #2

Building Your Own Sculpture with Recyclable Materials

Objective: Students will learn:

a) to express thoughts into objects, and

b) the basics of assembling a sculpture.

Materials: Clean recyclable objects from home: cans,

bottles, tooth paste tubes, containers, etc., along with

glue, tape, wire, and a small cardboard box to function as

a base.

Procedures:

1. Assign student teams and explain the collection process

and the due date for materials to be brought to school.

2. Explain that the student will assume the role of artist,

creating a sculpture using the recyclable materials from

home.

3. Instruct students to develop a plan to build their

sculpture, including a drawn design that considers how

the pieces will t together and a list of ideas as to what

the sculpture represents. Ask them to title their piece.

4. Guide students as they assemble their sculpture.

5. Once the masterpieces are complete, have the

students share their creations. As students share,

encourage a discussion about the artistic elements used

and any changes that occurred to the original plan as

the piece was developed.

1. What is the scale of the work?

a. How heavyis it?

b. How big do you think it is? Height x Width

c. How does your perspective change when far away

or close up?

2. How is light important to the sculpture?

3. How does the lighting change from different viewing

angles?

4. How do you think the lighting changes during the day?

5. How is mass and non-mass, negative and positive

space used?

6. Does the piece have directional ow?

Art Element Considerations for Vibrant River Sculpture


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For more images, use the QR code to benefit

from images available through the Evansville

Courier & Press website.


32/35

Sculptor: An individual who conceives and creates a 3-Dimensional piece of Art,and is often referred to as a sculpture.

2-Dimensional Art: Art dealing with only a flat surface; it is usually apainting, photography, drawing, or print often hung on a wall. The two dimensionsare height and width.

3-Dimensional Art: Art that surpasses a flat surface; its three dimensions areheight, width, and depth. Ceramics, sculpture, and installation art fit into thiscategory.

Iconography: Art historical field that focuses on the identification and

interpretation of the content of images.

Style: One of the ways of organizing and understanding artistic production.Similar distinctive features in artwork (such as brushwork or the use of color)are used to group together artists by period, school, or cultural group.

Abstract Art: Art that is not meant to be representational in format; itmerely hints at a subject or idea.

Symbol: When an object stands for an abstract idea.

Rendering: A drawing of an idea or thought.

Maquette: A 3-D model of an Artist idea or concept.

Call for Artist: A public posting of a contest to design an artwork.

Public Art: Art which is located in public places for all to view.

Public Art Commission: A group of individuals who promote and/or approve PublicArt.

The Evansville Public Art Commission was created in 2003 to enhance the culturallife in our community by generating interest in and support of public art. The

Commission oversees the Citys public art collection and advises the City onpolicies relating to the purchase, display and maintenance of the Cityspermanent art collection.

Denition of Key Terms

With support from: The Arts Council of Southwestern Indiana

http://artswin.org

http://artswin.org/the-da-vinci-project/


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STEAM at cMoe with The DaVinci Institute

In conjunction with the Young Peoples Concert, The Evansville Philharmonic Orchestra (EPO) isparticipating in a DaVinci Institute Partnership.

This partnership has supported the work of 8th grade students at McGary Middle School and Evansville Day

School who have been presented with a design thinking problem: What is the connection between musicand STEM (Science, Technology, Engineering, and Math)? Throughout February and early March, thesestudents will transform their discoveries into activity stations that will be housed at the Childrens Museum ofEvansville (cMoe).After attending the concert in March, a select group of registered young people will walk to cMoe, have lunchexplore the museum, andthrough the activities the 8th graders have createdexperience the complementary

relationship between the arts and STEM.

The DaVinci Institute is a network of Evansville, Indiana, community leaders that facilitates opportunitiesfor creativity and collaboration for K-12 learners so that the disciplines of the arts and humanities are vitalcomponents of the educational experience and integral with the study of science, technology, engineering,and math (STEM). Representatives of the EPO, cMoe, the EVSC, UE, USI, Evansville Day School, the GirlScouts of Southwest Indiana, and the Arts Council of Southwestern Indiana have supported this initiative.

If your school has been scheduled to attend one of the afternoons at cMoe, please read the following

instructions carefully:

Immediately following the concert, you will be escorted over to the Childrens Museum by a representative

from The DaVinci Institute. You and your class will be walking, and even though the museum is only a blockaway from the Victory, make sure you encourage your students to dress appropriately.

Please bring a sack lunch for each student. Lunch will be scheduled into your visit! You can have a facultymember from your school deliver the lunches to cMoe during the concert or you can bring them with youwhen you come.

Your students will be active at cMoe. Please ask the students to wear clothes and shoes they can move in.

Upon arriving, you will check in with Ben Baker (Director of Education, cMoe) to receive further instructions.He will let you know your schedule for the afternoon as well as other pertinent information.

Bus Instructions: Follow police ofcer direction. More updated information will be sent to you closer to

concert day.

And last but not least, enjoy this awesome event! We have enjoyed putting it together for you!

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About Maestro Alfred Savia

Maestro Alfred Savia has been Music Director of the Evansville Philharmonic since the 1989-90 season.

Under his leadership the Evansville Philharmonic has expanded its activities to include a comprehensive YouthOrchestra program, the incorporation of the Philharmonic Chorus, and the Eykamp String Quartet. He initiatedmany new concert programs including Gospel Night, Family/Casual Classics Series, Outdoor Concerts in andaround Evansville, annual Messiah and Nutcracker performances, Music Alive (residency with composersDavid Ott and Lowell Liebermann), a Side-By-Side program with the professional and Youth Orchestras, andChamber Orchestra concerts in Vincennes and New Harmony. The inclusion of opera, from Gala evenings tofully-staged presentations, has been a true highlight of the cultural scene in Evansville. The 2005 production ofBrundibar (a collaboration of EPO and CYPRESS) garnered unparalleled local, regional and national attention,through a featured story on CNN, as a community-wide effort to use this childrens opera in teaching the lessonsof the Holocaust. Savias innovative programming skills and his ability to connect with audiences everywherehave been documented in proles in Musical America and Symphony Magazine. Maestro Savia was the

recipient of the 2004 Mayors Arts Award.

Savia, who was Associate Conductor of the Indianapolis Symphony Orchestra from 1990-1996, is a frequentguest conductor throughout North America and around the globe. His North American appearances haveincluded performances with the St. Louis, Detroit, Phoenix, Memphis, San Antonio, Spokane and Kitchener-Waterloo Symphony Orchestras, as well as the Louisville Orchestra and Lexington and Fresno PhilharmonicOrchestras. Internationally he has conducted in Korea, Mexico, Italy, Serbia, Denmark, Turkey, Germany,and Uruguay. He has recorded Russell Pecks The Thrill of the Orchestra with Londons Royal PhilharmonicOrchestra.

A native of Livingston, New Jersey, Savia graduated from Butler Universitys Jordan College of Fine Arts. Hestudied conducting with Franco Ferrara at the Accademia Musicale Chigiana in Siena, Italy, and privately withSixten Ehrling and Otto Werner Mueller (Juilliard School). Conducting studies at the American SymphonyOrchestra Leagues Institute of Orchestral Studies and the Tanglewood Music Center led to his rst professional

appointment as Assistant Conductor of The Omaha Symphony. Subsequently, he served as ResidentConductor of the Florida Philharmonic and New Orleans Symphony Orchestra, Associate Conductor of theFlorida Symphony Orchestra and Music Director of the Orlando Opera. He also played an integral role in theemergence of the Orlando Philharmonic, serving as its Artistic Director and Principal Conductor from 1995 to2000. He also conducted the Louisiana Philharmonic Orchestra (New Orleans) in one of their rst post-Katrina

concerts in March of 2006, and returned for concerts there again in the 2006-07 and 2007-08 seasons. This pastsummer, he made his debut with the Orchestra Sinfonica de Chile in Santiago.

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Young Peoples Concerts2015-2016

ease help us evaluate the effectiveness of our program, improve our future experience for your students, and ensure the futureailability of the program by completing this evaluation.PLEASE PRINT. Thank you!

Please return this form to:

P.O. Box 84, Evansville, IN 47701 [email protected] 812/426-7008 (fax)

The following demographic information is used only in our annual, year-end public grants report.

hool _________________________________________ Person who completed this form_________________________

ate of concert attended___________________________ Total number of students/adults attending__________________

he school attending is a: (please check all that apply)Public school Parochial school Charter school Pre-school Day care Other_____________________

ease ll in the number of students for the following:merican Indian/Alaskan Native_____ Blind/Visually Impaired_____sian Pacic Islander_____ Deaf/Hearing impaired_____

ack/African American_____ Physically Disabled_____ispanic/Hispanic American_____ Mentally Impaired_____hite Caucasian_____ At Risk_____ultiracial (more than one of the above applies) _____

Have you attended the Young Peoples Concerts in the past? If so, how did you feel this year compared to past concert

What did you like most about the concert?

Please evaluate and comment on the following areas: (poor)12345(excellent)

a. Musician/educator/administrator interaction 1 2 3 4 5b. Overall quality of the concert 1 2 3 4 5c. Appropriateness of the concert program for the age level 1 2 3 4 5

d. Length of the concert 1 2 3 4 5e. Student engagement during the program 1 2 3 4 5f. Importance of this type of programming for your school 1 2 3 4 5g. The venue 1 2 3 4 5

h. Usefulness of education materials sent prior to the concert 1 2 3 4 5i. Educational benets from the concert 1 2 3 4 5

Were the educational materials appropriate? How did you use them? Any suggestions for improvement?

Documents

2016 Young Peoples Concert Teachers Guide