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The Dallas Symphony Orchestra Presents:The Art of the Concerto

November, 2020

VISIT THE DALLAS SYMPHONY ORCHESTRA’S EDUCATIONAL WEB SITE: www.DSOkids.com

https://www.surveymonkey.com/r/776CHTRActivities for The Art of the Concerto teacher’s guide were prepared by the Dallas Symphony Orchestra’s

Curriculum Development Team: Linda Arbolino, Jane Aten, Tony Driggers, Jen Guzman, Sarah Hatler, and Kevin Roberts. This volume of the teacher’s guide was produced and edited by Dallas Symphony Orchestra

Education Staff Members Sarah Hatler and Jen Guzman. Materials in this teacher’s guide can be photocopied for classroom use. If you have any questions about the concerts or material in this guide, please email Sarah Hatler at

s.hatler@dalsym.com.

“I always tell people that my music should speak to them… and that they shouldn’t feel obligated to say why or how. All reactions are valid; the important thing is to have the

experience.” - Jennifer Higdon

Dear Fellow Educators,

As we near the end of 2020, there is one thing we can likely all agree upon – connecting with others is critical to our well-being.

These moments of connection – the exchange of “good morning” as your students arrive each day, the quick chat with a friend as you’re shopping for groceries, and the deep conversations you have with close ones in the comfort of your home – are what give purpose to our task-filled lives. And while we adults have spent much of 2020 lamenting the temporary loss of these moments, we know our kids are feeling the effect even more. That’s why we’re focusing our first Youth Concert of the 2020-21 season, The Art of the Concerto, around musical connection and conversation. A concerto is like a conversation; the soloist speaks and the orchestra replies. The two voices speak together. Similar to real conversation with real people, sometimes the soloist and orchestra are in agreement and sometimes they are in opposition.

As you prepare your students for The Art of the Concerto, I encourage you to keep composer Jennifer Higdon’s quote (above) in mind. While your students listen to the program we have prepared for them, they will have a plethora of opin-ions. As Higdon writes, the experience is the most important part. Welcome the diverse experiences your students may have while listening to this music! Now more than ever, it is essential that we emotionally support our youth by giving them tools to express themselves so they can process, share, and keep moving forward.

While we will miss being together at the Meyerson this fall, we designed this concert specifically for remote viewing and are excited to engage virtually with your students. They can even look forward to new opportunities that are only avail-able because we are remote, like getting a tour of the inside of the Lay Family organ! You can watch this concert together in your classroom or share it remotely via virtual instruction.

Musically yours,

Jen Guzman, Director of Education

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Table of Contents

Concert specific information Soundcloud Playlist and Tracks Who’s Who Composer Biographies Pre-Concert Activity Strategies for Mindful Listening

Concert Activities 1. What's a Concerto? 2. Musical Conversations 3. Lalo Listening Map 4. The Violin Seen Through Art 5. Sound Engineers: Vibration and String Instruments Post-Concert Activity Flat Bach! Student review

p. 3p. 4p. 7

p. 10

p. 11p. 13p. 16p. 22p. 29

p. 35p. 36

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Soundcloud Playlist

You will notice that we have moved from physical CDs to a Soundcloud playlist this year in an effort to make the music as accessible as possible for you. In the following lessons of this Teacher Guide, the Soundcloud playlist will be referenced and can be found here:

https://soundcloud.com/dallassymphony/sets/youth-concert-art-of-the

The tracks in this playlist include repertoire that will be performed at the Youth Concert you and your students will be watching, so we encourage you to listen to these pieces to familiarize yourselves with the music.

1. Arcangelo Corelli - Concerto Grosso in D major, Opus 6, No. 42. J. S. Bach – Violin Concerto No. 1 in A minor, BWV 1041, 1st movement3. J. S. Bach – Brandenburg Concerto No. 1 in F major, BWV 1046, 1st movement4. Franz Joseph Haydn – Organ Concerto in C major, H.XVIII:1, 1st movement (beginning to 7:32)5. Édouard Lalo – Cello Concerto in D minor, 3rd movement6. Jennifer Higdon – “Strings” from Concerto for Orchestra ("strings" minute 7:50 to 11:59)7. György Ligeti - Concert Românesc, 4th movement

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Who’s Who

Austrian conductor Katharina Wincor, recipient of the Neeme Järvi Prize at the Gstaad Menuhin Festival in 2017, was born in 1995 and trained as a pianist and oboist while attending the Senior High School of Music, Linz (Austria). She studied composition at the Anton Bruckner Private University in Linz from 2009 to 2014.

In 2017, she was invited by Riccardo Muti to be the youngest of five par-ticipants at his Italian Opera Academy, and in 2018 she was invited as the youngest competitor of the world-renowned Donatella Flick LSO Conducting Competition in London. Wincor is currently preparing to conduct Tonhalle Orchester Zürich in a masterclass with David Zinman and attend the Aspen Music Festival and School as a Conducting Fellow in summer of 2019. Recent notable projects include working as the Assistant Chorus Master for Arnold Schoenberg Choir Vienna from 2016 to 2018 and assisting Mirga Gražinytė-Tyla at the Salzburg State Theatre.

In masterclasses, competitions and concerts, Wincor has conducted the City of Birmingham Symphony Orches-tra, MDW Chamber Orchestra Vienna, Mozarteumorchester Salzburg, Kurpfälzisches Kammerorchester Mann-heim, Gstaad Festival Orchestra, Orchestra Giovanile Luigi Cherubini, Thüringen Philharmonie Gotha-Eisenach, Pazardzhik Symphony Orchestra, Meininger Hofkapelle and the BBC Concert Orchestra. Since 2014, Wincor has studied Orchestral Conducting in Vienna at the University of Music and Performing Arts with Professor Mark Stringer, and was invited to study as an exchange student at the Franz Liszt Weimar School of Music for the 2017/18 school year. She is currently continuing her studies at the Zurich University of the Arts with Professor Johannes Schlaefli. Wincor has participated in masterclasses with Marin Alsop, Bernard Haitink and Jaap van Zweden. In 2012, Wincor founded her own choir, Bunte Steine, which has won national and international competitions, and with whom she works regularly.

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Sterling Elliott's recent accomplishments include being awarded 1st prize in the Senior Division of the 2019 22nd Annual Sphinx Competition on February 3, 2019. He was the youngest Finalist in the prestigious compe-tition and will receive $50,000 – plus a number of important performance opportunities. Sterling also won the audience choice award which comes with an additional $5000. Days before the Sphinx Competition, Sterling performed several concerts in Switzerland at the World Economic Forum which included a performance on the CNBC Television Network. Sterling is also one of the youngest musicians to work as sub for the New York Phil-harmonic. In October of 2018 Sterling had his solo debut at Carnegie Hall where Frank Daykin of New York Concert Review wrote: “The very fine young cellist Sterling Elliott played two movements from Cassadó’s Suite for Solo Cello with perfect intonation, style, and total involvement.” In spite of such accolades, Sterling has enjoyed a simple, and humble musical journey. He began his cello studies at the age of three under the direction of Suzuki Cello teacher Susan Hines. Sterling, the youngest of 3 siblings, did not originally want to play the cello; he wanted to play the

violin like his older brother and sister. After a bit of encouragement, he made The Elliott Family String Quartet perfect by learning to play the cello. Sterling made his solo debut at the age of 7 when he became the first place Junior Division winner of the PYO Concerto Competition, which was the beginning of many other notable accomplishments such as; Grand Prize for the First Presbyterian Young Artist Competition, 1st Place in the York River Symphony Orchestra Concer-to Competition, 2nd place winner in the 2013 National Sphinx Competition, 1st Place winner in the 2014 National Sphinx Competition, 1stPlace winner in the 2014 Richmond Symphony Concerto Competition, and 1st Place in the Bay Youth Orchestra Concerto competition, and 2nd Place in the 2015 Richmond Symphony Concerto Competition. Sterling has enjoyed the honor of performing for French and American cellist Yo Yo Ma and also performing alongside recording artist Jennifer Hudson. Sterling is proud to have been awarded the 2016 Isaac Stern Award by the Sphinx Organization as well being featured in a 3-page interview in the October 2015 “Strings” Magazine. Sterling is also a two-time alum of NPR’s From the Top, a nationally syndicated radio broadcast featuring America’s most talented young musicians, where he was announced as a recipient of a $10,000 Jack Kent Cooke Award. Professionally, cellist Sterling Elliott has soloed with the New York Philharmonic, The Cleveland Orchestra, Virginia Symphony Orchestra, the Hilton Head Symphony Orchestra, Boston Symphony Orchestra, New World Symphony, Buffalo Philharmonic Orchestra, San Francisco Chamber Orchestra, and many more as well as a per-formance at the 2019 World Economic Forum in Davos, Switzerland. These concerto performances have taken place in venues across the United States, most recently including Carnegie Hall in New York and Symphony Hall in Boston. Sterling currently studies with Joel Krosnick at the Juilliard School working towards an undergraduate degree in Cello Performance where he is a proud recipient of a Kovner Fellowship.

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Violinist Hannah White has soloed extensively throughout the United States and Europe. Hannah has been described by The New York Times as, “terrific… expressive… enthusiastic”, and NY Concert Review wrote “phenomenal…blaze… commanded … perfect intonation and flair”, and Cleveland.com as “clinched her Severance Hall debut…razor-sharp… future is bright”.

Hannah began her solo career at age nine with Milwaukee Symphony Orchestra, and since then performed with Cleveland Symphony Orchestra, New World Symphony Orchestra, Albany Symphony Orchestra, South Bend Symphony Orchestra, Ann Arbor Symphony Orchestra, Buffalo Philharmonic Orchestra, Sphinx Symphony Orchestra, and Madison Symphony Orchestra among others. She has performed at numerous prestigious venues including: Carnegie Hall, Severance Hall, Kennedy Center, Rock and Roll hall of fame, Ordway Center, Harris Theater, New World Center, Disneyland, National Gallery of Art Museum, and Aspen Summer Camp. She has performed in England, Ireland, Scotland, and Switzerland. Recently, Hannah performed at the World Economic Forum in front of world leaders and business leaders. Hannah has earned First Prize at dozens of competitions for solo and chamber at the local, national and international level. Hannah has been admitted into the renowned studio of Robert Lipsett, with whom she presently studies at the Colburn Conservatory of Music.

Hailed as “a world-class virtuoso” and “an expert at defining darks, lights, shad-ows and colors,” Bradley Hunter Welch (DSO Resident Organ,Lay Family Chair) is increasingly in demand as a recitalist, concerto soloist, and collaborative artist. A native of Knoxville, Tennessee, Dr. Welch holds the Doctor of Musical Arts, Master of Musical Arts, Master of Music degrees and the Artist Diploma from Yale University where he studied with Thomas Murray and Martin Jean. He also holds the Bachelor of Music degree magna cum laude from Baylor University where he studied with Joyce Jones. Dr. Welch is the 2003 First Place winner of the Dallas International Organ Com-petition and was also awarded the Audience Prize for the second time, having previously won it in 2000. He was Director of Music & Arts at Highland Park United Methodist Church in Dallas from 2009 to 2014 and currently devotes his full-time attention to a thriving solo concert career. Between his concert and recording engagements, Dr. Welch serves as Artist-in-Residence at Preston Hollow Presbyterian Church in Dallas. In addition to these duties, he performs approximately 20 concerts annually under the exclu-sive artistic management of Phillip Truckenbrod Concert Artists, Hartford, CT.

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Franz Joseph Haydn's (1732-1809) father was a wagon builder and repairer who loved music and played the harp for his friends and neighbors. Perhaps this is why three of his sons became musicians. The most famous, whose music is still played today, is Franz Joseph Haydn. As a young boy, Haydn was sent to live with his uncle, who was a schoolmaster in Hainburg. There he studied reading, writing, arithmetic, and singing. He learned to play the harpsichord, organ, violin, trum-pet, and drums.

While on a talent-spotting tour, the Music Director of the Cathedral of St. Stephen in Vienna dis-covered Haydn. He had been in school in Hainburg for about a year. At age eight, Haydn went to Vienna and joined the choir there.

Throughout his life, Haydn had a great sense of humor. Although this helped him in many ways, it got him into serious trouble with the choir director in Vienna when he was a teenager. He cut off

one of the pigtails of the boy in front of him (choir boys at that time wore their hair in pigtails), and his punishment was to be expelled from the choir and the school. For several years he struggled to find his way, and was finally able to make a living as a court musician and composer. His sense of humor is often shown in the music he wrote. For example, one of his most famous pieces, the Surprise Symphony, has very soft passages followed by sudden, very loud chords to wake up members of the audience who were sleeping.

Composer BiographiesJohann Sebastian Bach (1685-1750) once had to spend a month in jail because he tried to quit his job composing and playing for a duke. During that month in jail, he wrote forty-six pieces of music, many of which are still performed today.

Bach, a dazzling organist and church musician, had to compose all kinds of original pieces for every church service including pieces for choir, organ, harpsichord and orchestra. Since most of his music was written to be performed in a church service only once and then thrown out, very little of his music was published during his lifetime. It was for this reason that Bach composed more music than almost any other composer. However, his musical genius was not recognized until about 100 years after his death.

Bach was famous for his music and for something else - Bach had twenty children! Five were named Johann, two Johanna and four grew up to become famous composers. He may be remem-

bered long after other composers because in 1977, the Voyager spacecraft was launched into space carrying recordings of three pieces by Bach.

Arcangelo Corelli (1654-1713) was an Italian violinist and composer of the Baroque period. His compositions greatly influenced the later development of sonata and concerto forms. Despite being born in a small town, his career seems to have flourished first with training in Bologna and then later in Rome. As was typical of the time, he supported himself playing violin in en-sembles for wealthy patrons such as Cardinal Benedetto Pamphili and Cardinal Pietro Ottoboni, at whom’s palace he lived in Rome.

His influence on violin playing during his lifetime was legendary, despite not playing the in-strument to its full potential; his writings show him very rarely utilizing the high register of the instrument above a D. His appeal was not limited to just his students in Italy. His compositions for chamber groups, which include 48 Trio Sonatas, 12 Violin and Continuo Sonatas, and 12

Concerti Grosso, were studied by Bach and Handel and resulted in their own pieces inspired by him. Corelli died in Rome a very rich man and left everything to his benefactor.

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Unlike most composers, Jennifer Higdon (b. 1962) did not begin studying or listen-ing 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 writ-ten 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 challeng-ing.

With music that is both imaginative and accessible, it is no wonder that Higdon is one of America’s most-per-formed composers. blue cathedral, a piece she wrote about her brother’s death from cancer, is the most per-formed modern orchestral piece by a living American composer. Her Percussion Concerto won a Grammy for Best Contemporary Classical Composition, and her Violin Concerto won the Pulitzer Prize in 2010. She is often asked to write music for orchestras all over the country, including the DSO! Her recent opera Cold Mountain was premiered by the Santa Fe Opera in 2015, and has been performed by Opera Philadelphia, North Carolina Opera, and the Minnesota Opera since then.

Higdon currently teaches composition at the Curtis Institute, and continues to compose 5-10 pieces a year.

Édouard Lalo (1823-1892) was born in Lille, France. His father did not want him to pursue a career in music, so he left home at the age of 16. He studied violin at the Paris Conservatoire and supported himself by performing, teaching, and also composing. He played in a string quartet that sought to promote interest in Haydn, Mozart, Beethoven, and other early classical composers. His composition for this group, a string quartet, helped establish himself as a composer of chamber music.

His most famous piece is Symphonie espagnole which is a fiery violin concerto in five movements. It became popular in 1874 when it was first performed by Spanish violinist, Pablo Sarasate. His Cello Concerto in D Minor, written shortly after in 1877, is less popular but a great work of art nonetheless. In addition to his concerti, he also composed chamber works, songs, a ballet, and operas. His operas were initially dismissed by the Paris Opera but he continued to champion

them. Seven years after composing his opera, Le Roi d'Ys, it was finally performed to a great reception in 1888, proving that persistence pays off!

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György Ligeti (1923 – 2006) was a Hungarian-Austrian composer of contem-porary classical music and is considered to be one of the most influential com-posers of his time. He was born in Romania and began his musical studies in 1941 at a conservatory in northern Romania (which was annexed into Hungary the year before) and studied privately in summers in Budapest. As a Jew in World War II, he had to suspend his musical studies in 1944, and sadly, he and his mother were the only members of his immediate family to survive the war.

He returned to Budapest after the war and graduated from the Franz Liszt Academy of Music in 1949. The following year, he began teaching harmony, counterpoint, and musical analysis at his alma mater where he stayed until fleeing the communist country in 1956 to Vienna, Austria. Due to the restric-tions imposed by creating music in Communist Hungary, Ligeti’s early works were often censored but we can hear his personal style of composition in his

String Quartet No. 1.

He soon moved on to Cologne, Germany, where he would start friendships with the composers Karlheinz Stockhausen and Gottfried Michael Koenig, and under their influence, he composed two pieces for electronics. He returned to instrumental music shortly thereafter and seems to have been inspired to create music with electronic-sounding textures such as his well-known pieces, Apparitions and Atmospheres. He named this style of composition “micropolyphony,” which is described as dense, vertical tone clusters.

His subsequent pieces include one written for 100 mechanical metronomes entitled Poeme symphonique, and Volumina, a solo for organ that uses diagrams to convey general pitch and rhythm instead of conventional music notation. Much of this music focused on the timbre or sound created rather than the rhythm or pitch, a style referred to as “sonorism.”

From the 1970's on, Ligeti moved away from sonorism and used rhythm and pulse as a focus of his work alongside composers Steve Reich and Terry Riley. In 1977, he completed his only opera, Le Grand Macabre, which was a work that included techniques not used in previous years such as using consonant thirds and sixths.

His style continued to evolve in the following decades, drawing inspiration from indigenous music of sub-Sa-haran Africa, which is evident in the complex rhythms he used. Some of these later works include three etude books for piano, a Violin Concerto, and a Piano Concerto. Several of his pieces can be heard in film and televi-sion soundtracks, including Stanley Kubrick’s 2001: A Space Odyssey.

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Strategies for Mindful ListeningAdapted from Settle Your Glitter - A Social Emotional Health Curriculum by Momentous Institute 2015

What is Mindful Listening?Mindful Listening helps students choose on which sound their attention should be focused. When a student trains his/her brain to concentrate on specific sounds, sensory awareness is heightened. Monitoring the audi-tory experience, and noting what they focus on and respond to, helps build self-management and self-aware-ness skills.

How do I practice mindful listening with my students?Play a piece (or excerpt) from an upcoming DSO Youth Concert and have the students: • Sit up tall like a mountain and think of the spine as a stack of coins. • If seated in a chair or bench, feet are flat on the floor or hanging calmly and still. If seated on the floor, make sure legs and feet are still. • Hands are resting gently on the lap or knees. • Eyes are softly closed or their gaze directed downward.

What do I say during the mindful listening activity?Say things such as, ”As you listen, remember to breathe in and out deeply and focus on the music.” “What pictures do you see in your mind?” “Does it tell a story?” “Notice how your body feels (in the chair, on the floor…etc.).” “What colors do you see?” “What images?” “If this music was found in a movie, what would be happening?” “What mood does the music evoke?” “How does this music make you feel?”

What do I do if my students have trouble with mindful listening?This type of activity is very personal and takes a lot of practice. If students seem like their attention is falter-ing, say, “If your mind wanders, that is ok – that’s what minds do…just bring your attention back to the music. Notice how your body feels right now – at this very moment. Again, let your mind see the colors, pictures and moods in the music.”

How does the mindful listening end?After listening for 1-2 minutes, lower the volume of the music slowly and say, ”When you are ready, slowly open your eyes.”

What now?Talk about all of the student responses. Remember that there are no “wrong” answers – use open-ended questions to expand the activity. Try using these questions in response to your students: • What did you hear that made you think of that? • Tell me more about what in the music made you feel (happy, sad, lonely, afraid, etc.). • Can you add more details to that? • What did the composer/musician do to make you think of that?

ExtensionThis mindful practice can be used every day. Have relaxing and calm music playing as your students enter the room each day. Have them learn the mindful listening procedure and eventually it will become natural. This is a great way to start their music learning day – mind sharp, body relaxed, and brain ready for learning.

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What's a Concerto?

Resources• DSO Soundcloud playlist,

tracks 2 and 5

Pre-AssessmentAsk students to name places or times when a single person or thing is supported and made better by many people or things. Here are some examples to get the discussion started: • A class group presentation in which a single person talks while the rest of the group supports with pictures, demos, materials, etc. • A piece of artwork which has a central feature that is spotlighted by the colors or objects around it. • A sport in which one person scores while the rest of the team assists, thereby benefitting everyone. • A dance where one person is dancing solo while the rest of the dancers are dancing around them. • A centerpiece in the middle of a table surrounded by other decorations such as candles. • A rock band in which a headliner is surround by other backup musicians. As students suggest answers, consider finding images on the Internet to further the discussion.

Learning ObjectiveStudents will become familiar with the concerto as amusical composition.

VocabularyConcerto- a musical composition for a solo instrument or instruments accompanied by an orchestra

Teaching Sequence1. Tell the class that a concerto is a musical version of a “single person or thing supported by many people or things.” It’s a composition in which a solo (single player) is highlighted while the larger group (usually an orchestra) accompanies, or plays, in a support role. 2. Play excerpts of the following concerti from your repertoire list:BACH Violin Concerto No. 1, 1st movement only, Track 2LALO Cello Concerto in D minor, 3rd movement only, Track 5

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Culminating ActivityHave the group watch the 1st movement of the Organ Concerto in C by Joseph Haydn together. A concerto is like a dialogue in which an individual or small group is having a conver-sation of sorts with the whole group. Ask students to try to imagine what is being discussed, thought, argued about, etc. and write what conversation they imagine is occurring. Ask students to share with the class.

TEKSFA.M.2.b.5BFA.M.2.b.5CFA.M.3.b.6E

EvaluationDid students become familiar with the concerto as a musical composition?

ExtensionShare with the class these interesting fun facts about concerti. For a challenge, have the class re-search and find other fun facts to share. * The word concerto is an Italian word. That’s why the ‘c’ in the middle is pronounced ‘ch’.* The concerto became popular during the 17th century (called the Baroque Period in music) in Italy. * The traditional form of a concerto consists of three sections, or movements: fast, slow, then fast.* Some concerti had several soloists instead of just one. This kind of concerto was called a concerto grosso. (‘Grosso’ means big)* A cadenza (also an Italian word) is a section of a concerto during which the soloist often plays extremely difficult passages alone. This is a place where he or she can show off their extreme abilities. * A person with extreme abilities is called a virtuoso (yep, also Italian). * The Italian composer Antonio Vivaldi (1678-1741) wrote over 400 concerti for various instruments!* The French composer Paul Hindemith wrote at least one concerto for every instrument in the orchestra. He could also play all of the instruments!* One of the silliest "concertos" called The Typewriter was written by Leroy Anderson in the 1950s. Look it up on YouTube for some good clean fun!

3. Tell students to watch for the soloist to interact with the orchestra like a kind of conver-sation. The soloist plays something, then the orchestra repeats it, sometimes adds to it, or plays something that makes the soloist sound better while he or she is playing. But unlike an actual conversation, the soloist and orchestra can ‘talk’ at the same time.

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Musical Conversation

Pre-Assessment1. Warm up by singing a simple call and response song with students.2. Explore the definition of a call and response song with students. Say, “I am going to “call” or sing a phrase, and you will sing it back to me – that is the response."3. Sing a well-known echo song with students. Here are some examples: • Down by the Bay • Kye Kye Kule (Che Che Kule) • Charlie Over the Ocean • The Other Day I Met a Bear

4. Perform the song again and have students take turns being the “caller.” 5. Create movements to indicate when the soloist is singing and when the group is singing. (Example: Hold up a card marked “Call” when the soloist sings, and hold up a card marked “Response” when the group sings or keep a steady beat by patting legs when the group is singing, and freeze when the soloist sings, etc.) 6. Listen to another well-known call and response song, “Did You Feed My Cow?” By Ella Jenkins (Resources). This is a song that is not an echo but has a different response.

Learning ObjectivesStudents will demonstrate an understanding of con-versation (dialogue) in music.Students will demonstrate an understanding of call/response or question/answer.Students will compare call and response in various musical genres.VocabularyCall and response - a musical form in which a melody is stated as a phrase that is then followed by a second phrase that completes the idea. The first phrase is presented like a question, followed by the reply - the second phrase.

Resources• “Did You Feed My Cow” by Ella Jenkins• “School Days” by Chuck Berry• “Call Me Maybe” Carly Rae Jepsen • Sonata No 11 in A Major by Mozart • Concerto for Orchestra by Higdon• Question and answer phrase handout from Sonata No. 11, pg. 15

Click here for Google Slide interactive lesson.

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Teaching Sequence1. Tell students that now we will be hearing call and response in different genres of music. 2. Show the question and answer phrase card from Mozart’s Sonata No. 11, First Movement on page 15.3. The first 4 measures (first phrase) serve as the question or call, and the second 4 measures (second phrase) serve as the answer or response. 4. Play the music example as you point to the phrases (Resources).5. Have students notice that the first phrase seems to go unanswered until the second phrase is heard.6. Now listen to “School Days” and “Call Me Maybe” (Resources) and see if students notice the Call and Response in each.

7. Now play the excerpt of the Higdon Concerto for Orchestra (Resources or Track 6). At 1:54 (Resources) or 1:28 (Track 6), you can hear a short conversation between the bass clarinet and the piccolo. This is emphasized because of the timbre (pronounced tam-ber) of each instru-ment. The conversation seems to become more agitated as the strings and timpani enter the conversation.

“School Days”CALL: Up in the mornin' and out to school.RESPONSE: (Guitar riff)CALL: The teacher is teaching the golden rule.RESPONSE: (Guitar riff)

“Call Me Maybe” CALL: Hey, I just met youRESPONSE: (Violins)CALL: And this is crazyRESPONSE: (Violins)

EvaluationWere students able to recognize the call and response in various genres of music?

TEKSFA.M.1.b.3A,BFA.M.1.b.5AFA.M.1.b.6B-DFA.M.2.b.5CFA.M.2.b.4C

FA.M.2.b.3A,BFA.M.2.b.6DFA.M.3.b.3A,BFA.M.3.b.5A-CFA.M.3.b.6C-E

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Lalo Listening Map

Resources for remote/online viewing• Computer or other device with internet connection• Recording of Edouard Lalo’s Cello Concerto in D minor, III. Introduction. Andante - Allegro

vivace on Soundclound playlist (track 5)• Use Google Classrooms to share the Listening Map and cello/orchestra icons. Google

Slides document found here. • For simple instructions on how to make a copy of this slide available for each student in

Google Classrooms, see this support article here. • If you don’t have Google Classrooms, other options include:

- Students can follow the in-person instructions below if they have access to printed materials - - Students can create their own listening map and draw icons for cello, orchestra, and combined cello/orchestra.

Learning ObjectiveStudents will aurally identify the difference between a soloist (one player) and the orchestra (many players).Students will demonstrate an understanding of the conversational nature of music.

VocabularyConcerto- a musical composition for a solo instrument or instruments accompanied by an orchestraListening map - a visual, sequential diagram of sounds or music

Resources for in-person• Recording of Edouard Lalo’s Cello Concerto in D minor, III. Introduction. Andante - Alle-

gro vivace on Soundclound playlist (track 5)• Printed listening map, pg. 19• Printed listening map icons: cello and orchestra, pg. 20 or 21• Scissors • Tape or glue

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Pre-AssessmentTeacher tells the class that music is like a conversation. As an example, sing or say, “Hello, class,” and ask them to reply all together with, “Hello, [teacher name]." Remind students (from previous lesson) about the term concerto, and highlight how one solo instrument converses with the orchestra.

Teaching Sequence1. Play a two minute excerpt of Lalo’s Cello Concerto (track 5) and ask the class to listen for the conversation between the cello and the orchestra.2. For a minute or so, pair students and ask them to share what they heard with their part-ner. Then bring the class back together and hear answers from a few students. There is no single “right” answer when discussing music. While we want the students to hear the back-and-forth between cello and orchestra, students might be compelled to speak about the emotion of the music, the story that came to mind, or how it reminded them of a personal experience. Encourage this type of creative and open-minded thinking. 3. When discussing the conversational nature between the cello and the orchestra, point out that sometimes the cello and orchestra are playing at the same time. It’s not always an obvious back-and-forth exchange of phrases. Culminating Activity 1. Distribute the Listening Map and introduce the concept to the class. Tell them that they will move the three icons -- orchestra only, cello only, and orchestra/cello combined -- into the boxes on the Listening Map based on what they hear. In-person only: distribute glue and scissors and ask students to cut out icons.2. Play the excerpt and instruct students to drag-and-drop (online) or place icons on the paper without glueing (in-person) as they listen to the excerpt. Give them a minute to consider their choices and then play the excerpt again. 3. When everyone has the tiles in place, listen to the excerpt a third time as a class and ask them to hold up their selected icon at the appropriate moment. Online: ask them to make a “c” with one hand for cello, an “o” with both hands for “orchestra”, and a peace sign with two fingers for combined cello/orchestra in lieu of paper cut-outs. Pause the music at the moments of change between cello and orchestra and see if they pick the correlating icon to the key provided. Discuss any differences, asking students to justify their answers. 4. In-person only: students glue the cello and orchestra icons to the Listening Map.

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TEKSFA.M.1.b.5CFA.M.1.b.6B-DFA.M.2.b.5B,C FA.M.2.b.6B-DFA.M.3.b.1BFA.M.3.b.6B-E

EvaluationCan students hear and discuss the conversational nature of the music?Can students aurally identify the difference between one solo instrument and the orchestra and justify their choices?

ExtensionAsk the students what they think the cello and orchestra are saying to each other. Do they think they are trying to decide what game to play? What to eat? Where they would like to go? How they feel? Ask students to pick a prompt and write one sentence of dialogue per icon to go along with the Listening Map.

*Listening Map key for teachers The correct order of icons is: 1) cello (1-1:03)2) orchestra (1:04-1:22)3) cello and orchestra combined (1:23-2:00)

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The Violin Seen Through Art

Pre-AssessmentCan the student name something that has changed over the course of time? Let's consider transportation. What type of transportation did our early settlers use? Explore suggestions from the class, such as horses and wagons. What type of transportation do we have today? Cars, airplanes, trains, ocean liners, etc. What might transportation look like in the future? Any response is valid.

VocabularyViolin – A small high-pitched musical instruments with four strings, played with a bow. It can be played as a solo instrument, in a small ensemble, or in a large ensemble. Baroque – a historical period of time, early 1600-1750, in which the art created was very ornate and detailed.Classical - a historical period of time, 1750-1820, in which art reflected a strong emphasis on balance and structure. Romantic - a historical period of time, 1820-1900, in which art focused on emotional expression. Contemporary - a historical period of time, 1900- present, in which the art created followed the self-expression of the artist.

Resources• Art found on pages 23-26• DSO Soundcloud playlist

Learning ObjectiveThe student will compare and contrast how the violin is shown in paintings from different time periods.

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Suggested Artwork for Lesson: Violin in the arts A Baroque Painting

Title: “Family Portrait of Jan Miense Molenear” Artist: Jan Miense Molenear -(1610 –1668) Painted: circa 1636. Location: Frans Hals Museum, Netherlands Link: https://commons.wikimedia.org/wiki/File:Jan_Miense_Molenaer_004.jpg Public Domain ……………………………………………………………………………………………………

Title: "Family Portrait of Jan Miense Molenear"Artist: Jan Miense Molenear (1610- 1688)Painted: circa 1636Location: Frans Hals Museum, NetherlandsLink: https://commons.wikimedia.org/wiki/File:Jan_Miense_Molenaer_004.jpgPublic domain

A Baroque Painting

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A Classical Painting

Title: “Joseph Haydn Playing Quartets” Artist: Anonymous Painted: Before 1790 Location: StaatsMuseum, Vienna Link: https://commons.wikimedia.org/wiki/File:HaydnPlaying.jpg Public Domain ……………………………………………………………………………………………………

Title: "Joseph Haydn Playing Quartets"Artist: AnonymousPainted: Before 1790Location: Staats Museum, Vienna, AustriaLink: https://commons.wikimedia.org/wiki/File:HaydnPlaying.jpgPublic domain

A Classical Painting

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An Impressionistic Painting

Title: “The Dance Lesson” Artist: Edgar Degas (1834-1917) Painted: 1879 – Pastel and black chalk Location: Metropolitan Museum of Art, NY Link: https://commons.wikimedia.org/wiki/File:The_Dance_Lesson_MET_DT1883.jpg ……………………………………………………………………………………………………

An Impressionistic Painting

Title: "The Dance Lesson"Artist: Edgar Degas (1834-1917)Painted: 1879 - pastel and black chalkLocation: Metropolitan Museum of Art, NYLink: https://commons.wikimedia.org/wiki/File:The_Dance_Lesson_MET_DT1883.jpg

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A Contemporary Painting

Title: “Man With a Violin” Artist: Picasso (1881-1973) Painted: 1911-12 Location: Philadelphia Museum of Art;

Gallery 272, Modern and Contemporary Art, Second Floor Link: https://www.philamuseum.org/collections/permanent/51089.html © Estate of Pablo Picasso / Artists Rights Society (ARS), New York ……………………………………………………………………………………………………………………………………..

A Contemporary Painting

Title: "Man With a Violin"Artist: Picasso (1881-1973)Painted: 1911-12Location: Philadelphia Museum of Art; Gallery 272, Modern and Contemporary Art, Second FloorLink: https://www.philamuseum.org/collections/permanent/51089.htmlCopyright Estate of Pablo Picasso/Artists Rights Society (ARS), New York

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Teaching Sequence1. Teacher shows first painting, a Baroque painting, “Family Portrait of Jan Miense Molene-ar” (1636) by Jan Miense Molenear, pg. 23Note to teacher: Play clip of corresponding music from the Baroque period as the students are viewing the painting (Track 1).2. Teacher asks students, “How did the artist depict the violin in this painting?” and “What else do you notice about this painting?”Note to teacher: Draw students’ attention to the size of the instrumental ensemble, the various instruments included, how the violin is held while being played, the attire of the men and women, and how detailed and realistic the painting is. 3. Teacher then leads students in discussion to address the suggested topics. 4. With each of the following paintings, follow the same discussion procedure. Classical painting - “Joseph Haydn Playing Quartets” (Before 1790) Anonymous, pg. 24Note to teacher: Play clip of corresponding music from the Classical period as the students are viewing the painting (Track 4). As you lead the discussion, note that this depicts a string quartet.

Romantic Impressionistic painting - “The Dance Lesson” (1879) by Edgar Degas, pg. 25 Note to teacher: Play clip of corresponding music from the Romantic period as the students are viewing the painting (Track 5). As you lead the discussion, note that the violin is a solo instrument accompanying a dance class. Have the students express their ideas on why the violinist is angled at the lower right of the painting and not in the center.

Contemporary painting - “Man With a Violin” (1911-12) by Pablo Picasso, pg. 26Note to teacher: Play clip of corresponding music from the Contemporary period as the stu-dents are viewing the painting (Track 6). As you lead the discussion, notice that this is a solo violin. Have the students express their ideas on what the artist was showing in this painting. The geometric shapes making up the person and the violin are the focus.

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Culminating Activity:In the ending discussion, the teacher leads the student to compare and contrast how the instrument is treated in each painting.

TEKSFA.A.1.3A,B,DFA.M.1.b.5CFA.A.2.3A,B,DFA.M.2.b.5B,C

EvaluationDid the students use comparison and contrast in discussing how the instrument is shown in each painting?

Extension 1. Create a drawing of an instrument of your choice that could represent one of the historical periods studied in this lesson. 2. Create a drawing of a musical instrument that might be played in the future. Use your imagination.3. Create a photomontage of all student artwork/display on Zoom or on classroom bulletin board for others to see.

FA.A.3.3A,B,DFA.A.3.4AFA.M.3.b.5B,C

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Learning ObjectiveStudents will demonstrate an understanding that sound is created by vibration.Students will discuss and justify how vibration causes sound.Students will create a string instrument.

Sound Engineers: Vibration and String Instruments

Resources• Materials needed for making kazoo and stringed instrument:

VocabularyVibration- a rapid, repeated movement

Pre-Assessment1. Ask the student to close their eyes and focus on sounds they hear where they are (in the music room, at home, in the classroom, etc.) 2. Pair and share – have students discuss the things they heard (air conditioner, birds, wind, breathing, students moving, voices, etc.). Share with the group.3. Then ask the students to close their eyes and listen to a piece of music they will hear in the Youth Concert, Bach's Violin Concerto No. 1 (Track 2).4. Say, “As you listen to this music, what sounds do you hear? What instruments do you hear?" If students seem like their attention is faltering say, “If your mind wanders to other thoughts, that’s ok; just bring your mind back to the music. Notice how your body feels in the chair (or on the floor). Again, let your mind see the colors, and pictures in the music.”After listening for 1-2 minutes, lower the volume of the music slowly and say, “When you are ready, slowly open your eyes.”5. Teacher Lead Discussion – Students report what they heard. Remember that all appropriate answers are correct. Use open-ended questioning so students are using meta-cognitive thinking (thinking about their thinking).

• Shoe box • Scissors • Rubber bands • 2 pencils • Glue

• Paper towel rolls • Wax paper • Wrapping paper, construction paper , or paint

• Vibration video found here• Kazoo video demonstration found here• String instrument construction pictures• DSO Soundcloud Track 2• Parent note request for recyclable materials – String Instrument, pg. 34

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Teaching Sequence Option 1 – Seeing the vibration/feeling the vibration1. Tell the students that all the sounds they heard were created by vibration.2. Ask the students to answer the question, “What is vibration?” Explain that vibration is a rapid and repeating movement. 3. Ask the students, “How can we see vibration?” Some answers might be – If you shake something, an earthquake, a plucked rubber band, etc. 4. Show the video about vibrations found here.5. Discuss what was seen.6. Tell students, “Now we are going to feel the vibration.” • Create student kazoos. Watch demonstration video. • Use a toilet paper roll or a trimmed paper towel roll. • Wrap with construction paper to give it more rigidity. This step can be omitted. • Place a piece of wax paper at the end of the tube. (approximately 5” x 5”) • Secure the wax paper to the tube with a rubber band. • Make sure you tell students to hum into the tube not to blow air. 7. Ask, “Can you feel the vibration in your hand? In your lips? In your throat? On your fingers?”

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Option 2 – Creating a string instrument1. Tell the students that today we are going to create an instrument in which you can see, feel and hear the vibration. 2. Students need a shoebox, paper towel roll, rubber bands, glue, scissors and 2 pencils for the project. Colored paper, wrapping paper, markers, paint, stickers can be added to make the instrument more decorative but are not necessary. (A parent note has been added in case you want to make this a family activity or a recyclable materials challenge.) • Take shoe box and cut a hole in the center. The hole should not go all the way to the sides of the box. Make sure an adult helps with this step.

• Glue the paper towel tube to the top of the box to create the neck (this step can be left out). If hot glue is used, make sure an adult helps with this step. Tape works as well. • Add rubber bands of various size and thickness.

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• Place a pencil under the strings on each side of the hole to act as the bridge.

• Pluck the strings to see and hear the result.

3. Ask: a. Why is there a hole in the guitar? b. What happens to the string (rubber band) when you pull it tight? Or when the rubber band is loose? c. Why are there pencils holding the strings off the guitar body? d. What happens to the string when you pluck it? e. What happens when you touch the rubber band after it is plucked?

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For the music specialistCreate a display of all the stringed instruments. Some display topics might be the following:• Sound Engineers at work• What is vibration?• How is sound created?• Good, Good, Good, Good Vibrations.

EvaluationWere the students able to explain how their instruments created sound?Were the students able to define vibration?

TEKSFA.M.1.b.4CFA.M.2.b.5CFA.M.3.b.1B

FA.M.3.b.5C S.3.6AS.1.6A

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Flat Bach loves to go on adventures! Cut him out and help him safely explore your favorite places. Share your photos with Sarah at S.Hatler@dalsym.com by November 15th, and you might see yourself on the DSO Kids website or in the concert video!

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The Art of the Concerto

We love to see you enjoying our Dallas Symphony concerts. Remember this special moment by drawing and captioning your favorite part of this youth concert, The Art of the Concerto, in the frame on this page.

If you would like your picture to be shared on DSOKids.com, please ask your teacher or parent to email our drawing to Sarah at S.Hatler@dalsym.com or mail to :

Sarah HatlerDallas Symphony Or-chestra2301 Flora St. Dallas, TX 75201

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NOTES

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The Dallas Symphony Orchestra is grateful to

For their comprehensive support of the DSO Education Programs.

Additionally, the Dallas Symphony Orchestra wishes to express its appreciation to the follow-ing donors for their generous contributions to the DSO’s education initiatives:

CECIL AND IDA GREEN YOUTH CONCERT SERIES Harry W. Bass, Jr. Foundation Cecil and Ida Green Foundation* The Meadows Foundation*The Morton H. Meyerson Family Foundation*Anne J. Stewart*

*Endowed Fund

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Ms. Elizabeth PattersonFrancisco and Kara PerezPatricia Beck Phillips FoundationPosey Family Foundation W. Paul Radman, D.D.S.The Rea Charitable TrustCharles and Catherine RoseMr. James A. SchmidWilliam and Greta ScobieJosephine Hughes Sterling FoundationMs. Sandra L. StoutDennis Taylor and Janet ShingTexas Commission on the ArtsDr. Jack UnzickerDonald and Karen WhiteDr. Jo Margaret Williams FundMs. Adrienne Wurster

GENERAL EDUCATION & EDUCATIONAL PROGRAMING Susan AblonMr. John Luther AdamsMr. Robert M. Adams and Ms. Ellen C. RoseMs. Mitta AngellMs. Tamara AntoninoThe Theodore and Beulah Beasley FoundationMr. Edwin BelzerLeAnn Binford and Kim J. CampbellMr. Paul A BloodMrs. Yoruba T. BradleyMr. Richard CardenasKatherine C. Carmody Charitable TrustCentral MarketMr. Joseph ConyersMs. Madeleine CrouchDavid M. Crowley FoundationMs. Lora Ching DeahlDavid and Carol DunevantFichtenbaum Charitable Trust, Bank of America, N.A., TrusteeKevin and Michelle FinamoreLois and Ross FinkelmanMr. Bradley Duane GauldenJohn and Janine GeiselJessie D. and E. B. Godsey FamilyPeter and Barbara GrenierMs. Pansy HaleHarry W. Bass, Jr. FoundationMrs. Leeanne HayBob and Ruth Hewes The Men and Women of Hunt Consolidated, Inc. Mr. Gregory J. HustisJohn and Helen JonesRick and Theresa KnipeMs. Deborah MashburnCommunity Foundation For Monterey CountyMs. Veronica MorganCyrena Nolan