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Teacher Guide for the Tulsa Symphony Orchestra

Any Given Child – Tulsa Symphony “Awesome Events” is sponsored by The Flint Family Foundation

Grade 8 This teacher’s guide includes classroom lessons designed to assist teachers in preparing their students to attend a performance of the Tulsa Symphony Orchestra. Academic vocabulary, lessons, and resources are included in this guide. The lessons engage students and teachers in observing, writing, listening and discussing the sounds, rhythms and sections of an orchestra. The lessons address specific curriculum objectives in language arts, mathematics, social studies, science, and fine arts for Grade 8. All curricular connections are based on current Oklahoma Standards which can be used as interdisciplinary teaching tools.

Please feel free to visit the web site: http://www.tulsasymphony.org/

ANY GIVEN CHILD TULSA VISION STATEMENT

We believe that all Tulsa Public School students must have equal access to sustained, high quality learning in the visual and performing arts. Every K-8 student should engage in live arts experiences through partnerships across the community and with arts specialists and classroom teachers who integrate the arts into ongoing classroom learning and connect students to the world around them. We value opportunities for all Tulsa children to create, communicate, and think in concrete and abstract ways. For Tulsa children, families, and the community, the arts are essential.

ANY GIVEN CHILD TULSA GOALS CURRICULUM GOAL: Every K-8 child will engage in a high-quality standards-based arts curriculum that encompasses both district and community resources. INFRASTRUCTURE GOAL: Sustain Any Given Child Tulsa through an effective infrastructure. COMMUNICATION GOAL: Raise public awareness in the school system and throughout the community that the arts are essential to a complete education.

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TABLE OF CONTENTS

Page 1 – Cover Page

Page 2 – Table of Contents

Page 3 – Tulsa Symphony Background

Page 4 – Tulsa Symphony Picture – Meet the Orchestra

Page 5 – Meet the Conductor

Pages 6-10 – Meet the Musicians

Page 11 – Musical Instrument Families

Page 12 – The Orchestra

Page 13 – Concert Guidelines

Page 14 – Tulsa Symphony “Awesome Events” Program

Pages 15-30 – Meet the Composers

Page 31-33 – Resources for Teachers

Page 34 Academic Vocabulary

Page 35 – Concert Preparation – “Special Activity”

Pages 36-38 – Tulsa Symphony Arts Integrated Lesson Plans

Page 39 – Suggested Lesson Expansion

Page 40 - Student Concert Review Form

Page 41-42 Oklahoma Standards

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Tulsa Symphony

Music that Moves Tulsa has long been an arts city with a vibrant and committed arts community generously supported and nourished by citizens, corporations and philanthropists. The last decade has produced a new energy and excitement for a revitalization of the downtown that combines the convenience and social advantages of urban living with an expanding arts and entertainment district. In the midst of this renewal and excitement a new kind of professional orchestra was created. Founded in October, 2005, the unique concept of the Tulsa Symphony Orchestra has gained national attention as a number of other professional orchestras search for a practical alternative to the traditional structure. The foundation of TSO is a business model for orchestral governance that involves musicians at every level of operation as artists in the concert hall, Executive Musicians on the office staff and as active, contributing members of the Board of Directors and every functioning committee. TSO is committed to serving the Tulsa community as productive citizens, artists, teachers, facilitators, innovators, musical ambassadors and wherever our talents are needed. In addition to membership in the League of American Orchestras TSO’s artistic partners include the Tulsa Ballet, Tulsa Oratorio Chorus, Tulsa Opera and Light Opera Oklahoma. TSO is equally committed to community alliances which include the University of Tulsa, Oklahoma Jazz Hall of Fame, Oklahoma A+ Schools, Oklahoma Aquarium, Tulsa Air and Space Museum, Community Food Bank of Northeastern Oklahoma, Iron Gate, Big Brothers Big Sisters of Oklahoma and the Tulsa Zoo. Through exciting and meaningful Education and Community Outreach programs TSO provides a wide range of musical and teaching experiences focused on building the audiences of tomorrow and encouraging the gifted young musicians of today. Our professional musicians are sought after to assist faith-based and other community organizations in meeting high standards of musical excellence. TSO invites you to experience one of the Tulsa Performing Arts Center performances in the 2014-15 Season Simply Sensational subscription series featuring outstanding guest conductors and exciting soloists interpreting a broad variety of composers and great musical works. Arrive early before each concert and join our guest conductor and Ken Busby, Executive Director of the Arts and Humanities Council of Tulsa, in an informal and lively conversation at 6:30 in the PAC Kathleen Westby Pavilion. Stay after to meet and greet the conductor and TSO musicians at an informal post-concert reception with snacks and a cash bar following each performance. Enjoy Tulsa Symphony and Experience Music that Moves!

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Meet the Orchestra

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Meet the Conductor

Ron Spigelman

Ron is the Principal Pops Conductor for the Fort Worth Symphony and has just completed an eight year tenure as Music Director of the Springfield Missouri Symphony, where he had great success in engaging the community through disscussion coffee hours, regular radio broadcasts and innovative programming. 2012 is Ron Spigelman's third year as Music Director of the Lake Placid Sinfonietta. Also, during this past year he appeared as a Guest Conductor with the Wichita Symphony, Naples Philharmonic and newly formed Symphony Syracuse. He teaches conducting and special topics at Drury University in Missouri, and is a respected arts commentator and co-author of the blog: Sticks and Drones at www.insidethearts.com. Ron has held the posts of Associate Conductor with both the Buffalo Philharmonic Orchestra and the Fort Worth Symphony Orchestra, and Principal Pops conductor with the Syracuse Symphony. He has also been the Music Director of the Fort Worth Dallas Ballet, San Angelo Symphony, and Texas Chamber Orchestra. Amongst numerous career highlights, he lists his debut with the Dallas Symphony Orchestra and the critically acclaimed performance and world premiere of Lowell Lieberman's Pegasus, as well as his equally acclaimed Carnegie Hall conducting debut with the Buffalo Philharmonic in 2004. Ron has accompanied a wide range of internationally renowned artists including: Horacio Gutierrez, Richard Stoltzman, Pamela Frank, Sharon Isbin, Jubilant Sykes, Jon Kimura Parker, Edith Chen, Navah Perlman, Elissa Lee Kokkonen, to name but a few. Pops artists he's had the pleasure to perform with include: Marvin Hamlisch, Wynonna Judd, Canadian Brass, Tanya Tucker, Kathy Mattea, Mark O'Connor, The King's Singers, Arturo Sandoval, Audra McDonald, Dianne Reeves, Cherish the Ladies, and legends James Taylor, Art Garfunkel, and Peter, Paul and Mary. Spigelman is an honors graduate of the Royal Academy of Music, London, where his principal instrument of study was the Trumpet. As a soloist, he has performed with several British orchestras and at numerous music festivals in the UK, Belgium and Italy - including the Florence Maggio Musicale, at the invitation of the composer Luciano Berio. He still loves to play, and has been known to surprise audiences with a flourish now and then. Ron has also served as a faculty member for a Donald Thulean ASOL Conductors Workshop, and was Maestro James Conlon's assistant conductor for four consecutive Van Cliburn International Piano Competitions, between 1997 and 2005, a role he happily reprised for the 13th competition in June 2009.

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Meet the Musicians

Strings

VIOLIN I

Rossitza Goza, concertmaster Helmerich Foundation Chair

Gina Davis, acting associate concertmaster Ronnamarie Jensen, acting assistant concertmaster

Patti Gaddis Sheri Neubauer David Robillard

Dominique Corbeil Steve Hamm

Gena Alexander Eric Samuelson

Jennifer Sherman Ana Maria Wilson

Brenda Vincent Patrick Conlon

Hannah Murray Elena Gavrilov

VIOLIN II

Michael Nicholson, principal Albert & Hete Barthelmes Foundation Chair

David Kazmierzak, acting associate principal Paulo Eskitch Sue Loomis

Liza Villarreal Michelle Sherman Raymond Johnson

Martha Mattes Kelley Pride-Mason

Ron Wheeler Paula Surface Nan Buhlinger Emily Bishop Kent Dennis

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VIOLA Jeffery Cowen,

principal Phil Wachowski, associate principal

Phil Lowry, assistant principal Daniel Stevens Laura Talbott Debra Morgan Missy Miller Terry Pollak

Josephine G. Winter Chair Esther Fellows

Charlie Longtine Paul Roberts

Royce McLarry

CELLO Kari Caldwell, principal

Margery Mayo Bird Chair Jeffrey Lastrapes, associate principal

Krassimira Figg Phil Ince

Kathy Rad Pete Peterson

Sabrina Taylor Janet Coleman Lauren Green Ashley Allison Louis Lynch

BASS

Marc Facci, principal Raymond & Bessie Kravis Foundation Chair

Chad Johnson, associate principal Jarrett Bastow

Rob Katz Robert Marrufo Jesus Villarreal

Jim Bates George Speed Will Coppoc

Patti Johnson Wilson Fellow

HARP Jill Wiebe, principal

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Woodwinds

FLUTE

John Rush, principal Helmerich Foundation Chair

Amy Roark Dana Higbee

PICCOLO

Dana Higbee

OBOE Lise Glaser, principal E. Ann Graves Chair

Lisa Wagner

ENGLISH HORN Celeste Frehner

CLARINET

David Carter, principal Mary Lollis

BASS CLARINET

Angela Carter

BASSOON Richard Ramey, principal

Susie Brown Charlotte Blakeley

CONTRABASSOON

Richard Bobo

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Brass

HORN Bruce Schultz, principal

George Kaiser Family Foundation Chair Michelle Johnson Derek Matthesen Lanette Compton

Li Yeoh Ben Korzelius

TRUMPET

Timothy McFadden, principal Adelson Family Foundation Chair

Steven Haefner Rob Bailey

Ryan Gardner Ben Hay

TROMBONE

William Damron, principal Doug Fletcher

Rich Fisher Greg Funk

TUBA

Jarrod Robertson, principal

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Percussion

TIMPANI Gerald Scholl, principal

PERCUSSION

Roy Smith, principal Steve Craft Jeff Lawless

Chrissie Conklin-Souza Ricardo Souza

PIANO

Amy Cottingham

CELESTE Ann Raphael

ORGAN

Allyson Eskitch

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STRING FAMILY

WOODWIND FAMILY

BRASS FAMILY

PERCUSSION FAMILY

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THE ORCHESTRA

Visit the interactive orchestra sections and sounds website sponsored by Cincinnati Public Radio http://www.classicsforkids.com/music/orchestra.asp

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Concert Guidelines Before the Concert

• Please prepare your students using the TSO Teacher’s Guide and related materials. • Be sure to have your students participate in the “Concert Preparation -Special Activity”

which will be part of the Audience Participation at the “Awesome Events” Concert. • All 8th Grade Students should have the opportunity to meet with TSO Board

member/Education Specialist - Dan Call, who will visit your school and give students a background on what they will hear at the concert, as well as discuss proper audience behavior and concert etiquette.

• All 8th Grade Students should also have the opportunity to hear a performance at your school by one of the Tulsa Symphony Quintets (Woodwind Quintet, Brass Quintet or String Quintet)

• Please contact kathy.rad@tulsasymphony.org to book your visits (which are free of charge) at your earliest convenience.

The Day of the Concert

• Before leaving school, please allow time for students to visit the restroom. • All students should be in their seats at least five minutes before concert time. • Food, drink, and chewing gum are NOT permitted in the concert hall.

During the Concert

• Turn your cell phone to off, silent, or vibrate mode. • The use of cameras and recording devices is prohibited, including those on cell phones. • Students and teachers should remain in their seats for the entire concert. • Restrooms are located on all levels and should be used for urgent needs only. If students

must visit the restroom, please have an adult accompany them. • Students not maintaining acceptable standards of behavior will be asked to leave, and may

jeopardize their school’s future attendance at TSO events.

After the Concert • Please remain in your seats until your school is dismissed. • Upon dismissal, listen carefully and follow instructions for departing the building. • Make sure you know your TPS bus number.

Back at School

• Please fill out the concert evaluation/review forms and return to TSO Education Director – Kathy Rad.

• Student letters/artwork expressing reactions to the concert are appreciated. Please send letters or artwork and concert evaluation/review forms to: Tulsa Symphony Orchestra 117 North Boston Avenue, Suite 201 Tulsa, OK 74103 Attn: Kathy Rad - Any Given Child Concerts Fax Number: 918-584-3603 E-mail Address: kathy.rad@tulsasymphony.org

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Tulsa Symphony – “Awesome Events” Concert May 6, 2014, Tulsa Performing Arts Center

Program

Also Sprach Zarathustra - by Richard Strauss *Awesome Event: Moon Landing

“Lincoln Portrait” (from the narration) - by Aaron Copland

*Awesome Event: Civil War

Grand March from Aida – by Guiseppi Verdi *Awesome Event: The Great Pyramids

Music from the film “Titanic” – by James Horner

*Awesome Event: Titanic

“Mars” from The Planets – by Gustav Holst *Awesome Event: Mars Rover

Symphony No. 3 (3rd Movement) - by Ludwig van Beethoven

*Awesome Event: Napoleon Invades

Get Your Kicks on Route 66 – composed by Bobby Troup, arranged by Larry Dalton

*Awesome Event: Route 66 opens

Olympic Fanfare – by John Williams *Awesome Event: The Olympic Games

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Meet the Composers

Richard Strauss

Richard Strauss Born 11 June 1864 – died 8 September 1949, Strauss was a leading German composer of the late Romantic and early modern eras. He is known for his operas, which include Der Rosenkavalier and Salome; his lieder, especially his Four Last Songs; and his tone poems Death and Transfiguration, Till Eulenspiegel's Merry Pranks, Also sprach Zarathustra, An Alpine Symphony, and other orchestral works, such as Metamorphosen. Strauss was also a prominent conductor throughout Germany and Austria. Strauss, along with Gustav Mahler, represents the late flowering of German Romanticism after Richard Wagner and Franz Liszt, in which pioneering subtleties of orchestration are combined with an advanced harmonic style.

Also Sprach Zarathustra: Composed in 1896 by Richard Strauss *Awesome Event: Moon Landing – July 20, 1969

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Richard Strauss' iconic opening to Also Sprach Zarathustra evokes a sense of vastness and power.

A moon landing is the arrival of a spacecraft on the surface of the Moon. This includes both manned and unmanned (robotic) missions. The first human-made object to reach the surface of the Moon was the Soviet Union's Luna 2 mission, on 13 September 1959.

The United States' Apollo 11 was the first manned mission to land on the Moon, on 20 July 1969. There have been six manned U.S. landings (between 1969 and 1972) and numerous unmanned landings, with no soft landings happening from 1976 until 14 December 2013.

Also sprach Zarathustra, Op. 30 (Thus Spoke Zarathustra or Thus Spake Zarathustra) is a tone poem by Richard Strauss, composed in 1896 and inspired by Friedrich Nietzsche's philosophical novel of the same name. The composer conducted its first performance on 27 November 1896 in Frankfurt, Germany.

The work has been part of the classical repertoire since its first performance in 1896. The initial fanfare – entitled "Sunrise" became particularly well known to the general public due to its use in Stanley Kubrick's 1968 film 2001: A Space Odyssey. There is no mistaking that when Stanley Kubrick chose this opening music for 2001: A Space Odyssey, his desire was to elicit that same emotional response from viewers: to contemplate the vastness and possibility of the universe and to bring forward the same questions that Nietzsche proposed in 1885 about God, about humankind and about our existence here in the natural world. Nietzsche's tome is a series of allegorical parables about the life of the prophet Zarathustra, delivered gospel-style in a series of 80 vignettes, all ending with the words, "Thus Spake Zarathustra." Strauss takes Nietzsche's work and distills it into eight musical sections, with an introduction and epilogue. Through these sections, he wants to convey the essence of Nietzsche's philosophical approach to the world. Nietzsche wanted us, as human beings, to reconsider our value system and, rather than blindly believe in a monotheistic god or in the advancing scientific field, start to hold ourselves accountable for our own actions. Regardless of the philosophy you ascribe to, the fact that this music, composed so painstakingly by Strauss, holds the power to profoundly move us. Another fact is that one of Nietzsche’s quotes was "Life without music would be a mistake.”

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Aaron Copland

Aaron Copland Born November 14, 1900 – died December 2, 1990. Although he was probably one of the greatest American composers, Aaron Copland did not grow up in a musical family. His parents were Russian immigrants who never even went to a concert. After several attempts to obtain musical instruction including a correspondence course, he eventually went to a school in Europe where a young teacher named Nadia Boulanger influenced him to become a composer. By his mid-twenties his work was known by other composers. Copland borrowed from American legends and folk music and incorporated them into his music. Such musical pieces include: Billy the Kid and Appalachian Spring, for which he won a Pulitzer Prize for music. He was one of the first composers to successfully incorporate jazz rhythms into symphonic music. He was very helpful and generous to other young composers, often promoting their music along with his own. Because Copland had a habit of composing at night with the help of his noisy piano, he had to move several times.

“Lincoln Portrait”: Composed in April 1942 by Aaron Copland *Awesome Event: Civil War – 1861-1865

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Lincoln Portrait (also known as A Lincoln Portrait) is a classical orchestral work written by the American composer Aaron Copland. The work involves a full orchestra, with particular emphasis on the brass

section at climactic moments. The work is narrated with the reading of excerpts of Abraham Lincoln's great documents, including the Gettysburg Address. Lincoln Portrait was written by Copland as part of

the World War II patriotic war effort in 1942. Copland was asked to write a musical portrait of an "eminent American" by the conductor Andre Kostelanetz. Originally, Copland had wanted to portray Walt

Whitman, but it was decided that a political figure was needed: "From this moment, Lincoln seemed inevitable. Copland used material from speeches and letters of Lincoln and quoted original folk songs of

the period, including "Camp town Races" and "Springfield Mountain". The latter quote is probably a reference to Lincoln's association with Springfield, Illinois, although there are no mountains in Springfield,

and the ballad was instead written about Wilbraham, Massachusetts, which was formerly named Springfield Mountain. Copland finished Lincoln Portrait in April 1942. The first performance was by the

Cincinnati Symphony Orchestra on 14 May 1942, with William Adams as the narrator.

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Giuseppe Verdi

Giuseppe Verdi Born in October 1813 – died in January 1901, Verdi was an Italian Romantic composer primarily known for his operas. Verdi and Richard Wagner are considered the two preeminent opera composers of the nineteenth century. Verdi dominated the Italian opera scene after the eras of Bellini, Donizetti and Rossini. His works are frequently performed in opera houses throughout the world and, transcending the boundaries of the genre, some of his themes have long since taken root in popular culture, as "La donna è mobile" fromRigoletto, "Libiamo ne' lieti calici" (The Drinking Song) from La traviata, "Va, pensiero" (The Chorus of the Hebrew Slaves) from Nabucco, the "Coro di zingari" (Anvil Chorus) from Il trovatore and the "Grand March" from Aida.

Grand March from Aida: by Guiseppi Verdi in 1871 *Awesome Event: The Great Pyramids - c. 2686 BC–c. 2181 BC

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2007 production of Aida at the Arena di Verona

Aida (Italian: [aˈiːda]), sometimes spelled Aïda, is an opera in four acts by Giuseppe Verdi to an Italian libretto by Antonio Ghislanzoni, based on a scenario often attributed to French Egyptologist Auguste Mariette,. Isma'il Pasha, Khedive of Egypt, commissioned Verdi to write an opera for performance to celebrate the opening of the Khedivial Opera House, paying him 150,000 francs, but the premiere was delayed because of the Siege of Paris (1870-1871) - during the Franco-Prussian War. Aida was first performed at the Khedivial Opera House in Cairo on 24 December 1871, conducted by Giovanni Bottesini. Aida is about Egyptians, who have captured and enslaved Aida, an Ethiopian princess. An Egyptian military commander, Radamès, struggles to choose between his love for her and his loyalty to the Pharaoh. Aida takes place during the Old Kingdom of Egypt c. 2686 BC–c. 2181 BC. The Old Kingdom is perhaps best known for the large number of pyramids constructed at this time as pharaonic burial places. For this reason, the Old Kingdom is frequently referred to as "the Age of the Pyramids." Verdi’s Grand March from Aida, is one of the best known triumphal marches ever written. The triumphal march occurs in the second act, when the Egyptian army returns following their victory over the Ethiopians. This triumphal scene gives directors the opportunity for elaborate scenes typical of the grand opera of the period in the nineteenth century. The opera's story, but not its music, was used as the basis for a 1998 musical of the same name written by Elton John and Tim Rice.

The Israeli Opera performing Aida at the foot of Masada, June 2011.

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James Horner

James Horner Born August 14, 1953, Horner is an American composer, conductor, and orchestrator of orchestral and film music. He is noted for the integration of choral and electronic elements in many of his film scores, and for frequent use of Celtic musical elements. His score to the 1997 film Titanic remains the best selling orchestral film soundtrack of all time. In addition, Horner has scored over 100 films, frequently collaborating with acclaimed directors such as James Cameron, Mel Gibson and Ron Howard. Other scores he worked on include those of Commando, Titanic, Braveheart, Willow, Apollo 13, Star Trek II: The Wrath of Khan, Star Trek III: The Search for Spock, Cocoon, Legends of the Fall, Aliens, Glory, The Mask of Zorro, Field of Dreams, Enemy at the Gates, Casper, Troy, Bicentennial Man, The Rocketeer, A Beautiful Mind, Mighty Joe Young, The Perfect Storm, Deep Impact, Avatar, and more recently, The Amazing Spider-Man. His body of work is notable for including the scores to the two highest-grossing films of all time: Titanic (1997) and Avatar (2009), both of which were directed by James Cameron.

Music from the film “Titanic”: Composed by James Horner in 1997 *Awesome Event: Sinking of the RMS Titanic – April 14/15, 1912

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Sinking of the RMS Titanic – April 14/15, 1912

The sinking of the RMS Titanic occurred on the night of 14 April through to the morning of 15 April 1912 in the north Atlantic Ocean, four days into her maiden voyage from Southampton to New York City. The largest passenger liner in service at the time, Titanic had an estimated 2,224 people on board when she struck an iceberg at 23:40 (ship's time[a]) on Sunday, 14 April 1912. Her sinking two hours and forty minutes later at 02:20 (05:18 GMT) on Monday, 15 April resulted in the deaths of more than 1,500 people, which made it one of the deadliest peacetime maritime disasters in history.

Titanic received six warnings of sea ice on 14 April but was travelling near her maximum speed when her crew sighted the iceberg. Unable to turn quickly enough, the ship suffered a glancing blow that buckled her starboard (right) side and opened five of her sixteen compartments to the sea. Titanic had been designed to stay afloat with four of her forward compartments flooded but not more, and the crew soon realized that the ship would sink. They used rocket flares and radio (wireless) messages to attract help as the passengers were put into lifeboats. However, in accordance with existing maritime practice, the ship was carrying far too few lifeboats for everyone (though slightly more than the law required), and many boats were not filled to their capacity due to a poorly managed evacuation.

The ship sank with over a thousand passengers and crew members still on board. Almost all those who jumped or fell into the water died from hypothermia within minutes. RMS Carpathia arrived on the scene about an hour and a half after the sinking and had rescued the last of the survivors in the lifeboats by 09:15 on 15 April, little more than 24 hours after Titanic's crew had received their first warnings of drifting ice. The disaster caused widespread public outrage over the lack of lifeboats, lax shipping regulations, and the unequal treatment of the different passenger classes aboard the ship. Inquiries set up in the wake of the disaster recommended sweeping changes to maritime regulations. This led to the establishment in 1914 of the International Convention for the Safety of Life at Sea (SOLAS), which still governs maritime safety today.

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Gustav Holst

Gustav Holst Born September 21, 1874 – died May 25, 1934, Holst was an English composer with Latvian (and some Spanish) roots. Born in Cheltenham, where he was educated at Pate's Grammar School, he went on to study at the Royal College of Music in London. His best-known work is probably his orchestral suite The Planets, completed in 1916, although the composer himself did not count it as one of his best creations and later often complained that other works were completely eclipsed by it. The Planets (1914–1916) was partly inspired by meditations on his own horoscope/natal chart and dealt with the 'seven influences of destiny and constituents of our spirit.' Holst was especially influenced by a 19th-century astrologer called Raphael, whose book concerning the planets' role in world affairs led Holst to develop the grand vision of the planets that made The Planets such an enduring success. Like many composers, Holst also played a musical instrument, in his case the trombone (a choice dictated by a medical condition that robbed him of the manual dexterity required for more obvious instruments such as the piano).

“Mars” from The Planets: Composed by Gustav Holst 1914-1916 *Awesome Event: Mars Rover Landing – July 4, 1997

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The Planets, Op. 32, is a seven-movement orchestral suite by the English composer Gustav Holst, written between 1914 and 1916. Each movement of the suite is named after a planet of the Solar System and its corresponding astrological character as defined by Holst. With the exception of Earth, all the astrological planets known during the work's composition are represented.

The first successful Mars Rover, called Sojourner/Pathfinder, was launched December 4, 1996. It landed successfully on Mars on July 4, 1997. Hundreds of thousands of people watched its Mars landing as it was broadcast live on the Internet. A Mars rover is an automated motor vehicle which propels itself across the surface of the planet Mars upon arrival.

Rovers have several advantages over stationary landers: they examine more territory, they can be directed to interesting features, they can place themselves in sunny positions to weather winter months and they can advance the knowledge of how to perform very remote robotic vehicle control.

There have been four successful robotically operated Mars rovers. The Jet Propulsion Laboratory managed the Mars Pathfinder mission and its now inactive Sojourner rover. It currently manages the Mars Exploration Rover mission's active Opportunity rover and inactive Spirit, and, as part of the Mars Science Laboratory mission, the Curiosity rover.

On January 24, 2014, NASA reported that current studies on the planet Mars by the Curiosity and Opportunity rovers will now be searching for evidence of ancient life, including a biosphere based on autotrophic, chemotrophic and/or chemolithoautotrophic microorganisms, as well as ancient water, including fluvio-lacustrine environments (plains related to ancient rivers or lakes) that may have been habitable. The search for evidence of habitability, taphonomy (related to fossils), and organic carbon on the planet Mars is now a primary NASA objective. Several rovers have been sent to Mars:

• Mars 2, Prop-M rover, 1971, Mars 2 landing failed taking Prop-M with it. The Mars 2 and 3 spacecraft from the USSR had identical 4.5 kg Prop-M rovers. They were to move on skis while connected to the landers with cables.

• Mars 3, Prop-M rover, 1971, lost when Mars 3 lander stopped communicating about 20 seconds after landing.

• Sojourner rover, Mars Pathfinder, landed successfully on July 4, 1997. Communications were lost on September 27, 1997.

• Beagle 2, Planetary Undersurface Tool, lost with Beagle 2 on deployment from Mars Express in 2003. A compressed spring mechanism was designed to allow movement across the surface at a rate of 1 cm per 5 seconds and to burrow into the ground and collect a subsurface sample in a cavity in its tip.

• Spirit (MER-A), Mars Exploration Rover, launched on June 10, 2003 at 13:58:47 EDT and landed successfully on January 4, 2004. Nearly 6 years after the original mission limit, Spirit had covered a total distance of 7.73 km (4.80 mi) but its wheels became trapped in sand. Around January 26, 2010, NASA conceded defeat in its efforts to free the rover and stated that it would now function as a stationary science platform. The last communication received from the rover was on March 22, 2010, and NASA ceased attempts to re-establish communication on May 25, 2011.

• Opportunity (MER-B), Mars Exploration Rover, launched on July 7, 2003 at 23:18:15 EDT and landed successfully on January 25, 2004. Opportunity surpassed the previous record for longevity of a surface mission to Mars as of May 20, 2010. Opportunity is still operational and mobile as of February 2014.

• Curiosity, Mars Science Laboratory, by NASA, was launched November 26, 2011 at 10:02 EST and landed in the Aeolis Palus plain near Aeolis Mons (informally "Mount Sharp")in Gale Crater on August 6, 2012, 05:31 UTC. Curiosity Rover is still going.

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Ludwig van Beethoven

Ludwig van Beethoven Baptized in Bonn, Germany in 1770, Ludwig van Beethoven later moved to Vienna in 1792. Four years later, the hearing loss that defined his career began. By 1814, he was almost totally deaf, though still composing successfully. Beethoven died in 1827. Beethoven’s symphonies were critical to the progression of orchestral music; covering the range of emotion and employing huge orchestral forces, Beethoven’s nine symphonies bridged Classical and romantic, defying classification and giving us some of the best-recognized music in Western culture.

Symphony No. 3 (3rd Movement): Composed by Ludwig van Beethoven in August 1804

*Awesome Event: Napoleon Invades – 1803-1815

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The French Revolution (French: Révolution française) was a period of radical social and political upheaval in France from 1789 to 1799 that profoundly affected French and modern history, marking the decline of powerful monarchies and churches and the rise of democracy and nationalism. The First Empire under Napoleon emerged in 1804 and spread French revolutionary principles all over Europe during the Napoleonic Wars.

Symphony No. 3 - by Ludwig van Beethoven

Ludwig van Beethoven's Symphony No. 3 in E-flat major, Op. 55, also known as the Eroica (Italian for "heroic"), is a musical work marking the full arrival of the composer's "middle-period," a series of unprecedented large scale works of emotional depth and structural rigor. The symphony is widely regarded as a mature expression of the classical style of the late eighteenth century that also exhibits defining features of the romantic style that would hold sway in the nineteenth century. The Third was begun immediately after the Second, completed in August 1804, and first performed 7 April 1805.

Dedication and premiere

Beethoven had originally conceived of dedicating the symphony to Napoleon Bonaparte. The biographer Maynard Solomon relates that Beethoven admired the ideals of the French Revolution, and viewed Napoleon as their embodiment. In the autumn the composer began to have second thoughts about that dedication. It would have deprived him of a fee that he would receive if he instead dedicated the symphony to Prince Joseph Franz Maximilian Lobkowitz. Nevertheless, he still gave the work the title of Bonaparte.

According to Beethoven's pupil and assistant, Ferdinand Ries, when Napoleon proclaimed himself Emperor of the French in May 1804, Beethoven became disgusted and went to the table where the completed score lay. He took hold of the title-page and tore it up in rage. This is the account of the scene as told by Ries:

In writing this symphony Beethoven had been thinking of Buonaparte, but Buonaparte while he was First Consul. At that time Beethoven had the highest esteem for him and compared him to the greatest consuls of ancient Rome. Not only I, but many of Beethoven's closer friends, saw this symphony on his table, beautifully copied in manuscript, with the word "Buonaparte" inscribed at the very top of the title-page and "Ludwig van Beethoven" at the very bottom. ... I was the first to tell him the news that Buonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, "So he is no more than a common mortal! Now, too, he will tread under foot all the rights of man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!" Beethoven went to the table, seized the top of the title-page, tore it in half and threw it on the floor. The page had to be recopied and it was only now that the symphony received the title "Sinfonia eroica."

There exists also the copy of the score made by a copyist, where the words Intitolata Bonaparte ('titled Bonaparte') are scratched out, but four lines below that were later added in pencil the words Geschriben auf Bonaparte ('written in honor of Bonaparte'). Further, in August 1804, merely three months after the legendary tearing-up scene, Beethoven wrote to his publisher that "The title of the symphony is really Bonaparte." The final title that was applied to the work when it was first published in October, 1806, was Sinfonia Eroica...composta per festeggiare il sovvenire di un grand Uomo ("heroic symphony, composed to celebrate the memory of a great man"). In addition, Schindler tells us that upon hearing of the Emperor's death in Saint Helena in 1821, Beethoven proclaimed "I wrote the music for this sad event seventeen years ago" – referring to the Funeral March (second movement). Beethoven wrote most of the symphony in late 1803 and completed it in early 1804. The symphony was premiered privately in summer 1804 in his patron Prince Lobkowitz's castle Eisenberg (Jezeří) in Bohemia. The first public performance was given in Vienna's Theater an der Wien on 7 April 1805 with the composer conducting.

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Bobby Troup

Troup as Dr. Joe Early on 1970s television show, Emergency!

Bobby Troup Was an American songwriter who composed "(Get Your Kicks on) Route 66", often rendered simply as "Route 66", a popular song and rhythm and blues standard. It was written in 1946 and first recorded in the same year by Nat King Cole. Route 66 was subsequently covered by many artists including Chuck Berry in 1961, The Rolling Stones in 1964, Depeche Mode in 1987, Pappo's Blues in 1995, John Mayer in 2006, and Glenn Frey in 2012.[1] The song's lyrics follow the path of the U.S. Route 66 highway, which used to run a long distance across the U.S., going from Chicago, Illinois, to Los Angeles, California.

Larry Dalton

Larry Dalton A highly respected arranger, has arranged concerts and show music for Carol Lawrence, Donald O'Connor, Larry Gatlin, and Ellis Marsalis, and albums for Steve Perry, and Paula Abdul. Dalton's solo albums have featured the accompaniment of the London-based National Philharmonic Orchestra. Larry Dalton and Terry Law co-founded Living Sound International, a musical ministry which performed concerts for many years on five continents. Larry served as music director and vice-president for nine years. Appearances included extensive work in Eastern Europe during the Cold War era, a concert at the Vatican with Pope John Paul II, and the Conference on Evangelism with Billy Graham (Lausanne). Larry served as music director for Oral Roberts television, writing and conducting music for more than 1000 television shows.

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Get Your Kicks on Route 66: Composed by Bobby Troup in 1946; arranged by Larry Dalton

*Awesome Event: Route 66 opens - November 11, 1926

Route 66 (US 66 or Route 66), also known as the Will Rogers Highway and colloquially known as the Main Street of America or the Mother Road, was one of the original highways within the U.S. Highway System.

Get Your Kicks on Route 66 - by Bobby Troup

Troup conceived the idea for composing “Get Your Kicks on Route 66” while driving west from Pennsylvania to Los Angeles, California, and the lyrics — which include references to the U.S. Highway of the title and many of the cities it passes through — celebrate the romance and freedom of automobile travel. In an interview he once said the tune for the song, as well as the lyric, "Get your kicks on Route 66", came to him easily, but the remainder of the lyrics eluded him. More in frustration than anything else he simply filled up the song with the names of towns and cities on the highway.

The lyrics read as a mini-travelogue about the major stops along the route, listing several cities and towns that Route 66 passes through, viz. St Louis; Joplin, Missouri; Oklahoma City, Oklahoma; Amarillo, Texas; Gallup, New Mexico; Flagstaff, Arizona; Winona, Arizona; Kingman, Arizona; Barstow, California; and San Bernardino, California. Winona is the only town out of sequence: it was a very small settlement east of Flagstaff, and might indeed have been forgotten if not for the lyric "Don't forget Winona", written to rhyme with "Flagstaff, Arizona". Many artists who have covered the tune over the years have changed the initial lyrics, usually to "It goes to St. Louis, down through Missouri..." then continuing on with Oklahoma City and so on. Of the eight states through which the actual route passes, only Kansas and its cities — US-66 spends just eleven miles (18 km) inside the state’s southeast corner — are not mentioned by the song. Chuck Berry famously mispronounces Barstow to rhyme with "cow" instead of correctly pronouncing it to rhyme with "go".

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John Williams

John Williams (born February 8, 1932) is an American composer, conductor and pianist. He is considered to be one of the greatest film composers of all time. In a career spanning over six decades, he has composed some of the most popular and recognizable film scores in cinematic history, including Jaws, the Star Wars series, Superman, the Indiana Jones series, E.T. the Extra-Terrestrial, the first two Home Alone films, Hook, Jurassic Park, Schindler's List, Saving Private Ryan, the first three Harry Potter films, Catch Me If You Can, Memoirs of a Geisha, War Horse, and Lincoln. He has had a long association with director Steven Spielberg, composing the music for all but one (The Color Purple) of Spielberg's major feature length films. Other notable works by Williams include theme music for four Olympic Games, NBC Sunday Night Football, the NBC Nightly News, the Statue of Liberty's rededication, the television series Lost in Space and Land of the Giants, and the original, not as well known calypso-based theme song to Gilligan's Island.

Olympic Fanfare: Composed by John Williams in 1984 *Awesome Event: The Olympic Games - 8th Century BC - Present

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The modern Olympic Games are the leading international sporting event featuring summer and winter sports competitions wherein thousands of athletes variously compete. The Olympic Games are considered the world's foremost sports competition with more than 200 nations participating. The Olympic Games are held every four years, with the Summer and Winter Games alternating by occurring every four years but two years apart. Their creation was inspired by the ancient Olympic Games, which were held in Olympia, Greece, from the 8th century BC to the 4th century AD.

Olympic Fanfare – by John Williams By 1984 John Williams' film music was familiar to audiences the world over and it was only natural that the Los Angeles Olympic Organizing Committee would turn to the city's most famous composer of popular instrumental music when they decided to commission a fanfare to be used during the Games. While it was an honor to be asked to compose such a piece of music, the prospect was not without its challenges. Leo Arnaud's fanfare (from his Bugler's Dream suite written in the 1930s) had become synonymous with the Olympics since ABC began using it for its televised coverage of the Olympics in 1968. Any new composition would necessarily compete with the attachment listeners had developed to Arnaud's theme. At the same time, the opening fanfare was to be played by herald trumpets at all of the medal ceremonies and official Olympic events, so it had to be based on the harmonic overtones these instruments were capable of producing. The music was also needed to be broken into small chunks and used as "bumpers" by ABC before and after commercial breaks. Williams met all of these challenges with aplomb, creating a piece that is the very definition of "goose bump" music. The composer told Jon Burlingame in 1992 that his music was intended to musically represent "the spirit of cooperation, of heroic achievement, all the striving and preparation that go before the events and all the applause that comes after them." Williams conducted the premiere of the work at the opening ceremonies of the 23rd Olympiad on July 28, 1984 at the Los Angeles Coliseum. The opening fanfare is in two pieces, a triad-based ascending motive for full brass adorned by thirty-second notes from trumpets, followed by more vigorous response from trumpets supported by an accented low brass pedal that generates additional excitement by entering on the second half of the fourth beat of each 4/4 measure. These two sections are then repeated (so that the fanfare section has an A-B-A-B form). A crescendo on the final chord leads to a quiet snare drum figure that is repeated throughout the following section. Strings and horns state the broad, noble "Olympic Theme" with the "B" portion of the fanfare answering quietly in trumpets and woodwinds. Low woodwinds and strings, supported by horns, then state a jauntier melody, which is followed by a syncopated horn bridge colored by glockenspiel, before the jaunty tune returns and is briefly developed over scurrying string passages. This crescendos to a reprise of the "B" portion of the fanfare. Low brass now joins in with percussion on the rhythmic ostinato and orchestra sings the noble theme in full force. In the exciting coda, pieces of the "B" fanfare are passed around between horns and trumpets. The score of the work calls for three flutes (one doubling piccolo), three oboes, three clarinets (one doubling bass clarinet), three bassoons (one doubling contrabassoon), four horns, four trumpets, four trombones, tuba, timpani, percussion (snare, field drum, cymbals, bass drum, suspended cymbal, chimes, glockenspiel, vibraphone and triangle), harp, piano and strings.

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Resources for Teachers Online Resources: http://www.stlsymphony.org/media/pdf/education www.DSOkids.com The Dallas Symphony’s website for teachers and students musicfun.com www.playmusic.org A children’s website from the League of American Orchestras www.nyphilkids.org The New York Philharmonic’s website for teachers and students www.artsalive.ca An education website sponsored by the National Arts Centre in Canada www.sfskids.org The San Francisco Symphony’s educational website for children www.nsokids.org The Nashville Symphony’s educational website for children http://listeningadventures Carnegie Hall’s Online Resource Center—Games and Listening Guides vilwar.org/education/teachers/curriculum/civil-war-curriculum/middle-school/life-at-war http://www.lessonplanet.com/teachers/lesson-plan-music-visions-and-emotions http://www.lessonplanet.com/teachers/lesson-plan-my-place-in-space www.tulsasymphony.org www.Youtube.com – Listen to all pieces to be played at the Tulsa Symphony – May 6, 2014 -“Awesome Events” Concert Video, Classroom Materials and Sources for pictures of instruments, books, audio, and videotapes can be found at: • Music Educator’s National Conference (MENC); call 1-800-828-0229 for a free catalog • Friendship House; call 1-800-791-9876 for a free catalog • Music in Motion; call 1-800-807-3520 for a free catalog

Mars Index

• Mars Landform Identification: Teacher pages - and - Student chart - and - photographs of Mars. To identify landforms on the surface of Mars using orbital, Viking spacecraft photographs.

• Mars Fact Sheet from Mars Team Online. Chart containing key facts and basic information about Mars and Earth.

• Shaded relief map of Mars showing latitude and longitude grid. This is a greyscale map that can be scaled to print out in landscape mode on letter paper. Derived from MOLA Digital Elevation Mapping data, the map was created by Eric Pilger and Harold Garbeil, Hawai'i Institute of Geophysics and Planetology at the University of Hawai'i.

• Mars topography map showing landing sites of Viking, Pathfinder, Opportunity, and Spirit. • Mars topography map clickable version, allows you to see areas in greater detail. • NASA's Mars Exploration Program Classroom Resources at

http://mars.jpl.nasa.gov/classroom/resources.html • NASA's Mars Exploration Rover Mission: Spirit and Opportunity at

http://marsrovers.jpl.nasa.gov/home/ • European Space Agency's Mars Express Mission at

http://www.esa.int/export/SPECIALS/Mars_Express/

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Books: Apel, Wili. Harvard Dictionary of Music. Harvard University Press, 1967. Ardley, Neil. A Young Person’s Guide to Music, 1995. Baines, Anthony. The Oxford Companion to Musical Instruments, 1992. Barber, Nicola. The World of Music. Silver Burdett Press, 1995. Blackwood, Alan. The Orchestra: An Introduction to the World of Classical Music. Milwood Press, 1993. Hays, Ann. Meet the Orchestra. Gulliver Books, Harcourt Brace Jovanovich, 1991. Hoffer, Charles. Concise Introduction to Music Listening. Wadsworth Publishing Co., 1984. Hoffer, Charles. The Understanding of Music. Wadsworth Publishing Co., 1981. Kruckenberg, Sven. The Symphony Orchestra and its Instruments. Crescent Books, 1993. Krull, Kathleen. Lives of Musicians. Harcourt Brace Jovanovich, 1993. Moss, Llyod. Zin! Zin! Zin! A Violin. Simon & Schuster, 1995. Nietzsche's Thus Spoke Zarathustra: Before Sunrise, edited by James Luchte, London: Bloomsbury Publishing, 2008. ISBN 1-84706-221-0. Nye, Robert & Bergethon, B. Basic Music. Prentice Hall, Inc. 1983. Van der Meer & Berkeley, Michael. The Music Pack. Alfred A. Knopf, Publisher, 1994.

Tulsa Public Schools Library Resources

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Other resources are available through Tulsa Public Schools Library Database

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Academic Vocabulary

SOCIAL STUDIES ELA SCIENCE MATH FINE ARTS

abolitionism

advantage/disadvantage

checks and balances

chronological

Civil War

“The Common Man”

consent of the

governed

depression

due process

economic plan

federal government

federalism

founding fathers

frontier

Gettysburg Address

Indian removal

inflation

Monroe Doctrine

Northern states

plantation system

political parties

popular sovereignty

Presidential election

propaganda

Reconstruction

reform movements

social classes

Supreme Court

territorial acquisition

trial by jury

union

utopian community

agreement

(subject, verb,

etc.)

allusion

argument

bias

counter argument

debate

derivation

dramatization

elaboration

inference

parallel structure

persuasive writing

techniques

sensory detail

synthesize

thesis statement

acceleration

(Newton’s

three laws

of motion)

constant velocity

control

forces

hypothesis

inertia

landforms

Law of

Conservation of

Matter

Newton’s laws of

motion

variables

(independent, de

pendent)

volume

adjacent angles bivariate coefficient constant distance formula: d=rt domain formula hypotenuse lateral area legs of a triangle linear equation linear inequality Pythagorean theorem range of a function rational number scatter plot scientific notation slope-intercept form slope solids (prisms, cones,cylinders, pyramids) standard form (of a linear equation) surface area term x-y intercepts

Acoustics

Allegro

Baton

Brass family

ComposerCompos

ition

Concert

Concerto

Conductor

Crescendo

Four sections of

an orchestra

Instrument

families

Meter

Movement

Orchestra

Percussion family

Prelude

Scale

Score

String Instrument

family

Symphony

Tempo

Wind instrument

family

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*~CONCERT PREPARATION - SPECIAL ACTIVITY~*

The last piece of the Tulsa Symphony “Awesome Events” Concert on May 6, 2014 at the Tulsa Performing Arts Center will be the “Olympic Fanfare” by John Williams. We will be doing a Special

Activity during this piece which involves audience participation.

Please have your students do the following so they will be able to participate:

• Have each student make a flag of a different country on paper or poster board (with one American flag made per class).

• Have the students bring their flags to the concert. • A volunteer (who is holding a fake torch) will bring several volunteers up from the audience

and place the other volunteers throughout the hall. • We then, with the piece, do a relay with the Olympic torch around the world (hence the flags)

and the students in the audience get to do the wave with the flags as it is happening. • The runners end up on the stage by the end of the piece (We will have a fake Olympic flame

in a skinless Timpani which they will pretend to light).

It's an amazing spectacle! All you need to do is have the students make the flags and bring them to the concert – we will take care of the rest

*You may incorporate the “Awesome Events - Music and History” Lesson Plan into this

Special Activity if you would like.

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“Awesome Events”, Grade 8 Music and History

Teaching Objective Students will demonstrate an understanding of music composers on the “Awesome Events” concert program, and where they fit into other important dates in history, science, and the arts. Vocabulary • Composer – a person who creates music, by musical notation, for performance. Resources • A display of the vocabulary word – Composer • Tulsa Symphony Teacher Guide – page 14: “Awesome Events” Concert Program • Tulsa Symphony Teacher Guide - pages 15-30: “Meet the Composer” • Atlas Pre-Assessment Ask students if they think historical events have an impact on the music composers create. Teaching Sequence

1. Give students the definition of “composer”. 2. Using the Tulsa Symphony “Awesome Events” Concert Program and “Meet the

Composer” pages, have students create a chronological chart of the composers on the program. Add other important dates in history, science, and the arts.

3. Have students consult an atlas to locate places where composers lived or where stories took place.

4. Have students select a composer represented on the program and prepare a biographical report.

5. Have students create a flag representing where a specific composer was born. Culminating Activity Select reports to be read in class and post student chronological charts and flags throughout the classroom and/or school. Evaluation Did student responses and behavior indicate a basic understanding of the music composer’s role in history? Extension Take flags made in class to the “Awesome Events” Concert, May 6, 2014 at the Tulsa Performing Arts Center. Standards: Music Art Social Studies Language Arts

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“Awesome Events”, Grade 8 Role of the Orchestra Conductor

Teaching Objective Students will demonstrate an understanding of the role of conductor of an orchestra. Vocabulary • Conductor – the person who directs a group of musicians. • Meter – how beats are grouped in music. • Baton—the conductor’s directing stick Resources • A display of the two vocabulary words – Conductor and Meter • Duple meter conducting pattern transparency (below) • Tulsa Symphony Teacher Guide – page 4: Meet the Orchestra (picture); Tulsa Symphony Teacher Guide – page 12: The Orchestra (orchestra seating chart) • Overhead projector Pre-Assessment Ask the students if they have seen a band or orchestra in live performance or on television. How did they know when to start and stop; how did they know when to play fast or slow? Teaching Sequence

1. Using the Orchestra Seating Chart transparency, show the students that at the Tulsa Symphony Concert they will see a person standing in front of the orchestra directing with a baton in the right hand. He is the conductor. He communicates to the musicians when to start and stop playing and when to play fast or slow.

2. Direct the students’ attention to the conducting pattern transparency. Have them use their right hand and practice the duple meter conducting pattern. (Even left handed conductors use their right hand to direct the orchestra.)

3. After a minimum level of proficiency is achieved, go to www.dsokids.com/listen/ComposerDetail.aspx on the Internet and choose Aaron Copland’s “Hoe Down” (28 seconds long).

4. Encourage the students to use their right hand and conduct the orchestral excerpt in duple meter while the music is playing. Repeat as desired.

Culminating Activity Encourage students to show how a conductor might indicate when to play fast and slow while conducting in duple meter. End the lesson by referring to the vocabulary words: conductor and meter. Evaluation Did student responses and behavior indicate a basic understanding of the orchestra conductor’s role? Extension Within the next few class days, write a class letter to Maestro Spigelman. You may address it c/o the Tulsa Symphony Education Department, 117 N. Boston Ave, Suite 201, Tulsa, OK 74103. Standards: Music Mathematics Language Arts

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Conducting Patterns

2/4

4/4

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Suggested Topics for Expanded Lessons

Science of Music and Sound Waves Teacher Lessons on Sound Waves and Music http://www.physicsclassroom.com/class/sound John Bertles website – Sound waves http://www.bashthetrash.com/Instruments_Intro/How_Instruments_Work_-_In_Depth.html Create Your Own Musical Instruments Creating an instrument http://www.bashthetrash.com/Instrument_Building/Safety_First.html

Paraguay’s Recycled Orchestra Time article and video http://newsfeed.time.com/2012/12/11/watch-the-recycled-orchestra-slum-children-create-music-out-of-garbage/

Paraguay’s Landfill Orchestra youtube video http://www.youtube.com/watch?v=8Nmnckhhs-I

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Tulsa Symphony Orchestra *~Any Given Child - Student Review~*

Student:___________________________________________Age:__________________ School:__________________________________________________________________ Concert Attended:__________________________________Date:__________________ Describe your concert experience. (What happened first, second, next, etc.) Name one of the musical pieces you heard at the concert and describe it. What did you enjoy the most and what did you enjoy the least at this concert? Please have your teacher send your review to: Tulsa Symphony 117 North Boston Avenue, Suite 201 Tulsa, OK 74103 ATTN: Kathy Rad – Any Given Child Concerts OR Fax to: 918.584.3603 E-mail to:kathy.rad@tulsasymphony.org

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Oklahoma Standards ELA Process and Literacy Skills Literacy Skills Standard 1: The student will develop and demonstrate Common Core (Social Studies) reading literacy skills. A. Key Ideas and Details

1. Cite specific textual evidence to support analysis of primary and secondary sources. 2. Determine the central ideas or information of a primary or secondary source; provide an accurate summary of the source distinct from prior knowledge or opinions.

B. Craft and Structure 4. Determine the meaning of words and phrases as they are used in a text, including vocabulary specific to domains related to history/social studies.

C. Integration of Knowledge and Ideas 7. Integrate visual information (e.g., in charts, graphs, photographs, videos, or maps) with other information in print and digital texts. 8. Distinguish among fact, opinion, and reasoned judgment in a text.

9. Analyze the relationship between a primary and secondary source on the same topic. Literacy Skills Standard 2: The student will develop and demonstrate Common Core (Social Studies) writing literacy skills.

2. Write informative/explanatory texts, including the narration of historic events, scientific procedures/ experiments, or technical processes. a. Introduce a topic clearly, previewing what is to follow; organize ideas, concepts, and information

into broader categories as appropriate to achieving purpose; include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension.

b. Develop the topic with relevant, well-chosen facts, definitions, concrete details, quotations, or other information and examples.

c. Use appropriate and varied transitions to create cohesion and clarify the relationships among ideas and concepts.

d. Use precise language and domain-specific vocabulary to inform about or explain the topic. e. Establish and maintain a formal style and objective tone. f. Provide a concluding statement or section that follows from and supports the information or explanation presented. 6. Use technology, including the Internet, to produce and publish writing and present the relationships between information and ideas clearly and efficiently. 8. Gather relevant information from multiple print and digital sources, using search terms effectively; assess the credibility and accuracy of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and following a standard format for citation. 9. Draw evidence from informational texts to support analysis reflection, and research

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Math Statistics and Probability 8.SP Investigate patterns of association in bivariate data. 1. Construct and interpret scatter plots for bivariate measurement data to investigate patterns of association between two quantities. Describe patterns such as clustering, outliers, positive or negative association,linear association, and nonlinear association. 4. Understand that patterns of association can also be seen in bivariate categorical data by displaying frequencies and relative frequencies in a two-way table. Construct and interpret a two-way table summarizing data on two categorical variables collected from the same subjects. Use relative frequencies calculated for rows or columns to describe possible association between the two variables. For example, collect data from students in your class on whether or not they have a curfew on school nights and whether or not they have assigned chores at home. Is there evidence that those who have a curfew also tend to have chores?

Science PS4.A: Wave Properties

•A simple wave has a repeating pattern with a specific wavelength, frequency, and amplitude. (MS-PS4-1)

•A sound wave needs a medium through which it is transmitted. (MS-PS4-2)

PS4.B: Electromagnetic Radiation

PS4.A: Wave Properties

•A simple wave has a repeating pattern with a specific wavelength, frequency, and amplitude. (MS-PS4-1) •A sound wave needs a medium through which it is transmitted. (MS-PS4-2) PS4.B: Electromagnetic Radiation •Because light can travel through space, it cannot be a matter wave, like sound or water waves. (MS-PS4-2)

Social Studies Content skills Content Standard 4: The student will examine the political, economic, social, and geographic transformation of the United States during the early to mid-1800s. Content Standard 5: The student will analyze the social and political transformation of the United States as a result of the causes, course, and consequences of the American Civil War during the period of 1850 to 1865.

Fine Arts STANDARD 2: Music History and Culture: “Connecting” The student recognizes the development of music from an historical and cultural perspective. 2.Recognize, describe, and listen to music from a variety of: a. Styles (e.g., jazz, mariachi band, opera, musicals, call and response, and country - western), b. Periods (e.g., Baroque, Classical, Romantic, Impressionism, and Contemporary), and c. Cultures (e.g., European, Native American, African American, Hispanic, and Asian). 3.Identify and differentiate the use of musical elements and instruments from other parts of the world and compare them to the use of musical elements in American music (e.g., patriotic, orchestral, band, and folk). 4.Recognize and practice appropriate audience or performer behavior appropriate for the context and style of music performed. 5.Demonstrate respect for music performed by others. Identify and describe the various roles musicians have in various musical settings and cultures.