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Peter and the WolfPeter and the Wolf

Teacher Study Guide

Elementary School Concerts 2011/2012

Vancouver Symphony Orchestra

2 VSOElementarySchoolConcerts11/12 PeterandtheWolf

Meet Your Conductor!Maestro Bramwell Tovey

The Orpheum TheatreHome of the Vancouver Symphony

Designed in 1927 by architect Benjamin Marcus Priteca, the Orpheum Theatre is Canada’s last great entertainment palace, and one of Vancouver’s most spectacular heritage buildings. Since its opening, the Orpheum has hosted vaudeville, cinema, musical theatre, concerts, ballet, opera, and children’s shows. The building is a masterpiece of theatre design, with a magnificently painted dome soaring above ornate plaster carvings, gold leaf, and crystal chandeliers. Great care was taken with the acoustics of the building: the sound is so clear that musicians can hear a whisper in the very last row of the highest balcony, and the audience can hear every note played on stage. In 1973, Famous Players slated the Orpheum for demolition, but thousands of Vancouverites wanted to save it. The City of Vancouver responded, rescuing and renovating the theatre.

Maestro Bramwell Tovey is the Music Director of the Vancouver Symphony Orchestra. A musician of striking versatility, Bramwell Tovey

is acknowledged around the world for his artistic depth and warm, charismatic personality on the podium. Tovey’s career as a conductor is

uniquely enhanced by his work as a composer and pianist, lending him a remarkable musical perspective.

Recently named Principal Guest Conductor for the Los Angeles Philharmonic at the Hollywood Bowl, he frequently works with the

Toronto Symphony, Montreal Symphony, Royal Philharmonic and the Bournemouth Symphony Orchestras, among many others.

Tovey is also known as a champion of new music, both as conductor and composer. As a composer, Tovey was honored with the Best Canadian

Classical Composition Juno Award in 2003 for his Requiem for a Charred Skull. New works include a full-length opera for the Calgary Opera, The

Inventor, which was premiered in January of 2011. Tovey has been awarded honorary degrees, including a Fellowship from

the Royal Academy of Music in London, honorary Doctorates from the Universities of Winnipeg, Manitoba, and Kwantlen University College, as

well as a Royal Conservatory of Music Fellowship in Toronto.

Founded in 1919, the Vancouver Symphony Orchestra is the third largest symphony orchestra in Canada. The VSO performs to an annual audience of more than 200,000 people and performs over 150 concerts annually in the historic Orpheum Theatre, as well as in venues throughout the Lower Mainland. As a cultural staple of the Lower Mainland, VSO Education Programs are experienced by over 50,000 students annually.

Maestro Bramwell Tovey has been the VSO’s Music Director since 2000. He is known for his extraordinary artistic leadership and passionate advocacy for music education. In 2008, the VSO won a GRAMMY award and JUNO award and completed a successful tour to China and Korea, the first such tour by a Canadian Orchestra in over 30 years. The VSO’s mission is to enhance the quality of life in our city and region by presenting high-quality performances of classical and popular music to a wide variety of audiences, and offering educational and community programs.

PeterandtheWolf VSOElementarySchoolConcerts11/12 3

first violinsDale Barltrop, ConcertmasterJoan Blackman, Associate ConcertmasterClaude Halter, Assistant ConcertmasterJennie Press, Second Assistant ConcertmasterRobin BraunMary Sokol BrownJenny EssersJason Ho Akira Nagai, Associate Concertmaster EmeritusXue Feng WeiRebecca WhitlingYi Zhou Nancy DiNovo ◊Kimi Hamaguchi ◊Paul Luchkow ◊Ruth Schipizky ◊second violinsBrent Akins, PrincipalKaren Gerbrecht, Associate Principal Jeanette Bernal-Singh, Assistant Principal Adrian Shu-On ChuiDaniel NortonAnn OkagaitoAshley PlautMaya De Forest ◊DeAnne Eisch ◊Pamela Marks ◊violasNeil Miskey, Principal Andrew Brown, Associate PrincipalStephen Wilkes, Assistant PrincipalLawrence BlackmanAngela SchneiderIan WenhamChi Ng ◊Reginald Quiring ◊Marcus Takizawa ◊cellosJanet Steinberg, Associate PrincipalZoltan Rozsnyai, Assistant PrincipalOlivia Blander Natasha BoykoJoseph ElworthyCharles InkmanCristian MarkosAri Barnes ◊bassesDylan Palmer, PrincipalChang-Min Lee, Associate PrincipalDavid BrownJ. Warren LongFrederick SchipizkyChristopher Light ◊Leanna Wong ◊

flutesChristie Reside, PrincipalNadia Kyne, Assistant PrincipalRosanne WieringapiccoloNadia KyneoboesRoger Cole, PrincipalBeth Orson, Assistant PrincipalKarin WalshEnglish hornBeth OrsonclarinetsJeanette Jonquil, Principal §Cris Inguanti, Assistant Principal Todd Copee-flat clarinetTodd Copebass clarinetCris InguantibassoonsJulia Lockhart, PrincipalSophie Dansereau, Assistant Principal § Gwen SeatoncontrabassoonSophie Dansereau §French hornsOliver de Clercq, PrincipalDavid Haskins, Associate PrincipalBenjamin KinsmanFourth HornRichard Mingus, Assistant PrincipaltrumpetsLarry Knopp, Principal Marcus Goddard, Associate PrincipalVincent VohradskytrombonesNathan Zgonc, Principal Gregory A. Coxbass tromboneDouglas SparkestubaEllis Wean, Principal §Peder MacLellan, Principal ∆timpaniAaron McDonald, PrincipalpercussionVern Griffiths, PrincipalTony PhillippsharpElizabeth Volpé, PrincipalHeidi Krutzen ◊piano, celesteLinda Lee Thomas, Principal

◊ Extra musician∆ One-year Position§ Leave of Absence

Joanne Harada Vice-President,

Artistic Operations & Education

Susan Hudson Education Manager

Pearl SchachterArtistic Operations & Education Assistant

Education Staff

Members of the VancouverSymphony Orchestra

Bramwell ToveyMusic Director

Kazuyoshi AkiyamaConductor Laureate

Jeff Tyzik Principal Pops Conductor

Pierre Simard Assistant Conductor

Edward TopComposer-in-Residence

ProgrammeSabre Dance

GayaneAram Khatchaturian

Waltz of the Flowers The Nutcracker

Pyotr Illyich Tchaikovsky

Ballet of the Chicks in their ShellsPictures at an Exhibition

Modest Musorgsky

Great Gate of Kiev Pictures at an Exhibition

Modest Musorgsky

Peter and the WolfSergei Prokofiev

When you come to see Sergei Prokofiev’s Peter and the Wolf with the Vancouver Symphony Orchestra, Maestro Bramwell Tovey will introduce you to (or reacquaint you with, as the case may be!) the many diverse instruments found in a contemporary orchestra. Just like the people that make up your community - the students, teachers, staff, volunteers and parents in your school - the instruments of the orchestra are all part of their own families; string, woodwind, brass, percussion. These instrument families, which all look and sound very different from one another, will be also be showcased in short works by Aram Khachaturian, Pyotr Illyich Tchaikovsky and Modest Mussorgsky.


Quick Facts!

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student activity!InthelessonsbySuzanneFulton,you’llfindplansformaskmakingwithyourstudents(seepage24)!ThemasksthatyourstudentsmakeshouldcorrespondtoanimalfromthestoryofPeterandtheWolf,whichinturnisrepresentedbyaspecificinstrument-andtheme,oridea-inthemusic.HaveyourstudentsbringthemasksthattheyhavemadewhenyoucometovisittheVSOattheOrpheum.

Welcome to the Symphony!

Guide Contents

Russia: a timeline1721, the start of

the Russian Empire

Programme ... page 3Russia ... page 5

Orchestra Map ... page 6Orchestral Families ... page 7

Instrument FamiliesPercussion ... page 8, 9Strings ... page 10, 11

Woodwinds ... page 12, 13Brass ... page 14, 15

Lesson PlansBallet of the Chicks in their Shells ... page 16

Peter and the Wolf ... page 22

Composers and WorksKhachaturian/Sabre Dance ... page 8

Tchaikovsky/Waltz of the Flowers ... page 10Mussorgsky/Ballet of the Chicks in their Shells ... page 12

Great Gate of Kiev ... page 14Peter and the Wolf ... page 20

circa 1147, Moscow is founded

1713, capital of Russia is moved to

St. Petersburg1728, Moscow

becomes capital of Russia again

1590, Russo-Swedish war

1648, Salt Riots in Moscow over introduction of Salt Tax

1755, Count Ivan Shuvalov and Mikhail Lomonosov found the University of Moscow


- The capital city of Russia is Moscow, dating from before the year 1147- Russia is the largest country in the world!

It covers over one eighth of the world’s inhabited land mass- The population of Russia is 143 million people

- The country spans nine different time zones! Canada has six; can you name them all?

Bonus: which province in Canada has a timezone that put its clock on the half hour, when all the other provinces and territories are at the top of the hour?

Answer: Newfoundland- Russia is home to the largest forest reserves in the world,

and like Canada, has a large amount of fresh water

- The capital city of Russia is Moscow, dating from before the year 1147

Quick Facts!

Russia

Today, 2012!

All four of the composers featured in the Vancouver Symphony Orchestra’s Peter and the Wolf program have close ties with Russia. Tchaikovsky, Khachaturian, Mussorgsky and Prokofiev all studied music, and lived for a duration, in this country!

Russia’s official language is... Russian! It’s one of the five most commonly spoken languages

in the world and uses the Cyrillic alphabet instead of the Latin

alphabet, like English.

1839, Modest Mussorgsky is born

1917, Russian Revolution

1903, Aram Khachaturian is born

1840, Pytor Illyich Tchaikovsky is born

1938, new decree requires Russian to be taught in all non-Russian schools

1941, “Operation Barbarossa,” 3 million soldiers from Germany/Italy/Japan invade Russia

Sergei Prokofiev writes Peter and the Wolf

1962, Cuban Missile Crisis

1862, Saint Petersburg Conservatory of Music is founded


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The word symphony means “sounding together”. An orchestra is made up of a group of musicians - usually seventy to one hundred people - playing instruments from four main families: string, woodwind, brass and percussion. A symphony orchestra consists of these many different instruments “sounding together”.

The louder instruments are at the back of the orchestra, and the quieter ones are in the front so that the audience hears a balanced sound. The size of the instrument does not always match the size of the sound that it can produce. When you visit the VSO in the Orpheum, you will notice that large instruments can make soft or muted sounds while small instruments, like the triangle or the piccolo, can ring out above the whole combination of other instruments.

A composer produces the sounds he wants by choosing combinations of instruments from each family and writing the sounds that they will play together. Because a symphony orchestra is made up of so many different instruments, and because the musicians are so well trained to produce a variety of sounds, the composer has a palette of instrumental colour combinations and sound possibilities from which to choose.

Pecussion1.2.

4.

Strings

Woodwinds Brass

TimpaniBass DrumSnare DrumTambourineTriangleCymbals

ViolinViolaCelloBass

FlutePiccoloOboeEnglish HornClarinetBass ClarinetBassoonContrabassoon

French HornTrumpetTromboneTuba

PianoHarp

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Instrument Families

Ecosystem: C

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Perc

ussi

onAram Khachaturian: Sabre Dance

download the mp3 files for free at www.vancouversymphony.ca/esc

Aram Khachaturian1903-1978b. Tiflis, Imperial Russia - now Tbilisi, Georgia

Aram Khachaturian was born into a poor family of Armenian descent, and received no musical training throughout his youth. His father was a bookbinder, and Aram was often fascinated by the music in his environment. It wasn’t until 1921, when Khachaturian followed his brother (a stage director) to Moscow, that he began to study the cello, and also composition, showing great talent for someone with no past musical education.

Along with fellow Russian composers Shostakovich and Prokofiev, Khachaturian grew to be considered one of the three “Titans” of Soviet Russian music, under the reign of the communist party. Like his fellow composers, he fell in and out of favour with the political power - on one occassion being forced to apologize publicly for writing music against communist ideals.

Although Khatchaturian lived and worked in Russia, he is an icon of Armenian music. Many of his compositions borrow from Armenian culture, and he was vocal in encouraging younger generations of composers to try new sounds and find a fresh voice of their own.

Sabre Dance (Gayane)The ‘Sabre Dance’ is one of Khachaturian’s best known pieces, and comes from the last act of Gayane, a ballet which is set on an Armenian farm. The dance is a fast, whirling war-dance, done by men with long swords. A basic, repetitive rhythm is played by the timpani and strings; the middle section introduces an Armenian folk melody, played by the cello section.

Khachaturian’s Sabre Dance can be heard in everything from movies (Blues Brothers) to television shows (the Simpsons) to a Super Nintendo video game.

Meet your Peter and the Wolf Musicians!Aaron McDonald, TimpaniAaron has been the Principal Timpanist with the VSO since 2007! Additionally, he has been teaching percussion to students of all ages and levels for over 15 years. Currently, this includes his studio at the University of British Columbia.

He has studied music at both the University of Missouri and the Manhattan School of Music. Aaron has performed and toured with the Cleveland Orchestra, the Los Angeles Philharmonic, the Indianapolis Symphony and the Buffalo Philharmonic. In addition to his extensive study and performance experience, on all classical percussion instruments and the drum set, Aaron has studied West African drumming and South Indian frame drumming.

In Peter in the Wolf, the timpani are part of the Hunter’s Theme!


PercussionInstrument Families: Percussion

The bass drum (pictured), snare drum, and triangle are indefinite-pitch instruments that are hit with a drumstick or a beater.

The marimba (pictured) and xylophone are definite-pitch instruments that are played with yarn-covered or rubber mallets.

The tambourine and cymbals (pictured) are also indefinite-pitch instruments, but they do not require a beater to play. The tambourine is struck with the player’s right hand, while the cymbals are crashed together.

The Cymbals

The Bass Drum

The Marimba

Percussion instruments are the loud instruments in the back of the orchestra that produce sound when they are struck with another object, usually a drumstick or mallet. There are two types of percussion instruments: definite-pitch instruments make pitches just like the other instruments of the orchestra, while indefinite-pitch

instruments make neutral rhythmic sounds.

The timpani are the most visible instruments in the percussion family, because they are placed on a platform at the back of the stage, in the centre. Timpani are usually played in sets of four, with each drum a different size and pitch. The player uses a pedal to tighten or loosen the skin on the top of the drum to change the pitch.

The Timpani

The Percussion Family

The timpani are the most visible instruments in the percussion family, because they are placed on a platform at the back of the stage, in the centre. Timpani are usually played in sets of four, with each drum a different size and pitch. The player uses a pedal to tighten or loosen the skin on the top of the drum to change the pitch.

The Timpani

The bass drum (pictured), snare drum, and triangle are indefinite-pitch instruments that are hit with a drumstick or a beater.

The Bass Drum

The marimba (pictured) and xylophone are definite-pitch instruments that are played with yarn-covered or rubber mallets.

The Marimba The tambourine and cymbals (pictured) are also indefinite-pitch instruments, but they do not require a beater to play. The tambourine is struck with the player’s right hand, while the cymbals are crashed together.

The Cymbals

Vern Griffiths, PercussionVern began studying percussion after attending a concert where his cousin were playing and says of his decision, “The percussionists looked like they were having the most fun!”

Vern was born and raised in North Vancouver, and has degrees in both Commerce and Music from the University of British Columbia. Now the principal percussionist with the VSO, Vern studied with John Rudolph who was, at that time, the principal percussionist himself. After attending UBC, Vern moved to New York and earned his Master of Muisc degreen from the Manhattan School of Music.

Vern has been with the VSO since 1997, and will be featured in the upcoming Kids Koncert Series with his own show “Wall to Wall Percussion”. It feautres all the musicianship, zaniness and creativity that go into being a percussionist.

Ecosystem: C

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Strin

gsPyotr Illyich Tchaikovsky: Waltz of the Flowers

Strin

gsPyotr Illyich Tchaikovsky: Waltz of the Flowers

Pyotr Illyich Tchaikovsky1840-1893b. Votkinsk, Russian Empire

Russian composer Pyotr Ilyich Tchaikovsky began piano lessons at the age of five. When his wather was appointed director of the St. Petersburg Technical Institute in 1850, Tchaikovsky was able to receive a great general education through the school, as well as further his musical education through study with the director of the school’s music library. His father supported his musical studies, later paying for lessons with a well-known piano teacher from Nuremberg, and then supporting Tchaikovsky while he attended the St. Petersburg Conservatory.

Immediately following graduation, Tchaickovsky acted as professor of harmony, composition, and music history at the Moscow Conservatory for ten years. Finding teaching quite tiring, Tchaikovsky left his position and began conduction. In order to conduct, he had to overcome a strong case of stage-fright. He eventually increased his confidence so much that he began to regularly conduct his own works.

Tchaikovsky’s works include some of the most renowned music of the romantic period. His music is recognized for its distinct Russian flavour as well as its lush harmonies and exciting melodies.

Waltz of the Flowers (The Nutcracker)The Nutcracker, based on the story by E.T.A. Hoffmann, is one of the most popular ballets in the world today, but this was not always the case! When it premiered in 1892, the prodution was not a success. The dancers and choreography and story-line were maligned by critics, who did give praise to the original, melodious music.Tchaikovsky, however, extracted pieces of music from the ballet - twenty-minutes in total - that was well received. Since then, the entire Nutcracker has become one of Tchaikovsky’s most famous compositions.

The Waltz of the Flowers is taken from Act II, in which Clara and the Nutcracker Prince visit the Land of Sweets, ruled by the Sugar Plum Fairy. The Waltz, characteristically in 3/4 time, is one of the best examples of Tchaikovsky’s natural talent for writing ballet music.

All in the Family?

The Waltz of the Flowers features a virtuostic passage (called a cadenza) for the harp. Although this movement of The Nutcracker is one of the staples of repertoire for this instrument, and it is featured alongside the stringed

instruments of the orchestra, the harp is not part of the string family.

To which orchestral family does the harp belong?

The double bass is the largest member of the string family – it stands seven feet tall! It also makes the lowest sound of the string instruments. To play it, musicians either sit on a stool, or stand.


StringsInstrument Families: Strings

Strings

The Str ing Family The string section is the largest family of instruments in the orchestra, and is made up of four

instruments: violin, viola, cello, and double bass. They are made of hollow wood, with strings attached; the musicians make sounds either by drawing a bow made of horsehair across the strings, or by plucking

the strings with their fingers.

The violin is the smallest stringed instrument and makes the highest sound. There are two sections of violins in the orchestra – first violins, and second violins. The leader of the first violins is the concertmaster. The concertmaster works closely with the conductor to coordinate all of the strings.

The viola is the second smallest instrument in the string family, and is sometimes called an alto. It looks exactly like the violin, but is a bit bigger, and thus makes a lower sound.

The cello, sometimes called the violoncello, is not held under the chin like the violin or viola, but between the player’s knees, resting on a peg, with the neck extending over the left shoulder of the player.

The Violin The Viola

The CelloThe Double Bass

The violin is the smallest stringed instrument and makes the highest sound. There are two sections of violins in the orchestra – first violins, and second violins. The leader of the first violins is the concertmaster. The concertmaster works closely with the conductor to coordinate all of the strings.

The Violin

Leader of the Pack!Dale Barltrop, ViolinDale is the leader of the first violin section, and is also called the concertmaster! The job of the concertmaster is to work closely with the conductor, coordinating all the stringed instruments. He also tunes the orchestra and plays solo violin melodies.

Dale is from Brisbane, Australia, and has performed across North America, Europe and Australia. In 1998, Dale moved to the USA to study at the University of Maryland, and later at the Cleveland Institue of Music. He has performed widely as a soloist, and has a keen interest in teaching - having served on faculty with the National Orchestral Institute, and worked regularly with the Greater Twin Cities Youth Symphonies. In addition to playin the violin, Dale loves to travel and enjoys swimming, running, hiking and skiing.

The cello, sometimes called the violoncello, is not held under the chin like the violin or viola, but between the player’s knees, resting on a peg, with the neck extending on a peg, with the neck extending over the left shoulder of the player.over the left shoulder of the player.over the left shoulder of the player.over the left shoulder of the player.

The Cello

the musicians make sounds either by drawing a bow made of horsehair across the strings, or by plucking


Ballet of the Chicks in their Shells (Pictures at an Exhibition)

Woo

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dsModest Mussorgsky: Pictures at an Exhibition: Ballet of the Chicks in their Shells

Modest Mussorgsky1839-1881b. Karevo, Russia

As a child in Russia, Modest Mussorgsky received piano lessons from his mother, and showed a large amount of musical talent at an early age. When Mussorgsky was nine, he was already giving performances of challenging works for the piano! However, as an adult, he did not make his living as a professional musician. Instead, he joined the army at the age of 17, and was later in the civil service. He did, though, mabnage to find time for music. Mussorgsky took a few composition lessons with the Russian composers Balakirev and Cui, as well as collaborating with another Russian composer, Rimsky-Korsakov.

Mussorgsky and his composing friends, including Balakirev, Cui, Rimsky-Korsakov and other composer, Bordin, were deeply nationalistic. The five of them shared similar views on the future of Russian music, wanting to create a kind of music that was distinctly Russian - and not influenced by European music of the time. The five of them became known as the “Mighty Handful”.

Ballet of the Chicks in their Shells, along with the Great Gate of Kiev, is part of a larger work called Pictures at an Exhibition. Mussorgsky found hsi inspiration for this work from his friend Victor Hartmann. Hartmann was a painter, architect and designer who shared the artistic views of the “Mighty Hanful,” producting art inspired by Russian legends and folklore. Upon Hartmann’s sudden death, there was an exhibition of his works. Mussorgsky wrote his Pictures at an Exhibtion after attending this tribute to Hartmann. Each section of this large work represents a Hartmann painting.

Ballet of the Chicks in their Shells is a piece in ABA (tertiary) form, with a literal repeat of the A section, and a small coda (or tail of new material) at the end. Hartmann’s picture, was part of his decor design for a ballet that he had worked on in 1870. The chicks, in the ballet, were fledgling canaries.

try this!Curate your own “Pictures at an Exhibition” in your classroom, or have a group of students, or even the entire class, work as curators. Start with a common thread, or theme; this could be as simple as ‘art inspired by music’. Discuss why students might place certain pieces of artwork in specific locations. What are some logistical concerns? And what about artistic choices that influence the look of the final exhibition?

Visit the Vancouver Art Gallery’s online educational home for further inspiration! (see back cover for VAG website)

Ballet of the Chicks in their Shells


Woodw

indsInstrument Families: Woodwinds

The Woodwind Family

The flute, and its smaller sibling, the piccolo, used to be made of wood, but today, are made of either silver or gold. The musician holds the instrument sideways, and blows across the hole.

The Flute

The Oboe

The Clarinet

The Bassoon

The oboe is a double-reed instrument that is used to tune the orchestra because of its pure and steady sound. Reeds are made from thin pieces of cane that vibrate when air is blown across them.

The clarinet is a single-reed instrument, meaning it has only one reed, while the oboe has two. The bottom end of the clarinet flares out, and is called the bell.

The bassoon is also a double-reed instrument, and is the lowest of the woodwind family. The reed connects to the top of one tube by means of a crook, or hollow metal tube.

Like the string family, the woodwind family has four main instruments: flute, clarinet, oboe, and bassoon. These instruments are hollow tubes with holes in them. The musician makes a sound by blowing air into one

end, and covering the holes to produce

Christie Reside, flute Roger Cole, oboe

Cris Inguanti, clarinet

The flute, and its smaller sibling, the piccolo, used to be made of wood, but today, are made of either silver or gold. The musician holds the instrument sideways, and blows across the hole.

The Flute

The Oboe

The oboe is a double-reed instrument that is used to tune the orchestra because of its pure and steady sound. Reeds are made from thin pieces of cane that vibrate when air is blown across them.

The ClarinetThe clarinet is a single-reed instrument, meaning it has only one reed, while the oboe has two. The bottom end of the clarinet flares out, and is called the bell.

The BassoonThe bassoon is also a double-reed instrument, and is the lowest of the woodwind family. The reed connects to the top of one tube by means of a crook, or hollow metal tube.

A Quartet of Woodwinds! Julia Lockhart, bassoon

Peter and the Wolf features all four

instruments in the woodwind family... which one respresents the bird?

What about Grandfather? The Duck? The Cat?

The VSO’s woodwind section is a talented and busy group of musicians! Many of them play more

than one instrument. Cris Inguanti also plays the bass clarinet and

Julia Lockhart studied the harpischord (a Baroque keyboard instrument) in addition to the bassoon.


Bra

ssModest Mussorgsky: Pictures at an Exhibition - Great Gate of Kiev

Great Gate of Kiev (Pictures at an Exhibition)The Great Gate of Kiev was Hartmann’s entry in a competition to design a building in celebration of Russian Tsar Alexander II. Mussorgsky’s music describes the grandness of Hartmann’s gate, with it’s large arch and magnificent bell tower.

Although Pictures at an Exhibition is one of Mussorgsky’s best known works, it was written as a virtuostic piano composition. It was until other composers, such as French Impressionist composer Maurice Ravel, arranged the work that it was known as an orchestral piece!

Call of the Wolf!

The French Horn Section of the VSO, Left to Right:Olivier de Clercq, David Haskins, Benjamin Kinsman, Richard Mingus

The musicians in the French Horn section have come from far and wide to play with the VSO! The performers below come from Naples (Italy), Northern Ontario, Nova Scotia and New York. Richard

Mingus, Assistant Principal, has been a part of the Orchestra since 1985, while Benjamin was appointed to his position of second horn in 2011.

The French Horn was preceded by the 17th century hunting horn, and is commonly associated with hunting themes in music throughout history! However, in Prokofiev’s Peter and the Wolf,

the French Horn is used for the theme of the wolf, and not the hunting party.

More Mussorgsky!


Brass

Instrument Families: Brass

Brass instruments are shiny gold or silver-coloured instruments, made from metal. The musician makes sounds by buzzing his or her lips in a mouthpiece. High and low notes are created by valves or slides, the size of the

mouthpiece, and how the musician uses his or her lips (the embouchure).

The trumpet is the highest of the brass instruments, and has around 4 ½ feet of tubing. It has three piston valves, which allow the player to change the pitch. Of the brass instruments, it plays the melody most often.

The French horn is a tightly-curled instrument; if you were to uncurl it, it would be 17 feet long, ending with a widely flared bell. In its usual playing position, the bell points down and back, and is partially closed by the musician’s right hand.

The trombone is the only brass instrumentthat doesn’t need valves. To change the pitch, the player’s right hand moves a slide up and down; finding the correct pitch depends on the musician’s ability to stop the slide at the correct position.

The tuba is the lowest of the brass instruments, but isn’t the longest. At 15 feet long, it is two feet shorter than the French horn. It plays lower than the French horn because its tubing has a larger diameter. Like the trumpet, it has three piston valves that allow the musician to change pitch.

The Trumpet The French Horn

The Trombone

The Tuba

The Brass Family

The French horn is a tightly-curled instrument; if you were to uncurl it, it would be 17 feet long, ending with a widely flared bell. In its usual playing position, the bell points down and back, and is partially closed by the musician’s right hand.

The French Horn

The trumpet is the highest of the brass instruments, and has around 4 ½ feet of tubing. It has three piston valves, which allow the player to change the pitch. Of the brass instruments, it plays the melody most often.

The Trumpet

The tuba is the lowest of the brass instruments, but isn’t the longest. At 15 feet long, it is two feet shorter than the French horn. It plays lower than the French horn because its tubing has a larger diameter. Like the trumpet, it has three piston valves that allow the musician to change pitch.

The Tuba

The trombone is the only brass instrumentthat doesn’t need valves. To change the pitch, the player’s right hand moves a slide up and down; finding the correct pitch depends on the musician’s ability to stop the slide at the correct position.

The Trombone

Maurice Ravel1875 - 1937b. Ciboure, France

Soon after Maurice’s birth, the Ravel family relocated to Paris.Maurice Ravel began his musical education at the age of six,giving a public piano recital at fourteen years of age. Around this same time, he was influenced by the new musical styles coming from Russia; in particular the works conducted by Nikolai Rimsky-Korsakov at the World Exposition in 1889.

Ravel went on to become one of France’s most prominent composers. His works showed innovation and synthesis of a variety of musical styles. In his early career, Ravel was dilligent in his study of the scores of other master composers.


Lesson Plans byby Deb ZiolkoskiBallet of the Unhatched Chicks Volume II- Fun with Composers (Pre K-Gr. 3).Copyright: D. Ziolkoski 2009Music - Mussorgsky

Concepts: ti-ti, ta, whole note, staccato (short, detached) and legato (smooth) Very soft (pianissimo) and loud (forte) dynamics, experience multiple Laban efforts within the music, form (A A B A)

Suggested Teaching Process:Introduce the concept of an “unhatched” chick with a picture book. Amy Sklansky’s “Where do Chicks Come From” is a great one to begin with.

Once children have a visual concept of what an “unhatched” chick looks like, inform them that a famous Russian composer named Modest Mussorgsky, composed a piece about unhatched chicks. His music seems to tell the story of the chick’s journey out of its egg shell. Discuss the following points below, and then match up the lyrics with the rhythm patterns provided.

Points to discuss:

• Ask students what they think it would feel like to be all scrunched up in a tight little oval.• Are the little chicks inside dry or wet and sticky?

• What types of actions could a chick do to get itself out of its shell? (peck, kick, scratch, push)• How would a chick walk the moment it emerged from the shell? Would its legs be wobbly or would it be sure footed?

Why do you think it might be wobbly? Can you demonstrate?• How would a chick’s eyes feel after being trapped in an eggshell for so long?

Would it see straight right away, or would it’s vision be a bit blurred?

“Section A”Charli and the Chicks Get Cracking! D. Ziolkoski

Once upon a time, there was a group of little chicks who were very, very anxious to be born. You see, thesechicks were still in their shell, which day by day was getting to be a little tighter feeling, very squishy, hotand uncomfortable. They were used to hearing the voices of their mother through the thin shells of the eggs. She seemed to be so caring, kind and loving. The chicks all knew that they would be protected and loved the very moment they broke out of their shells.

One day, when it was very hot outside, mother hen decided to leave her nest and take a short walk withthe chick’s papa to the pond to get a refreshing drink of water. While they were gone, something interestinghappened. One of the little chick’s eggs started to crack. The other chick’s could also hear that one of the chick’s were breaking free, and decided that they too wanted to be freed from their very hot and sweaty home.

The chicks quickly went to work. First they stomped and kicked, yelling for their mother to get them out of their shells. They soon realized that they were not going to get any help from their mother, or father…so they started to try to scratch their way out. They scratched and they scratched, as quickly as they possibly could…but still nothing happened. So they stomped and kicked and scratched one more time. Still nothing!

Feeling frustrated, they decided to try using their beaks as they were very strong! After pecking and pecking, they tried very hard to push their bodies out of their shells. They pushed really hard, but that silly shell would not budge! Not wanting quit, the little chicks all tried again. The second time however, they pushed so hard that their shells popped open, and they all hopped out!

The leader of thepack was Charli the Chick. They were so excited to be out in the fresh air, and using their new “wobbly” legs, they danced for joy, twirling and flitting about the yard. They soon realized though thattheir mama and papa weren’t around. Knowing that their parents would be disappointed to have missed their arrival, the chicks quickly climbed back into their shells, holding onto the tops to make it appear as if they had never been cracked. Soon, the proud mama and papa returned to the nest and never suspected anything! The chicks knew that their parents would not


want to miss a single step as to how they cracked their shells. Charli lead his gang through the whole process one last time. It turned out to be a very joyous occasion for all!

Suggested Teaching Process:

• Stomping/Kicking (Thrusting) Ask students to imagine they were in their egg shells. Play the hand drum to rhythm (ta-ta-ta-rest) a How could you show that part with your bodies? (stomping/kicking) Whateffortisthis?(thrust),Whatmighttheybesayingtothisrhythm?(ifusingtheCDwithlyricsmention youheardthemwhisper“letmeout”followedbylittlegasps.Ifnot,createyourown.)Repeatthispattern.

•Scratching(acombinationofefforts–glide/flick)-Askthemiftheyrememberhowthoselittlechicks werefeelinginthestorywhentheyhadgrownreallybig,andwerestilltrappedintheirshells(hot,sweaty, uncomfortable). Play ti-ti’s on the hand drum by scratching your nails on the skin. How could they move?Whatmighttheybesayingtothisrhythm?(CreateyourownorusegivenlyricsonCD.“icky-stickyicky-sticky I am feeling icky-sticky). The second time ask students to watch as you play this pattern on the skin moving from a low tohighposition.Discusswhatishappeningandtheterm“ascending”.Askstudentstorepeatthatpartafteryou.

•Stomping/Kicking(thrusting)-Playfirsttwophrasesagain(ta,ta,tarest)and(ti-ti-ti-ti,ti-ti-ti-ti:II)studentsmove thesamewaytheydidthefirsttime.

• Pecking (dabbing) - Tap your mallet on the rim of the hand drum to the rhythm: (ta-ta-ta-ta-ta-ta-ta-ta-) Cantheyheartheshort,lightsectionafterthesecondscratchingpart?Whatcouldthisbe?(pecking).Tell students that the word for short and light sounding in the language of music is “staccato”. How could they move?

• Push (Press) - Tap the cymbal for a whole note. What could this be? (chicks pushing their eggshell apart to escape). Howcouldtheyshowthiswiththeirbodies?Isthislongnoteplayedsoftlyorisitabitlouderthantherest?Dothe students remember what the word for soft is? (piano) How about loud? (forte)

“Section B”

Whathappensafterthefirstpush?(SectionArepeats)• Play a second time with students moving to the music.

SectionB(HappyDance)•Playsection“B”forthestudents(smoothflowing“legato”sectioninthemiddleofthepiece).Askstudentswhattheythink

could be happening here. Brainstorm ideas and record them on the board.

•Wasthemusicallsmooth,orwasitabitbumpyinplaces?(towardstheendofsectionBthemelodylinebecomesabiterratic,creatinga“bumpy,strange”sound.)

•Howcouldtheymovetothissmooth,flowingmusic?Dotheyknowwhat“smooth”iscalledinmusic?(legato).Howcouldtheymove? (glide around room)

•Whatabouttothe“bumpy,strange”soundingmusicattheendofthissection?(perhapstheirheadsturningquicklyinadart-ingfashion,lookingfortheirparentsastheytelltheirsiblingstogetbackintotheirshells!)Whateffortmightbeused?(thrust-

ing)

•Continuelisteningtotheendofthepiece.Whathappenedinthemusic?(StartedinsectionA,thenmovedtosectionB,andback again to section A)

•WerethefirstandlastsectionA’sthesameordifferent?(Thechickpushesanextratimeonthefinalsection“A”andthereisabig sense of relief and a happy tone to the music as the chick is freed at last!)

Dramatize• Take this a step further asking students to recreate their story, acting out their parts to the music.

Let’s Play!• If possible add in the instrumental accompaniment to enrich their experience (either create your own

instrumentation, or refer to the suggested list below).

Suggested Instruments:*Take time to brainstorm with the students as to what types of instruments would best suit the phrases above. Discuss why they made the choices they did and if necessary guide students towards more appropriate choices. The instruments listed below correspond to the sound qualities found in the music.

Section “A” Lyrics: “Let me out…. (Thrusting movements: Kicking/stomiping and punching) Instrument suggestions: hand drum played with a mallet on the ta’s. Perhaps the ti-ti could be played by a triangle/claves. “Ick-y stick-y, ick-y, stick-y….” (a derivative of efforts: scratching from the bottom of the egg upwards (ascending motion))

Instrument suggestions: Cabasa/sand blocks/ guiro, scratching your nails on the skin of the drum to the rhythm of the music. “Peck, peck, peck, peck” (Dabbing movement: pretending to peck randomly at the shell to crack it.) Instrument suggestions: temple blocks/claves/wood block

“Push-----“ (Pressing movement: pretending to push the shell open) Instrument suggestions: small cymbal played with a mallet, or even a tremolo.

Section “B”: Add in light, longer sounding instruments such as the triangle or finger cymbals to the smooth (legato) music, and then sharper, jerky sounds to the ending of section B where the chicks realize their mother and father are not present, and are trying to get back into their shells. (Guiro scraped in a sharp, jerky manner is a good choice).

Create rhythm eggshell cards: When students have experience moving through the music, create six rhythm eggshell cards to represent each of the phrases in Section A. Mix them up on the board and ask students if they can help you place them in the correct order.

Create Music Maps: Using the rhythm cards to guide your sequence for Section A, discuss the qualities found in each of the phrases and how you might be able to recreate this using dots, squiggles, lines and creative markings.

For more information on our classical music curriculum or to contact me visit our website at www.funwithcomposers.com


see Apendix A and B for additional materials by Deb Ziolkoski!


Sergei Prokofiev’s PETER AND THE WOLF1891 - 1953b. Sontsovka, Russian Empire

Sergei Prokofiev gained a vivid musicial reputation early in life, known as “l’enfant terrible,” named so for his enjoyment and tendency towards shocking his music teachers. This was a common theme from a young age, and throughout his career, as he continued to write works that aimed to startle and provoke his audiences and critics alike.

Prokofiev started to write music when he was about five years old, and by nine he was composing opera as well as works for orchestra. When he eventually entured the Saint Petersburg Conservatory, he was younger than all of his classmates and many though he was arrogant and strange. Prokofiev continued developping this image, earning him the label of a ‘musical rebel,’ though his talent for composition was acknowledged.

Before leaving the conservatory, Prokofiev entered the competition for the Anton Rubinstein Prize, awarded to the best student pianist. In a daring turn, Prokofiev chose to perform his own work, his first Piano Concerto. When he walked up to the piano, he looked out and saw the 20 judges, all with copies of his piece spread out over their laps! In a tough competition, the prize was ultimately awarded to Prokofiev.

Prokofiev wrote Peter and the Wolf in 1936 as a work for children, commmissioned by the Central Children’s Theatre in Moscow; he wrote both the story and the orchestral music. With children of his own, Prokofiev was deeply interested in the idea of introducing music to children from a young age. He wrote the entire work in just four days!

The story follows Peter, and his animal neighbours (a duck, a bird, a cat), who are warned by his grandfather not to be out of the meadow - what if a wolf were to come out from the forest?! Peter insists that he’s not afraid, and indeed, a wolf does happen by....

The story, and orchestral music, have become a classic. Everyone from Disney to Eleanor Roosevelt has taken a turn making the story their own. There are many book adaptations of this story, too! The VSO suggests reading through the story (your local library should have a copy) with your class before listening to the music. Then, listen to the musical excerpts without narration. Have your students guess what animal is represented by each theme!

Chris Raschka’s story book version features vocables, or syllables that offer a great spoken rendering of Prokofiev’s music! When students hear the music, they should be able to identify the correspdoning animal from the tale.


In 2000, mezzo-soprano Suzanne (Abbott) Fulton graduated from UBC with a Bachelor of Music degree, majoring in Opera (Gold Medal recipient). While in university, she had the privilege of performing in operatic roles, which included Meg Page in “The Merry Wives of Windsor”, Rebecca Nurse in “The Crucible”, and Cherubino in “Le Nozze di Figaro”. In oratorio and concert work, Suzanne has appeared as a soloist with various organizations in the lower mainland and the interior. She has also enjoyed many years singing with the Vancouver Cantata Singers. In 2002, Suzanne realized that her true passion is for teaching music, so she returned to UBC to complete her Bachelor of Education. Suzanne is currently enrolled in a Masters in Music Education at UBC. She appears in “performance” on a daily basis at Gleneagles Elementary (West Vancouver) teaching K-7 music. This year, Suzanne has also accepted a position at West Vancouver Secondary School teaching Grade 8-12 concert choir.

B) 2/4 Time Fast music Track: 4

C) 3/4 Time Often heard in waltzesA) 4/4 Time

Most common Track: 12

Don’t forget to conduct in 3/4 the next time you sing

happy birthday for a classmate! It’s a bit tricky so here’s the

first four bars to help - make sure to count 1,2 before you start!

Hap py- birth day- to you! Hap py- birth day- to you!

Happy BirthdayTraditional

123123 123 123 123

Happy Birthday!

Orchestral conductors stand on a podium with a baton (which looks a bit like a wand) in front of the orchestra, constantly communicating directions to the whole orchestra during a performance. The primary responsibilities of the conductor are to set tempo, indicate beats (particularly first or “down” beats) and to listen carefully and critically to the ensemble. Communicating changes that need to be made within the ensemble (such as showing the violins you want them to play louder to balance the sound) requires highly trained listening skills. There are no strict rules for conducting, and you will notice that different conductors have very different styles. However, the very basics of beat indication do follow a set pattern that you can see below. Maestro Bramwell Tovey is the Conductor and Music Director of the Vancouver Symphony. He led the VSO to break the world record for the largest orchestra performance in an outdoor venue when he conducted over 6,000 musicians in a performance of Beethoven’s Ninth Symphony. Try a few of the conducting examples below with a baton or pencil. Tracks on the accompanying CD are labelled with which pattern to follow so you can conduct along!

The Conductor

Bio: Suzanne Fulton (Lesson Plans Pages 22-27)

22 VSOElementarySchoolConcerts11/12PeterandtheWolf

Primary Lesson PlansWritten by Suzanne Fulton (see bio page 19)

Primary Lesson PlansWritten by Suzanne Fulton (see bio page 19)

Primary Lesson Plans

Primary Lesson Plans for “Peter and the Wolf” by S. Prokofiev

Materials required for the Prokofiev lessons below:

• CD player/iPod and a copy of Prokofiev’s “Peter and the Wolf”• A teacher copy of the lesson plan• Posters of the instrument families (if possible)• A classroom with enough room for students to move around freely• White board or chalk board and white board pens/chalk• A laptop cart, screen and projector (to show video links in the lesson plans)• Craft supplies (as listed in lesson 3), an exacto knife and hole punch• A hard copy of the “Goldilocks and the Three Bears” story (URL provided in lesson plan #5)• An assortment of classroom percussion instruments (ex. xylophones, drums, glockenspiels, etc.)

Overall Goals:

The goals of the Prokofiev lesson plans are as follows:

• Students should become familiar with the instruments and characters in “Peter and the Wolf” and how they are related

• Students should recognize that each character in “Peter and the Wolf” has a unique musical motive (or “leitmotif”) and that the musical motives vary to demonstrate the qualities of each character

• Students should demonstrate the ability to move their bodies in a way that suits the style of a musical motive

• Students should be able to decorate a mask that represents the character they have been assigned

•Students should be able to work cooperatively with the class to act out the characters of “Peter and the Wolf”

Lesson # 1 – Identifying the instruments and characters in Prokofiev’s work

- Using a proxima projector and a laptop that is connected to the internet, watch the following Youtube clip of Prokofiev’s “Peter and the Wolf”:

http://www.youtube.com/watch?v=Ot7m9i70JDg&feature=related

Please note that the video is approximately 13 minutes long.

- After watching and listening, discuss the piece with the students, showing pictures of the instruments whenever possible (Note: you can also use a website, such as http://www.sfskids.org/templates/instorchframe.asp?pageid=3, and a proxima projector to show students what the instruments look like if you do not have posters of the instrument families in your classroom.):


• What instrument was playing whenever the wolf came around? (french horns)• What instrument was playing when the grandfather came around? (bassoon)

Continue this way until you have mapped out on the board a list of all of the characters and the instruments that represent them:

Peter: string instruments

Bird: flute

Duck: oboe

Cat: clarinet

Grandfather: bassoon

Wolf: French horns

Hunters: percussion

Lesson # 2 – Musical Motives (or “Leitmotifs”) in Prokofiev’s work

- Review the characters and related instruments from “Peter and the Wolf” on the board. Explain to the students that Prokofiev didn’t only give each character an instrument in his story, but he also gave each character a specific melody that plays every time each character is mentioned. Tell the students that this is called a musical motive.

- Play the beginning of the Disney “Peter and the Wolf” Youtube video again (http://www.youtube.com/watch?v=Ot7m9i70JDg&feature=related), from approx. 0:42 to 2:30, to demonstrate this. Pause the video after each character’s motive is introduced to have a discussion.

• What instrument did you hear playing the motive for the…bird, cat grandfather, etc.?

• How does this instrument sound like a…bird, cat, grandfather, etc.?

- Assign small groups of students (groups of 3 or 4, depending on your class size) to each of the characters in Peter and the Wolf:

Group 1- PeterGroup 2- The birdGroup 3- The duckGroup 4- The cat

Group 5- The grandfatherGroup 6- The wolf

Group 7- The hunters

You may wish to draw names for characters to avoid having students who are upset about not getting the character they wished.!

24 VSOElementarySchoolConcerts11/12PeterandtheWolf

- As a whole class come up with a few words that describe the musical motive (or “leitmotif”) of each group’s character. Replay the Youtube clip, from 0:32- 2:30, stopping after each instrument to brainstorm words on the board beside each characters name.

For example: Bird/Flute- fast, high, light, crazy, happy, silly

- Once some descriptive words have been suggested for each character’s motive, have each character group take a few minutes to discuss how they might move around the room to their character’s music. The students should use the quality of the musical motive as inspiration for their movement (for example, if the music sounds light, happy, and fast, the students could run on tiptoe).

- After some think time, have each group (one at a time) demonstrate their movement ideas with the class.

- Talk about behaviour expectations when moving together in an open space (ex. no running). Invite all students to move around the room in character together, without the music. This activity and discussion will set the tone for lesson #4.

Lesson # 3– Creating Masks for the Characters in “Peter and the Wolf”

*Note: You may wish to invite parent helpers in to help you with today’s lesson.

- Review the character groups each student was assigned in the previous class. Give each character group a few minutes to review the words that describe their musical motive and their movement ideas. As a review, have each group share briefly their ideas as a reminder to the class.

- Explain to the students that they will each be creating a mask for their characters. Hand out the following materials to each student in the class:

• Half a paper plate• 2 pieces of ribbon, approx. 30 cm.• Felt pens• Assorted colours of construction paper• Glue sticks or white glue• Optional: glitter or glitter glue, dollar store crafting supplies such as felt, sequins, etc.

- Students will decorate the half paper plate as a facemask that represents their character in “Peter and the Wolf”. As the children are working, have the VSO provided recording of “Peter and the Wolf” playing in the background.

- Teachers and parent helpers will need to cut out holes for the eyes using an exacto knife. When students are finished decorating, teachers can use a hole punch to make a hole on either side of the plate, just above the child’s ear, to attach the ribbons (which will be tied at the back of the head to hold on the mask).


Lesson # 4– Acting During Prokofiev’s “Peter and the Wolf”

- Have each character group put on their mask and stand in different spots against the walls of the classroom (“off stage”). Tell students that as they hear their characters musical motive, they should move around the room in character, as rehearsed in the previous lesson. If students do not hear their motive, they should FREEZE in place and listen to the story continue.

- Play the VSO provided recording of ”Peter and the Wolf” and watch as the students create a dramatic presentation to Prokofiev.

Assessment Suggestion for Prokofiev Lessons #1-4

- Watch your students throughout the process of deciding on movements for their characters. Who was able to move in a way that suited the quality of their musical motive? Who had trouble being creative or allowing himself/herself to fully participate? Who was able to exhibit good self-control during the class-wide drama presentation, by freezing where necessary and staying on task?

Supporting Struggling Students?

- Some students might find it difficult to connect the characteristics of movement to the charac-teristics of the musical motives. For those students, you may wish to play assorted sound bytes of instrumental music in all styles and ask your students to move to the music like the animal that comes to mind when they hear the music. For example, the opening of Beethoven’s “Fur Elise” might inspire students to move like a butterfly or a bird because it is light and flowing.

Lesson #5 – Creating musical motives for the characters in “Goldilocks and the Three Bears”

- Go to the following URL to print out a copy of the story, “Goldilocks and the Three Bears”:

http://www.dltk-teach.com/rhymes/goldilocks_story.htm

- Explain that you would like the class to do what Prokofiev did with “Peter and the Wolf”, by creating musical motives for the main characters in the story. Tell the students that as a class they will need to create a motive for the following characters:

Goldilocks

Baby Bear

Mama Bear

Papa Bear


- Read the story to the class to remind them how it goes.

- Ask the students what percussion instruments they would like to use for each character’s musical motive. The choices of instruments that you provide your students will depend on the instruments you have access to. Please note that your class will be split into groups to perform the motives to the story. Select only those instruments that you have enough of for ¼ of your class at a time.

Some options of instrument groups are as follows:

• assorted sizes of xylophones• glockenspiels• assorted sizes of metallophones• assorted sizes of drums• triangles• wood blocks and claves• shakers• finger cymbals• etc.

- Once you have selected the instruments to represent each of the four characters in the story, invite the students to come up and give their ideas for a 4, 8 or 16 beat (depending on the grade) motive to represent each character.

Notate on the board the notes and rhythms for each character once they have been decided upon by the class. You may need to have a vote if there is disagreement.

- Once the motives are created, split the class into 4 groups. Have each group get their instruments and rehearse their motive. Do this with all 4 groups.

- Read the story and after each character is mentioned, have the students in that group play the musical motive. Have them wait to play until you say “one, two, ready, play” to set the tempo.

- Switch groups until all students have had a chance to play the musical motive for all four characters. Be sure to have a quick rehearsal of the new motives each time you rotate characters.

Assessment Suggestion for Lesson #5

- Watch your students as they create, rehearse and perform their musical motives. Who is participating and who is not?

- Note any students on a class list who are having difficulty staying on the beat as they play the motives.


Bonus Idea for Prokofiev’s “Peter and the Wolf”Play students the following YouTube video of an amazing beat-boxing

flute player playing the melodies from Peter and the Wolf:http://www.youtube.com/watch?v=c6SHsF1n9Qw

!

Sources Used/Cited in Lessons on Prokofiev:

- http://en.wikipedia.org/wiki/Peter_and_the_Wolf (a basic site for general information about “Peter and the Wolf”)

- http://www.youtube.com/watch?v=Ot7m9i70JDg (a Youtube video of Disney’s “Peter and the Wolf”)

- http://www.sfskids.org/templates/instorchframe.asp?pageid=3 (the San Francisco Symphony Kids website that shows pictures of the various instruments in each family of the orchestra)

- http://www.dltk-teach.com/rhymes/goldilocks_story.htm (at this site you can print out a version of the Goldilocks story)

- http://www.youtube.com/watch?v=c6SHsF1n9Qw (a beat-boxing flute player, playing the melodies from “Peter and the Wolf”)


Appendix A: Deb Ziolkoski Colouring Sheet - Modest Mussorgsky


Appendix B: Deb Ziolkoski Colouring Sheet - Ballet of the Chicks in their Shells


© Vancouver Symphony 2011/12

Music Links!want to learn more?

Herearesomeadditionalresourcesthatwefoundtobeofuse!PleasebeadvisedthattheVSOisnotresponsiblefor

contentonthesewebsites.

Takeyourstudentsforawalkinanenvironment-itcanbefamiliarorunfamiliar,indoorsoroutdoors-havingthemlistenforaurallandmarks.Beforeembarkingonyourwalk,takeafewminutestoopentheirears,andlistentothesilenceinyourclassroom.Isitreallycompletelysilent?Haveyourstudentsidentifysomeofthesoundsthattheyhear.Howisthesoundlandscapeoftheenvironmentyou’vechosenforyourwalkdifferentandthesamefromtheclassroom?

BrainstormecosystemsthatarerelevanttothestoryofPeterandtheWolftocreateshortsoundscapesinsmallgroups.Studentscanuseone,oracombinationof,words,foundsounds,andinstruments.

Havestudentsthinkaboutthesoundsthattheyencounteredonyourclasswalk,andbrainstormdifferentauralcuestheymighthearintheirnewecosystem.Considernature,humanandanimalinfluence.

Talkaboutdifferentwaystorepresentorrecreatethesesounds.Forexample,climbingamountaincouldbesomethingassimpleasgettinghigherinpitch.

Thesoundscapescouldhaveanarrative,orsimplyaimtoevokeamoodoratmosphere.

Forabonus,encouragethemtousefoundsoundsfromtheecosystemitself.i.e.ashortpieceaboutthemountainscouldbeaveritablerockopera!

Haveyourstudentsperformtheirsoundscapesfortherestoftheclass.Foratwist,keepeachgroup’secosystemasecretoverthecourseofthecompositionalperiod.Thisway,thestudentscanguesswhatecosystemeachgroupisdescribingwiththeirmusic.Havethemremarkondifferentfeaturesoftheecosystemintermsofaurallandmarks.

soundscapes1.

2.

3.

© Vancouver Symphony 2011/12Check out the link in the box above for some helpful tips on teaching outdoors!©some helpful tips on teaching outdoors!© Vancouversome helpful tips on teaching outdoors!Vancouver Symphonysome helpful tips on teaching outdoors!Symphony 2011/12some helpful tips on teaching outdoors!2011/12

Vancouver Symphony Orchestrawww.vancouversymphony.ca

More Resources:en.wikipedia.org/wiki/Conducting

www.classicsforkids.com/

ReadabouttheComposers!

Sergei Prokofiev http://www.prokofiev.org/Aram Khachaturian http://en.wikipedia.org/wiki/Khachaturian

Peter Illyich Tchaikovsky http://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky Modest Mussorgsky http://en.wikipedia.org/wiki/Modest_Mussorgsky

Maurice Ravel http://en.wikipedia.org/wiki/Maurice_Ravel

Soundscapes: en.wikipedia.org/wiki/Soundscape

Tips for Teaching Outdoorswww.humankinetics.com/excerpts/excerpts/tips-for-teaching-in-

the-outdoors

Vancouver Art Gallery Educationhttp://www.vanartgallery.bc.ca/events_and_programs/school_edu-

cation.html

Books!

Peter and the Wolf by Chris Raschkahttp://authors.simonandschuster.com/Chris-Raschka/1786251

Deborah Ziolkoski Just for kids: children’s guideA simple , fun approach to classical music

http://funwithcomposers.ca

elementary school concerts 2011/2012 lf · concerts, ballet, opera, and children’s shows. the...

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