TUNE
IT David M. Rubenstein Chairman
After the performance, visit the Perfect Pitch Web site at: artsedge.kennedy-center.org/ interactives/perfectpitch where you can hear short excerpts of different instruments in the orchestra. Have a partner “play” an instrument, and, without peeking, try to guess the instrument (or at least its size or type) based on its timbre.
Deborah F. Rutter President Darrell M. Ayers Vice President, Education
Christoph Eschenbach Music Director National Symphony Orchestra Additional support for Ensemble Concerts is provided by The Clark Charitable Foundation; Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; and the U.S. Department of Education. Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program. Education and related artistic programs are made possible through the generosity of the
Music to Your Ears At the performance, you’ll hear:
National Committee for the Performing Arts
Tambourin Chinois, Op. 3 by Fritz Kreisler (CRY-sler)
President’s Advisory Committee on the Arts.
and the
and arranged by George Hamilton Green
Hora Staccato by Grigoras Dinicu (GREE-gor-ash DEE-NEE-koo) and arranged by Yvonne Caruthers
Dance of the Goblins by Antonio Bazzini (ba-ZEE-nee) “Clapping Music” by Steve Reich
www.artsedge.kennedy-center.org Cuesheets are produced by ArtsEdge, an education program of the Kennedy Center.
Connections:
Science and Math + Music Developed and hosted by Yvonne Caruthers
Performed by Yvonne Caruthers, cello and National Symphony Orchestra members Natasha Bogachek, violin Stephen Dumaine, tuba Eric Shin, percussion Did you know that behind every note of music—everywhere from your headphones to stages like the Kennedy Center’s—there’s science and math? At the performance, cellist and host Yvonne Caruthers and three of her musician friends will help you see and hear these often-hidden connections. Get ready for a fun and surprising look at how math, science, and music together bring us the sounds we love.
Learn more about education at the Kennedy Center at
www.kennedy-center.org/education
A Good Audience… n
Stays seated n Stays quiet n Watches and listens carefully n Claps at the end
The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2015 The John F. Kennedy Center for the Performing Arts
EXPLORE MORE! Go to KC Connections on ArtsEdge
artsedge.kennedy-center.org/students/kc-connections
PERFORMANCE GUIDE
No, not trees falling in the forest. In music, timbre (TAM-ber) means the unique sound of an instrument. When a violin and a tuba play the same tone, they still sound different, right? That comes from their different materials (wood or metal) and the different ways musicians create their sound (using a bow or buzzing their lips). Those variations affect the instruments’ harmonics, with violins tending to produce more of the higher-pitched harmonics and tubas more lower ones. This, in turn, gives instruments their timbre, which is often described by words like dark, warm, harsh, and bright. During the performance, listen for differences in timbre among the instruments on stage, and think of words to describe them.
Cuesheet
Timbre!
David and Alice Rubenstein are the Presenting Underwriters of the NSO.
Let’s Examine Some Ways Science, Catching the Waves
The Sound of Ratios
What is sound, anyway? Thanks to science, we know sound happens when an object vibrates (moves back and forth quickly). For example, when your finger plucks a string, the string vibrates and disturbs the air around it, making an invisible sound wave. You hear the sound when the wave travels through the air to your ear.
Mathematical ratios describe the size and relationship between two or more things, and they come in handy in understanding and performing music. For example, if a string instrument is plucked so that the entire length of the string (called an open string) vibrates, a specific pitch, or tone, is sounded.
Different sounds have different wavelengths. A wavelength is the distance between the high point of one wave to the high point of the next wave. The number of high points per second is called the frequency. If many sound waves pass in one second, the frequency is high. If only a few sound waves pass in the same second, the frequency is low. In music, we hear what happens at different frequencies. The pitch of a note—how high or low it sounds—depends on the frequency of the sound waves. The higher the frequency, the higher the pitch; the lower the frequency, the lower the pitch. Here are two sound wave WAVE frequencies during the same moment of time. Which has short wavelength the higher pitch?
long wavelength
IT
Math and Music Connect
In Mathematically Perfect Harmony Ratios and fractions are also behind every note you hear in a rather sneaky way. When you pluck the open A string on a violin, your brain hears a note we call “A” (also known as the fundamental). But that string is also making a series of related waves vibrating at one-half, one-third, one-fourth, one-fifth, and so on of the length of the full string, creating higher frequencies. On most instruments, these harmonics (also called overtones) are not as loud as the fundamental tone, which is why we don’t notice them. But turn the page to find out how they affect what we hear.
If you touch the string at the halfway point, and then pluck the string so that ½ of the length of the string vibrates, the pitch is an octave higher than it was with the open string. 0
Mathematically speaking, the ratio of the length of 1/2 the open string to the length of the octave is 2:1 (or, you could say the length of the open string is two times the length of the octave). Knowing this ratio, you can pick up any stringed instrument and know how to play an octave!
IT
During the performance, you’ll hear a full alphabet’s worth of music, math, and science terms and ideas. Before the show, try creating your own list—such as A for amplitude, B for bow, C for chemistry, and so on. Afterward, fill in any missing words, and discuss three concepts that surprised you.
1 1/2 1/3 1/4 1/5 1/6 1/7
And another thing—you might have figured out, as the ancient Greek philosopher Pythagoras did, that the shorter the string on a musical instrument (such as a violin), the higher the pitch of the sound it produces. During the performance, compare the sounds and sizes of the instruments on stage.
E NAM
Here’s one way to picture the harmonic waves of a vibrating string (the fundamental, or full string wave, is at the top).
Transforming Music Do you enjoy listening to music files on your phone or cranking up the bass on your favorite song? If so, you can thank French mathematician JeanBaptiste Joseph Fourier (FOO-ee-ay). In the early 1800s, he discovered how to identify individual sound waves in any signal. Called the Fourier Transform, the formula enables people to analyze, convert, and influence sound. During the performance, you’ll learn about applications of the Fourier Transform in everyday life.
Answer: The white one.
Let’s Examine Some Ways Science, Catching the Waves
The Sound of Ratios
What is sound, anyway? Thanks to science, we know sound happens when an object vibrates (moves back and forth quickly). For example, when your finger plucks a string, the string vibrates and disturbs the air around it, making an invisible sound wave. You hear the sound when the wave travels through the air to your ear.
Mathematical ratios describe the size and relationship between two or more things, and they come in handy in understanding and performing music. For example, if a string instrument is plucked so that the entire length of the string (called an open string) vibrates, a specific pitch, or tone, is sounded.
Different sounds have different wavelengths. A wavelength is the distance between the high point of one wave to the high point of the next wave. The number of high points per second is called the frequency. If many sound waves pass in one second, the frequency is high. If only a few sound waves pass in the same second, the frequency is low. In music, we hear what happens at different frequencies. The pitch of a note—how high or low it sounds—depends on the frequency of the sound waves. The higher the frequency, the higher the pitch; the lower the frequency, the lower the pitch. Here are two sound wave WAVE frequencies during the same moment of time. Which has short wavelength the higher pitch?
long wavelength
IT
Math and Music Connect
In Mathematically Perfect Harmony Ratios and fractions are also behind every note you hear in a rather sneaky way. When you pluck the open A string on a violin, your brain hears a note we call “A” (also known as the fundamental). But that string is also making a series of related waves vibrating at one-half, one-third, one-fourth, one-fifth, and so on of the length of the full string, creating higher frequencies. On most instruments, these harmonics (also called overtones) are not as loud as the fundamental tone, which is why we don’t notice them. But turn the page to find out how they affect what we hear.
If you touch the string at the halfway point, and then pluck the string so that ½ of the length of the string vibrates, the pitch is an octave higher than it was with the open string. 0
Mathematically speaking, the ratio of the length of 1/2 the open string to the length of the octave is 2:1 (or, you could say the length of the open string is two times the length of the octave). Knowing this ratio, you can pick up any stringed instrument and know how to play an octave!
IT
During the performance, you’ll hear a full alphabet’s worth of music, math, and science terms and ideas. Before the show, try creating your own list—such as A for amplitude, B for bow, C for chemistry, and so on. Afterward, fill in any missing words, and discuss three concepts that surprised you.
1 1/2 1/3 1/4 1/5 1/6 1/7
And another thing—you might have figured out, as the ancient Greek philosopher Pythagoras did, that the shorter the string on a musical instrument (such as a violin), the higher the pitch of the sound it produces. During the performance, compare the sounds and sizes of the instruments on stage.
E NAM
Here’s one way to picture the harmonic waves of a vibrating string (the fundamental, or full string wave, is at the top).
Transforming Music Do you enjoy listening to music files on your phone or cranking up the bass on your favorite song? If so, you can thank French mathematician JeanBaptiste Joseph Fourier (FOO-ee-ay). In the early 1800s, he discovered how to identify individual sound waves in any signal. Called the Fourier Transform, the formula enables people to analyze, convert, and influence sound. During the performance, you’ll learn about applications of the Fourier Transform in everyday life.
Answer: The white one.
TUNE
IT David M. Rubenstein Chairman
After the performance, visit the Perfect Pitch Web site at: artsedge.kennedy-center.org/ interactives/perfectpitch where you can hear short excerpts of different instruments in the orchestra. Have a partner “play” an instrument, and, without peeking, try to guess the instrument (or at least its size or type) based on its timbre.
Deborah F. Rutter President Darrell M. Ayers Vice President, Education
Christoph Eschenbach Music Director National Symphony Orchestra Additional support for Ensemble Concerts is provided by The Clark Charitable Foundation; Kaplan, Inc.; Mr. James V. Kimsey; The Morris and Gwendolyn Cafritz Foundation; Park Foundation, Inc.; and the U.S. Department of Education. Major support for educational programs at the Kennedy Center is provided by David and Alice Rubenstein through the Rubenstein Arts Access Program. Education and related artistic programs are made possible through the generosity of the
Music to Your Ears At the performance, you’ll hear:
National Committee for the Performing Arts
Tambourin Chinois, Op. 3 by Fritz Kreisler (CRY-sler)
President’s Advisory Committee on the Arts.
and the
and arranged by George Hamilton Green
Hora Staccato by Grigoras Dinicu (GREE-gor-ash DEE-NEE-koo) and arranged by Yvonne Caruthers
Dance of the Goblins by Antonio Bazzini (ba-ZEE-nee) “Clapping Music” by Steve Reich
www.artsedge.kennedy-center.org Cuesheets are produced by ArtsEdge, an education program of the Kennedy Center.
Connections:
Science and Math + Music Developed and hosted by Yvonne Caruthers
Performed by Yvonne Caruthers, cello and National Symphony Orchestra members Natasha Bogachek, violin Stephen Dumaine, tuba Eric Shin, percussion Did you know that behind every note of music—everywhere from your headphones to stages like the Kennedy Center’s—there’s science and math? At the performance, cellist and host Yvonne Caruthers and three of her musician friends will help you see and hear these often-hidden connections. Get ready for a fun and surprising look at how math, science, and music together bring us the sounds we love.
Learn more about education at the Kennedy Center at
www.kennedy-center.org/education
A Good Audience… n
Stays seated n Stays quiet n Watches and listens carefully n Claps at the end
The contents of this Cuesheet have been developed under a grant from the U.S. Department of Education but do not necessarily represent the policy of the U.S. Department of Education. You should not assume endorsement by the Federal Government. © 2015 The John F. Kennedy Center for the Performing Arts
EXPLORE MORE! Go to KC Connections on ArtsEdge
artsedge.kennedy-center.org/students/kc-connections
PERFORMANCE GUIDE
No, not trees falling in the forest. In music, timbre (TAM-ber) means the unique sound of an instrument. When a violin and a tuba play the same tone, they still sound different, right? That comes from their different materials (wood or metal) and the different ways musicians create their sound (using a bow or buzzing their lips). Those variations affect the instruments’ harmonics, with violins tending to produce more of the higher-pitched harmonics and tubas more lower ones. This, in turn, gives instruments their timbre, which is often described by words like dark, warm, harsh, and bright. During the performance, listen for differences in timbre among the instruments on stage, and think of words to describe them.
Cuesheet
Timbre!
David and Alice Rubenstein are the Presenting Underwriters of the NSO.