NSO Girl Power Teachers Guide 2022

Teacher’s Guide

National Symphony Orchest ra Young Pe ople’s Concer t The NSO Young People’s Concerts are sponsored by The Volgenau Foundation.

Michelle Merrill, Guest Conductor Marissa Regni, NSO Principal Second Violinist Fabiolla da Silva (as Alina), Special Guest Written by Miriam Gonzales

WELCOME Welcome to Girl Power! Celebrating Women in Music , marking over 100 years since the 1920 passage of the 19th Amendment which gave many women the right to vote. This NSO Young People’s Concert explores and celebrates the accomplishments of some trailblazing female composers.

Our online Teacher’s Guide serves as an extension to the student Cuesheet Performance Guide and offers a range of ideas and suggestions for helping you enrich and expand your young concertgoers’ performance experiences. We invite you to review the Cuesheet and this guide, and choose and adapt what works for your students, based on your curriculum goals and schedule.

Here are a few main themes of the performance to guide your planning:

❖ Trailblazing female composers have created and continue to produce amazing classical music.

❖ Their music, like all music, offers powerful expressiveness in a wide variety of styles and reflects different historic and cultural influences.

BEFORE THE

CONCERT

If time is short: Cue Up the Cuesheet. The Cuesheet Performance Guide prepares students to enjoy and get the most out of the concert. Discuss it together with your concertgoers. Point out the “listen for” items in the Cuesheet, and also encourage students to notice additional characteristics of each piece as they listen.

If you have more time: Bolster the Basics. Need to introduce concertgoers to, or refresh their memory on, the basics, such as orchestras, classical music, instruments of the orchestra, or composers’ tools (for example, melody, rhythm, and tempo)? Our kid-friendly online Guide to the Orchestra can help with all that and more. Preview it and share relevant sections with concertgoers or encourage them to check it out on their own.

Getting Ready to Go. If students are attending a classical music concert or visiting the Kennedy Center for the first time, help them get in the concert mindset and feel more confident and comfortable with this tour of the Kennedy Center Concert Hall.

❖ Orchestral music, whether it be a small

ensemble or the full orchestra, produces a rich tapestry of sound that creates emotions, paints pictures, tells stories, and moves listeners in new ways.

❖ Listening to orchestral music can be a powerful experience.

Below you’ll find suggestions for what to cover before and after the concert; an “Exploring the Program” section featuring adaptable discussion and activity ideas; and additional resources at the end.

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Preview the Music. You can hear each musical piece on the program in our YPC Playlist.

❖ What stories did you imagine as you listened

“Meet” the Orchestra. Encourage concertgoers to “meet” the NSO musicians (and librarians!).

❖ What differences did you notice between ❖ Which composers would you like to learn

"Meet" the Conductor. Help students learn more about Michelle Merrill by sharing excerpts from Michelle's website.

❖ How did history and the composers’ own lives

Curriculum Connections. Relate historical ideas on the program—such as women’s rights, voting rights, and segregation—to your students’ studies of history and government.

to the different music? Draw or describe them. older and newer musical works?

more about and hear more music from?Why? What questions would you ask them? affect the music they wrote?

❖ How can talent, hard work, and a passion for music break down barriers?

❖ How would you like to make music in

your own life? Play it? Sing it? Write it?

Conduct it? Why?

AFTER THE CONCERT Use some or all of these questions (from page 8 of the Cuesheet) to explore your students’ first impressions. Also invite concertgoers to raise their own questions to discuss or research after the performance.

❖ What was your favorite music, and why? ❖ What ideas do you think your favorite pieces of music expressed?

EXPLORING THE PEFORMANCE On the following pages are some ideas for helping your concertgoers explore the music, composers, and themes of the concert more deeply before or after the performance. Please remember to review with your students pages 4–7 of the Cuesheet Performance Guide for brief introductions to each composer and her music, along with some specific elements to “listen for” (recapped here). Use the YPC Playlist or your own preferred streaming service to share the music again as needed.

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Fanfare for the Uncommon Woman (part 1)

by Joan Tower During the concert, listen for the…

Think Like a Composer.

❖ galloping rhythm that gives a sense of

Ask concertgoers: If someone asked you to write a fanfare, who would you write it for? Why? What message would you want the music to convey?

Try writing down, humming, or playing on a musical instrument your main opening melody.

(Standards Connection: MU:Cr1.1)

adventure and urgency.

❖ bold, strong brass tones and patterns with occasional unusual or odd notes.

❖ forceful beginning and end with snare drum and timpani.

After the concert, go deeper…

An Uncommon Composer.

Discuss how Joan Tower wrote this fanfare for the “uncommon woman,” someone who she described as adventurous and risk-taking. How does that idea describe Tower and the other composers in the program? How did they each blaze a new trail in their own way?

Learn More : About JoanTower

Fans of Fanfare.

Explain that Tower took inspiration for her fanfare from American composer Aaron Copland’s 1943 music Fanfare for the Common Man. Note that these two composers wrote during different times in history and with different purposes in mind.

Copland wrote his fanfare to rally Americans during World War II and honor the sacrifices of ordinary people. Tower’s 1986 fanfare celebrated the bold, daring uncommon woman. Have your young concertgoers listen to both pieces and compare and contrast them. What are three musical differences? How do you think the composers’ different lives, historical circumstances, and purposes in writing come through in their music?

(Standards Connections: MU:Cn11.0; MU:Re7.2)

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Violin Sonata no. 1 in D Minor, the seventh movement by Élisabeth Jacquet de la Guerre During the concert, listen for the…

Hearing the Harpsichord.

❖d etailed structure and fancy ornamentation

Introduce the harpsichord, which accompanies the violin in the performance, as an especially popular instrument of the time. Take a detailed look at the instrument’s inner workings. Ask: How would you describe the sound? (It might be helpful to compare it with other instruments, like the piano or harp.)

that marked the Baroque musical style of the time.

❖v ery fast tempo (speed of playing), described as presto.

❖d ancing, sparkling sounds of the violin solo.

After the concert, go deeper…

Go for Baroque.

Discuss that French composer Élisabeth Jacquet de la Guerre wrote in the Baroque style of the time period, but also broke new ground with her compositions. Baroque music, created from about 1600 to 1750, influenced classical music in lasting ways. Composers of the time introduced ideas such as a single melody and solo instrument in a composition (the violin in the violin sonata). Composers also focused on expressiveness and used contrast (such as loud and soft) as a dramatic element (for more about Baroque and other musical time periods, see our Guide to the Orchestra. Discuss what elements of Baroque style young concertgoers hear in the music.

Then have them compare this style to the more modern style of another small ensemble piece on the program, Jennifer Higdon’s “Amazing Grace,” describing the different melodies, patterns, styles, and so forth.

(Standards Connection: MU:Re7.2)

Share that although the keyboard instrument seems strongly associated with Baroque music, more modern musicians such as The Beatles and Eminem have also found a unique place for its distinctive, almost electronic sound in new popular music. Share an overview and some song samples of the harpsichord.

Discuss what sound qualities the instrument brings to pop and other music. Why do you think the artists added it?

Learn More :

About Élisabeth Jacquet de la Guerre

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Symphony no. 1, the third movement

by Florence Price During the concert, listen for the…

❖ dancing and skipping sounds of the melody. ❖ African drums. ❖ playful slide whistle effect.

After the concert, go deeper…

Facing Challenges.

Florence Price once wrote of the challenges she faced: “I am a woman; and I have some Negro blood in my veins.” Discuss why that would have made it hard for her to pursue her love of music in the early 1900s. You could ask students to research what life would have been like for Price growing up in Arkansas, and discuss the segregation and discrimination she faced. (Standards Connection: MU:Cn11.0)

Explore the Juba Influence.

Discuss how Price draws on elements of the Juba style of dance, including African drums and syncopation (accents on weak or unexpected beats; learn more about rhythm and syncopation). The dance originated in West Africa and moved in various forms with enslaved people through the Caribbean and to plantations in the American South. A Juba dance typically features slapping and patting of the legs, thighs, arms, and chest, and sometimes stomping to create percussive patterns. Enslaved Africans relied on using the body as an instrument because enslavers often forbade the use of drums or other instruments. How did concertgoers hear these energetic rhythmic elements in Price’s allegro (fast-paced and lively) movement? Students might find it interesting that other musicians also took inspiration from these rhythms, including Bo Diddley, considered a pioneer of rock and roll—here is what became known as the "BoDiddley Beat."(Standards Connection: MU:Cn11.0)

Consider Cultural Connections.

Invite young concertgoers to compare the ways Florence Price and Gabriela Lena Frank celebrate their heritages in the musical selections at the concert. What elements, such as rhythms, patterns, playing styles, song structures, and so forth, express different cultures? (Standards Connections: MU:Cn11.0; MU:Re7.2)

L earn More :

About Florence Price

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D’un matin de printemps

by Lili Boulanger During the concert, listen for the…

Compare Day and Night.

❖ s himmering, sparkling sounds suggesting

Share that Boulanger wrote a companion piece to D’un matin de printemps (French for “of a spring morning”) called D’un soir triste (“of a sad evening”). Ask young concertgoers to brainstorm—keeping in mind Boulanger’s style—what her musical expression of a sad evening might sound like. Then share part or all of this music and ask students to compare and contrast the two pieces. What tones, styles, patterns, and effects evoke “spring morning” and “night”? How is the music impressionistic? (Standards Connections: MU:Re7.2; MU:Re8.1)

the sunrise.

❖ s trong, playful rising and falling sounds of the full orchestra.

❖ t ingling triangle at the end.

After the concert, go deeper…

Sound Scenes.

Discuss what students imagined during the music. If they have drawings, share and discuss them. Also discuss: What kind of creatures (such as butterflies) or happenings (such as a sunrise) did the musical instruments remind them of? What tools—such as dynamics, pitch, or tempo—were used to create those effects?

Explore Impressionism.

Remind concertgoers of the French impressionist paintings shared on stage.

Discuss how impressionist music was actually named for its similarities to the genre of painting known as impressionism that featured scenes from everyday life and nature. These painters captured life as if someone caught a quick glimpse of it. This “snapshot in time” was created with quick blurry strokes (instead of broad ones), lots of vibrant colors, and natural lighting. And just like their artist friends, impressionistic composers like Lili Boulanger set out to convey emotion and mood in a bold way. Ask: What aspects of her music sounded impressionistic? (For an overview of French impressionist art and music, see this article from Britannica, and for a kid-friendly introduction to impressionist art, here is a resource from the Tate Gallery.

(Standards Connection: MU:Cn11.0)

That’s Italian!

The concert featured an image of one of Boulanger’s musical scores and a look at some of the Italian words that composers use to tell how the music should be played.

To explore Italian musical words further with your students, see “That’s Italian” in The Music section of our Guide to the Orchestra.

Learn More :

About Lili Boulanger

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“Amazing Grace”

by Jennifer Higdon During the concert, listen for the…

Expressing Emotion.

❖ r ich layers of sounds created by the

Jennifer Higdon’s blue cathedral is one of the most performed modern orchestral pieces by a living American composer today. Share the piece with young concertgoers. In this video, the conductor discusses Higdon’s intention and imagery and how the piece is an elegy (musical lament) for her late brother. Invite students to share what they imagine as they listen. What musical tools did Higdon use to create images and emotions? (Standards Connection: MU:Re8.1)

string quartet.

❖b eginning that follows the basic theme of the original song.

❖ t empo and key changes, flourishes, and other variations to the main theme.

After the concert, go deeper…

Music’s Role.

Discuss this comment from Jennifer Higdon: “But if my music is not communicating, I feel it’s not doing its job.” What did Higdon’s music communicate to you?

Learn More :

About Jennifer Higdon

Vary a Theme.

Remind concertgoers how Higdon’s music started with a main theme, the traditional hymn “Amazing Grace,” and then added changes called variations. They can think of the theme as the melody that is repeated, and the variation as the theme with a few changes (like adding various toppings to ice cream sundaes). Listen again closely to a more traditional rendition (such as this one after the short intro) and Higdon’s.What tools did she use (such as tempo, dynamics, ornamentation, and so forth) to vary the theme? (For more on the composer’s toolbox, see our Guide to the Orchestra.)

Have Students Try It. Starting with the melody of “Amazing Grace,” “America the Beautiful,” or another well-known song, have students brainstorm three variations and hum or sing them. Ask: Why did you choose the changes you did? What do you hope they communicate? (Standards Connections: MU:Pr4.3; MU:Cr1.1)

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“Mestizo Waltz” from Three Latin American Dances

by Gabriela Lena Frank During the concert, listen for the…

A Living, Evolving Art Form.

❖ t rumpets in the style of Spanish singers.

As Frank, Higdon, Tower, and Toprak show, classical music not only features diverse artistic voices, it is constantly evolving as living composers write new, beloved music every day. Young concertgoers might enjoy learning about another new groundbreaking female composer and child prodigy—14-year-old Alma Deutscher. The English pianist, violinist, and composer has already written more than 15 works, including an opera! Learn more about Deutscher and watch her performing her own violin concerto at Carnegie Hall!

❖ s trumming of violins and pizzicato (plucking the strings) of cellos creating guitar-like sounds.

❖w ide range of percussion instruments, including castanets, conga drums, shekere (an African gourd and bead shaker), and rainsticks.

After the concert, go deeper…

A Determined Prodigy.

Share with young concertgoers this video of Gabriela Lena Frank. Discuss how she was a child prodigy (someone with extraordinary talent at a young age) who had perfect pitch (the ability to identify or recreate a musical note or tone without any assistance). How did Frank’s hearing loss affect how she first approached music? How does she reflect her “mestizo” heritage in her music? (Standards Connection: MU:Cn11.0)

Learn More :

About Gabriela Lena Frank

A Global Heritage.

Have students find all the places of Frank’s heritage (Peru, China, Lithuania, and California, United States) on a globe or world map. Then identify their own family’s heritage on the map. Ask them to discuss or write the ways they celebrate their heritage through art, music, food, or other cultural traditions. Have them brainstorm and demonstrate aspects of their music traditions (such as rhythms, specific instruments, etc.) they could combine to create new music. (Standards Connections: MU:Cn11.0; MU:Cr1.1)

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“Captain Marvel” (main theme)

by Pinar Toprak During the concert, listen for the…

Perseverance.

❖o pening ostinato (os-tin-NAH-to), a

In an interview, Toprak pointed to one aspect of the main character that resonated with her: “Every time [Captain Marvel] falls, she gets up.”

She added, “I’ve had a lot of falling moments in my life as well, then getting up and learning to get up faster and going even farther the next time.” Discuss: Why is being able to get up and go faster a good quality for a groundbreaking composer? How have other composers in the program done the same?

repeated rhythmic pattern.

❖b old, strong French horn melody that begins with a dramatic rise in pitch (highness or lowness of sound) and conveys the heroine’s physical strengths.

❖ s ofter string passages, suggesting Captain Marvel’s sensitive side.

After the concert, go deeper…

Making Movie Music.

Discuss how this music differs from others in the program in that it was written as a musical score for a film. In movies, how does music communicate ideas and emotions about the story, characters, places, and events?

Creating a Signature Sound.

Share that one of the challenges for Toprak in writing the theme for the film’s superhero was creating a bold opening musical pattern. She chose strong horn notes in a music interval spanning seven staff positions (a minor seventh; you can hear it as the horns enter about five seconds in). Discuss what this pattern communicates about the heroine. Then invite young concertgoers to imagine their own 10second music pattern for a favorite superhero, and hum, sing, or play it for friends. (Standards Connections: MU:Cn11.0; MU:Cr1.1)

Learn More :

About Pinar Toprak

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Gaelic Symphony in E Minor, the fourth movement

by Amy Beach During the concert, listen for the…

❖ strong, bold start and triumphant finish. ❖ energetic, leaping musical patterns

contrasted with softer, flowing passages.

❖ Harpsichord Suite No. 3

in A Minor, VIII. Gavotte (Élisabeth Jacquet de la Guerre)

❖ soaring melodies in both strong and gentle

❖Fanfare for the Uncommon Woman #3

After the concert, go deeper…

❖ Gaelic Symphony in E Minor, first

sections.

Madame Dean.

Discuss how Amy Beach became not only the dean of female American composers, but also a symbol of women’s rights because of her professional success and leadership. How have opportunities for female composers changed since then? What do you think Beach would say about that?

Taking Inspiration.

Point out that Beach was a child prodigy who taught herself how to compose, partly by studying the work of other composers. She took inspiration from Antonín Dvo˘rák’s New World Symphony— particularly its soaring climaxes and energy—for her Gaelic Symphony, while developing her own unique American style. Invite concertgoers to reflect on which music from the concert most inspired them. What expressive qualities, structures, or patterns would they like to adopt in creating their own new music, and why? Have them describe and demonstrate their choices.

(Standards Connections: MU:Cr1.1; MU:Pr4.3)

(Joan Tower)

movement (Amy Beach)

❖ Apu: A Tone Poem for Orchestra (Gabriela Lena Frank)

Learn More :

About Amy Beach

Test Your Ears.

Encourage concertgoers to try to identify the composers’ styles in different works. Play a few minutes of each of the pieces below or other works without giving the titles or composers, and see whether students can guess. Have them describe the tools the composers use to explain their guesses. (Standards Connections: MU:Pr4.3; MU:Pr4.2) 11

MORE RESOURCES These resources might help you create your own lessons or activities or compile more information to share with your students.

Websites

Books

Classics for Kids

Sounds and Sweet Airs: The Forgotten Women of Classical Music by Anna Beer (a look at the lives and musical legacies of eight classical women composers, including Élisabeth Jacquet de la Guerre and Lili Boulanger)

Articles “Teaching Kids to Compose” (a short article with general strategies for introducing children to music composition)

Videos

“The Sound of Silence: Female Composers at the Symphony” (an article examining the challenges female composers still face in having their music performed by major orchestras)

“Class Notes: What Does a Conductor Do?” (conductor Sarah Hicks discusses and demonstrates what conductors need to know and do to lead the orchestra)

“The NPR Classical 50: 50 Recordings a Fanatic or First-Timer Should Not Be Without” (a list that might provide a jumping-off point for exploring and evaluating other classical works)

“George Meets the Orchestra: An Introduction to the Orchestra for Children” (a very young Australian boy’s playful exploration of the Sydney Youth Orchestra and its instruments)

“The 13 Most Important Composers of the 21st Century So Far” (a list—featuring all women —with music clips from Soundfly)

Standards Connections General Music—Connecting (MU.Cn.10.0 , MU:Cn11.0); Responding (MU:Re7.1, MU:Re7.2, MU:Re8.1, MU:Re9.1); Crea ting an(MU:Cr1.1); Performing (MU:Pr4.2, MU:Pr4.3) And other subject areas such as Language Arts, specifically: English Language Arts—Reading: Literature (RL.7, RL.9) Standards are based on Common Core State Standards, National Core Arts Standards, and Next Generation Science Standards.

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David M. Rubenstein Chairman

Deborah F. Rutter President

Jordan LaSalle Vice President Education

Gianandrea Noseda

Music Director National Symphony Orchestra

NSO Young People’s Concerts are made possible in part by the generous support of the A. James & Alice B. Clark Foundation; the Kimsey Endowment; The Morris and Gwendolyn Cafritz Foundation; and Dr. Gary Mather and Ms. Christina Co Mather.

NSO Young People’s Concerts are also made possible by the generous support of the Paul M. Angell Family Foundation.

Major support for educational programs at the Kennedy Center is provided by David M. Rubenstein through the Rubenstein Arts Access Program .

Kennedy Center education and related artistic programming is made possible through the generosity of the National Committee for the Performing Arts.

© The John F. Kennedy Center for the Performing Arts