Made possible by
2O22/23Music WhatMusic,Makes
Editors: Jason Spencer, Director of Education, North Carolina Symphony; Christopher Short, Education Assistant, North Carolina Symphony; Rhoda Yakowenko Education Intern, North Carolina Symphony
Bailey Endowment, Inc.
The North Carolina Symphony gratefully acknowledges financial support from Wake County, the City of Raleigh, and the State of North Carolina.
New Hanover County Schools
EDUCATION PARTNERS
NORTH CAROLINA SYMPHONY EDUCATION SUPPORTERS
Chapel Hill-Carrboro Schools
MUSIC ENDOWMENTEDUCATIONFUNDS
Edgecombe County Schools
The Ina Mae and Rex G. Powell Wake County Music Education Fund
The Mary Whiting Ewing Charitable Foundation Fund
North Carolina Symphony Student and Teacher Handbook © 2022 by North Carolina Symphony Society, Inc. Reproduction of this book in its entirety is strictly prohibited.
The Norman and Rose S. Shamberg Foundation
PATRONSEDUCATIONSUSTAINERSEDUCATION
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Moore County Community Foundation
The Backyard Foundation, Robert P. Holding Foundation, Inc., Samuel P. Mandell Foundation, James J. and Mamie R. Perkins Memorial Fund, Youths’ Friends Association Inc.
Alex and Barbara Wilson Charitable Foundation, Inc.
Florence Rogers Charitable Trust E.T. Rollins, Jr. and Frances P. Rollins Foundation
Authors: Laura Black, Melissa Coxe, Pamela Day, Erin Fossa, Mary Michael, Jennifer Starkey
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NCS also gratefully acknowledges the following supporters:
Durham Public Schools
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Dr. Neil McLeod
Granville County Community Foundation Gregory Poole Equipment
The Hellendall Family Foundation of North Carolina
The Eddie and Jo Allison Smith Family Foundation, Inc.
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The Joseph C. and Diane E. Bastian Fund for Music Education
North Carolina Symphony, 3700 Glenwood Avenue, Suite 130, Raleigh, NC 27612, 919.733.2750, or toll free 877.627.6724 www.ncsymphony.org/education
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Gipson Family Foundation
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William C. Ethridge Foundation, Inc.
Rockingham County Community Foundation
The Unifour Foundation, Inc. Endowment
Poole Family Foundation
The Borden Fund, Inc.
The Hulka Ensemble and Chamber Music Programs Fund
The Janirve Foundation Fund
Lee County Schools
Williams Curl and Myron R. Curl Charitable Fund
Margaret C. Woodson Foundation
Supporters are current as of July 2022
Cumberland County Schools
Mr. and Mrs. Jeffrey A. Corbett Corning Incorporated Foundation Craven County Community Foundation
The Harold H. Bate Foundation Bell Family Foundation
Bertsch Family Charitable Foundation, Inc. BlueCross BlueShield of North Carolina
Iredell County Community Foundation
Vance County Community Foundation
2022/23 TEACHER WORKBOOK • 7
• Samuel Coleridge-Taylor was named after English poet Samuel Taylor Coleridge. Many of his compositions were inspired by poetry, including poetry by his namesake.
FEATURED WORK: Othello Suite, Op. 79, I. Dance
BIOGRAPHY (in Student Book)
FUNDAMENTAL OF MUSIC: Introduction
Samuel Coleridge-Taylor was born in London, England in 1875. His mother was also born in England, and his father in Sierra Leone. Coleridge-Taylor began studying violin at a young age and was admitted into the Royal College of Music in 1890, at age 15. He rose to success as a composer despite the rampant racism of the time. In 1899, Coleridge-Taylor first heard African-American spirituals, and soon began incorporating them into his own compositions. He toured America three times, in 1904, 1906, and 1910, and there met a large community of Black musicians who both admired and inspired Inhim.addition to composing, Coleridge-Taylor was also an activist. He was a prominent figure in the first Pan-African Conference in London in 1900, which aimed to address the issues of racism and colonialism. Additionally, he sought to fight for respect for music of the African diaspora by featuring it prominently in his compositions.
Samuel ColeridgeTaylor
The five-movement Othello Suite was written as incidental music in 1909 for a 1912 production of Shakespeare’s Othello at His Majesty’s Theatre in London. “Incidental music” is used in a film or a play as a background to accompany action or create a mood.
DIED: September 1, 1912, Croydon, England
• At the Royal College of Music, Coleridge-Taylor studied music under Charles Villier Stanford, who also taught many other famous composers of the time, including Gustav Holst and Ralph Vaughan Williams.
BORN: August 15, 1875, London, England
FUN FACTS (in Student Book)
• During a visit to America, Coleridge-Taylor was invited to the White House to meet with President Theodore Roosevelt.
While listening to this opening movement, you can almost visualize the action and energy of a live theater performance. After a dramatic entrance, this particular movement settles into a dance-like rhythm that slowly grows in tension and energy throughout.
Notice how the various elements of music—tempo, texture, dynamics, melody, rhythm, and form—come together to create a feeling of energy and motion.
Classroom activities provided by Melissa Coxe, Eastern Elementary School, Pitt County
• Video Recording: Othello Suite, Op. 79, Dance
Students will identify the form of the piece as ABA. They will perform the A section on unpitched classroom instruments and create movement for the B section. They will be able to describe the different sections using appropriate music terminology.
NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:
3. Review ABA form. You can use a sandwich cookie to show this. Have students describe the cookie layer—chocolate, hard, designs, crunchy—and write what they say on the board. Then, have students describe the cream—white, vanilla, soft, smooth—and ask students “What would we call the last cookie? Why?” Explain that the A section and B section are different.
• Slides from workshop presentation
• Unpitched classroom instruments
2. Explain that Othello Suite, Op. 79, I. Dance by Samuel Coleridge-Taylor is the first piece they will hear at the concert. Have students read Coleridge-Taylor’s biography from the workbook and share three facts they found interesting.
6. Teach the rhythm for the A section. Students will perform the rhythm on unpitched instruments.
8. Put it all together! Students will perform the A section rhythm on unpitched classroom instruments, followed by movement on the B section, and then back to instruments on the A section.
8 • NORTH CAROLINA SYMPHONY
4.ML.3.1 Use improvisation to create stylistically appropriate answers to given rhythmic and melodic phrases.
• Video: “George Meets the Orchestra” Introduction-Orchestra
PROCESS:
9. Listen to the piece again and ask the students to describe what they hear in the A section. Students can work with partners, in small groups, or as a whole group. Repeat this process with the B section. Share student answers on the board.
4.MR.1.4 Classify instruments into Western orchestral categories of wind, string, percussion, and brass.
10. If time permits, listen to the piece again, this time focusing on the theme/motif. You can have the students work in pairs, small groups, or two big groups. One group will play the rhythm on unpitched instruments, while the other group will create a movement on the sixteenth-note response. Have the students switch when the A section repeats.
1. Tell the students “We are going on a field trip to see the orchestra!” and watch “George Meets the Orchestra.”
4. In pairs or small groups, ask students “Where can you find examples of ABA form?” Examples: sandwich cookie, jelly sandwich, colors of carpet squares, etc.
MATERIALS:
CLASSROOM ACTIVITY #1: Let’s Play!
OBJECTIVE:
• Scarves/streamers
5. Listen to Othello Suite, Op. 79, I. Dance to determine where the B section is and when A comes back by keeping a steady beat and changing it for the B section.
7. Students will create a series of movements for the B section. They may use scarves, streamers, whatever you have on hand, or nothing at all to create the movements. Some students/classes prefer not to use manipulatives to create movements.
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures.
4.ML.2.1 Interpret rhythm patterns, including whole, half, dotted half, quarter, and eighth notes and rests in 2/4, 3/4, and 4/4 meter signatures.
• Paper and pencil (crayons, markers, colored pencils if desired)
CLASSROOM ACTIVITY 2: STEAMM roller
4.MR.1.4 Classify instruments into Western orchestral categories of wind, string, percussion, and brass. 4.MR.1.3 Design a specific set of criteria for evaluating music performances and compositions. 4.CR.1.2 Understand the relationship between music and concepts from other areas.
6. Convert back to minutes and seconds—85 seconds equals 1 minute 25 seconds. Jump to this part in the piece, where the lead into A begins!
NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:
5. Multiply total number of seconds by the inverse of Phi 0.618 (138 x 0.618 = 85.284).
8. If time permits, design an orcheatrabot! Watch this video, stopping after each orchestrabot is built to discuss the instruments used.
• Video: “Orchestrabots” Introduction-Orchestrabots
9. Using paper and pencil, have students create their own orchestrabot based on what they hear in the piece. Feel free to use colored pencils, crayons, markers, etc. Students may mix and match instrument families; however, they must label instruments in a manner consistent with a scientific illustration. Students should name their orchestrabot and write a sentence why they chose those specific instruments.
Students will learn what the Golden Moment in music is and find it in Othello Suite, Op. 79, I. Dance. They will create a Line Rider focusing on the Golden Moment, and create an “orchestrabot.”
• Video Recording: Othello Suite, Op. 79, I. Dance
• Video: “The Golden Ratio and Fibonacci in Music” Introduction-Ratio
MATERIALS:
1. Teach students about the Golden Ratio—a mathematical ratio of beauty found throughout nature and used in art, music, and architecture.
3. After listening to Othello Suite, Op. 79, I. Dance, ask students where they think the Golden Moment or climax of the piece is.
OBJECTIVE:
4. Calculate the Golden Ratio/Golden moment by determining the length in seconds—2 minutes 18 seconds will be turned into 138 seconds.
PROCESS:
• Application: Line Rider Introduction-Line Rider
2022/23 TEACHER WORKBOOK • 9
2. Show this video to students to learn about the Phi Moment or the Golden Ratio/Moment in music. Feel free to watch the entire video, but the section from 5:05-5:50 is most relevant.
• Student devices (chromebook, iPad)
7. Illustrate the Golden Moment by creating a Line Rider. Visit www.linerider.com and click play to create your own Line Rider video. Students can upload their work and send it to you.