Made possible by
2O22/23Music WhatMusic,Makes
The North Carolina Symphony gratefully acknowledges financial support from Wake County, the City of Raleigh, and the State of North Carolina.
Iredell County Community Foundation
NCS also gratefully acknowledges the following supporters:
Swearingen Tannenbaum-SternbergerFoundation Foundation, Inc.
Mary Grey Burney Foundation Carteret Community Foundation The Cole Foundation
New Hanover County Government Onslow Caring Communities Foundation
Alex and Barbara Wilson Charitable Foundation, Inc.
Dr. Neil McLeod
William C. Ethridge Foundation, Inc.
Anonymous (2), Anonymous Trust / Simple Gifts Fund, The Bastian Family Charitable Foundation
PATRONSEDUCATIONSUSTAINERSEDUCATION
The Norman and Rose S. Shamberg Foundation
Florence Rogers Charitable Trust E.T. Rollins, Jr. and Frances P. Rollins Foundation
EdnaCuri
Vance County Community Foundation
The Mary Whiting Ewing Charitable Foundation Fund
Durham Public Schools
The Lundy Fetterman Family Foundation Trust George Foundation, Inc.
New Hanover County Schools
Southern Bank Foundation
MUSIC ENDOWMENTEDUCATIONFUNDS
Poole Family Foundation
Edgecombe County Schools
Dover Foundation, Inc.
Moore County Community Foundation
The Unifour Foundation, Inc. Endowment
Chapel Hill-Carrboro Schools
BENEFACTORSEDUCATION
Harry and Virginia Killian Charitable LenoirEndowmentCounty Community Foundation
SCHOOL SYSTEM SUPPORTERS
Granville County Community Foundation Gregory Poole Equipment
Onslow County Government Outer Banks Community Foundation
Williams Curl and Myron R. Curl Charitable Fund
Margaret C. Woodson Foundation
Cumberland County Schools
Orange County Schools
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 Ruby and Raymond A. Bryan Foundation Fund
Designer: Jennifer Blackman, Graphic Designer, North Carolina Symphony
Editors: Jason Spencer, Director of Education, North Carolina Symphony; Christopher Short, Education Assistant, North Carolina Symphony; Rhoda Yakowenko Education Intern, North Carolina Symphony
The Joseph C. and Diane E. Bastian Fund for Music Education
The Borden Fund, Inc.
Authors: Laura Black, Melissa Coxe, Pamela Day, Erin Fossa, Mary Michael, Jennifer Starkey
Gipson Family Foundation
Mark and Gayle Acuff Alamance County Government AnonymousAnonymous Fund
The Hellendall Family Foundation of North Carolina
Rockingham County Community Foundation
EDUCATION PARTNERS
Prescott Family Charitable Trust W. Trent Ragland, Jr. Foundation Rete Mirable Fund
North Carolina Symphony, 3700 Glenwood Avenue, Suite 130, Raleigh, NC 27612, 919.733.2750, or toll free 877.627.6724 www.ncsymphony.org/education
The Dickson Foundation, Inc.
The Hulka Ensemble and Chamber Music Programs Fund
The Eddie and Jo Allison Smith Family Foundation, Inc.
The Elaine Tayloe Kirkland Fund
Bertsch Family Charitable Foundation, Inc. BlueCross BlueShield of North Carolina
The Ina Mae and Rex G. Powell Wake County Music Education Fund
Supporters are current as of July 2022
R.A. Bryan Foundation, Inc.
The Titmus Foundation
Wake County Public Schools
The Harold H. Bate Foundation Bell Family Foundation
Lee County Schools
Bailey Endowment, Inc.
Harnett County Schools
The Backyard Foundation, Robert P. Holding Foundation, Inc., Samuel P. Mandell Foundation, James J. and Mamie R. Perkins Memorial Fund, Youths’ Friends Association Inc.
Mr. and Mrs. Jeffrey A. Corbett Corning Incorporated Foundation Craven County Community Foundation
The Janirve Foundation Fund
NORTH CAROLINA SYMPHONY EDUCATION SUPPORTERS
• He was disorganized and would refuse to organize his music. Decades later, Ludwig Ritter von Köchel catalogued everything and saw how much music Mozart had written.
Form can be described as the map, the layout, or the blueprint for the structure of the music. It is the overall organizational plan the composer creates, dividing the composition into sections arranged in a specific order.
DIED: December 5, 1791, Vienna, Austria
• He spoke 15 languages! Travelling the world as a musician helped him pick up languages at nearly every stop.
Wolfgang Amadeus Mozart
At no time was the separation between Mozart’s personal life and his transcendent music more apparent than in the summer of 1788—when, at the age of 32, he had only three years to live. His family was navigating health issues, his work was falling short of expectations, and he was in financial trouble. Yet, amid all these difficulties, he produced the three crowning jewels of his orchestral output: Symphonies No. 39, 40, and 41.
FUNDAMENTAL OF MUSIC: Form
Born in Salzburg, Austria, Wolfgang Amadeus Mozart showed promise at an early age. Watching his older sister practice the piano helped shape his basic understanding of musical concepts. It wasn’t long before his father, an accomplished composer and musician, began tutoring him to advance his playing. At just six years old, he and his sister started performing for audiences. The stress of touring presented frequent health issues within the family and made for a difficult childhood. These obstacles didn’t stop Mozart from carrying on as a composer and a performer.
FEATURED WORK: Symphony No. 40 in G Minor, K. 550, I.Molto allegro
FUN FACTS (in Student Book)
BORN: January 27, 1756, Salzburg, Austria
10 • NORTH CAROLINA SYMPHONY
BIOGRAPHY (in Student Book)
As he got older, Mozart eventually arrived in Vienna where he wrote music, taught lessons, and performed in various venues. His life wasn’t long, but he performed often and collaborated with other composers to create timeless art. He continued to write operas, string quartets, symphonies, and more until the end of his life, becoming one of the most well-known composers in history.
In particular, the G-Minor symphony reflects the composer’s distressed emotional state at the time. It is one of the great works of Mozart that look forward to music of the 19th century while holding on to the structure from the Classical era. Many writers consider the G-minor Symphony to be equally influenced by Classicism and Romanticism.
• Mozart had many different pets, including a horse, a dog, and two songbirds: a starling and a canary.
2.ML.1.4 Apply changes in music to the elements of dynamics, tempo, melody, and form.
• White board and markers
• Video Recording: Symphony No. 40 in G Minor, K. 550, I. Molto allegro
5. Ask students to help find the form of “Twinkle, Twinkle, Little Star” and write it on the board. (ABA)
• Audio Recording (optional): “Twinkle, Twinkle, Little Star”
b. Did you hear a full orchestra or a small group of instruments?
c What instruments did you hear?
9. Divide students into partners or small groups. Give each group several of each melody pattern.
d. How many different sections of music do you think you heard?
11. If time permits, have students play their “arrangements” on xylophones or sing their melodies.
Classroom activities provided by Erin Fossa, Ferguson Easley Elementary School, Cumberland County
3. This time while singing through the song, ask students to raise their hands during the first line of the song, put it down when the melody changes and put it back up when that first line repeats. You may need to do this twice.
2022/23 TEACHER WORKBOOK • 11
c Is there a pattern to the song?
MATERIALS:
Students will understand the concept of form in music and identify the particular form of Mozart’s Symphony No. 40. Students will then arrange premade melodies into a particular form with a partner or group.
10. Tell students that you are going to give them a form and they must “arrange” a song in that form.
8. Together, map out the form of the first movement of Symphony No. 40 using letters.
5.MR.1.2 Use music terminology in explaining music, including notation, instruments, voices, and performances.
NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:
OBJECTIVE:
PROCESS:
Example: Give students the form ABA. They must choose three melodies and the first one must match the third. Students work with their groups, then check their work.
a. Why is it easy for small children to learn “Twinkle, Twinkle, Little Star”?
CLASSROOM ACTIVITY #1: I Can Make Music Like Mozart!
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures.
1. Begin by explaining the lesson objective – to understand and identify form in music.
2. As a class, sing “Twinkle, Twinkle, Little Star” either with accompaniment or without. Ask the following questions:
7. Ask these questions:
b. Do you remember how you memorized the song?
2.MR.1.1 Illustrate prominent musical characteristics or specific musical events while listening to and/or singing music.
• Groups of pre-made melodies on small colored cards using solfege syllables (See examples!)
6. Give background on Mozart and his Symphony No. 40. Ask students to listen carefully as you play the first movement.
a. Have you heard this song before?
4. Explain that music is organized into patterns and we call this form. We use letters to represent each section of the song.
5.MR.1.2 Use music terminology in explaining music, including notation, instruments, voices, and performances.
So Mi So Mi
OBJECTIVE:
• Colored scarves or flags
2. Introduce Mozart and explain that he was a child musician with great talent. Use this time to define what a “composer” is. Ask these questions:
a. What was different about the two sections?
4. After listening and moving, ask students:
a. Did this music sound happy or sad?
c. Can you think of any other songs that have two different sections?
K.MR.1.1 Use musical terminology when describing music that is presented aurally.
MATERIALS:
NORTH CAROLINA ESSENTIAL STANDARDS IN MUSIC:
5. Pass out colored scarves. As the music plays, have students begin by moving their scarves side to side. Tell them when the music changes, they should move their scarves up and down. When they hear the sections repeat, they should repeat that movement.
7. Once students have learned the song, have them play percussion on the “shoo fly” section and stop on the “morning star” section. Ask:
b. How else could you make the sections different?
b. How would writing a piece of music make you feel?
Students will understand the concept of form in music and identify changes in different songs of varying styles.
a. Have you ever wanted to write music?
• Audio Recording (optional): “Twinkle, Twinkle, Little Star”
• Video Recording: Symphony No. 40 in G Minor, K. 550, I. Molto allegro
1. Begin by telling students the lesson objective—to identify changes in music they hear.
6. Have students sit in a circle with percussion instruments. Teach the song “Shoo Fly.”
CLASSROOM ACTIVITY #2: Changes, Changes Everywhere!
1.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures.
12 • NORTH CAROLINA SYMPHONY Card Examples Do Mi So Do’ So La So Mi Do Do Do Re
• Assorted percussion instruments and/or rhythm sticks
PROCESS:
3. Have students stand and move to the music as they listen to Mozart’s Symphony No. 40.
c. How did the music make you feel and why?
Do’ Ti La Ti Re Re Re Do
b. What instruments did you hear?
c. Would you write music that was happy or sad?
4.MR.1.1 Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures.