Lesson 5: Texture

MADE POSSIBLE BY

LESSON 5

TEXTURE

TEACHER WORKBOOK

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NORTH CAROLINA SYMPHONY EDUCATION SUPPORTERS

Our Education Concert is created in partnership with the North Carolina Department of Public Instruction and is made possible by a generous grant-in-aid from the State of North Carolina, the Honorable Roy Cooper, Governor; the Honorable Susi H. Hamilton, Secretary for Natural and Cultural Resources. We express our gratitude to our Boards of Trustees: The Symphony’s mission to achieve the highest level of artistic quality and performance standards, and embrace the dual legacies of statewide service and music education, is led by the North Carolina Symphony Society, Inc., and the Symphony’s endowed funds are held by the North Carolina Symphony Foundation, Inc. EDUCATION SUSTAINERS

Anonymous Trust / Simple Gifts Fund EDUCATION BENEFACTORS

The Bastian Family Charitable Foundation

EDUCATION PATRONS

Anonymous; Robert P. Holding Foundation, Inc.; Samuel P. Mandell Foundation; Youths’ Friends Association Inc. EDUCATION PARTNERS

Gipson Family Foundation

Swearingen Foundation

Alamance County Government

Granville County Community Foundation

The Titmus Foundation

Arts Council of Carteret County

Gregory Poole Equipment

Vance County Community Foundation

The Harold H. Bate Foundation

The Hellendall Family Foundation of North Carolina

Yadkin County Community Foundation

Iredell County Community Foundation

MUSIC EDUCATION ENDOWMENT FUNDS

Beane Wright Foundation Bell Family Foundation Bertsch Family Charitable Foundation, Inc. The Borden Fund, Inc. Carteret Community Foundation Cherbec Advancement Foundation The Cole Foundation

Jacksonville-Onslow Council for the Arts Kinston Community Council for the Arts The Landfall Foundation The Noël Foundation Onslow Caring Communities Foundation Outer Banks Community Foundation

The Joseph C. and Diane E. Bastian Fund for Music Education The Ruby and Raymond A. Bryan Foundation Fund The Mary Whiting Ewing Charitable Foundation Fund

Corning Incorporated Foundation

Poole Family Foundation

The Hulka Ensemble and Chamber Music Programs Fund

Edna Williams Curl and Myron R. Curl Charitable Fund

Prescott Family Charitable Trust

The Janirve Foundation Fund

The Florence Rogers Charitable Trust

The Elaine Tayloe Kirkland Fund

Emily Monk Davidson Foundation

E.T. Rollins, Jr. and Frances P. Rollins Foundation

The Dickson Foundation, Inc.

The Norman and Rose S. Shamberg Foundation

The Ina Mae and Rex G. Powell Wake County Music Education Fund

The William C. Ethridge Foundation, Inc.

The Eddie and Jo Allison Smith Family Foundation, Inc.

Mr. and Mrs. Jeffrey A. Corbett

The Lundy Fetterman Family Foundation Trust George Foundation, Inc.

Southern Bank Foundation

Authors: Barina Bailey, Zadda Bazzy, Emily Cannady, Laura Martin, Andrea, Perrone, Susan Reynolds Designer: Kimberly Ridge Editors: Sarah Baron, Jason Spencer, Layla Dougani, Erin Lunsford North Carolina Symphony, 3700 Glenwood Ave., Suite 130, Raleigh, NC 27612, 919.733.2750 ncsymphony.org/education North Carolina Symphony Student and Teacher Handbook © 2017, 2020 by North Carolina Symphony Society, Inc. Reproduction of this book in its entirety is strictly prohibited.

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THE OVERALL SOUND OF THE ENSEMBLE, BASED ON HOW THE INSTRUMENTS ARE COMBINED TOGETHER

TEACHER WORKBOOK

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ARAM KHACHATURIAN

BORN June 6, 1903, Tbilisi, Georgia DIED May 1, 1978, Moscow, Russia

Biography Aram Khachaturian was one of the most influential musicians of the 20th century. His works are widely performed on renowned theater stages, concert platforms, and even in the media on the radio, television, and cinema. He was born in Kodzhori (modern-day Tbilisi) to an Armenian family of bookbinders. At that time in Tbilisi, there was a Russian Musical Society (RMC), a music school, and an Italian Opera Theatre. These were often visited by celebrated cultural representatives such as Fyodor Shalyapin, Sergei Rachmaninov, and Konstantin Igumnov. Despite his early musical interest, Khachaturian did not study music until he was 19. In 1922, after arriving in Moscow, he enrolled in a cello class at Gnesin Music School and received a degree in biology from the Department of Physics and Mathematics at Moscow State University. His musical abilities grew quickly, and he soon became one of the best students. He was granted an opportunity to perform in the Small and Grand Halls of the Moscow Conservatory. In 1925, his career as a composer began when his school opened a composition class. Shortly thereafter, he was admitted into the Moscow National Conservatory. Although Khachaturian followed the musical traditions of Russia in his compositions, he also broadly used Armenian folk music. In his homeland of Armenia, he is still highly regarded and is considered a “national treasure.”

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Featured Work

Waltz from Masquerade Suite

Fun Facts Khachaturian thought of becoming a doctor or engineer before he became a professional musician.

Khachaturian “Russianized” his name to Khachaturov for 18 years.

Khachaturian was one of the few composers whose first instrument was the tuba.

KHACHATURIAN’S LIFE • Known as a composer of symphonies, concertos, ballets, symphonic suites, and film music.

• Known as a cellist.

• Greatly influenced by his Armenian upbringing.

• Enjoyed nationalistic genres including folk song.

• Studied at Moscow State University, Gnesin Music School, and the Moscow Conservatory • Composed his first work at 30 years old in 1933.

• Wrote music for theater — Baghdasar Akhpar (1927), Oriental Dentist (1928), Debt of Honor (1931), Masquerade (1941), Macbeth (1955), King Lear (1958), etc.

• Wrote music for film — Pepo (1935), Zangezur (1938), The Garden (1939), Battle of Stalingrad (1949), Othello (1956), Combat (1957), etc.

• Taught at a Mexican Conservatory.

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FEATURED WORK: Waltz from Masquerade Suite

Masquerade is a play by Russian poet and playwright Mikhail Lermontov. It premiered June 21, 1941, in the Vakhtangov Theatre in Moscow, the day before the German Invasion. The 1956 production of the show ran for 73 performances. Like many of Khachaturian’s other works, the Masquerade Suite is known for its colorful orchestration, singing melodic lines, and integral rhythmic drive. Khachaturian’s five-movement arrangement demonstrates an ironic contrast to the grimness of the music he originally wrote for the play.

Brief Plot Synopsis:

Masquerade tells the tragic story of a woman who is killed by her husband over a false accusation of adultery.

Beginning at the grand masquerade ball, Baroness Schtral bestows the prince, with whom she is secretly in love, a bracelet as a token of her affection. Disguised by her mask, the prince is unaware of who she is. He asks his acquaintance, Arbenin, to search for her. However, Arbenin notices that his own wife, Nina, is missing her bracelet, suspiciously resembling the one the Prince carries. Nina, convincing her husband that she must have lost it at the masquerade, searches the Baroness’ home. She accidentally happens upon the prince, who also seems to think that she is his mystery woman. Rumors quickly spread and Arbenin becomes enraged, and begins plotting his revenge on his wife. The Baroness, having heard the rumors, rushes to confess to the prince that it was she who had given him the bracelet. At the next ball, the prince returns the bracelet to Nina and warns her of her husband’s animosity. Later that night Nina falls gravely ill, as Arbenin poisoned her ice cream. As a final plea, Nina assures her husband that she is innocent and that it had all been a big misunderstanding, but it is too late, and she dies. It is not long thereafter that Arbenin realizes the extent of his mistake; the prince confirms Nina’s dying words that there was no affair. As proof, he gives Arbenin a letter from the Baroness.

Classroom activities provided by Zadda Bazzy, Queens Creek Elementary, Onslow County

CLASSROOM ACTIVITY #1: Performing Different Textures North Carolina Essential Standards in Music:

4.ML.1.1 – Apply expressive qualities when singing or playing a varied repertoire of music representing genres and styles from diverse 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.

4.ML.3.2 – Create compositions and arrangements using a variety of traditional and non-traditional sound sources.

Objectives: Students will use classroom instruments to perform different textures.

Materials:

• Four sets of instruments (drums, woods, metals, shakers) • Visuals of four rhythms (below) • Accompanying slides

Process:

1. Introduce the concept of texture – the layers of sounds in a piece of music. Music can have a thick texture or thin texture depending on how many instruments are playing or how many musical ideas are happening at the same time.

2. Play the following examples of textures in music. Have the class identify the texture they see and hear.

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https://tinyurl.com/y2hox6ad (Thin)

https://tinyurl.com/y3u7boys (Thick)

https://tinyurl.com/y3hgqmkw (Thin to thick) https://tinyurl.com/y6y4l5le (Thick to thin)

https://tinyurl.com/y2ov9nd2 (Thin to thick to thin)

https://tinyurl.com/y6dskqgr (Thick to thin to thick to thin to thick)

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3. Have the class read the following rhythms on rhythmic syllables (such as “ta ta ti-ti ta�).

4. Have the class perform the four rhythms on body percussion.

5. Divide the class into four groups.

6. Have two groups perform their rhythms at the same time to create a thicker texture. Repeat the rhythms as ostinatos. Conduct the class with a cutoff gesture to stop groups from playing. Try different combinations of two groups so every group has opportunities to practice.

7. Create a thicker texture by having three groups perform at the same time. Try different combinations of three groups.

8. Have all four groups perform at the same time. (NOTE: With a small group of students, it may be too difficult for students to perform in four groups since there would be fewer students in each group.)

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9. Provide instruments to the groups as follows:

10. Practice performing the rhythms with instruments. Try different combinations of groups – two groups, three groups, and/or four groups.

11. Lead the class in creating a plan for a performance. Which group(s) will perform first? What will the texture be? Will more groups layer in after? How will that change the texture? How will the piece end? Refer to the examples in step 2 for ideas on how the piece could be structured.

12. Practice the piece, then perform it for the homeroom teacher and/or principal.

13. For a formative assessment, have students complete an exit slip explaining what texture is in music.

14. Extension with STEM: Have students use technology to create their own piece of music featuring texture by using the Song Maker experiment in Chrome Music Lab at https://musiclab.chromeexperiments.com/SongMaker. Students can save their piece and submit a link to it so the teacher can review the student’s work.

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CLASSROOM ACTIVITY #2: Virtual Lesson on Texture North Carolina Essential Standards in Music:

4.MR.1.1 – Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures.

Objectives: Students will watch a video of the North Carolina Symphony and answer questions about texture.

Materials:

• North Carolina Symphony Education video • Questions based on video

Process:

1. For a virtual lesson, teachers may introduce the activity by sharing a brief mini-lesson video where teachers:

Explain that texture is the layers of sounds in a piece of music. Music can have a thick texture or thin texture depending on how many instruments are playing or how many musical ideas are happening at the same time.

Provide a brief history on Khachaturian and his Waltz from Masquerade Suite.

Explain the expectation for the lesson. Students will watch a video, answer questions, and submit their answers to the teacher. Teachers must explain how students will submit their answers in a virtual environment.

Remind students that they can pause the video and/or re-watch sections of the video to make it easier to answer the questions.

Model how to find a particular time in the video. For example, question #3 (below) refers to 1:12 in the video.

Show students how to find that specific moment.

2. Students watch the North Carolina Symphony video on texture featuring Khachaturian’s Waltz from Masquerade Suite.

3. Students answer the following questions:

What is texture in music? (the overall sound of the instruments that are playing; how the music feels)

What family of instruments plays at the beginning of the piece? (the string family)

When the video is at 1 minute and 12 seconds (1:12), is the texture thick or thin? (thin)

When the video is at 2 minutes and 21 seconds (2:21), is the texture thick or thin? (thick)

When the video is at 3 minutes and 28 seconds (3:28), is the texture thick or thin? (thick)

Does the timpani play on the last note of the piece? (yes)

Why do you think composers change texture in music? (Answers will vary)

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CLASSROOM ACTIVITY #3: Spot the Difference North Carolina Essential Standards in Music:

4.MR.1.1 - Illustrate perceptual skills by moving to, answering questions about, and describing aural examples of music of various styles and cultures.

North Carolina Essential Standards in Dance:

4.DM.1.1 - Illustrate safe movement choices through the use of dance technique, including balance, rotation, elevation, and landing in dance movement.

Objectives: Students will identify different musical ideas or themes through movement. Students will describe changes in texture using the musical vocabulary “thick” and “thin.” Students will infer meaning based on a composer’s musical choices.

Materials: Computer, Waltz Themes slide (provided below), North Carolina Symphony Education video, scarves and/or blue ribbon (optional).

Process:

1. Review the four instrument families and their sounds with this video.

2. Open the Waltz Themes slide. Click on each picture in the slide to play a musical theme from the Waltz.

3. Play each clip again, and this time ask students to name the instrument families they hear in each.

4. Now introduce different body movements for each theme. Here are some suggestions:

MOUSE: Scurry around the room sneakily.

TREE: Sway your hands above your heads; use scarves if desired!

WATER: Swirl your hands in circular patterns; use blue ribbon if desired!

CAROUSEL: Skip in a circle Play the entire North Carolina Symphony Education video (Texture) and have students change their movements as the different themes are heard.

5. Students may have noticed that each theme was heard more than once. Listen to the piece again, and this time students will play detective! Ask them to choose one particular theme and spot how the theme changes when it repeats. (HINT: It has to do with the instrument families that are playing!)

6. Ask students these guiding questions:

What instruments or instrument families do you hear the first time your theme is played?

What instruments or instrument families do you hear the second time your theme is played?

How would you describe the way the texture changes? Did it become “thicker” or “thinner”?

Why do you think Khachaturian changed the music in this way?

STATE HEADQUARTERS 3700 GLENWOOD AVE, SUITE 130, RALEIGH, NC 27612 919.733.2750 ncsymphony.org North Carolina Symphony Student Handbook © 2020 by North Carolina Symphony Society, Inc. Reproduction of this book in its entirety is strictly prohibited.

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