Igudesman & Joo (Grades 6-8) by The Broad Stage

IGUDESMAN & JOO STUDY GUIDE

The Broad Stage presents

Igudesman & Joo

15/16 SEASON

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Study Guide THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560

IGUDESMAN & JOO STUDY GUIDE

Greetings from The Broad Stage! Dear Educators, Thank you for bringing your students to The Broad Stage to experience Igudesman & Joo in March. Your students are a wonderfully enthusiastic bunch and the artists (and our staff) were delighted to have them at the theatre!

What we have created for you is a combination of musical appreciation lessons, music theory, and skill building opportunities, all centered around the assertion that classical music need not be so…classical. Our hope is that these lessons are scalable to your students’ needs – less musically proficient students will learn basic note values and stylistic markings, while those who are more advanced musicians can be challenged by the opportunities for musical improvisation in the style of Igudesman & Joo. As a follow-up to the Igudesman & Joo performance experience, we ask that you take a few minutes to look through this study guide, which is based on Common Core and VAPA State Standards. Our goal is to support your efforts not only in working with students around this particular material, but in integrating the arts into other aspects of your students’ day to day learning process. We are honored to have you and your students as a part of our Broad Stage family. We admire your hard work every day and are so fortunate to be working with such a talented and engaged group of educators! Thank you for taking this journey with us and for your continued dedication to your students’ academic and artistic development. Sincerely, Alisa De Los Santos Manager of Education & Community Programs delossantos_alisa@smc.edu

Klarissa Leuterio Education & Community Programs Coordinator leuterio_klarissa@smc.edu

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The following curriculum is designed as a post-show exploration of the musical concepts and creative methods that your students experienced during the performance. Ordinarily, we ask teachers to prepare students ahead of time, but given the playful and slightly irreverent nature of the performance, we couldn’t pass up the opportunity to give you less ‘traditional’ classical music curriculum.

IGUDESMAN & JOO STUDY GUIDE

Contents Lessons Lesson 1: Musical Mayhem – Humor in Classical Music Handout 1: Haydn’s Surprise Listening Map Lesson 2: The Nitty-Gritty of Musical Expression Handout 2: Articulation Worksheet

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Handout 3: Musical Word Search

Index

Musical Definitions Articulation Symbols List of Listening Resources CCSS/VAPA Standards

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Lesson 3: Winging It – Improvisation in Music

IGUDESMAN & JOO STUDY GUIDE

LESSON 1 Musical Mayhem: Humor in Classical Music (Post-show lesson, 50 minutes) Description: Students will discuss the use of humor in performance and explore elements of classical music. Goals: •

Reflect on their experience at the Igudesman and Joo performance.

•

Examine the use of humor in the performance and how the music itself contributed to the overall mood of the concert.

•

Be introduced to essential elements of classical music with listening, visual and kinesthetic experiences.

•

Make connections about the use of musical elements in the emotional quality of a composition.

Materials: Computer; Internet connection to YouTube with audio playback, iPod, or other device for playing music, or CD with pre-selected musical excerpts (suggestions are included in this lesson); whiteboard; whiteboard markers; and Handout 1: Haydn’s “Surprise” Listening map. Standards Addressed: CCSS: ELA-LITERACY.SL.6.1, CCSS:ELA-LITERACY.SL.6.2, CCSS: ELA-LITERACY.SL.6.6, CCSS: ELA-LITERACY. SL.7.1, CCSS: ELA-LITERACY.SL.7.2, CCSS: ELA-LITERACY.SL.7.6, CCSS: ELA-LITERACY.SL.8.1, CCSS: ELALITERACY.SL.8.2, CCSS: ELA-LITERACY.SL.8.6 CCSS: ELA-LITERACY.L.6.3, CCSS: ELA-LITERACY.L.6.4, CCSS: ELA-LITERACY.L.7.3 CCSS: ELA-LITERACY.L.7.4, CCSS:ELA-LITERACY.L.8.3, CCSS: ELA-LITERACY.L.8.4,VAPA: MUSIC.6-1.5, VAPA:MUSIC.6-1.6, VAPA: MUSIC.7-1.5, VAPA:MUSIC.7-1.6, VAPA: MUSIC.8-1.5, VAPA: MUSIC.8-1.6, VAPA: MUSIC.8-1.7.

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Students will:

IGUDESMAN & JOO STUDY GUIDE

LESSON 1, cont. Part 1: Engagement Ask students to share their experiences from the Igudesman and Joo performance. Create a list on the whiteboard of descriptive words about the performance. Explain how the music itself also contributed to the mood of this concert. Ask students to share what they remember about the songs that were performed. Introduce composer Ludwig Van Beethoven and share that Beethoven was a German composer who lived over 200 years ago. He lost his hearing halfway through his life, yet he composed some of the most respected pieces for symphony orchestra and solo piano. He also had a great sense of humor and was a practical joker.

Play the first 1-2 minutes of Beethoven’s Rondo e Capriccio, aka “Rage Over a Lost Penny”. https://www.youtube.com/watch?v=zQn4Qfy_Bek. Ask students to tap along on their desks while listening. Ask students to describe the music they heard. Make list on the board of different musical elements (slow, fast, happy, sad, etc.) Explain that Beethoven used playful rhythms and a quick tempo (more than twice as fast as the second hand on a clock), to create this silly, merry piece.

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Explain that the video clip they are going to see shows Beethoven’s amazing talent for composition as well as his lighthearted side.

IGUDESMAN & JOO STUDY GUIDE

LESSON 1, cont. Part 2: Activity Discuss the ways a composer can create variety and mood in a piece of music. These might include: using different instruments; using different melodies, rhythms and harmonies; going faster or slower; playing louder or softer. Define musical dynamics.

Musical Dynamics: The loudness or softness of a piece.

Explain that the Musical Dynamics can change gradually or suddenly. Define sforzando.

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Introduce Joseph Hadyn and share that he was a Classical composer who wrote music for the princes and princesses of a noble family in Austria. His music for symphony orchestra is so amazing that he earned the nickname, “Father of the Symphony”. Explain that the video clip they are about to hear is nicknamed “Surprise” because Haydn used sforazandi to create musical “surprises”. This is the second movement from his 94th Symphony. Distribute Handout 1: Haydn’s “Surprise” Listening Map Listen to the “Surprise” movement while tapping along to the listening map. Encourage students to change their tap when they hear a sfrozandi. https://www.youtube.com/watch?v=TCzjfr5IkGI Ask students how the use of sforzandi affected them. Ask students what mood was created with this piece and what other musical elements contributed to that mood.

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Sforzando: A sudden accent or emphasis in the music.

IGUDESMAN & JOO STUDY GUIDE

LESSON 2 The Nitty-Gritty of Musical Expression (Post-show lesson, 50 minutes) Description: Students will explore aesthetic qualities of a piece of music and evaluate the quality and effectiveness of a musical performance.

Materials: A ball; computer; Internet connection to YouTube with audio playback, iPod, or other device for playing music, or CD with pre-selected musical excerpts (suggestions are included in this lesson); whiteboard; whiteboard markers; and Handout 2: Articulation Worksheet. Standards Addressed: CCSS: ELA-LITERACY.SL.6.1, CCSS: ELA-LITERACY.SL.6.2, CCSS: ELA-LITERACY.SL.6.6, CCSS:ELA-LITERACY. SL.7.1, CCSS:ELA-LITERACY.SL.7.2, CCSS: ELA-LITERACY.SL.7.6, CCSS: ELA-LITERACY.SL.8.1, CCSS: ELALITERACY.SL.8.6, CCSS: ELA-LITERACY.L.6.3, CCSS: ELA-LITERACY.L.6.4, CCSS:ELA-LITERACY.L.7.3, CCSS:ELALITERACY.L.7.4, CCSS: ELA-LITERACY.L.8.3, CCSS: ELA-LITERACY.L.8.4, VAPA:MUSIC.6-4.1, VAPA:MUSIC.6-4.2, VAPA:MUSIC.7-4.1, VAPA:MUSIC.7-4.2, VAPA: MUSIC.8-4.1, VAPA:MUSIC.8-4.1, VAPA: MUSIC.8-4.2

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Goals: Students will: • Be introduced to aesthetic qualities of a musical composition through listening, kinesthetic and visual experiences. • Hear and see video of the symphony orchestra. Students will learn about a conductor’s role in communicating articulation to the orchestra. • Learn about notation and hear the effect of articulation markings in musical performance. • Notate articulation markings in music and conduct their compositions. • Learn classical music vocablulary.

IGUDESMAN & JOO STUDY GUIDE

LESSON 2, cont. Part 1: Engagement Ask students to recall the music performed at the Igudesman and Joo concert and the variety of tempos played. Igudesman and Joo used the articulation of each piece to inform the nature/mood of the skit that they would perform. Introduce composer Aram Khatchaturian. Share that Khatchaturian was an Armenian composer who lived from 1903-1978. He composed music for symphony orchestra, ballet and solo piano. Define articulation

Articulation: the style in which a song’s notes are played.

Explain that the video clip they are going to see is a solo piano version of “Sabre Dance”. This video clip displays the written music as it is being played. Writing and reading detailed music notation is one of the essential characteristics of classical music. Play the solo piano version of “Sabre Dance”, https://www.youtube.com/watch?v=knxtG-9gOQo Show the final image of the video, pointing out the accent and staccato markings. Explain that two types of articulations that are common for composers to include in their pieces are staccato and accent. Define staccato and accent notes.

Staccato: tell a performer to play short, sharp, disconnected notes. Accent: tell a performer to play strong, emphasized notes that stand out from the others. Play samples of staccato and accented notes. Staccato: http://www.classicsforkids.com/music/definition.asp?id=370 Accent: http://www.classicsforkids.com/music/definition.asp?id=389 Discuss the feelings evoked by these types of sounds. Encourage students to connect how these sounds contributed to the overall mood of the Sabre Dance.

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Explain that composers include detailed instructions in their pieces to tell the performers what style to use when performing the piece. Articulation is one way to express musical ideas and affect the overall mood of a piece.

IGUDESMAN & JOO STUDY GUIDE

LESSON 2, cont Part 2: Activity Introduce the story behind “Sabre Dance” by Khatchaturian. “Sabre Dance” is an excerpt from his ballet, “Gayane”, which tells the story of a young Armenian woman who is torn between her love for her husband (who is charged with treason) and her patriotism for her country. Her mixed feelings are expressed in the piece through the composer’s use of strong and light sounds, as we discovered when we discussed articulation. Explain that the video clip they are going to see is of a symphony orchestra performing “Sabre Dance”. Encourage students to notice the motions the conductor uses to emphasize strong and light parts of the music. Play Berlin Philharmonic’s performance of Sabre Dance. https://www.youtube.com/watch?v=mUQHGpxrz-8 Ask students to demonstrate some movements they noticed the conductor making during this video. Explain that a conductor changes his hand motions to communicate changes in the music to the orchestra.

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Ask students to create 3 distinct sounds to reflect the different sounds these notes make. For example: 1. Knocking on the desk 2. Snapping 3. Clapping Distribute Handout 2: Articulation Worksheet Explain that different notes have different durations. The quarter note (X) and the eight note (X) are two types of featured in the worksheet. Just like fractions they are named after, the quarter note’s duration is twice as long as the eighth note’s duration. With this in mind, have students tap the rhythm as a group. Explain that the worksheet they are going to complete will be an opportunity to add accent and staccato notes to a short melody. They will write accent or staccato symbols below the notes on the worksheet. Encourage students to leave some notes as is, for more variety in their composition. Ask students to share their melody, using the three percussive sounds they chose. After they share, ask the other students to guess which type of percussion represented which type of note. Watch ballet performance of “Sabre Dance”, https://www.youtube.com/watch?v=NrLumJpL5zs Discuss the variety of movements used. Ask students to connect movements to the musical elements of Sabre Dance. (Ex. Jumping is used during accented parts) Ask students if the movements used in the ballet video were effective in reflecting the musical elements of the piece and in telling the story of the young woman.

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Show notes on the whiteboard, 1. Accented 2. Staccato 3. Regular (Example of these is provided in additional resources).

IGUDESMAN & JOO STUDY GUIDE

LESSON 3

Winging It – Improvisation in Music (Post-show lesson, 50 minutes)

Description: Students will discuss and explore the use of improvisation in performance and composition. Goals: Students will: • Reflect on their experience at the Igudesman and Joo performance. • Discuss the improvisational elements of the performance, both musical and theatrical. • Examine the use of non-verbal communication within musical improvisation and will practice non-verbal communication as a group. • Create a rhythmic composition using non-verbal communication and improvisation. • Examine the similarities between improvisation in music and theatre. • Review vocabulary of classical music discussed in Lessons 1 and 2.

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Computer; Internet connection to YouTube with audio playback, iPod, or other device for playing music, or CD with pre-selected musical excerpts (suggestions are included in this lesson); whiteboard; whiteboard markers; and Handout 3: Musical Word Search. Standards Addressed: CCSS: ELA-LITERACY.SL.6.1, CCSS:ELA-LITERACY.SL.6.2, CCSS: ELA-LITERACY.SL.6.6, CCSS: ELA-LITERACY. SL.7.1, CCSS: ELA-LITERACY.SL.8.1, CCSS: ELA-LITERACY.SL.8.2, CCSS:ELA-LITERACY.SL.8.6, CCSS: ELALITERACY.L.6.3, CCSS: ELA-LITERACY.L.6.4, CCSS: ELA-LITERACY.L.7.3, CCSS: ELA-LITERACY.L.7.4, CCSS: ELA-LITERACY.L.8.3, CCSS: ELA-LITERACY.L.8.4,VAPA:MUSIC.6-2.6,VAPA:MUSIC.7-2.6, VAPA:MUSIC.7-2.7, VAPA:MUSIC.8-2.6, VAPA:MUSIC.8-2.7

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Materials:

IGUDESMAN & JOO STUDY GUIDE

Lesson 3, cont. Part 1: Engagement Ask students what comes to mind when they think of “improvisation”. Explain that improvisation happens in everyday life: every conversation, walk in the park, sports game are all examples of improvisation. Define improvisation in music

Improvisation: the art of composing music while performing it, without the help of a written score. Recall the Igudesman and Joo concert and discuss where improvisation may have been present in both the theatrical part of the show and in the music itself. Introduce jazz music.

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Explain that jazz music is typically performed in groups without a conductor. Since much of the jazz music is improvised, the musicians need to use non-verbal cues to communicate with each other and stay together. Play video of Lincoln Center Jazz Orchestra https://www.youtube.com/watch?v=szc7rehCBsw. Ask students what non-verbal cues they saw in the video. (Ex. performers stood to indicate they were taking a solo.) Ask the students to brainstorm and demonstrate some ways that the musicians could communicate nonverbally. Some musical elements that might need to be communicated include: beginning/ending, changing the tempo, changing the dynamics. Explain that improvisation can happen in all areas of the arts – music, dance, and theatre.

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Jazz music: a style of music that originated in America during the early 20th century that uses improvisation. It also uses syncopated rhythms, which are rhythms that include accented notes, like we learned about in the last lesson.

IGUDESMAN & JOO STUDY GUIDE

Lesson 3, cont. Part 2: Activity Explain that students will be creating a composition using improvisation. Ask students to choose a place, such as the school dance, the mall, or a theme park. Create a list of what things could happen at that location, what people might be there, or any other details that could be used to create a story. Sit in a circle and give one student a ball. That student will begin to create a story with a single sentence, and then pass the ball to another student, who will add another sentence to the story. This continues until the story is finished. The ball can be passed in order or tossed across the circle.

Explain that once this becomes fluid, the teacher will take the ball away and the students will need to rely on non-verbal communication. Create the rhythmic story for several minutes, encouraging students to keep the story as fluid as possible, not leaving gaps in the dialogue. Ask students to share how this activity felt to them, and any challenges that they faced. Review the following musical concepts: jazz, improvisation, dynamics, sfrozando, articulation, accent, staccato, conductor, composer, orchestra. Distribute Handout 3: Musical Word Search Explain that the worksheet they will receive reviews the concepts and definitions discussed in these three music lessons. Discuss any questions and ask students to share what theyâ&#x20AC;&#x2122;ve learned about musical expression, articulation, humor and improvisation.

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Challenge students to do this activity again, but this time speaking rhythmically to the provided musical track. https://www.youtube.com/watch?v=-JUlgY_tndI

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Handout 1

Haydnâ&#x20AC;&#x2122;s Surprise Listening Map

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Handout 2

Articulation Worksheet Add articulation markings to the melody below:

accent

staccato

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Handout 3

Musical Word Search

H C I A R T I C U L A T I O N A N W Z Z J U S C I M A N Y D Z R Y S H F T K A C C E N T O M H W A Z Y X A N B N K J N W K B Y H S F B R E V I K X P X G D R K X B S F O R Z A N D O

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Y I M P R O V I S A T I O N Z A G E W D M O J N Z A L N I Z C O M P O S E R H W E K X H A R F B E E T H O V E N X N G J E C Q N F V A O T A C C A T S V T W N Q A I O K H X Q T X P I L Q O V W I P W P J V O K X K H A T C H A T U R I A N V D

Word Bank Haydn Beethoven Khatchaturian Articulation Staccato Accent

Improvisation Jazz Conductor Composer Dynamics Sforzando

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N C O N D U C T O R K U R N R

IGUDESMAN & JOO STUDY GUIDE

Musical Definitions and Articulation Symbols Accent: An accented note is played with more emphasis or stress. It is shown with an accent symbol ( > ) which can be placed above or below the note.

Articulation: Articulation symbols show how a note should be played, such as light or strong.

Conductor: A conductor leads an orchestra in performing a piece of music.

Composer: A composer writes music for instruments or vocal performance.

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Improvisation: Improvisation is the art of composing music while performing it, without the help of a written score.

Jazz: Jazz music is American-born music that uses syncopated rhythms, altered scales, specific harmonies and improvisation.

Staccato: A staccato note is played in a short, sharp, disconnected manner. It is shown with a staccato symbol ( . ) which can be placed above or below the note.

Sforzando: Sforzando is an indication to make a strong, sudden accent on a note or chord. Sforzando means subito forzando “suddenly with force.”

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Dynamics: Dynamics show how loud or soft a piece should be performed.

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Listening Resources Lesson 1: Beethoven’s Rondo e Capriccio https://www.youtube.com/watch?v=zQn4Qfy_Bek Haydn’s Surprise Symphony https://www.youtube.com/watch?v=TCzjfr5IkGI

Lesson 2: Khatchaturian’s Sabre Dance for Solo Piano https://www.youtube.com/watch?v=knxtG-9gOQo Samples of staccato and accented notes. Staccato: http://www.classicsforkids.com/music/definition.asp?id=370 Accent: http://www.classicsforkids.com/music/definition.asp?id=389 THEBROADSTAGE.COM/EDUCATION

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Khatchaturian’s Sabre Dance for Orchestra https://www.youtube.com/watch?v=mUQHGpxrz-8 Khatchaturian’s Sabre Dance for Ballet https://www.youtube.com/watch?v=NrLumJpL5zs

Lesson 3: Lincoln Center Jazz Orchestra https://www.youtube.com/watch?v=szc7rehCBsw

In the Upper Room Dance Performance https://www.youtube.com/watch?v=JWnEGqf6eKc

Rhythmic Track for Improvisation Activity https://www.youtube.com/watch?v=-JUlgY_tndI

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Standards Addressed Grade 8

CCSS: ELA-LITERACY.SL.6.1. Engage effectively in a range of

CCSS: ELA-LITERACY.SL.8.1. Engage effectively in a range of

collaborative discussions (one-on-one, in groups, and teacher-

led) with diverse partners on grade 6 topics, texts, and issues,

led) with diverse partners on grade 8 topics, texts, and issues,

building on others’ ideas and expressing their own clearly.

CCSS: ELA-LITERACY.SL.6.2. Interpret information presented in

CCSS: ELA-LITERACY.SL.8.2. Analyze the purpose of information

diverse media and formats (e.g. visually, quantitatively, and orally)

presented in diverse media and formats (e.g., visually,

and explain how it contributes to a topic, text, or issue under

quantitatively, orally) and evaluate the motives (e.g., social, com-

study.

mercial, political) behinds its presentation.

CCSS: ELA-LITERACY.SL.6.6. Adapt speech to a variety of

CCSS: ELA-LITERACY.SL.8.6. Adapt speech to a variety of

contexts and tasks, demonstrating command of formal English

when indicated or appropriate.

CCSS: ELA-LITERACY.L.6.3. Use knowledge of language and its

CCSS: ELA-LITERACY.L.8.3. Use knowledge of language and its

conventions when writing, speaking, reading, or listening.

conventions when writing, speaking, reading or listening.

CCSS: ELA-LITERACY.L.6.4. Determine or clarify the meaning

CCSS: ELA-LITERACY.L.8.4. Determine or clarify the meaning

of unknown and multiple-meaning words and phrases based on

grade 6 reading content, choosing flexibly from a range of

grade 8 reading content, choosing flexibly from a range of

strategies.

VAPA: MUSIC.6-1.5. Analyze and compare the use of musical

VAPA: MUSIC.8-1.5. Analyze and compare the use of musical

elements representing various genres and cultures, emphasizing

elements representing various genres, styles, and cultures, with

meter and rhythm.

an emphasis on chords and harmonic progressions.

VAPA: MUSIC.6-1.6. Describe larger music forms (sonata-allegro

VAPA: MUSIC.8-1.6. Describe larger musical forms

form, concerto, theme and variations).

(e.g., symphony, tone poem). VAPA: MUSIC.8-1.7. Explain how musical elements are used to

Grade 7

create specific music events in given aural examples.

CCSS: ELA-LITERACY.SL.7.1. Engage effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-

LESSON 2

led) with diverse partners on grade 7 topics, texts, and issues,

Grade 6

building on others’ ideas and expressing their own clearly.

CCSS: ELA-LITERACY.SL.6.1. Engage effectively in a range of

CCSS: ELA-LITERACY.SL.7.2. Analyze the main ideas and

collaborative discussions (one-on-one, in groups, and teacher-

supporting details presented in diverse media and formats (e.g.,

led) with diverse partners on grade 6 topics, texts, and issues,

visually, quantitatively, and orally) and explain how the ideas

building on others’ ideas and expressing their own clearly.

clarify a topic, text, or issue under study.

CCSS: ELA-LITERACY.SL.6.2. Interpret information presented in

CCSS: ELA-LITERACY.SL.7.6. Adapt speech to a variety of

diverse media and formats (e.g. visually, quantitatively, and orally)

contexts and tasks, demonstrating command of formal English

and explain how it contributes to a topic, text, or issue under

when indicated or appropriate.

study.

CCSS: ELA-LITERACY.L.7.3. Use knowledge of language and its

CCSS: ELA-LITERACY.SL.6.6. Adapt speech to a variety of

conventions when writing, speaking, reading, or listening.

contexts and tasks, demonstrating command of formal English

CCSS: ELA-LITERACY.L.7.4. Determine or clarify the meaning

when indicated or appropriate.

of unknown and multiple-meaning words and phrases based on

CCSS: ELA-LITERACY.L.6.3. Use knowledge of language and its

grade 7 reading content, choosing flexibly from a range of

conventions when writing, speaking, reading, or listening.

strategies.

CCSS: ELA-LITERACY.L.6.4. Determine or clarify the meaning of

VAPA: MUSIC.7-1.5. Analyze and compare the use of musical

unknown and multiple-meaning words and phrases based on

elements representing various genres, styles, and cultures,

grade 6 reading and content, choosing flexibly from a range of

emphasizing tonality and intervals.

strategies.

VAPA: MUSIC.7-1.6. Describe larger musical forms (e.g., canon,

VAPA: MUSIC.6-4.1. Develop criteria for evaluating the quality and

fugue, suite, ballet, opera, and oratorio).

effectiveness of musical performances and compositions, including arrangements and improvisations, and apply the criteria in personal listening and performing. VAPA: MUSIC.6-4.2. Explain how various aesthetic qualities convey images, feeling, or emotion.

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LESSON 1 Grade 6

IGUDESMAN & JOO STUDY GUIDE

Standards Addressed

LESSON 2, cont.

LESSON 3 Grade 6

CCSS: ELA-LITERACY.SL.7.1. Engage effectively in a range of

CCSS: ELA-LITERACY.SL.6.1. Engage effectively in a range of

collaborative discussions (one-on-one, in groups, and teacher-

led) with diverse partners on grade 7 topics, texts, and issues,

led) with diverse partners on grade 6 topics, texts, and issues,

building on others’ ideas and expressing their own clearly.

CCSS: ELA-LITERACY.SL.7.2. Analyze the main ideas and

CCSS: ELA-LITERACY.SL.6.2. Interpret information presented in

supporting details presented in diverse media and formats

diverse media and formats (e.g. visually, quantitatively, and orally)

(e.g., visually, quantitatively, and orally) and explain how the ideas

and explain how it contributes to a topic, text, or issue under

clarify a topic, text, or issue under study.

study.

CCSS: ELA-LITERACY.SL.7.6. Adapt speech to a variety of

CCSS: ELA-LITERACY.SL.6.6. Adapt speech to a variety of

contexts and tasks, demonstrating command of formal English

when indicated or appropriate.

CCSS: ELA-LITERACY.L.7.3. Use knowledge of language and its

CCSS: ELA-LITERACY.L.6.3. Use knowledge of language and its

conventions when writing, speaking, reading, or listening.

CCSS: ELA-LITERACY.L.7.4. Determine or clarify the meaning

CCSS: ELA-LITERACY.L.6.4. Determine or clarify the meaning

of unknown and multiple-meaning words and phrases based on

grade 7 reading and content, choosing flexibly from a range of

grade 6 reading and content, choosing flexibly from a range of

strategies.

VAPA: MUSIC.7-4.1. Use criteria to evaluate the quality and effec-

VAPA: MUSIC.6-2.6. Improvise simple melodies.

15/16 SEASON

tiveness of musical performances and compositions. VAPA: MUSIC.7-4.2. Apply criteria appropriate for the style or

Grade 7

genre of music to evaluate the quality and effectiveness of per-

CCSS: ELA-LITERACY.SL.7.1. Engage effectively in a range of

formances, compositions, arrangements, and improvisations by

collaborative discussions (one-on-one, in groups, and teacher-

oneself and others.

led) with diverse partners on grade 7 topics, texts, and issues, building on others’ ideas and expressing their own clearly.

Grade 8

CCSS: ELA-LITERACY.L.7.3. Use knowledge of language and its

CCSS: ELA-LITERACY.SL.8.1. CCSS: ELA-LITERACY.SL.8.1. Engage

conventions when writing, speaking, reading, or listening.

effectively in a range of collaborative discussions (one-on-one, in

CCSS: ELA-LITERACY.L.7.4. Determine or clarify the meaning

groups, and teacher-led) with diverse partners on grade 8 topics,

of unknown and multiple-meaning words and phrases based on

texts, and issues, building on others’ ideas and expressing their

grade 7 reading and content, choosing flexibly from a range of

own clearly.

strategies.

CCSS: ELA-LITERACY.SL.8.6. Adapt speech to a variety of

VAPA: MUSIC.7-2.6. Improvise melodies and harmonic

contexts and tasks, demonstrating command of formal English

accompaniments.

when indicated or appropriate.

VAPA: MUSIC.7-2.7. Improvise melodic and rhythmic

CCSS: ELA-LITERACY.L.8.3. Use knowledge of language and its

embellishments and variations on given pentatonic melodies.

conventions when writing, speaking, reading, or listening. CCSS: ELA-LITERACY.L.8.4. Determine or clarify the meaning

Grade 8

of unknown and multiple-meanings words or phrases based on

CCSS: ELA-LITERACY.SL.8.1. CCSS: ELA-LITERACY.SL.8.1. Engage

grade 8 reading and content, choosing flexibly from a range of

effectively in a range of collaborative discussions (one-on-one, in

strategies.

groups, and teacher-led) with diverse partners on grade 8 topics,

VAPA: MUSIC.8-4.1. Use detailed criteria for evaluating the

texts, and issues, building on others’ ideas and expressing their

quality and effectiveness of musical performances and

own clearly.

compositions and apply the criteria to personal listening and

CCSS: ELA-LITERACY.SL.8.2. Analyze the purpose of information

performing.

presented in diverse media and formats (e.g., visually,

VAPA: MUSIC.8-4.2.Apply detailed criteria appropriate for the

quantitatively, and orally) and evaluate the motives (e.g., social,

genre and style of the music to evaluate the quality and

commercial, political) behind its presentation.

effectiveness of performances, compositions, arrangements, and

CCSS: ELA-LITERACY.SL.8.6. Adapt speech to a variety of

improvisations, by oneself and others.

contexts and tasks, demonstrating command of formal English when indicated or appropriate.

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Grade 7

IGUDESMAN & JOO STUDY GUIDE

EDUCATION AND COMMUNITY PROGRAMS STAFF Carolyn Palmer, Director of Programming and Education Alisa De Los Santos, Manager of Education and Community Programs Klarissa Leuterio, Education and Community Programs Coordinator Hugo Rios, Community Programs Assistant Jonathan Redding, Dramaturg CONSULTANTS Charissa Barger, Curriculum Writer

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Education and Community Programs at The Broad Stage is supported in part by Herb Alpert Foundation Bank of the West Johnny Carson Foundation City of Santa Monica and the Santa Monica Arts Commission Colburn Foundation The Rosalinde and Arthur Gilbert Foundation Leonard M. Lipman Charitable Fund Los Angeles County Board of Supervisors through the Los Angeles County Arts Commission The Ralph M. Parsons Foundation SMC Associates David & Linda Shaheen Foundation Sidney Stern Memorial Trust Dwight Stuart Youth Fund Ziering Family Foundation, a Support Foundation of the Jewish Community Foundation of Los Angeles

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IGUDESMAN & JOO STUDY GUIDE

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IGUDESMAN & JOO STUDY GUIDE

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THE BROAD STAGE AT THE SANTA MONICA COLLEGE PERFORMING ARTS CENTER 1310 11TH ST., SANTA MONICA, CA 90401 / 310.434.3560