Spring Study Guide 2007

Arts Education Program Fall 2008 presents What is American Music? NY City: The Great Migration and Ellis Island The Bay and Paul Foundations ORCHESTRA OF ST. LUKE’S - 330 WEST 42nd STEET 9th FLOOR – NYC, NY 10036 ph 212.594.6100 fax 212.594.3291 Web: OSLMusic.org - Email: Education@OSLmusic.org The Great Migration and Ellis Island During the 2008 – 2009 season OSL Arts Education will concentrate on the following topic: “What is American Music?, NYC: The Great Migration and Ellis Island.” We begin by considering an essential question “How do we define American music and American composers in our pluralistic society?” This Fall we’ll investigate the impact of The Great Migration and Ellis Island on American music and composers. We’ll be listening to music written by composers who made New York their home and whose work brings cultural diversity to the concert stage. The following repertoire will guide us as we embark on this journey. The Repertoire Aaron Copland (1900-1990) Antonin Dvořák (1841-1904) Bohuslav Martinů (1890 - 1959) George Gershwin (1898-1937) William Grant Still (1895-1978) Scott Joplin (1867-1917) Fanfare For The Common Man Symphony No. 9 in E minor, “New World” I. Adagio - Allegro molto La Revue de Cuisine, Suite for Orchestra III. Charleston Rhapsody in Blue Symphony No. 1, “Afro-American” III. Animato The Entertainer Armistice Day on Lenox Avenue and 134th 2 Dear Colleagues, The performance you are attending is part of the Arts Education Program of the Orchestra of St. Luke’s, a leader in arts education for over thirty years. This season, we look at 20th Century immigration and migration to New York City and ask “What is American Music?” Each of our concerts will feature music brought to the concert stage by newcomers to the city. We imagine that students and teachers will find many different responses to “What is American Music?” This Fall, we are proud to present “The Great Migration and Ellis Island” featuring music by African American composers Scott Joplin and William Grant Still, iconic American composers George Gershwin and Aaron Copland, both children of Russian Jewish immigrants, and music with American influences by visitors to the city: Antonin Dvorak’s New World Symphony and Bohuslav Martinu’s Charleston. In March, we turn our focus to Asia, in a program featuring music of Chen Yi with new dance by H. T. Chen. Our May chamber music and family performances will highlight Latin American and Caribbean composers and their cultural heritage. We are delighted to welcome back conductor Damon Gupton for these performances, and to welcome pianist Simone Dinnerstein who will be making her OSL debut in Gershwin’s Rhapsody in Blue. As always, we celebrate the collaborative spirit that defines St. Luke’s. Performances will take place at The Apollo Theater and the Brooklyn High School for the Arts. The enclosed educational materials contain information about the performance you will see, the music you will hear, the composers whose works will be presented, and the Orchestra of St. Luke's. You can use these materials with your students to prepare them for the remarkable performance they will attend. Please also join us for our free professional development workshops for additional materials and ideas. We look forward to seeing you at our performances. Enjoy! With warmest regards, Marianne C. Lockwood President and Executive Director 3 Dear Teachers, This season, we look at 20th Century immigration and migration to New York City and ask “What is American Music?” Each of our concerts will feature music brought to the concert stage by newcomers to the city. We imagine that students and teachers will find many different responses to “What is American Music?” This Fall, we are proud to present “The Great Migration and Ellis Island” featuring music by African American composers Scott Joplin and William Grant Still, iconic American composers George Gershwin and Aaron Copland, both children of Russian Jewish immigrants, and music with American influences by visitors to the city: Anton Dvorak’s New World Symphony and Bohuslav Martinu’s Charleston. Our study guide, written by and for teachers and teaching artists, is designed to provide concrete lesson plans for teachers, prompt student written responses, and add contextual information, including the following: • • • • • lessons on the composer / creative process / context lessons on ideas / concepts lessons on music / art / dance making and doing glossary of musical terms and instruments print and web resources We look forward to a powerful, creative learning experience with you, your students, and all of the participating artists. Best wishes! Orchestra of St. Luke’s Curriculum Committee Stephen Mohney, Monique Alburquerque, Mark Caruso, Daire FitzGerald, Jacob Gunther, Jamie Levidis, Liz Norman, Susan Potoroka, Carrie Stern, Marilyn Walker, Lenora Walters, PS 3K Arts Education Coordinator, OSL Study Guide Editor OSL Music Teaching Artist OSL Manager of School Partnerships OSL Principal Cellist PS 112X, Music Teacher PS 19Q, 3rd Grade Teacher OSL Education Director MS 131M, English/ESL Teacher OSL Dance Teaching Artist PS 3K, 3rd Grade Teacher PS 3K, Cultural Enrichment Specialist 4 Table of Contents Repertoire Introduction Letter from Orchestra of St. Luke’s President / Executive Director Letter from Orchestra of St. Luke’s Curriculum Committee Music Making: • The Charleston Blues • Sonata Form Music Literacy: • Composer Biographies • Word Scramble • Word Search • Instrument Families • Fill in the Blank Making Connections: • Moving Through the Sonata Form • What is American Music? • I came Through Ellis Island • Where Do You Come From? • Interview Questionnaire • Immigration Timeline Community and Cultural Resources • Museum. Library, and Book Listings Careers and Life Long Learning • Interviews with Performers Glossary of Musical Terms Orchestra of St. Luke’s Arts Education Committee Credits Jacob Gunther Monique Alburquerque p. 8 p. 9 Susan Potoroka Susan Potoroka Susan Potoroka Monique Alburquerque Monique Alburquerque p. 13 p. 18 p. 19 p. 20 p. 28 Carrie Stern Marilyn Walker Lenora Walters Jamie Levidis Jamie Levidis Jamie Levidis p. 29 p. 33 p. 35 p. 37 p. 39 p. 40 Carrie Stern p. 42 Daire FitzGerald Jacob Gunther p. 44 p. 48 5 Music Making The Charleston Blues Learning Objectives: Students will improvise on a twelve bar blues form that is put to the rhythmic pattern of the Charleston using a basic blues scale. Students will also use pitched instruments to accompany the percussion instruments. Materials: • OSL track #3, La Revue De Cuisine • CD player • Various instruments Procedures/Activities: Before you have students listen to La Revue De Cuisine, give them a little information about the Charleston. Then, have them listen twice. The second time, have them clap the Charleston rhythm along with it (after 01:20 of the track, so the piece has a chance to establish a clear rhythm). Demonstrate a twelve bar blues (chord progression) using the Charleston rhythmic pattern on either guitar, piano, or prepared xylophone -- removing all notes except the A blues scale (A/C/D/E/G/A). On a piano/keyboard, play an Eb blues progression using the black keys (Eb/Gb/Ab/Bb/Db/Eb). Any instrument can play these progressions and scales. Have students improvise music with pitched instruments of their choice on top of this rhythmic foundation. Divide some students into two different percussion groups, each with its own instrument, i.e. one rhythm stick group and one tambourine group. Have one group keep a steady quarter note beat and the other play the Charleston pattern in rhythmic unison, while the remaining students improvise with pitched instruments. Repeat this exercise, rotating students so that each one gets to play in each section of the ensemble. Review/Reflection: Have students suggest how to write the Charleston rhythm on a staff. Prompt the students to answer these questions: “Why is the Charleston danceable?” and “Does it remind you of any current ‘dance craze songs’ in contemporary pop music?” Author: Jacob Gunther, Band Director, PS 112 Bronx 6 NY State Arts Standards: Standard 1 Creating, Performing and Participating in the Arts Standard 2: Knowing and Using Arts Materials and Resources Standard 3 Responding to and Analyzing Works of Art Standard 4: Understanding the Cultural Contributions of the Arts Music Making Sonata Form NY State Arts Standards: 1: Creating, Performing, and Participating in the Arts 2: Knowing and Using Arts Materials and Resources 3: Responding to and Analyzing Works of Art NY State ELA Standards: 2: Language for Literary Response and Expression Learning Objectives: Students will understand “sonata form” and will create a work in sonata form. Materials: • CD player • OSL CD, track #2 • Paper Pencil, colored pencils, crayons or markers Procedures/Activities: 1) Explain sonata form to students: Sonata form is the structure of the first movement of a classical symphony. If a symphony is compared to a book, then a movement is like a chapter in that book. A classical symphony typically has four movements, which is like four chapters. Each movement is written using a different outline. The first movement of a symphony, or the “sonata form” movement, adheres to the following outline: Exposition Development Recapitulation Sometimes the “sonata form” movement begins with an introduction that is usually slow in tempo, or speed. It’s like a brief foreword to the story, but details about the main characters haven’t been presented yet. In the exposition, the first theme, or melody, is presented. It’s like introducing the main character in the story. The melody is in the tonic, or primary key or tonal center, of the movement. There is typically a transition before a second theme, or melody, is introduced. 7 NY State Arts Standards: 1: Creating, Performing, and Participating in the Arts 2: Knowing and Using Arts Materials and Resources 3: Responding to and Analyzing Works of Art NY State ELA Standards: 2: Language for Literary Response and Expression The second theme is usually different in mood and rhythm than the first theme. This is like introducing another character in a story whose personality is very different from the main character. The second theme is usually in the dominant key. The dominant key is found by going up five notes up from the tonic in the diatonic scale. The exposition ends with a codetta, the ending section, in the dominant key, affirming the conclusion of the exposition. In the development, the themes that were introduced in the exposition are expanded. This is like providing more descriptive and background information about the main characters of the story. A conflict between the characters may also arise. The development section ends with the retransition. The retransition accentuates the dominant 7th chord, which builds the tension that drives a resolution to the tonic key. The recapitulation is the reiteration of the exposition, except that the thematic material is in the tonic key. This is like a summary of the story, but now the characters are like-minded and have resolved any conflict. After the recapitulation, sometimes a coda follows. The coda contains material from the previous sections but serves primarily to bring the movement to an authoritative end with a strong cadence. This is like a brief review of the story before it ends, “and they lived happily ever after…” 2) Students will now create a musical story using the “sonata form” outline. a) To begin, have students create a full-page grid with two columns and five rows: (introduction) Exposition Development Recapitulation (coda) b) Tell students that their story will have two main characters, Mister Alexander Laughs-a-lot and Miss Angelina Pumpernickel. 8 NY State Arts Standards: 1: Creating, Performing, and Participating in the Arts 2: Knowing and Using Arts Materials and Resources 3: Responding to and Analyzing Works of Art NY State ELA Standards: 2: Language for Literary Response and Expression Students should take a moment to think about what the characters might look like, how they might sound, and what their personalities might be like. Students will then draw a picture of the characters to help make them come to life! Students brainstorm about the type of relationship the characters might have with each other: they might be neighbors, best friends, colleagues, classmates, relatives, teacher and student, or even complete strangers. c) In the introduction section of the grid, students will write a brief introduction to the story. It might begin, “Once upon a time in … (place) there were two … (relationship).” d) In the exposition section of the grid, students will introduce the characters by briefly describing their personalities. “Mister Alexander Laughs-a-lot is… and Miss Angelina Pumpernickel is …” e) In the development section of the grid, students will provide additional information about the characters and reveal that Miss Angelina Pumpernickel became very angry with Mister Alexander Laughs-a-lot. f) In the recapitulation of the grid, students will explain that the characters resolve their conflict. Furthermore, Miss Angelina Pumpernickel is no longer angry with Mister Alexander Laughs-a-lot! Things between the two of them return to the way they were in the beginning. g) In the coda section of the grid, students will explain that the story has a happy ending. It might read, “All was good,” or “They lived happily ever after.” 3) After the grid and their stories are complete, ask the students to brainstorm about how the characters might sing their names. Guide the students by reminding them that the characters have different personalities as well as multisyllabic names. Encourage students to vary pitch and rhythm. 4) Students will create and memorize the two melodies they composed using both names of the characters. While maintaining the melody of the characters, have the students sing the introduction and exposition. 9 NY State Arts Standards: 1: Creating, Performing, and Participating in the Arts 2: Knowing and Using Arts Materials and Resources 3: Responding to and Analyzing Works of Art NY State ELA Standards: 2: Language for Literary Response and Expression Helpful tips: In the development section, Miss Angelina Pumpernickel becomes angry. To convey her anger, have students change the starting pitch while maintaining the melodic contour of her name while they sing the development section. In the recapitulation, students will sing Miss Angelina Pumpernickel’s name identically to the exposition. Have students continue to sing the rest of their story! Review/Reflection: Remind students that just like a story or a five-paragraph essay, music has structure. Play Dvorak’s Dvořak’s Symphony #9, 1st movement (OSL CD, track #2) for students. Explain that this movement is written in “sonata form.” Ask students to listen carefully to try to identify the different sections of the movement and to recognize different themes. Author: Monique Alburquerque, OSL Music Teaching Artist 10 Music Literacy Aaron Copland - Fanfare For The Common Man (1942) How could anyone have known that little Aaron Copland, selling toys in his parents’ department store, would one day become an American icon? Born and raised right here in Brooklyn in 1900, Aaron was the fifth child of two hard-working Russian immigrants. It was just the beginning of the Twentieth Century, and so many exciting, new inventions and ideas were popping up everywhere in science, art and literature . . . except in music. At age seven, Aaron spent hours and hours listening to his cousin’s phonograph and began pestering his older sister for piano lessons. Once he became a teenager and got his own “real” teacher, the ball started rolling and he didn’t stop until the day he died at ninety years old! Aaron soon became bored with the classical music in America. Everyone, he felt, was content with hearing the same kind of music that had already been around for hundreds of years. So at twenty years old, he decided to go to France where exciting, new ideas were happening in music. There he studied with the famous female composer, Nadia Boulanger, who changed his life forever. After spending time in France, Aaron began to wonder why distinctively American-sounding concert music did not exist. He heard it in other cultures, but found it missing in his own. This became his mission: to create and promote American music. To do this, he experimented with different sounds from American folk music and jazz, which was invented in America but becoming popular in Europe. Some people back in America were not ready for this original, modern kind of music. In fact, when one of Aaron’s first compositions was performed in Boston, much of the audience booed! However, Aaron didn’t care. He knew that it would take a while for the public to appreciate and love his music…and did they ever! He even spent some time in Hollywood composing music for film and won an Academy Award. In 1942, he composed Fanfare for the Common Man, which is exactly the way he humbly viewed himself. From his life work and dedication to music as a composer, conductor and teacher, a “Copland sound” evolved which is synonymous with the American sound and distinguishable around the globe! George Gershwin – Rhapsody in Blue (1924) Another boy who would one day become one of the founding fathers of the American sound is another native Brooklyn-ite, George Gershwin. Born in 1898, young George grew up with his older brother Ira and their Russian-Jewish immigrant parents on Manhattan’s Lower East Side. 11 Not at all interested in music yet, a handsome, tall, athletic George loved to play hockey, stickball and to rollerskate in the streets. However, one day he was skating through the streets of Harlem and heard the exciting, lively beats of jazz music flowing out the windows of restaurants and clubs. He was hooked! Even though the neighborhood kids believed only nerds and geeks were interested in music, a confident and extroverted George didn’t care. He decided from that moment on that he would learn everything he could about classical and jazz music. He immediately began experimenting with making up his own songs. One day, a famous singer named Al Jolson decided to George Gershwin sing one of George’s first compositions, Swanee, in a Broadway show. From that day on, he found it much easier to get jobs writing his own music, rather than simply playing the music of other composers. George was becoming well known all over New York and was often invited to perform at the parties of rich and famous people. Furthermore, he started teaming up with his brother Ira who was proving to be a talented lyricist. Together, they were a magical team of composer and lyricist, even though they had very different personalities! Then, a jazz bandleader named Paul Whiteman decided it was very important to show off some of the great new things going on both for and by American composers. In 1924, George was asked to compose a symphonic, jazz-style piece of music to help answer a common question of the era, “What exactly is American music?” Rhapsody in Blue was born from this assignment. He took sounds from a trip to Boston – the clickety-clack rhythm of steel wheels on the train tracks, the trains whistles – and incorporated them into his musical stories. “I often hear music in the very heart of noise,” George once said, explaining how he was inspired by the noise of machines, traffic, and other big-city sounds. In fact, in some pieces he actually used real taxi horns and a fly swatter! On the day of the big concert, February 12, 1924, things started slowly. People were not finding the music very new or interesting, and some were even bored! Until George Gershwin and Paul Whiteman’s orchestra took the stage, that is. Rhapsody in Blue began with long swooping, laughing clarinet sounds that no one had ever heard before. When it was over, no one could stop clapping. Everyone loved it! This composition made George Gershwin world famous, and he went on to compose music for film and theater, often with his brother Ira. His most famous opera is entitled Porgy and Bess. George Gershwin died very young at age 39, but his music lives on forever! Antonin Dvořak – Symphony No. 9 “From the New World” (1893) The oldest of eight children, Antonin Dvořak was born into a culturally and socially unsophisticated Czech family in 1814. The son of a zither-playing butcher/ innkeeper, Antonin began violin lessons at age six, then continued on to learn piano, organ, continuo and music theory. He was a natural musician – music was intuitive, rather than intellectual, to him. 12 Dvořak eventually became a professor of music composition in Prague. He was very tough on his students, who often had to put up with their teacher’s mood swings. His expectations were high, as he saw composition as the ability “to make a great deal – a very great deal – out of nothing much.” In 1892, Dvořak was offered a job in New York City as a professor of composition at an annual salary of $15,000. This was 25 times his salary in Prague! It was a difficult decision for him because he did not want to leave his beloved homeland. However, he did have six young children to support, so he accepted Antonin Dvořak the position. Part of his job was to help develop a nationalistic American style of music – a strange thing to be asked of a foreigner! To do this, he looked at African American spirituals and plantation songs from the South. He also traveled to Iowa, Minnesota and Illinois to experience the farmland culture. He felt very strongly that American composers should seek inspiration from Native American, African American, and cowboy culture rather than from its European past. While teaching and living in the United States, his temporary home, Dvořak composed Symphony No. 9 “From the New World.” In doing so, his goal was to express his emotions towards a young and growing land. Feeling homesick towards his native Bohemia, he did not feel American enough to write an “American” piece. Naturally, the result was a mixture of both Czech and American sounds. When Dvořak’s homesickness finally grew too strong to bear any longer, he and his wife returned to their native Czechoslovakia in 1895. Bohuslav Martinů – La Revue de Cuisine (1927) Although not American himself, Bohuslav Martinů was a composer who spent most of his creative life in the United States, away from his native Czechoslovakia. Bohuslav began the first twelve years of his life living at the top of a church tower where his father rang bells, repaired shoes, and watched out for fires. It was in this small town of Policka where he started violin lessons at age seven. He progressed so quickly that he led the town’s string quartet and began giving solo performances at age 15. Policka was so proud of Bohuslav and his talent that the residents raised enough money to send him to the Prague Conservatory. Academic life, however, didn’t agree with Bohuslav so much. He quickly got suspended for poor attendance and low grades. Although he failed miserably in academic life, Martinů did embrace and thrive in the artistic and cultural big-city life of Prague. He joined the Czech Philharmonic and traveled on tour to places like London, Geneva, and Paris. Paris made such a positive impression on him that he moved there in 1923. In Paris he blossomed! Composing all sorts of music from chamber music to orchestral arrangements to operas. Jazz-inspired sounds seemed to easily work themselves into Martinů’s music. 13 In 1941, Bohuslav Martinů came to the United States where he spent most of his time in or near New York City during the war years. His poor knowledge of the English language, depression, and homesickness made his first few years in America difficult. However, once he started composing again, he became happier and more focused. During the summers, he traveled to Vermont, Connecticut, and Massachusetts. Over the years, he taught at Tanglewood, Princeton, and the Mannes School of Music, right here in Manhattan! Between the mid-1920’s and early 1930’s, jazz elements became a major force in his music. This is particularly noticeable in his 1927 ballet La Revue de Cuisine. Bohuslav Martinů died in Switzerland in 1959, though in 1979 his body was transferred to his family’s grave in Policka. He is considered to be one of the most important Czech composers of the Twentieth Century. William Grant Still – Symphony No. 1 “Afro-American” (1931) William Grant Still was born in Woodville, Mississippi in 1895, just before the turn of the century when new and exciting things started to happen in America. Both his parents were teachers, as well as partners in a grocery store. Unfortunately, young William’s father died when William was only three months old, so his mother moved them to Little Rock, Arkansas to live with his grandmother. His mother remarried a man who enjoyed and bought many opera records, which he shared with William. The two began attending live performances together, and from this, William caught the music bug! After beginning violin lessons at age 14, William went on to teach himself how to play the clarinet, saxophone, oboe, double bass, cello, and viola. William’s grandmother also sang African American spirituals to him so that by the time he was a teenager his life was already filled with music from every angle. Because his mother wanted him to go to medical school, William began to study science in college. Before long, however, he became unhappy with the lack of music in his college curriculum. In 1917 and with an inheritance from his father, he transferred to Oberlin, as well known music school in Ohio. From 1918 – 1919, he served in the U.S. Navy. Because he was a trained musician, William was able to perform violin concerts during officers’ meals when other African Americans were restricted to jobs in food service. After his Navy service, William briefly returned to Oberlin before moving to New York City. Around the time William Grant Still moved to New York City, a movement called the “Harlem Renaissance” was beginning. It proved that African Americans had a rich and vibrant culture, which was spreading throughout the nation and the world. Still’s musical works spanned several genres including opera, jazz, popular, and classical. In all, he composed over 150 pieces of music including five symphonies, four ballets, and nine operas! While in New York, Still worked as a performer, music arranger, road manager, an oboist with the Harlem Orchestra, musical director of Black Swan Records - a record 14 label owned by African Americans - and became the first African American conductor of a white radio program! In 1930, Still composed Afro-American Symphony. He knew that it had to be an “American” symphony, wanted to incorporate jazz sounds, and wanted to demonstrate how the blues, a genre not respected intellectually, could be elevated to the highest musical level. He succeeded! Afro-American Symphony was performed at Carnegie Hall in 1935. William Grant Still, nicknamed “Dean of African American Composers,” died in 1978 at age 83. Scott Joplin – The Entertainer (1902) Born in 1868, the son of a former slave father and free mother, Scott Joplin moved from east Texas to Texarkana, Arkansas as a young child. Both his parents played musical instruments, so Scott and his five siblings were raised in an environment filled with music. Banjos, fiddles, and singing voices were commonplace, and his mother’s white employers allowed Scott to play their piano. However, his father bought Scott his own used piano as soon as he could afford one. At 11, Scott started studying music theory from a classically trained local musician. His mother worked hard to pay for lessons until teachers began offering to teach him for free. At 17, Scott left home and began supporting himself as a pianist in bars and other venues in places such as Dallas, Texas, St. Louis, Missouri, and Memphis, Tennessee. When other people his age were partying, Scott was practicing piano. While this experience was a great education for him, at 28 he decided to attend a real college. Since the legal systems of Joplin’s time were not supportive of African American culture, the most favorable environment for black musicians was in the market of sheet music. So Scott began to peddle his compositions. He didn’t have much success until one day when he sold Maple Leaf Rag to a white businessman. The piece was an instant success! The first printing of10,000 copies quickly sold out, and more than half a million copies were sold by 1909. Joplin moved to St. Louis where he was strongly promoted and given the nickname "King of Ragtime.” In describing Joplin’s music, ragtime pianist Roy Eaton wrote, “Joy – no other word better describes the feeling that the music of Scott Joplin evokes from the listener and the performer.” However, unlike his music, Scott Joplin’s life was not always filled with joy. New inventions such as the phonograph and player pianos rapidly decreased the demand for sheet music by 1906. In addition, Joplin’s only child, a daughter, died at only a few months old, and his wife, Belle, died shortly thereafter. In 1917, Joplin was diagnosed with an advanced disease and dementia. He died in a psychiatric ward. Today, Scott Joplin’s name is synonymous with ragtime. It was not until half a century after his death when one of his most famous compositions, The Entertainer, was used in the film The Sting that Joplin’s extraordinary contribution to American music was finally acknowledged. Author: Susan Potoroka, ESL Teacher, M.S. 131, Manhattan 15 Music Literacy Musical Word Scramble yliitrsc Ira Gershwin’s job when teamed with his brother, George native country of Bohuslav Martinu and Antonin Dvořak Scott Joplin’s main instrument borough where George Gershwin and Aaron Copland were born one of the key elements of the American music sound a person who creates or writes music William Grant Still’s first instrument one who performs music a school that students attend to study music a musical genre that has become synonymous with Scott Joplin NYC neighborhood where George Gershwin started noticing jazz sounds U.S. state where William Grant Still was born person who directs an orchestra Bohuslav Martinu’s home town zlaccvoiaeshok inpoa yrlkobon zjza poocemsr oiivnl iausmnci ysosanyercovt aimgert almher iiimppssss utoccdrno lakiocp Author: Susan Potoroka, ESL Teacher, M.S. 131, Manhattan 16 Music Literacy Word Search with a Hidden Message U E Q X L H W Z G S I Y B I K E P M K D L U E C W B U L D D N N B N V K M G C M M V C D M Q M R G P O K K S O G G G T E Q V M P W F P E M E M Q B I O O W G T K N X E H J S F X O S L K V Q Y H J I L Q V P T U H S X H U Q U D U I L V Z T N R A W X W O S G A N R C G N Q M Z D I Z U I S D R D V R X T U C V K O Q R F J J L A L P C X C L J R S L M R B E P V W I F K H J A A B L A W R T H V H Y K R S T A Z S E P A B G Q Y V C B V T G R X Y U L D U Z B J W X S V Q D J U K D A E E D V C O I A N T O N I N D V O R A K A M D F G Y H Q O V N Z X D R O M V R W W O J H A P H B M E A L V S H N K U V C H T G C N W F P V O U Y N S M N T L R R G J J J N E M Y N G B Q A Q N D S C O X R V N L D N C E T D E Y E S N N P D M O H M J K Q I S Z Z S K A M H S I W I I N O E W V M F U C G C Z U V T K P L L O E E Y F T K O N Q P A R T I N S Z L K S B U Q N M L X A P M G C R F V L U B Y B L G Q E D H E B B K L F K E E Y O G Y O E Q H W T E U Q Q U P E X A G J T Z R R U A D E B G T F J I J R H O Q Q L K G F O G L W C P K T O K A I V T J S T A U E L T R J S U L T E M C E U Y M W D P O M L N S C M F Z V J Q Z Q T H H L S V Y U N R F W G P X Q K P X Y T V D Z O Z R B C A C O S N O S A O O S L T B N B J L V U K L M M J M N F P I Q I C C V O V D I R H F I O D C H Y B D Q J O H S L E B T F J O C X S Z J A J A W Q P R F K Y N L F K A R I Y T I C K R O Y W E N U K K K A I P U E T J Y F I V E H D Y H R S A I L A M E R I C A X Y I N T N A M L M D Z T F N Q H X B J I Z S V P J D A H H S X X A H S S D X B Z S G B B B G M I I M V D W D F B Q I L L I T S T N A R G M A I L L I W F B J B E I I D U R S B F G O N A I P R L S I W P H Y A K Q A J W S H B W H M P G H L C R F I D V E L W E A M P L E C J B R V V O U P B B L B S K G F E P P C Q W P N B X A V E U Z H N D G B P G L G V K R B B H I R R H W H V F E E K N N T Z N America Antonin Dvořak Aaron Copland William Grant Still Ragtime New York City Piano Czechoslovakia Immigration Scott Joplin George Gershwin Bohuslav Martinu Jazz Harlem Brooklyn Lower East Side Bohemia Composer Can you find the hidden message? ___________________________ Author: Susan Potoroka, ESL Teacher, M.S. 131, Manhattan 17 Music Literacy Instrument Families & Instrumentation Musical instruments are grouped into different instrument families by the way the instrument produces sound. There are four primary families of instruments: percussion, string, woodwind, and brass. Instruments in all four primary instrument families are presented in the Orchestra of St. Luke’s Fall 2008 program, “What is American Music?” PERCUSSION FAMILY Instruments in the percussion family make sound in one of three ways: by hitting/ striking/banging, shaking, or rubbing/scraping. Percussion instruments are either tuned or untuned. Tuned percussion instruments can play a melody (like Mary had a Little Lamb) without the help of other instruments. Untuned percussion instruments cannot. Timpani, also known as a kettledrum, is a large copper bowl covered with calfskin or plastic stretched over the top. The performer strikes the top of the instrument with wooden sticks or mallets, producing a specific pitch that is determined by the drum's size: The larger the drum, the lower or deeper the sound; the smaller the drum, the higher the sound. The timpani is featured in Copland’s Fanfare for the Common Man (OSL CD, track #1), Dvořak’s Symphony #9 (OSL CD, track #2), Gershwin’s Rhapsody in Blue (OSL CD, track #4), and Still’s “Afro-American” Symphony (OSL CD, track #5). timpani 18 The triangle, named because of its shape, is made from a small cylindrical piece of steel that is played by striking it with a steel beater. The triangle can be heard in Still’s Afro-American Symphony (OSL CD, track #5). triangle The gong is a brass disc-shaped instrument that is hit with a large, soft mallet. Gongs can range in size from very small, producing a high-pitched sound, to larger than a person (!), producing a low or deep sound. The gong can be heard in Still’s AfroAmerican Symphony (OSL CD, track #5). gong mallet bass drum The bass drum is a large instrument that has calfskin or plastic that covers either side of the hollow, metal cylinder. Because of its large frame, the bass drum has a deep or low sound. The bass drum is held on its side, and the player strikes either side of the bass drum with mallets. The bass drum is used in Copland’s Fanfare for the Common Man (OSL CD, track #1) and Still’s Afro-American Symphony (OSL CD, track #5). 19 piano The piano is a keyboard instrument that produces sound when small hammers strike strings after the player presses keys with her or his fingers. There are 88 keys (52 white and 36 black) on a standard piano! The piano is prominently featured in Gershwin’s Rhapsody in Blue (OSL CD, track #4) and in Martinu’s Le Revue de Cuisine (OSL CD, track #3). STRING FAMILY Instruments in the string family have strings! The player makes the strings vibrate by plucking them, striking them, strumming them, or by drawing a bow across them. The longer the string is, the lower or deeper the sound that is produced. The shorter the string is, the higher the sound that is produced. Pitch can also be changed when the performer presses a finger on the string(s) at different points on the instrument’s neck, changing the length of the portion of the string that vibrates. The longer the vibrating portion is, the lower or deeper the sound that is produced. The shorter the vibrating portion is, the higher the sound that is produced. The banjo is a string instrument that was developed by enslaved Africans in the United States. They adapted the banjo from several African instruments. 20 banjo The performer plays the banjo while standing or sitting, with the instrument held horizontally across her or his body. The strings are either plucked with a pick or plucked or strummed with the with the fingers. Although the banjo is now commonly used in American bluegrass music, historically it had been used in traditional African-American music. The banjo is used in Gershwin’s Rhapsody in Blue (OSL CD, track #4) and in Still’s Symphony No.1 “Afro-American” (OSL CD, track #5). The violin, viola, cello, and double bass belong to a subcategory in the string family called the violin family of instruments. These instruments have four strings and are played by drawing the bow across the strings or by plucking the strings (playing pizzicato). Held under the chin and playing upper register notes, the violin is the soprano member of the violin family. violin viola Larger than the violin and also held under the chin, the viola is the alto member of the violin family. Much larger than the violin and the viola, the cello sits on the floor and rests between the cellist’s knees while the player sits in a chair. Playing deeper notes than the violin and the viola, the cello is the tenor member of the violin family. The double bass, usually abbreviated as bass, is the largest and lowest-pitched bowed stringed instrument. Because of its large size (taller than the performer!), the bassist stands or sits on a tall stool to play the bass. All violin family instruments are in Dvořak’s Symphony #9 (OSL CD, track #2), Still’s “AfroAmerican” Symphony (OSL CD, track #5), and in Joplin’s The Entertainer (OSL CD, track #6). Violin and cello are included in Martinu’s La Revue de Cuisine (OSL CD, track #3). Violin and double bass are incorporated into Gershwin’s Rhapsody bass cello in Blue (OSL CD, track #4). 21 WOODWIND FAMILY Instruments in the woodwind family create sound in one of three ways: by blowing air across the edge of or into the mouthpiece, blowing air between a single reed and a fixed surface, or by blowing air between two reeds. About two feet long, the flute is a narrow silver or gold tube with a row of holes covered by keys. The player blows air across the small hole in the mouthpiece to produce a sound that can be either soft and mellow or high and piercing. The flute is used in Dvořak’s Symphony #9 (OSL CD, track #2) and Still’s Afro-American Symphony (OSL CD, track#5). flute The piccolo, usually made from silver or wood, is a small flute. Bepiccolo cause the length of the instrument in shorter than the flute, the pitch is higher. The piccolo can be heard in Dvořak’s Symphony #9 (OSL CD, track #2), Still’s Afro-American Symphony (OSL CD, track #5), and in Joplin’s The Entertainer (OSL CD, track #6). Made from wood, the clarinet produces a fluid sound when air is blown between a reed and the mouthpiece. As air passes through, the reed vibrates and creates sound. The clarinet is used in Dvořak’s Symphony #9 (OSL CD, track #2), Still’s Afro-American Symphony (OSL CD, track #5), Martinu’s Le Revue de Cuisine (OSL CD, track #3), Gershwin’s Rhapsody in Blue (OSL CD, track #4), and in Joplin’s The Entertainer (OSL CD, track #6). clarinet The oboe does not have a mouthpiece. It is a double-reed instrument, with two reeds tied together. When the player places the reeds between her or his lips and blows air through them, the reeds vibrate and produce sound. The oboe is made of wood. The oboe is used in Antonin Dvořak’s Symphony #9 (OSL CD, track# 2) and in Still’s Afro-American Symphony (OSL CD, track oboe #5). 22 The bassoon is a large double-reed instrument with a sound that is lower, or deeper, than the other woodwind instruments. When the player blows air between the reeds, the vibrating column of air inside the instrument travels over nine feet to the bottom of the instrument, then up to the top where the sound comes out! The bassoon is used in Dvořak’s Symphony #9 (OSL CD, track #2), Still’s AfroAmerican Symphony (OSL CD, track #5), and in Martinu’s Le Revue de Cuisine (OSL CD, track #3). bassoon saxophone The saxophone is the only woodwind instrument made of brass. The player blows air between the reed and the mouthpiece, causing the reed to vibrate and create sound. The saxophone is used in Gershwin’s Rhapsody in Blue (OSL CD, track #4). 23 BRASS FAMILY Instruments in the brass family produce their sound when the player buzzes her or his lips while blowing air through the mouthpiece. “raspberry.” This lip buzzing is like making a The mouthpiece connects to a length of brass tubing ending in a bell. The sound comes from a vibrating column of air inside the tube of the instrument. The smaller the instrument and shorter the tube length is, the higher the sound that is produced. The larger the instrument or longer the tube length is, the lower or deeper the sound that is produced. Copland’s Fanfare for the Common Man (OSL CD, track #1) was written for brass and percussion instruments. The trumpet is the highest-sounding member of the brass family. The sound is very bright. Air travels through six and a half feet of tubing bent into an oblong shape. The trumpet trumpet has three valves to change pitches. The trumpet is used in Copland’s Fanfare for the Common Man (OSL CD, track #1), Dvořak’s Symphony #9 (OSL CD, track #2), Martinu’s La Revue de Cuisine (OSL CD, track #3), Gershwin’s Rhapsody in Blue (OSL CD, track #4), Still’s Afro-American Symphony (OSL CD, track #5), and in Joplin’s The Entertainer (OSL CD, track #6). The trombone has a more mellow sound than the trumpet. Instead of valves, the trombone uses a slide to change the length of its approximately nine feet of tubing in order to trombone reach different pitches. The trombone can be heard in Copland’s Fanfare for the Common Man (OSL CD, track #1), Dvořak’s Symphony #9 (OSL CD, track #2), Gershwin’s Rhapsody in Blue (OSL CD, track #4), Still’s Afro-American Symphony (OSL CD, track #5), and in Joplin’s The Entertainer (OSL CD, track #6). 24 Made of about sixteen feet of tubing, the tuba is the lowest-sounding member of the brass family. The tuba has four to five valves and is held upright in the player’s lap. The tuba is used in Copland’s Fanfare for the Common Man (OSL CD, track #1), Dvořak’s Symphony #9 (OSL CD, track #2), Gershwin’s Rhapsody in Blue (OSL CD, track #4), Still’s Afro-American Symphony (OSL CD, track #5), and in Joplin’s The Entertainer (OSL CD, track #6). tuba The horn, or French horn, consists of about twelve feet of narrow tubing wound into a circle. The player obtains different notes on the horn with a clear, mellow sound by pressing valves with the left hand and by moving the right hand inside of the bell. The tuba is used in Copland’s Fanfare for the Common Man (OSL CD, track #1), Dvořak’s Symphony #9 (OSL CD, track #2), Gershwin’s Rhapsody in Blue (OSL CD, track #4), Still’s Afro-American Symphony (OSL CD, track #5), and in Joplin’s The Entertainer (OSL CD, track #6). French horn Author: Monique Alburquerque, OSL Music Teaching Artist 25 FILL IN THE BLANK 10 points for each correct answer! 1. The four primary instrument families are: _______________, _______________, _______________ and _______________. 2. In the violin family, the violin, viola, and cello belong to the _______________ family of instruments. 3. Some instruments in the _______________ family have reeds. 4. A player can make sound by plucking the strings, also known as _______________. 5. Instruments in the _______________ family of instruments are struck, shaken, or scraped to make sound. 6. The longer the string or tube of an instrument, the _______________ the sound. 7. The piano belongs to the _______________ family of instruments. 8. The _______________ is a string instrument that originated in Africa. 9. In the _______________ family, the player buzzes or vibrates her or his lips against the mouthpiece to make sound. 10. The saxophone belongs to the _______________ family of instruments because it has a reed. Author: Monique Alburquerque, OSL Music Teaching Artist 26 Making Connections Moving Through the Sonata Form Learning Objectives: Students will be able to have a deeper understanding of the sonata form of musical composition through working together to choreograph a group dance following the essential elements of the sonata. Materials: • OSL CD track #2, Symphony No.9 “New World” • CD player • Space to move • Paper and pencils Procedures/Activities: Listening Before playing Dvorak’s first movement of the “New World” Symphony, explain to your students that they will be listening to a classic sonata form of musical composition. Tell them that the sonata form is divided into four discrete sections: The Introduction; the Exposition, which provides basic thematic material; the Development, during which the composer manipulates the themes in many ways, including pulling the themes apart and recombining them; and, finally, the Recapitulation, during which the themes return as we originally heard them. As they listen, ask them to try to identify the different sections as they occur in the music. Play the CD. Note to teacher Tell your students that a choreographer making a work in sonata form for a dance company would strictly follow this structure creating steps and sequences that would tease out and elaborate on the composition. This lesson uses the “New World” Symphony as its thematic material and musical accompaniment much as professionals would. However, given the size of the average class, and in order to give every student the physical experience of dancing the sonata form, it may not be possible to follow it exactly as it develops in Dvorak’s work. NY State Arts Standards: Standard 1: Creating, Performing, and Participating in the Arts Standard 2: Knowing and Using Arts Materials and Resources Standard 3: Responding to and Analyzing Works of Art NY State ELA Standards: Standard 2 Language for Literary Response and Expression 27 Therefore, do not expect the students’ danced Introduction to be completed when Dvorak begins his Exposition, two minutes into the piece. Equally, it is unlikely that students will be able to sustain their compositions for the full length of Dvorak’s work. Preparation This is the rehearsal/composition section of the lesson during which students create the movement material they will use in their “Sonata Dance” later. These exercises are designed to develop movement themes and sequences. Gesture: Play the first two minutes of the track, the Introduction (during which Dvorak describes his emotional response to having recently immigrated to the United States and to missing his home, family, and friends back in Czechoslovakia). Have all students create or choose a gesture that reflects their response to this segment of the music. Gestures can range from something as simple as a wave to a single, fullbody movement. The movements must be repeatable and teachable, and should take only a few seconds to perform. Steps: The following activity develops the movement that will form the danced Exposition and Development sections. Have the whole class agree on three basic dance step patterns. For example: three runs and a jump, or four simple walks. Ask your students to suggest movements they do at a party or a school dance. Then divide the class into groups of three students. Have each small group create a sequence for these three basic dance step patterns combining them with all three of their gestures from the previous activity. They should rehearse these movements as a repeatable phrase created from these elements and learn to perform it in unison. Now piece together movements from the rehearsal to create a “Sonata Dance”, performed to the “New World” Symphony. Don’t worry about syncing the parts of the dance with the same named parts of the music. Although that would be ideal, as discussed above, it’s not necessary for this lesson. 28 The Dance Introduction: Arrange the small groups of three students in a small circle around the classroom to form a large circle. Have each small group identify an order of first, second, and third student. Tell them that student One will perform the gesture created during the preparation above. Student Two will then perform student One’s gesture and then their own. Student Three will perform student Two’s gesture and then their own. The gestures should be performed quickly. As you play the track, have each small group perform one at a time around the circle. Continue until each group has had the opportunity to share their gesture sequence with the class. Create an adaptation of the first dance. Have students quickly dissolve their small circles to create one large circle. Choose one student to pass his or her group’s gesture sequence to the next student in the circle, who then continues to pass it around the circle. (In a large class it may be necessary to have every student perform only their own gesture in order to save time.) At the end of the pass-around, have the students return to their groups of three in small circles. Exposition and Development: The “New World” Symphony includes three contrasting musical themes. Dvorak presents the themes in the Exposition. Once the themes have been established Dvorak combines them, takes them apart, and alters them in the Development. For the dance, the groups of three students will create this effect by using their unique step sequence – the Exposition – and then adding their unique gesture sequence to create the Development. For the Exposition, in their small circles, have the students perform their basic dance step pattern, a theme, in unison. For the Development, you “conduct” this section by pointing to each group, which will then perform the step and gestures sequence that they planned during the rehearsal. While waiting for their turn other students should stand frozen holding their individual gestures. If you want to take this choreography further, experiment by having several groups perform their combined movement sequence at the same time. This addition to the Development introduces both repetition and manipulation of movement ideas. Play this section of the Dvorak movement while the students dance. 29 Recapitulation: This section brings the dance to a close by revisiting the original themes, and repeating the original dance sequence. In their groups of three, while the music plays have the entire class perform their three original dances at the same time. When the last one is completed, have all students perform their own gesture one last time and freeze. Review/Reflection: Explain to students how the structure of a sonata is similar to that of a paragraph: topic sentence, three supporting ideas, and conclusion. Have each group of three students write the sentence: “Dancing a sonata goes like this . . .” across the top of a piece of paper. Then have each student in the group contribute one sentence describing their experience creating the dance. The concluding sentence, based on their three statements, should be written together. Have each group share their paragraphs with the class. Author: Carrie Stern, OSL Dance Teaching Artist 30 Making Connections What is American Music? Learning Objectives: Students will: • research a country that had a significant number of immigrants to the United States from the late 1800’s through the early 20th Century. • create journals of individual family members who immigrated to the United States. • pair music from the OSL CD with the emotions expressed in the journal entries. • perform skits showing the varied emotions of the immigrants. Motivation: Survey children to determine their experience in moving. Solicit responses about their parents’ or grandparents’, and friends’ accounts. Have some share how they would feel if they had to move today. Materials: • Individual journals • Pencil or pen • OSL CD • CD player • Research materials for chosen countries • Published memoir about an immigration experience Procedures/Activities: Day 1 Using the “Think Out Loud Method” read excerpts from a memoir or recall a story of immigration. As the story is being recounted, talk about emotions the immigrant might have experienced preparing for and during the journey. Example; “My family was really moving to a new country. I wondered what the people would be like. I didn’t know any English, would I be able to make friends?” NY State Arts Standards: Standard1 Creating, Per-forming and Participating in the Arts Standard 3 Responding to and Analyzing Works of Art NY State ELA Standards: Standard 2 Language for Literary Response and Expression Standard 4 Language for Social Interaction NYC Performance Standards: Standard E5a Respond to nonfiction, fiction, poetry, and drama using interpretive and critical processes Standard E3b Participate in group meetings 31 Social Studies Standards: Standard 2: Students will use a variety of intellectual skills to demonstrate understanding of major ideas, eras, themes, developments, and turning points in world history and examine the broad sweep of history from a variety of perspectives Standard 3: Students will use a variety of intellectual skills to demonstrate understanding of the geography of the interdependent world in which we live—local, national, and global—including the distribution of people, places, and environments over the Earth’s surface. Day 2-8, time permitting Explain to the students that musicians who had, or whose parents had, either migrated within or immigrated to the United States composed the music on the OSL CD, and that that experience is reflected in their musical composition in a variety of ways. Option1 Play the OSL CD several times. Have the students reread their journal entries and select a track(s) that best embodies the emotions of their entry (i.e. anticipation, fear, revelation, joy, disappointment, etc.) Have them explain in a small group why each piece of music is appropriate. Option 2 After playing the CD have groups of four or five read or act out their journal entries with the music as the background. Review/Reflection: This will be an exercise in reflective writing. Ideally, the students will create family members who joined them in the journey and perhaps mention loved ones who stayed behind. Discuss with the children the varied reasons for immigration and the hardships many families faced not only on the journey itself but in order to start over in a new country. Author: Marilyn Walker, Teacher P.S.3, Brooklyn Passed and waiting to be taken off Ellis Island 32 Making Connections I Came Through Ellis Island NY State Arts Standards: Standard 1 Creating, Performing and Participating in the Arts Standard 3 Responding to and Analyzing Works of Art Learning Objective: Students will be able to learn about people who immigrated to the United States by way of Ellis Island, and create visual art pieces that depict their feelings while waiting on Ellis Island. Materials: • Book: Ellis Island: A Pictorial History, by Barbara Benton, • OSL CD track #2, Symphony #9 “From the New World” • CD player • Chart paper, marker • Art supplies: pencils drawing paper crayons, markers • Additional web resources: Ellis Island www.ellisisland.org Public Broadcasting System (PBS) www.pbs.org The Library of Congress (LOC) / American Memory www.memory.loc.gov Procedures/Activities: Read the book Ellis Island: A Pictorial History. Show the pictures, emphasizing how children your students’ ages were with their parents, and they were also a part of the immigration process. Discuss with the students the reasons why people move to other countries. Have students tell why they think people come to America. (Some possible reasons are: freedom to worship, freedom from oppression, freedom from fear, and the freedom to create.) Tell them about the process of waiting on Ellis Island, and how people were given physical examinations before they were allowed into America. Explain that some people were not well enough to stay in America, and they were sent back to the countries they came from. Tell the children to imagine that they were waiting on Ellis Island to see if they would be allowed to stay in America. Have the students describe how they think those children felt. Write their responses on a chart paper. Ask them to listen to the CD track. Explain to them that the Czechoslovakian-born composer, Antonin Dvorak, also moved to the United States with his wife and two of his young children and wrote this symphony inspired by his experiences traveling around and learning about this country. 33 NY State ELA Standards: Standard 2 Language for Literary Response and Expression Standard 4 Language for Social Interaction NYC Performance Standards: Standard E5a Respond to nonfiction, fiction, poetry, and drama using interpretive and critical processes NY State Technology Standards: Standard 5: Use technology for research Tell them, however, that he had been invited to come to New York City in 1892 to work for the National Conservancy of Music in America and unlike the 22 million ordinary immigrants coming to the “New World” to find a better life, did not have to endure the Ellis Island experience. Have students draw images of how they think the children their age felt as they waited to be examined to see if they would be able to stay in America, or go back home. Their pictures should be about the feelings these children may have had just waiting. Ask the children to continue to create drawings that describe the feelings as the music plays. When they have finished, have the students work in groups of four to share what their artwork illustrated about the children waiting to find out whether they stay here, or go back home. For the class share, chose one student from each group to share with the entire class. Review/Reflection: The students drawing responses can be posted on a bulletin board in the room. Students can also write on post-it notes what the feelings were that their drawing illustrated. An extension of this lesson could be that students listen to and/ or read about actual narratives of people who have immigrated to America. Have them access the Ellis Island, PBS, or LOC/ American Memory websites to find some personal stories of immigration. Social Studies Standards: Standard 2: Students will use a variety of intellectual skills to demonstrate understanding of major ideas, eras, themes, developments, and turning points in world history and examine the broad sweep of history from a variety of perspectives Standard 3: Students will use a variety of intellectual skills to demonstrate understanding of the geography of the interdependent world in which we live— local, national, and global— including the distribution of people, places, and environments over the Earth’s surface. Author: Lenora Walters, Teacher, PS 3, Brooklyn 34 Making Connections Where Do You Come From? NY State Arts Standards: Standard 1: Creating, Performing, and Participating in the Arts Standard 2: Knowing and Using Arts Materials and Resources Standard 4: Understanding the Cultural Contributions of the Arts Learning Objectives: Students will: • be able to gain an understanding of how immigration relates to them and others. • be able to explain how immigration has affected them and others. • conduct interviews of a friend or family member who has immigrated to this country. • use drama to demonstrate their understanding of from where the friend or family member came. Materials: • OSL Study Guide Interview Handout • OSL Study Guide Immigration Timeline • Suggested read alouds: Grandfather’s Journey by Allen Say The Lotus Seed by Sherry Garland Coming to America by Betsy Maestro Procedures/Activities: Session One Begin the lesson by sharing an immigration experience of a friend, family member, or even yourself. You may want to bring in an artifact (i.e. photograph, food, clothing, toy, etc.) that relates to the home country. Be sure to explain why the person or group left the home country and what their life is like now in this country. Explain to the students that all of our families, at one point or another, immigrated to the United States. Most came voluntarily, while many came involuntarily during the tragic era of slavery. Tell them that they will focus on the voluntary immigration of people from around the world starting in the late 1800’s, through the 20th Century, and to the present. In order to gain a better understanding of why families made the decision to come to this country, explain that they will need to conduct an interview of a family member or friend who has immigrated here from another country. NY State ELA Standards: Standard 2: Language for Literary Response and Expression Standard 4: Language for Social Interaction NYC Performance Standards: Standard E5a: Respond to nonfiction, fiction, poetry, and drama using interpretive and critical processes 35 Social Studies Standards: Standard 2: Students will use a variety of intellectual skills to demonstrate their understanding of major ideas, eras, themes, developments, and turning points in world history and examine the broad sweep of history from a variety of perspectives Standard 3: Students will use a variety of intellectual skills to demonstrate their understanding of the geography of the interdependent world in which we live—local, national, and global— including the distribution of people, places, and environments over the Earth’s surface. At this point, you may want to do a read aloud with a text that discusses some form of immigration. Compare and contrast your personal immigration story to the one in the read aloud. Discuss with the students how your experience and the one they just heard in the read aloud provide two different examples of where families come from, why they come, and how they ended up. Explain to the students that they will interview a family friend or family member who has immigrated to this country in order to explore other reasons why people come to this country. Review the interview questions on the handout. (Feel free to revise these questions to match your students’ needs.) Session Two Collect interviews to determine how to group the students. Group the students so that they are with other students whose interviews have commonalities. Explain to the students that they are to share the responses of the person they interviewed. Tell them to find the similarities among their experiences. Have the group look over the Immigrant Timeline to identify any laws or events that may have affected the person they interviewed. They will use these similarities to create a short dramatization of the experiences of immigrants. Each person in the group will need to have an active role in the dramatization. Once the groups have had sufficient time to plan and rehearse their dramatizations, allow them to share it with the entire class. Have the students compare and contrast their own dramatization to one of the other ones they heard. Review/Reflection: Discuss with students the knowledge that they have gained from this study of immigration, including the variety of factors that may cause a person, group, or family to leave their homeland to come to this country as well as the experience that some may have when they get here and find that their dreams are not always attained, or their expectations not fully met. Author: Jamie Levidis, Teacher, P.S. 19, Queens 36 Interview Questionnaire Find someone who has moved to New York City from another country. This person can be a member of your family, a neighbor, a teacher from your school, or a friend. Use this questionnaire to find out their immigration history. 1. When were you born? Where were you born? 2. What was your hometown like? 3. When did you leave your hometown/country? 4. How old were you when you left? 5. Why did you leave your hometown/country? 6. What did you bring with you? 7. What were the conditions in your hometown/country when you left? 8. How are the conditions different in this country? 9. What influenced your decision to leave your country? 10. What had you heard about this country/New York City before you came that made you come here? 11. How did you come here? Did you know someone that was already living here? Did you come alone or with other family? 12. How has coming here affected your life? 13. Have you kept in touch with your friends and family that are still in your native country? If so, have the conditions there gotten better or worse? 37 1901 New York City’s population reaches 3,440,000. 1903 1905 Immigration to the United States sets new records. Most of the arrivals are from Italy, Austria-Hungary, and Russia. Charles C. Weisz of NYC’s Department of Charities urges that immigration of people over 50 be restricted, arguing that new arrivals of a certain age are likely to become public charges. 1907 Peak of Italian immigrants to US: 5,294,000 Peak of Austrian-Hungarian immigrants US: 4,315,000 The Immigration Act of 1907 is signed – Theodore Roosevelt is authorized to restrict entry of Japanese laborers. 1910 Hebrew Immigrant Aid Society (HIAS) created March 16. It helped immigrants gain legal entry, find relatives, obtain work, and register for schools. 1908 1912 Ellis Island has a record 1-day influx of 11,475 immigrants on April 17th. An immigration act passed by Congress excludes undesirables, raises the head tax on arrivals to $4 and creates a commission to investigate. 1911 NYC population: 4,766,883 Manhattan alone: 2,331,542 Foreign-born: 40.8% up from 37% in 1900 1913 Peak of Russian immigrants to US: 3,374,000 1919 Ellis Island receives only 28,867 immigrants, down from 178,416 in 1915 and 878,052 in 1914. Nearly half the staff has been dismissed. The island is turned over to the army and navy. 1917 Immigration bill by Woodrow Wilson requires that would-be immigrants pass a literacy test in any language. This bill becomes law on February 5th, excluding immigrants from Asia and Pacific Islands. But, to relieve the distress of Russian Jews, it exempts refugees from religious persecution. 1920 Ellis Island is returned to US Immigration Service in July. The service is soon ready to receive what is expected to be a torrent of immigrants from the shambles that the Great War (WW1) has left Europe. It is quickly found that the island is being used to detain suspected Communists and Anarchists who are being deported. 1921 The Emergency Quota Act was passed by on Congress May 19th. It establishes a quota system to restrict immigration. It permits only 3% of the people of any nationality who lived in the US according to the 1910 census. 1924 The Johnson Reed Act of 1924 established a quota system to restrict immigration. It permits only 2% of the total number of people of each nationality in the U.S. as of 1890. It completely excludes immigrants from Asia. The law further restricted the Southern and Eastern Europe. No restrictions were placed on immigrants from Canada or Latin America. 1924 Peak of Canadian immigrants to US: 4,105,000 38 IMMIGRATION TIMELINE 1931 NYC’s population reaches 6,930,446, but Manhattan population has dropped to 1,867,312 down from 2,284,103 in 1920. Population of Manhattan’s Lower East Side has dropped from 530,000 in 1910 to 255,000 thanks to subsidized apartments near Brooklyn, the Bronx, and Queens transit lines. Emigration, for the first time exceeds immigration. 1932 Ellis Island is turned into a detention center for deportees after 40 years as the nation’s chief entry point for all immigrants. Agents will process immigrants and other arrivals hereafter at piers, border crossings, and, later, airports. 1945 A large-scale migration of Americans from rural to urban areas begins. 1951 Brooklyn’s white population has declined by 50,000 and blacks have moved in to take their place. East Harlem tenements that once housed a mixed population of Germans, Italians, and Jews have become El Barrio, a Puerto Rican enclave. 1952 The McCarren-Walter Act (The Immigration and Nationality Act of 1952) passed ending Asian exclusion and allowed national quotas at a rate of 1/6 of 1% of each nationality’s population in the U.S. in 1920. 1954 Puerto Rican immigration to NYC peaks. Puerto Ricans represented less than 5% three years before and were concentrated in East Harlem. But NYC will have roughly 500,000 Puerto Ricans by 1955. 1955 The first 1,243 European refugees to be admitted under the 1953 McCarren-Walter Immigration Act arrive by ship on July 12th. 1961 NYC population falls to 7,781,984. Some 900,000 whites have left the city (Irish-born population has dropped). About 800,000 blacks and Puerto Ricans have arrived. Departure of whites has far less to do with rising crime rates, a decline in public school standards or urban decay, but simply the appeal of suburban living. 1970 Only 18% of population is foreign-born. Puerto Rican population has grown to 817,712 and represents 10% of total. The city’s population has fallen by about 1million (the Irish have dwindled to 68,778) while non-white population has increased by 62%. 1987 Congress enacts sweeping revisions in the US immigration law. The Simpson-Mazzoli act signed into law by President Regan permits millions of illegal immigrants to remain in the country legally and imposes criminal sanctions to employers who hire undocumented workers. 1980 NYC population falls to 7,071,639, lowest since 1930 with declines in every borough, except Staten Island. Brooklyn’s Brownsville section was once mostly Jewish and second only to Manhattan’s lower east side as a Jewish enclave, but has now become almost completely black. 1997 A new US immigration law requires that foreign-born residents earn 125% of the minimum wage to obtain green cards for members of their families who want to enter the country. The new law will cut the number of NYC’s immigrants from the Dominican Republic by more than half. 1989 Illegal immigrants flood agency offices prior to May 4th expiration date for the amnesty program set up under the 1986 Immigration Control and Reform Act. 39 Statistics and facts collected from The New York Chronology by James Trager Community and Cultural Resources Museum, Library, and Book Listings The African Burial Ground http://www.africanburialground.gov/ABG_Main.htm Brooklyn Public Library http://www.brooklynpubliclibrary.org/ Brooklyn Historical Society 128 Pierrepont Street Brooklyn, NY 11201 718-222-4111 http://www.brooklynhistory.org/ default/index.html Castle Clinton (National Historic Site) http://www.nps.gov/cacl/ Ellis Island http://www.ellisisland.com/ Liberty Island http://www.endex.com/gf/buildings/liberty/liberty.html Lower East Side Tenement Museum 108 Orchard Street, New York NY 10002 , (212) 982 8420 http://www.tenement.org/index.htm New York Historical Society 170 Central Park West New York, NY 10024, (212) 873.3400 https://www.nyhistory.org/ web/index.html Just arrived from the rural south 40 NYC Public Library http://www.nypl.org/ NYC Public Library Digital Gallery http://digitalgallery.nypl.org/nypldigital/index.cfm Museum of the City of New York, 1220 Fifth Avenue at 103rd St. New York, NY 10029, (212) 534.1672 http://www.mcny.org/ Schomburg Center for Research in Black Culture 515 Malcom X Boulevard New York, NY 10037-1801, (212) 491.2200 Digital Shomburg http://www.nypl.org/research/sc/digital.html IN MOTION - The African-American Migration Experience http://www.inmotionaame.org/home.cfm The Studio Museum in Harlem 144 West 125th Street, New York NY http://www.studiomuseum.org/ Book Listings Summertime From Porgy and Bess By Gershwin, Heyward and Wimmer ISBN #0-689-80719-8 Getting to know the world’s great composers: George Gershwin By Mike Venezia ISBN #0-516-04536-9 Getting to know the world’s great composers: Aaron Copland By Mike Venezia ISBN #0-516-04538-5 The Great Migration An American History Painting By Jacob Lawerence ISBN #0-06-443428-1 African-American Artists, 1929-1945 ISBN #0-30009877-4 41 LifeCareers and Life-Long Learning Interviews with Performers Interviews with OSL musicians Mayuki Fukuhara (violin), Louis Hanzlik (trumpet) and Gerhardt Koch (clarinet) Can you tell me how old you were when you started playing music, and how long have you been performing with the Orchestra of St. Luke's? Mayuki: I started playing the violin when I was seven years old. My parents asked what I wanted as a Christmas gift, and I said a piano. Of course that was too expensive, and so after some bargaining we settled on a violin. I heard the violin on the radio and at concerts my parents brought me to, and I liked the sound of it so much it would make me dance. I started performing in the Orchestra of St. Luke's long, long ago. Maybe thirty years ago! Louis: I was ten years old when I began playing the trumpet, my first and only instrument. Both of my parents were band directors, so there was always music in our home. I have been playing with St. Luke's since 2000, about eight years. Mayuki Fukuhara Gerhardt: Both my parents were high level amateur musicians. My father played the clarinet and sax, and my mother played the flute and piano. We sang at home, on car trips, and at Christmas we sang Christmas carols. I first started by playing the piano at six, the recorder at eight. Saxophone, I started at ten and finally the clarinet at twelve, all home instructed. I probably started playing with the Orchestra of St.Luke's in l977. Do you play other types of music too, and what kind of music do you prefer to play? Mayuki: I like Jazz and Ragtime music. I used to go to hear Stephane Grapelli play this music and he always inspired me. It's hard for me to play real Jazz very well because you have to be able to improvise, which is very hard. It takes a special talent to be able to improvise. I love all classical music and any music that makes me want to dance like waltzes or Spanish music. Louis: I like to play jazz, and improvise. I've had to perform in many, many different styles, except one, Bluegrass! That's too bad, because I really like to listen to Bluegrass. Gerhardt: At home we listened to both jazz and classical music, but formal training always seemed to lead to classical music. I like playing jazz, and American popular music of the 20’s, 30’s and 40’s. 42 Do you play other instruments too? Mayuki: Not too many! I love to play the viola. I cannot quite play the piano, but I like it very much. Louis: I actually don't play other instruments, but would like to learn how to play the guitar someday. Gerhardt: I play all kinds of saxophones. Does it take different techniques on your instrument to play different types of music? Mayuki: The technique serves the music in order to keep the music alive and breath- ing. Some music asks for special glissandi or portamento, which again, is for the expression of the music. Composers like Leonard Bernstein ask for you to “swing” some rhythms. That's more interpretation of the music. Louis: The basic playing techniques are the same, no matter what the style. The trick to playing different types of music is “hearing” and understanding the style you want to play. If you know what the style sounds like, you'll be able to play it on your instrument. Gerhardt: Different music from different times requires different sounds. My job is to recreate what you think the composer would like to have heard. Sometimes this requires knowledge of the composer, and the historical context of his life. Louis Hanzlik How is it different for you, playing in a big orchestra, and then playing in a small group of four or five? Mayuki: In chamber music only one person plays each part; you are in charge of making music together. In an orchestra there are so many people where you can use the same skills, if the size is not too big. If you have a conductor like Leonard Bernstein, he can inspire you to play better and better. Louis: Musicians have lots of musical responsibilities in a small group. You not only get to be a soloist who performs melodies, but you also get to follow or accompany others when they have solos. Gerhardt: It's different in both scale and scope. The are very different worlds, both valid. You must listen in both and play a role in both. 43 Why do you not use a conductor when playing in a chamber music group? Mayuki: We don't need so much direction. I enjoy very much playing with friends and conversing with our music. It is wonderful and lots of fun. Louis: Because chamber music groups are so small, it is easy for all of the musicians in the group to work together, making musical decisions without a conductor. Gerhardt: I think everybody in a small group is conducting, in the best sense--that is, they are contributing to the life of the group as a whole with the group's best interest and outcome at heart. Can you explain your instrument's role in a symphony orchestra? Mayuki: The violin plays in the higher range. The first violins usually play the melody, and the second violins play the accompaniment but sometimes play beautiful melodies too. The second violin also plays a lot with the viola providing lots of harmony, rhythm, and color. Louis: Depending on the style of music, the trumpet has many roles. During the Classical period, the trumpet didn't have valves, so we could play very few notes. As a result, composers such as Beethoven and Haydn Gerhardt Koch used the trumpet for volume and rhythmic energy. For music of today, the trumpet has valves and can play all of the notes in the chromatic scale. Because of that, composers have written melodies for us! Gerhardt: My instrument plays as many roles as there are possibilities! First clarinet plays a solo voice (melody), and the second and third clarinets play supporting roles (harmony, rhythm), other solo voices and part of a woodwind choir. Most important, the clarinet adds color. Do you need to be from a composer's birthplace in order to understand their music? Mayuki: Today people hear music from all over the world on the TV, radio, CDs, and in concerts. Each country has its own beautiful culture and music. Although it's from a different place, it doesn't stop us from enjoying it. It's like food. Do you like Italian, Chinese, Indian, or Hungarian food? They all know how to cook the most delicious food, so in that way, yes. But if someone asks me if I like his or her food, I would say yes, I love it. So in music, too, we can all appreciate and enjoy the differences in our countries and cultures. 44 Louis: Not at all, but the music is always more fulfilling to listen to if you understand what the world was like when they wrote it or even how they lived. Gerhardt: Wild question! No you don't need to be from a composer's birthplace to play or understand his/her music. But there is a lot you have to know, have an ear for and a sensitivity to, before you can make his music come alive at the highest level. The more you know and hear, the better you are able to bring your listener through time to the composer's intent. I kind of see it as a form of time travel! What are some of the coolest things you have done, because of playing music? Mayuki: I have met wonderful people and played music together that has inspired me. It has made me grow as a person and musician. I've traveled the world playing music and performed in some of the greatest concert halls, like La Scala in Italy and the Musikverein in Germany. Once in Sao Paolo, Brazil, the audience got so excited while we were playing their style of music that they were roaring and cheering all the time. It was like a rock concert. Louis: I have traveled to Europe and Asia to play the trumpet! Gerhardt: I played at the re-opening of the Apollo Theater in 1987 and I have traveled the world playing music. For my generation, those are very cool things. Daire FitzGerald What is your favorite . . . Mayuki Color Ice-Cream Flavor Subject in School Baseball Team Green Vanilla History *Taiyo Whales Louis Blue Rum raisin ( try it it’s good) woodworking Gerhardt Blue Blueberry History I only watch college Yankees football “Go Nebraska” cat Snoop Type of Pet Hip-Hop Singer Kitty Cat I’ve heard of Michael Jackson *a baseball team from Yokohama, Japan Author: Daire FitzGerald, OSL Cellist 45 Glossary of Musical Terms Accompaniment: A vocal or instrumental part that supports another, often solo, part Bluegrass: A sub-genre of country music that originated in the Appalachian region and has its music roots in English, Scottish and Irish folk music. The instrumentation usually consists of fiddle, double bass, banjo and guitar. Bow: The implement used to vibrate the strings of a stringed instrument. The bow is essentially a wooden stick with horsehair strung from the lower end to the tip. Brass Family: The group of brass instruments that include the trumpet, horn, trombone, and tuba Cadence: final punctuating series that ends a musical phrase Coda: “tail” in Italian; the last section following the recapitulation Codetta: “little tail” in Italian; the final section of the exposition Call and Response: Two phrases that are performed where the second phrase responds to the first Chamber music: Music usually performed by a group of less than ten musicians that is suitable for performance in a room Charleston: A song style and dance style based on a syncopated rhythm popularized in the 1920’s by composer/pianist J.P. Johnson Cellist: One who plays the cello Chamber orchestra: A small orchestra Classical: Music composed in Europe in the mid 1700s and early 1800s characterized by more complex forms and harmonic ideas and extended chromaticism Clavier: The keyboard of a piano, harpsichord, or organ. Also used as a nonspecific word for any keyboard instrument Composer: A person who creates or writes music Composition: A work of music, literature, or art Conservatory: A school of music Conductor: Person who directs an orchestra Crescendo: Increasing in loudness or volume Decrescendo: Decreasing in loudness or volume Diatonic: Melodies and harmonies confined to the notes of the scale. Dominant: fifth note of a scale or a triad built on the fifth note of a scale Dominant 7th: dominant chord with an added minor 7th from the root Dynamics: Degree of loudness or softness in music Dynamic Marking(s): Written indication of the volume to be performed Forte: Loud Piano: Soft Ensemble: A small group of musicians or actors Finale: The concluding part of a musical composition Folk Song: A song of some antiquity that has been passed down over generations in a nation or community and has musical traits specific to that nation or community Glissandi: When a musician “glides” from an origin note to a destination note hitting all the consequent musical pitches in between 46 Harmony: The sound of two or more notes played at the same time Major: Quality of musical harmony defined by a major 3rd note of the scale (sounds happy) Minor: Quality of musical harmony defined by a minor 3rd note of the scale (sounds sad) Instrument: A device for playing or producing music Instrumental: Pertaining to instruments Instrumentation: Organizing which instrument will play which musical part Jazz: American style of music that was spawned in the early 1900’s in New Orleans. It combined musical elements from both the African and European traditions. Jazz is characterized by syncopated rhythms and the importance of improvisation within the style. Keyboard Instruments: Generic name for instruments that a have a keyboard (set of keys). Ex. pianoforte, harpsichord, celesta, organ, clavichord March: Music used to accompany a group of marching persons, especially soldier, generally with certain compositional characteristics, like heavy down beats and a middle section called a trio that modulates to a new key Mass: A musical setting of certain parts of the religious Mass Masterpiece: In the Arts, a person’s greatest work, or anything done with masterly skill Melody: The tune or “singable” part of the music Mouthpiece: The part of a wind or brass instrument that is held against the mouth Movement(s): Sections of a musical composition Musician: One who performs music Octave: The notes on each end of a major scale Orchestra: A group of musicians playing instruments together. The families of instruments in the orchestra are strings, winds, brass, and percussion Percussion Family: The family of Instruments that uses striking to create a sound, and includes instruments such as drums, triangle, xylophone, and cymbals Phrase: A musical statement (like a sentence or question or answer) Piano / Piano-forte: A musical instrument with a manual keyboard activating hammers that strike wire strings, producing sounds that may be softened or sustained by means of pedals Piece: A musical composition Pitch: The position of a tone in a musical scale Pizzicato: In written music, the indication that a stringed instrument should be plucked with the fingers as opposed to being played with the bow Portamento: A musical device where a musician “slides” form one note to another smoothly. Prodigy: A person, usually a child, with extraordinary talent or ability Ragtime: A predecessor of jazz, ragtime was made popular by the composer/pianist Scott Joplin. It was usually played on the piano and consisted of highly syncopated melodies and accompaniments. Repetition: Stating and restating an idea or theme again; repeating 47 Retransition: in sonata form, the last part of the development section that emphasizes the dominant key Rhapsody: A highly affective and episodic one-movement piece of music with definite contrasts in mood, color and tonality throughout. It is not characterized by one specific form. Rhythm: The pattern of notes played over a basic beat Romantic Period: Music composed from 1820 to 1910 with an emphasis on emotion, feeling, and expression Scale: An ascending or descending collection of pitches that follow a particular pattern Score: The notation of all the parts of a composition for an ensemble with each part notated on a separate staff and simultaneously sounded notes aligned vertically String Family: Family of instruments that include the violin, viola, cello, and bass Solo instrument: Playing alone or when one instrument performs the leading part Sonata: Musical form for an instrumental composition usually containing four distinct movements or sections Sonata form: Sonata form consists of four parts: Introduction Exposition (statement of theme) Development (transitional section) Recapitulation (restatement of the theme) Structure: Arrangement of parts or elements in a building or a work of art Style: The manner in which a piece of music is performed, adhering to certain rules and ideas about the period of time in which it was written, i.e. rock n’ roll, hip hop, jazz, cabaret, country, opera, pop, disco, reggae and ska, heavy metal, ethnic (world), etc. Symphony: An extended piece in three or more movements for symphony orchestra Syncopation: Rhythmic pattern in which the emphasis shifts “off” the beat Tempo: Speed Adagio: Slow Allegro: Fast Largo: Very slow Molto: Very Non: Not Presto: Very fast Texture: The horizontal (melodic lines) and vertical (chords) relationship of musical lines, comparable to the interweaving of a fabric, which concerns the sparseness or thickness of the instrumentation Monophonic: Single melodic line Homophonic: Melodic line supported by chords at various points Polyphonic: Music composed of two or more voice parts, each having melodic significance (ex. counterpoint) Heterophonic: Primitive type of polyphony in which two voices produce essentially the same melody with only slight modifications to one part Theme: The subject or central idea Timbre: Also called tone color, the peculiar quality of a tone as sounded by a given voice or instrument Tone: A sound of distinct pitch, quality, and duration; a note 48 Tonality: The sound of a composition related to the key or mode, or the “loyalty to the tonic” Tonal Center: central note of a melody or larger piece of music in relation to which all other tones are heard Tonic: central note of a melody or larger piece of music in relation to which all other tones are heard Transitions: The change between different sections of a musical piece when a piece of music changes in character Tutti: Everyone playing or singing together Twelve bar blues: Musical form of traditional blues songs Vibrations: The quivering produced by the regular movement of air molecules Virtuoso: A person with great technical skill in playing music Violin Family: Family of stringed instruments including (from the highest pitched to the lowest) violin, viola, cello, and double bass Woodwind Family: Family of instruments including the flute, piccolo, clarinet, oboe, and bassoon. Several of these instruments use a reed to produce sound. 49 Notes 50 Notes 51 Notes 52 ARTS EDUCATION PROGRAM EDUCATION COMMITTEE Ruth Widder, Chair President, Widder Bros., Inc. Chair, Widder Foundation Inc. Chair, Music for Montauk and the Montauk Chamber Music Society Trustee, Orchestra of St. Luke’s Executive Director, The Bay & Paul Foundations Trustee, Orchestra of St. Luke’s Department Manager Customer Operations Consolidated Edison Trustee, Orchestra of St. Luke’s Senior Vice President of Clinical Program Planning and Strategic Development, New York-Presbyterian Hospital Board of Directors, Emily Davie & Joseph S. Kornfeld Foundation Retired principal, P.S. 105, Brooklyn Trustee, Orchestra of St. Luke’s Board of Managers, Eastman School of Music Former Trustee, Chautauqua Institution Consultant, Center for Educational Partnerships in Music, Atlanta Former Marketing Director, Calvin Klein Consultant Co-Director, The Samberg Family Foundation Public Affairs Manager, Strategic Partnerships, Con Edison President, Board of Directors, Reader’s Theater Workshop Trustee, Black American Heritage Foundation Black Achievers Mentor Committee, Harlem YMCA Trustee, Orchestra of St. Luke’s Robert Ashton Kristin Barbato Emme Levin Deland Barbara Jeby Helen Lally Kay Logan Marty J. Rose Laura Samberg Phyllis White-Thorne R. Keith Walton 53 Orchestra of St. Luke’s is grateful to the following funders of the Arts Education Program: The Milton and Sally Avery Arts Foundation The Rose M. Badgeley Residuary Charitable Trust The Bay and Paul Foundations The Bernstein Family Foundation, Inc. The Mary Duke Biddle Foundation Capezio/Ballet Makers Dance Foundation Con Edison Educational Foundation of America Stella & Charles Guttman Foundation Harkness Foundation for Dance Hearst Foundation Hyde and Watson Foundation Independence Community Foundation JPMorgan Chase Foundation Emily Davie & Joseph S. Kornfeld Foundation Lehman Brothers Lemberg Foundation The Liman Foundation James A. Macdonald Foundation Merrill Lynch & Co. Music Performance Trust Fund New York City Department of Cultural Affairs New York State Council on the Arts Newman’s Own, Inc. The Samberg Family Foundation The Bay and Paul Foundations This program is supported in part by public funds from the New York City Department of Cultural Affairs. Thank you to Virginia James, Norman Benzaquen, Martin J. Rose, and Kay Logan for their generous program sponsorship. Special thanks to Robert and Joan Arnow for their generous sponsorship of PS 112 in the Bronx. The instrumental music for all programs is made possible in part by funds supplied by the Recording Companies of America through the Music Performance Trust Funds, a public service organization created under agreements with the American Federation of Musicians. The grants were obtained with the cooperation of Local 802 A.F. of M. ~ Marianne C. Lockwood, President & Executive Director Katy Clark, Vice President & Managing Director Elizabeth Ostrow, Vice President, Artistic Planning Bill Rhoads, Director of Marketing Liz Keller-Tripp, Artistic and Marketing Associate Yvonne Raptis, Director of Finance Kristine Peters, Marketing & Administrative Assistant Stacy Margolis, Director of Development Rose Bellini, Assistant Director of Development Faith McCoy, Development & Executive Assistant Liz Norman, Director of Education Mark Caruso, Manager of School Partnerships Jerry Jaworski, Education Associate Valerie Broderick, Director of Operations Angela DeGregoria, Assistant Director of Operations Ryan MacGavin, Artistic Personnel Manager Zack Patten, Library Manager Send letters and pictures from your students to the following: Marianne C. Lockwood President & Executive Director Orchestra of St. Luke’s 330 West 42nd Street, 9th Floor New York, NY 10036 Or email Education@OSLmusic.org The taking of photographs and the use of recording equipment are not permitted during the performances 54