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Dear Fellow Educators,

2018 marks the 100th birthday of Leonard Bernstein, the composer, conductor, educator, musician, cultural ambassador, and humanitarian. To celebrate, orchestras and other cultural and educational institutions around the world are embarking on a vast array of programs, projects, and exhibitions.

One of the ways the Dallas Symphony is celebrating this special occasion is by presenting an original Youth Concert that gives students a revealing, side-by-side look at the maestro and his own greatest inspiration: Ludwig van Beethoven.

In his book The Joy of Music, Leonard Bernstein told the world why he considered Beethoven the greatest com-poser who ever lived. Here is an excerpt:

Many, many composers have been able to write heavenly tunes and respectable fugues. Some composers can orchestrate the C-major scale so that it sounds like a masterpiece, or fool with notes so that a harmonic novelty is

achieved. But this is all mere dust – nothing compared to the magic ingredient sought by them all: the inexplicable ability to know what the next note has to be. Beethoven had this gift in a degree that leaves them all panting in the rear guard. When he really did it… he produced an entity that always seems to me to have been previously written in Heaven, and

then merely dictated to him. Not that the dictation was easily achieved. We know with what agonies he paid for listening to the divine orders. But the reward is great.

Beethoven broke all the rules, and turned out pieces of breath-taking rightness. Rightness – that’s the word! When you get the feeling that whatever note succeeds the last is the only possible note that can rightly happen at that in-

stant, in that context, then chances are you’re listening to Beethoven. Melodies, fugues, rhythms – leave them to the Tchaikovskys and Hindemiths and Ravels. Our boy has the real goods, the stuff from Heaven, the power to make you

feel at the finish: Something is right in the world. There is something that checks throughout, that follows its own law consistently: something we can trust, that will never let us down.

I encourage you to explore the music of both of these masters in your own classroom – the lessons and activ-ities in this guide will provide you with some excellent ideas on how to do this – and then join us for a doubly inspiring concert at the Meyerson!

Jamie Allen Director Of Education Dallas Symphony Orchestra

The Dallas Symphony Orchestra Presents:Beethoven & Bernstein

November 14 and 15, 2018

VISIT THE DALLAS SYMPHONY ORCHESTRA’S EDUCATIONAL WEB SITE: www.DSOkids.com

https://www.surveymonkey.com/r/dsoyouthconcertsActivities for Beethoven & Bernstein teacher’s guide were prepared by the Dallas Symphony Orchestra’s

Curriculum Development Team: Jamie Allen, Linda Arbolino, Jane Aten, Tony Driggers, Sarah Hatler, and Kevin Roberts. This volume of the teacher’s guide was produced and edited by Dallas Symphony Orchestra

Education Staff Members Sarah Hatler and Jamie Allen. Materials in this teacher’s guide can be photocopied for classroom use. If you have any questions about the concerts or material in this guide, please

call the DSO Education Department at 214.871.4006.

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Table of Contents

Concert specific information Repertoire and CD track list Concert guidelines for teachers Who’s Who Composer biographies Pre-Concert Activity Strategies for Mindful Listening Concert conduct Youth Concert Participation Activity

Concert Activities 1. Meet the Composers 2. Communicating Emotions through Music 3. Moving to Beethoven's Motifs 4. I Get the Idea! Music Listening 5. Word Search Puzzle 6. Crossword Puzzle

Post-Concert Activity Flat Beethoven and Flat Bernstein Student review

p. 3p. 4p. 5p. 6-7

p. 8p. 9p. 10

p. 11p. 14p. 16p. 18p. 20p. 21

p. 22-23p. 24

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Repertoire and Youth Concert CD Track List

1. Bernstein, Overture to Candide 2. Beethoven, Symphony No. 5, mvt. 1 excerpt 3. Beethoven, Symphony No. 5, mvt. 1 4. Bernstein, "Galop" from Three Dance Variations from Fancy Free 5. Beethoven, Symphony No. 7, mvt. 2 excerpt 6. Beethoven, Symphony No. 7, mvt. 2 7. Bernstein, "Lonely Town: Pas de Deux" from Three Dance Episodes from On the Town 8. Beethoven, Symphony No. 8, short melody from mvt. 29. Beethoven, Symphony No. 8, mvt. 2 10. Bernstein, Overture to West Side Story

Musical recordings under license from Naxos of America, Inc. www.Naxos.com(P) 2007 HNH International Ltd. All rights reserved. Unlawful duplication, broadcast or performance of this disc

is prohibited by applicable law.

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Who’s Who Rei Hotoda, Music Director of the Fresno Philharmonic, is widely considered one

of America’s most sought after and dynamic artists. She has appeared as a guest conductor with many of today’s leading ensembles, including the Symphony Orchestras of Baltimore, Chicago, Colorado, Dallas, Edmonton, Fort Worth,Jacksonville, St. Louis, Utah, Toronto, Toledo, Nova Scotia, and Winnipeg. Her repertoire spans the masterful staples of the classical canon to works by the leading composers of today, and she is equally at home leading the orchestra from the piano as well as from the podium.

A deep commitment to family and education outreach, artistic diversity, and collaborating with a wide array of artists outlined Rei’s tenure as Associate

Conductor for the Utah Symphony, a position she held from 2015-2017. Her passion for inspiring the next generation of musicians was in full bloom when she led the Utah Symphony in their much lauded "Salute to Youth" concerts and was thrilled to have one of her conducting students from Utah chosen as a 2017 conduc-tor apprentice in the National Youth Orchestra of the United States of America at Carnegie Hall.

A consummate advocate of new music, Rei has conducted many premieres, and has championed and recorded compositions by female composers, including Vivian Fung, Jennifer Higdon, and Kotoka Suzuki. She has also led one of the country’s most noted contemporary groups, the International Contemporary Ensemble (ICE).

As a recording artist, Rei’s credits are wide-ranging and feature her as both conductor and piano soloist. Her deep knowledge and remarkable versatility on and off the podium have led to several collaborations and special projects. She has worked with solo artists such as violinist Jennifer Koh, pianist Orion Weiss, and guitarist Pablo Villegas; singers such as Idina Menzel, Jackie Evancho, Michael Feinstein, and Ben Folds; and groups such as the Canadian Brass, the Indigo Girls, the Steep Canyon Rangers, and Pink Martini.

Prior to her growing achievements as a guest conductor, Rei served as assistant conductor at several of today’s leading orchestras and festivals. She was the assistant conductor at the Dallas Symphony Orchestra from 2009-2012 and led the ensemble in many diverse series both in the Meyerson and out in the community.

Rei is the proud recipient of several prestigious awards, including the 2006 Taki Concordia Conducting Fellowship, created by Marin Alsop to mentor women conductors. Additionally, she has received a Peabody Career Development Grant, the Women’s Philharmonic Scholarship, and an Illinois Arts Council International Arts Exchange Grant.

Rei studied conducting with Gustav Meier at the Peabody Institute in Baltimore, Maryland. She holds a Doctor of Musical Arts in piano performance from the University of Southern California, and a Bachelor of Music in piano performance from the Eastman School of Music.

When not conducting on the podium, Rei loves to spend time with her family, from exploring new trails in the National Parks to practicing violin with her 6 year old daughter. Her family loves animals. They have a German Shepherd dog, a 55 gallon fresh water fish tank, a grasshopper, a beta, and a toad named Morton.

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Composer Biographies

Ludwig van Beethoven (1770-1827) grew up in Bonn, Germany, in a very unhappy home. He was forced to practice the piano by his father, who would punish him mercilessly when he made mistakes. By the time he was twelve, he was earning a living for his family by playing organ and compos-ing. He was eventually known as the greatest pianist of his time. One of Beethoven's favorite foods was macaroni and cheese. He also loved strong coffee - exactly 60 coffee beans to one cup.

Beethoven never married (he had a rather nasty temper), but in spite of his unpleasant personality, Beethoven will be remembered forever for his music.

His first two symphonies are very much in the same style and form as those of composers that came before him, most notably Franz Joseph Haydn, his teacher. But Beethoven's writing-as seen in his Third Symphony- went in new directions. Named Eroica (Italian for "heroic"), his Third Symphony was

so different from the ones that had come before that it changed music forever. Its originality and innovation even inspired others to change the way that they composed. It was originally dedicated to Napoleon Bona-parte. But when Beethoven heard that Napoleon had proclaimed himself Emperor, he went into a rage and destroyed the title page.

Beethoven conducted the premiere of his Symphony No. 5 in C minor, Op. 67, in 1808 in Vienna, and its opening four note motif may be the most recognizable motif in classical music today. A few years later, his Seventh Symphony was an immediate success and was performed three times in the 10 weeks following its premiere.

Although Beethoven gradually lost his hearing, he continued composing. He composed many of the most famous musical works of all time, such as his Ninth Symphony, after he had become totally deaf.

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Leonard Bernstein (1918-1990) was born in Lawrence, Massachusetts. He began studying piano when he was ten years old. He graduated from Harvard and then from the Curtis Institute of Music, where he studied piano, conducting, and composition. When he was still a very young man, he was assistant conductor of the New York Philharmonic. The regular conductor, Bruno Walter, was ill one evening, and Bernstein took his place in a nationally televised concert. He did such an outstanding job that he became famous, and many orchestras wanted to hire him.

He was the regular conductor of the New York Philharmonic from 1958 through 1969. Just two weeks after he started his job with the New York Philharmonic, Bernstein conducted his first Young People's Concert. Throughout his career he believed playing for young students was one of the most important things he could do. Andrew Litton, former music director of the Dallas Symphony, attended some of these concerts when he was a child growing up in New York. These experiences

inspired him to become a conductor and to make education an important part of his work with the Dallas Symphony.

Bernstein also composed classical music, Broadway music, and jazz. He has been called "the first American composer to receive world-wide recognition." Among his most popular works are the ballet Fancy Free, the musicals West Side Story and On the Town, and the operas Candide and A Quiet Place.

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Strategies for Mindful ListeningAdapted from Settle Your Glitter - A Social Emotional Health Curriculum by Momentous Institute 2015

What is Mindful Listening?Mindful Listening helps students choose on which sound their attention should be focused. When a student trains his/her brain to concentrate on specific sounds, sensory awareness is heightened. Monitoring the audi-tory experience, noting what they focus on and respond to, helps build self-management and self-awareness skills.

How do I practice mindful listening with my students?Play a piece (or excerpt) from an upcoming DSO Youth Concert and have the students:• Sit up tall like a mountain and think of the spine as a stack of coins.• If seated in a chair or bench, feet are flat on the floor or hanging calmly and still. If seated on the floor, make sure legs and feet are still.• Hands are resting gently on the lap or knees.• Eyes are softly closed or their gaze directed downward.

What do I say during the mindful listening activity?Say things such as, ”As you listen to the music remember to breathe in and out deeply and focus on the music.” “What pictures do you see in your mind?” “Does it tell a story?” “Notice how your body feels (in the chair, on the floor…etc.).” “What colors do you see?” “What images?” “If this music was found in a movie, what would be happening?” “What mood does the music evoke?” “How does this music make you feel?”

What do I do if my students have trouble with mindful listening?This type of activity is very personal and takes a lot of practice. If students seem like their attention is falter-ing, say, “If your mind wanders, that is ok – that’s what minds do…just bring your attention back to the music. Notice how your body feels right now – at this very moment. Again, let your mind see the colors, pictures and moods in the music.”

How does the mindful listening end?After listening for 1-2 minutes, lower the volume of the music slowly and say, ”When you are ready, slowly open your eyes.”

What now?Talk about all of the student responses. Remember that there are no “wrong” answers – use open-ended questions to expand the activity. Try using these questions in response to your students:• What did you hear that made you think of that?• Tell me more about what in the music made you feel (happy, sad, lonely, afraid, etc.).• Can you add more details to that? • What did the composer/musician do to make you think of that?

ExtensionThis mindful practice can be used every day. Have relaxing and calm music playing as your students enter the room each day. Have them learn the mindful listening procedure and eventually it will become natural. This is a great way to start their music learning day – mind sharp, body relaxed, and brain ready for learning.

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Learning ObjectiveTo learn the proper behavior for a concert environment.

EvaluationDid student responses in the discussion exhibit an understanding of the proper behavior at a concert? At the concert, did students demonstrate good citizenship?

Teaching SequenceLead a class discussion that touches on the following topics: • Which rules of good citizenship apply to concert attendance? • Why is good citizenship important? • How can good conduct help others enjoy the music? • Should food, drink, and chewing gum be brought to the concert hall? • When does an audience applaud and when does it sit quietly? • Does the Meyerson Symphony Center belong to all the citizens of Dallas? • Do future concert-goers deserve to see the beauty of the Symphony Center?

Extension ActivityReview the following “applause rules”:

Have students take turns playing “conductor”. The conductor should face away from the rest of the class, wave his or her arms, stop and start waving a few times, then stop waving and turn to face the class. At this time the class should applaud. The game should continue until every-one in the “audience” knows when to applaud. Discuss how applause signals the audience’s appreciation, and, with the class, make a list of other situations where applause is appropriate, (for example, at sporting events, assemblies, and award ceremonies).

• Clap when the concertmaster enters at the beginning of the concert.• Clap when the conductor enters at the beginning of the concert.• Clap to welcome any soloists whenever they enter during the concert.• During the performance, watch the conductor. Whenever the conductor puts his or her hands down and turns to face the audience the music is completed and the audi-ence should applaud.

TEKSMusic: 117.12 1(A), 2(B), 6(A, C);117.181(A), 2(B), 6(A, C)

Pre-Concert ActivityConcert Conduct

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Pre-Concert ActivityYouth Concert Participation

In the concert, students will be asked to sing a short melody from Beethoven’s eighthsymphony. It goes like this:

You can also hear this melody on track 8 of the accompanying CD.

Beethoven composed his 8th symphony shortly after his friend, Johann Maelzel (rhymes with “pretzel”) invented the metronome. In the second movement of this symphony, we hear the woodwinds keep a steady, metronome-like beat, while the strings play the spritely melody above.

During the Dallas Symphony youth concert, some students will be asked to keep a steady, metronome-like beat by tapping two fingers into their opposite palm, while others will be asked to sing this melody.

Practice doing this with your students at school before your trip to the Meyerson, so that they’ll be prepared and feel good about their participation!

Two-finger clapping

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Meet the Composers

Resources• Accompanying CD • Composer Bios, pg. 6 and 7• Meet the Composer work-

sheet, pg. 13• Concert repertoire list, pg. 5Note

This lesson focuses on the two composers who will be featured in the DSO Bernstein and Beethoven concert. Both composers must be studied.

Pre-AssessmentAsk the students to name their favorite book. Ask them if they can also name the author and something about him/her. Tell the student that an author writes novels/books but a composer writes music.

VocabularyMaestro- the formal title for a conductor of an orchestra

Teaching Sequence1. Tell the students that they will be learning about the composers who wrote the music they will hear at the upcoming DSO youth concert. Pass out the Meet the Composer worksheet and pencils (page 13). 2. Write Ludwig van Beethoven’s name on the board and ask if any students know anything about this composer. Draw answers from the class. List the year of birth and death on the board. As you begin a discussion about this composer, list his city and country of residence. List at least two of the compositions from the concert repertoire list on the board. Have students copy this information onto the Composer sheet. 3. Ask students to put down their pencils and listen. Tell the students they will need to fill in the rest of the missing information about that composer on their Meet the Composer sheet. Read the composer bio to the class (page 6-7). After students are finished writing, review answers by asking students to share the composer facts they felt were most interesting. Encourage students to add to their information from other student’s answers. 4. Tell the students that Beethoven transformed classical music with his originality and innovations, inspiring other composers to do the same. Listen to one of the compositions from the concert repertoire and have students list as many adjectives as possible to describe the music.

On another day… 5. Follow the same procedure in steps 2 and 3 with the composer, Leonard Bernstein.

Learning ObjectiveStudents will explore biographical information about each of the composers featured in the upcoming DS0 concert and how each transformed the music of their time.

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Extension Activity

Evaluation Were the students able to remember distinguishing facts about each of the composers and how each transformed the music of their time?

TEKSFA.M.1/2/3.a.2; FA.M.1.b.5c; FA.M.2.b.5B/6D; FA.M.3.b.5B/5C/6E

Culminating Activity:Share the following information with the students: Marin Alsop, who conducted the Chicago Symphony Orchestra in a tribute to Bernstein, said that Bernstein was not only a great conductor and a great composer, he was also a great thinker. He was a humanist, an agitator, a TV star, and he left a broad legacy. He, (like Beethoven) transformed the classical music tradition. He also transformed musical theater and music education. He transformed the idea of what a maestro as a “citizen of the world” could be.

Ask the students to discuss the meaning of "citizen of the world."

1. Play Composer Baseball by dividing the class into two teams. Have specific locations for the bases. As each team comes “up to bat,” the student must answer a question asked by the teacher based on information they have learned about the two composers they have studied. You may even want to play a brief segment of the music for identification purposes. As students answer correctly they advance to the next base.

Here are some questions to get started:

1. Which composer was born in Germany? (Beethoven) 2. Which composer was born in Massachusetts? (Bernstein) 3. Which composer conducted the New York Philharmonic? (Bernstein) 4. Which composer composed classical music, music for Broadway, and Jazz? (Bernstein) 5. Which composer received world-wide recognition? (They both did.) 6. Which composer was also a pianist? (Both Beethoven and Bernstein) 7. Which composer lost his hearing? (Beethoven) 8. Which composer wrote 9 symphonies? (Beethoven) 9. Which composer played the organ? (Beethoven) 10. Which composer felt playing for young students was one of the most important things he could do? (Bernstein) 11. Which composer was considered the greatest pianist of his time? (Beethoven) 12. Can you name the composer who wrote this piece? (Play a few seconds of one of the concert repertoire selections. Can the student identify the correct composer by the overall sound of the music?)

Note: Using the composer bio’s as a guide, add additional questions.

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Meet the Composer

Name of Composer______________________________________________

This composer was born in _____________ and died in the year ___________.

This composer lived in the country of ________________________________

As a child, did this composer learn to play any musical instruments?__________If so, which ones were they? ______________________________________

An important job he held was______________________________________

Name two additional facts you learned about this composer.

1.______________________________________________________ ______________________________________________________

2. _____________________________________________________ ______________________________________________________

One piece of music he wrote was called ______________________________.

List as many adjectives as you can which describe his music.____________________________ _________________________________________________________ _________________________________________________________ _________________________________________________________ _________________________________________________________ _________________________________________________________ _________________________________________________________ _____________________________

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Learning ObjectiveStudents will analyze and discuss ways in which music can express emotions.

Resources• Music Listening Worksheet, pg 15 • Accompanying CD

Communicating EmotionsThrough Music

VocabularyEmotions - strong feelingsPitch - the relative highness or lowness of a musical toneTempo - the relative speed of a musical compositionDynamics - the relative loudness or softness in musicPre-AssessmentTell students that one of the most important reasons we have music is that it can communicate emotions we do not always have adequate words to express. Composers suggest emotions in their music by the way they combine pitch, tempo, dynamics and the sounds (or timbre) of different instruments. Briefly define these terms.Teaching Sequence1. Distribute the Music Listening Worksheets. Ask the students, individually or working in groups, to choose one of the emotions represented by an emoji. Ask them to imagine, if they were com-posers, what music qualities would they choose to express that emotion. Would the pitch be high or low, the tempo fast or slow, the dynamic level loud or soft, which instruments would they choose? 2. Tell students that at the Bernstein and Beethoven youth concert, they will hear some music that was com-posed to express a certain emotion. They will listen to two excerpts on the CD—as they hear the music, ask them to circle the emoji that represents the emotion the music makes them feel. Play the “Galop” excerpt from Bernstein’s Fancy Free (track 4), then the excerpt from "Lonely Town" (track 7). Let students share their responses, and lead a discussion of what characteristics in the music led to their choices.3. Tell the class that the first excerpt was from a piece called “Galop”, by Leonard Bernstein. It is a ballet (dance) for sailors trying to impress a young woman. The second excerpt, also by Bernstein, is called “Lonely Town.” What musical choices did Bernstein make? What feelings did the music express?

Culminating ActivityPlay an excerpt from Beethoven’s Symphony No. 5, movement 1 (track 3). As they listen, ask each student to draw their own emoji in the blank circle to represent the emotion they think the music expresses. Share responses and discuss what the students heard in the music that made them choose as they did.

Extension ActivityChallenge students to listen closely to the music they hear at home, on the internet or the radio, at church, etc. Have them ask themselves how it makes them feel, and what characteristics in the music create that feeling.

TEKSFA.A.1.4A; FA.M.1.b.6C; FA.A.1.2B; FA.M.2.b.5B; FA.M.3.b.5C/6C; FA.A.2/3.2A

Note to teacherSpecific emotional response to music is culturally shaped. Some composers write music to express specific emotions; others do not. Accept all responses. There are no wrong answers.

EvaluationDid student responses indicate understanding of ways in which music can communicate emotions?

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Learning ObjectiveStudents will recognize the motif in a symphonic work through movement.

Teaching Sequence1. Remind students of the definition of motif as learned in the pre-assessment. There was a repeating pattern in the music – short, short, short, long.2. Now play the opening of Symphony No. 7, movement 2 (track 5). Ask the students to use their Mindful Music steps (see page 8) and see if they can find the motif in the music. That repetitive Ta, Ti-Ti, Ta, Ta or long, short, short, long, long.3. Tell students that the difference between this motif and the motif in Beethoven’s 5th Symphony is that in the 7th Symphony the rhythmic motif remains steady throughout. 4. Play the entire selection again (track 6), and ask the students to listen for the motif but also to recognize what is changing within the music (volume, new instruments added, different instruments playing the motif).

Moving to Beethoven's Motif

VocabularyMotif – a repeated musical ideaRhythm – patterns of long and short sounds

Resources• Accompanying CD • Beethoven’s 5th Graphic Representation-

www.youtube.com/watch?v=rRgXUFnfKIY• Beethoven’s 7th, Allegretto Graphic Representation-

www.youtube.com/watch?v=ffYKCNY6kUk

Pre-AssessmentPlay the opening 22 measures of Beethoven’s 5th Symphony (track 2). Ask students if they recognize the piece and/or the composer. Play again and ask students to listen for a part of the music that repeats. Explain that the pattern is short, short, short, long. Take student answers but do not give the correct answer. Then play Beethoven’s 5th Graphic Representa-tion from YouTube (www.youtube.com/watch?v=rRgXUFnfKIY). Have students listen to and follow the graphic representation. Ask students if they were able to count the 14 times the motif was played.

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EvaluationWere students able to recognize the motif in Beethoven’s 7th Symphony?Were students able to keep the steady beat with the movements during the entire activity?

ExtensionPlay the graphic version of Beethoven’s 7th Symphony, movement 2 (www.youtube/watch?v=ffYKCNY6kUk).Have students look for the motif and follow the pattern throughout. Have them notice where the motif moves in the movement. Stop the video at 3 minutes and 20 seconds.

TEKSFA.M.1.b.1C; FA.M.1/2/3.b.3C; FA.M.1/2/3.b.6C/6D; FA.M.2/3.b.5B

Culminating Activity1. The movement: Begin with students in a circle with the teacher as the leader of the movement. Play Symphony No. 7, movement 2 (track 6). Step in time with the rhythmic motif with hands on hips. As the volume increases and number of instruments playing increases, move hands to shoulders, then head and then, finally, in the air.2. On the CD at 2:36, have students lower their hands slowly on the last playing of the motif.

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Teaching Sequence1. Write the words "I love to play" on the board and ask a student to read it (or say it after you). Ask if anyone else can say it a different way (louder, softer, higher, lower, singing, speaking, whispering, faster, slower, etc). One at a time, show them the ‘I love to play’ variations supplied on the next page of this lesson and ask them to speak it the way indicated by each poster. Remember there are no wrong answers! After several have contributed, review the various ways that the motif was done.

I Get the Idea! Music Listening

Resources• Accompanying CD• Worksheet on page 19; Note- Copy

onto individual pages to display to the class or write in various ways on the board

Culminating ActivityTell the students that they are now ready to hear the famous piece of music you spoke of earlier. Tell them to listen closely for the motif (four notes). Also alert them that the motif is going to happen many times and in many different ways – some of the changes may be the same ones they thought of. Listen to the excerpt (track 2) several times until they are familiar with it. On a different day, play the entire first movement of Beethoven’s 5th Symphony (track 3) for them. Challenge them to listen for all the repetitions of this famous motif in the music. For fun, try counting them and see how your answers compare. As a class, discuss and list the way the motif was varied.

VocabularyMotif- a repeated musical idea

Learning ObjectiveStudents will develop a basic understanding of motif in music

Pre-AssessmentAsk students to sing a simple, familiar song like "Are You Sleeping." Now ask the students to sing just a bit of the song and then stop after the words "Are You Sleeping" or "Brother John." Help the students understand that musicians use short fragments or ideas like this to create songs and other musical pieces. They call these short groups of notes motifs. Motifs are musical ideas. Tell them that today they are going to learn about motifs, and then hear a famous piece of music that was written using a motif that has only four notes!

Evaluation Did student responses indicate a basic understanding of motif in music?

TEKSFA.M.1.b.3A; FA.M.1.b.6C; FA.M.1/2/3.b.4A; FA.M.3.b.6B/6C; FA.M.2.b.3A; FA.M.2/3.b.5B

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I love to play

ILOVETOPLAY

I LOVETO PLAYilovetoplay

I love to PLAY

I love to play I love to play I love to play

I love to play

I love to play

PLAY

I LOVE TO

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Z J D Y Q V T G M Z C I S M L

P B X D L W P C K V Q F Y A K

C I M P Y Q I G R Q O U M M B

O N S U C N H G U K W L P B E

M S L M S B A G F M Y I H O R

P P Y E C I V M C T L K O V N

O I R C Q A C A I G Y P N E S

S R I L M R N A R C Q Z Y R T

E A C V E X B D L I S E Y T E

R T A V L J L A I P A O O U I

E I L L O H M M L D H T X R N

Q O J K D F G H M L E R I E Y

Y N R H Y T H M O P E Y A O O

B K B E E T H O V E N T A S N

C B A V C O N D U C T O R Y E

Beethoven & Bernstein

BALLET

BEETHOVEN

BERNSTEIN

CANDIDE

COMPOSER

CONDUCTOR

DYNAMICS

INSPIRATION

LYRICAL

MAMBO

MELODY

MUSICAL PHRASE

OVERTURE

RHYTHM

SYMPHONY

VARIATION

WORD LIST:

Beethoven & Bernstein Word Search

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1

2

3

4 5

6 7

9

8

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Across Down

6. American pianist, composer, and conductor whose famous works 1. Expressed in a smooth and beautiful way

include Candide and West Side Story 2. A person who leads the orchestra

7. Artistic dance form performed to music 3. A strong, regular repeated pattern of sound

8. A repeated musical idea or theme 4. The varying levels of volume in music

9. The process of being stimulated to do something, usually creative 5. A person who writes music

10. A version of a musical idea or theme that is altered but still recognizable 7. German composer and pianist, considered one of the

most influential composers in history

Beethoven & Bernstein Crossword Puzzle

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Flat Beethoven! Cut out Ludwig van Beethoven and take him with you on all of your adventures! Be sure to snap a picture of Flat Beethoven in his new environs and send them to Sarah Hatler at s.hatler@ dalsym.com

Your picture could be featured on DSOKids.com Get creative!

Did You Know? Beethoven was born on

December 16, 1770 in Bonn, Germany

At age 12, he earned a living by playing organ

and composing

One of his favorite foods was macaroni

and cheese

His Third Symphony,

Eroica, was so original that it inspired many

others to change the way they wrote music

He is famous for his unique and innovative

musical style

Many say that Bee-thoven had a nasty

temper and unpleasant personality

He was deaf when he composed his Ninth

Symphony and never got to hear it per-

formed live

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Flat Bernstein Cut out Leonard Bernstein and take him with you on all of your adventures!

Send your pics with Flat Bernstein to s.hatler@dalsym.com. We may post it on DSOKids.com!

Did You Know? Bernstein was born on

August 25, 1918 in Lawrence, MA

He began studying piano at 10 years old

He graduated from Harvard and the Curtis

Institute of Music

He wrote classical music, Broadway

music, and jazz

He is famous for his unique and innovative

musical style

He conducted the New York Philharmonic

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Beethoven & Bernstein

Beethoven & Bernstein.