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Dear Educators, For over 90 years, tri-state area teachers and students have joined the Cincinnati Symphony Orchestra to experience great music and explore musical concepts through Young People’s Concerts. We believe access to the arts is important for every student, and that the skills developed through the study of music are easily related to other content areas and to life experiences. We are pleased to share this Curriculum Guide, which aims to promote an appreciation of the orchestra and develop and 21st Century Skills through music. We hope these materials provide a flexible but comprehensive resource that can be tailored to suit the needs of your students. In the following pages you’ll find information for teachers and chaperones, printable texts, worksheets and/or resources for students, and standards-based lesson plans. We believe music and the concert experience can enhance learning across the curriculum. These lesson plans and extensions are provided with the idea that classroom teachers can work along with arts specialists to make connections between music and other content areas, thus providing a more integrated teaching/learning experience for children. The plans are intended to suggest activities we believe most teachers will be comfortable presenting, utilizing the concert music as a catalyst for the activity. If you are the music specialist, you may want to share these plans with an interested classroom colleague. Please visit our website (www.cincinnatisymphony.org/youngpeople) to access the listening tracks and additional resources. A link on the program page will take you to a password protected page where you can download specific tracks for each concert. You can also choose to download a .zip file which contains all the pieces for a particular concert. All audio files are in .mp3 format and may be played through iTunes or other media players or burned to a CD. You should have received a password with your order confirmation or in a follow-up email. If you have any questions about any of the CSO’s education programs, please email, call, or check our website for additional details. Finally, please don’t hesitate to let us know how we’re doing! We will send a short evaluation survey link after each concert, but please feel free to send your comments to us throughout the year so we can make our concerts and events the best they can be. Thank you for sharing the Cincinnati Symphony Orchestra with your students, and thank you for the job you do each day to share knowledge and the love of learning with the young people in our community. We look forward to seeing you and your class at the Taft Theatre this season! Sincerely, Logan Kelly Manager of Education Programs lkelly@cincinnatisymphony.org 513.744.3347

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CONTENTS

4 From The Conductor

5 Concert Program

6 Music on the Concert

8 LESSON: Pictures at an Exhibition

10 LESSON: Promenade

12 LESSON: Machines As Inspiration

14 LESSON: Elgar Enigma Variations

15 MELODY CONTEST

17 Your Trip to The Taft Theatre

The Cincinnati Symphony Orchestra

The Taft Theatre

LESSON: Concert Etiquette

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Dear Friends,

My name is Keitaro Harada, and I am the Associate Conductor for the Cincinnati Symphony Orchestra. The musicians of the orchestra and I are really looking forward to welcoming you all to the Taft Theatre for our performance of #InsideTheOrchestra.

When audiences come to the Taft Theatre for an orchestra performance, they usually just see the finished product.

At our #InsideTheOrchestra performance, we’ll give you a peek at what we’ve been posting on social

media to see all the work that went into creating the performance! What inspires composers to create new musical ideas? How do musicians and other artists work together to prepare for a performance? We’ll explore all this and more.

I’m excited to share a lot of great music with you, including a brand new piece of music written just for this concert! The winning melody from our Young People’s Concert Melody Contest will be featured in a new work by local composer Michael Lanci.

We will see you soon at the Taft Theatre! Don’t forget to tag Cincinnati Symphony Orchestra and #InsideTheOrchestra when you

post all about it!

KEITARO HARADA ASSOCIATE CONDUCTOR

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Modest Mussorgsky Promenade No. 1 from Pictures at an Exhibition Edward Elgar G.R.S. from Enigma Variations, Op. 36 Franz Joseph Haydn Symphony No. 101 in D Major, The Clock, II. Andante Johann Sebastian Bach Toccata and Fugue in D Minor, BWV 565 Leroy Anderson The Typewriter Wolfgang Amadeus Mozart Divertimento in D Major, K. 131, III. Menuetto Emmanuel Chabrier España Christian Colberg Movement III, Sancho from Viola Concerto Michael Lanci PREMIERE OF MELODY CONTEST PIECE Pharrell Williams Happy

January 19, 2017 at 10:30am January 30, 2017 at 10:30am

KEITARO HARADA conductor

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MODEST MUSSORGSKY Promenade No. 1 from Pictures at an Exhibition Modest Mussorgky was born in 1839 in the Russian village of Karevo. He began learning how to play the piano from his mother, Originally composed for piano, Pictures at an Exhibition is a set of ten pieces that were later orchestrated by another composer, Maurice Ravel. The piece was written as an imaginary trip through an art collection. Each of the pieces is named after a work by the Russian artist Viktor Hartmann who was a friend of the composer. The Promenade, however, represents Mussorgsky's walk through the gallery rather than a piece of artwork.

EDWARD ELGAR XI. G.R.S. from Enigma Variations, Op. 36 Edward Elgar was born in England in 1857, and lived there for his entire life. His father owned a music shop, but Elgar did not have much formal music training as a child, Even so, he learned to play the violin and pursued a career as a conductor and composer. Elgar also loved cycling, chemistry, his pet dogs, and riddles. He secretly named each movement of the Enigma Variations after one of his friends, and each movement contains a clue about the person he had in mind. FRANZ JOSEPH HAYDN Symphony No. 101 in D Major, The Clock, II. Andante The long career of Joseph Haydn spanned the years that the classical era in music was being formed. Born in a village in lower Austria and son of a wheelwright, Haydn grew up surrounded by the folk and dance tunes on his country. Haydn's main claim to music history was his perfecting of the classical music forms and the shaping of the instrumental language of the 18th century, specifi-cally the orchestra. The "Clock" symphony was written for Haydn's second London visit in 1794. The slow movement, an Andante reveals the origin of the symphony's nickname. The bass instruments tick constantly away as a quirky melody above tiptoes its way from major through stormy minor and back to a tranquil close.

JOHANN SEBASTIAN BACH Toccata and Fugue in D Minor, BWV 565 For nearly two hundred years, the Bach family produced musicians! It must have been the best known musical name in Germany. Johann Sebastian Bach is famous for many reasons. He com-posed over 1,200 pieces, he had 20 children, he was a dazzling organist, and his style of writing be-came the example of the Baroque style. However, it wasn't until about one hundred years after his death, that his music began to be published and performed. Toccata and Fugue was written for the organ. The piece is so well-loved that it has been arranged for different groups of instruments many times. Can you imagine Bach himself playing this on his organ?

LEROY ANDERSON The Typewriter One of the most enjoyable American composers of all time, Leroy Anderson’s music is tuneful, toe tapping, and easy to like. Anderson grew up in Cambridge, Massachusetts and went to the New England Conservatory of Music as a teenager. He was accepted to Harvard and studied languages. He continued to compose music and one of his pieces was heard by Arthur Fiedler, conductor of the Boston Pops. The rest is history. The Typewriter was written in 1950. It features the type-writer. which was invented in 1873 before computers were around!

MUSIC ON THE CONCERT

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WOLFGANG AMADEUS MOZART Divertimento in D Major, K. 131, III. Menuetto Mozart was born on January 27, 1756 in Salzburg, Austria. His father Leopold was a well-known violinist, teacher and author. As a child, Mozart and his sister traveled throughout Europe to per-form. As a young man, Mozart wrote hundreds of pieces, some of the most beautiful music in the world. He wrote this piece, Divertimento in D Major, K. 131, when he was just 16 years old! EMMANUEL CHABRIER España Emmanuel Chabrier was born in 1841 in France. Chabrier had a job in the government for most of his life, and really only started composing music when he was 40 years old. He wrote España af-ter a trip to Spain, inspired by the dances he saw and heard while in that country. Like many dances, España uses rhythm in an interesting way. Try to clap along with the piece. Does the rhtyhmic pulse stay the same for the entire work, or does it change? Can you imagine how danc-ers would move to this music? CHRISTIAN COLBERG Movement III, Sancho from Viola Concerto Christian Colberg is the principal viola for our very own Cincinnati Symphony Orchestra. Born in New York City in 1968 but raised on the Caribbean island of Puerto Rico, Colberg studied at the Peabody Institute of Music in Baltimore, Maryland. addition to the viola, Colberg also plays the violin and is active as a composer and conductor. Colberg’s Viola Concerto was inspired by Miguel de Cervantes’ novel Don Quixote. This is a story about a clumsy hero, Don Quixote, who imagines himself a knight back in the days of chivalry. The three movements of the Viola Concerto each portray a different character from the novel. The finale paints a musical portrait of Sancho Panza, the servant to Don Quixote. The music is full of colorful contrasts. Based on what you hear in the music, how might you describe Sancho’s personality? PHARELL WILLIAMS Happy Pharrell Williams was born in 1973 in Virginia Beach, Virginia. Pharrell began his musical career in the high school marching band, where he played the snare drums. He is now an American singer-songwriter, rapper, and record producer. Pharrell released “Happy” in 2013 as part of the Despicable Me 2 soundtrack. At the Young People’s Concerts, the Cincinnati Symphony Orches-tra will perform a version of “Happy” arranged for orchestra.

MUSIC ON THE CONCERT

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LESSON PLAN:

PICTURES AT AN EXHIBITION

INSTRUCTIONAL OBJECTIVE(S): Students will use artwork as inspiration to create a short musical composition which is representative of the artwork. MATERIALS: Young People’s Concert mp3s Classroom instruments Student artwork

STANDARDS: NATIONAL MUSIC STANDARDS

PLAN: 1. Tell the children that they are going to create an exhibition of their artwork. The pieces could be

created in art class, other classroom, or even at home. Find a good place to display the artwork; perhaps a hallway, the art room, the cafeteria, or the music room.

2. Allow the children to slowly wander around the room and examine the various pieces. While they look at the pieces, play the Promenade from Pictures at an Exhibition.

3. After they have had a few minutes to examine the works, tell the children about Mussorgsky, who wrote Pictures at an Exhibition, based upon an art exhibition of his friend, Victor Hartmann. Explain that the "Promenade" was the movement that Mussorgsky wrote while he was thinking about walking through the art exhibition while he proudly looked at his friend's work.

4. After they have listened to the "Promenade" a few times and have had ample time to examine the works of art, ask the children how they think Mussorgsky probably felt while he looked at his friend's artwork, based upon the sound of the music. Ask the children which instruments they hear first (trumpet theme, adding other brass). Ask the children to look at the artwork again while they listen, but this time, to walk the way they think Mussorgsky must have, based upon the sounds of the music.

5. After they have enjoyed the exhibition, allow the children to listen to the Bydlo and Great Gate of Kiev." Play the pieces and let the children move to the music in any way they choose.

Anchor Standard 1: Generate and conceptualize artistic ideas and work. Enduring Understanding: The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources

MU:Cr1.1.3b Generate musical ideas (such as rhythms and melodies) within a given tonality and/or meter. Anchor Standard 6: Convey meaning through the presentation of artistic work. Enduring Understanding: Musicians judge performance based on criteria that vary across time, place, and cultures.

MU:Pr6.1.2 b Perform appropriately for the audience and purpose. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Enduring Understanding: Understanding connections to varied contexts and daily life enhances musicians’ creating, performing, and re-sponding

MU:Cn11.1.4a Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. MU:Re9.1.4a Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context.

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PICTURES AT AN EXHIBITION cont.

PLAN (cont.): 6. After they have listened and moved to the each of the movements, ask them what they think the

inspirational paintings must have looked like (answers will vary widely). After they have made suggestions, show the Hartmann's "Great Gate of Kiev" to the class. (Hartmann's works can be found here: http://www.ocms-yso.org/2014/04/pictures-from-exhibition-remembrance-of.html) Discuss the relationship between how the painting looks and how the music sounds. There is no right or wrong answer in a discussion such as this. Allow the children to analyze and make their own connections.

7. After the discussion, refer the children back to their own art pieces and ask them to choose an art piece as inspiration for a composition. They may choose their own art piece or a friend's.

8. They will compose a short musical composition in small groups, using classroom instruments, that are reflective of their chosen piece. Instruments can include recorder, xylophone/metallophone/glockenspiel, or non-pitched percussion. They should be encouraged to think about the mood of the picture and what instrument timbre would most complement the mood of the art piece. If using pitched percussion, enclose the composition parameters so that it is not so overwhelming a task, i.e. choose 3, 4, or 5 notes that the children may include. A pentatonic scale works well.

9. Each student can perform their composition for the class. Or, this is an excellent opportunity to invite the parents in for an Arts Night,"during which the children can display their artwork and play their compositions.

ASSESMENT: Students are able to compose short works to reflect artwork and support/evaluate their musical decisions and choices with appropriate vocabulary. EXTENSIONS: 1. Create complementary movements for the piece. Students should consider the character of their composition

(legato, staccato, loud, soft, etc.) and should create movements that are reflective thereof.

2. Parents may be invited to the exhibition to see the student artwork and hear the complementary compositions.

3. Have students research other types of exhibitions, including world's fairs, science exhibitions, history exhibitions, movie, toy, car, and game exhibitions, etc. Encourage them to write a short report, as though they are a newscaster, about the exhibition that they would most like to attend.

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LESSON PLAN:

PROMENADE

INSTRUCTIONAL OBJECTIVE(S): Students will play the first four measures of the opening theme of "Promenade" from Pictures at an

Exhibition MATERIALS: Young People’s Concert mp3s Classroom instruments

STANDARDS: NATIONAL MUSIC STANDARDS

PLAN:

1. Remind the children that Mussorgsky composed Pictures at an Exhibition because he was inspired by the artwork of his friend.

2. Play the orchestra version of the piece again, and allow the children to pretend that they are Promenading" while they listen. This will allow them to get the piece "in their ear.

3. After they have listened, allow them to choose a classroom mallet instrument.

4. Post the score either on the board, or using an overhead projector/smartboard.

5. It may be helpful to write the pitches in for the children; it depends on how well they read music. This is not a typical Orff arrangement that has a consistent pattern or bordun, therefore, it may be quite challenging for the children. After the pitches have been identified, allow them to practice. Point out that the excerpt is quite short and that the soprano and bass parts repeat.

6. Rehearse the parts individually and as a group. After the children feel comfortable playing, allow some of the children to promenade while others play the part. Give everyone an opportunity to perform both roles.

ASSESMENT: Students will be able to play at least one of the instrument parts.

Anchor Standard 4: Select, analyze, and interpret artistic work for presentation. Enduring Understanding: Analyzing creators’ context and how they manipulate elements of music provides insight into their intent and in-forms performance

(MU:Pr4.2.4a) Demonstrate understanding of the structure and the elements of music (such as rhythm , pitch , and form ) in music selected for performance. (MU:Pr4.2.4b) When analyzing selected music, read and perform using iconic and/or standard notation.

Anchor Standard 5: Develop and refine artistic techniques and work for presentation. Enduring Understanding: To express their musical ideas, musicians analyze, evaluate, and refine their performance over time through open-ness to new ideas, persistence, and the application of appropriate criteria.

(MU:Pr5.1.4b) Rehearse to refine technical accuracy and expressive qualities, and address performance challenges.

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Soprano Metallophone

Alto Metallophone

Bass Metallophone

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LESSON PLAN:

MACHINES AS INSPIRATION

INSTRUCTIONAL OBJECTIVE(S): Engage in discussion about machines and their characteristics Design choreography that is inspired by a particular machine Compose an instrumental piece that is reflective of their choreography Design a teacher/student rubric to score their piece Refine their work, according to the rubric MATERIALS: Young People’s Concert mp3s Classroom instruments

STANDARDS: NATIONAL MUSIC STANDARDS

.

Anchor Standard 2: Organize and develop artistic ideas and work. Essential Question(s): How do musicians make creative decisions?

(MU:Cr2.1.6a) Select, organize, construct, and document personal musical ideas for arrangements and compositions within AB or ABA form that demonstrate an effective beginning, middle, and ending, and convey expressive intent. (MU:Cr2.1.6b)b Use standard and/or iconic notation and/or audio/ video recording to document personal simple rhythmic phrases, melodic phrases, and twochord harmonic musical ideas.

Anchor Standard 3: Refine and complete artistic work. Enduring Understanding: Musicians evaluate, and refine their work through openness to new ideas, persistence, and the application of appropriate criteria.

(MU:Cr3.1.6a) Evaluate their own work, applying teacher-provided criteria such as application of selected elements of music, and use of sound sources. (MU:Cr3.1.6b) Describe the rationale for making revisions to the music based on evaluation criteria and feedback from their teacher. Enduring Understanding: Musicians’ presentation of creative work is the culmination of a process of creation and communication (MU:Cr3.2.6a) Present the final version of their documented personal composition or arrangement, using craftsmanship and origi-nality to demonstrate an effective beginning, middle, and ending, and convey expressive intent.

Anchor Standard 5: Develop and refine artistic techniques and work for presentation. (MU:Pr5.1.6a) Identify and apply teacher-provided criteria (such as correct interpretation of notation, technical accuracy, originality, and interest) to rehearse, refine, and determine when a piece is ready to perform.

Anchor Standard 7: Perceive and analyze artistic work Enduring Understanding: Individuals' selection of musical works is influenced by their interests, experiences, understandings, and purposes.

(MU:Re7.2.6a) Describe how the elements of music and expressive qualities relate to the structure of the pieces. Anchor Standard 10: Synthesize and relate knowledge and personal experiences to make art. Enduring Understanding: Musicians connect their personal interests, experiences, ideas, and knowledge to creating, performing, and re-sponding.

(MU:Cn10.1.6a) Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music

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MACHINES AS INSPIRATION cont.

PLAN: 1. Remind the children that inspiration for creative endeavors can come from anywhere: nature, people, objects,

literally ANYTHING.

2. Prepare to play the Haydn "Clock Symphony" and Anderson's "Typewriter" for the children, but do not tell them the name of the pieces. Only tell them each piece was inspired by a particular machine. After they have heard each piece, allow them to guess which machine was the inspiration for each piece.

3. Discuss the characteristics of each machine. Point out to the children that both machines are obsolete, in a way. People use computers now instead of typewriters and clocks are most often digital instead of mechanical. Some children may be completely unfamiliar with both machines. If this is the case, it will be helpful to show them pictures/videos of both machines.

4. After the discussion, divide the students into groups, and encourage each group to choose a machine that they would like to represent in music and in movement. It could be a clock or a typewriter, or something else.

5. Encourage the students to first design a choreography that is representative of the movements of the machine. After they have done so, allow them compose a piece, using classroom instruments, that is reflective of their choreography. Encourage them to modify and adjust their choreography as they work through the composition.

6. Now that the children are well on their way toward refining their work, it would be advantageous for the teacher and students to co-design a rubric for scoring their piece to be used as a summative assessment.

7. Have them notate their composition, using either traditional rhythms/pitches or they may use a less formal notational system, for example, a "composition map."

8. After the choreography and composition is designed, refined, and rehearsed, allow the children to perform for one another, and possibly for parents during a Fine Arts or concert night.

ASSESMENT: Students will be scored using the teacher/student designed rubric.

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LESSON PLAN:

ELGAR ENIGMA VARIATIONS

MATERIALS: Young People’s Concert mp3s Classroom instruments Staff Paper

STANDARDS: NATIONAL MUSIC STANDARDS

PLAN:

1. Listen to the Enigma Variations excerpt.

2. Tell the students that this piece was written about a particular person. Ask them if they can identify some of the personality characteristics of that person, based on the style of the piece.

3. Explain that this movement of the piece was actually written by Edward Elgar, about himself, and that each movement of the Enigma Variations was composed in honor of a different friend of Elgar's. The enigma, or puzzle, is that Elgar didn't specify which of his friends he was composing for.

4. Encourage the students to compose a two-measure pentatonic melody in honor of themselves, using their recorder or other classroom instrument.

5. After they've composed their short piece and written it on staff paper or card stock, put them in groups of four.

6. Encourage them to combine each of their melodies into one eight-measure piece.

7. Encourage the students to neatly write their full composition on staff paper, without their names on the front.

8. Hang the pieces in the hallway as anonymous "enigmas," as no one will know who wrote each of them.

ASSESSMENT: Student compositions will be assessed for creativity, accuracy in terms of the pentatonic scale, and correct use of rhythmic figures.

Anchor Standard 1: Generate and conceptualize artistic ideas and work. Enduring Understanding: The creative ideas, concepts, and feelings that influence musicians’ work emerge from a variety of sources

(MU:Cr1.1.3b) Generate musical ideas (such as rhythms and melodies) within a given tonality and/or meter. Anchor Standard 6: Convey meaning through the presentation of artistic work. Enduring Understanding: Musicians judge performance based on criteria that vary across time, place, and cultures.

(MU:Pr6.1.2b) Perform appropriately for the audience and purpose. Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding Enduring Understanding: Understanding connections to varied contexts and daily life enhances musicians’ creating, performing, and re-sponding

(MU:Cn11.1.4a) Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life. (MU:Re9.1.4a) Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context.

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MELODY

CONTEST

Calling all young composers! Be a featured part of this season’s Young People’s Concerts by entering the #InsideTheOrchestra Melody Contest. Winning melodies will be featured in a brand-new composition to be performed by the CSO during the #InsideTheOrchestra concerts on January 19 & 30, 2017.

HOW TO ENTER:

Compose your melody! Class submissions are encouraged and will be given first consideration when selecting win-ning melodies. Compose your melody as a class, or nominate one student melody to represent the entire class.

Notate your melody and submit to the Cincinnati Symphony Orchestra by Friday, September 30 2016

Mail To: Cincinnati Symphony Orchestra

Young People’s Concerts

1241 Elm Street

Cincinnati, OH 45202

Or, Scan & Email To: lkelly@cincinnatisymphony.org

Winning selections will be announced in mid-November.

WHERE DO I START?

Is there a particular inspiration for your melody? Is it about a person, place, or thing? How can the different musical qualities in bold below help convey your inspiration?

What will the tempo be? Do you want a faster tempo (allegro), or a slower tempo (andante)?

What time signature will you use? 2/4, 3/4, 4/4, or something else?

What key will your melody be in? Will it be major or minor?

What is the style or mood of your melody? Could it be smooth (legato), or separated (staccato)?

What rhythmic qualities do you want to use? Longer notes, like whole-notes and half-notes, or shorter notes, like quarter-notes or eighth-notes?

Choose your first note and decide where your melody goes from there? Will you use large or small steps (intervals) between notes? Or both?

You can take your melody anywhere from here. Just let your creativity lead you.

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SUBMISSION DEADLINE: Friday, September 30, 2016

Class / Student Name:

School:

Title:

MELODY CONTEST

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YOUR TRIP TO THE

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The Cincinnati Symphony Orchestra has called Cincinnati’s Music Hall it’s home for 120 years. During the 2016-2017 season, Music Hall is being renovated in order to preserve this amazing building for many more years of performances. All of the Cincinnati Symphony Orchestra’s 2016-2017 Young People’s Concerts will be performed in the Taft Theatre, our “Home Away From Home”. Opened in 1928, the Taft Theatre is a marvelous display of the ne-classical/art deco architecture that was popular during the time it was built. The Taft Theatre was designed by architects Architects Harry Hake, Sr. and Charles H. Kuck, who are also responsible for many other buildings in downtown Cincinnati including The Western & Southern Life building, The Queen City Club, and the Engine Company #45 Fire Station (now the Fire Museum). Today, the Taft Theatre hosts many different kinds of events including rock concerts, symphony concerts and theatre performances. When you arrive at the Taft Theatre, take a few moments before the concert starts to notice the history & beauty of the art and architecture of the Taft Theatre!

THE TAFT THEATRE

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LESSON PLAN:

CONCERT ETIQUETTE

INSTRUCTIONAL OBJECTIVE(S): Students will demonstrate appropriate concert behavior during performances. STANDARDS: NATIONAL MUSIC STANDARDS

PLAN: 1. Allow the children to choose a piece that they would like to perform for the rest of the class and/or another audience.

They can perform in groups or individually and should have the freedom to choose anything they want. This can be something that have worked on in class, or have rehearsed elsewhere, but it should be "performance ready."

2. Give the children a short period of time to polish their piece. 3. After all groups are prepared, review the Rules of Concert Etiquette:

4. Discuss the rules with the students. 5. Find a formal setting, with chairs, for the kids to perform. The school auditorium, cafeteria, or other public space is a

good option for this, but the children need to be able to sit in chairs. This is so that when they attend a concert at Music Hall, they are familiar with the expectations.

6. Remind the children to follow the Rules of Concert Etiquette guidelines that were discussed in class while they watch their classmates perform.

7. The same expectations are in place for the children at Music Hall for the YPC concerts, so review the etiquette rules with the children prior to arriving at the venue.

ASSESSMENT: Students will be observed for appropriate behavior during school and CSO concerts.

CONNECTING

Connect #11: Relate musical ideas and works with varied context to deepen understanding..

MU.:Pr6.1.6b Demonstrate performance decorum (such as stage presence, attire, and behavior) and audience etiquette appropriate for venue and purpose..

Refrain from talking or whispering during the performance. The first and greatest rule! The musicians are work-ing hard on stage to perform well for you - you’ll want to be able to hear them.

No singing or tapping fingers or feet unless the conductor tells you to! Like talking during the performance, other body movements can make a lot of noise. There will be parts of the performance where we ask you to move and sing. Please save extra movements and sounds for those moments!

Applaud at the end of each piece. This lets the musicians know you enjoyed the music! Watch the conductor - he will lower his arms and face the audience when the Orchestra has finished playing.

Do not leave the performance space during the music. If needed, wait for a break in the concert to visit the rest-room.

Follow the rules of the concert hall. Food, gum, beverages, cameras, mp3 players and other electronic devices are not allowed in Springer Auditorium

Be on your best behavior. Remember that you are representing your school and teachers at Music Hall!