Winter Wonderland Study Guide

2009-2010 Student Matinee concerts
CanadasNationalArtsCentreOrchestrapresents
Winter Wonderland
BorisBrott,PrincipalYouthandFamilyConductor
TeacherStudyGuide
KindergartenGrade3
TableofContents
ThisprogramismadepossiblebytheNationalYouthandEducationTrustsupportedby
FoundingPartnerTELUS,SunLifeFinancial,MichaelPotterandVroniqueDhieux,
supportersandpatronsoftheannualNationalArtsCentreGalaandthe
donorsoftheNACFoundationsCorporateClubandDonorsCircle.
WelcomeTeachers! Page3
ConcertProgram Page4
AbouttheNationalArtsCentreandthePerformers Page5
CanadasNationalArtsCentre Page5
TheNationalArtsCentreOrchestra Page6
BorisBrott,conductor Page7
MerrileeHodgins,choreographer Page7
TheSchoolofDance Page7
Bangers&Smash,percussionduo Page8
AllabouttheNACOrchestra Page9
MapoftheNACOrchestraSections Page12
ProgramNotes Page13
BernardsWinterWonderland Page13
GoldensHotLatkesandStrawberryJam Page13
TheHuronCarol Page14
WaldteufelsSkatersWaltz Page14
GlazunovsTheSeasons,Op.67 Page15
OTannenbaum(OChristmasTree) Page15
TchaikovskysTheNutcracker,Op.71 Page16
JingleBells Page17
BalletTerms Page18
MusicalGlossary Page19
PerformanceHallEtiquette Page20
ClassroomActivities Page21
SuggestedActivitiesandthe2009OntarioCurriculumfortheArts Page30
BibliographyofResourcesAvailableattheOttawaPublicLibrary Page35
ArtsAlive.ca Page37
OtheravailableNACOrchestraTeacherStudyGuides Page38
TeacherStudyGuide Page2 WinterWonderland

AudienceParticipation
We invite you and your students to sing along with the NAC Orchestra
duringtheconcert.Thepiecewehaveselectedforyourparticipationisan
arrangementforJingleBells.Theconductorwillannouncewhenitistime
tosing.
PinchasZukerman
MusicDirector,NationalArtsCentreOrchestra
ShouldyouhaveanyquestionsregardingMusicEducationattheNationalArtsCentre,pleasecontactus:
Generalinformation
Tel:6139477000x390Email:mused@naccna.ca
www.naccna.cawww.ArtsAlive.caMusic
Aboutthisguide
Asasupporttoyourclassroomwork,wehavecreatedthisguidetohelpintroduceyoutothe
programandcontentoftheperformance.Inityouwillfind:
Programnotesaboutthemusicyouwillhearattheconcert
Biographicalinformationabouttheconductor,theperformersandtheNAC
Orchestra
Classroomactivitiesforyoutosharewithyourstudents
Wehopethisstudyguideishelpfulinpreparingyouforyourconcertexperience.Thelevelof
difficulty for the activities is broad, so please assess them according to the grade level you
teach.Ifyouhaveanycommentsaboutthestudyguideortheperformancepleasewritetous
atmused@naccna.ca.
SeeyouattheNAC!
DearTeacher,
I am pleased that I once again have this opportunity to personally invite

you and your students to the National Arts Centre to hear great music
performed by your national Orchestra. I believe music is both a window
to the world and one of the greatest gifts we can offer our children.
Developinganappreciationofmusicisaninvaluablelearningandgrowing
experiencethatcanlastalifetime.Thevalueweplaceasasocietyonthe
Arts and Arts Education will be severely tested during the economic
uncertainty of the months ahead. I cannot emphasize enough how
strongly I feel that music and music education has a fundamental role to
play in the development of our youth, and ultimately our Canadian
society.Icanassureyouwewillcontinuetoholdourselvestothehighest
standards in the creation of educational programming that we hope you
findisasentertainingasitisenriching.
Sincerely,
(subjecttochange)

ConcertDates:
Wednesday,December9,2009
10a.m.11a.m.(English)
12:30p.m.1:30p.m.(English)
Thursday,December10,2009
10a.m.11a.m.(French)
Locationforallconcerts:
SouthamHall,NationalArtsCentre
Runningtimeforallconcerts:
60minuteswithoutintermission
WinterWonderland
TheNationalArtsCentreOrchestra
BorisBrott,PrincipalYouthandFamilyConductor
FEATURING:
TheSchoolofDance
MerrileeHodgins,choreographer
BangersandSmash,percussionduo
JonathanWade,percussion
KennethSimpson,percussion
ConcertProgram
InthisStudentMatinee,studentswillhearexcerptsfrom:
BERNARD WinterWonderland
GOLDEN HotLatkes&StrawberryJam

TRAD. TheHuronCarol
WALDTEUFEL SkatersWaltz,Op.183
GLAZUNOV TheSeasons,Op.67
IV.Winter:Snow
III.Winter:Hail
TRAD. OTannenbaum(OChristmasTree)
BangersandSmash,percussionduo
JonathanWade,percussion
KennethSimpson,percussion
TCHAIKOVSKY TheNutcracker,Op.71
DanceoftheSugarPlumFairy
ArabianDance
SpanishDance
TrepakRussianDance
PIERPONT JingleBells
*SingalongwiththeNACOrchestra!

DesignedbyFredLebensold(ARCOPDesign),oneofNorthAmerica'sforemost
theatre designers, the building was widely praised as a twentieth century
architecturallandmark.OffundamentalimportancetothecreatorsoftheNAC
was the belief that, beautiful and functional as the complex was, it would
need more than bricks and mortar and, in the words of Jean Gascon, former
DirectoroftheNACsFrenchTheatreDepartment(19771983),"itwouldneed
aheartthatbeats."
A program to incorporate visual arts into the fabric of the building has
resulted in the creation of one of the country's most unique permanent art
collections of international and Canadian contemporary art. Pieces include
special commissions such as Homage to RFK (mural) by internationally
acclaimed Canadian contemporary artist William Ronald, The Three Graces by Ossip Zadkine and a
largefreestandinguntitledbronzesculpturebyCharlesDaudelin.In1997,theNACcollaboratedwith
theArtBankoftheCanadaCouncilfortheArtstoinstallover130piecesofCanadiancontemporary
art.
CanadasNationalArtsCentre

Situatedintheheartofthenation'scapitalacrossConfederation
Square from Parliament Hill, the National Arts Centre is among
thelargestperformingartscomplexesinCanada.Itisuniqueas
the only multidisciplinary, bilingual performing arts centre in
North America and features one of the largest stages on the
continent.

Southam Hall is home to the National Arts Centre Orchestra, to the largest film screen in the
countryandtotheMichelineBeaucheminCurtain.
Officially opened on June 2, 1969, the National Arts Centre was a key institution created by Prime
MinisterLesterB.PearsonasaCentennialprojectofthefederalgovernment.
Built in the shape of a hexagon, the design became the architectural leitmotif for Canada's premier
performingartscentre.
Today,theNACworkswithcountlessartists,bothemergingand
established, from across Canada and around the world, and
collaborates with scores of other arts organizations across the
country.
TheNACisstronglycommittedtobeingaleaderandinnovator
ineachoftheperformingartsfieldsinwhichitworksclassical
music, English theatre, French theatre, dance, variety, and
community programming. It is at the forefront of youth and
educational activities, supporting programs for young and
emerging artists and programs for young audiences, and
producingresourcesandstudymaterialsforteachers.
AbouttheNationalArtsCentreandthePerformers
The NAC Orchestra offers a number of programs dedicated to fostering a
knowledgeandappreciationofmusicamongyoungpeople.Inadditiontoahighly
popular subscription series of TD Canada Trust Family Adventures with the NAC
Orchestra, the Orchestra presents a variety of opportunities for schools to learn
aboutclassicalmusic:StudentMatinees,andOpenRehearsalstoallowstudentsto
hear the Orchestra perform in its home at the NAC. In addition, Musicians in the
Schoolsprogramsincludingensembleperformancesandinstrumentsectionalstakethemusictothe
studentsintheirschools.
TheNationalArtsCentreOrchestra
Consistent praise has followed this vibrant orchestra throughout its history of touring both
nationally and internationally, recording, and commissioning Canadian works. Canadas National
Arts Centre Orchestra, now under the direction of renowned conductor/violinist/violist Pinchas
Zukerman,continuestodrawaccoladesbothabroadandatitshomeinOttawawhereitgivesover
100performancesayear.
The NAC Orchestra was founded in 1969 as the resident
orchestra of the newly opened National Arts Centre, with
JeanMarie Beaudet as Music Director and Mario Bernardi
asfoundingconductorand(from1971)MusicDirectoruntil
1982. He was succeeded by Franco Mannino (1982 to
1987), Gabriel Chmura (1987 to 1990), and Trevor Pinnock
(19911997). In April 1998, Pinchas Zukerman was named
MusicDirectoroftheNACOrchestra.
Pinchas Zukerman has led the
OrchestraontourswithinCanada
in 1999, 2002, 2004, 2005, 2006
and2008,toEuropeandIsraelin
2000, and the United States and
Mexicoin2003,witheducational
activities ranging from master
classes and questionandanswer
sessions to sectional rehearsals
with youth and community
orchestrasandstudentmatinees.
The NAC Orchestra has 40 recordings to its name, six with Pinchas Zukerman:
Haydn, Vivaldi, Beethoven, Schubert and two of Mozart (a CD of flute quartets,
and a CD oforchestral music and string quintets). The commissioning of original
CanadianworkshasalwaysbeenanimportantpartoftheNationalArtsCentres
mandatewithover90workscommissionedtodate.
In addition to a full series of subscription concerts at the
National Arts Centre each season, tours are undertaken
to regions throughout Canada and around the world.
Since the arrival of Pinchas Zukerman, education has
been an extremely important component of these tours.
Teacher Resource Kits have been developed for
distribution to elementary schools in the regions toured
andacrossCanada,andthepublichasbeenabletofollow
each tour through fully interactive websites which are
now archived on the NACs Performing Arts Education
Website at www.ArtsAlive.ca. The Orchestras tour of
Western Canada in October and
November 2008 included over 100
educationevents.
BorisBrott
PrincipalYouthandFamilyConductor,NACOrchestra
Maestro Boris Brott began playing the violin when he was three
years old and first performed with the Montreal Symphony when
he was only five. At the age of 14 he won a scholarship to study
conducting and shortly afterwards, when he was still a teenager,
founded the Philharmonic Youth Orchestra of Montreal. When he
was18,BorisBrottbecametheassistantconductoroftheToronto
Symphony Orchestra. At 24, he won the Dimitri Mitropolous
International Conducting Competition in New York and became
AssistanttoLeonardBernstein.
HeisnowwellknownwithinCanadaandbeyondforhavingdevelopednofewerthansix
different Canadian orchestras and guestconducted around the world. He is especially
interestedinhelpingyoungartistsanddevelopingnewaudiencesformusic.Inaddition
to conducting the New West Symphony in Los Angeles, California, of which he is Music
Director,MaestroBrottconductstheMcGillChamberOrchestrainMontreal.BorisBrott,
alongwithhiswifeArdyth,attorneyandchildren'sauthor,runstheBrottSpring,Summer,andAutumn
Music Festivals based in Hamilton, Ontario which has as its centrepiece the National Academy
Orchestra, Canada's National Orchestra training school. In 2006 he was appointed to the order of
Ontario.
TheSchoolofDance
Located at 200 Crichton Street in Ottawa, The School of Dance has an international reputation as a
centre for excellence in arts education. Founded in 1978, by Merrilee Hodgins and Joyce Shietze, The
School offers professional training programs in ballet, contemporary dance and teacher training, as
well as leisure and recreational programs for adults and children. Graduates of The School of Dance
are performing with companies worldwide. Each year The School touches the lives of over 70,000
Ontarians with special programs for persons with disabilities, boys only classes and school visits
designedtoinspireinterestinthearts.TheSchoolisaCanadian,notforprofit,charitableinstitution.
TeacherStudyGuide Page7 WinterWonderland TeacherStudyGuide Page7 WinterWonderland
MerrileeHodgins
Choreographer,A.R.A.D.ArtisticDirectorTheSchoolofDance
Merrilee Hodgins studied classical ballet and contemporary dance in Canada,
England, Denmark and the United States. Miss Hodgins was awarded the
prestigious Solo Seal of the Royal Academy of Dancing in 1971. In 1973 she
became a Principal with the Alberta Ballet Company, later working in Denmark,
Germany and the U.S. as a freelance artist. Miss Hodgins, a recipient of the
YMYWCAs1997WomenofDistinctionAward,wasthe1997ChairoftheCityof
Ottawas Cultural Leadership Committee. She was a member of the board of
directors for Dance Ontario and has been awarded Canada Council grants to
research and develop projects to introduce children to dance. Recent projects
include a mainstage commission by the National Arts Centre and a choreographic collaboration with
CanadianpoetSusanMcMaster.
BangersandSmash
Percussionduo
JonathanWade
A native of Ottawa, Jonathan Wade received a Bachelor of Music in
performance from the University of Ottawa where he studied with Ian
BernardandPierreBluse.HewentontoobtainaSuperiorStudiesdiploma
in orchestral repertoire from the University of Montral where he studied
with the legendary timpanist Louis Charbonneau. Jonathan Wade is
presentlyapercussionistwiththeNationalArtsCentreOrchestra,aposition
he has held since 1983. He is also principal timpanist of the Ottawa
Symphony Orchestra. In great demand both as an orchestral player and a
chamber musician, Mr. Wade performs with many other fine ensembles
includingThirteenStringsandCapitalBrassWorks.Heisheardfrequentlyon
prestigious concert series such as the Ottawa International Chamber Music
Festival and Music for a Sunday Afternoon at the National Gallery. He has recorded for CBC and
RadioCanadaandreleasednumerousCDswiththeNACOandotherensembles.
In2006,JonathanWadewasappointedheadofpercussionattheUniversityofOttawa.Heisalso
percussioninstructorattheOttawaYouthOrchestraAcademy.Jonathanperformsregularlyinthe
NACsMusicintheSchoolsprogramwithBangersandSmashandtheRagtimeBrassSextet.
Kenneth Simpson, a native of Ottawa, is a
percussionist with the National Arts Centre
Orchestra. He is also principal percussion of the
Ottawa Symphony Orchestra. Very active in
chamber music, Kenneth has performed on the
NACs Music for a Sunday Afternoon series, the
Ottawa International Chamber Music Festival,
Espace Musique, 13 Strings and Capital
BrassWorks. He plays with the Bel Canto Wind
Quintet in the NAC Orchestras Musicians in the
Schools programme. He is an active clinician and
anendorserforZildjianCymbalsinBoston,Massachusetts.
Kenneth Simpson obtained a Bachelor of Music in Performance from the University of Ottawa in
1985 under the guidance of Ian Bernard, principal timpanist of the NAC Orchestra. Further study
continuedoveralongperiodwithrenownedteacher/performerPierreBeluseofMcGillUniversity
inMontreal.Asastudent,Mr.SimpsonwontheNACOBursaryAwardin1983,aswellastheIsobel
Firestone Scholarship at the University of Ottawa in 1984. Kenneth Simpson was Professor of
PercussionattheUniversityofOttawafor18years,andwasafoundingmemberofthepercussion
duo Bangers and Smash. Kenneth enjoys living in Ottawa with his wife Elizabeth and two
wonderfuldaughtersOliviaandVeronica.
KennethSimpson
AllabouttheNACOrchestra
WhatistheNationalArtsCentreOrchestramadeupof?
Firstofall,theNACOrchestraismadeupof61menandwomen,playingtogetheronavariety
ofmusicalinstruments.Theyaredividedintofourdifferentsections(string,woodwind,brass
and percussion) but they are united in one common goal: making music together. You might
alreadyknowthatorchestrasarenotalwaysthesamesize.Smallerorchestras,withbetween
20and34musicians,arecalledchamberorchestras.Largerorchestras,withbetween60and
110musicians,arecalledsymphonyorchestrasorphilharmonicorchestras.
TheNACOrchestra(NACO)isasymphonyorchestra,nottoosmall,nottoobig,justtheright
sizeforyourenjoymentandpleasure.
20Violins
6Violas(somewhatlargerthanaviolin)
7Cellos(definitelylargerthantheviola)
5DoubleBasses(Twicethesizeofacello!)
1Harp
All these instruments, except the harp, have four

strings.
Their sound is produced by the friction of a bow on a

string, or plucking the strings by the fingers, allowing them
tovibrate.
Plucking the strings is called pizzicato (meaning

pluckedinItalian).
Biggerinstrumentshavelowersounds;forexample,the
soundoftheviolinishigherthanthedoublebass.
Everystringinstrumentisconstructedofpiecesofwood
carefully glued together and covered with several coats of
varnishnonailsorscrewsareused.
Didyouknowthatthebowsthatareusedtoplaysomestringedinstrumentsaremadeof
woodandhorsehair?
TheNACOSTRINGSECTIONcontains:
Violin,ViolaandCello
DoubleBass Harp
TheNACOWOODWINDSECTIONcontains:
2Flutes 2Oboes
2Clarinets 2Bassoons
These instruments are basically tubes (either wood or metal) pierced

with holes. As a musician blows through their tube, they cover different
holeswiththeirfingerstoproducedifferentnotes.
Some wind instruments use a reed to produce sound. A reed is made

of thin wood which vibrates against the lips as a musician blows into the
instrumenttocreateasound.
Of the four woodwind instruments of the orchestra, only the flute

doesntrequireareed.
Clarinetsaresinglereedinstruments,whereasoboesandbassoonsare
doublereed instruments. It means that the oboists and bassoonists use
doublereedsagainsttheirlipstocreateasound.
Most wind instruments are made from wood, like ebony, except for the flute, which is
almostalwaysmadeofsilver.
Flutes create the highest notes, bassoons

createthelowest.
Did you know that the reeds are made of

cane,morecommonlycalledbamboo?
Flute
TheNACOBRASSSECTIONcontains:
2Trumpets 5Frenchhorns
3Trombones 1Tuba
Brassinstrumentsaredefinitelytheloudestin
the orchestra; it explains why there are fewer
brassplayersthanstringplayers.
They are made of long metal tubes formed into loops of various
lengths with a bell shape at the end. The longer the length of tube,
thelowerthesoundoftheinstrumentwillbe.
The sound is created by the vibrations of lips as the musician blows

intoamouthpiecethatlookslikealittlecircularcup.
Brassinstrumentshavesmallmechanismscalledvalvesthatallowthe
sound to change, modifying the distance the air travels through the
tubeeachtimetheyarepressedorreleasedbytheplayer.However,
thetrombonehasaslidethatmovestochangenotes.
Didyouknowthatmostbrassinstrumentshaveaspecialspitvalve
that allows water, condensation generated by blowing in the
instrument,tobeexpelled?
Trumpet
Frenchhorn
Trombone
Tuba
Clarinet,Oboe,andBassoon
TheNACOPERCUSSIONSECTIONcontains:
1setofTimpani
2otherpercussionistswhoplayXylophone,Marimba,SnareDrum,WoodBlock,
Cymbalsandtonsofotherinterestingsoundinginstruments.
Percussioninstrumentshelpproviderhythmfortheorchestra.
Within this family of instruments, there are 3 types: metal, wood

andskin.
These instruments are either pitched(they produce a specific

note, like the xylophone) or unpitched (they produce a sound
thathasnospecificnote,likethesnaredrum).
Percussion sounds are generally produced by hitting something

withastickorwiththehands.
Differentpitchesareproducedonthetimpanibychangingtheskin
tension either by tightening or loosening screws fixed to the shell,
orbyusingthepedal.
VisittheInstrumentLabonArtsAlive.caMusictotweak,tinkerandlistento
allyourfavouriteinstrumentsoftheorchestra!
Didyouknowthatatimpanilookslikeabigcauldron?Butdonttrymakingsoupinit!
Timpani
Marimba Xylophone
Cymbals
Gong
Maracas
Triangle
Snaredrum
Tambourine
MapoftheNACOrchestraSections
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ProgramNotes
FELIXBERNARD(18971944):WinterWonderland
The Christmas standard Winter Wonderland comes from the
composerlyricist team of Felix Bernard and Richard Smith, the
latter presumably having written the words after a snowfilled
visionoftheparkinhishometownofHonesdale,Pennsylvania.
Bernard was born in Brooklyn, New York, son of a professional
violinist. He studied piano and went on to perform in vaudeville
asatapdancer.Hisfirstbigsuccessasacomposercamein1919
with Dardanella. In 1934 Winter Wonderland became a hit
for Guy Lombardo. Every succeeding year more and more stars
took it into their repertories, among them Perry Como, the
Andrews Sisters, Ella Fitzgerald, Cyndi Lauper, Diana Ross, Frank Sinatra, Barbara Streisand,
LouisArmstrong,andevenclassicalartistslikesopranoKiriTeKanawaandTheThreeTenors.
ItwasalsousedasaninstrumentalonthesoundtrackofthefilmWhenHarryMetSally(1989).
PreparedbyRobertMarkow
DANIELGOLDEN:HotLatkesandStrawberryJam
Latkes or latkas, also known as potato pancakes, are shallow
fried pancakes of grated potato and egg, often flavored with
grated onion. Latkes are traditionally eaten during the Jewish
Hanukkahfestival.Theoilforcookingthelatkesisreminiscentof
theoilfromtheHanukkahstorythatkepttheSecondTempleof
ancientIsraellitwithalonglasting flamethatiscelebratedasa
miracle.
Currently an active composer, Golden has written and
arrangedmusicforstringensembles,Klezmergroups,symphony
orchestra,jazzbandandstudentmusiciansatalllevels.Goldenis
currentlyafreelancemusicianandstringteacherinChicago.HeisPrincipalViolistoftheLake
Forest Symphony, and performs regularly with the Ars Viva Symphony, Chicagoland Pops
Orchestra, the Chicago Philharmonic and numerous other professional orchestras and
chamberensemblesintheChicagoarea.HeperformsJewishandotherethnicmusiconviola,
violin and mandolin. He has performed with several professional Klezmer groups and has
participatedinandledmanyworkshopsonKlezmermusic.
KlezmerisamusicaltraditionwhichparallelsHasidicandAshkenazicJudaism.Around
the 15th century, a tradition of secular (nonliturgical) Jewish music was developed by
musicianscalledklezmorimorkleyzmurim.Theydrawondevotionaltraditionsextendingback
into Biblical times, and their musical legacy of klezmer continues to evolve today. The
repertoire is largely dance songs for weddings and other celebrations. Klezmer is easily
identifiable by its characteristic expressive melodies, reminiscent of the human voice,
completewithlaughingandweeping.
TRADITIONAL:TheHuronCarol
TheHuronCarolhasthedistinctionofbeingtheoldestChristmassongofCanadian
origin. It was written in 1643 by the missionary Jean de Brbeuf while he was
stationed at the French Jesuit settlement SainteMarie Among the Hurons. This
settlement was located near what is now Midland, Ontario (about 100 km north of
Toronto on the shores of Georgian Bay, Lake Huron). The original words are in the native
languageoftheHuronIndians(Wendat)anditsoriginaltitlewasJesousAhatonhia(Jesus,heis
born).Themelody,however,isderivedfromatraditional
Frenchfolksong,Unejeunepucelle(Ayoungmaid).In
1926, English lyrics were substituted by Jesse Edgar
Middleton for a faulty French translation. Middleton
incorporated imagery from the Canadian wilderness to
replace more traditional concepts: Jesus is born not in a
stablebutinalodge of broken bark;Heis surrounded
not by shepherds but by hunters; chiefs [not the Magi]
from afar bring him gifts of fox and beaver pelts rather
than precious (but useless!) powders and ointments. In
thisformthesongisalsoknownasTwasintheMoonof
Wintertime. Further amendments to the text have
continuedtothisday.ThepopularsingerBruceCockburn
hasrecordedthissong.
MILEWALDTEUFEL(18371915):SkatersWaltz,Op.183
Composed in 1882, the Skaters Waltz was inspired by
the Cercle des Patineurs or 'Rink of Skaters' at the Bois de
Boulogne in Paris. Waldteufels introduction to the waltz
can be likened to the poise of a skater and the glissando
notes invoke scenes of a wintry atmosphere. The other
themesthatfollowaregracefulandswirling,asiftodepict
a ring of skaters in their glory. Bells were also added for
good measure to complete the winter scenery. It was
published by Hopwood & Crew and was dedicated to
Ernest Coquelin who was the younger brother of two
celebratedactorbrothersoftheComdieFranaise.
ALEXANDERGLAZUNOV(18651936):
TheSeasons,Op.67
(Winter:Snow;Hail)
DuetotheoverwhelmingpopularityofVivaldisFourSeasons,
one could be forgiven for thinking that this composer had
some kind of proprietary rights to the subject. But dozens of
othershavehadagoatsettingthefourseasonstomusictoo.
One of these was Glazunov, whose 35minute ballet score
(about the same length as Vivaldis) was one of the first
compositions to usher in the twentieth century. Its premiere
took place at the Hermitage Theater in St. Petersburg on
February7,1900,withchoreographybytherenownedMariusPetipa,whohadadecadeearlier
workedwithTchaikovskyonTheSleepingBeautyandSwanLake.Glazunovsmusictoogrewout
oftheoldRussianballettradition.
The scenario is an allegorical fantasy. There is no plot as such; instead, the seasons are
presentedinfourtableaux,eachofwhichembracesaseriesofdancesillustratingfeaturesofthat
season.FirstcomesWinter(Vivaldifinishedwiththisseason),whichhasfourcompanions:frost,
ice,hailandsnow,eachofwhichisportrayedinadance.(Weheartwoofthem.)Suitablyfrosty,
glistening sounds prevail. Snow is portrayed as a tiny but elegant waltz and Hail as a lively
numberfeaturingchatteringoboesandmutedtrumpets.
TRADITIONAL:OTannenbaum(OChristmasTree)
O Tannenbaum (O Christmas Tree in English) is a
favoriteChristmascarolofGermanorigin.Actually,the
translation is not quite exact, as the German word
Tann means pine forest, but that wouldnt fit the
rhythm; besides, pine trees and Christmas go so well
together!Themelodyisanoldfolksongandthelyrics
gobacktothesixteenthcentury.Youmayhaveheard
the expression Music is a universal language. Well,
thats stretching things a bit, but youd never know it
from the varied uses to which the theme of O
Tannenbaum has been put: set to different lyrics, it
hasservedfortheBritishLabourPartyssongTheRed
Flag, for Cornell Universitys Evening Song, for the
official state song of Maryland (Maryland, My
Maryland fits the rhythm perfectly!) and even the
officialsongofNankaiUniversityinTianjin,China.
PIOTRILYICHTCHAIKOVSKY(18401893):
TheNutcracker,Op.71
DanceoftheSugarPlumFairy;ArabianDance;
SpanishDance;RussianDance(Trepak)
The immensely popular ballet The Nutcracker has, through countless
productions,captivatedandenchantedmillionsofchildrenandadultsalike.
For many of us, it was the first ballet we ever saw. For some, perhaps, it
remains the only ballet. Notices in the newspapers that The Nutcracker is
comingtotownisoneofthesurestsignsthattheholidayseasonisaboutto
start. The Nutcracker has woven a magical spell in the collective
consciousness of nearly the entire civilized world to the extent that it is
nearlyimpossibletobelieveitactuallyhadaveryshakybeginning.
The commission to write The Nutcracker came in 1891 at the height of Tchaikovskys
fameandpopularity.Hispreviousballetscore,SleepingBeauty,hadbeenabigsuccesstheyear
before, and now the director of the Maryinsky Theater in St. Petersburg, Ivan Vsevolozhsky,
wanted another ballet from Tchaikovsky, specifically one based on Alexandre Dumas pres
French adaptation of E.T.A. Hoffmanns tale Nussknacker und Mauseknig (The Nutcracker and
the MouseKing) hence, the oftused French title Cassenoisette, even in Russia. Vsevolozhsky
drewupthescenariohimselfandthegreatMariusPetipaprovidedthechoreography.
As most people know Hoffmanns story only through Tchaikovskys ballet, it is worth
noting that the latter departs from the original to a significant degree. Among other things, the
figure of Drosselmeyer in the original, half Hoffmann himself and half a weird caricature
survives(inTchaikovsky)asaneccentricuncle.TheenigmaticfigureoftheNutcrackeritself,half
inanimate object and half suffering soul in the original, is in Tchaikovsky an object of affection
whoreturnsthesentimentbyrewardinghissavior,Clara,withavisittotheKingdomofSweets.

JAMESLORDPIERPONT(18221893):JingleBells
ActIIopenswiththearrivalofClaraandherNutcrackerPriceat
the court of the Sugar Plum Fairy in that magical, mythical Kingdom of
Sweets,which,inmanystageproductions,isafeastfortheeyesaswell.
Although the Sugar Plum Fairy presides over the events that take place
throughout the act, her solo dance doesnt occur until near the end of
the ballet. It features the newlyinvented celesta, a keyboard instrument
resembling a small upright piano in appearance but whose tone is more
like that of a glockenspiel: dry, crystal clear and delicate, a perfect
accompanimentforthecharacterdepicted.
The Sugar Plum Fairy has arranged a lavish feast with

entertainment for Clara and the Prince in the form of a series of
dances representing various lands and foods, among them coffee
(Arabia, a languid, sensuous theme that unfolds over a rocking
accompaniment), chocolate (Spain, a brilliant bolero with virtuosic
trumpetsolos),atrepakfromRussia(fastandfuriousitsalloverin
aminute!)andreedflutes(flutesandEnglishhorn).
"JingleBells"isoneofthebestknownandcommonlysungwintersongsin
the world. It was written by James Lord Pierpont and copyrighted under
the title 'One Horse Open Sleigh' on September 16, 1857. Despite being
inextricablyconnectedtoChristmas,itisnotspecificallyaChristmassong.
Itisoneofmany"joyfulsongs"writteninNewEnglandduringthelate19th
century.
The "Jingle Bells" tune is used in French and German songs,
althoughthelyricsareunrelatedtotheEnglishlyrics.Bothcelebratewinter
fun. The French song, titled Vive le vent ("Long Live the Wind"), was
written by Francis Blanche and contains references to Father Time, Baby
New Year, and New Year's Day. There are several German versions of
"JingleBells";thepopularRoyBlackversionChristkindlandChristmastime.
BalletTerms
Adage: In ballet, a slow section of a pas de deux or an exercise in a dance class focusing on
slow controlled movements that highlight balance and extension, and require strength and
poise.
Adagio: The part of a dance class where exercises for balance and sustained movement are
performed;amusicalcompositionperformedataslowtempo.
Alignment: Creatingharmonywiththebodysothatunbrokenlinesareformedwiththearms
andlegswithoutdisplacementofthetorso.
Arabesque:Inballet,aposeheldononelegwiththeotherlegandbotharmsextendedaway
and up from the centre of the body; also, positioning of the arms in relation to the legs. As
withpositionsofthefeet,eachpositionisdistinguishedbyanumber,suchasfirst,secondand
thirdarabesque.
Barre: Ahorizontalpole,eitherattachedtothewallorfreestanding,tosupportdancerswhile
stretching,warmingupordoingexercises"atthebarre".Barreexerciseslikeplis,battements
and ronds de jambe form the first part of a traditional ballet class and are the basis for all
technique.
Battement: In ballet, the "beating" of either a stretched or flexed leg. The types are : a
battement tendu, a battement dgag, a battement fondu, a petit battement and a grand
battement.
Corps de ballet: In ballet, performers who do not have lead roles and perform during group
scenesoraction.Innarrativeballets,membersofthecorpsdeballetwillperformrolessuchas
peasants,weddingguestsandswans.
Enchanement:A"chain"orlinkedsequenceofmovements.
Turnout: Awayofstandingandusingthelegsthatisinitiatedinthepelvis,wherebothsides
ofthebodyrotateoutwardsfromthehips,awayfromthespine.
Pasdedeux:Inballet,asequenceordancefortwodancers.
Pirouette: In ballet, a spin or turn of the body performed on one leg. Pirouettes may be
performed en dehors (turning away from the supporting leg) or en dedans (turning toward
thesupportingleg).
Pli:Inballet,abendingoftheknees.Thiscanbedoneeitherindemipli("halfpli"),where
theheelsremainonthefloor,oringrandpli(largeorfullpli),where,exceptinsecond
positionofthefeet,theheelsleavetheflooratthedeepestpointofthebend.
Portdebras:Inballet,armmovementsaroundthebody.
Beat Is there a strong pulse (like walking), or little sense of a beat, (like
floating)? Is the speed (tempo): fast (allegro), medium (moderato), or slow
(adagio)?
Metre/TimeSignature2/4, 3/4, 4/4, 6/8 are most common. Listen for

the strong beat, then find the grouping of beats in 2s, 3s 4s. Try conducting in 2
(down/up)or3(triangle)tofeeldupleortripletime.
Rhythm Are sound patterns simple, or complex? Are they fast patterns (like eighth
notes)orlongnotes(likewholenotes)?Istherhythmjazzyandsyncopated(ontheoffbeat)?
MelodyIsthetunememorable?Doesithaveleapingfromhightolow
(disjunct) or notes moving in close steps (conjunct)? Is the playing smooth
(legato)ordetachedplaying,likehotpotato(staccato)?
Harmonyis more than one pitch sounding at the same time (example do + mi + sol, or
the I chord). One person singing alone creates unison, not harmony! Are the combined
soundsmodern,jazzy,moretraditional?
DynamicsHowdramaticisthemusic?Arethereloudandsoftsections?Themusicterms
(andsymbols)are:
pianissimo(pp)verysoft
piano(p)soft
mezzopiano/mezzoforte(mp,mf)mediumsoft/mediumloud
forte(f)loud
fortissimo(ff)veryloud

Texturedescribesthedensityofsound:onesound(thin),ortwosoundslayered,ormany
soundslayered,performedsimultaneously(thick).Polyphonicmusichasmanylayers,starting
atdifferenttimes,likesingingtheroundFrreJacques.

TimbreCanyouidentifywhatismakingthemusic:voice(male/female,adult/
child),woodwinds,brass,strings,orpercussion?
Formishowmusicisorganizedinrepeatingorrecognizablesections.Examples:
ABA,Sonata,ThemeandVariations,Rondo,Symphony
MusicalGlossary
Teachers:
Helpusensurethateveryone
enjoystheperformance!

As a teacher bringing your students to a performance at the National Arts Centre, please
keepinmindthatyouareresponsibleforthebehaviourofyourstudents.Itisuptoyouto
ensure that the students behave in a respectful and attentive manner towards the
performersonstageaswellasNACstaffandfellowaudiencemembers.Usetheguidelines
below to brief your students about behaviour in the performance hall before you attend
yourNACperformance.
Performersonstagerelyontheaudiencefortheenergytoperform:audiencesneedto
beattentive,quietandrespectfulinordertohelpcreatethemagicofliveperformance.
Performers can see and hear everything that you do, just as you can see and hear
everythingthattheydo,so:
Please save your snacks, drinks, candies and gum for another time the
performancehallisnoplaceforeatinganddrinking.
Pleasediscusswhatyoulikeanddislikeaboutaperformancebutdefinitelydo
itafteryouleavethehall,notduringtheperformance.
Itisimportantthatyoubecomfortableinyourseatinthehallbutpleasedont
leaveyourseatoncetheperformancehasstarted.Itsdistractingtothoseonstage.
Besuretoturnoffcellphones,pagersandanythingthatbeepsbeforeyouenter
thehall.
Musicians love to have their performance acknowledged by your applause, but

remembertowaituntilthewholepieceisover.Somecomposerschoosetowritemusicin
several movements. It may seem like the end of the piece when the performers come to
the end of a movement, but often a piece of music is made up of several movements. If
yougetconfusedaboutwhenapieceofmusicisfinished,watchtheperformersonstage
youll be sure to know when the piece is over when the conductor turns and faces the
audience.
Rememberthattherearealotofpeoplewhoworkveryhardtoputonaperformance:
not just actors, dancers and musicians, but administrators, frontofhouse and technical
staff. Everyone will have a different opinion of what they see on stage, but consider that
constructivecriticismisalwaysappreciatedmorethanpurelynegativecriticism.
Through the performing arts we can explore other points of view, learn new and
differentthingsaboutourselvesandaboutothers.Everyonewhoviewsaperformancewill
experience it in a different way. It is important to respect this process of exploration in
yourselvesandthosearoundyou.
PerformanceHallEtiquette
ClassroomActivities
InstrumentsoftheOrchestra
See All about the Orchestra on pages 911. Use ArtsAlive.ca
Music Instrument Lab to explore the sounds, construction,
andappearanceofvariousinstruments.

WordWallandDiscussion
Listentosomeofthepieceslistedontheconcertprogram(seepage4).
Whichpiecedidyoulikebest?(Musicislikefoodeachofushasdifferent
favourites,or"tastes")
Whenthemusicisloud,howdidyoufeel?(soft,fast,slow,oneinstrument,
orchestra)
Make a word wall of actions. (flying, hopping, twirling, jumping, clapping,

crying,dancing,laughing,sleeping,..)
Makeawordwallofdescribingwords.(smooth,calm,fast,happy,exciting,rhythmic,strong,
soft,loud,quiet,adventurous,.)Usethewordwalltoansweroralquestions.Example:How
didthecomposerfeelwhenhewrotethispiece?Usethewordwalltohelpwriteasentence,
or short paragraph. "I like __________________(name piece) by _________. It was
__________________.Itmademefeellike__________________."
ListeningLogandListeningRecord
Use the Listening Log to teach students to listen for details and to
learnmusicvocabulary.Keeplisteningsamplesshortandintriguingto
start. Select music you love from your own collection or from the
library.Usemusicillustratingcontrastingmoods,stylesofmusic,his
toricalperiodsofmusic,andculturalbackgrounds.Whenthestudents
realize that there is interest in and respect for music of many time
periodsandawidevarietyofcultures,thiswillencouragestudentsto
appreciatedifferenttastes,showtoleranceandrespect,andbeproud
of their cultural background. Ask each student to take a turn being
responsibleforthelisteningselectionoftheday,encouragingthem
to bring music from home that is appropriate for school and that
others might not have heard before to stretch the ears of their
classmates. Make a music certificate for most original and
interesting selection of the week. Ensure that all selections are
listenedtocarefullyandwithrespect.
ListeningLog
Name:____________________________Date:___________________________________
Piece:______________________________________________________________________
Composer:__________________________________________________________________
Circlethebestanswer:
1.Describethebeat: steady changing hardtofind
2.Thetimesignatureis:
Duple Triple
Groupsoftwo:1,2,1,2 Groupsofthree:1,2,3,1,2,3
Four:1,2,3,4,1,2,3,4 Six:1.2.3.4.5.6,1,2,3,4,5,6,
3.Whatisthetempo(speed)? allegro moderato adagio

(fast) (medium) (slow)
4.Doesthetempochange? accelerandoritardando
(speedsup) (slowsdown)
5.Whichdynamiclevelsareused? forte mezzoforte piano

(loud) (mediumloud) (soft)
6.Whichelementsarefeatured? strong memorable interesting

rhythm melody harmony
7.Whattimbresarefeatured?
Instruments: strings brass woodwinds percussion electronic
Voices: child woman man / solo duet choir
8. Whatisthemoodofthepiece?Inyourimagination,whatishappeningwhenyouhear
thismusic?
______________________________________________________________________
______________________________________________________________________
TheNutcrackerandHolidayTraditions
The Nutcracker is a story set during Christmas. Use the
performanceasawayofdiscussinghowstudentsandtheirfamily
celebratespecialholidaysfromreligionsandculturesoftheworld.

TheNutcracker:BasicBalletPositions
Source:Connexionshttp://cnx.orgbyAlexVolschenk
Alldancers,eventhegreatest,useexactlythesepositionseveryday.
PositionsoftheFeet
FIRSTPOSITION:turnyourfeetouttothesidewithyourheelstouchingturnyourwhole
legoutatthehip,notjustthefoot.
SECOND POSITION: turnyourtoesoutonthesamelineasfirstpositionstandwithfeet

apart the space between your heels should be about the length of one of your feet
placethewholeofbothfeetonthefloordontrollforwardsandputtoomuchweighton
yourbigtoes.
THIRD POSITION: cross one foot halfway in front of the other your weight should be
balancedevenlyonbothfeet.
FOURTH POSITION: placeonefootexactlyinfrontoftheotherwithsomespacebetween

them.
FIFTH POSITION: your feet should be turned out, fully crossed and touching each other
firmly.
Have the students write a letter or draw a picture in response to the
program.Whatdidtheylikeordislikeabouttheconcert?Whichmusic
did they like best? What differences did they notice about the music
relating to different holiday traditions? What questions do they have
aboutthemusicortheproduction?
(We LOVE to receive feedback from children whether writtenor drawn.Students can
sendtheirresponsestotheaddressatthefrontofthissupplement.)
ResponsetotheConcert
MusicfromLife
1. Ask the children to bring to school an object from their daily life that makes an
interestingsound.
Ideas:
twopiecesofwoodthatresonatenicelywhenbangedtogether
atincanwithripplesonthesides,oracomb,thatcanbescrapedwithapencilorplastic
spoon
driedlentilsinaplasticjar(example:bakingpowderjar,lemonjuicecontainershapedlike
alemon)orchipcan.
samplesized plastic makeup bottles (some produce a tone like a flute when you blow
acrossopening)
largepailorplasticjuicebottle(lidremovedsoundsbest)
2. Havethestudentslistentoeachotherssounds.
3. Practice loud/soft, and following directions. Invite a "guest conductor" to direct the
"orchestra".Firstteacher,thenstudents,taketurnsleadingtheclass.
Gestures:
Handsabovehead=loud
Handsatchestlevel=mediumloud
Handslowered=soft
Handscrossandquicklymoveoutward=stopor
Handstouchfloor=stop,foryoungerstudents,sittingincircle,leaderincentre)
4. RepeattheDancingRhythmsactivityfrompartone,onlythistimeusingthestudents
foundinstruments.
Listen to a brief section (3060 seconds) of each of the 4 pieces from The Nutcracker. Have
students move scarves or streamers to the music; describe how the streamer is moving (e.g.
flowing,upanddown,jagged,floating).Chooseonewordandwiththeclassdescribethemusic
usingmusicvocabulary;e.g.RussianDance(Trepak);excitedveryfasttempo,quicklychanging
dynamicssofttoloudtosoft,manyshortnotes,manyrepeatedmelodies
Movetoeachpieceandbuildachartofthe4pieces.Usethesamemovementswhenasectionis
repeated.Sharewiththeclass.
Grade2,3:Afterseveralopportunitiestolistenandmove,havestudentsinpairs,choose2ofthe
pieces and create a Venn diagram, using descriptive words from the class chart, or other music
words (including mood words) that are posted on a word wall. Grade 1 Teacher and students
togethercreatetheVenndiagram.Studentscanthencreateapieceofartworkrespondingtoone
ofthepiecesfromTheNutcracker.
ListeningActivities
RefertotheMusicalGlossaryonpage19.
Beat,Metre,TimeSignature
Listentothefollowingworkstodiscoverbeat,metreandtimesig
natures:
BernardsWinterWonderland
TchaikovskysTheNutcracker,Op.71:RussianDance(Trepak)
WaldteufelsSkatersWaltz
Try patting your lap (patsch) for the strong beat, and clap the weak beat(s) to discover the
groupings,ormetre.Listenforthemetre,thentryconductingin2(down/up)or3(triangle)to
feeldupleortripletime.
2/4 3/4 4/4
Rhythm
ListentothecomplexrhythminTchaikovskysTheNutcracker,Op.71:ArabianDance
MelodyandHarmony
Listentoselectionsfromtherepertoirelistedonpage4.Whichmelodies
are memorable? Which can you hum? Are the harmonies (combined
sounds)modern,jazzy,ormoretraditional?
Dynamics
Baroque and Classical music usually have distinct loud and soft sections; and
Romantic and Modern music usually make dramatic use of loud, soft and
gradual changes, and sound very expressive. How would you describe the
dynamics and mood in Tchaikovskys Russian Dance (the Nutcracker,
Op.71)?CompareitwithWaldteufelsSkatersWaltz.
NametheInstrument
A. Fill in the name of the instrument and identify which of the four instrument
families(strings,woodwind,brassorpercussion)theinstrumentbelongsto.
B. Coloureachoftheinstruments.
1. Instrument: ________________________________
Family: ________________________________
2. Instrument: ________________________________
Family: ________________________________
4. Instrument: ________________________________
Family: ________________________________
3. Instrument: ________________________________
Family: ________________________________
5. Instrument: ________________________________
Family: ________________________________
6. Instrument: ________________________________
Family: ________________________________
7. Instrument: ________________________________
Family: ________________________________
8. Instrument: ________________________________
Family: ________________________________
9. Instrument: ________________________________
Family: ________________________________
10. Instrument: ________________________________
Family: ________________________________
11. Instrument: ________________________________
Family: ________________________________
12. Instrument: ________________________________
Family: ________________________________
13. Instrument: ________________________________
Family: ________________________________
14. Instrument: ________________________________
Family: ________________________________
NametheInstrumentANSWERS
8. Instrument:Bassoon
Family: Woodwind
9. Instrument:Maracas
Family: Percussion
10. Instrument:Tuba
Family: Brass
11. Instrument:Clarinet
Family: Woodwind
12. Instrument:Tambourine
Family: Percussion
13. Instrument:Cymbals
Family: Percussion
14. Instrument:Xylophone
Family: Percussion
1. Instrument:Frenchhorn
Family: Brass
2. Instrument:Timpani
Family: Percussion
3. Instrument:Trumpet
Family: Brass
4. Instrument:Cello
Family: Strings
5. Instrument:Flute
Family: Woodwind
6. Instrument:ViolinorViola
Family: Strings
7. Instrument:Triangle
Family: Percussion
SuggestedActivitiesandthe2009OntarioCurriculumfortheArts
Rhythm(page19)
Rhythmdescribesthepatternsthataremadewithlongnotes,shortnotesandsilences(rests)
e.g.long..longshortshortlong..(tatatitita).Dotherhythmpatternsyouhearhave
manyshortnotes,ormostlylongnotes?Aretheremanyrests?
AccordingtotheOntarioCurriculum,TheArts:Music,glossary:
rhythm.Anaspectoftheelementcalledduration.Thepatternoflongandshortsoundsorsilences.Patternscan
becreatedbybothmusicalsoundsandlyricsorwords.Rhythmdiffersfrombeat;forexample,therhythmatthe
beginningofasongmightbeta,titi,tikatika,ta,whereasthebeatistheunderlyingsteadypulseofta,ta,ta,
ta.Seealsobeat.
rhythmicpattern.Ashort,repeatedpatternusingtwoormorenotevalues(e.g.,quarternoteandeighthnote).A
sampleofsuchapatternista,titi,ta,ta.
PerformanceHallEtiquette(page20)
AccordingtotheOntarioCurriculum,TheArts:Music:
C2.3identifyandgiveexamplesoftheirstrengthsandareasforgrowthasmusicalperformers,
creators, interpreters, and audience members (e.g., singing in unison, providing constructive
feedback and suggestions for a classmates or guest performers performance) Teacher
prompts: What could we do to improve our next performance? How can we demonstrate
goodaudiencebehaviorduringourschoolconcert?
byJaneWamsley
WordWallandDiscussion(page21)
The following activites Word Wall and Discussion would be connected to the Overall
Expectationsthatarethesameinallgrades18:
C2.Reflecting,Responding,andAnalysing:applythecriticalanalysisprocess(seepages23
28) to communicatetheir feelings,ideas, and understandings in response to a variety of
musicandmusicalexperiences;
C3. Exploring Forms and Cultural Contexts: demonstrate an understanding of a variety of
musical genres and styles from the past and present, and their social and/or community
contexts.
Anexampleofagrade3SpecificExpectationfortheseactivities:
C3.2identifyavarietyofmusicalpiecesfromdifferentculturesthroughperformingand/or
listeningtothem(e.g.,folksongs,songsforcelebrations,ceremonialmusicfromCanadian
andworldsources)
Teacherprompts:WhatsongsdoyousingforDiwali?Kwanzaa?Hanukkah?EarthDayis
cominginApril.Whatsongscouldweusetohelptocelebratetheearth?
InstrumentsoftheOrchestra(page21)
Grade1:timbre:soundqualityofinstruments(e.g.,nonpitchedandpitchedpercussion),
Grade 2: classification of instruments by listening to their sound (e.g., wind [woodwind,
brass],stringed,electronic,membrane,pitchedpercussioninstruments)
Grade 3: classification of instruments by means of sound production (e.g., sounds
producedbystrumming,striking,shaking,blowing)
GRADE1:
Overall Expectation C2 Reflecting, Responding, and Analyzing: apply the critical analysis
process (see pages 2328) to communicate their feelings, ideas, and understandings in
responsetoavarietyofmusicandmusicalexperiences;
Specific Expectation C2.2 describe ways in which the elements of music are used for
differentpurposesinthemusictheyperform,listento,andcreate
FundamentalConcepts:describethesoundsofinstrumentstheyhearandsee
BEFOREtheCONCERT:
InternetsourceNACwebsite:ArtsAlive(http://artsalive.ca/en/mus/instrumentlab)
Studentswill..
listentoaninstrumentandlookatthevirtualpictures
orallyrespondwithdescriptivewordsabouthowtheinstrumentlooksandsounds
writethisvocabularyonaclasswordlist
afterviewingandhearingafewinstruments,writearesponseabouttheinstrumentthey
wouldchoosetoplayandwhy,usingtheclasswordlist
createanillustrationoftheinstrument
DURINGtheCONCERT:
Teachersmaysuggestthatstudentsoccasionallyduringtheconcertwatchforandlistentothe
instrument that they had chosen; especially listening for pieces that featured their
instrument.
AFTERtheCONCERT:
Studentswill
talkabout/writeabouttheirchoseninstrument
Whatdidyounoticeaboutthisinstrumentduringtheconcert?(e.g.wherewasthe
instrument on stage? How often was it played? How did the performer hold the
instrument?...)
Whenwastheinstrumentplayed?
Howdiditsound?Wereyousurprised?Why?Whynot?
Is this instrument still one that youwould wish to play after experiencing it live in
theconcerthall?
Whatotherinstrumentsdidyoufindinteresting?Surprising?
Could all of the instruments play at a loud or soft dynamic level? When did you
hearloudorsoftsoundsinthemusic?
GRADE2:
Specific Expectation C2.2 describe ways in which the elements of music are used for
differentpurposesinthemusictheyperform,listento,andcreate
FundamentalConcepts:classifytheinstrumentsoftheorchestra
BEFOREtheCONCERT:
Studentswill..
listentoandlookatseveralinstrumentsbeingplayed:
identifythesimilarsoundcharacteristicsoftheinstrumentsinafamily(string,
brass,woodwindorpercussion)
discusshowtheconstructionandmaterialsoftheinstrumentsresultedinthe
soundstheyhearwhentheinstrumentsareplayed
gatherthedescriptionsontoaclasscharte.g.
withapartner,completetheNametheInstrumentsheets,usingtheinformation
fromtheclasschart
DURINGtheCONCERT:
Teachers may suggest that students watch how the families of instruments they have been
studying look and play on stage; e.g. Do all the brass instruments always pick up their
instruments and play at the same time? What do you notice about the violins playing
together?(thebowingisallthesamemostoften)
AFTERtheCONCERT:
Studentswill
talkabout/writeabouttheorchestrasinstrumentfamilies:
Whatsurprisedyouabouttheinstrumentfamiliesattheconcert?
Didyoueverseethebrassfamilyusemutes?When(whatpieceofmusic)?
Describe the sizes of the instruments when you see and hear them live. Any
surprises?
Describewhichfamilyofinstrumentsyoulikedlisteningtobest.Why?
Were there any pieces of music played that really featured certain families of
instruments? (Make a class list; listen to recordings of the pieces for further
exploration)
Instrument Family/
Section
Materialsanddescription OtherCharacteristics DescriptionoftheSound
trumpet Brass Metaltubingrolledaround
withabellshapeattheend;
3valvestopressdown
Howlongthetubeisand
howfasttheplayerbuzzes
lipsproduceshigh/low
pitches
(studentresponseswill
vary)e.g.bright
GRADE3:
Specific Expectation C2.2 describe ways in which the elements of music are used in the
musictheyperform,listento,andcreate
Fundamental Concepts: classification of instruments by means of sound production (e.g.,
soundsproducedbystrumming,striking,shaking,blowing)
BEFOREtheCONCERT:
Studentswill..
Fold a sheet of paper into 4 (use recycled where possible), and put each of the ways
instrumentsareplayedintoabox;lookingattheinstrumentsintheirfamiliesontheNAC
InstrumentLab,sortandlisttheinstrumentsunderthecorrectheadingse.g.
Explore classroom instruments or found sounds and create a class orchestra, play the
rhythm of a familiar song e.g. Frre Jacques or chant e.g. Jack Be Nimble; assigning
differentphrasestodifferentinstrumentsinthelist
Discuss how some instruments canbe playedmore thanone way;e.g. string instruments
canbebowedorplucked,andhowthesoundchanges
DURINGtheCONCERT:
Teachersmaysuggestthatstudentspayparticularattentiontohowtheinstrumentsarebeing
playedandhowthesoundisaffected.
AFTERtheCONCERT:
Reviewthechartmadebeforetheconcertandaddmoredetailslearnedbyattendingthe
liveconcert
Reflectontheconcert:Whatdidyousee?Feel?Hear?Whichpiecesthatyouheardat
theconcertwouldyouliketohearagain?Why?
Strum/Scrape Strike Shake Blow
Violin
guiro
Triangle
drum
Maraca
tambourine
Trombone
recorder
ListeningLogandListeningRecord(pages2122)
TheListeningLogandListeningRecordwouldbeconnectedtotheOverallExpectationsthat
arethesameinallgrades18:
C2.Reflecting,Responding,andAnalyzing:applythecriticalanalysisprocess(seepages23
contexts.
TheListeningLogisquitecomprehensiveandsuccessfulatgrades4andup.However,itcould
be suitable for grade 3 if completed WITH the teacher the reading level would require
assistance, particularly with the music terms, which we like to introduce as they are
encounteredinmusicheardorperformed.Grade1and2coulddoasimplifiedversion,orjust
onequestion. Again,it couldbedoneorally,withateacherchartgatheringtheinformation,
thenstudentswriting/drawingtheirownreflections.Movementtothepiecestodemonstrate
howtheyaresameordifferentisalsopossible.
TheNutcracker,Op.71(page23)
C1. Creating and Performing: apply the creative process (see pages 1922) to create and
performmusicforavarietyofpurposes,usingtheelementsandtechniquesofmusic;
C1.2applytheelementsofmusicwhensinging,playinganinstrument,andmoving
C2.Reflecting,Responding,andAnalyzing:applythecriticalanalysisprocess(seepages23
C2.2 describe ways in which the elements of music are used in the music they perform,
listen to, and create (e.g., use a Venn diagram to compare how the elements of two
contrastingpiecescreatemood).Teacherprompts:Howdothesetwosongsusedynamics
differently to create uniquely expressive pieces? In what other ways do these two songs
differ?
contexts.
C3.2 identify, through performing and/or listening, a variety of musical forms or pieces
fromdifferentcommunities,times,andplaces
ofResourcesAvailableattheOttawaPublicLibrary
CompiledbyJanisPerkin
ChildrensServices,OttawaPublicLibrary
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Dunleavy,DeborahKIDSCANPRESSJUMBOBOOKOFMUSICc.2001
Laurencin,GeneviveMUSIQUE!GallimardJeunesse,c.1988
Fron,JosUNORCHESTREETSESINSTRUMENTSNathan,c.1985
Hart,AveryKIDSMAKEMUSIC!WilliamsonPublishing,c.1993
Levine,SharTHESCIENCEOFSOUNDANDMUSIC
Riley,PeterCHANGINGSOUNDS
Turner,BarrieC.LAMUSIQUENathan,c.1989
MarchonArnaud,CatherineENAVANTLAMUSIQUEHachetteJeunesse,c.1993
Koscielniak,BruceTHESTORYOFTHEINCREDIBLEORCHESTRAHoughtonMiffin,c.2000
THENUTCRACKER
FICTION
Bunting,EveTHEDAYBEFORECHRISTMAS
DePalma,MaryNewellTHENUTCRACKERDOLL
Giff,PatriciaReillyROSIESNUTCRACKERDREAMS
Isadora,RachelLILIONSTAGE
McMullan,KateNUTCRACKERNOEL
Stuchner,JoanBettySADIETHEBALLERINA
Tyrrell,AvrilWOODLANDNUTCRACKER

NONFICTION
Hoffman,E.T.A.CASSENOISETTESETLEROIDESSOURIS
(illust.Zwerger)
Hoffman,E.T.A.THENUTCRACKER(ed.Bell)
Hoffman,E.T.A.NUTCRACKER(illust.Sendak)
Hoffman,E.T.A.THENUTCRACKER(illust.Spirin)
Switzer,EllenTHENUTCRACKER:ASTORYANDABALLET
DANCE
FICTION
Barber,AntoniaLESSONSFORLUCY
Chevance,AudreyTUTU
Coulman,ValerieIAMABALLERINA
Coulman,ValerieJESUISBALLERINE!
Hall,KirstenJESUISUNEBALLERINE
Holabird,KatharineANGELINABALLERINE:HISTOIRE
Holabird,KatharineANGELINA,STAROFTHESHOW
Ichikawa,SatomiBRAVO,TANYA
Isadora,RachelLILIBACKSTAGE
Marshall,JamesPIEDSDECOCHONS
Schneider,ChristineSUZIEDANSE
Streatfeild,NoelBALLETSHOES
Trottier,MaxinePAVLOVASGIFT
NONFICTION
Augustyn,FrankFOOTNOTES:DANCINGTHEWORLDSBEST
LOVEDBALLETS
BrayMoffatt,NaiaLCOLEDEDANSE
BrayMoffatt,NaiaDANCESCHOOL
Castle,KateBALLET
Chausson,KarineSIJTAISUNEBALLERINE
Delobbe,KarineLADANSE
Grau,AndreDANCE
Lee,LauraACHILDSINTRODUCTIONTOBALLET(includesCD)
Li,CunxinDANCINGTOFREEDOM:THETRUESTORYOFMAOS
LASTDANCER
Lipman,EvaIAMADANCER
Yolen,JaneTHEBAREFOOTBOOKOFBALLETSTORIES
Besuretocheckoutallofthisseasons
NACOrchestraStudentMatineeTeacherStudyGuides
availableforfreedownloadonthe
ArtsAlive.caMusicwebsite!
(seeMusicResources,ResourcesforTeachers)
KindergartenGrade3
WinterWonderland
Wednesday,December9,200910a.m.to11a.m.(English)
Wednesday,December9,200912:30p.m.to1:30p.m.(English)
Thursday,December10,200910a.m.to11a.m.(French)
Grade48
LetsGoMozart!
Thursday,May27,201010a.m.to11a.m.(English)
Thursday,May27,201012:30p.m.to1:30p.m.(English)
Friday,May28,201010a.m.to11a.m.(French)
Grade712
TheOutstandingOscarPeterson
Thursday,November26,200911a.m.to12p.m.(Bilingual)
Friday,November27,200911a.m.to12p.m.(Bilingual)

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2009-2010 Student Matinee concerts

I am pleased that I once again have this opportunity to personally invite

All these instruments, except the harp, have four

Their sound is produced by the friction of a bow on a

Plucking the strings is called pizzicato (meaning

These instruments are basically tubes (either wood or metal) pierced

Some wind instruments use a reed to produce sound. A reed is made

Of the four woodwind instruments of the orchestra, only the flute

Flutes create the highest notes, bassoons

Did you know that the reeds are made of

The sound is created by the vibrations of lips as the musician blows

Within this family of instruments, there are 3 types: metal, wood

These instruments are either pitched(they produce a specific

Percussion sounds are generally produced by hitting something

TeacherStudyGuide Page16 WinterWonderland

The Sugar Plum Fairy has arranged a lavish feast with

Metre/TimeSignature2/4, 3/4, 4/4, 6/8 are most common. Listen for

Musicians love to have their performance acknowledged by your applause, but

Make a word wall of actions. (flying, hopping, twirling, jumping, clapping,

1.Describethebeat: steady changing hardtofind

3.Whatisthetempo(speed)? allegro moderato adagio

5.Whichdynamiclevelsareused? forte mezzoforte piano

6.Whichelementsarefeatured? strong memorable interesting

Instruments: strings brass woodwinds percussion electronic

Voices: child woman man / solo duet choir

SECOND POSITION: turnyourtoesoutonthesamelineasfirstpositionstandwithfeet

FOURTH POSITION: placeonefootexactlyinfrontoftheotherwithsomespacebetween

2/4 3/4 4/4

TeacherStudyGuide Page35 WinterWonderland

TeacherStudyGuide Page36 WinterWonderland

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