The Dallas Symphony Orchestra Presents:

Peter and the Wolf

February 4, 5, & 18, 2015

What child does not love a good story? In Tchaikovskys Swan Lake, Ravels Empress of the Pagodas,
and Prokofievs Peter and the Wolf, each of the composers use music to create richly imaginative sto-
ries with universal appeal to all ages.

Every child can identify with Peter, the adventurous and confident young boy who ignores his grandfa-
thers admonition to stay safely near home. In the course of his exploration of the forbidden meadow
with his friend the bird, they meet a duck, a cat, and a wolf, all represented by different instruments in
the orchestra. The wolf, of course, is a character that represents danger in folk tales around the
world. As the tale plays out, hunters come to the rescue and the story ends happily for everyone, ex-
cept perhaps the duck, who departs the scene inside the wolf!

Paired with this well-known classic are scenes from two iconic ballets: Swan Lake and Ma mre l'oye
(or Mother Goose). Young concert-goers will delight in the dramatic, colorful music of both of these
works. The first will feature the Dallas Symphony alone on stage, so that all the magic of this powerful
music shines through. For Empress of the Pagodas, the DSO will be joined by dancers from the Dallas
Black Dance Theater, bringing this orient-inspired gem to life.

Beyond the pure enjoyment of these exciting musical experiences, Peter and the Wolf, Swan Lake, and
Empress of the Pagodas all provide stimuli for focused listening, expanding language development and
musical understanding, and exploring emotions. Because the stories are vividly told in various combi-
nations of music, words, and imagery, they also create especially fertile learning experiences for ESL
students and those with limited language experience.

Once youve familiarized yourself with the music on the concert, please use this Teachers Guide and
the accompanying CD as resources to prepare your students for a deeply rewarding and enlightening
concert experience. As always, your feedback is greatly appreciated, so let us know how these lesson
and activity suggestions worked for you and your students.

Musically Yours,

Jamie Allen
Director of Education
Dallas Symphony Orchestra

The Teacher Evaluation Survey for this concert is available online at

http://www.surveymonkey.com/s/dsoyouthconcerts. By taking this survey, you will help us both to program
future concerts and to receive funding to continue our outreach. We appreciate your help!
Activities for this Teachers Guide were prepared by the Dallas Symphony Orchestras
Curriculum Development Team: Linda Arbolino, Jane Aten, Linda Booth, Tony Driggers, Cheryl Goodwin, and
Gloria Lett.
This volume of the teachers guide was produced and edited by Dallas Symphony Orchestra Education staff
members Jamie Allen and Jenny Fridge.
Materials in this teachers guide can be photocopied for classroom use. If you have any questions about the
concerts or material in this guide, please call Jenny Fridge at 214.871.4006.
Peter and the Wolf Page 1
 Table of Contents
Concert-Specific Information
Repertoire & CD Track List p. 3
Concert Guidelines p. 4
Whos Who p. 5
Music in the Air a preconcert activity p. 9
Picture Story Activity p. 18
Story Lines p. 19

Lesson Plans
Concert Conduct p. 22
Swan Lake Musical Story Time p. 23
The Character of Instruments p. 24
Music Can Tell a StorySequencing a Story p. 25
Puppet Theater p. 27
Diorama p. 28
Calling All Actors p. 30

Resources for Teachers p. 31

Peter and the Wolf Character Faces p. 32
Peter and the Wolf Instruments p. 35
Peter and the Wolf Instrument to Character Matching p. 39
Orchestra Seating Chart p. 40
Flat Beethoven p. 41
Student Evaluation Form p. 42
Teacher Evaluation form available online at www.surveymonkey.com/s/dsoyouthconcerts

Concert Logistics
Arriving and Departing p. 43
Map of the Arts District p. 44
About the Meyerson Symphony Center p. 45
Symphony YES! Request Form p. 46
Amazing Music Order Form p. 47
Thanks! Back Cover

Page 2 Peter and the Wolf

 Repertoire & Youth Concert CD Track List

1 Tchaikovsky Swan Lake, Act. 2, No. 10

2 Ravel Empress of the Pagodas
3 Excerpt Peter in the Meadow, from Peter and the Wolf
4 Excerpt The Bird, from Peter and the Wolf
5 Excerpt The Duck, from Peter and the Wolf
6 Excerpt The Cat, from Peter and the Wolf
7 Excerpt The Grandfather from Peter and the Wolf
8 Excerpt The Wolf, from Peter and the Wolf
9 Excerpt The Hunters gunshots from Peter and the Wolf
10 Prokofiev Peter and the Wolf

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.

Peter and the Wolf Page 3

 Concert Guidelines
Before the Concert
Please prepare your students using the DSO Teachers Guide and related materials on www.DSOkids.com.
Students should be briefed on concert etiquette in advance.
Please contact Jenny Fridge at 214.871.4006 at least 48 hours before the concert if your group includes any
students or teachers with special needs, including wheelchairs or hearing impaired students requiring
infra-red headsets.
Changes to a reservation must be made at least two days before your Youth Concert experience.
Please note that we do NOT take walk-ups. Please inform your parents/chaperones that tickets MUST be
purchased at least two days before the Youth Concert in order for them to attend.
The Day of the Concert
Before leaving school, please allow time for students to visit the restroom.
Upon your arrival, you will be greeted by a DSO Staff Member who will give you a DSO bus number. This DSO
bus number is given to help ease the bus pick-up process after Youth Concerts.
Memorize your DSO bus number.
DO NOT UNLOAD YOUR BUS UNTIL YOU ARE GREETED BY A DSO STAFF MEMBER.
Learn your bus drivers name and be sure you can recognize her/him.
Plan to arrive at the Meyerson at least 30 minutes before concert time. Arriving 45 minutes beforehand is
advisable if you have a very large group.
Write down your bus drivers cell phone number in case of an emergency.
Upon Arrival at the Meyerson
Check in with a volunteer in the main lobby; a volunteer will guide your group to your seating area. Seating
sections are assigned on the basis of group size and first-come, first-served.
All students should be in their seats at least five minutes before concert time.
Food, drink, and chewing gum are NOT permitted in the concert hall.
An organ demonstration starts seven minutes before the concertyou wont want to miss that. Its always a
favorite with the students!
During the Concert
Turn your cell phone to off, silent, or vibrate mode.
The use of cameras and recording devices is prohibited, including those on cell phones.
Students and teachers should remain in their seats for the entire concert.
Restrooms are located on all levels and should be used for urgent needs only. If students must visit the
restroom, please have an adult accompany them.
Students not maintaining acceptable standards of behavior should be removed by a teacher/parent, and may
jeopardize their schools future attendance at DSO events.
After the Concert
Please remain in your seats until your school is dismissed.
Upon dismissal, listen carefully and follow instructions for departing the building.
Make sure you know your DSO bus number.
Back at School
Refer to www.DSOkids.com for follow-up curricular activities. A Symphony YES! performance is also highly
recommended as post-Youth Concert activity.
Student letters/artwork expressing reactions to the concert are appreciated.

Please send letters or artwork to:

Dallas Symphony Orchestra
Attn: Youth Concerts
2301 Flora St., Schlegel Administrative Suites
Dallas, TX 75201
Fax Number: 214.953.1218
E-mail Address: j.fridge@dalsym.com

Page 4 Peter and the Wolf

 Whos Who

Karina Canellakis, conductor

Recently appointed Assistant Conductor of the Dallas Symphony, Karina
Canellakis is rapidly gaining recognition as one of the most promising and
exciting young American conductors. She made her Carnegie Hall con-
ducting debut in Zankel Hall, and frequently appears as guest conductor
of New Yorks groundbreaking International Contemporary Ensemble
(ICE). This coming season, she makes her debut with the Los Angeles
Chamber Orchestra, Colorado and Toledo Symphonies, and the Orchestra
of St. Lukes. She was a Conducting Fellow at the Boston Symphonys Tan-
glewood Music Center for summer 2014.

Ms. Canellakis was the winner of the 2013 Taki Concordia Conducting Fel-
lowship, founded by Marin Alsop. She has led performances of the Juil-
liard Orchestra at Lincoln Center, was a selected conductor in the Lucerne Festival Masterclass with
Bernard Haitink, and conducted the Pacific Music Festival Orchestra in Japan, as well as the Tonhalle
Orchestra in Switzerland as part of international master classes.
As a violinist, Ms. Canellakis appears as soloist and chamber musician across the United States. For sev-
eral years she played on a regular basis in both the Berlin Philharmonic and the Chicago Symphony. She
has also been on several occasions guest concertmaster of the Bergen Philharmonic Orchestra in Nor-
way, and spent many summers at the Marlboro Music Festival.

Karina Canellakis holds a Bachelors degree in violin from the Curtis Institute of Music and a Masters
degree in orchestral conducting from The Juilliard School, where she won numerous awards. Among
her most prominent mentors are Alan Gilbert, Fabio Luisi, and Sir Simon Rattle.

Dancers from Dallas Black Dance Theatre

Dallas Black Dance Theatre Founder/Artistic Director, Ann Williams, be-
gan Dallas Black Dance Theatre II in September 2000 to feature the best
and most promising students of the Dallas Black Dance Academy. Over
time, the company has grown in breadth, attracting artists who aspire to
professional careers in dance.

This semi-professional company consists of 11 aspiring artists from

around the nation. Since its inception, Dallas Black Dance Theatre II has
grown in popularity and thrilled audiences with its fresh allure. Dallas
Black Dance Theatre II provides an opportunity for young artists to de-
velop their dance skills while serving the Dallas/Ft. Worth community
and touring across the nation with dance performances of the highest
artistic quality.

In its 11th season performing works by recognized and emerging artists, the dance company performs
a diversified repertoire of modern, jazz, African, lyrical and spiritual works. The second company has
performed works by emerging and internationally recognized choreographers including Christopher
Huggins, Kevin Veiga, Chatel Marrow Adams, Edmond Giles, Nycole Ray and more.
Peter and the Wolf Page 5
 Whos Who
Brad Breitbarth, narrator
Brad began his show business career at the age of 15, when he signed his
first professional contract as an actor for a small summer stock company in
Minnesota. Since then, he has produced and directed national tours,
written several plays including a series of one-act plays for children that
toured the United States and acted in countless productions. He has also
been the voiceover for several radio commercials and industrial presen-
tations. Prior to his current position with the Dallas Symphony Orchestra,
he was the technical director/stage manager for dozens of productions
across the United States, including the opening ceremonies for the US
Olympic Festival and the Goodwill Games. He served as prop master for
many movies with actors such as Meryl Streep, Dennis Hopper, Ed Harris,
Kevin Costner, Lily Tomlin, Steve Martin, and many more. Brad lives in
Dallas with his beautiful and talented wife Susie (a 1st violinist with the DSO) and their dog, Waldo, the
wonder-Bassett.

Page 6 Peter and the Wolf

 Piotr Tchaikovsky (1840-1893)
Piotr (Peter) Tchaikovsky was the son of a wealthy mining engineer stationed
in Russia. Although Piotr was taken care of by a French governess, Fanny
Duback, he remained very close to his mother. At the age of 6, he be-
gan piano lessons. When he was 8, he was sent to a boarding school and
missed his family greatly. His mother died when Piotr was 14 and this loss
brought great sorrow to Piotr. By 19, he completed his law studies and was
appointed to a job with the Ministry of Justice.

The pull of music never left him and he consequently gave up his government
job and turned to the study of music at the age of 23. After two years of study
he was appointed a professor of composition at the St. Petersburg Conserva-
tory and began writing music in earnest. His Piano Concerto in B-flat is one of
the most famous pieces ever written for the piano. His music was very pop-
ular and he was in great demand as a conductor.

In 1891, he traveled to America where he was invited to conduct the New

York Symphony at the opening of Carnegie Hall. Tchaikovsky died from chol-
era in St. Petersburg on November 6, 1893.

Maurice Ravel (1875-1937)

Maurice Ravel was born in Ciboure, France, very near the Spanish border, in
1875. His mother, who was from Spain, loved to sing Spanish folk songs to
him when he was growing up. His father, an engineer from French Switzer-
land, enjoyed tinkering with inventions in the early days of the automobile,
but his most notable project was a loop-the-loop circus contraption called
"The Whirlwind of Death." Luckily for his son, he also enjoyed music and sup-
ported the young Maurice when he began piano lessons at the age of 6.

Ravel went on to study piano at the Conservatoire de Paris, and even won
first prize in a student piano competition. But the requirements for pianists
at the Conservatoire were very tough, and a few year later he was kicked out
for not winning enough medals. In 1898, however, he returned to the Con-
servatoire, this time to study composition with the famous composer Gabriel
Faur. Unfortunately, he was expelled again for not winning the fugue and
composition prizes!

Ravel is remembered most for Bolro, an orchestral work that he wrote for a
famous Russian dancer named Ida Rubenstein. In this masterpiece, it's easy
to hear how Ravel was inspired by the Spanish songs that his mother used to
sing to him.

Peter and the Wolf Page 7

 (Ravel, continued)
Not to be deterred, Ravel joined a group of artists, poets and musicians
called "The Apaches" in 1890, and continued to compose. Other famous
Apaches included Igor Stravinsky and Manuel de Falla. Ravels early mas-
terpiece, Pavane for a Dead Princess(1902) was performed by this
group. Although Ravel never had any children of his own, he loved chil-
dren, and he composed the Mother Goose Suite for two pianos between
1908-1910. People liked it so much that he later orchestrated it and pre-
sented it as a ballet.

Ravel is remembered most for Bolro, an orchestral work that he wrote for
a famous Russian dancer named Ida Rubenstein. In this masterpiece, it's
easy to hear how Ravel was inspired by the Spanish songs that his mother
used to sing to him.

Sergei Prokofiev (1891-1953)

Russian composer Sergei Prokofiev demonstrated remarkable musical abil-

ity at the tender age of five. A budding pianist and talented chess player,
young Prokofiev studied composition privately with composer Reinhold
Glire. During his studies, Prokofiev composed his first symphony and
learned various composition techniques. Later in life, Prokofiev was intro-
duced to another composer, Alexander Glazunov, who later encouraged
Prokofiev to study composition and piano at the St. Petersburg Conserva-
tory.

In 1936, Prokofiev was commissioned by the Central Childrens Theatre in

Moscow to write a symphony for children. The Theatre asked Prokofiev to
create a symphony that would cultivate musical tastes in children from
the first years of school. To satisfy their request, Prokofiev composed Pe-
ter and the Wolf - a meticulously crafted composition that introduces chil-
dren to instruments through story telling.

Prokofiev completed the score and narration for Peter and the Wolf in
four days. The composition was premiered on May 2, 1936. The premier
was not well attended and Prokofiev stated that the piece failed to attract
much attention- hardly the case today!

Peter and the Wolf is scored for flute, oboe, clarinet, bassoon, three horns,
trumpet, trombone, timpani, triangle, tambourine, cymbals, castanets,
snare drum, bass drum and strings. Each character in the story is repre-
sented by an instrument or group of instruments, and a musical theme.

Page 8 Peter and the Wolf

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Now the musicians are ready. They wait for their
conductor.
Here she comes. We clap for her.
We know the concert will now begin.

Peter and the Wolf Page 15

 I hear such beautiful music.
Here are some of the instruments
I see and hear:

Yo oigo msica hermosa. Aqu estan

algunos de los instrumentos
que veo y oigo.

Bassoon
Fagot

French horn
Cuerno francs

Oboe
Oboe

Violin
Flute Clarinet Violn
Flauta Clarinete
Xylophone
Xilfono

Timpani
Tmpanos

Page 16 Peter and the Wolf

 ).

Aplaudimos despus de cada pieza.

(Dibuja usted mismo en el asiento vaco).
La msica nos rodea.
Hay msica en el aire.

Peter and the Wolf Page 17

 Peter and the Wolf, Grades PreK-2

Picture Story Activity

Page 18 Peter and the Wolf

 Story Lines

Swan Lake

One of the original inspirations for the story of Swan Lake is a Russian folktale called "The White Duck."
Another was the life of King Ludwig II of Bavaria, a dreamer who adopted the Swan as his symbol, and
upon whom Tchaikovsky based the character of Prince Siegfried.

The ballet is in four acts. The musical excerpt you will hear on this concert is from Act 2. Here is a synop-
sis of Act 2:

Prince Siegfried finds himself alone in a peaceful spot by an enchanted lake where swans gently
float across its surface. While Siegfried watches, he spots the most beautiful swan with a crown
on its head. His hunting buddies soon catch up with him, but he orders them to leave so he can
be by himself. As dusk falls, the swan with the crown turns into the most beautiful young woman
he has ever seen. Her name is Odette, the Swan Queen. She informs the young prince that an evil
sorcerer has turned her and the other girls into swans and that the lake was formed by the tears
of their parents' weeping. She tells him that the only way the spell could be broken is if a man,
pure in heart, pledges his love to her. The Prince, about to confess his love for her, is quickly in-
terrupted by the evil sorcerer. He takes Odette from Prince Siegfrieds embrace and commands
all of the swan maidens to dance upon the lake and its shore so that the prince cannot chase
them. Prince Siegfried is left all alone on the shore of Swan Lake.

Empress of the Pagodas

Taken from an oriental tale by the Countess dAulnoy.

A wicked witch has placed a beautiful Princess name Laideronette under a curse to endure ugli-
ness forever. Embarrassed by her looks, Laideronette moves to a faraway castle to live. There,
she becomes friends with a green serpent she meets in the forest. At one time, he was a hand-
some prince but was also placed under a curse by the same witch. He claims to be even uglier
than she is.

They travel on the sea together and become shipwrecked on an enchanted island inhabited by
tiny mandarins and mandarinettes. The musical excerpt you will hear on this concert evokes a
scene in which the empress is serenaded at her bath by her subjects, who play lutes made of wal-
nut shells and viols made of almond shells.

Later, the spell is broken and the two are married. The beautiful princess and handsome prince
live happily ever after.

When Ravel made his orchestral transcription for this ballet, he included an array of bell-like and percus-
sive soundscymbals, xylophone, glockenspiel, celesta, harp, and the ceremonial striking of the tam-
tamrecalling the Javanese gamelan ensemble the fourteen-year-old composer watched in wonder at
the Paris Exhibition of 1889.

Peter and the Wolf Page 19

 Story Lines

Peter and the Wolf

One morning, a young boy named Peter opened his gate and walked out into the big green meadow
that was beyond it. On a branch of a big tree in the meadow sat a little bird that was Peter's friend. "All
is quiet!" the bird chirped. A duck came waddling around. She was glad that Peter had not closed the
gate and, seeing that it was open, decided to take a nice swim in the deep pond in the meadow.

The little bird saw the duck and flew down upon on the grass. The bird settled next to her and
shrugged his shoulders. "What kind of bird are you if you can't fly?" said the bird. The duck replied,
"What kind of bird are you if you can't swim?" and dove into the pond. The bird and the duck kept ar-
guing, and the duck swam around the pond while the little bird hopped along the edge of the pond.
Suddenly, something caught Peter's attention. He looked around and noticed a sly cat crawling through
the grass. The cat thought; "That little bird is busy arguing with the duck, I'll just grab him while he is
busy! Very carefully, on her little velvet paws, she crept towards him.

"Look out!" shouted Peter and the little bird flew up into the tree for safety, while the duck quacked as
loud as he could at the cat, from the middle of the pond. The cat walked around the tree and thought,
"Is it worth using up so much energy and climbing up so high into the tree? By the time I get there the
bird will have flown away."

Just then, Peters grandfather came out of their house. He was upset because Peter had gone in the
meadow without his permission. "The meadow is a dangerous place! If a wolf should come out of the
forest, then what would you do? You would be in great danger!" But Peter paid no attention to his
grandfather's words. Boys like him are not afraid of wolves.

Grandfather took Peter by the hand, locked the gate and led him home. No sooner had Peter gone back
into his house, than a big gray wolf came out of the forest. In a second, the cat climbed up the tree.
The duck quacked, and leapt out of the pond. But no matter how hard the duck tried to run, she just
couldn't outrun the wolf.

Page 20 Peter and the Wolf

 Story Lines

Peter and the Wolf (continued)

He was getting closer and closer and catching up with her! Then, he grabbed her with his teeth and
with one gulp, swallowed her. And now, this is how things stood: the cat was sitting on one branch, the
bird on another, not too close to the cat. And the wolf walked around and around the tree, looking at
the cat and the bird with very hungry eyes.

In the meantime, Peter, without the slightest fear, stood behind the closed gate and watched every-
thing that was happening. He ran home, got a strong rope, and climbed up the high stone wall that di-
vided his yard from the meadow. One of the branches of the tree around which the wolf was walking
stretched out way beyond the stone wall. Grabbing hold of the branch, Peter carefully and quietly
climbed onto the tree. Peter said to the bird: "Fly down and circle over the wolf's head. Try to distract
him! But, be careful that he doesn't catch you."

The bird flew around the wolf and almost touched the wolf's head with his wings while the wolf
snapped angrily at him with his jaws, from this side and that. Oh, how the bird annoyed the wolf
how he wanted to catch him! But the bird was clever and very quick, and the wolf simply couldn't do
anything about it.

Meanwhile, Peter made a lasso with the rope and carefully let it down from the tree, catching the wolf
by the tail. Peter pulled on the rope with all his might! Feeling himself caught by the rope, the wolf be-
gan to jump wildly trying to get loose. But Peter tied the other end of rope to the strong tree, and the
wolf's jumping only made the rope round his tail tighter.

Just then, two hunters came out of the woods, following the wolf's trail and shooting their guns as they
went. But Peter, sitting in the tree, said: "Don't shoot! Birdie and I have caught the wolf. Now help us
take him to the zoo." Then came the triumphant procession. Peter was at the head. After him came the
two hunters leading the wolf. And winding up the procession were Grandfather and the cat.

Grandfather shook his head discontentedly. "Well, what would have happened if Peter hadn't caught
the wolf? What then?" Above them flew Birdie chirping merrily. "My, what brave fellows we are, Peter
and I! Look what we have caught! A giant wolf!" Perhaps, if you listen very carefully, you will hear the
duck quacking inside the wolf, because the wolf, in his hurry to eat her, had swallowed her alive.

Peter and the Wolf Page 21

 Peter and the Wolf Activity 1
Concert Conduct

Teaching Objective
Students will learn about the proper behavior for a concert environment.

Teaching Sequence
1. Lead 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 to 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 during the concert?
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?

2. 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 everyone in
the audience knows when to applaud. Discuss how applause signals the audiences apprecia-
tion, and, with the class, make a list of other situations where applause is appropriate, (for exam-
ple at sporting events, assemblies and award ceremonies).

Extension Activity
Review the following applause rules.
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 audience should
applaud.

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

TEKS Connections
Music: 117.6(6B); 117.9(6B)

Page 22 Peter and the Wolf

 Peter and the Wolf Activity 2
Swan Lake Musical Story Time

Teaching Objective
Students will engage in focused listening and respond creatively to what they hear.

Resources
DSO recording of Swan Lake, found on track 1 on the accompanying Youth Concert CD

Pre-Assessment
Ask students if they have ever listened to music. If so, has it ever made them think of a picture, a story,
or a feeling? Tell them that music can help our imaginations create stories.

Teaching Sequence
1. Tell students that they will listen to a piece of music and create a story together that the music sug-
gests. There are no right or wrong answers! Each student will add a sentence and the teacher will
write it down.
2. Prepare your students for some quiet listening time. Tell them that while they are listening, they
should imagine a story about a beautiful swan who is in trouble, allowing the music to guide their
thoughts. (You can create a different topic, if desired.)
3. Begin the story with Once upon a time there was a beautiful swan who was in trouble. Write the
sentence on the board or on a poster board.
4. Choose a student to write the next sentence, writing it on the board or posterboard. Write his or
her name next to the sentence.
5. Continue having students add to the story, writing everything down. After 4-5 additions, listen
again to refresh the students memories of the music and how the swan is doing.
6. When all students have contributed to the story, read it from the beginning while playing the music
softly.

Culminating Activity
Allow students to act out their story while playing the music. Make available costumes (capes or
towels, hats, rings for crowns, plastic swords, etc.)

Evaluation
Did the students engage in focused listening and respond creatively to what they heard?

TEKS Connections
English Language Arts: 110.11b(13-14, 16-18, 21-23); 110.12b(18A, 27-29); 110.13b(18A, 28-30)
Music: 117.3b(3B); 117.6b(1C, 5B); 117.9b (1A, 5C)
Theater: 117.4b(1-3); 117.7b(1-3); 117.10b(1-3)

Peter and the Wolf Page 23

 Peter and the Wolf Activity 3
The Character of Instruments

Teaching Objective
Students will explore the physical traits of the characters from Peter and the Wolf and then use that
experience to relate to the music.
Resources
Prokofievs Peter and the Wolf found on track 10 of the accompanying Youth Concert CD
Peter and the Wolf story line found on page 19 of this guide
Pictures of the characters from Peter and the Wolf starting on page 31 of this guide
Pictures of the instruments that represent each character in Peter and the Wolf starting on page 34
of this guide
Pre-Assessment
Ask students if they have ever pretended to be someone or something else. As an exercise ask students
to briefly pretend to be a particular animal or character. Help students understand that in order to
pretend to be another character one needs to identify what makes that character unique.
Teaching Sequence
1. Using the character pictures, briefly review the basic sequence of the story of Peter and the Wolf.
Display the appropriate picture as you discuss each character.
2. Tell or remind the students that each character in the story is represented by a musical instrument.
As you name each instrument, place its picture on the board next to the matching character picture.
3. Discuss with students how each of the characters might move in terms of speed, quickness, shape,
size and weight. Discuss how each character might behave. Have students compare how Peter might
move differently than the grandfather; how the ducks movements are different from the birds, etc.
Note students responses on the board. Your list will look similar to this one:
Peter: carefree, light, playing, skipping, exploring
Grandfather: big, slow, serious, strict, stern
Bird: quick, fast, light, small
Duck: waddling, shaking itself, clumsy, plump
Cat: sneaky, steady, smooth, pause to arch back
Wolf: heavy, licking lips, sniffing the air, mean looking,
Hunters: alert, brave, quiet, slow, deliberate
4. Assign students into 7 groups one for each character. Allow them time to practice imitating their
assigned character. Invite students who are good at a certain character to show off their acting individ-
ually. Then invite others to imitate.
5. One at a time, listen to the opening themes of each of the characters from Peter and the Wolf, iden-
tifying the representative instrument of each one. Help students understand how each instrument
sounds like its character in terms of speed, quickness, shape, size and weight. Ex: Does the bassoons
heavy tones sound slow and old like the grandfather? Is the clarinets sound steady and smooth like
the cat? Do the French horns sound low and heavy like the wolf? Do the strings sound loose and care-
free like Peter?
Culminating Activity
As you play each characters theme, have the students (or an individual or your small groups) stand up
and move appropriately with the music while the others practice their best audience etiquette.
Evaluation
Did students explore the physical traits of the characters from Peter and the Wolf and then use that
experience to relate to the music?
TEKS Connections
English Language Arts: 110.11b(4,6,8); 110.12b(4A,9); 110.13b(6,9)
Physical Education: 116.2b(1-2); 116.3b(1-2); 116.4b(1-2)
Music: 117.3b(1,3B,4B); 117.6b(1,5B,6A); 117.9b(1,5C,6A)
Theater: 117.4b(1,2,3,5); 117.7b(1,2,5); 117.10b(1,2,5)
Page 24 Peter and the Wolf
 Peter and the Wolf Activity 4
Music Can Tell a Story - Sequencing a Story

Teaching Objectives
Students will listen to the story of Peter and the Wolf and use sequencing skills to aid in the
comprehension of the story.

Resources/Materials
Peter and the Wolf story line found on page 19 of this guide
Peter and the Wolf found on track 10 of the accompanying Youth Concert CD.
Sequencing graphic organizer found on page 25 of this guide
The Story of Peter and the Wolf: http://www.youtube.com/watch?v=9ueGfjBKbiE
Music performed by the Israel Philharmonic conducted by Zubin Mehta. Narrator is Itzhak Perl
man.
Images from the book, Peter and the Wolf. The Netherlands, Poegsma Pub. Illustrations by: Jorg
Muller
Graphic Organizer, Story Board Illustrator Master, crayons, colored pencils, markers, etc.

Pre-Assessment Activity
Ask students if there are ways to tell a story without words. (Some possible answers might be acting it
out, pantomime, dance, movies, drawing, painting, etc.)

Teaching Sequence
1. Tell the students that today they will explore how the story, Peter and the Wolf, can be told through
music. Tell the student that each of the characters is represented by a different instrument. Ask the
students to listen and be able to answer the following questions: Who? What? When? Where? How?
Show the story of Peter and the Wolf from YouTube. (See above URL)
2. After viewing the video, discuss the answers to the questions to aid in the comprehension of the
story. Ask students to verbalize what happens at the beginning, the middle, and the end of the story.
The teacher may choose to use a master copy of the graphic organizer displayed on the board for the
class to use during discussion.

Culminating Activity
Students will individually illustrate each part of the story sequence in a 3-section storyboard. Students
may use pencil, colored pencils, markers, and/or crayons. Play the music from Peter and the Wolf from
the accompanying Youth Concert CD as the students work on their sequencing project.

Extension Activity
The students will attend the DSO concert to hear how the story is portrayed through the music.

Evaluation
Can the students explain the who? what? when? where? and how? of the program story?
Were the students able to illustrate the beginning, middle, and end of the story?

TEKS Connections
English Language Arts: 110.11b(4,6,8); 110.12b(7,9); 110.13b(3,6,8,14)
Art: 117.2b(2), 117.5b(2); 117.8b(2)
Music: 117.3b(1,3B,4B); 117.6b(1,5B,6A); 117.9b(1,5C,6A)

Peter and the Wolf Page 25

 Peter and the Wolf
Peter and the Wolf Activity 4
Sequencing a Story
Title of Story_______________________________________________________________________________________________________
Beginning
Middle End

Page 26
 Peter and the Wolf Activity 5
Puppet Theater
Teaching Objective
Students will demonstrate an understanding of Peter and the Wolf by making and using sock and/or
paper bag puppet characters to enhance the story line.
Resources/Materials
Peter and the Wolf story line found on page 19 of this guide
Accompanying Youth Concert CD
Puppet making materials; socks and/or paper lunch bags sufficient to have 1 per student.
Thick packaging string; black or brown velveteen fabric; large drinking straws; scissors, glue, mark-
ers, crayons, etc.
Display of character faces and orchestral instruments; flute, oboe, clarinet, bassoon, tympani,
French horn
Printed names of each story character cut, folded and placed in a container.
Vocabulary
Gate - an opening in a wall or fence
Meadow - grassy land
Branch - a small limb of a tree
Lasso - a rope with a noose on the end
Pre-Assessment:
Ask the students to share what they already know about the story of Peter and the Wolf. List the char-
acters on a dry erase board, while coaching them along.
Teaching Sequence
Day 1
1. Read the story line of Peter and the Wolf aloud. As characters are introduced in the story, put a
check mark beside the names listed on the dry erase board.
2. At the conclusion of the story, review the list of characters and encourage students to describe
each by their actions and personality traits.
3. Tell the students that during the next class day they will listen to Peter and the Wolf and make
puppets to represent each of the characters and use them in a Puppet Theater production.
Day 2
Listen to Peter and the Wolf found on track 10 of the accompanying Youth Concert CD and identify the
picture of each character and their instrument as they are introduced.
Culminating Activity
1. Divide the class into small groups of two or three students.
2. Instruct each group to choose a student to pull a characters name from the container. The names
pulled will be the puppet character that group will create.
3. Allow time for student groups to create their puppets using the materials collected, assembled and
available for this project.
4. Encourage each group to choose 1 student from their character group to enact Peter and the Wolf
using all of the puppet characters while the music is being played.
Extension Activity
Request space in the school trophy case and display the Peter and the Wolf puppets.
Evaluation:
Did the students use of puppets demonstrate their understanding of the character roles in
Peter and the Wolf?
TEKS Connections
English Language Arts: 110.11b(4,6,8); 110.12b(7,9); 110.13b(3,6,8,14)
Art: 117.2b(2,3); 117.5b(1,2); 117.8b(1,2,3A) Theater: 117.4b(1-3); 117.7b(1-3); 117.10b(1-3)
Music: 117.3b(1,3B,4B); 117.6b(1,5B,6A); 117.9b(1,5C,6A)
Peter and the Wolf Page 27
 Peter and the Wolf Activity 6
Diorama
Teaching Objectives
Students will create a diorama scene from the story of Peter and the Wolf.

Vocabulary
Scene a stage setting
Diorama A life-like scenic representation of a story, usually depicted in miniature
Character a person or animal in a play, poem, story, or book

Resources/Materials
Peter and the Wolf story found on page 19 of this guide.
Peter and the Wolf found on track 10 on the accompanying Youth Concert CD
Pictures of the main characters found in the story beginning on page 31 of this guide
Pictures of the instruments used to represent the characters in the music found beginning on page
34 of this guide
Other pictures that could be used to represent the main characters. These can be taken from Na-
tional Geographic magazines, newspapers, and/or advertisement flyers.
Scissors
Glue
Card stock cut into strips, 1 x 6
Shoe boxes, cereal boxes, or other small boxes
Green twigs, dirt, various sized pebbles or rocks and other items that can be used to create a
woodland scene.

Pre-Assessment
Ask the students to name the main characters in the Peter and the Wolf story and review the storyline.

Teaching Sequence
Day 1:
1. Re-familiarize the students with the story line by reading the synopsis and listening to the music.
2. Tell the students that each of the characters is represented by a different instrument in the
orchestra.
Peter = violin
bird = flute
duck = oboe
cat = clarinet
Grandfather = bassoon
wolf = French horn
hunters = timpani
3. Ask the students why they think the composer used those particular instruments to represent the
characters.
Day 2:
1. Display and review the list of characters and their matching instruments. Briefly review the story
line.
2. Divide the class into pairs of students. Assign each student a specific character. Have the students
find and cut out pictures of their assigned character. Glue the character picture to one side of the 6
cardstock strip and glue a picture of the instrument portraying that character on the back.

Page 28 Peter and the Wolf

 Peter and the Wolf Activity 6 (continued)
Diorama

Day 3:
1. Keeping the groups and assigned student partners the same, allow time to build the one-scene dio-
rama around the assigned character, using the box as the stage, the prepared character pieces, and
other materials assemble for this purpose.
2. Send photos of a Peter and the Wolf diorama to j.allen@dalsym.com. You may just see your diora-
ma scene on DSOkids.com!

Culminating Activity
Have the students present and explain their diorama scene.

Evaluation
Did students learn that orchestra instruments can be used to tell a story and create dioramas that visu-
ally represent a scene from the story of Peter and the Wolf?

Extension Activity
Create a Diorama Museum display. Arrange the entire class set of dioramas in a way that represents
the correct story line sequence. Invite the principal, parents, or another class to see the display.

TEKS Connections
English Language Arts: 110.11b(4,6,8); 110.12b(7,9); 110.13b(3,6,8,14)
Art: 117.2b(1-3); 117.5b(1-2); 117.8b(1-3A)
Music: 117.3b(1,3B,4B); 117.6b(1,5B,6A); 117.9b(1,5C,6A)
Theater: 117.4b(1-3); 117.7b(1-3); 117.10b(1-3)

Peter and the Wolf Page 29

 Peter and the Wolf Activity 7
Calling All Actors

Teaching Objective
Students will identify the musical themes for the characters in Prokofievs Peter and the Wolf by panto-
miming each character as the corresponding theme is played.
Resources
Peter and the Wolf story line, page 19 of this guide
Peter and the Wolf found on track 10 of the accompanying Youth Concert CD
Musical theme for each character in the story without verbal identification found on tracks 3-9 on
the accompanying Youth Concert CD
Vocabulary
Pantomime - a play without words, in which the actors express themselves by gestures
Pre-Assessment
Tell students that, just as artists draw or paint pictures to show how people look, composers sometimes
use music to describe the characters of a story. They will soon be going to a concert where music will
tell the story of a boy named Peter and his adventures with some animal friends and a wolf. In Peter
and the Wolf, Prokofiev used a different musical theme for each character in the story. Ask students if
they have heard any music that tells how someone might move or behave. (Possible responses could
include Star Wars, The Lion King, or some cartoons seen on TV.)
Teaching Sequence
1. If you have not done the sequencing lesson with the students, be sure they are familiar with the
story.
2. Tell students that, when an actor uses movement without words to show what a character does, it
is called pantomime. Lead the class in pantomiming someone who is angry, sad, or happy.
3. Repeat the activity with the theme for each character
Bird
Duck
Cat
Grandfather
Wolf
Hunt
4. Play each theme without verbal identification, and ask the class to identify the character it repre-
sents by movement, pantomime.
5. Organize your class in a way that it suits you and your students (small groups, whole class, one
demonstration group, etc.) Play all or portions of Peter and the Wolf and let students pantomime
each character as they hear the corresponding theme.
Culminating Activity
Shortly before they attend the concert, tell the students that during the performance dancers will act
out parts of the story. When they return, discuss whether they thought the dancers did a good job pan-
tomiming the characters. Play the themes without verbal identification again, and ask the class to iden-
tify the characters they represent.
Evaluation
After hearing the themes, did students identify the corresponding characters in Peter and the Wolf?
TEKS Connections
English Language Arts: 110.11b(4,6,8); 110.12b(7,9); 110.13b(3,6,8,14)
Art: 117.2b(2,3); 117.5b(1,2); 117.8b(1,2,3A)
Music: 117.3b(1,3B,4B); 117.6b(1,5B,6A); 117.9b(1,5C,6A)
Theater: 117.4b(1-3); 117.7b(1-3); 117.10b(1-3)

Page 30 Peter and the Wolf

 Resources for Teachers

Books
Visit Amazon.com or your local bookstore to find a large range of music related media, including:
Apel, Willi. Harvard Dictionary of Music. Harvard University Press, 1967
Barber, Nocola. The World of Music. Silver Burdett Press, 1995
Blackwood, Alan. The Orchestra; An Introduction to the World of Classical Music. Millwood Press, 1993
Cutler, Jane. The Cello of Mr. O. Dutton Children's Books, 1999
Hayes, Ann. Meet the Orchestra. Gulliver Books, Harcourt Brace Jovanovich, 1991
Helsby, Genevieve. Those Amazing Musical Instruments!
Hoffer, Charles. Concise Introduction to Music Listening. Wadsworth Publishing Company, 1984
Hoffer Charles. The Understanding of Music. Wadsworth Publishing Co., 1981
Koscielniak, Bruce. The Story of the Orchestra. Houghton Mifflin Co., 2000
Kruckenberg, Sven. The Symphony Orchestra and its Instruments. Crescent Books, 1993
Krull, Kathleen. Lives of Musicians. Harcourt Brace Jovanovich, 1993
LeFrak, Karen. Jake the Philharmonic Dog. Walker Publishing Company, 2006
Moss, Lloyd. Zin! Zin! Zin! A Violin. Simon & Schuster, 1995
Nye, Robert & Bergethon, B. Basic Music. Prentice Hall, Inc., 1983
Snicket, Lemony. The Composer is Dead. Harper Collins, 2009
Tripp, Paul. Tubby the Tuba. Dutton Juvenile, 2006
Van der Meer & Berkeley, Michael. The Music Pack. Alfred A. Knopf, 1994

Video
The Dallas Symphony Orchestras television series for children. Amazing Music, features Music
Director Emeritus Andrew Litton as your guide to Emotions in Music, Pictures in Music,
Families of the Orchestra, and Jazz. (See p.41 for order form)

Peter and the Wolf Videos

Peter & the Wolf (2008). Animated. Directed by Suzie Templeton
Prokofievs Peter & the Wolf (1997). Featuring the Royal Ballet School of London.
Peter & the Wolf (1996). Featuring Kirstie Alley & Lloyn Bridges. Directed by George Daugherty & Jean Flynn.
Peter & the Wolf: A Prokofiev Fantasy (1994). Featuring Sting

Classroom Materials
Sources for pictures of instruments, books, audio, and videotapes can be found at:
DSO Symphony Store; call 214-871-4058 for information
Friendship House; call 1-800-791-9876 for a free catalog
Music Educators National Conference (MENC); call 1-800-828-0229 for a free catalog.
Music in Motion; call 1-800-445-0649 for a free catalog.

Online
www.DSOkids.com The Dallas Symphony Orchestras website for teachers and students

www.playmusic.org A childrens website from the American Symphony Orchestra League

www.nyphilkids.org The New York Philharmonics website for teachers and students

www.artsalive.ca An education website sponsored by the National Arts Centre in Canada

www.sfskids.org The San Francisco Symphonys educational website for children

Peter and the Wolf Page 31

 Peter and the Wolf Character Faces

Page 32
Peter and the Wolf
Peter Grandfather
 Peter and the Wolf Character Faces

Peter and the Wolf

Wolf Duck

Page 33
 Peter and the Wolf Character Faces

Page 34
Cat
Bird

Peter and the Wolf

 Peter and the Wolf Character Faces and Instruments

Peter and the Wolf

Hunter

Page 35
Violin
 Peter and the Wolf Instruments

Page 36
Flute Oboe

Peter and the Wolf

 Peter and the Wolf Instruments

Peter and the Wolf

Clarinet Bassoon

Page 37
 Peter and the Wolf Instruments

Page 38
French horn Timpani

Peter and the Wolf

 Peter and the Wolf
Instrument to Character Matching
Match the instrument with the corresponding
Peter and the Wolf character.

Hunter

Violin
Duck

French horn
Cat

Flute

Grandpa
Timpani

Bird

Bassoon

Wolf

Clarinet

Peter

Oboe

Peter and the Wolf Page 39

 Orchestra Seating Chart

Page 40 Peter and the Wolf

 DSOKids.com
Flat Beethoven

Connect your child, student, or classroom with the DSO by placing Flat Beethoven in different places
and situations. Cut out the image below (drawn by a violinist in the DSO), and start taking pictures of
Flat Beethoven in a new environment. Send photos to info@dsokids.com, and please share any anec-
dotes or stories about Flat Beethovens adventures! This could be a great writing and/or music project
for students. Selected photos may be posted on the DSO Kids web site, so please let us know if you
would prefer that your photo not be posted.

We look forward to seeing and hearing where Beethoven goes!

Peter and the Wolf Page 41

 Dallas Symphony Orchestra
Concert News
Featuring Reviews Written by Students

Student Review

Student: Age:

School: Grade:

Concert Attended: Date:

Describe your concert experience. (What happened first, second, next, etc.)

Name one of the musical pieces you heard at the concert and describe it.

Choose two musical instruments you heard at the concert and compare their appearance and their sound.

What did you enjoy the most and what did you enjoy the least at this concert?

Please have your teacher send your review to:

Jenny Fridge
Dallas Symphony Orchestra
2301 Flora St., Schlegel Administrative Suites
Dallas, TX 75201

Or Fax to: 214.953.1218

Or E-mail to: j.fridge@dalsym.com

Page 42 Peter and the Wolf

 Arriving and Departing the Meyerson Symphony Center

Buses
Arrivals: buses unload in the front of the Meyerson Symphony Center on westbound Flora Street.
DO NOT UNLOAD YOUR BUS UNTIL YOU ARE GREETED BY A DSO STAFF MEMBER.
After students disembark, buses should proceed to their designated parking area. All bus drivers will be
given directions on where to park. Please follow directions from Symphony personnel.
Departures: Students are dismissed by school and directed to their buses. Please follow directions from
Symphony personnel.

Cars and Vans

Schools coming by cars and vans should park in the Hall Arts Center Parking Garage, which is
entered from Ross Avenue between Leonard and Pearl Streets. The parking fee for Youth Concert
events is $6.00. Both cash and credit cards are accepted; please note that when using a credit card,
there is a $1.00 service fee.
When you arrive at the garage, take a ticket and proceed to levels 4 through 7. The Hall Arts Center
Garage has an overhead clearance of 7 feet. On level 3 of the parking garage, there is a walk-through
into the lower level of the Symphony Center. After parking, take the Symphony Center elevators to the
Lower Lobby. Assemble your group in the Lower Lobby. A volunteer will guide you to the Main Lobby.
Please do not come upstairs until your entire group has assembled. An elevator is available for the phys-
ically challenged.

A note to schools arriving in carpools: Please provide all of your drivers with a map and clear instructions
on where to park (Hall Arts Center Parking Garage). Following identical routes is recommended so that your
group arrives at the Meyerson at approximately the same time. Be sure all drivers and chaperones know to
meet in the Lower Lobby. Please do not come upstairs until your entire group has assembled.

Bus Directions to the Meyerson Symphony Center

From Southbound I-35E Stemmons, east on Woodall Rodgers Freeway (exit marked to Houston, I-45 and
US-75), exit at Griffin Street. Take Griffin Street to Ross and turn left. Take Ross to Routh Street and turn
left. Take Routh to Flora Street, turn left and pull up in front of the Meyerson to unload.

From Northbound I-35 Stemmons, east on Woodall Rodgers Freeway (exit marked to Sherman I-45 and
US-75), exit at Griffin Street. Take Griffin Street to Ross and turn left. Take Ross to Routh Street and turn
left. Take Routh to Flora Street, turn left and pull up in front of the Meyerson to unload.

From Central (US-75), I-30 or I-45, west on Woodall Rodgers (366), take the Pearl Street exit and stay in the
far left lane. U-turn onto Woodall Rodgers Access Road going east. Turn right on Routh, turn right on Flora
and pull up in front of the Meyerson to unload.

From downtown or East Dallas, north on Pearl Street, turn right onto Ross Avenue. Then turn left on Routh,
and left on Flora. Pull up in front of the Meyerson to unload.

From the Dallas North Tollway, south on the Tollway, after the main toll plaza, stay in the left lane and take
the Hines Blvd. exit on the left towards downtown. Continue to follow signs to downtown, Pearl Street and
the Arts District. Turn slightly left to access Pearl Street, then stay on Pearl to Ross Ave. Turn left on Ross to
Routh. Turn left on Routh, turn left on Flora and pull up in front of the Meyerson to unload.

Cars: Access the Hall Arts Center Garage from Ross Avenue, near the corner of Ross and Crockett.

Peter and the Wolf Page 43

 Meyerson Area Map

Page 44 Peter and the Wolf

 About the Morton H. Meyerson Center

One of the worlds greatest concert halls, the Meyerson Symphony Center was made possible through
the efforts of the citizens of Dallas. Over ten years were spent in the planning and construction of the
Meyerson, which opened on September 6, 1989.

World-renowned architect and major arts supporter I.M. Pei was chosen to design the building,
working closely with acoustician Russell Johnson. Peis design combines basic geometric shapes, with a
rectangle (the concert hall) set at an angle within a square (the outer walls). Segments of circles also
enclose the building.

In the concert hall, every detail was designed to make the sound or acoustics as perfect as possible for
orchestral music. For example, the heating and air conditioning system is located in a different building
so that no vibrations from the machinery can be felt in the concert hall. Acoustical features include:

Double sets of doors at all entrances

Terrazzo and concrete floors
Mohair fabric on the seats
Walls covered with African cherrywood
Sound-absorbing curtains which can be drawn over the walls
A reverberation chamber with 72 acoustical doors used to tune the hall
The canopy over the stage, which can be raised and lowered to enhance the sound

Fun Facts about the Meyerson!

The Meyerson Symphony Center has:

2,056 seats
30,000 sq. ft. of Italian travertine marble
22,000 limestone blocks from Indiana
35,130 cubic yards of concrete
918 panels of African cherrywood around the concert hall
216 panels of American cherrywood around the stage
62 acoustical curtains
4 canopies with a combined weight of 42 tons
72 concrete acoustical doors, each weighing up to 2.5 tons
50 bathrooms
An 85 foot high ceiling in the concert hall
A 40 foot hollow area under the stage to increase resonance
An organ with 4 keyboards, 61 keys, 32 pedals, 84 ranks, 65 stops and 4,535 pipes

Peter and the Wolf Page 45

 Symphony YES! Request Form
Symphony YES! is a perfect way to prepare your students for or follow up from a Youth Concert. Each ensemble will
come directly to your school, introduce their instruments to the class, perform an engaging variety of repertoire, and
interact directly with students.

Please fill out the following information to be considered for a Symphony YES! booking. You will be contacted by the
DSO Education Coordinator after reviewing your information. After scheduling the visit, you will be faxed or mailed a
Symphony YES! School Agreement Form. This form must be filled out completely and signed by the participating
teacher and school principal. Failure to return the Symphony YES! School Agreement Form will result in a
cancellation. Fax, mail or e-mail the completed and signed agreement form with full payment to the information
listed below.

All teachers who schedule a Symphony YES! visit will receive one Music Fun Facts booklet to prepare their students
before their scheduled visit. Copies of the book may be made for classroom use.

Todays Date: __________ School Name: _____________________ ________________ ___________

School Phone: ________________________________ School Fax: __________________ _________

Address: ____________________________________ City, State, Zip: ________________ _________

Contact Teacher Name: _________________________ Contact Teacher Phone: ______________ ______

Contact Teacher E-mail Address: ______________________________________________________ __

Classroom Grade Levels (PreK-6): __________________

Please indicate your first and second choices of ensemble. Each ensemble costs $350:

_____Brass Quintet (grades 3-6, two performances per visit)

_____Percussion (grades 3 and 4, two performances per visit)

_____String Duo (grades PreK-3, two performances per visit)

_____String Trio (grades K-3, two or three performances per visit)

_____String Quintet (grades 4 and 5, two performances per visit)

_____Woodwind Quintet (grades 2-4, two performances per visit)

The ensembles usually perform on Friday mornings. Please indicated your first and second choices for a perfor-
mance month:

1. ______________________ Has a Symphony YES! ensemble visited

2. ______________________ your school in the past school year? ________

Comments:

Be sure to make a copy of this completed form for your records. This performance is NOT BOOKED until you receive
and return the Symphony YES! School Agreement Form with FULL PAYMENT. You will be e-mailed a copy of this
request. Questions? Contact Jenny Fridge at 214.871.4006 or j.fridge@dalsym.com.

Page 46 Peter and the Wolf

 Amazing Music DVDs
The Dallas Symphony Orchestras Amazing Music concerts are the perfect introduction to the orchestra, featuring
fast-paced explorations led by Music Director Emeritus Andrew Litton. Litton, who was inspired to become a con-
ductor by Leonard Bernsteins Young Peoples Concerts, is a strong advocate for music education as well as a
charming host for the concerts.

Designed to be educational as well as entertaining, Amazing Music programs are a natural for the classroom,
especially in the light of current research that validates music as an effective teaching tool. Therefore, the Dallas
Symphony Orchestra has developed Classroom Editions of Amazing Music for the educational market,
supplementing a special time-coded version of each video with a booklet containing lesson plans developed by
educators. The activities support in-school use of the programs with curriculum that integrates music with other
classroom subjects. The Dallas Symphony Orchestras Amazing Music programs have been broadcast on A&E and
PBS.

Order Form
Name
Address
City State Zip

Telephone (daytime) (evening)

Please send me the following Classroom Editions Number of DVDs

Volume 1 Emotions in Music

Volume 2 Pictures in Music
Volume 3 Families of the Orchestra
Volume 4 Jazz

Total number of Classroom Editions x $40.00=

Texas residents add 8.25% sales tax x .0825
(Tax exempt? Please include a copy of your tax exempt certificate)

Shipping:
1-3 Classroom Editions + $6.50=
4+ Classroom Editions + $8.50=

Total: $

Enclosed is a check payable to Dallas Symphony Orchestra

-Or-

Mastercard/Visa Discover American Express

Card Number:

Expiration Date: Signature:

Mail form to: Dallas Symphony Orchestra c/o Jenny Fridge, 2301 Flora St., Suite 300, Dallas, TX 75201
or Fax to: 214.953.1218 (Attn: Jenny Fridge)

Peter and the Wolf Page 47