The Dallas Symphony Orchestra Presents:

What Music Represents

October 12 and 13, 2022

Dear Fellow Educators,

We're excited to start another season at the Dallas Symphony! Our first youth concert is all
about the many things that music can represent, ranging from nature and animals to emotions
to dramatic stories.
In this concert, you'll hear a piece called Starburst by Jessie Montgomery that features, in the
composer's words, "rapidly changing musical colors" and "exploding gestures" that emulate an
actual starburst. Later on, you and your students will hear a movement from Ravel's Mother
Goose Suite called "Conversations of Beauty and the Beast" where we can hear how specific
instruments represent specific characters; in this case, the clarinet represents Beauty, the con-
trabassoon represents the Beast, and the violin represents the Beast once he transforms back
to a prince.
We hope that through these lessons, you and your students enjoy exploring the various ways
music can illustrate and portray so many different things. We hope it gives your students a
chance to express their emotions, ideas, and interests in a new way. And as always, we look
forward to seeing you at the Meyerson for the concert!

Musically yours,

Jennifer Guzmán, Thomas & Roberta Corbett Director of Education

[email protected]
214-871-4019

To contact sales, please reach out to Sabrina Siggers at [email protected] or (682) 477-1511

To see our up-to-date Meyerson safety protocol, please view here:

https://www.dallassymphony.org/updated-covid-19-protocols/
VISIT THE DALLAS SYMPHONY ORCHESTRA’S EDUCATIONAL WEB SITE:
www.DSOkids.com
https://www.surveymonkey.com/r/VHGXS77
Activities for What Music Represents teacher’s guide were prepared by the Dallas Symphony Orchestra’s
Curriculum Development Team: Linda Arbolino, Jane Aten, Tony Driggers, Jen Guzman, Sarah Hatler, and Kevin Roberts.
This volume of the teacher’s guide was produced and edited by Dallas Symphony Orchestra
Education Staff Members Sarah Hatler and Jen Guzman. Materials in this teacher’s guide can be
photocopied for classroom use. If you have any questions about the concerts or material in this guide, please email
Sarah Hatler at [email protected].

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 YouTube Playlist

Table of Contents We have moved from physical CD's to a digital playlist in an effort to make the music as ac-
cessible as possible for you. In the following lessons of this Teacher Guide, the playlist will be
referenced and can be found here:

https://youtube.com/playlist?list=PLIn1z_eTQBcFryIdhJFebkjFFq-iyB2FO
Concert specific information
YouTube Playlist p. 3
Concert Guidelines and Bus Map p. 4 The tracks in this playlist include repertoire that will be performed at the Youth Concert you
Who’s Who p. 6 and your students will be watching, so we encourage you to listen to these pieces in advance
Composer Biographies p. 6 to familiarize yourselves with the music.

1. STRAUSS, JR: Thunder and Lightning Polka

Pre-Concert Activity 2. BIZET: Mvt. 4, "Toreador Song"from Carmen Suite No. 2
Strategies for Mindful Listening p. 11 3. RAVEL: Mvt. 4, "Conversations of Beauty and the Beast" from Mother Goose Suite
4. NEGRÓN: What Keeps Me Awake
Concert Activities 5. MONTGOMERY: Starburst
1. Programming Program Music p. 12 6. SAINT-SAËNS: "The Swan" from Carnival of the Animals
2. I Can Choose a Film Score p. 14 7. VERDI: The Force of Destiny Overture
3. Emotion in Music p. 16
4. Starburst p. 20 Concert Etiquette
5. Conversations p. 22
6. Dramatizing a Story p. 24 1. The use of cameras and recorders is prohibited.
2. Please turn off cellular phones and any other electronic devices.
Post-Concert Activity 3. Students and teachers should remain in their seats for the entire concert.
Flat Beethoven p. 26 4. Restrooms are located on all levels and should be used for urgent needs only. If students
Student review p. 27 must visit the restroom, please have an adult accompany them.
Full STEAM Ahead p. 28 5. Students not maintaining acceptable standards of behavior will be asked to leave, and may
Facts about the Meyerson p. 29 jeopardize their school’s future attendance at DSO events.

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 N. WASHINGTON AVE

Concert Guidelines for Teachers

You will be on Ross Ave for approximately 1 mile.

- Parking Lot is on your right

PILGRIM REST
MISSIONARY
BAPTIST CHURCH
– Officers will be on Jack Evans
staging the buses for pick up
Before the Concert

- Turn left out of Parking Lot

- Turn Right on Washington

- Turn Right on Jack Evans

- Turn Left on Washington
Please contact Sabrina Siggers, ([email protected] or 214-981-2974) at least one week prior to your Youth Concert

- Turn Left on Roseland

experience if you need to confirm or make changes to a reservation. Inform her if you do not need to use our bus parking.

- Turn Right on Ross

MAP INSET
Please prepare your students by using materials in this book.

- Turn Left on Pearl

- Turn Left on Ross

ROSS AVE
Arrival/Drop Off

Please Note: Map is not to scale.

Students should be briefed on concert etiquette in advance.
Please contact Sabrina Siggers 214-981-2974 at least one week before the concert if your group includes any students or
teachers with special needs, including wheelchairs, or if you are in need of infra-red headsets for the hearing impaired.

MAP KEY

Parking

Pick up
The Day of the Concert
Before leaving school, please allow time for students to visit the restroom.
N. HALL ST
Learn your bus driver’s name and be sure you can recognize him/her.
Plan to arrive at the Meyerson at least thirty minutes before concert time.

Upon Arrival at the Meyerson

If you arrive by bus, please DO NOT UNLOAD BUSES UNTIL YOU ARE GREETED BY A DSO STAFF MEMBER. Also, please be

traffic flowing smoothly and quickly.

sure you and your driver have been given matching numbers by a DSO staff member.

It is important for drivers to follow

these directions in order to keep

dismissal. Drivers must stay with

bus drivers for drop off, parking
Check in with a volunteer in the main lobby; a volunteer will guide your group to your seating area. (Seating sections are

Buses will be called back to the

Please give these directions to
assigned on the basis of group size).

Meyerson in order of School

HWY 75
All students should be in their seats at least five minutes before the concert time.
No food or drink, including chewing gum, is permitted in the concert hall.

and pick up directions.

ROUTH ST

ROUTH ST
During the Concert
The use of cameras and recorders is prohibited.
Please turn off cellular phones and any other electronic devices.

their buses.
TEACHERS
Students and teachers should remain in their seats for the entire concert.

ROSS AVE
FLORA
Restrooms are located on all levels and should be used for urgent needs only. If students must visit the restroom, please

WOODALL RODGERS ACCESS FREEWAY

have an adult accompany them.

WOODALL RODGERS ACCESS ROAD

Students not maintaining acceptable standards of behavior will be asked to leave, and may jeopardize their school’s JACK EVANS ST JACK EVANS ST

future attendance at DSO events.

STATE HWY SPUR 366

WINSPEAR
After the Concert

OPERA
HOUSE
is located at 1819 N. Washington Avenue,
LEONARD ST

Please remain in your seats until your school is dismissed.

Morton H. Meyerson Symphony Center

Pilgrim Rest Missionary Baptist Church

BUS PARKING MAP
The Dallas Symphony is located at the
Upon dismissal, listen carefully and follow instructions for departing the building.

FLORA
2301 Flora Street | Dallas, TX | 75201
Back at School
Refer to this guide or www.DSOkids.com for follow-up activities.
Student letters/artwork expressing reactions to the concert are appropriate. Email to [email protected]. CROCKETT ST
CROCKETT ST

Dallas, TX | 75204
Mailing Address:

ROSS AVE
Attn: Youth Concerts
Dallas Symphony Orchestra N PEARL
ST
2301 Flora St., Schlegel Administrative Suites N PEARL
ST
Dallas, TX 75201

FLORA
E ST
OLIV

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 Who’s Who
Maurice Cohn joined the Dallas Symphony Orchestra as Jessie Montgomery is a violinist, composer and music educator
Assistant Conductor in the Marena & Roger Gault Chair in the from New York City. She performs and gives workshops in the US
2021/22 concert season. He has served as Cover Conductor and abroad and her compositions are being performed by orches-
for the Atlanta Symphony Orchestra, Assistant Conductor for tras and chamber groups throughout the country.
the National Music Festival, and as a guest assistant at Oberlin
Jessie was born and raised in Manhattan’s Lower East Side in the
Conservatory. A 2020 recipient of the Solti Foundation U.S.
1980’s during a time when the neighborhood was at a major turn-
Career Assistance Award, Maurice also spent two summers
ing point in its history. Artists gravitated there and it was a hotbed
as a conducting fellow at the Aspen Music Festival, where he
of cultural activity and community development. Her parents (father a musician, her mother, an ac-
received the Robert J. Harth Conducting Prize (2019) and the
tress) were engaged in the activities of the neighborhood and regularly brought Jessie to rallies, per-
Aspen Conducting Prize (2021). Upcoming engagements in-
formances and parties where neighbors, activists and artists gathered to celebrate and support the
clude an opera premiere with Chicago’s Zafa Collective and a
movements of the time. It is from this unique experience that Jessie has created a life in which perfor-
return to the Aspen Music Festival as Assistant Conductor for
mance, creativity, education and advocacy merge.
the 2022 season. He recently received an M.M. from the East-
man School of Music, where he worked frequently with the Jessie began her violin studies, at the Third Street Music School Settlement, one of the oldest com-
Eastman orchestras and OSSIA New Music Ensemble. Maurice munity organizations in the country. Upon graduating with her Bachelor’s degree from the Juilliard
holds a B.M. in cello performance from Oberlin Conservatory School in Violin Performance in 2003, she joined forces with Community MusicWorks in Providence,
and a B.A. from Oberlin College, where he studied history and Rhode Island, a nationally recognized leader in community development and music education. With
mathematics. this appointment came her first experience as a professional chamber musician as a member of the
Providence String Quartet. She continued her chamber music endeavors as a founding member of
PUBLIQuartet, a string quartet made up of composers and arrangers, featuring their own music as
Composer Biographies well as that of emerging and established contemporary composers. Since 2012, she has held post as
a member of the highly acclaimed Catalyst Quartet, raved by the New York Times as “invariably ener-
Born in Paris, France, Georges Bizet (1838-75) is considered to be a
getic and finely burnished…performing with earthly vigor”, touring regularly in the United States and
great French opera composer. Both of his parents were professional
abroad. Recently, she has become a collaborator with Yo-Yo Ma’s Silkroad Ensemble and toured with
musicians. Georges’s mother was a pianist. Georges’s father was a com-
them in the 2018-19 season.
poser and vocal teacher who gave Georges his first music lessons at the
age of four. Since 1999, Jessie has been affiliated with The Sphinx Organization, which supports the accomplish-
ments of young African-American and Latino string players. As a member of the Sphinx network she
Georges’s talent for music was displayed early in his childhood. When
has played numerous roles within the organization, as a teacher, juror, orchestra member and con-
he was nine, he entered the Paris Conservatory of Music. He studied harmony and composition and
certmaster, panelist and ambassador, as well as being a two time laureate in their annual competition.
took lessons on the piano and the organ. He was considered a master of the piano at age 14, won a
Jessie was also Composer-in-Residence with the Sphinx Virtuosi, a conductor-less string orchestra
First Prize for piano, and was encouraged to write compositions for the piano. He wrote “Jeux d’en-
which toured her music for 3 seasons. In 2014, Jessie was awarded Sphinx’s generous MPower grant
fants,” a suite for piano featuring four hands (two people playing the same piano), as well as 150 other
to assist in the recording of her acclaimed debut album, Strum: Music for Strings (October, 2015, Azica
compositions for the piano. He won several awards while at the conservatory: the Offenbach First
Records).
Prize for comic opera and also the Grand Prix de Rome in 1857.
Georges went on to study in Italy but returned to Paris to teach music. He composed music for a play In 2012, Jessie completed her graduate degree in Composition for Film and Multimedia at New York
by Daudet, called L’Arlesienne. This music is still popular today as a suite for orchestra. In 1875, he University, at which point composing became a true focus on her path. Opportunities came about
wrote Carmen, a four-act opera. The opera was based on a story by Merimee. Georges incorporated to partner with the American Composers Orchestra, the Sphinx Organization and chamber groups
Spanish rhythms in his music specifically to set the stage for the story. Georges also composed a sym- throughout New York City. This has led to many new commissions for orchestras throughout the
phony, orchestral suites, other operas, and songs. His masterpiece, Carmen, is performed all over the country.
world.

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 Puerto Rican-born composer and multi-instrumentalist
Angélica Negrón writes music for accordions, robotic in- Not to be deterred, Ravel joined a group of artists, poets and musicians called “The Apaches” in 1890,
struments, toys, and electronics as well as for chamber and continued to compose. Other famous Apaches included Igor Stravinsky and Manuel de Falla.
ensembles, orchestras, choir, and film. Her music has been Ravel’s early masterpiece, Pavane for a Dead Princess (1902) was performed by this group. Although
described as “wistfully idiosyncratic and contemplative” Ravel never had any children of his own, he loved children, and he composed the Mother Goose Suite
(WQXR/Q2) while The New York Times noted her “capacity for two pianos between 1908-1910. People liked it so much that he later orchestrated it and present-
to surprise.” Negrón has been commissioned by the Bang ed it as a ballet.
on a Can All-Stars, Kronos Quartet, loadbang, Prototype
Festival, Brooklyn Youth Chorus, Sō Percussion, the Dallas Ravel is remembered most for Boléro, an orchestral work that he wrote for a famous Russian dancer
Symphony Orchestra, National Symphony Orchestra, Opera named Ida Rubenstein. In this masterpiece, it’s easy to hear how Ravel was inspired by the Spanish
Philadelphia, the Louisville Orchestra and the New York Botanical Garden, among others. songs that his mother used to sing to him.
Angélica received an early education in piano and violin at the Conservatory of Music of Puerto Rico
where she later studied composition under the guidance of composer Alfonso Fuentes. She holds a When Camille Saint-Saëns (1835-1921) was just a toddler, his
master’s degree in music composition from New York University where she studied with Pedro da Silva mother and his great-aunt began teaching him music in his
and pursued doctoral studies at The Graduate Center (CUNY), where she studied composition with Ta- birthplace of Paris. He was only five years old when he gave his
nia León. Also active as an educator, Angélica is currently a teaching artist for New York Philharmonic’s first public piano performance. When he was seven, he began to
Very Young Composers program. study with other teachers, and he had already begun compos-
She has collaborated with artists like Sō Percussion, Lido Pimienta, Mathew Placek, Sasha Velour, Ce- ing his own music. He became one of the most famous French
cilia Aldarondo, Mariela Pabón & Adrienne Westwood, among others and is a founding member of the composers.
tropical electronic band Balún. Saint-Saëns also liked to write poetry, scientific papers, and essays about music. Sometimes he made
She was recently an Artist-in-Residence at WNYC’s The Greene Space working on El Living Room, a enemies because he insulted his fellow musicians when he wrote about them.
4-part offbeat variety show and playful multimedia exploration of sound and story, of personal history One of Saint-Saëns’s most well-known compositions, Carnival of the Animals, was originally written
and belonging. She was the recipient of the 2022 Hermitage Greenfield Prize. Upcoming premieres to make fun of some of his friends. Now, it is enjoyed by children all over the world for the pictures it
include works for the Seattle Symphony, LA Philharmonic, NY Philharmonic Project 19 initiative and paints of animals.
multiple performances at Big Ears Festival 2022. Negrón continues to perform and compose for film.

Maurice Ravel (1875-1937) was born in Ciboure, France, very near Johann Strauss, Jr. (1825-1899), born in Vienna, Austria, was named
the Spanish border, in 1875. His mother, who was from Spain, “The Waltz King” because of the many waltzes he wrote. Johann Jr.’s
loved to sing Spanish folk songs to him when he was growing up. father was a successful musician and composer of dance music. He
His father, an engineer from French Switzerland, enjoyed tinkering tried to convince Johann Jr. to be a banker, but since Jr. had begun
with inventions in the early days of the automobile, but his most to compose at the age of 6, banking was not what he wanted to do.
notable project was a loop-the-loop circus contraption called “The It wasn’t long into Jr.’s adult career that he became more successful
Whirlwind of Death.” Luckily for his son, he also enjoyed music and than his father, playing for many court balls and eventually becoming
supported the young Maurice when he began piano lessons at the age of 6. the Royal Director of Music for Court Balls in Emperor Franz Joseph’s court. Strauss Jr.’s music could
Ravel went on to study piano at the Conservatoire de Paris, and even won first prize in a student piano be easily sung or whistled and was very popular in Vienna and all around the world. He had a dance
competition. But the requirements for pianists at the Conservatoire were very tough, and a few year orchestra that toured Europe and the U.S. His most famous waltz is the Blue Danube.
later he was kicked out for not winning enough medals. In 1898, however, he returned to the Conser-
vatoire, this time to study composition with the famous composer Gabriel Fauré. Unfortunately, he
was expelled again for not winning the fugue and composition prizes!

8 9
 Strategies for Mindful Listening
Giuseppe Verdi (Joe Green, in English) was born into an Italian fam- Adapted from Settle Your Glitter - A Social Emotional Health Curriculum by Momentous Institute 2015
ily of small landowners and taverners. When he was seven, he was
helping the local church organist; at 12, he was studying with the What is Mindful Listening?
organist at the main church in a nearby town and in 1829 became Mindful Listening helps students choose on which sound their attention should be focused. When a student
assistant. He already had several compositions to his credit. In 1832, trains his/her brain to concentrate on specific sounds, sensory awareness is heightened. Monitoring the audi-
he was sent to Milan and was refused a place at the conservatory, tory experience, and noting what they focus on and respond to, helps build self-management and self-aware-
but he studied with a composer and former musician. He might also ness skills.
have taken a post as organist in 1835. He became town music mas-
ter in 1836 and married Margherita Barezzi, his patron’s daughter. How do I practice mindful listening with my students?
Verdi composed an opera and tried to arrange for a performance. Play a piece (or excerpt) from an upcoming DSO Youth Concert and have the students:
He was unsuccessful but had some songs published and decided to settle in Milan in 1839. His first opera was • Sit up tall like a mountain and think of the spine as a stack of coins.
well received but his next completely failed. His wife died during its composition. Verdi nearly gave up, but • If seated in a chair or bench, feet are flat on the floor or hanging calmly and still. If seated on
was encouraged by a story and in 1842 saw its successful production, which carried his reputation across Italy, the floor, make sure legs and feet are still.
Europe, and the New World over the next five years. It was followed by another opera also with marked polit- • Hands are resting gently on the lap or knees.
ical messages and again well received. Verdi’s gift for stirring melody and tragic and heroic situations was liked • Eyes are softly closed or their gaze directed downward.
in Italy. The country was struggling for freedom and unity, causes with which he was sympathetic; but much
What do I say during the mindful listening activity?
opera of this period has political themes.
Say things such as, ”As you listen, remember to breathe in and out deeply and focus on the music.” “What
During the next several years, Verdi began composing a long and demanding series of operas in Paris, France, pictures do you see in your mind?” “Does it tell a story?” “Notice how your body feels (in the chair, on the
and London, as well as in Rome, Milan, Naples, Venice, Florence and Trieste in Italy. His works were known for floor…etc.).” “What colors do you see?” “What images?” “If this music was found in a movie, what would be
their strong, sad stories, vigorous orchestral styles, forceful writing for voices and serious drama. His models happening?” “What mood does the music evoke?” “How does this music make you feel?”
included other Italian composers. He was careful with his choice of topics and about the detailed planning of
his stories. His use of male voices was predictable, but his female voices had more variation. What do I do if my students have trouble with mindful listening?
This type of activity is very personal and takes a lot of practice. If students seem like their attention is falter-
Many of his operas were censored. He would rewrite them and then they became huge successes. In 1853, he ing, say, “If your mind wanders, that is ok – that’s what minds do…just bring your attention back to the music.
wrote one of his most loved operas, La Traviata. It was a failure in Venice at first. With revisions, it was favor- Notice how your body feels right now – at this very moment. Again, let your mind see the colors, pictures and
ably received the following year at a different Venetian theater. moods in the music.”
Later in 1853, he went with his fiancée, who was a soprano, to Paris, France, to prepare another opera, where
it was given in 1855 with some success. He remained there for a time to defend against the pirates of the the- How does the mindful listening end?
ater (those who stole compositions from successful composers) and to deal with translations of his operas. The After listening for 1-2 minutes, lower the volume of the music slowly and say, ”When you are ready, slowly
next new opera was very somber. It was a drama about love and politics in medieval Genoa, given in Venice, open your eyes.”
Italy. Plans for another opera in Naples, about the assassinaton of a Swedish king, were called off because of
What now?
the censors and it was given instead in Rome in 1859. Verdi was involved in political activity at this time, as
Talk about all of the student responses. Remember that there are no “wrong” answers – use open-ended
representative in the parliament of the town where he lived; later, he was elected to the national parliament,
questions to expand the activity. Try using these questions in response to your students:
and ultimately he became a senator.
• What did you hear that made you think of that?
Verdi returned to Italy, to live in Genoa and began work on Aida in 1870. It was given at the opera house in Cai- • Tell me more about what in the music made you feel (happy, sad, lonely, afraid, etc.).
ro, Egypt, at the end of 1871 to mark the opening of the Suez Canal. Verdi was not present. Aida was written • Can you add more details to that?
in the grand opera tradition but later he wrote another opera, Othello, a most powerful, tragic work, a study • What did the composer/musician do to make you think of that?
in evil and jealousy, which had its opening in Milan in 1887. He wrote his first comic opera, Falstaff, two years
later. Extension
This mindful practice can be used every day. Have relaxing and calm music playing as your students enter the
Verdi spent his last years in Milan; rich, authoritarian but charitable, much visited, revered, and honored. He room each day. Have them learn the mindful listening procedure and eventually it will become natural. This is
died at the beginning of 1901. 28,000 people lined the streets for his funeral. a great way to start their music learning day – mind sharp, body relaxed, and brain ready for learning.

10 11
 Programming Program Music
Culminating Activity
Referring to the repertoire list, go through the pieces one at a time and convey how each
Resources piece describes something specific. After each description, play a bit of the piece (tracks on
Learning Objective
page 3). At the end, ask for student favorites and play entire pieces. Poll the class for their
Students will be led to an understanding that through • YouTube Playlist, page 3
opinions about whether the piece lived up to its stated goal. Let students know that it’s ok to
various techniques, music can suggest sounds, traits,
have differing opinions. However, encourage them to also try and understand the piece from
events, emotions, and ideas from the physical world.
others’ perspectives as well.
Vocabulary
Program music – music that is intended to evoke images or convey the impression of Thunder and Lightning Polka by Strauss – the bass drums represent thunder and suggest
events. a storm
Motif - a short musical phrase, a recurring figure, musical fragment or succession of Carmen Suite by Bizet – in this piece the solo trumpet is played to represent the hero.
notes that has some special importance in or is characteristic of a composition. "Conversations of Beauty and the Beast" by Ravel – Using high and low instruments play-
Opera – a play in which all or most of the words are sung. ing back and forth, a conversation is suggested.
What Keeps Me Awake by Negr�n – The subdued volume, clashing harmonies and slow
Pre-Assessment tempo imply a sense of anxiety, brooding and indirection.
Play a brief excerpt of Thunder and Lightning Polka by Strauss (track 1). Without any dis- Starburst by Montgomery – Energy and creation is suggested in this frenetic-sounding
cussion, play "The Swan" by Saint-Saëns (track 6). Ask students to describe the difference piece.
between the two pieces. Accept all answers. Tell students that the first piece is supposed "The Swan" by Saint-Saëns – the smooth (legato) cello and the rippling effect of the harp
to suggest thunder and lightning by using the bass drums to sound like thunder. The sec- paint a vivid picture.
ond is supposed to suggest a swan swimming in the water. Ask students what they heard in The Force of Destiny Overture by Verdi – The first three notes of this piece played in uni-
the music that might suggest a swan. Answers could be that the music is smooth (legato) son by the brass, known as the “fate” motif (see vocabulary), signal ominous things to
and that the harp’s rhythm suggests water rippling. Tell students that music can sound like come in the opera.
physical elements in the physical world, but it can also suggest other things like ideas and
emotions. Tell students that they will soon be attending a concert in which all the music
was written to be representative of physical world elements and/or ideas. Show students a Evaluation
repertoire list for the concert (page 13). Each piece uses unique techniques to achieve the Were students led to an understanding that through various techniques, music
suggestion of real world elements. can suggest sounds, traits, events, emotions and ideas from the physical world?
Teaching Sequence
TEKS
Ask students to suggest possible candidates from the physical world that can be used for
FA.A.1.1A
musical interpretation? Examples could be weather (like the thunder they just listened to),
FA.M.3/4/5.b.5B-C
emotions, animals (like the swan), character traits like heroism or courage, physical traits like
FA.M.2/3/4.b.6B
clumsiness or strength. Tell students that this kind of music is known as program music.

12 13
 I Can Choose a Film Score

2. Discuss why this tune feels most appropriate to accompany the movie clip of a swimming
Learning Objectives
swan.
Students will choose appropriate background music for a soundless video clip.
3. Now listen to the fully orchestrated version of "The Swan."
Resources
• YouTube Playlist, page 3
• Photos of animals: bear, kangaroo, elephant, owl, lion Additional Information to Share with Students
• Video clip of a swan swimming * Note: You will need to turn off the sound. The composer of this piece, Camille Saint-Saëns, was one of the most famous French compos-
• "The Swan" performed by Yo-Yo Ma with piano ers. His mother and great-aunt taught him piano at a very young age. When he was seven, he
began to study with other teachers and also began to compose music. "The Swan" was origi-
Pre-Assessment nally written as a piano piece but was rewritten for orchestra and now enjoyed because of the
1. Ask the class, "What are some of the ways we can move? (marching, hopping, skipping, sound picture it paints of the graceful swan.
gliding, strolling, running etc.) It is interesting to note that in 1908, Mr. Saint-Saëns became the first famous name to com-
2. Ask for student volunteers to demonstrate. Make a list of movement words on the board. pose a musical score for a film. He later developed his composition into a concert work.
Teaching Sequence Extension Activity
1. Show photos of the following animals (a bear, a kangaroo, an elephant, an owl, a lion) for On another day, as the students listen to "The Swan," have them create smooth flowing
the class to identify. Ask the class to think about how this animal moves. Ask the class, what movements with their arms (and or body) to represent the music.
would this movement look like if it were fast? If it were slow? Ask for a volunteer to demon- Another time, pair the students with a partner. Assign one student as the “leader.” The other
strate. Ask for a volunteer to demonstrate the same movement in a fast and in a slow way. student pretends he/she is looking in a mirror and must instantaneously copy the movement
2. Watch a short video clip (with no sound) of a swan swimming. Have the class identify the chosen by the first student. Can the students move in sync with each other so closely that an
animal. Ask what words can be used to describe how the swan moves? Ask questions to guide onlooker would have trouble telling who is the leader? Do their motions match the feel of
the student answers. Does it move fast? Does it move slow? Are its movements jerky or the music? Do this activity on another day and switch leaders.
smooth? (ex… smoothly gliding through the water, gently floating, graceful , etc.)
Evaluation
Culminating Activity Were students able to choose appropriate background for a soundless video
1. Tell the students that we must decide on a soundtrack to accompany this video clip. Ask clip?
the students to review the words which describe how the swan moves, saying that these
words will help them choose just the right piece of music for our movie. Tell them they are
now the Music Supervisors. A “Music Supervisor” is the person who selects the appropriate TEKS
music for movies, TV shows, video games, and commercials. Have the students listen to a FA.A.1.1A FA.A.3.3D
short segment of the following selections from the page 3 playlist without telling the titles. FA.M.1.b.6D
FA.M.2/3.b.6C
• Thunder and Lightning Polka FA.M.3/4/5.b.5C
• "Toreador Song" FA.A.3/4/5.2A
• The Force of Destiny Overture FA.A.3.4B
• "The Swan" performed by Yo-Yo Ma here

14 15
 Learning Objective
Emotion in Music
Emotion in Music
Evaluation
Students will demonstrate an understanding that music can represent emotions. Circle
Were students able to or color
demonstrate the emoji that
an understanding thatmusic
bestcanrepresents
represent your emotion
Resources emotions? right now.
• YouTube playlist, pg. 3
TEKS Angry Bored Confident
• Emotion in Music worksheet, pg. 19 (2 per student)
FA.M.3/4/5.b.1B
• What Keeps Me Awake worksheet, pg. 20
FA.M.3.b.5B/5C
Teaching Sequence FA.M.4/5.b.5C/D
Note to teacher: Each student may describe, write, or illustrate different emotions for each
selection. Celebrate all answers.

1. As students enter the room, give students an "Emotion in Music" worksheet. Have the
students assess their emotional state at the moment. Discuss in small groups. Make sure
Excited Silly Sad
students think about the “WHY?”. Discuss the various answers.
2. Now have the students follow the Strategies for Mindful Listening lesson provided on page
11. Play the excerpt of "The Swan" from Carnival of the Animals by Camille Saint-Saëns. After
the piece is over, have students open their eyes. Then have students assess their emotional
state using the second "Emotion in Music" worksheet. Have students discuss whether the
music created a change in their emotional state and why they think it did.

Culminating Activity
Shy Happy Anxious
1. Explain to students that composers often use music to represent or depict things - an
animal, a place, an event or even emotions. Composers create their compositions in a way
that makes the listener think and feel emotions. Tell students that they will be hearing a
selection from the upcoming Dallas Symphony Orchestra Youth Concert.
2. Pass out the "What Keeps Me Awake" worksheet. Ask the students to listen to the music
before they begin completing the sheet. As they listen, have students think about emotions
that the music is representing. Remind them that music is quite personal and each person will
have their own interpretation. Have students also think about the “why?” Why does the Sleepy ________________ ________________
music make you feel that way? What in the music sounded like that emotion to you?
3. After listening to the excerpt, have the students draw a representation of the emotion that
the music evoked in them.
4. Have students share their emotion with the group. Remember students will have many
different ideas, but all are valid. Students should be able to discuss what in the music made
them feel that way.

16 17
 What Keeps Me Awake
Emotion in Music
What emotion do you think the music represents? Circle or color the emoji that best represents your emotion
right now.
Angry Bored Confident

Excited Silly Sad

Shy Happy Anxious

Draw an emoji that captures the emotion you had while listening to the
music.

What in the music created these emotions for you?

Sleepy ________________ ________________
________________________________________________________
________________________________________________________
________________________________________________________

Do you think this was the composer’s intention? Why?

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 Starburst

Learning Objective This brief one movement work for string orchestra is a play on imagery of rapidly changing
Students will compare the energy and brilliance of a star in the galaxy with individuals who music colors. A common definition of a starburst is “the rapid formation of large numbers of
distinguish themselves. new stars in a galaxy at a rate high enough to alter the structure of the galaxy
Vocabulary significantly;” lends itself almost literally to the nature of the performing ensemble that pre-
Starburst: 1. A pattern of lines or rays radiating from a central object or light. miered the work, and I wrote the piece with their dynamic in mind.
2. An unusually rapid and intense burst of star formation in a galaxy.
Tell the class that is a fancy way of saying she composed music for a group of new “star”
Resources string players who she felt would change the musical scene by their brilliant playing.
• YouTube playlist, pg. 3 2. Listen to Jessie Montgomery as she talks about her piece “Starburst” in this video inter-
• Online photos of a starburst view.
• Video interview with Jessie Montgomery discussing her music, “Starburst” 3. Watch and listen to the Minnesota Orchestra as they perform “Starburst.”
• Video performance of “Starburst” performed by the Minnesota Orchestra 4. Ask the students the following questions, "Do you think the music describes a starburst of
stars being born? Why? What is it in the music that creates that feeling?"
Pre-Assessment
Generate a discussion about stars. What is a star? Ask students how many of them have ever Evaluation
looked up at the stars at night. What did they see? How would they describe the stars? Were students able to compare the energy and brilliance of a star in the galaxy
with individuals who distinguish themselves?
Teaching Sequence
Extension Activity
1. Continue the discussion about stars. Encourage the students to include other type of stars
1. On another day, let the students create on paper their own artistic versions of a starburst as
by asking these questions, "Who is a famous rock star? Who is the academic or artistic star in
they listen again to the musical selection, "Starburst."
your school or community? Can anyone name an Olympic star? What do these stars have in
2. Another time, allow the students to create a haiku poem about a "Starburst" using the de-
common?" (They shine brightly, often outshining others around them).
scriptive vocabulary from previous discussions.
2. Tell the students that when a star is born in the galaxy, its brilliance shines brightly. Some-
times people are born with special abilities that allow them to shine brightly above everyone TEKS
else around them. These people are human "stars." Their special abilities might be artistic, FA.M.1.b.6D
athletic, musical, or even academic abilities. For example, ask the students if they know any- FA.A.3.2A
one who is outstanding as an athlete, outstanding as a musician, or even outstanding in math.
Culminating Activity
1. Tell the students that today we will meet the composer, Ms. Jessie Montgomery. She is
the Composer-in-Residence for an exceptional group of touring musicians called the "Sphinx
Virtuosi." She composed this piece of program music, "Starburst," especially for this group.
Read how Ms. Montgomery describes her composition on the following page:

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 Conversations

Learning Objective Culminating Activity

Students will demonstrate an understanding that music can communicate a story to the lis- 1. Give students a chance to draw two pictures: one of Beauty and one of Beast.
tener. 2. Pair and share: have students share their drawings with a classmate describing why they
Resources drew what they drew.
• Recording of Ravel’s "Conversations of Beauty and the Beast" from Mother Goose Suite 3. Listen to the recording from beginning to 1:38 and ask students to raise their picture of
pg. 3, track 3 Beauty when they hear her “speaking” in the music (clarinet), and raise their picture of Beast
• Two pieces of blank paper per student and colored pencils, crayons, or markers when they hear him “speaking” in the music (contrabassoon).

Pre-Assessment Evaluation
Ask if anyone knows the story of beauty and the beast. If no one does, share the plot. The Did students demonstrate an understanding that music can communicate a story
beast is actually a prince under a curse. He is under a curse because he did not treat people to the listener?
with respect and kindness. The curse can be lifted when he loves someone for their inner Extension Activity
beauty, and they love him in return for the same reason. Beauty is the person who gets to 1. The original version of this piece was written for piano duet for two children ages 6 and 7.
know the beast, and despite his rough exterior, learns to love him, which lifts the curse. Listen to and watch this recording performed on piano by two young children. Does it sound
similar or different to the same music played by an orchestra? What do you hear?
Teaching Sequence 2. There is a “third” character that enters the conversation. Listen from 2:45 to 3:33. At 3:05,
1. Share that music is full of conversation and can communicate a story to the listener. Today, a solo violin enters and represents the Beast’s transformation back into his original form as a
the clarinet and the contrabassoon will have a musical conversation. prince. Before telling the students this information, remind them of the plot and play this clip.
2. Share these clips of clarinet and contrabassoon to familiarize the students with the differ- Can they guess what is happening here in the music?
ent sounds. Ask them to share descriptive words about each sound. Descriptive words for the
clarinet might be beautiful, high, and sweet, while words describing the contrabassoon might
be scary, low, and grumbly. TEKS
3. Take a vote by raising hands; ask students which instrument represents Beauty and which FA.A.1.3D FA.M.2.b.3A,B
represents the Beast. The correct answers are clarinet represents Beauty, while the contrabas- FA.A.1.4A FA.M.2.b.6-D
soon represents Beast. FA.M.1.b.3A,B FA.M.3.b.3A,B
4. Listen to the full recording above several times using mindful listening techniques supplied FA.M.1.b.5A FA.M.3.b.5A-C
in the introductory lesson to this teacher guide so the students can become more familiar with FA.M.1.b.6B-D FA.M.3.b.6C-E
the music. FA.M.2.b.5C
FA.M.2.b.4C

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 Dramatizing a Story
Learning Objectives Part two:
Students will dramatize a story, using music to emphasize the mood. 5. List the composer of each musical excerpt (found under resources above) on the board,
Note: This lesson is complex enough for students in older grades. However, with a little more leaving room for further information and/or pass out worksheets for the students to make
intervention by the teacher in terms of decision-making and shortening of time, this lesson can notes for themselves.
be very successful with younger students as well.
6. Play each excerpt. After each, have students suggest two or three words that describe the
Resources piece, e.g. scary, sleepy, dramatic, romantic, etc. or perhaps something of which the music
• Storybook featuring clear scenes of episodes that can be dramatized. reminds them. Write the information next to each composer on the board.
• Musical excerpts, chosen ahead of time, of less than a minute each, varying in tem- 7. As a class, decide which excerpt is most appropriate to accompany each scene in terms
po, volume, mood, instrumentation, etc. (Many excerpts can be found here . Some of of style, mood, texture, volume, speed, etc. Consider that students may want to experiment
the composers don’t have musical excerpts, but listed below are a list of some that do: with different musical excerpts. Consider putting the ‘wrong’ music into a scene to emphasize
Bach, Handel, Vivaldi, Beethoven, Glinka, Dvorak, Holst, Humperdinck, Mahler, Mus- the power of music to create a completely different mood or interpretation of a scene.
sorgsky, Rachmaninoff, Wagner, R. Strauss, C. Schumann, Debussy, Britten, Shostakovich, Culminating Activity
Stravinsky). Allow students to perform their scenes for the class without, and then with the musical ac-
Pre-Assessment companiment. Have students compare the emotional reactions they had to each scene with
Ask students if they have ever been to a play. Have them describe their experience. What the music and without. Ask them to suggest reasons that the scenes were affected by the
kind of play was it? Did the play have music? How did the music fit in with the play? How music. Consider performing the scenes back to back without pause for a complete story!
did it enhance or affect the drama? For students who haven’t seen a live performance, Evaluation
suggest a movie or television show, and discuss how the selection’s drama is enhanced by Did students dramatize a story, using music to emphasize the mood?
its soundtrack. Do they think that sometimes a scene might be perceived one way, but the
Extension Activity
music is chosen to lead you in a different direction? For example, consider a character who
1. Allow students to act out their scene, experimenting with other musical excerpts to observe
seems to be successful, but the sad-sounding music suggests that he or she is conflicted or
how the mood changes.
unhappy for some reason that’s important to the plot.
2. Use the same process as above, except leave out the ending of the story. Ask groups to
Teaching Sequence collaborate to create an ending and then proceed with number 5 above.
Part one:
1. Choose a story book which features clear scenes or episodes that can be dramatized. Read TEKS
the story to the class, stopping periodically to discuss what is happening and how they think FA.T.1.b.2C
the characters feel. Have students predict what might happen next. FA.T.1.b.2
2. Summarize the story, writing the main events of the story on the board in the sequence in FA.T.1.b.3D
which they occurred. FA.M.3.b.5C
3. Brainstorm with students which main events of the story might lend themselves to being FA.M.3.b.6D
dramatized as a scene.
4. Divide students into groups. Assign each group one of the scenes from the story to act out
as a silent drama. Each scene should be short – maybe 20 or 30 seconds. After they have had
a chance to create the scene and rehearse, have the groups perform for the rest of the class.

24 25
 WHAT MUSIC REPRESENTS
Flat Beethoven! Did You Know?
Cut out Ludwig van  Beethoven was born on
Beethoven and take December 16, 1770 in
Bonn, Germany We love to see you
him with you on enjoying our Dallas
all of your adventures!  At age 12, he earned a Symphony concerts.
living by playing organ Remember this special
Be sure to snap a moment by drawing and
and composing
picture of captioning your
 One of his favorite favorite part of this youth
Flat Beethoven concert, What Music
foods was macaroni
in his new Represents, in the frame
and cheese on this page.
environs
 His Third
and send them If you would like your
Symphony,
to Sarah Hatler at picture to be shared on
Eroica, was so DSOKids.com, please ask
s.hatler@ original that it your teacher or parent
dalsym.com inspired many to email our drawing to
Sarah at
Your picture others to change [email protected] or
the way they mail to :
could be
wrote music
featured Sarah Hatler
 He is famous for his Dallas Symphony Or-
on DSOKids.com
unique and innovative chestra
Get creative! 2301 Flora St.
musical style
Dallas, TX 75201
Many say that Bee-


thoven had a nasty

temper and unpleasant
personality
 He was deaf when he
composed his Ninth
Symphony and never
got to hear it per-
formed live

26 27
 Full STEAM Ahead About the Morton H. Meyerson Center

One of the world’s greatest concert halls, the Meyerson Symphony Center was made possible through the efforts of
Check out our virtual Full STEAM Ahead series to find out how making music is connected to the citizens of Dallas. Over ten years were spent in the planning and construction of the Meyerson, which opened on
science, technology, engineering, and math. You’ll hear DSO musicians performing and speaking September 6, 1989.
about their musical experiences, and see interesting visual demonstrations of sound. World-renowned architect and major arts supporter I.M. Pei was chosen to design the building, working closely with
acoustician Russell Johnson. Pei’s 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
Full STEAM Ahead was founded by women business leaders from AT&T, Capital One, NCJW • An 85 foot high ceiling in the concert hall
Dallas and Texas Instruments to promote arts education and equal opportunity for girls in the
• A 40 foot hollow area under the stage to increase resonance
world of STEAM.
• An organ with 4 keyboards, 61 keys, 32 pedals, 84 ranks, 65 stops and 4,535 pipes

28 29
 GENERAL EDUCATION & EDUCATIONAL PROGRAMING
The Dallas Symphony Orchestra is grateful to
Anonymous (2) Jeff Rich and Jan Miller
Mr. John Luther Adams Nancy A. Nasher and David J. Haemisegger
Harry W. Bass, Jr. Foundation National Endowment for the Arts
Mrs. Patricia Baudendistel William and Linda Nelson
Theodore and Beulah Beasley Foundation O'Donnell Foundation
Ben E. Keith Company Ms. Karen M Otto
Henry and Lucy Billingsley Francisco and Kara Perez
Bloomberg Philanthropies Margot Perot
Terri Elaine Bohlin Patricia Beck Phillips Foundation
For their comprehensive support of the DSO Education Programs. Diane and Hal Brierley Posey Family Foundation
T.A. and Susan Carnell Aileen and Jack Pratt Foundation
Additionally, the Dallas Symphony Orchestra wishes to express its appreciation to the follow- Kenneth and Patricia Carroll Stanley A. Rabin
Mr. Darryl Clement and Mr. Noel Pullam Cindy and Howard Rachofsky
ing donors for their generous contributions to the DSO’s education initiatives: David M. Crowley Foundation The Brian J. Ratner Foundation
Culinaire International, Inc. REACH LLC
YOUTH CONCERT SERIES Dallas Black Dance Theatre Edgar A. and Ruth E. Robinson Family
Harry W. Bass, Jr. Foundation Ms. Cynthia Davis Foundation
Crystal Charity Ball Ms. Anne Fairchild Jeffrey Robinson and Stefanie Schneidler
Cecil and Ida Green Foundation* Fichtenbaum Charitable Trust, Bank of America, N.A., Trustee Ms. Lauren Salsini
FIRST HORIZON Judge and Mrs. Barefoot Sanders
The Meadows Foundation* Susan G. Fleming, Ph.D. James and Wendy Schmid
The Morton H. Meyerson Family Foundation* Bruce and Florencia Fortner Richard and Enika Schulze Foundation
The Rea Charitable Trust Ron and Rebecca Gafford Diana and Sam Self
Anne J. Stewart* George Gilliam and Brenda Boyd Harold Simmons Foundation
Fanchon and Howard Hallam Fred Sklar and Louise Rossi-Sklar
*Endowed Fund Linda W. Hart and Milledge A. Hart III Norma and Don Stone
Central Market / H-E-B Tournament of Champions Roy & Christine Sturgis Charitable Trust, Bank
Bob and Ruth Hewes of America, N.A., Trust
Miss Lyda Hunt Hill Barbara C. and Robert P. Sypult
Hillcrest Foundation, founded by Mrs. W. W. Caruth, Sr. Ms. Barbara Taylor
Ms. Ellen Hyndman Charlotte Test
Ipc National Charitable Foundation Texas Commission on the Arts
Josef and Carolyn Jabr Becky and Brad Todd
JPMorgan Chase The VanSickle Family Foundation
Joan Kickham Martha and Max Wells
Ms. Amela Koci Karen and Jim Wiley
Robert and Patricia Long Dr. Jo Margaret Williams Fund
The Love of Christ Fund
Drs. Mitchell and Karen Magee
Metroplex Civic and Business Association

30 31