FLYNN CENTER PRESENTS

VYO & VSO Link Up:

the Orchestra Sings

We appreciate and value your feedback.

Click here to evaluate our study guides.

Click here for Teacher Feedback Forms for the performance.

Click here for Student Feedback Forms for the performance.

Click here for Parent Forms to help parents engage with their children around the show.

Welcome to the 2015-2016 Student Matinee Season!

Today’s scholars and researchers say creativity is the top skill our kids will need when they

enter the work force of the future, so we salute YOU for valuing the educational and

inspirational power of live performance. By using this study guide you are taking an even

greater step toward implementing the arts as a vital and inspiring educational tool.

We hope you find this guide useful. If you have any suggestions for content or format of

this guide, please contact sms@flynncenter.org.

Enjoy the show!

This guide was written & compiled by the Education Department at the Flynn Center for the Performing Arts with inspiration from

Carnegie Hall’s Link Up resources. Permission is granted for teachers, parents, and students who are coming to Flynn shows to

copy & distribute this guide for educational purposes only.

The Flynn Center recognizes that field trip resources for schools are extremely limited, thus matinee prices for

schools are significantly lower than prices for public performances. As a non-profit organization, the Flynn is

deeply grateful to the foundations, corporations, and individuals whose generous financial support keeps

matinees affordable for schools.

A special thank you to Bruce and Ruth Ann Beers for sponsoring this matinee performance.

Thank you to the Flynn Matinee 2015-2016 underwriters: Andrea’s Legacy Fund, Champlain Investment

Partners, LLC, Bari and Peter Dreissigacker, William Randolph Hearst Foundation, Forrest and Frances Lattner

Foundation, Surdna Foundation, Tracy and Richard Tarrant, TD Charitable Foundation, Vermont Concert Artists

Fund of the Vermont Community Foundation, Vermont Community Foundation, New England Foundation for

the Arts, National Endowment for the Arts, and the Flynn Jazz Endowment.

Additional support from the Bruce J. Anderson Foundation, Green Mountain Fund, Walter Cerf Community

Fund, the Vermont Arts Council, the Susan Quinn Memorial Fund, and the Ronald McDonald House Charities.

About the Composers

Beethoven

Brackett

Cabaniss

Dvořák

Papoulis

Stravinsky

The Instruments of the Orchestra

Woodwinds, Brass, Percussion, Strings

The Orchestra Map

Your Visit

The Flynn Center

Etiquette for Live Performance

Why is Etiquette Important?

Common Core Standards

The Common Core broadens the definition of a “text,” viewing performance as a form of text, so your students are experiencing and interacting with a text when they attend a Flynn show.

Seeing live performance provides rich opportunities to write reflections, narratives, arguments, and more. By writing responses and/or using the Flynn Study Guides, all performances can be linked to Common Core:

CC ELA: W 1-10

You can use this performance and study guide to address the following Common Core Standards (additional standards listed by specific activities):

CC ELA: SL 1-4, RH 7, RL 7

Activities to Deepen Understanding

Pre and Post Discussion Questions

Tell a Story with Rhythm

Rhythm Circle

Orchestra Glossary

The Songs of Link Up

Come to Play, Simple Gifts, To Make Words Sing

Ode to Joy, Bought Me a Cat

Oye

Ludwig van Beethoven (1770–1827) grew up in Bonn, Germany, and by the time he was just 12 years old, he was earning a living for his family by playing organ and composing original music. He was eventually known as the greatest pianist of his time. Although Beethoven began to suffer from hearing loss as early as his 20s, he continued to compose. He even composed many of his most famous musical works after he had become totally deaf! Legend has it that after conducting the premiere of his Ninth Symphony, he had to be turned around to see the overwhelming applause of the audience. Beethoven’s originality and innovation inspired others to change the way that they composed. Fun fact: One of Beethoven’s favorite foods was macaroni and cheese!

Joseph Brackett (1797–1882) was an American songwriter and an elder, or minister, in the Shaker community. Shakers are a religious group who consider music to be an essential part of the religious experience. Brackett was born in Cumberland, Maine. He did not write a lot of music but is best known as the composer of the Shaker dancing song “Simple Gifts.” The song, written in 1848, was largely unknown outside of Shaker communities until Aaron Copland used the melody in his 1944 composition Appalachian Spring.

Thomas Cabaniss (b. 1962) lives in New York City and composes music for opera, theater, dance, film, and concerts. He worked with choreographer Hilary Easton to create a series of dance-theater works, and his music for theater has appeared in shows on and off Broadway. He has written an opera based on E. T. A. Hoffmann’s The Sandman, and he scored an Oscar–winning short film, The Lunch Date. His choral works include Behold the Star, available on New World Records and published by Boosey & Hawkes. He is a member of the faculty of The Juilliard School.

Antonín Dvořák (1841–1904) was born in a small village in Bohemia, which is now part of the Czech Republic, a country in central Europe. He was one of seven children. His parents recognized his musical talent, and at the age of six he began his musical training. He studied music in Prague and graduated as an accomplished violin and viola player before he was 20 years old. In 1892, Dvořák moved to America to accept a position as head of the National Conservatory of Music. While in America, he wrote his Symphony No. 9, “From the New World.” The New York Philharmonic played the first performance of this piece at Carnegie Hall in 1893.

Jim Papoulis (b. 1961) lives in New York City and composes, orchestrates, and conducts music for dance, film, ensembles, and choirs. His compositions are known for exploring new modes of musical communication by honoring and connecting classical and traditional forms with non-Western sounds. He firmly believes that music can heal, educate, celebrate, and empower the lives of children. He composed “Oye” while working with young children in Mexico, and through the Foundation for Small Voices, he has conducted songwriting workshops around the world. He has worked with a variety of singers and choirs, including Shania Twain, Celine Dion, Aretha Franklin, the New York Philharmonic, the Chicago Symphony Orchestra, London Boys Choir, Beijing Children’s Choir, Faith Hill, Natalie Cole, Snoop Dogg, Slash, and Beyoncé.

Igor Stravinsky (1882–1971) was born in St. Petersburg, Russia. He began taking piano lessons at age 9, but his father, who was a famous opera singer, actually wanted Stravinsky to become a lawyer. When he went to college, he studied law and music at the same time. In college, he took composition lessons from another famous composer, Nikolai RimskyKorsakov. The music for the ballet The Firebird made him famous as a composer, and he gave up law. Stravinsky went on to write music for other ballets, including The Rite of Spring, about a pagan ritual in ancient Russia. The opening night audience found the music and choreography so shocking that there was actually a riot in the theater!

accent: a musical marking that tells a musician to emphasize a certain note or set of notes

accompaniment: music that goes along with and supports a melody

bar line: a vertical line on a staff that divides the measures

beat pattern: the pattern of arm movements that conductors use to indicate the meter of a piece of music.

Carnegie Hall: a famous concert hall in New York City chorus: a group of singers

clef: a sign placed at the beginning of a musical staff to determine the pitch of the notes

common time: another name for 4/4 meter

conductor: a person who leads a group in making music

diction: the pronunciation and enunciation of words in singing

dynamics: volume (loud or quiet)

finale: the ending of a piece of music

fingering: the technique or art of using one’s fingers in playing a musical instrument

form: the order of phrases or sections in music

harmony: multiple pitches played or sung at the same time

head voice: the high register of the voice, from which vibrations can be felt in the head humming: singing without

opening one’s lips

improvise: to make up something on the spot instrument: something you play to make music

leap: a musical interval with large changes in pitch

measure: a group of beats framed by bar lines on a staff

melody: the main tune in a piece of music

meter: an organized pattern of beats mood: the feeling of a piece of music

music notation: the method used to write down music so that it can be played or sung the same way again

note head: the round part of a musical note

note stem: the vertical line extending from the head of a note

ode: a poem that expresses praise or appreciation, sometimes sung

phrase: a short musical segment with a specific contour and duration that is part of a larger melody

pitch: how high or low a sound is posture: the position of the body

repertoire: a French word referring to the set of musical pieces you learn over a period of time

rest: a rhythmic symbol that represents silence

rhythm: patterns of sound and silence

scale degree: a numbered pitch of a scale. In a C scale, C is scale degree 1, D is 2, and so on.

solo: one singer or instrumentalist performing alone

staff: the set of lines and spaces on which musical pitches are written

steady beat: the pulse in music

step: a musical interval spanning one scale degree

tempo: the speed of music time

signature: a symbol used in music to indicate meter

tuning: adjusting instruments to a desired pitch

unison: a single pitch that is played or sung at the same time by multiple people

vibrations: the quick back-and-forth movement of air to produce a sound

COME TO PLAY by Thomas Cabaniss

WINDS BLOW, TRUMPETS SOUNDING

STRINGS SING, DRUMMERS P-P-P-P-P-P-POUNDING

DRUMMERS P-P-P-P-P-P-POUNDING

COME TO PLAY

JOIN SOUND WITH SOUND

COME TO SING

WE’LL SHAKE THE GROUND WITH SONG

COME TO PLAY

JOIN SOUND WITH SOUND

COME TO SING

WE’LL SHAKE THE GROUND WITH SONG

WHAT DO YOU DO WITH TIME?

MAKE IT GROOVE, MAKE IT MOVE,

MAKE IT RHYME

WHAT DO YOU DO WITH SONG?

MAKE IT SING, MAKE IT RING,

MAKE IT STRONG, MAKE IT LONG

WHAT DO YOU DO WITH SOUND?

MAKE IT CRY, MAKE IT FLY,

MAKE IT GLEAM,

MAKE IT YOUR DREAM

(Orchestral interlude)

WINDS BLOW, TRUMPETS SOUNDING

STRINGS SING, DRUMMERS P-P-P-P-P-P-POUNDING

DRUMMERS P-P-P-P-P-P-POUNDING

COME TO PLAY

JOIN SOUND WITH SOUND

COME TO SING

WE’LL SHAKE THE GROUND WITH SONG

COME TO PLAY

JOIN SOUND WITH SOUND

COME TO SING

WE’LL SHAKE THE GROUND WITH SONG

SIMPLE GIFTS by Joseph Brackett

‘TIS THE GIFT TO BE SIMPLE

‘TIS THE GIFT TO BE FREE

‘TIS THE GIFT TO COME DOWN

WHERE WE OUGHT TO BE

AND WHEN WE FIND OURSELVES

IN THE PLACE JUST RIGHT

IT WILL BE IN THE VALLEY

OF LOVE AND DELIGHT

WHEN TRUE SIMPLICITY IS GAINED

TO BOW AND TO BEND WE SHAN’T BE ASHAMED

TO TURN, TURN IT WILL BE OUR DELIGHT

‘TIL BY TURNING, TURNING WE COME ROUND RIGHT

TO MAKE WORDS SING by Thomas Cabaniss

TO MAKE WORDS SING

IS A WONDERFUL THING

BECAUSE IN A SONG

WORDS LAST SO LONG

SO LONG ------------------

SO LONG ------------------

SO LONG. SO LONG. SO LONG.

TO MAKE WORDS SING

IS A WONDERFUL THING

BECAUSE IN A SONG

WORDS LAST SO LONG

SO LONG ------------------

SO LONG ------------------

SO LONG. SO LONG.

SO LONG__________________.

ODE TO JOY

by Ludwig van Beethoven

JOYFUL AS WE JOIN IN SINGING,

ANTHEMS OLD YET STRONG AND BRIGHT,

NEAR AND FAR TO ALL WE’RE BRINGING

VOICES FILLED WITH HOPE AND LIGHT.

SINGING BRINGS US ALL TOGETHER

WHEN OUR VOICES WOULD BE SMALL,

GIVES US POWER UNDIVIDED

NOW UNITED ONE AND ALL.

SINGING BRINGS US ALL TOGETHER

WHEN OUR VOICES WOULD BE SMALL,

GIVES US POWER UNDIVIDED

NOW UNITED ONE AND ALL.

JOYFUL IN THE SONGS WE’RE SINGING

JOINED IN MUSIC AND IN WORD,

WITH THE POWER THAT WE’RE BRINGING

AS ONE VOICE WE WILL BE HEARD.

SINGING BRINGS US ALL TOGETHER

WHEN OUR VOICES WOULD BE SMALL,

GIVES US POWER UNDIVIDED

NOW UNITED ONE AND ALL.

SINGING BRINGS US ALL TOGETHER

WHEN OUR VOICES WOULD BE SMALL,

GIVES US POWER UNDIVIDED

BOUGHT ME A CAT

By Thomas Cabaniss

I BOUGHT ME A CAT

MY CAT PLEASED ME

I FED MY CAT UNDER YONDER TREE

CAT SAYS FIDDLE EYE FEE

FIDDLE EYE FEE

I BOUGHT ME A HEN

MY HEN PLEASED ME

FED MY HEN UNDER YONDER TREE

HEN SAYS “CLUCKETY, CLUCKETY”

CAT SAYS FIDDLE EYE FEE

FIDDLE EYE FEE

I BOUGHT ME A DUCK,

MY DUCK PLEASED ME

FED MY DUCK UNDER YONDER TREE

DUCK SAYS "QUACK, QUACK"

HEN SAYS "CLUCKETY, CLUCKETY"

CAT SAYS FIDDLE EYE FEE

FIDDLE EYE FEE

I BOUGHT ME A GOOSE...

MY GOOSE PLEASED ME

FED MY GOOSE UNDER YONDER TREE

GOOSE SAYS, "HONK, HONK"

DUCK SAYS "QUACK, QUACK"

HEN SAYS "CLUCKETY, CLUCKETY"

CAT SAYS FIDDLE EYE FEE

FIDDLE EYE FEE

I BOUGHT ME A PIG

MY PIG PLEASED ME

FED MY PIG UNDER YONDER TREE

PIG SAYS, "OINK, OINK"

GOOSE SAYS, "HONK, HONK"

DUCK SAYS "QUACK, QUACK"

HEN SAYS "CLUCKETY, CLUCKETY"

CAT SAYS FIDDLE EYE FEE

FIDDLE EYE FEE

I BOUGHT ME A DOG

MY DOG PLEASED ME

FED MY DOG UNDER YONDER TREE

DOG SAYS, "BOW, WOW"

PIG SAYS, "OINK, OINK"

GOOSE SAYS, "HONK, HONK"

DUCK SAYS "QUACK, QUACK"

HEN SAYS "CLUCKETY, CLUCKETY"

CAT SAYS FIDDLE EYE FEE

FIDDLE EYE FEE

I BOUGHT ME A COW

MY COW PLEASED ME

FED MY COW UNDER YONDER TREE

COW SAYS, "MOO, MOO"

DOG SAYS, "BOW, WOW"

PIG SAYS, "OINK, OINK"

GOOSE SAYS, "HONK, HONK"

DUCK SAYS "QUACK, QUACK"

HEN SAYS "CLUCKETY, CLUCKETY"

CAT SAYS FIDDLE EYE FEE

FIDDLE EYE FEE

I BOUGHT ME A HORSE

MY HORSE PLEASED ME

FED MY HORSE UNDER YONDER TREE

HORSE SAYS, "NEIGH, NEIGH"

COW SAYS, "MOO, MOO"

DOG SAYS, "BOW, WOW"

PIG SAYS, "OINK, OINK"

GOOSE SAYS, "HONK, HONK"

DUCK SAYS "QUACK, QUACK"

HEN SAYS "CLUCKETY, CLUCKETY"

CAT SAYS FIDDLE EYE FEE

FIDDLE EYE FEE

OYE by Jim Papoulis

OYE, ARE YOU LISTENING?

OYE, CAN YOU HEAR THEM CALLING?

WE ARE CALLING TO YOU

VERSE:

ESTA SOLO LLORANDO

EN SILENCIO EN LA OSCURIDAD

ESTA SOÑANDO DESEANDO

CON ESPERANZA POR L’OPORTUNIDAD

ESCUCHALOS, ESCUCHALOS ELLOS TE LLAMAN

CHORUS: (students sing along)

OYE, ARE YOU LISTENING? OYE, CAN YOU HEAR THEM CALLING?

WE ARE CALLING TO YOU

OYE, ARE YOU LISTENING?

OYE, CAN YOU HEAR THEM CALLING?

CAN YOU HEAR US?

VERSE:

ESCUCHALOS MIRALOS

ESCUCHA LO QUE TRATAN DE DECIR

ESTAN EN BUSQUEDA DEL CAMINO

PEQUEÑAS VOCES LLAMÁNDOTE

ESCUCHALOS, ESCUCHALOS ELLOS TE LLAMAN

CHORUS:(students sing along)

OYE, ARE YOU LISTENING?

OYE, CAN YOU HEAR THEM CALLING?

WE ARE CALLING TO YOU

OYE, ARE YOU LISTENING?

OYE, CAN YOU HEAR THEM CALLING?

CAN YOU HEAR US?

(Orchestral interlude)

OYE, OYE, OYE, OYE, OYE, OYE!

OYE

OYE

WE ARE CALLING TO YOU

OYE

OYE

OYE

CAN YOU HEAR US?

OYE, ARE YOU LISTENING?

OYE, CAN YOU HEAR THEM CALLING?

WE ARE CALLING TO YOU

OYE, ARE YOU LISTENING?

OYE, CAN YOU HEAR THEM CALLING?

CAN YOU HEAR US? OYE!

Pre-Show Discussion Questions

Why does an orchestra need a conductor?

What are the differences among a solo, duet, trio, and

quartet?

Do smaller instruments play higher or lower than large

instruments?

Do you suppose the music we think of as modern today

will be listened to 300 years from now?

What comes to mind when someone says "classical

music?" Do some children have a prejudice against what

they think of as classical music? Why? Name all of the

different kinds of music you can think of. Is there anyone

who likes all kinds of music?

Post-Show Discussion Questions

Did all of the instruments play the same amount, or did

some play more and some rest more?

Can you think of some instruments that you saw at the

concert that you have seen somewhere else? (strolling

violinist in restaurant, quartet at wedding, brass band,

street musicians)

Did any of your thoughts or feelings about classical music

change as a result of attending this concert?

Tell a Story with Rhythm!

Items needed: A story or book of the group’s choosing and a

rhythm box with a variety of instruments such as shakers,

bells, drums, tambourines, blocks, etc.

Choose a book with a theme that corresponds with your

classes’ unit of study. This can be a myth, a children’s story,

or even a chapter of a novel.

After the class has read it and talked about its significant

actions or themes, break into groups of 3-4. Have groups

decide which significant moments of the story they would

like to represent and to brainstorm percussive sounds that

might fit well with them. They may choose one instrument

from a rhythm box and use it plus any sounds they can make

with their hands, arms, or feet, to illustrate their part of the

story. Then have the full group try the rhythms in sequence,

each small group doing theirs, followed by the next group,

etc.

As a group share impressions of how the movements worked

in sequence. Is there anything you’d like to change?

Invite an audience to listen to the story read aloud while

sounds are performed or tape record the performance and

listen to it as a class.

Rhythm Circle

Form a standing circle. Discuss how individuals can invent a

rhythm using hands, feet, etc. and lead students to

experiment creating a rhythm using clapping, stamping,

snapping fingers, sliding feet, etc. Then choose a student to

create a simple steady beat to start the rhythm circle going

well. Step into the center of the circle and act as the

“conductor”. As members of the circle are ready to add a

rhythm, either uniquely their own or like another’s, they

raise their hand. You bring them in, and they begin their

pattern and continue it throughout the session. One by one,

participants enter when you point to them. You may ask the

group to get louder or get softer with your gestures, and

finally, you will signal the end the piece.

Debrief quickly after each session:

What sounds gave the rhythm circle a special feeling?

How did participants feel being part of an ensemble?

Now allow a student to become the conductor and repeat

the process.

Variations:

• Try the rhythm circle with percussion instruments,

homemade (cans filled with pebbles) or bought (maracas,

whistles, drums)

• Try it again with sounds created by mouth (whoops,

whistles, moans, whispers)

• Try creating sounds that have to do with themes, such as a

rainstorm, slavery, childhood, happiness, etc.

• Record the rhythm circle and play it back to the group for

feedback.

Reflection: Participants, even if they don’t consider

themselves musicians, may quickly perceive themselves to be

part of something that truly is music. It may be easier now

for the group to understand how music evolved and how

simple it can be.

The Flynn Center

The Flynn has been at the center of Vermont's cultural

landscape for over 80 years—from its earliest days as a

vaudeville house through five decades as a movie theater to its

present life as the region's leading performance center and

arts education organization. Today, the Flynn Center for the

Performing Arts is recognized internationally for its significant

artistic, educational, and community outreach activities;

superb technical capacity; beautiful historic setting; and world-

class presentations. At the Flynn, we celebrate a rich legacy of

connecting our community with the arts. The Flynn is

recognized for its stellar artistic programming in theater, dance, and music; and for educational programs

that reach far into the community to advance teaching and learning. For more about the Flynn, click here.

DISCUSS BEING A

MINDFUL AUDIENCE

MEMBER:

How is going to see a live

theatre performance

different from seeing a

movie, going to a

concert, or watching TV?

In small groups, come up

with a list of positive

audience behaviors, and

behaviors that would be

disruptive to performers

and other audience

members. Come

together and create a

master list.

Etiquette for Live Performances

The Essentials

Listen, experience, imagine, discover, learn!

Give your energy and attention to the performers.

At the end of the show, clap for the performers’ time and energy.

Eating, drinking, and chewing gum are not okay.

Talk only before and after the performance.

Turn off wireless devices. No photos, videos, texting, or listening to music.

Why is Etiquette Important?

A good live performance is a powerful communication

between audience and performer. The more the audience

gives to the performer, the more the performer can give

back to the audience. The performer hears the audience

laughing, senses its sympathy, and delights in the

enthusiasm of its applause. Furthermore, each audience

member affects those sitting near him or her, in addition to

the performers onstage. Technological devices (cameras,

phones, etc.) have become so prevalent in our daily lives,

but using these devices is distracting to the performers

onstage and other audience members trying to watch the

show. Even the light from checking the time, or the buzz of a phone on vibrate can pull

the people around you out of the experience. Cell phone frequencies can even interfere

with the microphones in the production, and taking photos can be unsafe for performers.

Additionally, an artist has the right to decide what photos and videos go out into the

world. Phones keep you from being present and fully engaged with the show. Thank you

for turning devices completely off!

We can’t wait to see you at the theater!

Teachers, a few reminders:

Fill out the Seating and Travel Survey, so we can best accommodate your group’s needs in regards to dismissal,

bussing, students with different needs, etc.

Share your experience with us! Use the feedback links, or share your students’ artwork, writing, responses. We

love to hear how experiences at the Flynn impact our audiences.

Explore other student matinees at the Flynn this season. We’ve still got seats in some shows and we’d love to help

you or other teachers at your school enliven learning with an engaging arts experience!

We have some new initiatives to deepen student connection and experience!

Pre or Post-Show Video Chats:

Help students build enthusiasm or process their experience with a free, 5-10 minute

video chat before or after the show! We can set up Skype/Facetime/Google

Hangouts with your class to answer questions about the content, art form, and

experience. Contact Kat, kredniss@flynncenter.org to set up your chat!

Autism and Sensory-Friendly Accommodations:

The Flynn Center has been working diligently to break down barriers for audience

members with disabilities, with a particular focus on those with sensory-sensitivities.

Social stories, break spaces, sensory friendly materials, and more are available for all

student matinees. Feel free to let us know ahead of time if any of these would be

useful, or ask an usher at the show!

Make your field trip the most meaningful learning experience it can be with a preparatory

Companion Workshop in your classroom!

An engaging Flynn Teaching Artist can come to your school to deepen students’ understanding of both content and form with

an interactive workshop, enriching kids’ matinee experiences. Funding support is often available. To learn more, check out this

link. To book a workshop, click here. Questions? Contact Lauren: schoolprograms@flynncenter.org or (802)652-4508

Hello from

the Flynn!