MUSICAL AWAKENINGS presents CARNIVAL OF THE ANIMALS

PROGRAM
Camille Saint-Sans Carnival of the Animals

TEKS CORRELATIONS
Language Arts Strand 4.1 Reading/Fluency. Students read grade-level text with fluency and comprehension. Students are expected to read aloud grade-level stories with fluency (rate, accuracy, expression, appropriate phrasing) and comprehension. 2.3, 3.2 Reading/Beginning Reading/Strategies. Students comprehend a variety of texts drawing on useful strategies as needed. Students are expected to: (A) use ideas (e.g., illustrations, titles, topic sentences, keywords, and foreshadowing) to make and confirm predictions; (B) ask relevant questions, seek clarification, and locate facts and details about stories and other texts and support answers with evidence from text; and (C) establish purpose for reading selected texts and monitor comprehension, making corrections and adjustments when that understanding breaks down (e.g., identifying clues, using background knowledge, generating questions, re-reading a portion aloud). 2.7, 3.6, 4.4 Reading/Comprehension of Literary Text/Poetry. Students understand, make inferences and draw conclusions about the structure and elements of poetry and provide evidence from text to support their understanding. Students are expected to describe how rhyme, rhythm, and repetition interact to create images in poetry. 2.10, 3.9, 4.7 Reading/Comprehension of Literary Text/Literary Nonfiction. Students understand, make inferences and draw conclusions about the varied structural patterns and features of literary nonfiction and respond by providing evidence from text to support their understanding. Students are expected to distinguish between fiction and nonfiction.

2.11, 3.10, 4.8 Reading/Comprehension of Literary Text/Sensory Language. Students understand, make inferences and draw conclusions about how an author's sensory language creates imagery in literary text and provide evidence from text to support their understanding. Students are expected to recognize that some words and phrases have literal and non-literal meanings (e.g., take steps). 2.12, 3.11, 4.9 Reading/Comprehension of Text/Independent Reading. Students read independently for sustained periods of time and produce evidence of their reading. Students are expected to read independently for a sustained period of time and paraphrase what the reading was about, maintaining meaning. 2.14, 3.13, 4.11 Reading/Comprehension of Informational Text/Expository Text. Students analyze, make inferences and draw conclusions about and understand expository text and provide evidence from text to support their understanding. Students are expected to: (A) identify the main idea in a text and distinguish it from the topic; (B) locate the facts that are clearly stated in a text; (C) describe the order of events or ideas in a text; and (D) use text features (e.g., table of contents, index, headings) to locate specific information in text. 2.17, 3.17, 4.15 Writing/Writing Process. Students use elements of the writing process (planning, drafting, revising, editing, and publishing) to compose text. Students are expected to: (A) plan a first draft by generating ideas for writing (e.g., drawing, sharing ideas, listing key ideas); (B) develop drafts by sequencing ideas through writing sentences; (C) revise drafts by adding or deleting words, phrases, or sentences; (D) edit drafts for grammar, punctuation, and spelling using a teacher-developed rubric; and (E) publish and share writing with others. 2.18, 3.18, 4.16 Writing/Literary Texts. Students write literary texts to express their ideas and feelings about real or imagined people, events, and ideas. Students are expected to write short poems that convey sensory details. 2.21, 3.22, 4.20 Oral and Written Conventions/Conventions. Students understand the function of and use the conventions of academic language when speaking and writing. 2.22, 3.23, 4.21 Oral and Written Conventions/Handwriting. Students write legibly and use appropriate capitalization and punctuation conventions in their compositions. 2.23, 3.24, 4.22 Oral and Written Conventions/Spelling. Students spell correctly. 2.24, 3.25, 4.23 Research/Research Plan. Students ask open-ended research questions and develop a plan for answering them. Students are expected to: (A) generate a list of topics of class-wide interest and formulate open-ended questions about one or two of the topics; and (B) decide what sources of information might be relevant to answer these questions. 2.25, 3.26, 4.24 Research/Gathering Sources. Students determine, locate, and explore the full range of relevant sources addressing a research question and systematically record the information they gather. Students are expected to: (A) gather evidence from available sources (natural and personal) as well as from interviews with local experts; (B) use text features (e.g., table of contents, alphabetized index, headings) in age-appropriate reference works (e.g., picture dictionaries) to locate information; and (C) record basic information in simple visual formats (e.g., notes, charts, picture graphs, diagrams). 2.26, 3.27, 4.25 Research/Synthesizing Information. Students clarify research questions and evaluate and synthesize collected information. Students are expected to revise the topic as a result of answers to initial research questions.

2.27, 3.28, 4.26 Research/Organizing and Presenting Ideas. Students organize and present their ideas and information according to the purpose of the research and their audience. Students (with adult assistance) are expected to create a visual display or dramatization to convey the results of the research. 2.28, 3.29, 4.27 Listening and Speaking/Listening. Students use comprehension skills to listen attentively to others in formal and informal settings. Students continue to apply earlier standards with greater complexity. Students are expected to: (A) listen attentively to speakers and ask relevant questions to clarify information; and (B) follow, restate, and give oral instructions that involve a short related sequence of actions. 2.29, 3.30, 4.28 Listening and Speaking/Speaking. Students speak clearly and to the point, using the conventions of language. Students continue to apply earlier standards with greater complexity. Students are expected to share information and ideas that focus on the topic under discussion, speaking clearly at an appropriate pace, using the conventions of language. 2.30, 3.31, 4.29 Listening and Speaking/Teamwork. Students work productively with others in teams. Students continue to apply earlier standards with greater complexity. Students are expected to follow agreed-upon rules for discussion, including listening to others, speaking when recognized, and making appropriate contributions. Mathematics Strand 2.1, 3.1, 4.1 Number, operation, and quantitative reasoning. The student understands how place value is used to represent whole numbers. 2.2, 3.2, 4.2 Number, operation, and quantitative reasoning. The student describes how fractions are used to name parts of whole objects or sets of objects. 2.3, 3.3, 4.3 Number, operation, and quantitative reasoning. The student adds and subtracts whole numbers to solve problems. 2.4, 3.4, 4.4 Number, operation, and quantitative reasoning. The student models multiplication and division. The student recognizes and solves problems in multiplication and division situations. 2.5, 3.6, 4.6 Patterns, relationships, and algebraic thinking. The student uses patterns in numbers and operations. 2.6, 3.7, 4.7 Patterns, relationships, and algebraic thinking. The student uses patterns to describe relationships and make predictions. 2.14, 3.16, 4.16 Underlying processes and mathematical tools. The student uses logical reasoning. Science Strand 2.3, 3.3, 4.3 Scientific processes. The student knows that information and critical thinking are used in making decisions. The student is expected to: (A) make decisions using information; (B) discuss and justify the merits of decisions; and (C) explain a problem in his/her own words and identify a task and solution related to the problem. 2.5 Science concepts. The student knows that organisms, objects, and events have properties and patterns. The student is expected to classify and sequence organisms, objects, and events based on properties and patterns.

3.8, 4.8 Science concepts. The student knows that living organisms need food, water, light, air, a way to dispose of waste, and an environment in which to live. The student is expected to: (A) observe and describe the habitats of organisms within an ecosystem; (B) observe and identify organisms with similar needs that compete with one another for resources such as oxygen, water, food, or space; (C) describe environmental changes in which some organisms would thrive, become ill, or perish; and (D) describe how living organisms modify their physical environment to meet their needs such as beavers building a dam or humans building a home. 2.9, 3.9 Science concepts. The student knows that species have different adaptations that help them survive and reproduce in their environment. The student is expected to: (A) observe and identify characteristics among species that allow each to survive and reproduce; and (B) analyze how adaptive characteristics help individuals within a species to survive and reproduce.

SUGGESTED LESSONS PLANS Study Guide Introduction page 5 Setting The Mood pages 6-19 Acrostic Animal Poems pages 20-27 Saint-Sans Biography pages 28

Carnival of the Animals: Making the Music

At the time Camille Saint-Sans (Kah-meel san SAHNS) was growing up in France (1835-1921), much of the music he had to learn and practice was very formal music. He learned his lessons well and became an excellent musician. When he grew up, he composed many pieces of beautiful, formal music. But Saint-Sans also had a great sense of humor. When he wrote Carnival of the Animals, he didnt intend for it to be performed in public. He wrote it as a private amusement for himself and his friends; as something light and enjoyable for his students to practice. Nevertheless, it was eventually played in public and has become one of his most popular works. Your students will encounter the following vocabulary words as part of the Van Cliburn presentation. Pre-teaching these words will allow your students to understand their musical experience with greater depth: Tempo is the speed at which music is or ought to be played, often indicated on written compositions by a descriptive or metronomic direction to the performer. Rhythm is the pattern of musical movement through time. It can be characterized by a specific kind of pattern formed by a series of notes differing in duration and stress, such as a waltz rhythm. In music, a group of instruments supplies the rhythm in a band.

Setting the Mood

Tone is the attitude a writer has towards the subject they are writing about. It is evident in their diction, style, and opinion if they express one. Mood is the atmosphere created by the setting, and actions of people and characters in it. It also relates to how the reader emotionally responds to these elements, like sadness for a tragedy. When music is recorded, the energy and artist expression is captured forever. When you listen to it, the mood is recreated around you. You can hear the happiness in someones voice or the pain and sorrow if the song is sad. Instruments can also play happy or sad music. Major chords and scales are associated with happy, and Minor chords are generally sad. Camille Saint-Sans thought about how each animal is portrayed through music. He sets the mood of each piece to portray the animals characteristics. Subject Areas: Language Arts, Science Instructional Goals: Students will understand adaptations may increase the survival of members of a species. Students will identify characteristics that allow members within a species to survive and reproduce. Students will compare adaptive characteristics of various species. Students will identify the kinds of species that lived in the past and compare them to existing species. Students will describe the habitats of organisms within an ecosystem. Students analyze, make inferences, and draw conclusions about expository text and provide evidence from text to support their understanding. Students determine, locate, and explore the full range of relevant sources addressing a research question and systematically record the information they gather. Students work productively with others in teams. Materials Needed: Resource materials such as encyclopedias Internet access Notebook paper Pencils

Anticipatory Set: 1. The teacher will exhibit photographs of the animals depicted in the Camille SaintSans Carnival of the Animals. 2. Students will discuss animals needs and environments and the differences between animals, while the teacher will observe the level of prior knowledge the students exhibit. 3. The teacher will allow students to self select an animal to research. The Big 6 research component will assist students as they undertake their in-depth study. Activity: 1. Students will self-select an animal from the Saint-Sans list of musical interludes or from a variety of biomes. 2. Using research based questions, students will collect data on their specific animal and its adaptations to its habitat, and unique characteristics. 3. Students will create a product of their choice to demonstrate the adaptations that their specific animal has in relation to their habitat. Product choices could include a PowerPoint presentation, diorama, research report, book with illustrations and maps, or a poster format, etc. Teachers Role: The teachers role in this lesson is to facilitate understanding of how research is conducted; to help students have an understanding of the animals represented in SaintSans Carnival of Animals. Creative Question Suggestions: 1. How might understanding adaptations lead to knowledge of an organisms habitat? 2. How might research lead to deeper understandings of a topic? 3. How might knowledge of an organisms characteristics be represented in a variety of ways in literature, music, art, etc.? Evaluation: 1. The students will be evaluated based on the depth of research on their animal and its habitat. 2. The students will be evaluated on the quality of their product created.

List of Musical Movements from Carnival of The Animals

1. royal lions 2. hens and/or roosters 3. wild horses 4. turtles 5. elephants 6. kangaroos 7. fish/aquarium 8. donkey 9. cuckoo bird 10. aviary 11. pianos 12. fossils/bones/dinosaurs 13. swan

Acrostic Animal Poems

Subject Areas: Language Arts, Science Instructional Goals: Students will understand, make inferences, and draw conclusions about the structure and elements of poetry and provide evidence from text to support their understanding. Students will explain how the structural elements of poetry (e.g., rhyme, meter, stanzas, line breaks) relate to form (e.g., lyrical poetry, free verse). Students will write literary texts to express their ideas and feelings about real or imagined people, events, and ideas. Students will write poems that convey sensory details using the conventions of poetry (e.g., rhyme, meter, patterns of verse). Materials Needed: Notebook paper Pencils White medium weight cardstock Colored pencils, markers, and/or crayons Anticipatory Set: 1. The teacher will share the Ogden Nash poems from Carnival of the Animals. 2. The teacher should share other poems about animals and other poems by Ogden Nash.

Activity: 1. Students will examine poetry from Ogden Nash and other poems with animals as a theme. 2. Students will self select an animal and create their own acrostic poem. Students should write complete sentences for each letter in the animals name. Example: O __________________________ C __________________________ T __________________________ O __________________________ P __________________________ U __________________________ S __________________________

3. Students will proofread, revise, edit, and publish poem. 4. Students will illustrate their acrostic poem. 5. Poems may be compiled in a class book. Teachers Role: The teachers role is to facilitate understanding of acrostic poems, the writing process, and creativity of word choices. Creative Question Suggestions: 1. Based on what you know, how would you explain the process you used to create an acrostic poem about the animal you have selected? 2. How would you evaluate the factual information you have communicated within your acrostic poem? Evaluation: The students will be evaluated on the creative application of their acrostic poem. Student self-evaluations may be factored into the assessment.

Acrostic Poetry Reflection Checklist

Name: ___________________ Animal: __________________
_____ I used one or more words that are new to me. _____ I used words that help the reader make a picture of the animal. _____ I found words for my poem in more than one place. _____ My illustration is colorful and shows details. _____ My illustration matches my poem. _____ My poem teaches people something about the animal. _____ I gave suggestions to other students about their poems. _____ I listened to other students suggestions about my poem. _____ When sharing, I read my poem clearly, with a strong voice. _____ I listened while other students were sharing their poems.

CARNIVAL OF THE ANIMALS

Poems by American writer Ogden Nash

INTRODUCTION
Camille Saint-Sans Was wracked with pains, When people addressed him, As Saint-Sans. He held the human race to blame, Because it could not pronounce his name, So, he turned with metronome and fife, To glorify other kinds of life, Be quiet please - for here begins His salute to feathers, fur and fins.

THE LION
The lion is the king of beasts, And husband of the lioness. Gazelles and things on which he feasts Address him as your highoness. There are those that admire that roar of his, In the African jungles and velds, But, I think that wherever the lion is, Id rather be somewhere else.

COCKS AND HENS

The rooster is a roistering hoodlum, His battle cry is cock- a- doodleum. Hands in pockets, cap over eye, He whistles at pullets, passing by.

THE WILD DONKEY

Have ever you harked to the donkey wild, Which scientists call the onager? It sounds like the laugh of an idiot child, Or a hepcat on a harmoniger, But do not sneer at the donkey wild, There is a method in his heehaw, For with maidenly blush and accent mild The donkey answers shee-haw.

THE TORTOISE
Come crown my brow with leaves of myrtle, I know the tortoise is a turtle, Come carve my name in stone immortal, I know the turtoise is a tortle. I know to my profound despair, I bet on one to beat a hare, I also know Im now a pauper, Because of its tortley, turtley, torper.

THE ELEPHANT
Elephants are useful friends, Equipped with handles at both ends, They have a wrinkled moth proof hide, Their teeth are upside down, outside, If you think the elephant preposterous, Youve probably never seen a rhinosterous.

KANGAROOS
The kangaroo can jump incredible, He has to jump because he is edible, I could not eat a kangaroo, But many fine Australians do, Those with cookbooks as well as boomerangs, Prefer him in tasty kangaroomeringues.

THE AQUARIUM
Some fish are minnows, Some are whales, People like dimples, Fish like scales, Some fish are slim, And some are round, They dont get cold, They dont get drowned, But every fishwife Fears for her fish, What we call mermaids They call merfish.

MULES
In the world of mules There are no rules. (Laughing, In the world of mules There are no rules)

THE CUCKOO IN THE WILD

Cuckoos lead bohemian lives, They fail as husbands and as wives, Therefore, they cynically disparage Everybody elses marriage

BIRDS
Puccini was Latin, and Wagner Teutonic, And birds are incurably philharmonic, Suburban yards and rural vistas Are filled with avian Andrew Sisters. The skylark sings a roundelay, The crow sings The Road to Mandalay, The nightingale sings a lullaby, And the sea gull sings a gullaby. Thats what shepherds listened to in Arcadia Before somebody invented the radia.

PIANISTS
Some claim that pianists are human, Heh, and quote the case of Mr. Truman. SaintSans on the other hand, Considered them a scurvy band, A blight they are he said, and simian, Instead of normal men and wimian.

FOSSILS
At midnight in the museum hall, The fossils gathered for a ball, There were no drums or saxophones, But just the clatter of their bones, Rolling, rattling carefree circus, Of mammoth polkas and mazurkas, Pterodactyls and brontosauruses Sang ghostly prehistoric choruses, Amid the mastodonic wassail I caught the eye of one small fossil, Cheer up sad world, he said and winked, Its kind of fun to be extinct.

THE SWAN
The swan can swim while sitting down, For pure conceit he takes the crown, He looks in the mirror over and ovea, And claims to have never heard of Pavlova.

THE GRAND FINALE

Now weve reached the grand finale, On an animalie, carnivalie, Noises new to sea and land, Issue from the skillful band, All the strings contort their features, Imitating crawly creatures, All the brasses look like mumps From blowing umpah, umpah, umps, In outdoing Barnum and Bailey, and Ringling, SaintSans has done a miraculous thingling.

THE STORY OF CAMILLE SAINT-SA!NS (1835-1921)

Camille Saint-Sans is one of the most famous French composers. He was also an organist, pianist, and conductor. He was born in Paris, France, and began his piano studies when he was just three years old. He gave his first public piano performance at the age of five. By the age of seven, he had already begun composing his own music. As a teenager, Saint-Sans became an organ student at the Paris Conservatoire, and a few years later he wrote his first symphony. He remained an active composer throughout his long life, composing over 300 works, including 13 operas, and he was the first major composer to write music specifically for the cinema. Saint-Sans was very fond of animals and wrote a book about them. One year while he was on holiday, he composed a set of orchestral character pieces called "Carnival of the Animals". It consists of 14 movements. Each movement in "Carnival of the Animals" describes a particular animal, usually by mimicking the sounds the animal makes or characterizing the way it moves or carries itself. Saint-Saens only allowed the piece to be performed twice during his lifetime, likely because he was afraid the work would hurt his reputation as a serious composer. However, the piece was allowed to be published after his death, and it has since become one of his most popular works.