Quinteto
Latino,
a
wind
quintet


specializing
in
the
interpretation
of
Latin

American
classical
and
contemporary

music,
was
founded
in
2001
by
French

hornist
Armando
Castellano.
These

passionate
artists
and
enthusiastic

educators
have
dedicated
themselves
to

performing
with
world­class
artistry
in

communities
not
traditionally
served
by

classical
musicians.
By
championing

young
and
lesser­known
composers
of

Latin
American
and
Caribbean
heritage,

Quinteto
Latino
seeks
to
expand
the

boundaries
of
classical
music,
reach
new

audiences,
and
inspire
new
generations
of


 players.






QUINTETO
LATINO

WIND
QUINTET

Kyle
Bruckmann,
oboe
 

Diane
Grubbe,
flute
 

Shawn
Jones,
bassoon
 

Leslie
Tagorda,
clarinet

Armando
Castellano,
Founder
and
Director,
French
horn

“Every
country
has
its
own
sounds,
rhythms,
instruments,
songs
and
dance.

Music
helps
us
understand
the
people
who
make
it,
even
if
they
live
far
away.”
‐
Aliki

Join
Quinteto
Latino
for
a
very
special
trip
 REPERTOIRE

Györgi
Ligeti
–
Bagatelle
(short,
fun
piece
of
music)


around
the
world
through
the
joyful
and
 b.
Romania,
(1923
–
2006)

colorful
music
of
Latin
America
and
beyond.
 José
Luis
Hurtado

(Arr.)
­
Son
de
la
Bruja
(Song
of
the
Witch),

Quinteto
Latino
share
their
musical‐cultural
 Traditional
folk
song,
México,
contemporary
composer
and
pianist

roots
and
stories
through
the
works
of
folkloric
 Astor
Piazzolla

–
Libertango
(Freedom
Tango)
Calambre

(Spasm)
Argentina,
composer
and
bandoneon
player


and
contemporary
masters,
connecting
 (1921
–
1992)

students
with
themselves,
one
another
and
the
 Carmen
Melendez
Romero
(Arr.)
–

Sones
de
Betaza
(Songs

world
community.
Through
movement,
gesture
 from
Betaza)
Mexico,
contemporary
composer
and
flutist

George
Friedrich
Händel
‐
Hornpipe
from
Water
Music,

and
focused
listening
strategies,
students
gain
 
b.
Germany
worked
in
England

(1685‐1759)

an
understanding
of
musical
ideas
and
 Billy
Strayhorn

–

Take
the
A
Train,
USA;
American
jazz

concepts
while
learning
about
building
 composer,
arranger
and
pianist
(1915
–
1967)

Queen
Lili’uokalani
­
Aloha
‘Oe
(Farewell
to
Thee),
Traditional,

community
out
of
rich
diversity…
and
have
lots
 Hawaii,

last
reigning
Hawaiian
monarch
and
composer

of
fun
along
the
way!
Students
will
enjoy
music‐ (1838
–
1917)

making
as
the
“percussion
section”
in
this
 Siyahamba
(Marching
Song),
Traditional,
Africa

highly
interactive
presentation
of
Nuestras
 Wolfgang
Amadeus
Mozart
‐
Turkish
March,
Austria


(1756‐1791)

Raíces
de
Música.

 Jarabe
Tapatío
–

Traditional
folk
song
(Mexican
Hat
Dance)




CONTACT:
Armando
Castellano

|
650.704.2949;
armandocastellano@quintetolatino.org

For
sound
clips
and
more
information
visit:

http://quintetolatino.org/




Check
out
Quinteto
Latino
on
YouTube


http://www.youtube.com/watch?v=Hk‐Xq8co9nY&NR=1


 1

 California
Instructional
Standards
Alignment
and

Connections
for
Grades
K­6:
 A
NOTE
TO
TEACHERS
AND
PARENTS:


 

VISUAL
AND
PERFORMING
ARTS
–
MUSIC

 Artistic
Perception

The
Quinteto
Latino
performance,

• Gr.
K
‐
1.2
Identify
and
describe
basic

elements
in
music
 accompanying
activities
and
materials
in
this

(high/low;
fast/slow;
loud/soft;
beat).
 guide
have
been
developed
in
alignment
with

• Gr.
3
‐
1.4
Identify
visually
and
aurally
the
4
families
of
 the
California
instructional
standards

orchestral
instruments.
 identified
in
the
opposite
column.
Activities
as

• Gr.
3
‐
1.5

Describe
the
way
in
which
sound
is
made
on

various
instruments.

well
as
instructional
materials
may
be
readily

 Aesthetic
Valuing
 adapted
for
various
grade
and/or
student

• *Gr.
1
‐
4.1
‐
Create
movements
to
music
that
reflect
focused
 ability
levels,
K‐6.
Activities
may
be
done

listening.
 before
or
after
the
performance
as

• *Gr.
3
‐
4.3
Describe
how
specific
musical
elements
 appropriate.

communicate
particular
ideas
or
moods
in
music.

 Historical/Cultural
Context

• Gr.
1
‐

3.4

Use
developmentally
appropriate
movements
in

responding

to
music
from
various
genres,
periods
and

styles
(rhythm,
melody,
form).



HISTORY/SOCIAL
SCIENCE

• Gr.

1
‐1.5.1
Students
describe
the
human
characteristics
of

familiar
places
and
the
varied
backgrounds
of
American

citizens
and
residents
in
those
places

• Gr.
2
‐2.2
Students
demonstrate
map
skills
by
describing

the
absolute
and
relative
locations
of
people,
places
and

environments.


• Gr.
6

‐
2.0
Students
construct
various
time
lines
of
key

events,
people
and
periods
of
the
historical
era
they
are

studying.





INSIDE
THIS
GUIDE:



California
Instructional
Standards
and
Connections
Gr.
K‐6
 
 
 
 
 
 
p.
2
 



Vocabulary
 
 
 
 
 
 
 
 
 
 
 
 
 
p.
3



Before
the
Performance
 
 
 
 
 
 
 
 
 
 
 
p.
4

• Audience
behavior

• Mini‐lesson:
Introducing
the
wind
instruments
i

• Focused
listening
skills
and
strategies



After
the
Performance

 
 
 
 
 
 
 
 
 
 
 
p.
7



More
explorations
of
timbre/tone
color
 
 
 
 
 
 
 
 
 
p.

7‐9



Other
connections:

Visual
Art
 
 
 
 
 
 
 
 
 
 
 
 
 
p.
10



Social
Science/Geography
 
 
 
 
 
 
 
 
 
 
 
p.
11



Resources
 
 
 
 
 
 
 
 
 
 
 
 
 
p.
13



Activties
Sheets
 
 
 
 
 
 
 
 
 
 
 Supplement



Wind
instruments,
community
music
map,
world/country
maps





 
 2



Vocabulary
 


 

Music
 Spanish
language

wind
quintet
 ¡Buenas
tardes!
–
Good
afternoon

woodwind
Family
 ¡Buenos
Dias!
–
Good
morning

brass
Family











 Quinteto
Latino
–
5
musicians
(Quintet)

flute
 Latino
–
People
or
things
that
come
from
Latin
America

oboe
 ¡Bienvenidos!
–
Welcome

clarinet
 quinteto
(cinco
músicos)
–
quintet:
five
musicians


French
horn
 la
flauta
–
flute

bassoon
 el
flautín
–
piccolo

timbre
 el
oboe
–
oboe

rhythm
 el
fagot
–
bassoon

tango
 el
clarinete
–
clarinet

folk
songs
 el
corno
fancés
–
French
horn

Latin
America
 

community
 Words
for
“music”
in
other
languages

Romania
 muziki
(Swahili)

México
 Muzik
(German)

Hawaii
 mele;
pilaho’
okani
(Hawaiian)

Africa
 música
(Spanish)

Argentina
 

Germany













 3

BEFORE
THE
PERFORMANCE



A
friendly
word
about
audience behavior…

Quinteto
Latino
assemblies
are
highly
accessible,
friendly
and
offer
young
concert‐goers
ample
participation

opportunities.
Nevertheless,
it
is
useful
to
observe
certain
rules
and
behaviors
during
the
performance.
This

will
contribute
to
a
more
gratifying
and
enjoyable
experience
for
everyone
involved
students,
teachers,
and

musicians
alike!



Make
behavior
expectations
and
consequences
clear.
For
example,
students
are
not
allowed
to
run
in
the

theatre,
chew
gum
or
talk
to
each
other
during
the
performance.
Make
these
rules
explicit
to
students.
Role‐
playing
how
to
behave,
especially
how
to
use
appropriate
audience
etiquette
is
worthwhile.





• Sit
quietly
and
LISTEN
during
a
performance.
Do
not
talk
or
fidget
with
the
programs
or
other
items.




• Turn
off
cell
phones,
pagers
and
other
things
that
beep
or
otherwise
make
noise.


• Do not get up and leave during a piece unless it's an emergency or to remove an unruly child. Wait until the
piece being performed has been finished. Doing otherwise is disrespectful to the performers.

• Cameras with flash bulbs should not be used as the flash can temporarily blind those on stage.

• Cat-calls and booing are rude and strictly not allowed.

• Warm applause at the end of performing a piece is always welcomed!





Adapted
from
Tips
on
Audience
etiquette
by
Kim
J.
Teal

http://kjt.glis.net/tealflutestudio/Etiquette.html



Focused
Listening
Skills
­
Strategies




We
have
a
tendency
to
disdain
the
strange
or
the
unfamiliar.
Music
is
a
powerful
tool
to
stretch
the
concept

of
the
familiar
and
serve
as
a
vehicle
for
teaching
tolerance,
flexibility,
and
respect
for
diversity.
This
can

begin
with
students
discussing
how
music
is
an
expression
of
our
humanity
and
culture
and
a
way
of

expressing
and
understanding
ourselves.




A
simple
but
powerful
strategy
for
cultivating
openness,
expanding
musical
taste,
as
well
as
strengthening

capacity
for
artistic
perception
includes
guiding
students
to



• Listen
with
a
purpose,
e.g.,
to
identify
instruments
they
hear,
voices,
the
beat,
musical
elements,
style,

genre
etc.

• Describe
what
they
hear
without
evaluating
it
for
preferences

• Listen
to
pieces
several
times
(at
least
three,
with
different
purposes)
to
familiarize
themselves
with

it

• Experience
the
piece,
(or
selected
excerpt)
as
a
whole
to
be
enjoyed
and
not
solely
as
an
object
of

study



Using
this
approach,
students
can
be
guided
to
cultivate
their
capacity
to
sustain
attention,
focus
and

concentration.
Following
are
activities
that
elaborate
on
the
approach.


 4

Listening with a purpose 




Listening
goes
beyond
hearing;
listening
is
about
understanding.
The
richness
of
music
offers
much
to
be

understood.
Deeper
listening
can
be
developed
through
discussions
that
focus
on
important
details.




Providing
students
with
a
purpose
to
guide
their
listening
goes
a
long
way
toward
addressing
any
potential

problems
with
audience
etiquette;
more
importantly
it
deepens
student
access
to
the
learning
experience

offered
by
the
presentation.



Introducing
the
wind
quintet
instruments
–
Mini‐lesson
outline



• Students
examine
pictures
of
instruments
and
listen
to
recordings
of
each

• Focus
on
the
instrument
voices
to
see
what
you
notice.


• Students
share
out:


o How
does
the
sound
of
these
instrument
voices
make
you
feel?

o What
does
the
sound
of
these
instruments
make
you
think
of?

• Generate
vocabulary
using
the
questions
above
and
capture
words
on
a
word
wall
–
for
students
who

are
ready
to
generate
a
richer
or
more
advanced
descriptive
vocabulary,
assign
overused
or

minimally
descriptive
words
to
the
“Graveyard”
such
as
happy,
sad,
fast
slow

• Hold
students
accountable
for
evidence
for
their
ideas
with
follow‐up
questions
such
as:


o What
makes
you
think
that?
Why
do
you
think
so?

EXTENSION

• Develop
the
concept
of
how
sounds
express
emotions.
Ask
students
to
make
sounds
that
are
tired,

happy,
fearful,
surprised
or
mysterious.
They
can
listen
to
an
instrument
of
their
choice
to
hear
how

that
instrument
expresses
those
and
other
emotions
in
the
music.





To
hear
the
individual
voices
of
the
instruments
(in
an
electronic
version),
you
can
visit
the
website,
SFS

Kids
Fun
with
Music.
Click
on
Instruments
of
the
orchestra
–
woodwinds
(for
the
French
horn
click
on

brass).http://www.sfskids.org/templates/home.asp?pageid=1



You
can
also
listen
to
recordings
of
wind
quintet
music,
such
as
the
Imani
Winds
recording
entitled
The

Classical
Underground,
including
original
compositions
and
works
by
Latin
American
composers.



Students
can
work
with
the
Instruments
of
Wind
Quintet
activity
sheet
(found
in
the
Activities
Sheets

section
of
the
study
guide)
as
they
prepare
for
the
performance.





Wind Quintet = TIMBRE!



The
voices
of
the
woodwind
quintet
are
particularly
distinctive
and
convey
character,
emotion
and
mood

through
their
rich
palette
of

tone
color.
Listening
to
music
made
by
the
woodwind
quintet
offers
an

opportunity
for
a
rich
exploration
of
color
or
timbre.

Timbre
(pronounced
“TAM‐ber”)
is
the
basic
element

of
music
that
describes
“the
aspects
of
a
musical
sound
that
do
not
have
anything
to
do
with
the
sound’s

pitch,
loudness
or
length.
If
a
flute
plays
a
note,
and
then
an
oboe
plays
the
same
note,
for
the
same
length
of

time,
at
the
same
loudness,
you
can
tell
the
difference
between
the
sounds,
because
a
flute
sounds
different

from
an
oboe.
The
difference
is
in
the
timbre
of
the
sounds.
You
can
think
of
it
as
the
general
sound
one

would
expect
of
a
type
of
instrument.”
(Catherine
Schmidt
Jones,
Timbre:
the
Color
of
Music
p.
1)





 5



The
following
prompts
may
be
used
for
purposeful
listening
of
a
recording
(or
brief,
1
min.
excerpt)
before

the
performance,
or
they
can
be
assigned
to
students
to
provide
a
purpose
for
listening
as
they
go
into
the

Quinteto
Latino
performance.




Scaffolding
explorations
of
timbre




Each
instrument
chosen
to
be
in
a
piece
has
a
reason
for
being
there
that
adds
to
what
the
composer
is

trying
to
convey
within
the
work.



• Students
can
choose
to
pay
special
attention
to
the
timbre
of
1
particular
instrument
of
the
wind

quintet.

Ask
the
students
to
note
as
they
listen

o When
does
the
instrument
get
a
chance
to
“show
off”?


o What
happens
to
the
music
when
the
voice
of
that
instrument
comes
into
the
music?


o What
happens
when
that
voice
is
missing
from
the
music?


• What
happens
when
the
same
musical
phrase
is
played
by
the
different
instruments?
How
does
the

character
of
the
phrase
change?
*



*A
particular
piece
in
the
presentation
to
listen
to
for
this
is
in
Astor
PIazzolla’s
Calambre,
which
is
a
fugue.


A
fugue
is
a
special
type
of
music
where
each
individual
musical
voice
has
a
chance
to
add
its
voice
to
the

group
one
at
a
time.
Each
instrument
adds
its
voice
by
taking
turns
playing
the
subject
phrase
or
tune

(melody).





Preparing to meet the musicians - Generating questions


Students
can
take
a
moment
to
reflection
upon
and
note
their
responses
to
the
following
questions.



• Do
you
play
or
would
you
like
to
play
an
instrument?
If
so,
which?


• What
musician
(or
other
artist)
would
you
like
to
meet?
What
three
questions
would
you
ask
this

person?

• What
would
you
like
to
know
more
about
or
be
able
to
do
in
music
(or
in
another
art
form)?



Encourage
students
to
bring
to
the
performance
at
least
one
of
their
questions
that
they
might
be
wiling
to

ask
the
musicians.



EXTENSION
AND
FURTHER
DISCUSSION

Quinteto
Latino
is
a
woodwind
quintet.
The
woodwind
quintet
is
a
small
chamber
ensemble.
Often,
chamber

ensembles
do
not
have
conductors
standing
in
front
of
the
group,
as
orchestras
do.

How
do
the
musicians

know
when
to
play?
How
does
the
group
of
musicians
decide
when
to
play?
What
is
your
hypothesis?
See
if

your
hypothesis
is
correct
when
you
experience
the
performance.
After
the
performance,
ask
the
musicians

questions
to
see
if
your
hypothesis
is
correct.

• What
skills
are
needed
to
be
a
successful
member
of
a
musical
ensemble?
(leading,
following,

listening
and
responding,
taking
turns)
How
are
these
skills
like
the
skills
you
need
to
be
a
good

member
of
a
sports
team?
Your
class?
Your
School?
Your
community?



 6

AFTER
THE
PERFORMANCE




Debrief
Discussion

• What
did
you
notice
about
the
instruments?

• What
did
you
notice
about
the
music
in
the
live
performance?

• How
did
the
music
make
you
feel?

• What
feelings
were
expressed
in
the
music?

• Where
you
surprised
at
any
point
during
the
performance?

• What
got
you
curious?

• What
is
one
thing
you
could
find
out
more
about?

• What
was
the
high
point
of
the
performance?

• What
have
you
learned
about
in
listening
to
this
music?






SAMPLE SENTENCE STEMS



I
heard
the
__________(instrument)______
express
____(feeling/emotion)___________
during
the
performance.




It
was
in
the
piece
called___(title
of
the
piece)_______________
.



The
________(instrument)________
makes
a
_(adjective)______________
sound.



The
sound
of
the
_____________(instrument______
makes
me
think
of
__________________
.






 Following
are
additional
activities
for
the
exploration
of
the

concept
of
timbre
in
music
and
in
other
areas
as
well,

including
connections
with
visual
art.

Unless
otherwise




 indicated,
these
and
the
aforementioned
activities
are

adapted
from
music
seed
strategies
found
in
Claudia
E.

Cornett’s
Creating
Meaning
through
Literature
and
the
Arts,

Fourth
Edition.




MORE TIMBRE ACTIVITIES

A. Sound Mini-field trip


1. Students
go
to
classroom
windows
and
listen
closely

to
the
sounds
outside
OR

2. Students
listen
to
school
and
body
sounds
and

rhythms;
give
students
a
set
amount
of
time
for
this

focused
listening

3. Ask
students
to
identify
the
sounds
they
heard


4. Students
can
label
the
sounds
as
fast
or
slow,
high
or

low







 7

MORE TIMBRE ACTIVITIES…




B. Guess who?


1. A
panel
of
5
students
comes
to
the
front.
All
students
close
their
eyes.



2. “Leader”
taps
one
panel
member
on
the
shoulder.
Tapped
person
says,



“Who
did
that?
“
loud
enough
for
the
entire
class
to
hear.



3. Students
open
their
eyes
and
guess
who
spoke.


 4. Each
time
a
name
is
guessed,
ask,
“How
did
you
know?”


 5. Coach
for
answers
to
describe
the
uniqueness
of
voices.


 6. You
can
repeat
the
activity
and
have
students
sing,
“Who
did
that?”
Stress


 that
each
speaking
and
singing
voice
is
unique.







C. Name that Instrument (Using a variety of hand percussion/rhythm



 instruments)

 1. Label
each
instrument
(e.g.
tambourine,
shaker,
etc.)


 2. Students
experiment
with
rhythm
instruments
to
become
familiar
with

their
sound
qualities.



3. A
student
volunteers
to
be
IT.
Students
close
their
eyes
as
IT
plays
an



instrument.



4. Students
guess
which
instrument
was
played
and
give
reasons
for
their



choice.


 5. Stress
that
each
instrument
has
a
unique
sound,
even
though
some
sound


 similar.


 


 VARIATION:
Use
a
CD
or
selection
from
your
Ipod
featuring
orchestral


 instruments
or
other
musical
instruments
(guitar,
banjo,



 etc.)
Older
students
or
more
experienced
students
who
can
recognize
the
timbre


 of
most
instruments
might
enjoy
playing
Name
that
Instrument
with
apiece
of


 music
that
features
many
different
instruments
in
quick
succession.



 


 Pieces
to
try:


 Danzón
–
Arturo
Marquez

(See
Fiesta
CD
in
Resource
Section)


 Rodeo
–
Aaron
Copland


 Rite
of
Spring
–
Igor
Stravinsky


 






 D. Instrument cards (Using
a
CD
or
selection
from
your
Ipod)
1. Distribute
cards
with
pictures
of
instruments
featured
in
the
recordings.

2. Ask
children
to
hold
up
the
card
that
corresponds
with
the
instrument
when

they
hear
its
timbre.

EXTENSION:
Have
students
come
up
with
a
gesture
or
body
shape
that
expresses

the

timbre
of
the
selected
instruments.
You
can
have
a
discussion
about
how
that

gesture
or
shape
expresses
the
timbre
of
the
instrument.
Students
then
perform
the

gesture
or
shape
when
they
hear
its
timbre
in
the
music
selection.








 8



 STILL MORE TIMBRE ACTIVITIES…




E. ADJECTIVE BLITZ - Language Development/Academic Language
Adapted
from (Catherine
Schmidt
Jones,
Timbre
Activities)


1. Students
listen
to
excerpts
from
music
selections
featuring
individual
instruments.

2. Brainstorm
adjectives
that
describe
the
timbre
of
the
individual
instruments.
Some
words
that

musicians
often
use
to
describe
timbre
are




• bright
/
dark
 • warm
 • scratchy

• full
/
thin
 • rich
 • intense

• heavy
/
light
 • mellow
 • piercing


• rounded
/
edgy
 • reedy
 • strident



 • brassy
 • harsh

• breathy



If
students
have
trouble
coming
up
with
adjectives,
you
can
suggest
some
of
the
above,
but
encourage

them
to
come
up
with
their
own.
If
students
on
their
own
come
up
with
a
timbre
word
that
musicians

often
use,
point
this
out;
also
stress
that
coming
up
with
their
own
words
is
fine,
especially
if
they
are

good
descriptions
of
sound.
One
approach
would
be
to
substitute
touch,
smell
or
taste
sensations
for

color.
A
specific
timbre
might
remind
a
student
of
a
smooth
or
rough
surface;
of
a
sour
or
sweet

flavor;
or
of
a
flowery
or
musky
scent:
silky,
smooth,
chocolaty,
shimmery,
muted.



Pieces
to
try




Orchestral
works
by
Latin
American
composers
from
Mexico,
Venezuela,
Argentina
and
Cuba:



• Imani
Winds
‐
The
Classical
Underground



• Gustavo
Dudamel
conducts
the
Simón
Bolívar
Youth
Orchestra
of
Venezuela
‐
Fiesta




Orchestral
works
‐

for
listening
for
individual
instruments
as
well
as
instrument
families:




• For
younger
students:
Lemony
Snicket.

The
Composer
Is
Dead
–
children’s
picture
book

ages
5
and

up;
includes
CD
with
original
music
by
Nathaniel
Stookey



• Benjamin
Britten
‐
Children’s
Guide
to
the
Orchestra




• Sergei
Prokofiev
‐

Peter
and
the
Wolf

In
this
work
a
particular
instrument
is
associated
with
a

particular
character
in
the
story.
Before
listening
to
the
piece,
students
can
assign
an
instrument
to

each
character.
Then
they
listen
to
the
piece
and
discover
the
composer’s
choice
of
instrument.




DISCUSSION

How
do
your
instrument
choices
compare
with
the
composer’s
choice
of
instruments
to
represent
the

characters
in
the
story?
What
do
you
think
of
Prokofiev’s
choices?





 9


Music and Visual Art = Timbre and Color
Adapted
from (Catherine
Schmidt
Jones,
Timbre
Activities)


Class
discussion:
ask
the
students
if
they
prefer
black
and
white
or
color
pictures;
what
are
their
reasons
for

their
choice?
Do
they
prefer
pictures
with
just
one
color
or
with
many
colors?
Why?
Tell
them
that
one
of
the

things
that
makes
music
more
interesting
and
exciting
is
sometimes
called
“color.”
Explain
that
the
color
of

the
sound
is
what
makes
one
instrument
sound
different
from
another.
In
music,
the
word
color
refers
to
the

timbre
of
the
instrument
or
music.




Materials:


• Recordings
of
a
variety
of
instrumental
music;
music
can
feature
individual
instruments
(e.g.
wind

quintet
or
other
instruments).
You
can
also
work
with
recordings
featuring
non‐western

music/instruments
such
as
steel
drums,
South
American
panpipes,
native
American
flute,
Indian

sitar)

• Drawing
paper
and
implements
(good
quality
offering
rich,
vibrant
colors)
in
a
variety
of
colors;
you

can
use
pastels,
crayons,
markers,
color
pencils



1. Students
listen
to
excerpts
of
pieces
featuring
individual
instruments.
Ask
them
to
imagine
that
they

can
see
the
sounds.

Ask
them
what
color
each
instrument
sound
would
be
if
they
could
see
it.

Encourage
naming
specific
hues.
Does
a
bassoon
sound
like
sea
green
or
lilac?
Is
a
flute
bright
green

or
shimmery
blue?
These
are
exercises
for
the
imagination.
Different
sounds
affect
people
differently;

there
are
no
right
or
wrong
answers.

2. Have
the
students
listen
to
longer
excerpts
of
instrumental
music.
While
listening,
they


can
make
a
drawing
of
anything
that
the
music
makes
them
think
of.
The
drawing
can
be
abstract—
perhaps
circles
of
yellow
connected
with
red
squiggles—or
representational:
a
mysterious
garden
or

forest.


3. Students
present
their
picture
and
explain
why
the
music
made
them
think
of
those
colors,
shapes
or

objects.

Encourage
explanations
that
link
specific
colors,
shapes
or
objects
to
specific
timbres
in
the

music.

4. 

EXTENSION:
students
can
create
artwork
that
reflects
other
aspects
of
the
music
(for
example,
emotional

content,
historical
or
cultural
context
as
well
as
timbre.
Provide
high‐quality
art
materials
for
students
to

work
with;
students
can
display
or
present
their
work
with
a
paragraph
they
generate
explaining
the

musical
inspiration
for
specific
aspects
of
the
art
work.





 10

Music and Social Science

Music’s
role
and
purpose
as
an
expression
of
culture



Community
Music
Map
–
Group
Activity

When
is
music
used
in
our
lives?
What
celebrations,
ceremonies
or
traditions
have
special
music?
Music

shows
up
in
our
most
important
ceremonies
and
traditions,
from
birthdays
to
New
Orleans‐style
funerals.

Students
can
consider
the
role
and
purpose
of
music
in
their
lives
and
their
community
through
creating
a

community
music
map.



Students
identify
where
music
happens
in
their
community
–
they
can
get
specific
in
naming
the
places;

They
can
start
with
a
center
(such
as
their
home
or
school
)
and
move
out
from
there;
they
also
identify
the

purpose
of
the
music
in
that
particular
setting.

Students
can
create
a
table
as
follows
to
help
organize
their

thoughts
and
ideas:



Places in the community where music happens Purpose of music in these settings
Home
• with my family • Entertainment – enjoyment
• in my room • Celebration: sing “happy birthday”
• radio • Relaxation - background music when I do
• internet homework
• TV
School • Learning
• Music class • Playing and having fun
• Circle time • Special clean-up song
• Football games • Team spirit
Church, synagogue, mosque
• Prayer • Express happiness or sadness with others
• Special ceremonies: weddings, bar • Brings people together
mitvahs, Sunday services
• Funerals
Public spaces
• Free outdoor concerts • Brings people of a whole city or town
• Music at festivals together
• The airport • Enjoy performances
• Create an atmosphere
Restaurants
• Live music • Entertainment
• Juke box • Relaxing background
• Recorded background music • Particular ambience – create a mood to
go with the food
• Express culture
Indoor concert venues
• Large scale arenas • Entertainment / enjoyment
• Performing arts halls • Recreation and play
• Theatres • Gathering with friends
• Dance halls / discos
Gyms
• Fitness machines • Pace exercise
• Fitness classes
Super markets • Background
• Express culture


 11

Students
then
draw
a
map
of
the
various
places
in
their
community
where
music
happens.
Map
can
reflect

relative
locations
of
the
various
sites
where
music
is
found
in
their
communities,
including
streets
and

landmarks

–
or
the
map
can
simply
be
a
more
generalized
visual
representation
of
the
sites
found
in
their

particular
community.
See
the
Activities
Sheets
supplement
of
the
study
guide
for
an
example.



DISCUSSION:

• What
kind
of
music
is
played
in
these
settings?


O What
does
it
sound
like?

O What
is
the
music
for?
What
is
the
purpose
of
the
music
in
this
setting?

• Who
plays
the
music?

• What
instruments
are
used?

• When
was
the
music
composed?




CRITICAL
THINKING:

• Why
would
a
culture
create
this
kind
of
music?

• How
has
the
music
changed
over
time?

• How
does
music
express
who
you
are?

• How
does
music
express
the
culture
that
made
it?

• How
might
the
community
music
map
look
different
for
a
student
of
another
culture?
For
an

American
student
from
another
time
period?
For
a
child
from
colonial
America?
For
a
slave
from
the

southern
states?
For
a
soldier
fighting
in
the
Mexican
Revolution
of
1910?





Geography
through
Music



See
the
Activities
Sheets
supplement
of
the
study
guide
for
additional
materials
including
continent,
world
maps
and

maps
of
individual
countries
for
the
following
activities:




Map
/
Research
skills



A.
Using
an
atlas,
globe
or
working
online

• Students
identify
the
continents,
countries,
and
cultural
regions
from
which
the
music
featured
in
the

performance
originates
(See
repertoire
listed
on
p.
1).
Students
also
locate
themselves
and
their
family’s

country
of
origin
on
the
maps.


• Students
can
write
in
and
match
the
various
words
for
music
(See
Vocabulary
on
p.
3
of
the
Study
Guide)
with

the
corresponding
countries
on
the
World
Map
OR
on
the
sheet
featuring
the
Individual
Countries.



B.

Using
a
single
country
map
(included
are
maps
of
Mexico
and
Argentina
as
examples;
students
can
trace
the
shape

of
other
countries
for
this
activity
)

• Students
choose
one
of
the
featured
composers
in
the
performance.

• On
the
map,
students
display
the
composer’s
birthplace,
cities
where
the
composer
lived
and
worked
(e.g.,

where
the
composer
studied)
and
the
composer’s
burial
place,
if
deceased.
The
dates
for
each
item
can
be

included.



C.
Composer
Timeline

• Students
create
a
timeline
of
the
composer’s
life,
most
important
works
and
other
milestones.
Include
visual

images
(pictures,
drawings)
along
the
line.
For
imaginative
timeline
designs
ideas,
see


the
DK
Children’
Book
of
Art.

• Create
the
timeline
online
using
VUVOX.
Vuvox
allows
users
to
create
interactive
collages
that
allows

embedding
of
multimedia,
including
video,
music
as
well
as
images
that
can
be
gathered
online
(or
upload

your
own).
Free
user
accounts.

http://www.vuvox.com/collage

See
a
sample
timeline
at

http://www.vuvox.com/collage/detail/01b43aa0b0



 12



Resources


Children’s
Books

Brandenburg,
Aliki.
(2003).
Ah,
Music!.
New
York:
HarperCollins
Publishers.


Snicket,
Lemony.
(2009).
The
Composer
Is
Dead.
New
York:
HarperCollins
Publishers.



DK
Children’
Book
of
Art.
(2009).
Dorling
Kindersley™
Limited.
New
York:
DK
Publishing



Teacher’s
Books

Cornett,
Claudia
E.
(2011).
Creating
Meaning
through
Literature
and
the
Arts
–
Arts
Integration
for
Classroom
Teachers


Fourth
edition.
Boston:
Pearson
Publishing.


Copland,
Aaron.
(1985).
What
to
Listen
for
in
Music.
New
York:
New
American
Library,
a
division
of
Penguin
Group.


Recordings

Imani
Winds
‐
The
Classical
Underground.
(2005)
Koch
International
Classics

“Imani
Winds
has
established
itself
as
one
of
the
most
successful
chamber
music
ensembles
in
the
United
States.
The
Grammy

nominated
quintet
has
taken
a
unique
path.
With
two
member
composers
and
a
deep
commitment
to
commissioning
new
work,

the
group
is
enriching
the
traditional
wind
quintet
repertoire
while
meaningfully
bridging
European,
American,
African
and
Latin

American
traditions.”

http://www.imaniwinds.com/index.php



Gustavo
Dudamel
conducts
the
Simón
Bolívar
Youth
Orchestra
of
Venezuela
–
Fiesta.
(2008)
Deutsche
Grammaphon
GmbH

“Gustavo
Dudamel
and
the
Simón
Bolívar
Youth
Orchestra
of
Venezuela
celebrate
the
best
in
Latin
American
music,
which
‘is
all

about
dance,
about
rhythm’
(Dudamel).

“They
set
the
concert
hall
afire
with
an
enthusiastic
fervor
the
likes
of
which
none
of
us

had
ever
witnessed
from
a
symphony
orchestra”
(Los
Angeles
Times).

http://www.gustavodudamel.com/

http://www.fesnojiv.gob.ve/en/the‐simon‐bolivar‐youth‐orchestra‐of‐venezuela.html





Internet
Sites


Connexions
is
a
place
to
view
and
share
educational
material
made
of
small
knowledge
chunks
called
modules
that
can
be

organized
as
courses,
books,
reports,
etc.
Anyone
may
view
or
contribute.
Articles
on
numerous
topics
including
visual
and

performing
arts;
music
modules
include
Sound
and
Music
Activities;
Classifying
Musical
Instruments;
and
Timbre:
the
Color
of

Music.

http://cnx.org/



Presentation
Magazine
offers
free
and
downloadable
PowerPoint
templates
featuring
a
variety
of
styles
and
images,
including

world
maps
and
maps
of
individual
countries.


www.presentationmagazine.com



SFS
Kids
Fun
with
Music
A
project
of
the
the
San
Francisco
Symphony
(SFS)
“this
website,
in
conjunction
with
live
performances,

provides
a
great
way
for
people
of
all
ages
to
hear,
learn,
and
have
fun
with
music.”

Click
on
Instruments
of
the
orchestra
to
learn
about
instrument
families.

http://www.sfskids.org/templates/home.asp?pageid=1



Tips
on
audience
etiquette
by
Kim
J.
Teal

http://kjt.glis.net/tealflutestudio/Etiquette.html



VUVOX
allows
users
to
create
interactive
collages
that
allows
embedding
of
multimedia,
including
video,
music
and
images
that

can
be
gathered
online
(or
upload
your
own).
Useful
ad
engaging
tool
to
create
interactive
timelines.
Free
user
accounts.


 

http://www.vuvox.com/collage



See
a
sample
timeline
at
http://www.vuvox.com/collage/detail/01b43aa0b0



 13

Name: " " " "!
Grade:" " " "!

Nuestras Raíces de Música !

– Our Musical Roots!
Instruments of the Wind Quintet!

1.  On the line closest to each instrument, write the corresponding letter with the
instrument name. Four of these instruments belong to the woodwind family. Which does
not? " " " What instrument family does it belong to? " " "!
2.  Complete the table.!

©Copyright:
Quinteto
La3no
2010

 Music in My Community!
What is the music for?!

AT SPORTS EVENTS!
• Team spirit!
• Fans rally team!

AT SCHOOL:! AT PLACES !
• Learning lessons! AT HOME:! OF WORSHIP!
• Working! • Having fun! • Celebrations!
• Having fun! • Celebration! • Funerals!
• Relaxation! • Reflection!
• Prayer!
AT THE GYM!
•  Pace exercise!
AT A
RESTAURANT!
• Set a mood!
• Express culture!
AT A CONCERT HALL!
• Listening pleasure!
©
Copyright

Quinteto
Latino
2010

Name: " "!
Grade: " "!

____________
Nuestras Raíces de Música – Our Musical Roots!

______

Name:
Continent Map
YOU ARE HERE

Name: __________________

DIRECTIONS
1. Write the names of
the continents on the
lines as shown on the
map. You can use an
atlas to find the
continent names. !
2. Draw an arrow from
the “YOU ARE HERE” sign Adapted
from
editable
vector
map
of
the
world
by


to the location of your Presentation
Magazine
‐
www.presentationmagazine.com

school on the map. ! ©
Copyright
Quinteto
Latino
2010

 Name: " "!
Grade: " "!

Nuestras Raíces de Música – Our Musical Roots!

World Map Indivudual
Individual Countries!
Countries

I
live
here.


My
family
comes

from
here.


The

group
of
countries
south
of

the
United
States
is
known
as

____

____

__t__

____
____


____

__m__

____

____
____

____
____.

Circle
the
countries
included
in

this
group.

DIRECTIONS:
1.
Draw
an
arrow
from
the
“I
live
here”
sign
to
the

location
of
your
home
on
the
map.

2.
Draw
an
arrow
from
the
“My

family
comes
from
here”
sign
to
your
family’s
country
of
origin.


Adapted
from
editable
vector
map
of
the
world
by

 3.
Write
the
missing
letters
which
spell
the
name
of
the
region
south
of

Presentation
Magazine
‐
www.presentationmagazine.com

©
Copyright
Quinteto
Latino
2010
 the
United
States.
4.
What
continent
lies
north
of
Africa?
_______________

Draw
a
box
around
the
countries
found
on
this
continent.


Name: " "!

Grade: " "!

Nuestras Raíces de Música ! 1

– Our Musical Roots

Individual countries!
(Not to scale)!

DIRECTIONS!
1. Write the name of the country on the line below the country’s shape.!
2. Draw a ring around the countries found in Latin America. What language is
spoken in these countries? _____________!
3. Put a ✔check mark next to the countries found on the continent of Europe.!
4. Draw a line from the composer or song to his/her country of origin. One
composer can be matched to two countries.!
5. Which country is your family from? ______________!

COUNTRIES " " "COMPOSERS!

Argentina " " "Billy Strayhorn!
Austria " " "Carmen Melendez Romero!
England " " "Györgi Ligeti!
Germany " " "Wolfgang Amadeus Mozart!
México " " "George Friedrich Händel!
Romania " " "Astor Piazzolla!
South Africa" " "Siyahamba (Marching Song) Traditional!
United States of America (USA)!
©
Copyright

Quinteto
Latino
2010

 Name: ! ! !"
1
COMPOSER’S NAME: ! ! !" Grade: ! ! !"

MEXICO
DIRECTIONS"
Display on the map
the composer’s"
• Birthplace"
• Cities where the
composer lived and
worked"
• Burial place, if
deceased"
• Include the year(s)
for each item"
• The pin locates the capital
of Mexico; write this city’s
name on the map."
Adapted from editable world map by "
Presentation Magazine | www.presentationmagazine.com" ©Copyright: Quinteto Latino 2010"
 Name: ! ! !"
Grade: ! ! !" 1

World Map
DIRECTIONS"
Display on the map the
composer’s"
• Birthplace"
• Cities where the
composer lived and
worked"
• Burial place, if deceased"
• Include the year(s) for
each item"
• The pin locates the
capital of Argentina; write
this city’s name on the
map."

COMPOSER’S NAME: ! ! !"

Adapted from editable world map by "

©Copyright: Quinteto Latino 2010"
Presentation Magazine | www.presentationmagazine.com"