Pictures from an Exhibition 

 
A collaboration between 

 
 
and  
 
CPS All-City Visual Art exhibitions 
 
In conjunction with the Chicago Symphony Orchestra’s school and family concerts on May 17 and 18, 2019, which 
feature Modest Mussorgsky’s ​Pictures from an Exhibition​, an evocative and thrilling orchestral masterwork 
inspired by works of visual art, the Negaunee Music Institute at the CSO is excited to collaborate with the 
Chicago Public Schools All-City Visual Art (ACVA) exhibitions to showcase student artwork created in response 
to the music.   
 
This packet contains additional information about the project timeline, the submission and selection 
processes, instructional resources for teachers, and a listing of workshops and additional resources. You 
may also access this packet online at ​cso.org/pictures​​.  
 
Submission guidelines, timeline, and selection process 
Elementary through high school teachers are invited to submit up to five works of art created specifically for this 
exhibition, using the Slideroom portal that can be accessed on ​cpsarts.org​. Visual art teachers, music teachers 
and classroom teachers may all submit student artwork. All types of media will be accepted, including 
two-dimensional works, sculpture, and digital works.   
 
Slideroom will be open February 1 through March 1, 2019, for high school submissions and February 27 through 
March 27, 2019, for elementary school submissions. Submissions will be reviewed by a panel of CPS visual art 
teachers and selections will be based on the strength of the artworks’ connection to Viktor Hartmann’s artwork 
and Mussorgsky’s music. Please view the attached rubric for specific criteria. Teachers will be notified in 
late-March if their students’ works have been selected for the exhibition.  
 
The exhibition 
Up to 50 works will be selected for the exhibition that will accompany the CSO school and family concerts at 
Symphony Center. Student works must be delivered to Symphony Center (220 S. Michigan Avenue) on Monday, 
May 13 or Tuesday, May 14. The exhibition will run from Thursday, May 16 through Tuesday, May 21, 2019. More 
information about drop-off and exhibition hours will be shared when selections are announced. 
 
Concert tickets 
A limited number of free tickets for the Friday, May 17 school concerts will be available for classrooms of 
students whose artwork is selected for the exhibition. Bus transportation will also be provided. Alternately, 
students may receive tickets to the Saturday, May 18 family concert. Staff from the Negaunee Music Institute will 
contact teachers directly about these opportunities and will arrange group tours of the exhibition.  
 
 
 
Lesson plans and teacher resources 
On the next pages are lesson plans designed to guide students’ artmaking in response to Mussorgsky’s music. 
Beginning and intermediate lessons are included. Teachers are encouraged to adapt the lessons to fit the 
needs of their students and the resources available in their classrooms. Additionally, we have included 
resources to help teachers become more familiar with elements of music and, therefore, be more effective in 
guiding students’ listening analysis.   
 
Teacher workshops 
Pictures Lesson and Exhibition Workshop: CPS teachers are invited to attend a free lesson and exhibition 
workshop on January 30, 2019, from 4:30-6:00pm at Symphony Center. Teachers will get specific tips on the 
lessons created to support exhibition submissions, offer planning advice, and learn more about the exhibition. In 
addition, CSO staff will provide a tour of Symphony Center so teachers can learn more about the historic 
building where the exhibition will take place. ISBE clock hours will be available for teachers who attend. To sign 
up, email ​allcityarts@cps.edu​ or visit: ​http://bit.ly/CPSACVA​.  
 
Music workshop: On Wednesday, May 1, from 4:30-7:00pm, the Negaunee Music Institute will host a free 
workshop for teachers, exploring the music of Mussorgsky. While this workshop is scheduled after the 
submissions and selections will have occurred, CPS teachers are cordially invited to attend. ​ ​Please contact Katy 
Clusen, Manager of School and Family Programs, for more information: ​clusenk@cso.org​ ​or 312.294.3044. 
 
Thank you for your interest in this opportunity and for the work you will undertake to guide your students’ art 
making. We are excited to showcase the excellent work of CPS students alongside these performances and 
know that the partnership will enhance our audiences’ understanding and enjoyment of the concert. 
 
For more information, please contact us via email at ​pictures@cso.org​ or ​allcityarts@cps.edu​. 
 
Sincerely, 
 
Staff from the Negaunee Music Institute at the 
Chicago Symphony Orchestra 
 
 
Pictures from an Exhibition 
Integrated Arts Lesson 
 

Summary 
This mini unit will explore and strengthen the relationship between visual arts and music. Students will observe 
the historical influence of visual art on music and draw inspiration for their own visual art making. Selected 
students’ artwork will be placed on exhibition at Symphony Center and select participants will attend ​Pictures 
from an Exhibition​ school and family concerts featuring members of the Chicago Symphony Orchestra. 

1. Focus: ​Pictures from an Exhibition​ by Modest Mussorgsky, orchestrated by Maurice Ravel, with Visual 
Arts Response 
2. Unit of Study: Music and Art Connecting to Mixed Media (​Basic)​ and Music and Art Influencing Memories 
through Mixed Media (​Intermediate)  
3. Objectives:  
- Make connections between elements of music and elements of visual art 
- Create a visual artwork that responds to a musical movement 
- Express mood, action, or emotion in a visual artwork using a variety of materials and the elements 
and principles of design 
- (Intermediate) Design a memory/tribute artwork that represents a movement from ​Pictures from 
an Exhibition 
4. Suggested Time Allotment: Two days for ​Basic​, five or more days for ​Intermediate. ​Time is divided into 
the following three phases. 
- Connecting: Exploration of Elements and Principles of Art with a variety of materials 
- Responding: Introduction to Pictures at an Exhibition: Listening, Understanding, Reflecting 
- Creating and Refining: Artmaking in Response to musical movements. ​Design. Create. Reflect. 

Illinois Visual Arts Learning Anchor Standards 

Anchor Standard 1: Generate and conceptualize artistic ideas and work. 

Anchor Standard 6: Convey meaning through the presentation of artistic work. 

Anchor Standard CN 10.1: Synthesize and relate knowledge and personal experiences to make art.  

 
Suggested Vocabulary 
- Movement  -
- Tone  -
- Expression  -
- Album Covers 
Assemblage (Collage)  - Elements of Arts and 
Overlapping  Principles of Design 
Composition  (prerequisites)  

Implementation 
Learning Context 
Optional: In order to allow for student choice in this unit, students should have some prerequisite knowledge of 
materials and the appropriate ways to use those materials. During a class prior to the introduction of the music, 
allow students to explore a variety of materials to express a set of different moods.   

Discuss ways that mood/emotion can be expressed in works of art using the Elements and Principles of Design. 
Students can assign a mood or emotion to each of their material explorations. (Carefully select moods that 
could be applied to different movements of the music.) This will act as a reference for future artmaking.   

Procedures 
a. Connecting & Responding to ​Pictures from an Exhibition​ | ​Introduction 
a. Suggested connection for Intermediate lesson: Discuss grief/loss and how individuals may deal 
with this. Explore how visual and musical artists may deal with grief/loss in the past/present. 
Journal entry or group discussions. Discuss what a tribute means and develop examples.  
b. Play ​Classics for Kids​ episode (​https://www.classicsforkids.com/shows/shows.php?id=95​) to 
introduce the piece of music, hear samples from each of the movements, and provide some 
​ s the clip plays. 
background information. Students may fill out a listening tool (included below)​ a
Discuss any commonalities between music elements and visual elements and principles. 
c. Play Mussorgsky’s piece. Organize students into pairs/groups and have them create “mood” art 
studies for the different movements. Students should refer to their listening tool as well as the 
Elements and Principles handout (see below) to make connections between visual art and music. 
Their color choices, material choices and art making techniques should change with each 
movement. This time is an opportunity for students to explore materials and respond to music 
with those materials. 
b. Creating | Art making in Response to One Movement  
a. Students will choose which movement they found most interesting and use this as their 
inspiration for their art making. (Ideas for mixed media art making: collage, assemblage, memory 
boxes, paintings, drawings, etc.)  
b. Students will answer questions about the materials they chose, the elements and principles of art 
they used and how it all connects to their chosen movement.   
Differentiated Instruction 
Diverse Learners and ELL will be offered a variety of resources and modifications to meet objectives. (For 
example, ELL students and visual learners can view this video 
(​https://www.youtube.com/watch?v=DXy50exHjes&feature=youtu.be​) to ensure artworks correspond to each 
movement. Please note that the artworks in this video are not all by Viktor Hartmann.) 

Materials & Resources 

a. Instructional Materials: 
a. Listening Tool: Students will utilize during the listening portion of the lesson. 
b. Elements and Principles of Design handout: Students will use this during the listening and making 
portions of the lesson. 
b. Art Materials: 
a. 2D materials: paper, colored pencil, markers, oil pastels, crayons, paints, magazines, fabric 
scissors, glue sticks and base for work. 
b. 3D materials: pipe cleaners, beads, yarn, scissors, paper, glue, clay/model magic, found items, 
hot-glue and base for work. 
c. Resources: 
a. Full length recordings of ​Pictures from an Exhibition: 
https://open.spotify.com/album/3HWJrhl0hu0WGHys9BlijL​ or ​https://youtu.be/DXy50exHjes​.  
b. Additional resources for teachers are available as part of this PDF: ​https://cso.org/pictures​.   
c. Artworks by Viktor Hartmann: only six of Hartmann’s original works still exist. They can are 
included in the PDF packet linked above.   

Suggested Assessment(s) 
Formative: Listening Tool  Summative: Artwork  
Formative: Mood based artwork  Summative: Student reflections 
 

Acknowledgments 
The Negaunee Music Institute at the Chicago Symphony Orchestra gratefully acknowledges the work of the 
following individuals who contributed to the development of these materials: 
 
Wendie Bloxsom, Visual Arts Educator, Morgan Park High School 
Brenda Fineberg, Executive Director, Foundations of Music 
Claire Reynes, Visual Arts Educator, Mark Twain Elementary School 
Melisa Rutkelis, CPS Department of Arts Education 
 
© 2018 Wendie Bloxsom, Claire Reynes, Brenda Fineberg and The Negaunee Music Institute at the Chicago 
Symphony Orchestra 
Listening Tool  
 
Movement _______________________________ 
 
Listen to each musical selection and identify the prominence of the musical elements listed below. Focus on 
one element at a time. You do not need to have an answer for each item. Consider how these different musical 
elements combine to depict each picture and how these elements will influence your artwork. 
 
PIANO  FORTE 
(SOFT)  (LOUD) 
 

SLOW  FAST 
 

STEADY BEAT  IRREGULAR BEAT 

 

LOTS OF SILENCE  LOTS OF NOTES 

 

FEW INSTRUMENTS  MANY INSTRUMENTS 

 
FEW STRING   LOTS OF STRING 
INSTRUMENTS  INSTRUMENTS 
 
FEW WOODWIND  LOTS OF WOODWIND 
INSTRUMENTS  INSTRUMENTS 
 
FEW BRASS   LOTS OF BRASS 
INSTRUMENTS  INSTRUMENTS 
 
FEW PERCUSSION  LOTS OF PERCUSSION 
INSTRUMENTS  INSTRUMENTS 
 
DARK TIMBRE   BRIGHT TIMBRE 
(SOUND COLOR)  (SOUND COLOR) 
 

SMOOTH LINES  CHOPPY LINES 

 
 
My sketch: 
 
 
 
 
 
 
 
 
 
 
Elements and Principles of Visual Art 
 

Elements  Principles 

- Line  - Balance 
- Shape  - Contrast 
- Color  - Emphasis 
- Texture  - Pattern 
- Value  - Unity/Variety 
- Space  - Movement 
- Form  - Rhythm 

 
Rubric 
This rubric will be used by a panel of CPS visual art teachers to select student artwork that will be placed on exhibition at Symphony Center in 
conjunction with the May 17 and 18, 2019 CSO school and family concerts featuring ​Pictures from an Exhibition​. 
 
 
  3  2  1 
Wide range of values, demonstrates strong  Limited range of values, attempt at 
understanding of color, complex textures,  complex composition, demonstrates 
effective use of space, varying line quality,  Most elements are present but not all are  limited understanding of one or two 
Technical Elements  form and shape are accurate and effective  effective  principles of art. 
Appropriately complex composition and 
effectively uses multiple principles of art:  Student attempted a complex composition,  Student did not plan composition, 
Composition and  balance, emphasis, contrast, rhythm,  work has limited visual movement, piece is  overall work is rushed, unfinished, or 
Presentation  movement, unity/variety, proportion/scale.  slightly wrinkled or has unfinished edges  damaged. 
Made entirely by the student artist or student  Student has attempted an original concept or  Student participation is hidden behind 
Originality, Concept, and  effectively expands past the goals set by the  successfully completed the assignment while  teacher influence or student’s original 
Student voice  teacher  maintaining their own style.  concept is unclear 
Work connects directly to piece ​Pictures from 
Connection to   an Exhibition​, specifically to one movement or  Work has limited or unclear connections to 
Pictures from an  their entire piece as interpreted by the  the piece ​Pictures from an Exhibition​ as  Work has no clear connections to the 
Exhibition  student's voice  interpreted by the student's voice  piece ​Pictures from an Exhibition 
Score  Exemplary: 12-10 points  Proficient: 9-7 points  Fair: 6-4 
 
Additional resources for teachers 
 
The information and resources shared below are designed to orient teachers to Mussorgsky’s and Ravel’s 
music in order to support students’ musical exploration as a foundation for their artmaking. Many additional 
resources are available online, to expand upon and supplement what is presented here. 

Summary 
Pictures from an Exhibition​ is an evocative and thrilling piece of classical music inspired by drawings and 
paintings by the 19​th​ century Russian designer and artist Viktor Hartmann, depicting his experiences and 
encounters while traveling across Europe. The composer, Modest Mussorgsky, was a close friend of 
Hartmann’s. His work for piano was a musical tribute to his friend, after his untimely death. 
 
Chicago Symphony Orchestra Scholar-in-Residence & Program Annotator Phillip Huscher describes the origins 
of Mussorgsky’s music: 
 
When Victor Hartmann died at the age of thirty-nine, little did he know that the pictures he left 
behind—the legacy of an undistinguished career as artist and architect—would live on. The idea for an 
exhibition of Hartmann’s work came from Vladimir Stassov, the influential critic who organized a show in 
Saint Petersburg in the spring of 1874. But it was [composer] Modest Mussorgsky, so shocked at the 
unexpected death of his dear friend, who set out to make something of this loss. “Why should a dog, a 
horse, a rat have life,” he is said to have asked, paraphrasing King Lear, “and creatures like Hartmann 
must die?”  
 
Stassov’s memorial show gave Mussorgsky the idea for a suite of piano pieces that depicted the 
composer “roving through the exhibition, now leisurely, now briskly, in order to come closer to a picture 
that had attracted his attention, and at times sadly, thinking of his departed friend.”  
 
Mussorgsky’s suite includes ten musical pictures, introduced and connected by a series of “Promenades.”   
 
Mussorgsky wrote ​Pictures from an Exhibition​ in 1874. It was published in 1886 and, within a few years, 
composers began arranging the piece for orchestra. The most popular and frequently performed arrangement 
is by the French impressionist composer Maurice Ravel. This is the version that members of the Chicago 
Symphony Orchestra will perform at the school concerts on May 17, 2019. 
 
 
 
 
List and description of movements 
Below is a chart with short descriptions of each of the movements (distinct sections, often separated by silence) 
of ​Pictures from an Exhibition.​ The descriptions draw from quotes by Vladimir Stasov. Some movements 
include a second description, which removes significant geographic and cultural references, in case teachers 
want to encourage students to imagine their artwork in a different setting. In the far right column are questions 
or suggestions to help students make contemporary connections to the subjects of these movements 
 
Movement  Description by Russian  Description without  Contemporary 
critic Vladimir Stasov  geographic and cultural  connections 
references 

1. Promenade  Mussorgsky “roving     

through the exhibition 
now leisurely, now briskly 
in order to come close to 
a picture that had 
attracted his attention, 
and at times sadly, 
thinking of his departed 
friend.” 

2. No. 1 “The Gnome”  “A sketch depicting a     

little gnome, clumsily 
running with crooked 
legs” 

3. Promenade        

4. No. 2 “The Old  “A medieval castle  An old castle, with a poet   

Castle”  before which a  and musician performing 
troubadour [French  in front.  
medieval poet/singer] 
sings a song” 

5. Promenade        

6. No. 3 “Tuileries”  “An avenue in the garden  Children and their  Where in your 
of the Tuileries, with a  parents, grandparents or  neighborhood do you 
swarm of children and  caregivers, playing in a  see children playing? 
nurses.”  huge public park. 
Google images of the 
Tuileries Gardens can be 
found ​here​. 

7. No. 4 Bydlo   “A Polish cart on  A cart with huge wheels,   

  enormous wheels, drawn  pulled by oxen. 
by oxen.” 

8. Promenade        

9. No. 5 “The Ballet of  “Hartmann’s design for  Costumes for a ballet.   
Unhatched Chicks”  the decor of a 
picturesque scene in the 
ballet Trilby.” 
 10. No. 6 “’Samuel’  “Two Jews: rich and  A rich man and a poor  How does this music 
Goldenberg and  poor”  man.  depict the power or 
‘Schmuÿle’”  stature of a rich man and 
the powerlessness of a 
poor man? 

11. Promenade        

12. No. 7 Limoges. The  “French women  Women arguing in a   

Market.  quarrelling violently in  public marketplace. 
the market.” 

13. No. 8 Catacombs  “Hartmann represented  Ancient underground  For students who have 
himself examining the  burial sites. Hartmann  experienced the loss of 
Paris catacombs by the  included himself in his  friends or family 
light of a lantern.”  original, taking in the  members, does this 
scene.  music inspire you to 
imagine solemn places? 

14. No. 9 “The Hut on  “Hartmann’s drawing  A clock shaped like a   
Fowl’s Legs”  depicted a clock in the  witch’s hut, with 
form of Baba Yaga’s hut  chicken’s legs.   
on fowl’s legs. [Baba 
Yaga is a supernatural 
being.] Mussorgsky 
added the witch’s flight in 
a mortar.” 

15. No. 10 “The Great  A design for the “city  Massive city gates,  What is an architectural 
Gate of Kiev”  gates at Kiev [Ukraine] in  including a dome.  feature of your city or 
the ancient Russian  neighborhood that 
massive style with a  matches the scale and 
cupola shaped like a  grandeur of this music? 
Slavonic helmet.” 

 
Hartmann images 
Only six of the paintings and drawings by Viktor Hartmann still exist. They can be found at the end of this 
packet.   
 
Recordings 
There are many recordings of​ Pictures from an Exhibition​ available online; a few links are included below. The 
Negaunee Music Institute has an educational CD that we are happy to share. To receive a CD, email us at 
pictures@cso.org​.   
 
https://open.spotify.com/album/3HWJrhl0hu0WGHys9BlijL 
https://youtu.be/DXy50exHjes 
 
 
Introduction to the elements and principles of music 
The chart below lists a variety of musical elements and principles, with descriptions and examples of each. The 
recording referenced in right column is the CSO recording on Spotify 
(​https://open.spotify.com/album/3HWJrhl0hu0WGHys9BlijL​). Please note the differences between track 
numbers and movement numbers.   
 
Term  Definition  Examples  Musical Selections 

Beat  The regularly recurring    Listen to the very beginning of the 

pulse in music. Time is  piece (​Track 1, Movement 1, 
counted in music by  Promenade, 0:00-0:20​​). Notice how 
using beats, which are  the beat is even, measured, and 
assembled into  sounds like walking or marching. 
measures.   
Now listen to the very beginning of 
Track 2 (Movement 3. Promenade)​​. 
Notice how the melody is the same, 
but the “beat” is very different. It no 
longer feels evenly measured and 
march-like, but has more “give and 
take,” slowing down in some places 
and resuming a steady tempo in 
other places.  

Rhythm  A musical pattern    Listen to track 5 (Movement 9, 

moving through time  Ballet of Chicks in their Shells​​). You 
formed by a series of  will hear a very “busy” rhythm, in 
notes of different  which the pulse is subdivided into 
durations.  many small pieces. This rhythm is 
interrupted by long, held notes 
which break up the flow. 

Tempo  The speed of the  Presto​​ (very fast)  Listen to Movement 9 (Ballet of 
music’s beat.  Allegro​​ (fast)  Chicks in their Shells) at 0:34​​. 
Andante​​ (moderate,  Notice how the rhythm is “busy” 
walking tempo)  (subdivided into many pieces), but 
Largo​​ (slow)  the tempo is quite moderate. To feel 
Rubato​​ (give and take  the difference, pat your lap on the 
with tempo and rhythm)  “big beats” that sound like 
Accelerando​​ (getting  DEE-dum, DEE-dum. Notice how it’s 
gradually faster and  a more of a “walking tempo?” ​Go 
faster)  back and listen again to Track 9​​. 
Can you find the “big beats” here? 
 Ritardando​​ (getting  Do you feel them moving along 
gradually slower and  more quickly? 
slower) 

Pitch  How high or low a    Listen to Movement 14 (The Hut on 

musical sound is.  Fowl’s Legs).​​ This selection is full of 
contrasts between low and high 
sounds. At 0:57, notice the 
orchestra alternating between some 
of the lowest and highest pitches 
they can play. In the slower section 
beginning at 1:05, notice how the 
melody rises and falls.   

Melody  A succession of notes    Listen to Movement 12, The 

forming a distinctive  Catacombs. ​Much of the track is a 
sequence. Musical  series of loud, harmonic blasts or 
pitches that fall into a  chords from the brass section. 
recognizable pattern,  However, ​at 1:30​,​ the trumpet plays 
which you might sing or  a short melody all on its own, or 
hum.  solo. Notice the contrast between a 
single voice playing one note at a 
Harmony  A combination of    time and the sound of a group of 
pitches sounding  instruments playing different notes 
together, like a chord.  at the same time.  
When a group of 
pitches sound harsh or 
jarring, they are 
described as being 
“dissonant.” 

Dynamics  Degrees of intensity of  Pianissimo​​ (very quiet)  Listen to Movement 7 (Bydlo) from 
volume. How loudly or  Piano​​ (quiet)  the beginning through 2:29​​. Notice 
softly the music is  Mezzo-forte  how the orchestra begins at it’s 
played.  (medium-loud)  softest possible dynamic, builds all 
Forte​​ (loud)  the way through it’s loudest, then 
Fortissimo​​ (very loud)  pulls all the way back to its softest at 
the end of this section. This is called 
a ​crescendo​ (building) and 
diminuendo​ (reducing), a way 
composers can build drama and 
expression into a piece. 
 
 
 
 
 
 
  
 

Expression  Various ways that the  Legato ​(smooth and  Listen to Track 1 at 1:40 (Movement 
same pitches can be  connected)  2, Gnomus).​​ Listen to how the 
played differently (e.g.  Staccato​​ (short and  instruments accent certain notes in 
smooth or choppy,  percussive)  each phrase. This section lacks the 
heavy or light)  Accented ​(strong front  same sense of steady beat we find 
with decay)  in the Promenade, but the accents 
  keep the music moving forward. At 
the concert, watch how the 
conductor indicates these different 
expressions to the musicians. 
Notice how much the orchestra 
must watch the conductor in order 
to play these notes exactly together! 

Instrumentation  The particular  Strings​​ (violin, viola,  For an example of the STRING 
instruments used in a  cello, double bass)  section, listen to the opening of 
piece of music.  Woodwinds​​ (flute,  Movement 10 (Samuel Goldenberg 
Instruments are  clarinet, oboe, bassoon,  and Schmuÿle (0:00 -0:45) 
grouped into families  etc.)   
based on similarities in  Brass ​(tuba, trombone,  The WOODWINDS, specifically the 
the ways that they  French horn, trumpet,  flute, are featured throughout 
produce sound. The  etc.)  Movement 9​​ (Ballet of the Chicks in 
four instrument families  Percussion​​ (timpani,  their Shells). 
of the orchestra are  xylophone, cymbals,   
strings, woodwinds,  etc.)  The BRASS are most clearly notable 
brass, and percussion.  Other​​ (e.g. synthesizer  in the very opening of the piece, 
or electronic  Track 1 (Movement 1, Promenade). 
instruments, “found”   
percussion)  The PERCUSSION section, 
  specifically a rolling snare drum and 
the steady beat of the Timpani, can 
be heard moving the music forward 
at ​1:30​​ ​in Movement 7 (Bydlo)​.​   

Timbre  The quality or color of    The composer chose the brass 
sound that makes one  instruments to both start and end 
voice or instrument  the piece. ​Listen to Movement 1 
different from another.  from the beginning, then listen to 
Movement 15 (The Great Gate of 
Kiev) at 5:21​​. The bright, vibrant 
tone of the brass announces the 
beginning and end of the piece. The 
composer wants to make sure the 
 listener knows the tour of the gallery 
is over! 
 
You can also compare and contrast 
the color of the sound in the 
different Promenades (Movements 1, 
3, 5, and 8). 

Texture  The ways multiple    Listen to Movement 8 (Promenade) 

voices or instruments  at 2:40​​. Notice how the texture 
interact in a piece of  starts out simply: two instruments 
music.  play a variation of the theme in 
harmony. As the piece continues, 
notice how more and more 
instruments join in the music, adding 
layers and complexity to the sounds 
and texture until it is hard to tell one 
voice from another. 

Phrasing  A division of a musical    Listen to ​Track 2 beginning at 3:10 

line, comparable to a  (Movement 4, The Old Castle). 
line or sentence in  Notice how each instrument/group 
poetry or prose.  of instruments has a smooth 
connected “musical sentence,” then 
a short break, or rest. You can 
almost imagine the instruments 
speaking to each other, pausing for 
breath, or to express a new idea. 

Form  The structure of a  Repetitive ​(e.g., the  As a whole, there is REPETITION 

musical composition.  exact same musical  in the piece because the 
idea occurs again  Promenade section returns. 
and again:  Within each movement, there is 
AAAAAA…)  melodic repetition too. 
   
Predictable​​ (e.g.,  However, the structure of the 
Sections of the piece  piece is not PREDICTABLE, as 
re-occur in an expected  the Promenade does not appear 
way: ABACADA…)  between every individual sketch. 
   
Thematic​​ (e.g., the same  The same THEMATIC idea, the 
general musical idea is  Promenade, is repeated 
re-stated, though not  throughout, but every time, it 
exactly the same way  sounds a bit different. 
each time: AA’A’’A’’’…)   
  There is CONTRAST both 
between each version of the 
 Contrasting ​(e.g.,  Promenade, and between each 
sections sound very  picture. 
different from one   
another: ABCDEF…) 
 
Other resources 
https://www.wassilykandinsky.net/pictures.php 
https://www.npr.org/templates/transcript/transcript.php?storyId=112101115 
https://www.amazon.com/Pictures-Exhibition-Anna-Harwell-Celenza/dp/1570914923 
https://www.amazon.com/Can-You-Hear-William-Lach/dp/0810957213 
https://www.classicsforkids.com/shows/shows.php?id=95 
http://pictures.studio409art.com/ 
 
Viktor Hartmann’s artwork 
 
No. 5. The Ballet of the Unhatched Chicks 
 

 
 
No. 6a. Samuel Goldenberg 
 

 
 
No. 6b. Schmuÿle 
 

 
 
No. 8. Catacombs 
 

 
 
   
No. 9. The Hut on Fowl’s Legs 
 

 
No. 10. The Great Gate of Kiev