2006 Happy Birthday, Mozart! Teacher's Guide

The Dallas Symphony Orchestra presents:
Happy Birthday, Mozart!

January 31 and February 1, 8, and 9, 2006
In every field of endeavor, there are individuals whose names have come to represent the field itself. For
example, the name Shakespeare calls up drama; Henry Ford immediately bring to mind the automobile, and
the Dallas Cowboys represent football to many people. In the world of music, Wolfgang Amadeus Mozart
is such a name.
Mozart was not only phenomenally gifted; he was also born into an environment which made it almost inevi-
table that he would become a professional musician. His father was Leopold Mozart, a composer and violin-
ist in the court of the prince-archbishop of Salzburg. His son was born there in 1756. At the age of four,
Wolfgang began the study of violin and harpsichord; at five he composed his first piece; and at six his
parents took him and his sister Nannerl to perform in courts all over Europe.
Mozart is remembered for musical feats that seem impossible even for highly trained musicians. For
example, on his childhood concert tours, to show off, he sometimes performed with a sheet over the
keyboard. As an adult, he once reconstructed an entire mass from memory after hearing it only one time.
And he was able to construct entire compositions in his head--the opera Don Giovanni was written down so
hurriedly that, at the first performance, the ink ran down some of the pages.
But it is not for these amazing accomplishments that he is most remembered. Although 2006 will be the
250th anniversary of his birth, Mozart’s music is still played all over the world. In his 35 years, he wrote
an enormous volume of music-- operas, instrumental concerti, solo works, chamber music, choral works,
and symphonies. It is likely that even those few individuals in the Western world who do not recognize his
name have heard the theme from one or more of his compositions.
It is intriguing to imagine whether, somewhere in the world today, there may be a child as verbally gifted
as Shakespeare, as mechanically gifted as Ford, or as musically gifted as Mozart. Is he or she in your
classroom?
In the Dallas Symphony Youth Concert, Happy Birthday, Mozart!, you and your students will not only learn
something about the life and times of Mozart, but you will hear some of the most vibrant music ever
written. Enjoy!
VISIT THE DALLAS SYMPHONY ORCHESTRA’S

EDUCATIONAL WEBSITE
www.DSOKids.com
Activities for Forecast: Music were prepared by the Dallas Symphony Orchestra’s Curriculum
Development Team, Linda Arbolino, Jane Aten, Linda Booth, Tony Driggers and Gloria Lett. This volume of
the Teacher’s Guide was produced and edited by Dallas Symphony Orchestra Education Staff members
Ashley Kurth, LeAnn Binford, and Carl Johnson. Materials in this Teacher’s Guide can be photocopied for
classroom use. If you have any questions about the concerts, please call Ashley Kurth at 214/871-4006.
Volume Two- Happy Birthday, Mozart!

Page 2
Table of Contents
Repertoire………………………………………………………………………………………………………….…………………………3
Meet the Composer…………………………………………………………………………………………….………………………4
Repertoire Availability………………………………………………………………………………………….……………………5-6
Who’s Who in “Happy Birthday, Mozart!”………………………………………………………….……………………7
Pre-Concert Activities
Concert Etiquette……………………………………………………………………………………………………………..……8
Instrument ID…………………………………………………………………………………………………………………...….9-10
The Music Listening Game…………………………………………………………………………………….….………..11
Musical Journals………………………………………………………………………………………………………….………..12-13
Happy Birthday, Mozart! Activities

What’s Cookin’ Maestro?……………………………………………………………………………………………………….14-15
Manipulating Musical Elements…………………………………………………………………………………………….16
Mozart, Boy Musician………………………………………………………………………………………………………..….17-18
Feelings……………………………………………………………………………………………………………………………………..19
If I Were A Composer………………………………………………………………………………………………………….20-21
Resources for Teachers…………………………………………………………………………………………………………….22

Orchestra Seating Chart…………………………………………………………………………………………………………..23
Concert Guidelines for Teachers……………………………………………………………………………………………..24
Arriving and Departing……………………………………………………………………………………………………………….25
Map of the Meyerson Symphony Center………………………………………………………………………………..26
About the Meyerson Symphony Center………………………………………………………………………………….27
Student Review Form………………………………………………………………………………………………………………...28
Teacher’s Evaluation Form………………………………………………………………………………………………………..29
Amazing Music Order Form………………………………………………………………………………………….………...30
THANKS!………………………………………………………………………………………………………………….…….…………….31
Volume Two– Happy Birthday, Mozart!

Page 3
Happy Birthday, Mozart! — Repertoire
Eine Kleine Nachtmusik, 1st movement
Happy Birthday To You by Mildred J. Hill and Patty Smith Hill
Overture to The Marriage of Figaro
Excerpt from the Overture to Don Giovanni
Adagio from Adagio and Fugue String Quartet, KV 546
Serenade in E flat, KV 375, 5th movement
Excerpt from the Violin Concerto in G Major, KV 216, 1st movement
Excerpt from the Violin Concerto in D Major, KV 218, 1st movement
Symphony No. 39, 4th movement
Please note: Due to time limitations, some works will not be played in their entirety;
program subject to change without notice.

Page 4
Happy Birthday, Mozart! - Meet the Composer
For further information about Wolfgang Amadeus Mozart, check out www.DSOKids.com!
WOLFGANG AMADEUS MOZART (Born January 27, 1756 in Salzburg, Austria;

Died December 5, 1791 in Vienna, Austria)
Mozart was no doubt the greatest child star that ever lived. He was traveling all over
Europe playing music by the time he was six. Because of his constant travels, Mozart
eventually learned to speak fifteen different languages. He wrote his first sonata for
the piano when he was four and composed his first opera when he was twelve! Mozart
could compose anywhere - at meals (he loved liver dumplings and sauerkraut), while
talking to friends, while playing pool and even while his wife was having a baby. He
composed very quickly and wrote huge amounts of music. It would take over 8 days to
play all of his music, one piece after the next, without stopping. One famous piece that
he wrote was Variations on "Twinkle, Twinkle Little Star." One night a mysterious
stranger came to his door dressed in gray to hire Mozart to write a requiem mass
(a kind of music that choirs perform at funerals). Mozart who was very afraid of ghosts
and extremely superstitious, was terrified of the stranger who kept nagging him to
finish the piece. He was already ill, and in his state of mind he became convinced that he
was writing music for his own funeral. During his lifetime, Mozart was very well-known
but spent money faster than he could earn it. He was poor and in debt when he died of
kidney failure at the age of 35 and was buried in a poor man's grave. Mozart is
considered by some to be the greatest composer who ever lived. While most composers
specialize in certain kinds of pieces, Mozart created masterful works for almost every
category of music - vocal music, concertos, chamber music, symphonies, sonatas and
opera.

Page 5
Happy Birthday, Mozart! - Repertoire Availability
Excerpts of Concert Repertoire
(Available in Making Music, 2006, Silver Burdett)

Eine kleine Nachtmusik (excerpt), Grade 4, pg. 41, CD2-21
Excerpts by Mozart (but not specific concert repertoire)
(Available in Making Music, 2006, Silver Burdett)

12 Variations in C “Ah, vous dirai-je, Maman” (excerpt), grade 3, pg. 19, CD1-30
Concerto for Flute and Harp in C Major, movement 2 (excerpt), grade 8, pg. C-10, CD5-9
Concerto for French Horn in E-flat Major, No. 4, movement 3, grade 8, pg. C-11, CD5-10
Concerto in D Major for Flute and Orchestra, “Allegro,” grade k, pg. 123, CD4-38
Concerto in E-Flat for Horn and Orchestra, “Rondo,” movement 3 (excerpt), grade 4, pg. 71, CD4-8
Concerto No. 1 for Horn and Orchestra, “Rondo (Allegro),” grade 5, pg. 145, CD7-17
Die Zauberflöte (The Magic Flute), “Pa-pa-pa-pa-pa-pa-pagena,” grade 8, pg. C-13, CD5-13
Don Giovanni, “Lá cu darem la mano” (Give Me Your Hand), grade 8, pg. C-13, CD5-12
Eine Kleine Nachtmusik, “Minuet,” grade 4, pg. 111, CD5-30
Die Zauberflöte (The Magic Flute), “Der Holle Rache (The Revenge Aria) , grade K. pg. 49, CD2-25
Die Zauberflöte (The Magic Flute), “In diesen heil’gen hallen (In These Bright Halls), grade K, pg. 49, CD2-26
Die Zauberflöte (The Magic Flute), “Queen of the Night Aria” (excerpt), grade 7, pg. C-31, CD7-13
Sonata No. 11, “Turkish Rondo,” grade k, pg. 165, CD6-9
Symphony No. 40 in G Minor, “Molto Allegro,” movement 1 (excerpt), grade 8, pg. B-30, CD3-18
Symphony No. 40 in G Minor, movement 1, grade 8, pg. C-12, CD5-11
Listening Guide Transparency No. 19 , Grade 3, 12 Variations in C Major, K 265/300e, “Ah vous dirai-je,
Maman” (The 12 Variations on Twinkle, Twinkle, Little Star)
(Available in The Music Connection, 1995, Silver Burdett Ginn)

The Alphabet, Grade 5, pg. 101
Eine Kleine Nachtmusik, “Minuet,” grade 6, pg. 85
Flute Concerto in D Major, K. 314, grade 1, pg. 144
A Little Night Music, “Romance,” Grade 4, pg. 83
The Magic Flute. “Bell Music,” Grade 4, pg. 301
The Magic Flute, “Der Vogelfanger” (The Bird Catcher), Grade 5, pg. 170
Sonata in A Major, mvt. 1, Grade 6, pg. 270
Listening Guide Transparency No. 7, Grade 4, “Romance” from Eine Kleine Nachtmusik

Page 6
Happy Birthday, Mozart! - Repertoire Availability, Cont.
Excerpts by Concert Composers (but not specific concert repertoire), cont.
(Available in Spotlight on Music, 2006, MacMillan/McGraw-Hill)
Concerto for Piano No. 1, Allegro, grade 8, p. 179

Eine kleine Nachtmusik (Serenade No. 13 in G, K. 525), Romance (Andante), grade k, p. T176
Eine kleine Nachtmusik (Serenade No. 13 in G, K. 525), Minuet, grade 3, p. 168
Exsultate, jubilate, third movement, grade 6, p. 187
The Magic Flute (Overture), grade 4, p. 252
“Papagena! Papagena! Papagena!” from The Magic Flute, grade 2, p. 152
Piano Sonata No. 11 in A Major, third movement (“Rondo alla turca”), grade 7, p. 116
Serenate No. 10 in B Flat Major, K. 361 (“Gran Partita”), Theme and Variations (excerpt), grade 4, p. 235
Symphony No. 40 in G Minor, first movement, grade 8, p. 218
Una donna a quindici anni from Così fan tutte, grade 8, p. 187
Excerpts of Concert Repertoire Available at www.DSOKids.com
Eine kleine Nachtmusik
http://www.dsokids.com/2001/dso.asp?PageID=64

Page 7
Happy Birthday, Mozart! - Who’s Who
Named the Dallas Symphony Orchestra’s Assistant Conductor in 2005, Danail Rachev served as conductor
of the Juilliard PreCollege Symphony from 2002-2005. In addition, Rachev led performances of Copland's
The Tender Land with Baltimore’s Opera Vivente, for which The Baltimore Sun noted that Rachev “shaped
that score tellingly, revealing particular appreciation for its gentlest, most introspective moments.”
During 2002-2003, Rachev was the first-ever conducting fellow of the New World Symphony in Miami,
where he studied with Maestro Michael Tilson Thomas and shared the podium with him on several
occasions. His debut and subsequent appearances in numerous subscription and chamber music concerts
were met with consistent critical acclaim. He was recognized by the Florida Sun-Sentinel for his “vigorous,
boldly projected” and “fluent and sensitive” conducting and the Miami Herald called his reading of Mozart’s
Six German Dances “the evening's most spirited performance. Under Rachev's direction, New World
musicians played with light hearts, infusing their own joy into Mozart's festive music.”
Rachev has also served as cover conductor for the St. Louis Symphony Orchestra, assistant conductor of
the Columbia Orchestra (MD), associate director of orchestras at Baltimore School for the Arts, and
assistant conductor for the Baltimore Opera Company in productions of Elektra, Eugene Onegin and La
Cenerentola. Rachev has appeared as guest conductor in Europe with the Bulgarian State Musical Academy
Orchestra, Sofia Chamber Orchestra, Orchestra Epoques (Sofia), and has also led productions of Don
Pasquale and Il Barbiere di Siviglia at the Russe State Opera.
Originally trained at the State Musical Academy in Sofia where he received degrees in orchestral and choral
conducting, Rachev came to the United States in 1998 for studies at Peabody Conservatory on full scholarship.
While at Peabody, he served as assistant conductor for the Opera Department, Peabody Symphony Orchestra
and Peabody Camerata, graduating in 2000 with a Master of Music degree in orchestral conducting.
During the summer of 2002, Rachev was simultaneously chosen to be an academy conductor for the
American Academy of Conducting at the Aspen Music Festival and one of four participants in the National
Conducting Institute in Washington, D.C. The latter culminated in his well-received debut with the
National Symphony Orchestra. His conducting teachers have included Gustav Meier, Michael Tilson
Thomas, David Zinman and Leonard Slatkin.
Born and raised in Bulgaria, Rachev and his wife Elizabeth come to Dallas from New York City.

Page 8
PRE-CONCERT ACTIVITY ONE - Concert Etiquette

Teaching Objective
Students will demonstrate an understanding of appropriate audience behavior in a variety of settings.
Pre-Assessment
Ask students how they would behave at a symphony concert.
Teaching Sequence
1. Ask students to describe places where they were members of an audience. Answers could include attending a movie, a theater, a
sports arena, at home watching television, a concert hall, etc. List the answers on the chalkboard.
2. Discuss the appropriate audience behavior for each of the settings listed above. For example, how would audience behavior at a
golf tournament be different from a football game? How would the audience behave at a rock or rap concert compared with a
classical concert or a recital by a single person?
3. Choose students to act as performers in at least three of the settings listed above. For example, they may pretend to be playing a
sport like golf or ice hockey; or they could pretend to be playing instruments in an orchestra or a rock band. Allow the students to
perform while the rest of the class pretends to be in the audience.
4. Before and after each performance, review with the class where they are pretending to be and help the class evaluate the
appropriate audience behavior for each location. Point out that some behaviors that are fine in one setting are considered
inappropriate in another. Ask performers if they felt that the audience’s behavior was appropriate for their performance and why.
Culminating Activity
Tell students that they will soon be going to a concert where they will see and hear a symphony orchestra. Show them pictures of the
Meyerson Symphony Center. Help students create a rubric for correct behavior at a symphony concert. See example below. Have
students use their rubric to evaluate their behavior after the concert.
Needs Improvement————–Outstanding
Action Ideal Behavior 1——————————————–10
Talking Talks softly before and after concert, but does

not talk once the performance begins
Body Keeps body quiet with little movement during

the performance
Listening Actively listens during performance
Clapping Claps when the concertmaster and conductor

enter and at the end of each piece of music.
Clapping can be enthusiastic; but yelling,
shouting, whistling and stomping are not ap-
propriate.
Evaluation
Did student responses indicate an understanding of appropriate audience behavior in a variety of settings?
Co-Curricular Connections/TEKS
English Language Arts and Reading: 110.5 2-4; 110.6 1-5; 110.7 1-5; 110.22 1-5
Music/Fine Arts: 117.12 3.6; 117.15 4.6; 117.18 5.6; 117.33 6.6
Theater/Fine Arts: 117.13 3.1, 3.2, 3.3; 117.16 4.1, 4.2, 4.3; 117.19 5.1, 5.2, 5.3; 117.34 6.1, 6.2, 6.3

Page 9
PRE-CONCERT ACTIVITY TWO - Instrument ID
Teaching Objective
Students will demonstrate an understanding that orchestral instruments are grouped into
families based on their similarities and differences.
Resources
• Pictures of orchestral instruments (may be downloaded from DSOKids.com -
http://dsokids.com/2001/instrumentchart.htm)
• Small pieces of paper or cards with instrument names and/or pictures on them.
Pre-Assessment
Show students a picture or a seating chart of an orchestra. Be sure that the chart shows
pictures of the instruments of the orchestra (see page 32 or download a chart from the
Internet at DSOKids.com- http://dsokids.com/2001/instrumentchart.htm) Ask students to
look at the chart and tell you what they know about the orchestra. Answer the following
questions:
-Name the instruments you recognize.

-Who leads the orchestra?
-How are the instruments of the orchestra grouped?
-Why are they arranged in this manner?
Teaching Sequence
1. Tell or remind students that orchestral instruments are divided into four groups or
families based on how their sounds are generated. Brass instruments are played by
‘buzzing’, or vibrating one’s lips into a mouthpiece; woodwind instruments are played by
blowing into a mouthpiece with a reed, between two reeds, or across an opening in the
instrument; percussion instruments by shaking, scraping or striking the instrument; and
string instruments by plucking or pulling a bow across a string. (For a more in-depth
explanation, visit DSOKids.com.)
2. Tell students that even though each instrument has distinct characteristics, it also
resembles the other instruments in its family - much like you resemble the other
members of your family. Have students take turns describing similarities and
differences between themselves and the other members of their families.

Page 10
PRE-CONCERT ACTIVITY TWO- Instrument ID, Cont.
3. Show students pictures of the families of the orchestra. As pictures of each family are
displayed, have students take turns describing similarities and differences they see in the
instruments in that family.
4. Give each student or team of students, a picture of an orchestral instrument (pictures can be
asddownloaded from DSOKids.com). Ask the students or teams to identify their instrument and
determine the family to which their instrument belongs.
Play a short excerpt of symphonic music as the students move into instrumental family groups.
If appropriate for your students, designate a place in the room for each family to stand, otherwise
allow students to work that out on their own. This game can be played several times until students
become proficient with all instruments.
Evaluation
Did students demonstrate an understanding that orchestral instruments are grouped into families
based on their similarities and differences?
Extension Activities
1. Instrument “Who Am I” game - Tell students that they are to pretend that they are the
instrument pictured on the piece of paper. Have students take turns giving clues to the other
students or teams in the class. Remind students that they are pretending to be that instrument.
dfsSome examples of clues could be, “My family has very long necks. Although my family gets played
asdtwo different ways, they are mostly very similar in appearance. I am the smallest member of my
sdffamily. I have the highest voice in my whole family, etc.”
Answer: violin. Allow students to play until everyone has shared their clues.
2. Have students bring pictures of their own family and discuss in class how they are similar in
appearance to other family members as well as the characteristics that make them
individuals.
English Language Arts and Reading: 110.5 3.3C, 3.4; 110.6 4.23B; 110.7 5.23B; 110.21 6.22B
Social Studies: 113.5 3.16A,B,E; 113.6 4.22B,C; 113.7 5.25B,C; 113.22 6.21B,C
Music/Fine Arts: 117.12 3.1A, 3.1B; 117.15 4.1A, 4.1B; 117.15 5.1A, 5.1 B; 117.33 6.1A, 6.1B

Page 11
PRE-CONCERT ACTIVITY THREE - The Music Listening Game

Teaching Objective
Students will improve their listening skills.
Resources
Recordings of music which will be performed on the Youth Concert (Excerpt from Eine Kleine Nachtmusik, by
Mozart, can be found at- http://www.dsokids.com/2001/dso.asp?PageID=64, also see pp. 5-6)
Pre-Assessment
Ask students to describe what they expect to hear when they listen to music. List students’ responses on the
chalkboard.
Teaching Sequence
1. Ask students to be very quiet and write down or remember everything they hear during a two to five-
minute period.
2. At the end of the time ask each student how many things they heard. Encourage the lists to be as long as
possible, including everything from sounds made by other students to air-conditioning noise. (In a few days,
you can play the game a second time and compare how listening skills have improved.)
3. With no other activities going on, have students listen to a work of music once.
After listening, lead a discussion by asking general questions such as:
• How did the music make you feel? Why?
• What was the mood of the music? Why do you say that?
• How would you move your body to this music? Explain why you chose that movement.
• Can you make a facial expression that describes the music? Why did you choose that expression?
• Can you think of one word that describes the music? Why did you choose that particular word?
• Did the music make you think of a certain person, place or thing? Why?
• What did you picture in your mind while listening to the music? Why?
(Keep in mind that there is no right or wrong answer to these questions because music is a personal experience.
Discussions like this assist students in becoming more self-aware. If class does not respond initially, try listening
to the music again, this time allowing the students to move quietly to the music.)
Evaluation
Did students’ listening skills show improvement?
Extension Activity
Have students listen to another work of music, then create an original work of art inspired by what they heard.
Fine Arts/Music: 117.12 3.1, 117.15 4.1, 117.18 5.1, 117.33 6.1
Fine Arts/Theatre: 117.13 3.1C, 117.13 4.1C, 117.19 5.1C, 117.32 6.1C
Language Arts: 110.5 17, 110.6 18, 110.7 18, 110.22 9

Page 12
PRE-CONCERT ACTIVITY FOUR - Musical Journals
Teaching Objective
Students will record how their response to music changes after repeat listenings.
Resources/Materials
• Music Journal worksheet for each student or notebook paper (page 14)
• Pencils
• Recordings of the music that will be played at the Youth Concert (Excerpt from Eine Kleine Nachtmusik, by
Mozart, can be found at- http://www.dsokids.com/2001/dso.asp?PageID=64, also see pp. 5-6)
Pre-Assessment
Ask students if they have ever tasted a new food. With repeated tastings, did their opinion of the food change?
Ask students if they have ever been introduced to a new student at their school. After they got to know the
other student, did their opinion of that student change? This happens with music...the more you listen, the more
you hear. Sometimes a musical piece that you first hear becomes a favorite after repeated listenings.
Teaching Sequence
1. Pass out the Music Journal worksheets and pencils. Play one of the pieces that will be heard at the concert.
Ask students to list the name of the piece and the composer.
2. After the initial hearing, ask students to record their reactions, any emotions they may have felt, and any
thing else that they hear in the music.
3. Over a period of time, listen to the music repeatedly. After each hearing ask the students to record their
reactions in their Music Journals.
Compare students’ initial reactions to their latest reactions.
Evaluation
Did students’ recorded reactions change over time after repeat listenings?
Extension Activity
1. Have students write a paragraph essay before attending the symphony concert, titled
“I Imagine an Orchestra Concert.” in which they students describe what they expect at the concert.
2. Immediately after attending the concert, have the students write a paragraph essay titled “My Orchestra
Experience” in which students write about their reaction to the concert and how their expectations were or
were not met.
Fine Arts/Music: 117.12 3.1, 117.15 4.1, 117.18 5.1, 117.33 6.1
Language Arts: 110.5 10, 14; 110.6 11B, 15; 110.7 11B, 15, 110.22 11B, 15

Page 13
Page 13
PRE-CONCERT ACTIVITY FOUR - Musical Journals, Cont.

Musical Journals Worksheet
Listen to one of the musical selections that will be performed at the upcoming
Forecast: Music Symphony Concert. After you listen to the piece, record your reactions and
any emotions you feel as you listen to it.
3rd Listening
4th Listening
5th Listening
Name of piece:
Composed by:
2nd Listening
1st Listening

Page 14
Happy Birthday, Mozart! ACTIVITY ONE – What’s Cooking, Maestro?

Teaching Objective
Student will develop an understanding that music is made up of separate elements, or ingredients, which can
be combined and manipulated to achieve planned results.
Vocabulary
Composer – A person who writes new music.
Chef – A person who cooks and prepares food.
Resources
Marker board, chalkboard or overhead projector
Pre-Assessment
Ask students to define the word composer. Be sure they know that a composer is a person who writes new
music.
Teaching Sequence
1. Write the following statement on the board or overhead: ‘A composer is like a chef’ Ask students to
suggest ways that this statement is true. Tell them the only rule is that no one is allowed to criticize any
answer. Keep a list of all responses (it is important to write all responses without editing). When going
on to the next steps in the lesson, students will probably think of more responses to add to the list. If
this happens, allow students to guide the discussion back and forth, as this kind of exploration will be
useful in the lesson that follows on ‘Manipulating Musical Elements’.
Teacher Note: On the following page is a sample list of responses that was generated by a fourth
grade class in a 45-minute session.
2. Ask students to name some of the elements that a chef can adjust in order to alter a dish when cooking.
You might need to name one in order to get them started. Answers could include
texture - thick vs. watery, crunchy vs. smooth;
taste – hot vs. mild, sweet vs. bitter; or
appearance – colors, what garnishes to use, sauces, etc.
Tell students that composers adjust their music in similar ways. Have students name some of the ways that
composers can manipulate their musical creations. Some suggestions might include:
Texture – how many instruments or voices are going on at the same time;
Style – rock, country, classical, folk;
Tone color – how instruments or voices are combined to achieve certain sounds;
Comparatives – faster/slower, higher/lower, louder/softer, etc.
Evaluation
Did students develop an understanding that music is made up of separate elements that can be manipulated?
Extension Activity
Have the students re-visit the statement ‘A composer is like a chef’. Have them refine their answers to
include only ways that composers and chefs manipulate the same components. For example, a chef and a
composer can alter their products to relate to a certain culture or style. Both music and food can be
ornamented (garnished). Divide students into small groups and challenge them to see which group can create
the longest list.
Language Arts: 110.5 1C, 3C, 20B
Fine Arts: 117.12 1B, 5C, 6A; 117.15 1B, 6A; 117.18 1B, 5B, 6A; 117.33 1B, 5B

Page 15
Happy Birthday, Mozart! ACTIVITY ONE-What’s Cooking, Maestro? Cont.
4th Grade Class Sample Answers:
A composer is like a chef

Both write books (cookbooks/music book).
Both put things together.
Both provide instructions for their creations.
Both make something.
Both use ingredients.
٠ Examples of musical ingredients: Families, instruments different kinds of notes, speed,
acoustics, style, high and low notes
٠ Examples of food ingredients: utensils, food groups, spices, measuring devices
Chefs and musicians buy equipment.
Both use tools (instruments)
Both check things over and possibly add something to the ‘mix’.
Both think his/her job is important.
Both create something valuable.
Both are on TV sometimes.
Both must be good at their job to make a living.
Both sing.
Both start small and add things until they get desired results.
Both create.
Both products go well together (can listen to music while you eat food).
Both have to think about a final result.
Both use measurements.
Both use lockers.
Both require concentration.
Both have a reason for doing what they do.
Both are an art form.
People try new foods/people try new instruments/styles of music.
Chefs and musicians might have uniforms.

Page 16
Happy Birthday, Mozart! ACTIVITY TWO - Manipulating Musical Elements

Teaching Objective
The students will demonstrate an understanding that a composer manipulates musical elements of a theme within a
composition.
Vocabulary
Musical elements – tempo (speed- fast/slow), dynamics (loud/soft), high/low pitch placement, dynamics (loud/soft), tone color
(instrument choice), rhythm (even vs uneven), harmony, style, tonality (Major/minor)
Canon - (One group begins singing, the second group begins singing the same song but at a
different starting place.)
Ostinato – a special part that is repeated as an accompaniment to the song.
Theme – a musical idea.
Resources
Are You Sleeping? or any other well known folk song.
A musical selection composed by Mozart – see listening resource list.
Pre-Assessment
Can the students name several musical elements? (See vocabulary above.)
Can the students suggest ways a composer might manipulate the elements of music?
Teaching Sequence
1. Ask students to sing Are You Sleeping? or any other folk song they know well.
2. Say that a composer can manipulate the musical elements present to create a composition or to create an emotional
response from his music. Generate a list of the ways a composer may work with a theme. Here are some ideas:
Change the tempo: Sing it faster./Sing it slower.
Change the pitch: Sing it in a higher place./Sing it in a lower place
Change the dynamics: Sing it loud./Sing it soft
Change the color: Sing with boys only./Sing with girls only
Change the rhythm: Sing it with even rhythms./Sing it with uneven rhythms.
Create harmony: Sing it as a canon (see definition above)
Create harmony: Sing it with an ostinato (see definition above)
Add another part: Create an accompaniment to the song with body percussion, unpitched percussion instruments, etc.
Change the style: Speak it as a rap
Change the text.
Any combination of the above ideas
(If you are a music teacher presenting this lesson, you may wish to also explore changing the tonality from major to
minor.)
3. Using the song as the theme, let the class experiment with several of the ideas.
4. Divide the class into four or five small groups. Tell each group they will be in charge of presenting their song in a
performance for the class. They must manipulate the song in at least two different ways. Allow time to work on the song.
Let each small group present their musical ideas in performance for the rest of the class. After each performance, challenge
the listeners to identify the musical element that was changed.
Evaluation
Were the students able to demonstrate manipulation of musical elements in their performance?
Extension Activity
Listen to one of Mozart’s compositions to hear how he manipulates the elements of music.
Fine Arts: 117.12 1B, 2A, 4A, 4B; 117.15 1B, 2A, 4A; 117.18 1B, 4A; 117.33 4A, 4B
Language Arts: 20B

Page 17
Happy Birthday, Mozart! ACTIVITY THREE– Mozart: Boy Musician

Teaching Objectives
The students will learn that as a young boy, Wolfgang Amadeus Mozart was an extremely gifted and talented
musician and they can be musicians too!
Resources
• “Twinkle, Twinkle Little Star”, (found in The Music Connection, Grade 5,) CD4-23.
• An image of the composer W.A. Mozart, available at http://www.dsokids.com/2001/dso.asp?
• Interview script, found on the following pages
• Container from which reading assignments can be drawn
• Internet access to www.virtualsheetmusic.com/download/Mozart/Variations.html
• Young Mozart by Rachel Isadora, Viking Press, Penguin, New York (optional)
Pre-Assessment
Ask students the following questions:
What is a musician?
Do you know a musician?
Do you know Wolfgang Amadeus Mozart?
Can students as well as adults be musicians?
Are any of you musicians?
Prior to the lesson:
1. Place a mature male student or male guest, who will be the voice of Mozart, in an area hidden from view.
2. Provide the “Mozart person” with a complete script of numbered questions and responses. (available on the following
pages)
3. Cut and fold each individually numbered interview question and place them in the container.
4. Place the copied photographic image of Wolfgang Amadeus Mozart in a prominent place in the classroom so that it
becomes the focal point.
Teaching Sequence:
• Lead the class in singing “Twinkle, Twinkle Little Star”.
• Introduce the students to the composer, providing the basic biographical information that is available on the next
page of this lesson.
• Direct students, one at a time, to draw a question for the Mozart interview.
• After providing students ample time to review their questions, start the interview process beginning at question #1
and following in sequence.
1. At the conclusion of the interview, use the internet access and play several of Mozart’s “Twinkle” variations.
2. Encourage students to talk about how they too can be musicians: play an instrument; sing; compose; conduct an
orchestra; direct a choir; attend music concerts; be good listeners.
Evaluation
Did the students learn that Wolfgang Amadeus Mozart was a musician as a young boy? Did they understand that they too can
be good musicians?
Extension Activity
Engage the class in listening to one or more of the following selections.
Eine Kleine Nachtmusik, “Minuet,” grade 6, pg. 85
The Magic Flute. “Bell Music,” Grade 4, pg. 301
The Magic Flute, “Der Vogelfanger” (The Bird Catcher), Grade 5, pg. 170
Sonata in A Major, movement. 1, Grade 6, pg. 270
Language Arts: 110.5 1C, 2A, 3D; 110.6 2A, 2D, 4A, 5B, 5C, 14A; 110.7 2A, 2D, 4A, 5B, 5C, 14A; 110.22 2A, 2D, 2E, 4A, 5B, 5C, 14A
Fine Arts: 117.12 2A; 117.15 2A; 117.18 5B; 117.33 5B
Social Studies: 113.5 17A, 14A, 14B, 16C

Page 18
Happy Birthday, Mozart! ACTIVITY THREE– Mozart: Boy Musician, Cont.
Wolfgang Amadeus Mozart-Interview Questions
Mozart was a remarkable young man: curious and quick to learn. He lived over 200 years ago. He was born in Salzburg,
a small city in Austria. His father was a musician who played the violin and wrote music for other musicians to play. He
wanted his son to become a musician too. Students, today you can learn even more about this composer by interviewing
him. Now you may ask Mr. Mozart some questions!
Q 1. Were you really a musician?
R 1 Yes, I was a great musician!
Q 2. What instrument did you play?
R 2 My father taught me to play the harpsichord. It is much like the modern piano but smaller and with fewer keys.
I also learned to play the piano and taught myself to play the violin.
Q 3 How old were you when you learned to play the harpsichord?
R 3 Fours years old!
Q 4 Did you have any brothers or sisters?
R 4 Yes, I had a sister named Maria Anna. Her nickname was Nannerl. Father would take us on performance tours
to Munich, Germany and to Vienna, Austria.
Q 5 Did audiences scare you?
R 5 No, not at all. My father was very strict on my sister and me. Sometimes he seemed to be kind of mean but I
loved to play for others to hear and I really liked it when they liked my playing and gave us nice applause.
Q 6 Did you write music? What kind did you write?
R 6 I wrote symphonies, operas and oratorios… music especially for church choirs to sing. I wrote my first major
opera when I was fourteen years old. At fifteen, I was made concertmaster in the orchestra of Salzburg, the city
where I was born. The people really liked me and my music. They even compared me to great composers from
Germany, George Frederic Handel! I got into some trouble though and quit my job and left Salzburg to go and live in
Vienna, a much larger city.
Q 7 Were you rich?
R 7 While I lived in Vienna, I earned a lot of money but sometimes I spent more than I earned. At times, I was
very poor.
Q 8 Did you get married?
R 8 Yes, I married a beautiful woman. Her name was Constanze Weber. She tried to help me manage the money
but we became very poor. I began teaching music but I also had to ask my friends for money.
Q 9 Did you like being a musician?
R 9 Oh yes! I loved it! I was really talented and wrote a lot of music. It seemed as though I always had tunes in my
head and could not write them on paper fast enough. I even stopped performing so that I could spend all my time
composing. I spent so much time writing music that I did not eat the proper foods or get enough rest and I was sick
a lot.
Q 10 Did you get well?
R 10 No I did not. I became really sick and died when I was only 35 years old. But, I want you to know that I
really enjoyed what I did. I was called a genius and I loved being smart! I wrote so many operas, music for the piano
and for violins, and music for orchestras to play. Some of my operas were really funny and people would have fun
laughing. One of my operas was titled “The Magic Flute”. You would like it and you should see it sometimes.
Q 11 How can I hear your music now?
R 11 I am happy that you asked. Some of my music is used as cartoon music on television and in the movies. You
can hear my music played by the Dallas Symphony Orchestra at the Morton H. Meyerson Symphony Center and you
can hear it over the internet at http://www.dsokids.com/2001/dso.asp?Page ID=64 and on compact discs. Before I
came, I heard you singing “Twinkle, Twinkle Little Star”. Ask your teacher to get on the internet so that you can hear
some of the many ways that I changed that song. I hope you like it.
Q 12 Will you come to visit with our class again?
R 12 Of course I will. Just let me know when you want to know more about me. But remember, you can always find
my music and listen to it.
Q 13 One more question: how often did you practice?
R 13 I practiced quite a lot. Sometimes my father would get me out of bed and make me practice.
The End

Page 19
Happy Birthday, Mozart! ACTIVITY FOUR – Feelings
Teaching Objective
The students will demonstrate an understanding that music can express emotions.
Resources
Paper
Plain paper plates (3 for each student)
Crayons
Musical excerpts
Pre-Assessment
Lead a class discussion about various emotions (feelings) that the students experience. Examples: you
forgot to study for a test; everyone get something special for lunch; you are invited to a party; someone
took your lunch money; you sing a favorite song; everyone gets pizza except you; your dog runs away. Af-
ter each example, ask the students “How does that make you feel?”
Teaching Sequence
1. Have students list as many feeling words as they can on a piece of paper.
2. Have students categorize their list into whatever makes sense to them – “happy, sad, angry, etc.”
3. Have students assign colors to each category of feelings. Discuss how different colors can
reflect different emotions. Each student’s response will be unique.
4. Pass out 3 paper plates and crayons to each student.
5. Have students make 3 masks to depict 3 of their categories of feelings, using the colors that the
students assigned to those feelings.
Discuss with the students how feelings can be expressed through music. Play 5-6 excerpts of music
(choose from the concert pieces and popular music.) As they listen to each piece, have students hold up
the mask that they think depicts the feelings in the music.
Evaluation
Did students display different responses to feelings through their art and listening?
Language Arts: 110.5 1C, 1D, 3C, 4A, 4B, 20B; 110.6 25A; 110.7 25A; 110.22 24A
Fine Arts: 117.13 1A

Page 20
Happy Birthday, Mozart! ACTIVITY FIVE – If I Were A Composer
Teaching Objective
Students will demonstrate understanding that both Mozart and
composers today write different music for different situations.
Vocabulary
Symphony - is from a Greek word meaning “sounding together.” As the word is now used, it means a sonata for
orchestra
Chamber music - was originally named from the French word ”chambre,” which means “room;” it was music
written to be played in a chamber rather than a concert hall. Today the term refers to music written for a
smaller ensemble than a full orchestra or band.
Opera - drama set to music
Concerto - a piece written for a solo player, accompanied by an orchestra.
Resources
Paper and pencils
Pre-Assessment
Ask students: What does a composer do? Can anyone name a composer?
Does anyone know someone who writes music?
Teaching Sequence
1. Tell the students that when Mozart was born in Austria in 1756, life was different from that in the United
States today. Instead of a president and congress, there was a king. Royalty and other very wealthy people
were in charge of everything. Musicians were considered servants; they composed music for the royalty or
other important people. Some of the music they were asked to write was for church services, some was for
parties, and some was for concerts where the wealthy people could show off the musicians who worked for them.
Mozart only lived 35 years, but he wrote more than 800 pieces of music in his short lifetime. These included
operas, symphonies, and concertos, which were written to be performed in concert halls; chamber music, which
was written to be performed for parties or small groups of people; and music for church services, which usually
included both singers and instrumentalists. He was paid for the music he wrote by the wealthy people who
assigned him the kind of music they wanted. Even though he had to write music which pleased his sponsors,
Mozart was able to express his own thoughts and feelings in all his compositions.
At the Dallas Symphony Orchestra’s “Happy Birthday, Mozart!” Youth Concert, students will hear music from:
one of Mozart’s symphonies, a string quartet (chamber music), an opera, and a concerto.
Composers today make their living in different ways. Some work at universities; Robert Rodriguez, a well-known
Dallas composer, teaches at the University of Texas at Dallas. Some composers work for television or movie
studios. Some orchestras have composers-in-residence, who are paid by the orchestra that employs them. Even
if they have a job which pays a salary, most composers in the United States write music which they try to have
performed, hoping it will be bought by publishers. Very often a composer is asked to write music for a
particular occasion or a certain instrument or group, and the individual or organization who commissions him pays
an agreed amount for the completed piece.

Page 21
Happy Birthday, Mozart! ACTIVITY FIVE – If I Were A Composer—Cont.
2. Ask students to discuss ways in which life for a composer in Austria in 1756 might be different from that of
a composer in this country today. Some possibilities are: there was no television or movies; composers had to
write out their music by hand—no computers; travel was very hard--no airplanes or cars.
3. Point out that, in our daily lives, we hear music in many places, i.e., weddings, funerals, sports events, parties,
etc. All of this music was created by composers (even folk songs will usually have been arranged by a composer;
jazz involves improvisation--music made up by the player as he performs). Let the class brainstorm to name
places where they hear music as they go through the week. List the places on the board. Discuss where the
music might be played, whether it would be instrumental or sung (or a combination), whether it is performed by a
large group, a small group, or a soloist, etc.
4. Distribute or ask students to get out paper and pencil. From the list on the board, each student will choose
three places where he or she hears music. Working individually or in small groups, challenge
them to imagine "If I were Mozart, what kind of music would I write for each situation?
Would it be instrumental or vocal, or a combination?
What instruments would I use?
Would it use a large or small group of players?
Any other characteristics they want to imagine.
Why did they make the choices they did?
Ask them to record their ideas under the names of the places they chose.
Lead a class discussion comparing the kinds of music Mozart composed for different settings with the music a
composer might write today.
Evaluation
Did student responses indicate that both Mozart and composers today write different music for different
performance settings?
Language Arts: 110.5 1C, 3C, 13A, 20B; 110.6 4A; 110.4 4A; 110.22 4A
Fine Arts: 117.12 5C; 117.33 5B
Social Studies: 113.7 22A, 22B

Page 22
RESOURCES FOR TEACHERS

BOOKS - visit Amazon.com to find a large range of music related media, including:
Apel, Willi. Harvard Dictionary of Music. Harvard University Press, 1967.
Barber, Nocola. The World of Music. Silver Burdett Press, 1995.
Blackwood, Alan. The Orchestra; An Introduction to the World of Classical Music. A Quarto Book:
Millwood Press, 1993.
Cutler, Jane. The Cello of Mr. O. Dutton Children’s Books, 1999.
Hays, Ann. Meet the Orchestra. Gulliver Books, Harcourt Brace Jovanovich, 1991.
Hoffer, Charles. Concise Introduction to Music Listening. Wadsworth Publishing Company, 1984.
Koscielniak, Bruce. The Story of the Orchestra. Houghton Mifflin Co., 2000.
Kruckenberg, Sven. The Symphony Orchestra and its Instruments. Crescent Books, 1993.
Moss, Lloyd. Zin! Zin! Zin! A Violin. Simon & Schuster, 1995.
Nye, Robert & Bergethon, B. Basic Music. Prentice Hall, Inc., 1983.
Van der Meer & Berkeley, Michael. The Music Pack. Alfred A. Knopf, Publisher, 1994.
RECORDINGS
Recordings of much of the repertoire featured on Dallas Symphony Orchestra Youth Concerts
are included in many music curriculums. Please check with your school's music teacher or media
specialist. Tower Records, Border’s, Barnes & Nobles and Amazon.com carry a wide selection of
orchestral recordings.
VIDEO
The Dallas Symphony Orchestra's television series for children, Amazing Music, features Music
Director Andrew Litton as your guide to “Emotions in Music,” “Pictures in Music,” “Families of the
Orchestra,” and “Jazz.” (See page 31 for an order form.)
Grand Canyon Suite - London Festival Orchestra, Don Briggs Films, Box 788, Sausalito, CA 94966
MOVIES
“Music of the Heart” with Meryl Streep- Miramax, rated PG, 124 minutes
“Small Wonders”: documentary: Miramax, rated G, 77 minutes
CLASSROOM MATERIALS Sources for pictures of instruments, books, audio and videotapes:
• DSO Symphony Store; call 214-871-4066 for information
• Friendship House; call 1-800-791-9876 for a free catalog or visit http://
www.friendshiphouse.com/
• Music Educators National Conference (MENC); call 1-800-828-0229 for a free catalog or
visit http://www.menc.org/
• Music In Motion; call 1-800-445-0649 for a free catalog or visit http://
www.musicmotion.com/
• American String Teacher’s Association: visit http://www.astaweb.com/
ONLINE
www.DSOKids.com The Dallas Symphony’s website for teachers and students.
www.playmusic.org A children’s website from the American Symphony Orchestra League
www.nyphilkids.org The New York Philharmonic’s website for teachers and students
www.artsalive.ca An education website sponsored by the National Arts Centre in Canada
www.sfskids.org The San Francisco Symphony’s educational website for children

Page 23
Orchestra Seating Chart

Page 24
Concert Guidelines For Teachers

BEFORE THE CONCERT
• Please prepare your students using materials in this book or at www.DSOKids.com.
• Students should be briefed on concert etiquette in advance.
• Please contact Ashley Kurth at 214/871-4006 at least one week before the concert
if your group includes any students or teachers with special needs, including wheel-
chairs or deaf students requiring infra-red headsets.
THE DAY OF THE CONCERT

• Before leaving school, please allow time for students to visit the restroom.
• Clearly mark buses or cars for speedy identification and memorize bus numbers.
• Learn your bus driver's name and be sure you can recognize her/him.
• Plan to arrive at the Meyerson at least 30 minutes before concert time.
UPON ARRIVAL AT THE MEYERSON

• Check in with a volunteer in the main lobby; a volunteer will guide your group to your seat-
ing area. (Seating sections are assigned on the basis of group size.)
• All students should be in their seats at least 5 minutes before concert time.
• No food or drink, including chewing gum, is permitted in the concert hall.
DURING THE CONCERT

• The use of cameras and recorders is prohibited; please turn off cellular phones.
• Students and teachers should remain in their seats for the entire concert.
• Restrooms are located on all levels and should be used for urgent needs only.
• If students must visit the restroom, please have an adult accompany them.
• Students not maintaining acceptable standards of behavior will be asked to leave, and
may jeopardize their school's future attendance at DSO events.
AFTER THE CONCERT

• Please remain in your seats until your school is dismissed.
• Upon dismissal, listen carefully and follow instructions for departing the building.
BACK AT SCHOOL
• Refer to this guide or www.DSOKids.com for follow-up activities.
• Student letters/artwork expressing reactions to the concert are appreciated.
Mailing address: Youth Concerts

Dallas Symphony Orchestra
Schlegel Administrative Suites, 2301 Flora Street
Dallas, TX 75201-2497
Fax number: 214/953-1218
E-mail address: a.kurth@dalsym.com

Page 25
Arriving and Departing the Meyerson Symphony Center
BUSES - Please memorize bus numbers and be sure you know your bus driver!
Arrivals: Buses unload in front of the Meyerson Center on westbound Flora Street. After students dis-
embark, buses should proceed around the block and park along Leonard Street north of Flora. Please fol-
low instructions from Symphony personnel.
Departures: Buses remain parked on Leonard Street. Students are dismissed by school and directed to
their buses. Follow directions from Symphony personnel.
CARS AND VANS - Cars and vans park in the Arts District Garage which is entered from Ross Avenue
between Leonard and Pearl Streets. Take ticket, (parking fee is $1.00 per hour), and proceed to levels
four through seven. The Arts District Garage has an overhead clearance of 7 feet. (On level 3 of the
parking garage, there is a walk through into the lower level of the Symphony Center.) After parking,
take the Symphony Center elevators to the Lower Lobby, assemble your group in the Lower Lobby, then
take the stairs to Main Lobby. (An elevator is available for the physically challenged.)
A note to schools arriving in carpools: Please provide all of your drivers with a map and clear instructions
on where to park (Arts District Garage ONLY). Following identical routes is recommended so that your
group arrives at the Meyerson at approximately the same time. Be sure all drivers and chaperones know
to meet in the Lower Lobby. Please do not come upstairs until your entire group has assembled.
DIRECTIONS TO THE MEYERSON SYMPHONY CENTER
From Southbound I-35E Stemmons, east on Woodall Rodgers Freeway (exit marked TO HOUSTON, I-
45 and US-75), exit at Pearl Street, bear to the left when ramp divides. Take Pearl Street to Ross Ave-
nue (two blocks); turn left onto Ross.
From Northbound I-35E Stemmons, east on Woodall Rodgers Freeway (exit marked TO SHERMAN, I-
45 and US-75), exit at Pearl Street, bear to the left when ramp divides. Take Pearl Street to Ross Ave-
nue (two blocks); turn left onto Ross.
From Central (US-75), I-30 or I-45, west on Woodall Rodgers (366), exit at St. Paul (exit curves left),
turn left onto Woodall Rodgers access road, cross Olive Street and turn right onto Pearl Street. Go two
blocks to Ross Avenue and turn left.
From Downtown or East Dallas, north on Pearl Street, turn right onto Ross Avenue.
From the Dallas North Tollway, south on the Tollway, after the main toll plaza, stay in the left lane and
take the Hines Blvd. exit on the left towards downtown. Continue to follow signs to downtown, Pearl
Street and the Arts District. Turn slightly left to access Pearl Street, then stay on Pearl to Ross Ave.
Turn left onto Ross.
Then, from all directions, buses go two blocks to Leonard Street, turn left, go one block to Flora
Street, turn left again and pull up to the Meyerson entrance. Cars turn left into the Arts District
Garage from Ross Avenue at the green awning.

Page 26
Meyerson Area Map

Page 27
About the Morton H. Meyerson Symphony Center
One of the world's greatest concert halls, the Meyerson Symphony Center was made possible
through the efforts of the citizens of Dallas. Over 10 years were spent in the planning and con-
struction of the Meyerson, which opened on September 6, 1989.
World-renowned architect I.M. Pei was chosen to design the building, working closely with acoustician
Russell Johnson. Pei's design combines basic geometric shapes, with a rectangle (the concert hall) set
at an angle within a square (the outer walls). Segments of circles also enclose the building.
In the concert hall, every detail was designed to make the sound or acoustics as perfect as possi-
ble for orchestral music. For example, the heating and air conditioning system is located sepa-
rately so that no vibrations from the machinery can be felt in the concert hall. Acoustical fea-
tures include:
• the canopy over the stage which can be raised and lowered to enhance the sound,
• double sets of doors at all entrances,
• terrazzo and concrete floors,
• mohair fabric on the seats,
• walls covered with African cherrywood,
• sound-absorbing curtains which can be drawn over the walls, and
• a reverberation chamber with 72 acoustical doors used to "tune" the hall.
FUN FACTS ABOUT THE MEYERSON

The Meyerson Symphony Center has:
• 2056 seats,
• 30,000 sq. ft. of Italian travertine marble,
• 22,000 limestone blocks from Indiana,
• 35,130 cubic yards of concrete,
• 918 panels of African cherrywood around the concert hall,
• 216 panels of American cherrywood around the stage,
• 62 acoustical curtains,
• 4 canopies with a combined weight of 42 tons,
• 72 concrete acoustical doors, each weighing 2.5 tons,
• 50 bathrooms,
• an 85 foot high ceiling in the concert hall,
• a 40 foot hollow area under the stage to increase resonance, and
• an organ with 4 keyboards, 61 keys, 32 pedals, 84 ranks, 65 stops and 4535 pipes.

Page 28
Dallas Symphony Orchestra

CONCERT NEWS
Featuring Reviews Written by Students
~ Student Review ~
Student__________________________________________ Age
School______________________________________________Grade
Concert Attended____________________________________ Date
~ ~
Describe your concert experience. (What happened first, second, next, etc.)
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
Name one of the musical pieces you heard at the concert and describe it.
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Choose two musical instruments you heard at the concert and compare their appear-
ance and their sound.
___________________________________________________________________
___________________________________________________________________
___________________________________________________________________
What did you enjoy the most and what did you enjoy least at this concert?
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
_____________________________________________________________________
Please have your teacher send your Review to
Youth Concerts, Dallas Symphony
Schlegel Administrative Suites, 2301 Flora Street
Dallas, TX 75201
Or FAX to: (214) 953-1218
Or EMAIL to: a.kurth@dalsym.com

Page 29
TEACHER'S EVALUATION FORM

DALLAS SYMPHONY ORCHESTRA YOUTH CONCERTS, 2005-2006
IMPORTANT! Comments from teachers’ evaluations of DSO Youth Concerts are key elements in planning future programs. Please share your
thoughts, opinions and suggestions. Form may be photocopied for use by all teachers attending the concert.
1. I attended: (Check one.)

Forecast: Music Grade Level Date
Happy Birthday, Mozart! Grade Level Date
Musical Families Grade Level Date
2. Please rate the following on a scale of 1 to 6

Poor---Excellent
Suitability of programming 1 2 3 4 5 6
Conductor's rapport with audience 1 2 3 4 5 6
Orchestra performance 1 2 3 4 5 6
Logistics (seating, exiting, etc.) 1 2 3 4 5 6
Students' attentiveness 1 2 3 4 5 6
Comments
1. Was the Teacher’s Guide helpful? Is there anything that you would like to see added to it?
2. Did you use the DSOKids.com website during your Youth Concert experience?________________
3. If the answer to the above question is “yes,” did you find the website helpful? Why or why not?
____________________________________________________________________________
Please describe how you used the site: (ex: When did you use it? Where did you access it? How did you use it?)
____________________________________________________________________________
____________________________________________________________________________
(Optional) Name________________________________________________________________
School_______________________________________________________________________
Title________________________________________________________________________
Please fax completed evaluation form to 214/953-1218,
or mail to: Youth Concerts: Dallas Symphony Orchestra, Meyerson Symphony Center
Schlegel Administrative Suites, 2301 Flora Street, Dallas, Texas 75201

Page 30
Amazing Music Videos

The Dallas Symphony Orchestra's AMAZING MUSIC concerts are the perfect introduction to the orchestra, featuring
fast-paced explorations led by Music Director Andrew Litton. Litton, who was inspired to become a conductor by
Leonard Bernstein's Young People's Concerts, is a strong advocate for music education as well as a charming host for
the concerts.
Designed to be educational as well as entertaining, Amazing Music programs are a natural for the classroom, especially in the
light of current research that validates music as an effective teaching tool. Therefore, the Dallas Symphony Orchestra has
developed Classroom Editions of Amazing Music for the educational market, supplementing a special time-coded version of
each video with a booklet containing lesson plans developed by educators. The activities support in-school use of the programs
with curriculum that integrates music with other classroom subjects.
The Dallas Symphony Orchestra’s AMAZING MUSIC programs have been broadcast on A&E and PBS.
Order Form
NAME
ADDRESS
CITY STATE ZIP
TELEPHONE (daytime) (evening)
Please send me the following “Classroom Editions”:

#
Volume 1, Emotions in Music
Volume 2, Pictures in Music
Volume 3, Families of the Orchestra
Volume 4, Jazz
Total number of Classroom Editions ________ x $40.00=

Texas residents add 8.25% sales tax x .0825=
(Tax exempt? Please include a copy of your tax exempt certificate)
Shipping:
1-3 Classroom Editions= + $6.50=
4+ Classroom Editions= + $8.50=
TOTAL: $
Enclosed is a check payable to Dallas Symphony Orchestra

Mastercard/Visa Discover American Express
CARD #
EXPIRATION DATE SIGNATURE

MAIL form to Dallas Symphony Orchestra Store, 2301 Flora Street, Suite 300,
Dallas, TX 75201-2497
FAX form to 214/871-4505, Attention: Symphony Store

Page 31
THANKS!
The Dallas Symphony Orchestra gratefully acknowledges the following contributors who support DSO Education Programs:
Youth Concert Series Sponsor – Cecil and Ida Green Foundation
Youth Concert Sponsors
Bank of America
Exxon Mobil Corporation
State Farm Insurance Company
Texas Commission on the Arts
Endowed Concert Sponsors
Dr. Anson L. Clark Endowment Fund
The Meadows Foundation
The Meyerson Family
Wendy and Emery Reves
Anne J. Stewart
The Carl and Susan Summers Foundation
Special Students at the Symphony Sponsor - Junior Symphony Ball
Education Sponsors
Harry W. Bass Foundation
EDS Foundation
Harold Simmons Foundation
Hawn Foundation
Kraft Foods, Inc.
Nordstrom
Michael L. Rosenberg Foundation
Texas Instruments Foundation
Symphony YES
Citigroup
Powell Foundation
Young Strings
The Andrew Family Foundation
Dean Foods
Duda Family Foundation
Fossil
JPMorgan Chase
Moody Foundation
The Jesse H. and Susan Oppenheimer Foundation
7-Eleven
Robert K. and Barbara Strauss Foundation
DSOKids.com Sponsors
The Andrew Family Foundation
Cecil and Ida Green Foundation
Mr. and Mrs. Vance Torbert
Verizon
A big round of applause to the Dallas Symphony Orchestra League Volunteers who so
graciously serve as ushers for Youth Concerts.

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NOTES

2006 Happy Birthday, Mozart! Teacher&#39;s Guide

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2006 Happy Birthday, Mozart! Teacher&#39;s Guide

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The Dallas Symphony Orchestra presents:

Happy Birthday, Mozart!

VISIT THE DALLAS SYMPHONY ORCHESTRA’S

Volume Two- Happy Birthday, Mozart!

Happy Birthday, Mozart! Activities

Resources for Teachers…………………………………………………………………………………………………………….22

Volume Two– Happy Birthday, Mozart!

Happy Birthday, Mozart! — Repertoire

Eine Kleine Nachtmusik, 1st movement

Happy Birthday To You by Mildred J. Hill and Patty Smith Hill

Overture to The Marriage of Figaro

Excerpt from the Overture to Don Giovanni

Adagio from Adagio and Fugue String Quartet, KV 546

Serenade in E flat, KV 375, 5th movement

Excerpt from the Violin Concerto in G Major, KV 216, 1st movement

Excerpt from the Violin Concerto in D Major, KV 218, 1st movement

Symphony No. 39, 4th movement

Volume Two- Happy Birthday, Mozart!

Happy Birthday, Mozart! - Meet the Composer

WOLFGANG AMADEUS MOZART (Born January 27, 1756 in Salzburg, Austria;

Volume Two- Happy Birthday, Mozart!

Happy Birthday, Mozart! - Repertoire Availability

Excerpts of Concert Repertoire

(Available in Making Music, 2006, Silver Burdett)

Excerpts by Mozart (but not specific concert repertoire)

(Available in Making Music, 2006, Silver Burdett)

(Available in The Music Connection, 1995, Silver Burdett Ginn)

Volume Two- Happy Birthday, Mozart!

Happy Birthday, Mozart! - Repertoire Availability, Cont.

Excerpts by Concert Composers (but not specific concert repertoire), cont.

(Available in Spotlight on Music, 2006, MacMillan/McGraw-Hill)

Concerto for Piano No. 1, Allegro, grade 8, p. 179

Excerpts of Concert Repertoire Available at www.DSOKids.com

Eine kleine Nachtmusik

Volume Two- Happy Birthday, Mozart!

Happy Birthday, Mozart! - Who’s Who

Volume Two- Happy Birthday, Mozart!

PRE-CONCERT ACTIVITY ONE - Concert Etiquette

Talking Talks softly before and after concert, but does

Body Keeps body quiet with little movement during

Listening Actively listens during performance

Clapping Claps when the concertmaster and conductor

Volume Two- Happy Birthday, Mozart!

PRE-CONCERT ACTIVITY TWO - Instrument ID

-Name the instruments you recognize.

Volume Two- Happy Birthday, Mozart!

PRE-CONCERT ACTIVITY TWO- Instrument ID, Cont.

Volume Two- Happy Birthday, Mozart!

PRE-CONCERT ACTIVITY THREE - The Music Listening Game

Volume Two- Happy Birthday, Mozart!

PRE-CONCERT ACTIVITY FOUR - Musical Journals

Volume Two- Happy Birthday, Mozart!

PRE-CONCERT ACTIVITY FOUR - Musical Journals, Cont.

Volume Two- Happy Birthday, Mozart!

Happy Birthday, Mozart! ACTIVITY ONE – What’s Cooking, Maestro?

Volume Two- Happy Birthday, Mozart!

Happy Birthday, Mozart! ACTIVITY ONE-What’s Cooking, Maestro? Cont.

4th Grade Class Sample Answers:

A composer is like a chef

Volume Two- Happy Birthday, Mozart!

Happy Birthday, Mozart! ACTIVITY TWO - Manipulating Musical Elements

Volume Two- Happy Birthday, Mozart!

Happy Birthday, Mozart! ACTIVITY THREE– Mozart: Boy Musician

2006 Happy Birthday, Mozart! Teacher's Guide

2006 Happy Birthday, Mozart! Teacher's Guide