NASHVILLE SYMPHONY ONE ON A PART

SERENADES FOR WINDS

GRADES 5-12

Concert Program

Standard Equivalencies

Music Resources

Lesson Plan #1

Lesson Plan #2

Teacher Resources

Pre-Concert Survey

Post-Concert Survey

Contact Information

Sponsor Recognition

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TABLE OF CONTENTSTABLE OF CONTENTS

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ONE ON A PARTSERENADES FOR WINDS

GRADES 5-12 October 23rd

at 10:15am & 11:45amNovember 11th

at 10:15am & 11:45am

CONCERT PROGRAMCONCERT PROGRAM

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STANDARD EQUIVALENCIESSTANDARD EQUIVALENCIES

Music Standards

Common Core Standards

9.1.1 Examine the characteristics of a selected music genre, time period, or culture.

W.5-12.10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

Lesson #1

Music Standards 8.1.1Explore characteristics of art disciplines within a particular historical period or style.

8.1.3Compare and contrast characteristics of art disciplines within a particular historical period or style.

Common Core Standards SL.5-12.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 5-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

Lesson #2

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The Nashville Symphony is pleased to partner with NAXOS. NAXOS has provided exclusive access to their online NAXOS Music Library for teachers using the Young People’s Concert Curriculum Guides. Instructions on how to play the music included in all of the lesson plans will be emailed to you when you register for the concert.

MUSIC RESOURCESMUSIC RESOURCES

Lesson 1 • Activity 1 Lesson 2 • Activity 1• Dvorák | Serenade in D Minor, Op. 44, B. 77: IV. Finale:

Allegro molto

• Mozart | Serenade No. 11 in E-Flat Major, K. 375: I. Allegro

maestos

• Dvorák | Serenade in D Minor, Op. 44, B. 77: I. Moderato,

quasi marcia

Listening Excerpts on http://www.naxosmusiclibrary.com under playlists.

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LESSON #1: ONE ON A PARTLESSON #1: ONE ON A PART

Music ResourcesListening Excerpts on http://www.naxosmusiclibrary.com under playlists.

Activity 1: Introduction to Chamber Music (45 minutes)

Activity 2: Wonderful Winds (30 minutes)

Overview of Lesson #1

Music ResourcesListening Excerpts on http://www.naxosmusiclibrary.com under playlists.

Standards

Music Standards:• 9.1.1 Examine the characteristics of a selected music genre, time period, or culture. Common Core:• W.5-12.10 Write routinely over extended time frames (time for research, reflection, and revision)

and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

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Objectives• Students will become familiar with the history, characteristics, and purposes of chamber music.• Students will exercise literary knowledge and gain further understanding of individual instrument voices.

Time needed45 minutes

MaterialsIntroduction to Chamber Music (page 11)Blank invitations (page 12)Listening excerpt of Dvorák’s Serenade in D Minor, Op. 44, B. 77: IV. Finale: Allegro molto (on Naxos playlist)

1. Write the word “chamber” on the board and ask the students for the definition. Write student responses on the board, then explain that in the 18th century “chamber” referred to a private room.

2. Write “chamber music” on the board and give an introduction to the history of chamber music, using the summary provided. Emphasize that chamber music is usually written for one musicians on each part (thus “One on a Part”).

3. Play Dvorák’s Serenade in D Minor, Op. 44, B. 77: IV. Finale: Allegro molto. Have the students listen carefully and list the instruments they hear. Ask for student volunteers to share any instruments or musical moments that stood out. Ask the class if any two instruments played identical parts throughout the piece.

4. Tell the students to imagine that they are arranging a chamber music performance in the 16th, 17th, or 18th century. What music will you present? Who were popular composers and musicians at the time? How big is the ensemble? Who would you invite to the concert?

5. Pass out copies of the blank invitation. The students can either research chamber music pieces during the given century (hint: check out the extended biographies on the Naxos Music Library). The students should fill out the invitation to include a program, featured composer(s), location (town or country--where are the composers from?), times and length of concert, and special guests (who are important historical figures during that time that might be interested in attending a concert?).

ACTIVITY 1: INTRODUCTION TO CHAMBER MUSIC ACTIVITY 1: INTRODUCTION TO CHAMBER MUSIC

Assessment• Repeat the invitation activity in a modern day setting. Have each student imagine hosting a house concert in their

hometown. (Remind the students to think about sound--is a particular musician/band too loud or too big for a house

concert?). Have the students include the number of musicians and what parts they will be playing.

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ACTIVITY 2: WONDERFUL WINDSACTIVITY 2: WONDERFUL WINDS

Assessment• Have students review their “passed” cards.

• Ask for student volunteers to share which instrument they found most interesting and why.

1. Lead the class in an overview of all the instrument cards and their corresponding facts, playing the listening examples from the “Listen by Instrument” link. Explain that while chamber music can utilize many different instrumentations, this year’s One On a Part concert will feature the wind instruments of the orchestra.

2. Pair students and give each a set of Wind Instrument “Heads Up” cards and two fact sheets.

3. The first partner should pick one card and place it on their forehead. The second partner should describe the instrument by providing facts for their partner without naming the instrument (this student may refer to the fact sheet); the first partner should guess which instrument is on their card. After the card is guessed, it is partner two’s turn to choose a card; this continues until all cards have been chosen. If a card cannot be guessed, simply “pass.”

Objective• Students will become familiar with the various wind instruments of the orchestra and their origins.

Time needed30 minutes

MaterialsWind Instrument “Heads Up” Cards and fact sheet (page 13-15)Link to “Listen by Instrument” from the Dallas Symphony (page 14)

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LESSON #2: MEET THE COMPOSERS LESSON #2: MEET THE COMPOSERS

Meet the Composers (25-30 minutes)

Standards

Music Standards:• 8.1.1 Explore characteristics of art disciplines within a particular historical period or style.• 8.1.3 Compare and contrast characteristics of art disciplines within a particular historical period or style. Common Core:• SL.5-12.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in

groups, and teacher-led) with diverse partners on grades 5-12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

Overview of Lesson #2

Music ResourcesListening Excerpts on http://www.naxosmusiclibrary.com under playlists.

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MEET THE COMPOSERSMEET THE COMPOSERS

1. Pass out the About Mozart sheet.

2. Use the discussion questions and definitions to facilitate conversation about Mozart.

3. Repeat the activity with the About Dvorák sheet.

Assessment• Listen to excerpts from Mozart’s Serenade No. 11 in E-Flat Major, K. 375: I. Allegro maestos and Dvorák’s Serenade in D Minor, Op.

44, B. 77: I. Moderato, quasi marcia using the Naxos online library. Have students write down at least three musical terms they hear

in each piece, and a paragraph reviewing the piece for a new listener. They should include a short introduction to the composer

and a review of the excerpt using the musical terms they have listed.

Objective• Students will gain insight into Mozart’s life and work through discussion through reading and discussing his

biography and musical contributions

Time needed25-30 minutes

MaterialsAbout Mozart sheet (page 16)About Dvorák sheet (page 17-19)Mozart Serenade No. 11 in E-Flat Major, K. 375: I. Allegro maestos (on Naxos Playlist)Dvorák Serenade in D Minor, Op. 44, B. 77: I. Moderato, quasi marcia (on Naxos Playlist)

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TEACHER RESOURCESTEACHER RESOURCES

Introduction to Chamber Music

The term chamber music originated from the french word “chambre” which means room. Chamber music implies an intimate setting for music instead of a large concert hall or theater. Pieces that are written as chamber music feature one or two instruments at most to a part, so each instrument has a particular voice in the piece. Thus the phrase “one on a part.” Chamber music ensembles feature smaller numbers of players organized into quartets, octets, and other small groups.

Traditionally chamber music is performed without a conductor, so the concept is intimate among the musicians as well because they must pay close attention to the piece and each other. The ensembles usually play in a small room or gathering center, and do not usually play in front of a large audience. Chamber music instrumentation originated with three to four vocalists and a lute (a stringed instrument commonly used in the 16th and 17th centuries.)

Now chamber music is played with varying groups of instruments and there is a massive repertoire to choose from. The repertoire for chamber music dates back for several centuries and includes a large variety of instruments, some of the most common combinations and groups are featured in the music provided in the lessons.

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TEACHER RESOURCESTEACHER RESOURCES

Invitation

YOU ARE INVITED!PLEASE JOIN ME FOR A SPECIAL CONCERT AT MY HOUSE.

LOCATION

_______________________________________________________________________________

DATE

_______________________________________________________________________________

TIME

_______________________________________________________________________________

MUSIC

_______________________________________________________________________________

BY

_____________________________________________________________________________

FEATURING

_______________________________________________________________________________ _______________________________________________________________________________

WITH SPECIAL GUESTS:

_______________________________________________________________________________ _______________________________________________________________________________

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TEACHER RESOURCESTEACHER RESOURCES

“Heads Up” Cards

TRUMPETTRUMPETTROMBONE

FRENCH HORN

TROMBONE

FRENCH HORN CLARINETCLARINET

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TEACHER RESOURCESTEACHER RESOURCES

“Heads Up” Cards

FLUTEFLUTEOBOE

BASSOON

OBOE

BASSOON DSO KIDS - LISTEN BY INSTRUMENT:

http://www.dsokids.com/listen/by-instrument/.aspx

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“Heads Up” Cards: Fact Sheet

THE BRASS FAMILY

TRUMPET• The trumpet has the highest register (or the highest

sounding voice) in the brass family.• The trumpet is played by blowing air through

closed lips, producing a “buzzing” sound that starts a standing wave vibration in the air column inside the instrument.

TROMBONE• Nearly all trombones have a slide mechanism that

varies the length of the instrument to change the pitch.

• Like the trumpet, the trombone is also played by blowing air through closed lips, producing a “buzzing” sound.

• The word trombone derives from Italian tromba (trumpet) and -one (a suffix meaning “large”), so the name means “large trumpet”.

FRENCH HORN • The name “French horn” is often used because

the word “horn” by itself may refer to nearly any wind instrument with a flared exit for the sound. Nevertheless, the adjective is normally omitted when referring to the European orchestral horn.

• The horn is the third highest sounding instrument group in the brass family, below the cornet and the trumpet.

• Horns are mostly tuned in B or F, or a combination of both.

• As the name indicates, humans originally used to blow on the actual horns of animals before emulating them in metal.

THE WOODWIND FAMILY

CLARINET• The clarinet is made from grenadilla, a dense, black

wood from Africa.• The clarinet consists of five separate parts: the

mouthpiece, the barrel, the upper joint, the lower joint, and the bell.

• The reed, together with the mouthpiece onto which the reed is fixed, makes the air in the instrument vibrate when blown into.

• Reeds can be made of bamboo or cane.

FLUTE• A flute is an aerophone (reedless woodwind

instrument) that produces its sound from the flow of air across an opening.

• Aside from the voice, flutes are the earliest known musical instruments.

• The oldest flute ever discovered may be a fragment of the femur of a juvenile cave bear, with two to four holes.

OBOE • The regular oboe first appeared in the mid-17th

century, when it was called hautbois.• The most common oboe plays in the treble or

soprano range. • An oboe is a double reed instrument, meaning

there are two pieces of bamboo or cane that vibrate against each other.

• Oboes are usually made of wood, but there are also oboes made of synthetic materials.

BASSOON • A bassoon is in the double reed family and typically

plays music written in the bass and tenor clefs, though occasionally the treble.

• The bassoon is held diagonally in front of the player, but unlike the flute, oboe and clarinet, it cannot be supported by the player’s hands alone. The bassoonist must use a strap to hold the instrument.

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WOLFGANG AMADEUS MOZART (1756 - 1791)

The youngest child and only surviving son of Leopold Mozart, Wolfgang Amadeus was born in Salzburg in 1756, the publication year of his father’s

influential treatise on violin playing. He showed early precocity both as a keyboard player and violinist, and soon turned his hand to composition.

Definition: Precocity means unusually advanced maturity in certain areas. In Mozart’s case, he had extraordinary musical skills as a young child.

Discussion Point 1: Do you think Mozart was a genius? Why or why not? What does it take to be a genius?

His obvious gifts were developed, along with those of his elder sister, under his father’s tutelage, and the family, through the indulgence of their then patron, the Archbishop of Salzburg, was able to travel abroad—specifically between 1763 and 1766, to Paris and to London. A series of other journeys followed, with important operatic commissions in Italy between 1771 and 1773.

Definition: A patron is someone who financially supports an artist, artists, or an organization. They usually support artists beyond just buying tickets to performances.

Discussion Point 2: Do you believe someone can be a born genius or do they have to work hard for their successes?

The following period proved disappointing to both father and son as the young Mozart grew to manhood and was irked by the lack of opportunity and lack of appreciation for his gifts in Salzburg, where a new archbishop was less sympathetic. A visit to Munich, Mannheim and Paris in 1777 and 1778 brought no substantial offer of other employment and by early 1779 Mozart was reinstated in Salzburg, now as court organist. Early in 1781 he had a commissioned opera, Idomeneo, staged in Munich for the Elector of Bavaria, and dissatisfaction after being summoned to attend his patron the Archbishop in Vienna led to his dismissal.

Definition: A commissioned piece is a work of art (music, art, sculpture, etc.) that has been requested and paid for by a specific person or organization. Usually the person commissioning a work has something particular in mind, and they pay a professional artist to create it. Taking commissions is one way artists can financially support themselves.

Discussion Point 3: Working on commissions means that you are working with another person’s ideas and requirements. Do you think this is more difficult than creating something all by yourself? Are there any creative benefits to working with others to create art?

Mozart spent the last 10 years of his life in precarious independence in Vienna, his material situation not improved by a marriage imprudent for one in his circumstances. Initial success with German and then Italian opera and a series of subscription concerts were followed by financial difficulties.

In 1791 things seemed to have taken a turn for the better, despite a lack of interest from the successor to the Emperor Joseph II, who had died in 1790. In late November, however, Mozart became seriously ill and died in the small hours of 5 December. Mozart’s compositions were catalogued in the 19th century by Köchel, and they are now generally distinguished by the K. numbering from this catalogue.

Discussion Point 4: Mozart continued to work on his music, despite years of difficulties and lack of support. Think of a time when you continued to work on something, even though it was hard to go on. What kept you from giving up? What advice would you give to a young, discouraged Mozart?

Read the full biography here: http://www.naxosmusiclibrary.com/composer/btm.asp?composerid=20990

Biography provided by Naxos. Definitions and discussion points provided by the Nashville Symphony. Read more about Mozart on the Naxos Online Music Library: http://www.naxosmusiclibrary.com/composer/btm.asp?composerid=15934

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ANTONÍN DVORÁK (1841 - 1904)

Most Americans know the name Antonín Dvorák because of his Symphony No. 5 in E minor, called From the New World. However, he is known all over the

world and especially in his homeland, Bohemia, now part of the Czech Republic, as a genius of the Romantic period. He is one of the few composers “whose works entered the international mainstream during his own lifetime” (Hurwitz). As one takes a closer look at Dvorák’s life, it is soon realized that the works for which he is famous are but a small fraction of what he actually composed. Antonín Dvorák lived a successful life and had a remarkably rich artistic personality.

Discussion Point 1: Even though Dvorák composed many musical works - from chamber music, to opera, to orchestral music - only a few of his pieces gained fame and notoriety. Do you think his lesser known pieces were an important

part of his musical life? Have you ever worked on a smaller project or hobby so that you could learn a greater skill or complete a bigger project?

The people of Bohemia have a strong heritage of music that infuses their everyday lives. It was common in Dvorák’s time for the village organist and choirmaster to double as the schoolteacher (Clapham). Dvorák grew up in a peasant home in a family who farmed and kept an inn and butcher’s shop. He was born the oldest of fourteen children, six of whom died in infancy, and began attending school at the age of seven. “He had a happy childhood and a supportive family network” (Hurwitz). In 1849, those who wished to rise to a social level higher than a manual laborer learned to speak German, so Dvorák’s father sent his first born son to a larger town (Hughes).

The young Dvorák buckled down to learn the language, “and his first tangible reward came when he made sufficient progress to win the favour of Franz Hancke, the church choirmaster” (Hughes). Singing in German was a valuable experience for Antonín, and soon, Dvorák was studying at the Organ School in Prague (Hughes). This was a time of political development in Czechoslovakia. The orchestras of the Czech National Theater and German Provincial Theatre were known to forget their political differences and join forces to “give ‘Philharmonic’ concerts.” As a young man, Dvorák found himself “in the orchestral pit of the National Theater” where he remained for eleven years (Hughes).

Discussion Point 2: Learning the German language was important to Dvorak’s success. What are some skills that are important for success today? (e.g. computer skills)

With a steady salary, Dvorák was able to compose and begin a family. He added to his income by teaching and met and married a singer from a family to which he gave lessons. He “entered into a loving marriage with a good woman and went on to father a large family” (Hurwitz) despite the death of several children, which was typical at the time. His young wife Anna and he married against her parents’ wishes and moved into an apartment where everyone, it seemed, was a pianist (Purdy). With some of the so-called musicians pounding loudly and amateurishly on the shared piano, it was soon evident that Antonín and Anna would have to move. They found a three-room apartment in Prague where Dvorák could compose without others disturbing his thoughts, and “he occupied this apartment for the rest of his life” (Purdy).

Discussion Point 3: In Dvorák’s time, music was a part of everyday life - his first apartment with his wife was full of amateur musicians. In what way (if any) is music a part of your everyday life? Do you think music is often a part of the average daily life in today’s society?

Dvorák had a long lasting friendship with Johannes Brahms, which began when Dvorák entered a contest that was being offered by the Ministry of Education. Dvorák submitted a selection of compositions for the competition that was judged by Brahms and two other judges (Clapham). Theirs was a friendship of mutual respect and admiration. “From Brahms, Dvorák received the outside recognition and approval he needed…In Dvorák, Brahms found inspiration in the

Biography and discussion points provided by the Nashville Symphony

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ANTONÍN DVORÁK (1841 - 1904) (CONT.)

warmth and endless inventiveness of the Slav composer” (Purdy). Only six years before his death, Dvorák visited Vienna where Brahms lived to “share the Director’s box with Brahms” for a performance of the Symphony From the New World. During this visit, Brahms is reported to have said, “‘Look here, Dvorák. You have a lot of children, and I have practically no one [to support]. If you need anything, my fortune is at your disposal.’ Dvorák was deeply moved and tears came to his wife’s eyes, but it was impossible for him, a Czech, to contemplate leaving Bohemia” (Clapham). Besides his strong patriotism keeping him true to his homeland, he found out a bit later that Brahms was agnostic and “was distressed that ‘such a man, such a fine soul’ should not believe in anything” (Clapham).

Discussion Point 4: Is there someone close to you, a friend, family member, or teacher perhaps, who supports your interests and challenges you? What are some things you can do to be that kind of person for someone else?

Due to a strong work ethic, “shrewd career management, sanity, and cheer,” as well as astonishing productivity, Dvorák “prospered as both a composer and teacher” who was able to gain international acclaim and a comfortable degree of financial security in his lifetime (Hurwitz). His story is a remarkable “saga of a kid from the Bohemian countryside who created a language of universal appeal” and “journeyed from St. Petersburg to Omaha” (Hurwitz). Later in life, Dvorák himself recalled how “’I buttoned my coat tightly over the money, and walked up the street prouder than a king’” (Purdy).

One of his most joyous pieces is Serenade in D minor, Opus 44, described by critics as “jolly, vigorous music.” It was written to celebrate a new period in his artistic life when he realized he was a successful man who made a good living for his family as well as being able to take care of his aging parents (Purdy). Others say that it is a composition that “can stand comparison to Mozart’s great works in the genre” (Hurwitz). This piece reflects the happiness he must have been feeling in his day-to-day balanced life of work and pleasure. The slow movement is the heart of the work because Dvorák “achieves amazingly long, sensuous, singing lines and an aching melancholy of Mozartian finesse” (Hurwitz). The piece is written for two oboes, two clarinets, two bassoons, one contrabassoon, three horns, cello, and double bass, and “it was a deliberate attempt to revive the old-fashioned band music for the open air…in Dvorák’s rural surroundings of his native heath” (Purdy). It begins with a lively march followed by a slow dance, and the finale “does an excellent impersonation of a village band” (Hurwitz).

Amazingly, “the sketch and the score of the Serenade took Dvorák not more than a fortnight…” and “was performed for the first time by the composer himself…at a concert of his compositions which took place on November 17th, 1878 in Prague” (Sourek).

Discussion Point 5: Dvorák wrote his Serenade in D minor to celebrate his success and joy in life. Have you ever been so happy that you wanted to celebrate by creating something? Maybe a poem, a work of art, or a piece of music? Why do we often make or write something when we’re happy?

Dvorák was celebrated in Bohemia on his sixtieth birthday in September of 1901. The festivities spread over a period of seven weeks in which six of his operas were performed, concerts were given, and speeches were made. Dvorák was uncomfortable with public “adulation, wondered what all the fuss was about, and frequently was heard to say, ‘Is all this really necessary?’” (Clapham). Students described him as a “comrade” and their “God” because he was not only loved as a teacher and friend, but also looked up to as a genius that was “intensely sensitive and responsive to music” (Clapham).

In the last few months of his life, Dvorák complained of pains in his side. These turned out to be kidney disease, and he died suddenly after spending the last month of his life in bed. His widow lived to see Bohemia freed and to see a great-grandson born into the world. One of Anna and Antonín’s grandsons became “an accomplished professional violinist who maintains the family traditions” (Hughes). Although Dvorák’s music was banned by Hitler for six years of Nazi rule (1939-1945), with the liberation of Czechoslovakia the nation was once again able to enjoy his music publically. “And because the message of his music was not for Bohemians along, it will continue to be heard…wherever beauty-loving people lift their heads in dignity and freedom” (Purdy).

Discussion Point 6: Though Dvorák spent some time in the United States, he spent most of his life living in his native Bohemia. However, his musical influences stretches across western society. Can you think of another artist (musical or otherwise) who has had wide-reaching influence on their art form? In what way?

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ANTONÍN DVORÁK (1841 - 1904) (CONT.)

WORKS CITED

Clapham, John. Dvorák. London: W.W. Norton & Co., Inc., 1979. Print.

Hughes, Gervase. Dvorák: His Life and Music. New York, New York: Dodd, Mead & Company, 1967. Print.

Hurwitz, David. Dvorák: Romanic Music’s Most Versatile Genius. Pompton Plains, New Jersey: Amadeus Press, LLC, 2005. Print.

Purdy, Claire Lee. Antonín Dvorák: Composer from Bohemia. New York, New York: Julian Messner, Inc., 1963. Print.

Sourek, Otakar. Critical Edition of SERENADE in D Minor. Full Score. Op.44. Boca Raton, Florida: Edwin F. Kalmus, Co., Print.

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PRE-CONCERT SURVEYPRE-CONCERT SURVEY

Name:

School:

Date:

1. Have you been to a concert before?a. Yesb. No

2. How often do you listen to classical music?a. Almost neverb. Once in a whilec. At least once a weekd. Every day

3. Do you play an instrument? If so, which one?a. Yes __________________________________b. No

4. Why is this concert called One on a Part?

_______________________________________

_______________________________________

_______________________________________

5. List the names of the composers whose music you learned about and will hear at the concert:

_______________________________________

_______________________________________

_______________________________________

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POST-CONCERT SURVEYPOST-CONCERT SURVEY

Name:

School:

Date:

1. Did you enjoy the concert?a. Yesb. Noc. Kind of

2. Do you want to come back for another concert?a. Yesb. No

3. Do you think you will listen to classical music more often?a. Yesb. No

4. Which instrument(s) did you like the most?

______________________________________

_______________________________________

5. Are there any instruments you want to learn to play?

_______________________________________

_______________________________________

_______________________________________

6. Which piece was your favorite? Why?

_______________________________________

_______________________________________

_______________________________________

_______________________________________

_______________________________________

_______________________________________

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NASHVILLE SYMPHONY EDUCATION DEPARTMENT

NASHVILLE SYMPHONY EDUCATION DEPARTMENT

Walter BitnerDirector of Education and Community Engagement

Kelley BellEducation and Community Engagement Program Manager

Kristen FreemanEducation and Community Engagement Assistant

2015 Summer Interns

Brianna HuganCamilla Hester

Haley Zhu-ButlerMargie Way-Kiani

Website: Nashvillesymphony.org/educationEmail: education@nashvillesymphony.org

Phone: 615.687.6398

The Young People’s Concert Curriculum Guides were researched and created by the 2015 summer interns.

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NASHVILLE SYMPHONY EDUCATION PROGRAMS ARE FUNDED IN PART BY:NASHVILLE SYMPHONY EDUCATION PROGRAMS ARE FUNDED IN PART BY:

Sponsor Recognition

Anne* & Dick Ragsdale

Bonnaroo Works Fund

Bridgestone Americas Trust Fund

Caterpillar Financial Services

Cracker Barrel Foundation

Dollar General Corporation

KHS America

M. Stratton Foster Charitable Foundation

Marylee Chaski Charitable Corporation

Nashville Symphony Orchestra League

NAXOS

Neal & Harwell

Nissan North America, Inc.

Publix Super Market Charities

Ryman Hospitality Properties Foundation (formerly Gaylord Entertainment Foundation)

Samuel M. Fleming Foundation

The Ann & Monroe Carell Family Trust

The Community Foundation of Middle TN

The HCA Foundation

The Hendrix Foundation

The Memorial Foundation

The Metropolitan Government of Nashville and Davidson County

The Mike Curb Family Foundation

William Morris Endeavor Entertainment, LLC

* denotes donors who are deceased