Grapes Guide.pdf - Minnesota Opera

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national standards for music education 1 Singing, alone and with others, a varied repertoire of music. 2 Performing on instruments, alone and with others, a varied repertoire of music. 3 Improvising melodies, variations, and accompaniments. 4 Composing and arranging music within specified guidelines. 5 Reading and notating music. 6 Listening to, analyzing, and describing music. a analyze aural examples of a varied repertoire of music, representing diverse genres and cultures, by describing the uses of elements of music and expressive devices b demonstrate extensive knowledge of the technical vocabulary of music c identify and explain compositional devices and techniques used to provide unity, variety, tension and release in a musical work and give examples of other works that make similar uses of these devices and techniques d demonstrate the ability to perceive and remember music events by describing in detail significant events occurring in a given aural example e compare ways in which musical materials are used in a given example relative to ways in which they are used in other works of the same genre or style f analyze and describe uses of the elements of music in a given work that make it unique, interesting, and expressive 7 Evaluating music and music performances. a evolve specific criteria for making informed, critical evaluations of the quality and the effectiveness of performances, compositions, arrangements, and improvisations and apply the criteria in their personal participation in music b evaluate a performance, composition, arrangement, or improvisation by comparing it to similar or exemplary models c evaluate a given musical work in terms of its aesthetic qualities and explain it to similar or exemplary models 8 Understanding relationships between music, the others arts, and disciplines outside the arts. a explain how elements, artistic processes, and organizational principles are used in similar and distinctive ways in the various arts and cite examples b compare characteristics of two or more arts within a particular historical period or style and cite examples from various cultures c explain ways in which the principles and subject matter of various disciplines outside the arts are interrelated with those of music d compare the uses of characteristic elements, artistic processes, and organizational principles among the arts in different historical periods and different cultures e explain how the roles of creators, performers, and others involved in the production and presentation of the arts are similar to and different from one another in the various arts 9 Understanding music in relation to history and culture. lesson plans with related standards 8
Opera Box Content List The Grapes of Wrath There is one (1) of each of the following items: _____LIBRETTO The Grapes of Wrath _____CD Bright Eyed Joy: The Songs of Ricky Ian Gordon (Nonesuch) _____dvd John Steinbeck: An American Writer (Biography) _____dvd The Grapes of Wrath movie (20 th Century Fox) _____BOOK The Grapes of Wrath _____Teacher’s Guide The entire deposit will be withheld until all items are returned. Any damaged items will be charged to the renter for the amount of the replacement. Thank you for using the Minnesota Opera’s Opera Box and teaching opera in your classroom. content list 9
Page 1 and 2: Opera Box
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Page 5 and 6: lesson title minnesota academic nat
Page 7 and 8: 9.1.1.4.2 benchmark: Evaluate how f
Page 9: 9.2.1.4.2 benchmark: Revise a creat
Page 13 and 14: The Grapes of Wrath Opera Box lesso
Page 15 and 16: John Steinbeck: An American Writer
Page 17 and 18: (5) Why do you think the librettist
Page 19 and 20: 1.6: UNCLE JOHN’S PLACE (The Grap
Page 21 and 22: (3) What is the dramatic purpose of
Page 23 and 24: (4) Ma breaks into the conversation
Page 25 and 26: (2) In the stage directions for “
Page 27 and 28: (3) What do the Joads encounter in
Page 35 and 36: This school of critical theory focu
Page 39 and 40: Appendix A “The Grapes of Wrath
Page 41 and 42: Within two months after the publica
Page 43 and 44: In the light of this basic analogy,
Page 45 and 46: These structural techniques for int
Page 47 and 48: The great variety of prose style an
Page 49 and 50: Closely associated with this latter
Page 51 and 52: The ability of this thematic struct
Page 53 and 54: 29 George F. Whither, “Proletaria
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Page 57 and 58: people,” strikes echoes answered
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Appendix C “We Still See Their Fa
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An Appalachian woman of my acquaint
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Fortunately, there was an administr
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Appendix D A D D I T I O N A L R E
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prologue The cropper men and women
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(9) one star (rosasharn, then conni
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The next day a contractor and a dep
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(19) things turn around (casy, then
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Published and represented by Willia
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B A C K G R O U N D N O T E S PROLO
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also anticipate events to follow sp
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help with Rosasharn’s birthing an
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North of Italy, Hamburg composer re
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competition with other leading comp
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Three Masters of Opera giuseppe ver
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Operas to come out of the resulting
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20 th - and 21 st -century American
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History of the Minnesota Opera Minn
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Minnesota Opera Repertoire - 1963-2
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The Standard Repertory eighteenth c
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elements of opera 100 the premiere
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The Elements of Opera - The Singers
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cabaletta cadence cadenza camerata
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masking masque melodrama mélodrame
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omanticism score scrim serenata sin
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dominant fermata forte fortissimo f
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Bibliography, Discography, Videogra
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Opera Box Teacher’s Guide Evaluat
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Grapes Guide.pdf - Minnesota Opera

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