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From Wikipedia, the free encyclopedia

1947 coloring book cover

Peter and the Wolf (Russian: Петя и Bолк , tr. Pétya i volk, IPA: [ˈpʲetʲəivolk]) Op. 67, a "symphonic fairy tale for children", is a musical composition written by Sergei Prokofiev in 1936. The narrator tells a children's story, while the orchestra illustrates it by using different instruments to play a "theme" that represents each character in the story. It is Prokofiev's most frequently performed work and one of the most frequently performed works in the entire classical repertoire.

In 1936, Prokofiev was commissioned by [ Natalya Sats, the director of the Central Children's Theatre in Moscow, to write a musical symphony for children. Sats and Prokofiev had become acquainted after he visited her theatre with his sons several times.[1] The intent was to introduce children to the individual instruments of the orchestra. The first draft of the libretto was about a Young Pioneer (the Soviet version of a Boy Scout) called Peter who rights a wrong by challenging an adult. However, Prokofiev was dissatisfied with the rhyming text produced by Nina Pavlovna Sakonskaya ru] (real name Antonia Pavlovna Sokolovskaya, 1896-1951), a then-popular children's author. Prokofiev wrote a new version where Peter captures a wolf. As well as promoting desired Pioneer virtues such as vigilance, bravery, and resourcefulness, the plot illustrates Soviet themes such as the stubbornness of the un-Bolshevik older generation (the grandfather) and the triumph of Man (Peter) taming Nature (the wolf).

Prokofiev produced a version for the piano in under a week, finishing it on April 15. The orchestration was finished on April 24. The work was first performed at a children's concert in the main hall of the Moscow Conservatory with the Moscow Philharmonic on 2 May 1936. However, Sats was ill and the substitute narrator was inexperienced, and the performance failed to attract much attention.[1][3][4][5] Later that month a much more successful performance with Sats narrating was given at the Moscow Pioneers Palace. The American premiere took place in March 1938, with Prokofiev himself conducting the Boston Symphony Orchestra at Symphony Hall, Boston with Richard Hale narrating. By that time Sats was serving a sentence in the gulag, where she was sent after her lover Marshal Mikhail Tukhachevsky was shot in June 1937.[6]

Peter, a Young Soviet Pioneer,[7] lives at his grandfather's home in a forest clearing. One day, Peter goes out into the clearing, leaving the garden gate open, and a duck that lives in the yard takes the opportunity to go swimming in a pond nearby. The duck and a bird argue on whether a proper bird should be able to swim or fly. A local cat stalks them quietly, and the bird-warned by Peter-flies to safety in a tall tree while the duck swims to safety in the middle of the pond.

Before long, Peter's grandfather scolds him for being outside and playing in the meadow alone because a wolf might come out of the forest and attack him. When Peter shows defiance, believing he has nothing to fear from wolves, his grandfather takes him back into the house and locks the gate. Soon afterwards, a ferocious grey wolf does indeed come out of the forest. The cat quickly climbs into the tree with the bird, but the duck, who has jumped out of the pond, is chased, overtaken, and swallowed by the beast.

Seeing all of this from inside, Peter fetches a rope and climbs over the garden wall into the tree. He asks the bird to fly around the beast's head to distract him, while he lowers a noose and catches the wolf by his tail. The beast struggles to get free, but Peter ties the rope to the tree and the noose only gets tighter.

Some hunters, who have been tracking the wolf, come out of the forest with their guns readied, but Peter gets them to instead help him take it to a zoo in a victory parade (the piece was first performed for an audience of Young Pioneers during May Day celebrations) that includes himself, the bird, the hunters leading the wolf, the cat, and lastly his grumbling Grandfather, still disappointed that Peter ignored his warnings, but proud that his grandson caught the beast.

At the end, the narrator states those listening carefully could hear the duck still quacking inside the wolf's belly, due to being swallowed whole.

Prokofiev produced detailed performance notes in both English and Russian for Peter and the Wolf. According to the English version:

Each character of this tale is represented by a corresponding instrument in the orchestra: the bird by a flute, the duck by an oboe, the cat by a clarinet playing staccato in a low register, the grandfather by a bassoon, the wolf by three horns, Peter by the string quartet, the shooting of the hunters by the kettle drums and bass drum. Before an orchestral performance it is desirable to show these instruments to the children and to play on them the corresponding leitmotivs. Thereby, the children learn to distinguish the sounds of the instruments during the performance of this tale.

Peter and the Wolf is scored for the following orchestra:[9]

Woodwinds: a flute, an oboe, a clarinet in A, and a bassoon

Brass: 3 horns in F, a trumpet in B♭ and a trombone

Percussion: timpani, a triangle, a tambourine, cymbals, castanets, a snare drum, and a bass drum

Strings: first and second violins, violas, violoncellos, and double basses

Each character in the story has a particular instrument and a musical theme:[10]

Bird

Flute

Duck

Oboe

Cat

Clarinet

Grandfather

Bassoon

Wolf

French horns

Hunters

woodwind and trumpet theme, with gunshots on timpani and bass drum

Peter

string instruments (including violin, viola, cello, and double bass)

A performance lasts about 25 minutes.[11]

According to an article by Jeremy Nicholas for the classical music magazine Gramophone in 2015, the best overall recording of Peter and the Wolf is by the New Philharmonia Orchestra, narrated by Richard Baker and conducted by Raymond Leppard in 1971. Gramophone's best DVD version is the 2006 film by Suzie Templeton; its music is performed, without narrator, by the Philharmonia Orchestra conducted by Mark Stephenson.[12]

Year

Narrator

Orchestra

Conductor

Label

Notes

2021

Viola Davis

Los Angeles Philharmonic

Gustavo Dudamel

Video on YouTube

2018

Giacomo Gates

New England Jazz Ensemble

Jeff Holmes

Self-released

Complete Peter and the Wolf score arranged for jazz ensemble by Walter Gwardyak with modern libretto by Giacomo Gates; Video on YouTube

2017

Miriam Margolyes

Adelaide Symphony Orchestra

Nicholas Carter

ABC Classics[13]

With Britten's The Young Person's Guide to the Orchestra and Borodin's " Polovtsian Dances"

2015

David Tennant

The Amazing Keystone Band

Le Chant du Monde

2015

Harry Shearer

Louisiana Philharmonic Orchestra

Carlos Miguel Prieto

2012

Bramwell Tovey

Vancouver Symphony Orchestra

Bramwell Tovey

Video on YouTube

2008

Jacqueline du Pré[14]

English Chamber Orchestra

Daniel Barenboim

Deutsche Grammophon

2006

Colm Feore[15]

Windsor Symphony Orchestra

John Morris Russell

2005

Willie Rushton

London Philharmonic Orchestra

Siân Edwards

Classics for Pleasure

2004

Bradley Cole

Polish Chamber Philharmonic Orchestra Sopot, Ladies Swing Quartet

Wojciech Rajski

[ Tacet de]

2003

Mikhail Gorbachev,
Bill Clinton,
Sophia Loren

Russian National Orchestra

Kent Nagano

PENTATONE,
PTC 5186011

Released as Wolf Tracks and Peter and the Wolf. Loren narrated Peter and the Wolf, Clinton narrated Wolf Tracks (composed by Jean-Pascal Beintus with text by Walt Kraemer), and Gorbachev narrated the Introduction, Intermezzo, and Epilogue. The album won the Grammy Award for Best Spoken Word Album for Children.

2003

Antonio Banderas,
Sophia Loren

Russian National Orchestra

Kent Nagano

PENTATONE,
PTC 5186014

In Spanish

2001

Sharon Stone

Orchestra of St. Luke's

James Levine

Deutsche Grammophon

as part of A Classic Tale: Music for Our Children (289 471 171-72, 2001)

2000

Lenny Henry

Nouvel Ensemble Instrumental Du Conservatoire National Supérieur De Paris

Jacques Pési

EMI

2000

David Attenborough

BBC Philharmonic

Yan Pascal Tortelier

BBC Music

for BBC Music Magazine; a free CD came with the June 2000 issue

1997

Anthony Dowell

Ross MacGibbon, director (video)

Film of a ballet performance, starring David Johnson, Layla Harrison, Karan Lingham[16]

1995

Kirstie Alley

RCA Symphony Orchestra

George Daugherty

Sony Masterworks

From the Chuck Jones TV special Peter and the Wolf

1994

Sir John Gielgud

Royal Philharmonic Orchestra

Andrea Licata

Intersound Recordings

1994

Melissa Joan Hart

Boston Symphony Orchestra

Seiji Ozawa

Sony Classical

Hart was in her "Clarissa" persona from the Nickelodeon television series Clarissa Explains It All.

1994

Patrick Stewart

Orchestra of the Opéra National de Lyon

Kent Nagano

Erato

1991

Jack Lemmon

Prague Festival Orchestra

Pavel Urbanek

Delta/Laserlight

CD, EAN 0018111538626

1991

Dom DeLuise

The Little Orchestra Society

Dino Anagnost

Musicmasters Classics,
MMD 67067

This was part of the album called "Three Children's Classics".

1991

Oleg and Gabriel Prokofiev

New London Orchestra

Ronald Corp

Hyperion Records

The narrators were the son and grandson of the composer.

1990

Sting

Chamber Orchestra of Europe

Claudio Abbado

Deutsche Grammophon

CD, EAN 0028942939622. This was used in 1993 as the soundtrack to the television special Peter and the Wolf: A Prokofiev Fantasy. The Italian release features Roberto Benigni as narrator (EAN 0028942939424).

1989

Noni Hazlehurst

Sydney Symphony Orchestra

Stuart Challender

ABC Records

Hazlehurst also narrated the Saint-Saëns/ Ogden Nash The Carnival of the Animals on the same album

1989

Sir John Gielgud

Orchestra of the Academy of London

Richard Stamp

Virgin Classics

Sir John's royalties for this recording were donated to The League of Friends of Charity Heritage, a facility for physically handicapped children.

1989

Jeremy Nicholas

Czecho-Slovak Radio Symphony Orchestra

Ondrej Lenárd

Naxos Records

1989

Sir Peter Ustinov

Philharmonia Orchestra

Philip Ellis

Cirrus Classics,
CRS CD 105 [17]

1988

"Weird Al" Yankovic

LSI Philharmonic

Wendy Carlos

CBS Records

Released as an orchestral comic adaptation of the story, narrated by "Weird Al" Yankovic. This also features "The Carnival of the Animals - Part Two", a parody of The Carnival of the Animals.

1987

Paul Hogan

Orchestre de Paris

Igor Markevitch

EMI

It retained the traditional plot but transferred the locale to the Australian Outback. This recording was withdrawn soon after its release because of unflattering portrayals of Australia's aboriginal people and is now considered "out of print".

1984

Dudley Moore,
Terry Wogan

Boston Pops Orchestra

John Williams

Philips

The American release (412 559-2) was narrated by Dudley Moore, while the UK release (412 556-2) featured Terry Wogan as narrator.

1979

Carol Channing

Cincinnati Pops Orchestra

Erich Kunzel

Caedmon Records,
TC-1623

1978

David Bowie

Philadelphia Orchestra

Eugene Ormandy

RCA Red Seal

Bowie's recording reached number 136 on the US Pop Albums chart.

1977

Angela Rippon

Royal Philharmonic Orchestra

Owain Arwel Hughes

Enigma Records Limited, K 53553

1975

Hermione Gingold

Vienna Philharmonic Orchestra

Karl Böhm

Deutsche Grammophon

The original German LP release featured Karlheinz Böhm as narrator (2530 587). The UK, and Australian releases featured Hermione Gingold (2530 588). The French release featured narrator Jean Richard (2530 640).

1975

Viv Stanshall

various rock musicians, including Manfred Mann, Gary Brooker, Brian Eno, Bill Bruford, Phil Collins, Cozy Powell, Chris Spedding, Alvin Lee, and Julie Tippett

Esoteric Recordings (remastered and re-released November 2021 as ECLEC2781)

Billed as a 'rock version' of Prokofiev's work

1974

Will Geer

English Chamber Orchestra

Johannes Somary

Vanguard Records,
VSO-30033

1973

Alec McCowen

Royal Concertgebouw Orchestra

Bernard Haitink

Philips Records,
6599 436

The German release featured Hermann Prey as narrator.

1973

Mia Farrow

London Symphony Orchestra

André Previn

EMI, ASD 2935

1972

Rob Reiner

studio orchestra

Jerry Yester

United Artists Records,
UAS-5646

Contemporary version by Carl Gottlieb and Rob Reiner; never released on CD

1970

Sir Ralph Richardson

London Symphony Orchestra

Sir Malcolm Sargent

Decca Records

Volume 5 of The World of the Great Classics series. This version is praised in various editions of The Stereo Record Guide as the finest recording and narration of the work ever made.

1969

Paul Daneman

The Little Symphony Of London

Arthur Davison

Music for Pleasure

The reverse side of this recording is Sleigh Ride (dance 3 of Three German Dances by Wolfgang Amadeus Mozart), and Toy Symphony (generally attributed to Leopold Mozart).

1968

Robie Lester

Graunke Symphony Orchestra

Kurt Graunke

Disneyland

originally from the 1946 film Make Mine Music

1965

Sean Connery

Royal Philharmonic Orchestra

Antal Doráti

Phase 4 Stereo

1965

Lorne Greene

London Symphony Orchestra

Sir Malcolm Sargent

RCA Victor Red Seal
LSC 2783

1963

Alec Clunes

French National Orchestra

Lorin Maazel

Deutsche Grammophon

In the French release the narrator is Madeleine Renaud. For the German release the narrator is Mathias Wieman. For the Italian release the narrator is Eduardo De Filippo. For the Spanish release the narrator is Juan Pulido. For the Japanese release the narrator is Tetsuko Kuroyanagi.

1961

Carlos Pellicer

Orquesta Sinfónica de México

Carlos Chávez

Mexican Columbia,
MC 1360

1960

Garry Moore

Philharmonic Symphony Orchestra of London

Artur Rodziński

Whitehall,
XWN 18525[18]

The reverse side of this 12-inch LP record also features The Carnival of the Animals by Saint-Saëns with Garry Moore (narrator), Josef and Grete Dichler (duopianists), and the Vienna State Opera Orchestra conducted by Hermann Scherchen.

1960

Leonard Bernstein

New York Philharmonic

Leonard Bernstein

Columbia Records

The popularity of the group's televised Young People's Concerts made this an auspicious release

1960

Beatrice Lillie

London Symphony Orchestra

Skitch Henderson

Decca Records

1959

Richard Attenborough

Philharmonia of Hamburg

Hans-Jürgen Walter

World Record Club,
SC-28

1955

Henry Morgan

Netherlands Philharmonic Orchestra

Otto Ackermann

Concert Hall, MMS 88E

The Netherlands Philharmonic Orchestra is named on this record "Concert Hall Symphony Orchestra".

1954

Richard Hale

Boston Pops Orchestra

Arthur Fiedler

RCA Victor Red Seal
LM 1803

1953

Victor Jory

Peter Pan Orchestra

Vicky Kosen

Peter Pan Records

mono recording; has never been issued on CD

1950

Milton Cross

Lucy Brown, piano

Musicraft Records,
M 65

4 shellac 10" 78-rpm discs

1950

Eleanor Roosevelt

Boston Symphony Orchestra

Serge Koussevitzky

RCA Victor Red Seal,
LM 45

mono recording; never reissued on CD

1949

Frank Phillips

London Philharmonic Orchestra

Nikolai Malko

London Records,
LPS 151[19]

Frank Phillips was a well-known BBC Radio newsreader

1949

Sterling Holloway

Graunke Symphony Orchestra

Kurt Graunke[20]

RCA Victor, WY 386

Set of 2 vinyl 10" discs, together with a Little Nipper Storybook from Disney; originally made for an episode in the 1946 film Make Mine Music

1941

Basil Rathbone

All-American Orchestra

Leopold Stokowski

Columbia Masterworks,
M 477

Set of 3 shellac 12" discs, restored from original Masterworks set by Bob Varney[21]

1939

Richard Hale

Boston Symphony Orchestra

Serge Koussevitzky

RCA Victor, DM 566

Set of 3 shellac 12" discs

Walt Disney, 1946

Disney's 1946 animated short

Prokofiev, while touring the West in 1938, visited Los Angeles and met Walt Disney. Prokofiev performed the piano version of Peter and the Wolf for " le papa de Mickey Mouse" ( French for "Mickey Mouse's dad"), as Prokofiev described him in a letter to his sons. Disney was impressed, and considered adding an animated version of Peter and the Wolf to Fantasia, which was to be released in 1940. Due to World War II, these plans fell through, and it was not until 1946 that Disney released his adaptation of Peter and the Wolf narrated by Sterling Holloway. It is not known if Prokofiev, by that point behind the Iron Curtain, was aware of this.[22] It was released theatrically as a segment of Make Mine Music, then reissued the next year, accompanying a reissue of Fantasia (as a short subject before the film), then separately on home video in the 1990s.[23] This version makes several changes to the original story. For example:

During the character introduction, the pets are given names: Sasha the songbird, Sonia the duck, and Ivan the cat.

As the cartoon begins, Peter and his friends already know there is a wolf nearby and are preparing to catch him.

The hunters get names in a later part of the story: Misha, Yasha, and Vladimir.

Peter daydreams of hunting and catching the wolf, and for that purpose exits the garden carrying a wooden pop gun.

At the end, in a reversal of the original (and to make the story more child-friendly), the narrator reveals that the duck Sonia has not been eaten by the wolf. Earlier in the film, the wolf is shown chasing Sonia, who hides in an old tree's hollow trunk. The wolf attacks out of view and returns in view with some of her feathers in his mouth, licking his jaws. Peter, Ivan, and Sasha assume Sonia has been eaten. After the wolf has been caught, Sasha is shown mourning Sonia. She comes out of the tree trunk at that point, and they are happily reunited.

In 1957, for one of his television programs, Disney recalled how Prokofiev himself visited the Disney studio, eventually inspiring the making of this animated version. Disney used pianist Ingolf Dahl, who resembled Prokofiev, to re-create how the composer sat at a piano and played the themes from the score.[24][25]

British-Polish co-production, 2006

In 2006, Suzie Templeton and Hugh Welchman directed and produced respectively, a stop-motion animated adaptation, Peter & the Wolf. It is unusual in its lack of any dialogue or narration, the story being told only in images and sound and interrupted by sustained periods of silence. The soundtrack is performed by the Philharmonia Orchestra, and the film received its premiere with a live accompaniment in the Royal Albert Hall.[26] The film won the Annecy Cristal and the Audience Award at the 2007 Annecy International Animated Film Festival,[27] and won the 2007 Academy Award for Best Animated Short Film. This version makes some changes to the original Prokofiev story; for example:

Peter bumps into one of the "hunters" (teenage bullies in this telling), who throws him in a rubbish bin and aims at him with his rifle to scare him; the second hunter watches without interfering (thus, a dislike towards the hunter/bullies is immediately created).

Because of a broken wing, the bird has trouble flying and takes Peter's balloon to help it get aloft.

After Peter has captured the wolf in a net, the hunter gets him in his rifle's telescopic sight coincidentally, but just before shooting, the second hunter stumbles, falls on him and makes him miss the shot.

The caged wolf is brought into the village on a cart, where Peter's grandfather tries to sell it. The hunter comes to the container and sticks his rifle in to intimidate the animal (as he did with Peter earlier on). At that time Peter throws the net on the hunter, who becomes tangled in it.

Before the grandfather has made a deal, Peter unlocks the cart after looking into the eyes of the wolf. They walk side by side through the awestruck crowd and then the freed wolf runs off in the direction of the silver moon shining over the forest.

Others

2007 production, Toronto, Canada

In 1958, a videotaped television special entitled Art Carney Meets Peter and the Wolf, with Art Carney as main entertainer, along with the Bil Baird Marionettes, was presented by the American Broadcasting Company, and was successful enough to have been repeated twice. The show had an original storyline in which Carney interacted with some talking marionette animals, notably the wolf, who was the troublemaker of the group. This first half was presented as a musical, with adapted music from Lieutenant Kijé and other Prokofiev works which had special English lyrics fitted into them. The program then segued into a complete performance of Peter and the Wolf, played exactly as written by the composer, and "mimed" by both "human" and "animal" marionettes. The conclusion of the program again featured Carney interacting with the animal marionettes. The show was nominated for three Emmy Awards.

c. 1960, Hans Conried recorded the narration with a Dixieland musical band. Because a Dixieland band uses different instruments than an orchestra, Peter is played by the trumpets, the Bird is played by a clarinet, the Duck by a banjo, the Cat by a "cool cat" tenor saxophone, the Wolf by a tuba, the Hunters by the percussive ensemble, and Grandfather by a slide trombone.[28] The characters of the Bee and the Flea are briefly introduced to demonstrate the "versatility of our chief percussionist" (played by a xylophone and glockenspiel, respectively).[29]

The Clyde Valley Stompers recorded a jazz version on Parlophone Records (45-R 4928) in 1962, which registered on the popular music charts of the time.[30]

Allan Sherman parodied the work in the album Peter and the Commissar (1964), made with Arthur Fiedler and the Boston Pops Orchestra.[31]

In 1966, Hammond organ player Jimmy Smith performed for a jazz album arranged by Oliver Nelson without the narration, but based on the original themes.[32]

In 1969, American-Canadian filmmaker Caroline Leaf used sand animation to adapt the work in Sand or Peter and the Wolf, her first film.

American film and television actor Ray Bolger served as the narrator for a 1981 live-action version with real animals, directed by Dan Bessie and produced by Pyramid Media. The music was performed by the Santa Cruz Chamber Orchestra conducted by Dr. Lewis Keizer.[33][34]

The 1983 film A Christmas Story features music from Peter and the Wolf prominently during scenes of the character Scott Farkus bullying other characters. The surname Farkus is a variation of farkas, which is Hungarian for "wolf".

Justin Locke wrote a 1985 sequel to the story, using the original score. Peter VS. the Wolf is the Wolf's trial, where he defends himself against the charge of "Duckicide in the first degree, with one gulp." The original music is presented as evidence, but then the Wolf calls individual musicians to the stand and cross-examines them. It requires five actors for a stage presentation.[35]

In 1985, Arnie Zane choreographed a punk music ballet version of Peter and the Wolf.[36]

In 1988, "Weird Al" Yankovic and Wendy Carlos produced a comedic version, using a synthesized orchestra and many additions to the story and music (e.g., Peter captures the wolf using his grandfather's dental floss, leading to the moral of the story: "Oral hygiene is very important").[37]

In 1989, in an episode of the Muppet Babies entitled "Skeeter and the Wolf", Skeeter fills in for Peter, Gonzo is the bird, Scooter is the cat, Fozzie is the duck, Nanny is the grandparent, and Kermit and Piggy are the hunters.

A 1990 episode of Tiny Toon Adventures titled "Buster and the Wolverine" featured Elmyra Duff providing narration for a story wherein Buster Bunny and his friends, represented with musical instruments, combat an evil "wolverine". In this episode, the characters' instruments are: Buster Bunny, a trumpet; Babs Bunny, a harp; Furrball, a violin; Sweetie, a flute; Hamton J. Pig, a tuba; Plucky Duck, a bike horn (later, bagpipes, then an organ, and finally a synthesizer); and the wolverine, drums.[38]

Peter Schickele (a.k.a. P. D. Q. Bach) wrote an alternate, comedic text for the score entitled Sneaky Pete and the Wolf, converting the story into a Western, including a showdown between Sneaky Pete and the gunslinger El Lobo (which never happens due to some local boys' giving El Lobo a hotfoot and sticking a paper airplane in his eye, and Sneaky Pete's girlfriend Laura rendering El Lobo unconscious with a vacuum cleaner). It was recorded with the Atlanta Symphony Orchestra, conducted by Yoel Levi, in 1993.[39]

In the 1993 Simpsons episode "Krusty Gets Kancelled", guest star Hugh Hefner plays a portion of Peter and the Wolf on wine glasses.

In 1995, a 45-minute television special was made with a mix of live-action, animation, and characters from the story designed by Chuck Jones.[40] The film featured Kirstie Alley (as the narrator), Lloyd Bridges (as the grandfather), and Ross Malinger (as Peter), in a live-action "wraparound" segment. The version debuted on ABC on 8 December 1995. This version keeps the duck-friendly ending by having the swallowed duck pop out of the wolf's mouth alive, well, and dancing as the wolf is being captured. The wolf, described as "not a ballet fan", grabs the duck again before being forced to drop him by the hunters. As the story ends, Peter finds the duck crouching at the pond's edge, shivering and frightened because of his terrible experience, and Peter reassures it that he will always be there to protect it. This version even places the bird as a mother, with six eggs that hatch near the ending. The music for this version was performed by the RCA Victor Symphony Orchestra conducted by George Daugherty. The version received a 1996 Primetime Emmy Award for Outstanding Children's Program and received a second Emmy nomination for Daugherty, for Outstanding Music Direction. Daugherty (also one of the writers) and Janis Diamond received a Writers Guild of America Award nomination for the script. The production received a Gold Hugo and Silver Hugo at Chicago International Film Festival.

During September 1996, Coldcut (a duo of scratch/mix DJs from south London) released a scratch version of the main theme, included on the track "More Beats + Pieces", from their album Let Us Play!.[41]

Matthew Hart choreographed Peter and the Wolf for television in 1997, performed by the dancers of the Royal Ballet School and narrated by Sir Anthony Dowell (who also danced the role of "The Grandfather").[16]

In 2001, National Public Radio produced Peter and the Wolf: A Special Report, which treats the familiar plot as if it were a developing news story. Robert Siegel, Linda Wertheimer, Ann Taylor, and Steve Inskeep of NPR's All Things Considered report on the event against a performance of the score by the Virginia Symphony Orchestra conducted by JoAnn Falletta.[42]

Sesame Workshop produced a version with Sesame Street characters in 2000, as told by way of a trip to a Boston Pops Orchestra concert. Dubbed "Elmo's Musical Adventure", the story unfolds inside Baby Bear's imagination as he attends a performance with Papa Bear, conducted by Keith Lockhart. In the story, Peter is played by Elmo, the cat by Oscar the Grouch, the duck by Telly Monster, the bird by Zoe, the grandfather by Big Bird, and the hunters by the Two-Headed Monster. Each character is followed around by a soloist playing that character's instrument, but Telly Monster's "Duck" quits the story after learning the wolf eats the duck. (He returns as one of the hunters later.)

In February 2004, Bill Clinton, Mikhail Gorbachev, and Sophia Loren won a Grammy Award for Best Spoken Word Album for Children for narrating the album Peter and the Wolf/Wolf Tracks. This recording was performed by the Russian National Orchestra conducted by Kent Nagano and included Loren narrating Peter and the Wolf and Clinton narrating The Wolf and Peter by Jean-Pascal Beintus, which is also a narrated orchestral piece, but the story is told from the perspective of the wolf and has the theme of letting animals live in peace.[43]

In 2004, Russian model Tatiana Sorokko narrated an arrangement of Beintus' Wolf Tracks with musicians from the Russian National Orchestra on tour in the United States.[44]

In 2004, the Shirim Klezmer Orchestra recorded a klezmer version of Peter and the Wolf, called Pincus and the Pig: A Klezmer Tale. The recording was narrated by Maurice Sendak and featured his illustrations.[45]

In 2005, theatre organist Jelani Eddington performed and recorded with narrator George Woods the only existing theatre organ adaptation of Peter and the Wolf.[46]

Psy-trance artist Eliad Grundland released a musical interpretation of the work, as Space Buddha, titled "Land of The Wolves", on his album Full Circle (2006).[47]

In 2006, Neil Tobin produced a Halloween-themed narrative called Peter and the Werewolf with the Melbourne Symphony Orchestra, John Lanchbery conducting.[48]

In 2009, an Angelina Ballerina: The Next Steps episode named "Angelina's Musical Day", Angelina and her friends do a school play of Peter and the Wolf.

In 2009, musical group Project Trio released their second studio album, Brooklyn, on which a modernized version of the story was recorded. All three members narrate.[49]

In 2010, Denver musicians Munly and the Lupercalians released Petr & the Wulf, an alternative take on the original story told from the different perspectives of all the characters: Grandfater, Petr, Scarewulf, Cat, Bird, The Three Hunters, Duk, and Wulf. Released on the Alternative Tentacles label.[50]

In 2012, ITV used a version of the main theme as the title music for their coverage of the European Football Championships, because Prokofiev was born in present-day Ukraine, one of the host countries.[51]

In 2013, filmmaker Wes Hurley premiered his short film Peter and the Wolf - a graphic adult version of the story featuring Peter as a gay werewolf-hunter and imagery inspired by Tom of Finland.[52]

In 2015, a recording was done on the Walt Disney Concert Hall organ, arranged by Josh Perschbacher, and narrated by Michael Barone (host of the radio program Pipedreams from American Public Media).[53]

In 2015, the New England Jazz Ensemble (with the Wallingford Symphony Orchestra) debuted pianist Walter Gwardyak's jazz arrangement of Peter and the Wolf for big band. The narration was written and performed by vocalist Giacomo Gates.[54] The recording was self-released on April 22, 2018.

In 2019, composer Lior Navok released Brave Little Timmy for narrator and orchestra (same instrumentation as Peter and the Wolf). The libretto, written by the composer, tells the story of Timmy, whose distant friendship with a wolf has saved the latter from the hunters.

In 2012, the US Supreme Court's decision in Golan v. Holder restored copyright protection in the United States to numerous foreign works that had entered the public domain. Peter and the Wolf was frequently cited by the parties and amici, as well as by the Court's opinion and by the press, as an example of a well-known work that would be removed from the public domain by the decision.[55] The restored copyright per current law is 95 years after publication. Therefore the piece is expected to enter the public domain on December 31, 2031.

Notes

1. ^ Robinson, Harlow (10 November 1985). "Prokofiev's Peter and the Wolf is 50 Years Old". The New York Times.

2. ^ McSmith, Andy (7 July 2015). Fear and the Muse Kept Watch: The Russian Masters from Akhmatova and Pasternak to Shostakovich and Eisenstein Under Stalin. New Press, The. p. 229. ISBN 9781620970799.

3. ^ Prokofiev, Sergei (1960). Shlifstein, S (ed.). Autobiography, Articles, Reminiscences. Translated by Prokofieva, Rose. The Minerva Group, Inc (published 2000). p. 89. ISBN 0-89875-149-7.

4. ^ "Scores - Prokofiev, Sergei - Prokofiev, Sergei / Peter and the Wolf, Op. 67 - Score and Parts - ID: 2444". New York Philharmonic Orchestra Archives.

5. ^ Estrella, Espie. "'Peter and the Wolf': Characters and Instruments". About.com.

6. ^ "Prokofiev's Peter and the Wolf - which recording is best?" by Jeremy Nicholas, Gramophone, 14 January 2015

7. ^

8. ^ Prokofiev, Saint-Saens, L Mozart, Peter Ustinov, Nicholas Walker, Laura O'Gorman, The Philharmonia, Philip Ellis - Peter and the Wolf, Carnival of the Animals, Toy Symphony, discogs.com

9. ^ Review by T.H., Blade Tribune, 27 November 1960, p. 6

10. ^ Peter and the Wolf at Discogs (list of releases)

11. ^ "Peter and the Wolf, Op. 67. audio recording". Columbia Masterworks Records, Internet Archive. July 1941.

12. ^ Bartig, Kevin (4 April 2013). Composing for the Red Screen: Prokofiev and Soviet Film. Oxford University Press. p. 61. ISBN 9780199967605.

13. ^ "The Big Cartoon Database: Make Mine Music". Bcdb.com. 20 April 1946.

14. ^ "1957 Disney TV introduction". Peter and the Wolf. 1957. Archived from the original on 21 December 2021.

15. ^ "Breakthru Films". 7 February 2007. Archived from the original on 7 February 2007.

16. ^ Audio on YouTube, Hans Conried - Peter Meets the Wolf in Dixieland, Part 1; Part 2 on YouTube

17. ^ "Peter and the Commissar". Artist Direct. Archived from the original on 12 June 2008.

18. ^ Peter and the Wolf. OCLC 9045564 - via worldcat.org.

19. ^ Banes, Sally (1987). Terpsichore in Sneakers: Post-Modern Dance. Wesleyan University Press. ISBN 978-0-8195-6160-2.

20. ^ "Tiny Toon Adventures episode guide". Mindspring.com. Archived from the original on 3 June 2018.

21. ^ The Boston Phoenix Archived 28 September 2007 at the Wayback Machine

22. ^ "Russian National Orchestra". Russianarts.org. 21 October 2003. Archived from the original on 22 July 2011.

23. ^ "RNO Russian National Orchestra". Russianarts.org. February 2004. Archived from the original on 9 May 2008.

24. ^ Adaptation Archived 17 May 2008 at the Wayback Machine for Theatre organ by Jelani Eddington

25. ^ Track list for Full Circle

26. ^ Neil Tobin, Necromancer Archived 3 January 2007 at the Wayback Machine. Necromancerevents.com. Retrieved on 1 July 2011.

27. ^ "♫ Brooklyn - PROJECT Trio. Listen @cdbaby" - via store.cdbaby.com.

28. ^ "Petr & The Wulf". Alternative Tentacles. Archived from the original on 22 June 2011.

29. ^ ITV Euro 2012 on YouTube

30. ^ "Josh Perschbacher - Pipe Organ Music". www.joshperschbacher.com. Archived from the original on 27 September 2007.

31. ^ "Peter and the Wolf: World Premiere of Big Band Adaptation at Paul Mellon Arts Center (Choate Rosemary Hall)", April 2015, newhaven.jazznearyou.com

32. ^ Ginsburg, Ruth. "Associate Justice" (PDF). Majority Opinion. Supreme Court of United States.

Sources

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Toggle the table of contents From Wikipedia, the free encyclopedia Peter and the Wolf (Russian: Петя и Bолк , tr. Pétya i volk, IPA: [ˈpʲetʲəivolk]) Op. 67, a "symphonic fairy tale for children", is a musical composition written by Sergei Prokofiev in 1936.

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http://www.philtulga.com/Peter.html

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Which theme did you like the best and why?

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Which theme did you like the best and why?

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Post your answer in the comments!

Reminder of the themes:
Peter (strings)
Cat (clarinet)
Bird (flute)
Duck (oboe)
Grandfather (bassoon)
Wolf (timpani)
Hunters (French Horns)

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Complete the quiz after - post your score in the comments!

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Complete the quiz after - post your score in the comments!

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Complete the quiz after - post your score in the comments!

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Crank up the speakers and learn all about that famous Motown sound!

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Complete the quiz after - post your score in the comments!

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Delta, Memphis, or Chicago, they're all part of a uniquely American form of music-the blues!

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Complete the quiz after - post your score in the comments!

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Do-si-do through the history of country music, from Patsy Kline to Garth Brooks.

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Relaxing chill lofi hip hop radio!

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lofi hip hop radio - beats to relax/study to

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Need to relax? Play this video!

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Relaxing piano can be used to calm you down.  Play in the background as you read or relax!

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Calm Piano Music 24/7: study music, focus, think, meditation, relaxing music

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In this collection, Google has created virtual instruments so you can create music!

Experiment with the virtual instruments and write your experiences with it.

How would you make music if you could not play a traditional instrument?

Which experiment did you like the most? Why?

I would suggest the body synth, the keyboard, the sampler, and the seeing music.

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Since 2009, coders have created thousands of amazing experiments using Chrome, Android, AI, WebVR, AR and more. We're showcasing projects here, along with helpful tools and resources, to inspire others to create new experiments.

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Experiment with creating music using Incredibox.

Click DEMO to help you get started and familiar with the website. (Certain features are locked - use the free stuff- they offer plenty!)

Record your piece, save your piece and share it with me via email.

Incredibox is celebrating its 10th anniversary (2009-2019).  They have created an album  - listen to the album.

Write about it:  What did you think about the songs?  Which song is your favorite?  Why?

Write the songs in order from favorite to least favorite.

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A fun, interactive music experience
Incredibox is a music app that lets you create your own music with the help of a merry crew of beatboxers.Choose your musical style among 9 impressive atmospheres and start to lay down, record and share your mix.

Where making music is child's play!

Part game, part tool, Incredibox is above all an audio and visual experience that has quickly become a hit with people of all ages. More than 80 million players worldwide have already enjoyed it. The right mix of music, graphics, animation and interactivity makes Incredibox ideal for everyone. And because it makes learning fun and entertaining, Incredibox is now being used by schools all over the world.

Create a mix

Drag and drop icons onto the avatars to make them sing and start to compose your own music. Find the right sound combos to unlock animated choruses that will enhance your tune.

Share it

Once your composition sounds great, just save it and you will get a link to your mix. You can easily share it with anybody so they can listen and even vote for it.

Be a legend

If you share your mix a lot and get enough votes from other users, you may go down in Incredibox history by joining the Top 50 chart. Ready to show your stuff?

Ready to lay down
your mix?

';

Sign up for news!

Subscribe to our newsletter to receive news directly in your mailbox.

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Incredibox is a music app that lets you create your own music with the help of a merry crew of beatboxers. Choose your musical style among 9 impressive atmospheres and start to lay down, record and share your mix.

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Interactive multitrack African drumming mixer

This current link lists Gahu African Drumming.

Listen to and reflect on the various grooves (Interactive Audio - on the left of the page)

Scroll down to the bottom of the page, there is a mixer to learn each instrument’s rhythm patterns.

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Close help window

Tracks are listed, along with play, stop, pan, volume, and mute controls.

Play -> plays all of the tracks at once.

Pause -> stops all the tracks at once if currently playing.

Resume -> stops all the tracks at once if currently playing.

M -> Mute, mutes or unmutes a single track.

S -> Solo, solos or unsolos a single track.

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Gahu African Drumming & Dance from Ghana - Listen & Learn! | ThisWorldMusic

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Close help window Tracks are listed, along with play, stop, pan, volume, and mute controls. Play -> plays all of the tracks at once. Pause -> stops all the tracks at once if currently playing. Resume -> stops all the tracks at once if currently playing.

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Smithsonian - National Museum of American History

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Smithsonian - National Museum of American History

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Learn about Jazz Music!

On the left of the page - Click Education

Then select a specific article

Benny’s Music Class

Duke’s Music Class

Ella’s Singing Class

Louis’ Music Class

After reading the article, complete the activity

Listen to different famous jazz musicians

Click Groovin’ to Jazz

Read about the musician

Listen to their music

What did you like about this activity?  What did you dislike about this activity?

Who is your favorite jazz musician that you learned about on this site?

List some facts about your musician

On the left of the page - Click Education, then click Today in Jazz History to see and learn about important dates in Jazz

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Effective March 14, all Smithsonian museums have temporarily closed to support the effort to contain the spread of COVID-19. Learn more and check our website and social media for updates.

Jazz is a kind of music in which improvisation is typically an important part. In most jazz performances, players play solos which they make up on the spot, which requires considerable skill. There is tremendous variety in jazz, but most jazz is very rhythmic, has a forward momentum called "swing," and uses "bent" or "blue" notes. You can often hear "call--and--response" patterns in jazz, in which one instrument, voice, or part of the band answers another. (You can hear Ella Fitzgerald and Roy Eldridge do "call and response" in Ella's Singing Class.) Jazz can express many different emotions, from pain to sheer joy. In jazz, you may hear the sounds of freedom-for the music has been a powerful voice for people suffering unfair treatment because of the color of the skin, or because they lived in a country run by a cruel dictator.

THE NATURE OF JAZZ

Jazz musicians place a high value on finding their own sound and style, and that means, for example, that trumpeter Miles Davis sounds very different than trumpeter Louis Armstrong (whose sound you can hear in Louis's Music Class.) Jazz musicians like to play their songs in their own distinct styles, and so you might listen to a dozen different jazz recordings of the same song, but each will sound different. The musicians' playing styles make each version different, and so do the improvised solos. Jazz is about making something familiar--a familiar song--into something fresh. And about making something shared--a tune that everyone knows--into somethingpersonal. Those are just some of the reasons that jazz is a great art form, and why some people consider it "America's classical music."

THE GROWTH OF JAZZ

Jazz developed in the United States in the very early part of the 20th century. New Orleans, near the mouth of the Mississippi River, played a key role in this development. The city's population was more diverse than anywhere else in the South, and people of African, French, Caribbean, Italian, German, Mexican, and American Indian, as well as English, descent interacted with one another. African-American musical traditions mixed with others and gradually jazz emerged from a blend of ragtime, marches, blues, and other kinds of music. At first jazz was mostly for dancing. (In later years, people would sit and listen to it.) After the first recordings of jazz were made in 1917, the music spread widely and developed rapidly. The evolution of jazz was led by a series of brilliant musicians such as Louis Armstrong, Duke Ellington (listen to Ellington in Duke's Music Class), Charlie Parker, and Miles Davis. Jazz developed a series of different styles including traditional jazz, swing (listen, for example, to Benny Carter, who got his start in swing music, in Benny's Music Class) bebop, cool jazz, and jazz?rock, among others. At the same time, jazz spread from the United States to many parts of the world, and today jazz musicians--and jazz festivals--can be found in dozens of nations. Jazz is one of the United States's greatest exports to the world.

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Jazz is a kind of music in which improvisation is typically an important part. In most jazz performances, players play solos which they make up on the spot, which requires considerable skill. There is tremendous variety in jazz, but most jazz is very rhythmic, has a forward momentum called "swing," and uses "bent" or "blue" notes.

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Have you ever seen a syncopated beat like the one below and wondered if you were looking at cryptic ancient symbols? Do you wish you could read music better, or that there was a simple method to read notation?

Fortunately you can use the Kodály Method to read complex rhythms quickly. First designed as a means of teaching young children music skills in a fun way, the Kodály Method continues to help musicians at all levels develop their ear training skills. In the last article Talking Rhythm: The Kodály Method you learned how to count simple rhythms with quarter notes, 8th notes, and 16th notes. Now you will practice more complex syncopated rhythms using the Kodály Method.

Here's our syllable chart again for reference:

Let's return to the notation example above. While the rhythm may seem very complicated at first, by breaking up the different notes and applying Kodály rhythm syllables, translating the rhythm becomes easier.

Now that we have written in the syncopated rhythm names, we can practice counting this rhythm out loud. Listen to the audio example a few times. Familiarize yourself with the syllables for each note. Try to count along with the audio clip.

Exercise 1: Syncopation and 16th notes

In this example you will practice transitioning from a simple 16th note rhythm to a more complex syncopated rhythm using the Kodály Method. You may need to listen to the example several times. Remember that it is better to practice at your own pace than to fly through these exercises and that continued practice will yield the best results.

This exercise uses a modified version of "chunking" which means taking a longer rhythm and breaking it up into its separate components. This is a very common way of learning new skills from music to language art skills and mathematics. By breaking a longer exercise into its smaller parts and learning the smaller parts first, the longer exercise becomes less daunting. We'll begin with a simple 16th note rhythm and then move to a syncopated rhythm like the one we looked at above.

1. Go through the rhythm and try to label the notes with the correct Kodály syllables

2. Try speaking the rhythm

3. If you can, tap your foot along with the beat at the same time

4. Check your spoken rhythm against the label example below. Did you get it right?

5. Play the audio sample several times

6. Practice tapping the beat along with the audio sample

7. Practing counting out the rhythm without the audio sample

How did you do on this exercise? If you need more time to learn these rhythms, take the time to practice with a metronome at various tempos. Tap your foot as you play to internalize the pulse. Invite a friend to play the rhythms with you or jam out on your instrument or a set of drums as you count out loud.

Once you feel that you can transition from a 16th note rhythm comfortably to a syncopated rhythm like the example above, then move on to this next exercise.

Exercise 2: Get Syncopated!

In the last exercise you practiced going from 16th note rhythms to syncopated rhythms. In this example you will read through a short syncopated rhythm using the Kodály Method.

Before you look at and listen to the labelled version below, try talking this rhythm yourself. Then listen and check if you had the timing right.

Compare Exercises 1 and 2. Do you recognize any of the rhythms in common? Use what you have learned so far of the Kodály Method to understand which syllables are used for each of these rhythmic patterns.

Exercise 3: Rock Rhythm

In this example you will use the Kodály Method to read through a rock rhythm that uses a combination of simple rhythms and syncopation. You will probably recognize many of these rhythms from popular music.

This kind of rhythm is very common for the bass player, pianist, or drummer in a band. Other instruments like the low brass or string bass in an orchestra may also play rhythms like this.

Use your audiation skills and knowledge of the Kodály method to work out the right syllables and imagine the rhythms in your head. Then talk it out loud. Finally listen to the audio clip and see how your performances matched up.

More Practice

Feel like you have started to master rhythm notation? Continue practicing these exercises as part of your everyday music routine. Here are some more exercises you can use to help you learn:

1. Take a favorite nursery rhyme and practice "singing" the rhythms using the Kodály rhythm names.

2. Print out popular sheet music and write the Kodály symbols under the rhythm. Practice the rhythm out loud.

3. Take turns practicing syncopated rhythms with a friend.

4. Notate a short rhythm and practice counting it out with syllables.

5. Listen to a favorite song on the radio and try to figure out the rhythm using Kodály.

There are many musical resources that will help you develop your musicianship skills using the Kodály Method. Just a few of these sources are listed below:

Memorise the Kodály syllables and practice using them on rhythm examples like the ones above and you are well on your way to gaining a powerful tool for understanding rhythm notation and improving your natural sense of rhythm. Use these talking rhythm syllables for all the music you play and hear and you will quickly become a rhythm pro!

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Talking Rhythm: Syncopated Rhythms and the Kodály Method

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Have you ever seen a syncopated beat like the one below and wondered if you were looking at cryptic ancient symbols? Do you wish you could read music better, or that there was a simple method to read notation? Fortunately you can use the Kodály Method to read complex rhythms quickly.

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Talking Rhythm: The Kodály Method | Musical U

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Are you struggling with counting out basic rhythm? Do you wish that you could understand a rhythm on sight? Does sheet music confuse you? Fortunately there is a way to translate playing by ear into understanding written rhythms that is easy to use whether you are five or fifty-five!

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Here's an engaging movement and music activity I recently created. It's useful and joyful in the elementary music or dance classroom as well as the regular classroom as a 'brain break' (especially on testing days).

Notes: The number of popcorn pieces on the stage floor indicate how many beats each action should be performed. "Pat' is done with hands, and 'tap' is done with finger tips. The visuals change on the last beat of the previous section/measure to allow processing time.

Integrate by helping children predict/recall the sequence of movement as well as the mathematical relationship between 16, 8, and 4 beats. Assess accuracy in performing with a steady beat. ENJOY!

The darling kids clip art was created and licensed by EduClips , and the stage background was created by EnAz. Thank you, ladies!

.

Higher resolution is available on YouTube:

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Here's an engaging movement and music activity I recently created. It's useful and joyful in the elementary music or dance classroom as well as the regular classroom as a 'brain break' (especially on testing days). Notes: The number of popcorn pieces on the stage floor indicate how many beats each action should be performed.

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Worksheets - Susan Paradis Piano Teaching Resources

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Here you will find over 100 FREE colorful and fun music theory and piano worksheets. From beginner to intermediate, there is a worksheet for everything!

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Welcome to the my music padlet!  I miss you all very much!! :)

Choose one assignment a week
You can leave a comment or email me a picture (jfazio@nasboces.org)

*Please type your name before you write your comment

OR

Create an account for free on Padlet!

Comments must be appropriate and positive!

Enjoy!

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Explore the fundamentals of music via Ableton's interactive website. Experiment with beats, melody, harmony, basslines, and song structure in your web browser.

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Carnegie Hall

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Welcome Back! Classics for Kids has returned with our new Fun Facts videos, worksheets and lesson plans!https://youtu.be/7BjOMa7NvzIFun Facts: Marian Andersen https://youtu.be/OBnHXKNDqXUFun Facts: Yo-Yo Ma Explore More Composers Learn More Worksheets [...]

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Making instruments

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Build a classroom sized "skin" drum to tie in with Native American studies. Create instruments from recycled materials for Earth Day! Participate in TV Turn-off week with great musical fun for each night of the week! Celebrate MLK Day! Below is a nice long list of fun projects associated with great dates in the school calendar.

Discover unusual instruments from around the world, hear what they sound like and make your own versions in class. There are box drums from Latin America (called cajónes), shekeres from Africa, didgeridoos from Australia and much more! Your class can play along with music found in the CD section, color the instruments online or print-out coloring pages for students to take home!

You can see some amazing pictures in Daria's travel section. Then catch the vibe of these great cultures with songs like:

If you are a Spanish/English classroom, you may wish to create a Peruvian box drum (cajón) or a easy guiro from a recycled water bottle. Then, have fun with Daria's many bilingual songs! Here are some great tunes to check out!

What teacher would not want their students to improve their listening skills? Build any of the percussion instruments, then start your own rhythm circle. Even very young children love to practice "call and response" playing. The teacher or leader plays a pattern and the class must listen and repeat. It's a great way of combining a game with a musical activity, while practicing the essential skill of learning to listen.

Sheet music for many of Daria's songs is available in the store. For many songs, Daria also has sing-along versions that can be sent to you for free. If you'd like to purchase any of Daria's music, downloads are $9.99 or actual CDs are $14.99 per CD, shipping and handling are free. Feel free to check out the albums and songs here.

Nothing is more important than inspiring our children. If there's something you'd like to share with DARIA or a way she can be a part of your classroom's fun and learning, contact her here.

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Build a classroom sized "skin" drum to tie in with Native American studies. Create instruments from recycled materials for Earth Day! Participate in TV Turn-off week with great musical fun for each night of the week! Celebrate MLK Day! Below is a nice long list of fun projects associated with great dates in the school calendar.

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High pitches :D

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The NY Philharmonic is a symphony that performs in New York City and is one of the top performing groups in the country. This site provides games, information about instruments, composers, and even allows you to make your own instrument!

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National Institution of Environmental Health Science 

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National Institution of Environmental Health Science 

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Kids Environment Kids Health - National Institute of Environmental Health Sciences

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Music Games for Kids | Learn about the songs available on NIEHS Kids.

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Informational shows - There are a few episodes that are related to sound and music.

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Skip to playerSkip to main contentSkip to footer

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Please practice your music!!

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Practice the best you can with the this video and lyrics - I couldn't upload the edited version.

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https://docs.google.com/document/d/1eiYPxXwViPhJqkbh42XulwobL5GDkYgTUK4rUYNHNj8/edit?usp=sharing

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Practice the best you can with the this video and lyrics - I couldn't upload the edited version.

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https://docs.google.com/document/d/1pwYhejrI4SS0urWIKZ_FW5_MRsnXJ8OEFTsL-FrtydA/edit?usp=sharing

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https://docs.google.com/document/d/1g8eRrJohLMlYKrZ4W5KV3r41dYwZECtNSd82mmL2b34/edit?usp=sharing

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https://docs.google.com/document/d/14yVgNnp-PgS3qpJki1Ub_BDvGW7JQQctDM77ZGvhOqU/edit?usp=sharing