Scenes from The Louvre

Norman Dello Joio

Krissandra Gardner
Garofalo Project

Table of Contents

Targeted Concept and Learning Goals

Historical Notes / Sources

Glossary of Musical Terms

Listening Assignment

Listening Assessment

Practicing Assignment

Practicing Assessment

Creative Assignment

10

Creative Assessment

11

Targeted Concept:
Describe and perform qualities of Renaissance music as demonstrated in Dello Joios Scenes
from The Louvre, with reference to source material.

Learning Goals:
1. I can perform my part of Scenes from The Louvre perfectly with pitch, rhythmic, and
stylistic accuracy.
2. I can identify source material aurally and in my part.
3. I can express Renaissance stylistic qualities in my own composition.

Historical Notes
Biographical Information: Norman Dello Joio was an American composer born in 1913 and
deceased in 2008. He entered the professional music field at the age of fourteen as a church
organist, though he also studied piano. He attended All Hallows Institute (192630) and the
College of the City of New York (19324) and was trained in music at the Institute of Musical
Art (1936) and the Juilliard Graduate School (193941). Dello Joio composed for multiple
medias and across genres, including operas, symphonies, choral and orchestral works, chamber
and solo music, and television scores.
Creation of the work: Scenes from The Louvre is a five movement suite in which Dello Joio
collected the highlights from his Emmy-winning score for A Golden Prison: The Louvre. The
television documentary shows the history of the Louvre, its collection of art, and the inseparable
history of France that is intertwined. The first movement, The Portals, is the title music from the
television documentary and is not based in other source material. Other movements borrow from
Tielman Susato, Jean Baptiste Lully, Vincenzo Albrici, and Dello Joios own original
compositions to match the historical context of the film.
Source material: The second movement, titled Childrens Gallery takes the theme and
variations of Susatos Ronde et Saltarelle as its basis. Movement three The Kings of France, is
a chorale based on themes by court composer Jean Baptiste. Dello Joio based The Nativity
Paintings on In dulci jubilo, a traditional Christmas song. This is the same theme Dello Joio
used in two other compositions. Finale, basis is Albricis Cestiliche Sonate.
Publisher information: Scenes from The Louvre is published by Edward B. Marks Music
Company and distributed by Hal Leonard Corporation. Edward B. Marks Music Company began
as a pop music publisher, and evolved to support more serious music. Distribution is handled
through Hal Leonard Corporation, a large and trusted company in music repertoire.
Sources:
Blocker, L., Cramer, R., Corporon, E. ,Lautzenheiser, T., Lisk, E., & Miles, R. (1996). Teaching
music through performance in band (Volume One). Chicago, IL: Gia Publications, p.
282-285.
Dello Joio, Norman. The Oxford Dictionary of Music, 2nd ed. rev.. Oxford Music Online.
Oxford University Press.
http://www.oxfordmusiconline.com.proxy.lib.muohio.edu/subscriber/article/opr/t237/e28
43.
A Golden Prison: The Louvre. IMDb. http://www.imdb.com/title/tt0277538/?ref_=ttfc_fc_tt
Jackson, Richard. Dello Joio, Norman. Grove Music Online. Oxford Music Online. Oxford
University Press.
http://www.oxfordmusiconline.com.proxy.lib.muohio.edu/subscriber/article/grove/music/
07496.
Scenes from the Louvre. The Wind Repertory Project.
http://www.windrep.org/Scenes_from_the_Louvre
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Glossary of Musical Terms

A tempo: Return to previous tempo

Allargando molto: Broadening/slowing a lot
Allegro brillante: Lively, quick, and bright.
Allegro moderato: Lively, moderately fast tempo.
Allegretto: Slightly slower than allegro. Light.
Andante con tenerezza: Moderately slow/walking. With tenderness.
Andante maestoso: Moderately slow/walking. Majestically.
Arco: Played with the bow (string instruments).
Cantabile: Singably, songlike.
Con tutta forza: With full power.
Con tutta forza al fine: With full power to the end.
Espressivo: With expression.
Grazioso: Graceful.
Legato: Smoothly, with no separation between notes.
Leggiero: Light, nimble.
Marcato: Marked, emphasized. Played with pointed articulation.
Movendo: Moving.
Pizzacato: plucked, rather than played with the bow (string instruments).
Poco meno: A little less.
Rallentando: Slowing down.
Ritardando: Slowing down gradually.
Sempre: Always.
Sentito: Felt, expressive.
Simile: Continue in the same manner previously indicated.
Solo: One player.

Listening Assignment
1. Listen to the recording of Ronde et Salterelle. Then listen to the second movement of Scenes
from The Louvre (beginning at 2:40). When do you first hear the theme from Ronde et
Salterelle? Which instrument section is playing the melody?

2. A new variation of the melody at starts at 3:40. What makes this variation different than the
previous theme identified in the previous question?

3. Listen to movement 3 at 6:04-6:51. How would you describe this section musically? Would
you describe the section from 6:51-7:48 in the same way?

4. Listen to the recording of In Dulci Jubilo. Describe the piece musically in your own words,
including form, texture, and style.

Online links to recordings:

Scenes from The Louvre https://www.youtube.com/watch?v=SxFS9Sz1qrI
Ronde et Salterelle https://www.youtube.com/watch?v=B11yn8kDivo
In Dulci Jubilo - https://www.youtube.com/watch?v=FbviQcXF6GQ

Evaluation (Listening)
1.
4
The theme is
identified at the
correct time and
attributed to the
correct
instrument.

3
The theme is
identified to the
correct
instrument, but
the time may be
slightly off.

2
Either the time
or instrument are
correctly
identified, but
not both.

1
An attempt is
given, but
neither the time
nor instrument is
correct.

0
The question is
not answered.

3
Two specific
examples are
given to explain
the differences
between the
theme and first
variation.

2
One specific
example is given
to explain the
differences
between the
theme and first
variation.

1
The theme and
variation are said
to be different,
but no specific
examples are
given.

0
The question is
not answered.

3
Both sections are
described using
music terms, but
there is no
comparison
between the two,
or it does not
relate.

2
Only the first
section is
adequately
described in
musical terms.

1
The first section
is identified, but
not adequately
described, and
nothing is drawn
to the second
section.

0
The question is
not answered.

3
The description
identifies
qualities of
form, texture,
and style
accurately, but
lacks specific
examples.

2
The description
identifies at least
two of the listed
qualities.

1
The description
identifies one of
the listed
qualities.

0
The question is
not answered.

2.
4
At least three
correct, specific
examples
explain the
differences
between the
theme and first
variation.
3.
4
Both sections are
described using
musical terms
and there is
comparison
between the two
sections.

4.
4
The description
identifies
qualities of
form, texture,
and style
accurately with
specific
examples.

Practice Assignment

Piccolo, Flute, Oboe, Tenor Sax, Bari Sax, Trumpets:

Movement 2, mm. 39-46
Clarinet, Bass Clarinet, Bassoon:
Movement 2, mm. 11-14, 39-42
Alto Saxophone:
Movement 3, mm. 1-9
French Horns:
Movement 2, mm. 23-30
Cornets:
Movement 3, mm. 19-25
Trombones, Baritone, Tuba:
Movement 3, mm. 21-29
Percussion:
Movement 2, mm. 43-46

The above assignments are what you will record for assessment. Practice these sections and the
rest of your part with the following techniques in mind.

Play scales in F, C, G, and A Major. Practice with different articulations, rhythms, and tempos.

Break down sections into smaller chunks, and slow them down. If youre having trouble with a
four measure phrase, take just the first measure. Slow it down and master that step. Then play the
second measure. Add the two together, and slowly work up to larger sections.

Practice with a metronome. A lot of this piece relies on confident entrances from rests. Practicing
with a metronome will help define the length of the rests and exactly when to come back in.

Evaluation (Practice)

You will record your excerpt in a practice room during rehearsal. Say your name, record yourself
playing only once, stop the recording, and return to rehearsal.
Each category is worth 4 points.

Accuracy: _____
I played all of the correct pitches.
I played the correct rhythms.
I kept a steady tempo while playing.

Expression: _____
I played with the correct articulations.
I played at the correct dynamics.

Tone Quality: _____

I entered confidently with a full sound.
I played with full breath support.
I played with proper posture.

Creative Assignment
Using the text of In Dulci Jubilo or the English prose translation, compose your own melody.
The text is provided below for reference. Make sure to use characteristics of Renaissance music
in your composition.
In dulci jubilo/ nun singet und seid froh!/ Unsers Herzens Wonne/ leit in prsepio/ und leuchtet
als die Sonne/ matris in gremio./ Alpha es et O.
English:
In sweet jubilation,/ now sing and be joyous!/ Our hearts bliss/ rests in a manger/ and shines like
the sun/ in his mothers lap./ You are the alpha and omega.

Using the theme and variations of movement two as a reference, write a variation of your
melody. Make sure to use characteristics of Renaissance music in your composition.

Describe how your composition reflects characteristics of Renaissance music we have discussed
in this unit. Include at least three examples of how it would be performed to sound as
Renaissance music.

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Evaluation (Creative Assignment)

In Dulci Jubilo Melody Composition

4
The original
composition
uses the text as a
basis for the
melody and
shows some
aspect of
Renaissance
music.

3
The original
composition
uses the text as a
basis for the
melody, but
Renaissance
characteristics
arent visible.

2
The original
composition
does not
obviously use
the text or show
reference to
Renaissance
music.

1
The composition
reflects the
original In
Dulci Jubilo
melody with
some variation,
but is not a
completely
original
composition.

0
The assignment
is not completed.

2
The variation
shows basis in
the original
melody, but
could use more
differences from
the melody.

1
The variation is
either the same
as the original
melody, or
shows no basis
in the original
melody.

0
The assignment
is not completed.

1
Describes
Renaissance
characteristics,
but not in
connection to
original
composition.

0
The assignment
is not completed.

Original Composition Variation

4
The variation
shows basis in
the original
melody and has
identifiable
differences, and
shows some
aspect of
Renaissance
music

3
The variation
shows basis in
the original
melody and has
identifiable
differences, but
Renaissance
characteristics
arent visible.

Description of Renaissance Characteristics

4
Includes three
accurate
examples of
Renaissance
characteristics.

3
Includes two
accurate
examples of
Renaissance
characteristics.

2
Includes one
accurate
example of
Renaissance
characteristics.

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