unit ii - history of afro-american music a. audio-visual

UNIT II - HISTORY OF AFRO-AMERICAN MUSICAND A SURVEY OF JAZZ STYLES

A. AUDIO-VISUAL MATERIALS: RECORDINGS USED IN UNIT II AND FILMSTRIPS

B. LESSONS

1. Music of West Africa

2. The Caribbean and the Deep South

3. POP Music in America, 1890-1930 (Filmstrip)

4. Ragtime Piano Styles

5. Vocal Blues Styles

6. Instrumental Blues Styles

7. George Gershwin

8. Pop Music in Alnerica, 1930-1945 (Filmstrip)

9. The Big Band Royalty: the "King," the "Count," and the "Duke"

10. Bop and Cool J clZZ

11. Progressive and Avant-Garde Jazz

12. Review

13. Exam

Doc. 0535B, p. 1

Lessons 1-2

Lesson 3

Lesson 4

Lesson 5.

Lesson 6

Lesson 7

Lesson 8

Lesson 9

Lesson 10

Lesson 11

37

RECORDINGS AND FIL.\1STRlPS USED IN UNIT II

African MusicBest of Herbie HancockNegro Folk Music of Africa

and AmericaSound of the Sun-Steel BandThe Gospel Sound

Pop Music in America

Piano Rags by Scott JoplinClassic Jazz Piano Styles

Take This Hammer - Leadbel1yThe Bessie Smith Story - Volume 1Crying Time - Ray Charles

The Original Dixieland Jazz BandClassic Jazz Piano StvlesAn Anthology of British Blues

George Gershwin Rhapsody in BluePorgy and Bess

pop Music in America

The Great Benny GoodmanThe Best of BasieThe Best of Duke Ellington

Dizzy GillespieMiles Davis - Birth of the CoolThe Greatest Jazz Concert Ever

(Dizzy Gillespie, Charlie Parker,

Time OUt- Dave Brubeck QuartetThe Heliocentric Worlds of Sun Ra

Doc. 0 5 3 5B, P • 2

Folkways 8852Columbia JC' 36309Folkways FE 4500

Nonesuch H-Columbia G

201631086

EAV Filmstrips ~ 1 and 2

Nonesuch H- 71248RCA Vintage Series LPV 543

Folkways SLP l7AColumbia CL 855ABC-Paramount 544

RCA Vintasge Series LPV 547RCA Vintasge Series LPV 543Immediate Z12 52006

Mercury SR 90002Columbia OL 5410

EAV Filmstrip #3

Columbia CL 820Roulette SR 52081Historia H 621

RCA Vintage Series LPV 530Capi tal DT 1974prestige PR 24024Charles Mingus, Max Roach)

Columbia CL 8192ESP- 1014

38

UNIT II - LESSON 1

AIM How does West Afr.ican music differ from traditional American folk music?

PERFORMANCE OBJECTIVES Students will be able to:

1. define and identify the following a-spects of West Afr ican music:responsorial singing, melodic and rhythmic ostinato patterns, metronomicsense of tempo, polyrhythmic use of percussion instruments, melismatic andquarter tone singing style f shouting tone quali ty, ethnomus j,cologist.

2. contrast and compare differences between European style of melody andaccompaniment to traditional African approach.

MOTIVATION

Refer to a map and ask students to name regions of Africa from where mostAfro-Americans can trace their ancestry.Ask class which book and TV serial told the story of a man who was able totrace his family history using the folk legends he heard from hisgrandparents?" (Roots by Alex Haley)Point out that the black ciyil rights movement stimulated a great interestin the study of African culture in the 1960s and 70s.Explain that the musical examples which follow have great importancebecause of their influence on the entire development of jazz and rock andthat American popular music now has world-wide influence due to advances inrecord ing-,TV and mov ies.

PROCEDURES

1. Terms and DefinitionsWrite these terms and their definitions on the board and have students copythem into their notes. Reiterate when mentioned in discussion.

ethnomusicologis~ - scholar who studies the music of a given regionimprovisation - making up music as you go along

• responsorial singing (call and response) - leader answered by a chorusmelodic ostinato - repeated melody

• rhythmic ostinato - repeated rhythmtempo - speed of beats

• metronome - a clock-like device for producing beats at a variety of speeds• melisma and quarter tones - singing styles• polyrhythms - many different rhythms played at the same time

Doc. 0535B, p. 3

39

2 (Play African Music, Band 4 (second half of band).] This is ceremonialmusic of a chieftain and his tribe. It was recorded by anethnomusicologist.Ask: Which are the main stylistic characteristics?

Responsorial singing - leader answered 0y a chorusChoral singing in harmonyShort phrases repeated constantly (ostinato) although the leader tends tovary his part slightly each time and improvise changes. The chorus tendsto repeat the same phrase.Multiple percussion instruments in the accompaniment - drums, rattles,sticks.Metronomic sense of tempo and pulse~ - speed of beatsMetronome - a clock-like device for producing beats at a variety of

speeds from 40 to 208 per minuteSinging tends to feature melismas and quarter tonesHarsh, forced timbre in singing

3. (Play African Music, Band 6, Side 2.] This is an example of polyrhythms,the chief characteristic of African music. European music stressesharmony. Each drum plays this pattern separately. Drums have varyingsizes and pitc~es.

4. [Play African Music, Band 5, Side 2.] This is a secret society dance songusing the five drums heard in the last example. Ask:- >'ihichAfrican elements do you recognize?- What is the psychological state induced by the drums played over a lo~g

period of time to the listener or dance.r in ::he' ceremony? (trance, ,frenzy, ecstasy, fainting)

5. [Play an appropriate example to demonstrate improvising.]Improvisation is a main stylistic ingredient of West African nusic. Sincethere was_no written music, they had to make it up as they went along.European music has, since the Middle Agjjes, come to rely on writtentranscription of music.Contemporary example: fusion-disco-jazz. write this on the board and playHerbie Hancock's, d"Tell Everybody," listening for improvisation.Ask: How does disco use some of these elements?" (responsorial singing,melodic/rhythmic ostinato and a steady tempo)

POINTS FOR FURTHER DISCUSSION

How do these recordings differ from th·e traditional American and Britishfolksongs heard in unit I?

Doc. 053 5B, p. 4

40

UNIT II - LESSON 2

AI~ How did West African music influence L~e music of the Caribbean and

southern united States?


identify similarities between West African examples heard in previouslesson and New world examples.name Cariobean instruments which have African origins: maracas, c1aves,

bongos, congas, marimba.discuss reasons why African music developed differently in the Caribbeanfrom the Deep South in North America.

MGrIVATION

,Hold up maracas, claves, guiro and demonstrate. Ask class to name eachinstrument. use pictures if the instruments are not available.In the Caribbean, African istruments received new names. write these noteson the board and have students copy them into their notebooks.a) rattles became maracasb) sticks became clavesc) drums became bongos, cOIlgasd) xylophone became marimbaMusic sung and played by persons of African descent in the islands of theCaribbean_and parts of Central and South America is often virtuallyindis~inguishable from West African music with the exception of thelanguage used, whic.'lcoul& be a mixture of African dialect with Spanish,French, Dutch, Portuguese, or Englis'h (patois).Some of the reasons for the retention of African culture:- Isolation of the islands_ Africans formed the majority of the population on many islands; tribal

and family units remained together, often working on large plantationsunder a few European overseers.

_ The predominantly Catholic religion allowed for the inclusion of tribalgods as new saints. Many African religious customs, such as voodoo andother cults, continued to survive.

PROCEDURES

write on the board all terms, definitions and recording$. Add descriptions.

1. [Play Example I - "Lucumi Songn - sung in Eastern Cuba by descendants ofYorubas from Nigeria. Play Side 2, Band 18 of Negro Folk Music of Africaand America.] Notice the po1ycythmic and responsorial elements. Therefrain features two words very clearly - Buena Noce (Good 'Night -pronounced as Booehnah Nocheh from the Spanish).

Doc. 0535B, p. 5

41

2. (play Example 2 - "Steel Drums of Trinidad" (see back of record jacket)Side 2, Band 6 (sounds like a stroshic lolksong).JIn Trinidad (an island off the coast of Venezuela which has large oilrefineries), island natives in search of rhythmic instruments (After drumsand stick bands had been outlawed by the colonial government.) discoveredthat oil drums of various sizes and indentations made fine musicalinstruments when struck by rubber mallets. The soprano drum is dented toproduce 32 different pitches. In addition, there are also alto, tenor and

bass drums.3. Why in general did black music in America not retain its Africanisms in as

pure a form as in the Caribbean? (think of Roots)a) family and tribal units were systematically broken up; small

plantations needed fewer workersb) blacks formed a minority of the population in many areasc) protestant missionaries introduced hymn tunes that were incorporated

into black church serviced) much closer relationship between black and white culture in the south

and more repression4. Example 3 - Spiritual - "Mississippi"

[Play: Negro Folk Music of Africa and America Side 2, Band 23. (6)]This was recorded in an isolated country church in 1949 sung by oldparishioners whose parents still remembered the times of slavery.Spiritual - early religious hymns sung by southern blacks.[Play: "My Name Has Been written Down" from Negro Folk Music of Africa and

Amer ica.]a) Notice the responsorial singing.b) Since drums were not allowed by the authorities, the polyrhythmic

accompaniment is created by hand clapping, footstamping, andfingersnapping. In this example, however, only hand clapping andfoots~amping occurs.

5. Gospel style - (play: "Said I Wasn't Gonna Tell Nobody" from the GospelSound Side 3, Band 7 recorded 1960 by the Abyssinian Baptist Gospel Choirin New Yor k City (Har lem) .Ja) Elicit similarities to African style.b) "Notice hand clapping, accompanying instruments."c) "What is the mood conveyed?"d) "How does the religious ecstasy compare to ceremonial music previously

heard in lesson l?" (trance, frenzy, ecstasy, fainting)

POI~TS FOR FURTHER DISCUSSION

Which popular performers have been influenced by .this type of gospelsinging? Many famous jazz, soul, and rock musicians began their musicalcareers singing in church. They then transferred this style ':0 their typeof music. Examples:

Black performers influenced by gospel singing:Aretha Franklin, Ray Charles, singers for Motown records.White performers influenced by gospel singing:Janis Joplin, Tom Jones, Elvis presley, Rolling Stones

Doc. 0535B, p. 6

42

UNI'f II -, LESSON 3

AIM How did jazz develop in America from 1890-1930?


name early jazz styles such as: ragtime, blues, Dixieland, Tin-Pan Alley,and describe how jazz influenced popular songs.identify mechanical inventions which helped to spread the popularity ofjazz such as: piano rolls, record player, radio, talking movies.identify the musical styles of Victor Herbert, Scott Joplin, Irving Berlin,Louis Armstrong, Stephen Foster, John Philip Sousa, George M. Cohan, GeorgeGershwin, Original Dixieland Jazz Band, Bing Crosby, Al Jo1son, PaulWhiteman's Band, Rudee Valee.discuss sociological reasons for the development of popular music inAmerica (World War I, Prohibition, flappers, automobiles, post-warprosperity and depression) .

MarI~TION: Mention that the two filmstrips show the background for thedevelopment of American popular music in this century. Thisdevelopment has worldwide influence.

PROCEDURES:

1. Show filmstrips I and II of EAV series Pop Music in the 20th Century.2. Summar ize: filmstrips by the following chalkboard notes and have students

copy these notes and discuss implication of technologicaT and societalchanges resulting from the items listed below.

Musical Influences 1890-1930

a. John Philip Sousa ••••••••••••••••. marchesb. Stefhen Foster •.•••••.••••••.••••• ballads show Afro-Amer ican influencec. Tin Pan Alley ••••.•••••••••••••••• song publishersd. pianola (player piano) •• 0 ••• 0 ••••• piano rollse. Scott Joplin •.•..••.•.•••••••••.•. ragsf. Irving Berlin ••..•.•.••..•..•.•.•• "Alexander 's Ragtime Band"g. ragtime dances •..•..•••..••.•••.•• Castle Walk, Charleston, Black-bottomh. Victor Herbert •••.•••.•••••••...•• operettasi. George M. Cohan ••••••••••••••.•••• war songsj. victrola (record player) •••••••.•• 78 rpm records

Doc. 0535B, p. 7

43

k. original Dixieland Jazz Band •..•... ragtime, blues:<ing 01 iver •Louis ArmstrongAi Jo1son Sojil ie TuckerPaul l'lhi temanGeorge Gershwin

1. radiom. microphone ...••.•..•.. ~••••.••••••• Bing Crosbyn. prosperity • .. post world War I

pleasure seekingflappers ••••••• , ., •••.••••••••••.•• women I s suffr age movement

o. depressionp. talking moviesq. age of dance marathonsr. automobile

Doc. 053 5B, p. 8

44

UNIT II - LESSON 4

AIM How did ragtime synthesize European and African musical styles?


define the fOllowing terms: ragtime, syncopation, bass, afterbeat, slidepiano, cutting contest, techniqueidentify prominent ragtime and stride pianists such as Scott Joplin, JellyRoll Morton, Eubie Blake, Fats Wallerrecognize elements listed in *1 recorded examples

MOTIVATION (Playa short excerpt of "The Entertainer."] Ask students toidentify the style, composer, title, and movie which popularizedthis selection. (The Sting). Use the piano or recording. PianoRags by Scott Joplin-Side 1. Band 2.

PROCEDURES

1. Wr ite the following terms on the board and add the br ief definitions as theterms appear in the lesson. Have students copy them into their notebooks.-ragtime = piano jazz style in 2/4 or 4/4 timer earliest written

jazz-syncopation - accenting the weak beats-bass - l~west sounding note on the downbeat~afterbeat - upbeat-stride piano - action the left hand makes alternating between

a low note and a chord-cutting contest - piano competition held to raise rent money~technique - finger dexterity

2. Define ragtime - a piano jazz style in 2/4 or 4/4 time in which the basspart or accompaniment maintains the basic pulse and the treble or melody issyncopated.a) Mention that this style was the earliest written form of jazz; was

popularized by piano rolls (forerunners of recordings); melodies werederived from marching band music and European - American dances such asthe polka, quadrille and schottischee

b) It had a great impact on development of American popular music (Tin Panalley, Broadway shows).

Doc. 0535B, p. 9

45

9. Define syncopation - a rhythmic device of stressing a weak beat, accentingnotes in between beats or omitting normally stro!.g beats. (Although it '.vasused in European music, it is a feature of African music.Demonstr ate syncopa tion - page 2 or 3 of the Maple Leaf Rag is a goodchoice. Show the basic bass note and afterbeat left hand accompanimentpatterns occurring on the regular beat and the syncopated right hand, orhave the class count or clap 1-2-3-4 but accent or emphasize the numbers 2and 4.

4. (Play Maple Leaf Rag (1899) either as a piano solo or on Piano Rags Side 1,Band 2, Scott Joplin's most famous rag.]Ragtime had a rather low-class origin, evolving in saloons, houses ofill-repute (sporting houses of New Orlean's red light district "Storyville."

5. Another famous ragtime pianist from New Orleans was Jelly Roll Morton.Eubie Blake at 97 was the subject of a recent Broadway show called "Eubie"which featured his rags.

6. A post-ragtime pianist was Fats Waller. The show Ain't Misbehavin'featured on Broadway is based on his music.waller had a prOdigious piano technique. He exemplified a style known asstride piano.Waller perfected his stride piano technique in cutting contests which 'Hereinformal piano competitions held in black neighborhoods in rent-partysessions. A party was held to raise money to pay the rent; the pianowinner usually received a free dinner. "Fats" must have won lots ofcontests. (technique - finger dexterity)

7. [Play Jazz Piano Styles Side 1, Band 4, Handful of Keys by Fats Waller (seeback of record jacket).J

8. Make a list on the chalkboard of the players and composers of ragtimementioned in this lesson. Add descriptions.Ragtime composers and performers:- Scott Joplin - "The Entertainer," "Maple Leaf Rag"- Jelly Roll Morton

Eubie Blake d)- Fats Waller - "Handful of Keys" - stride piano


How did ragtime and stride piano combine European and African elements?

European African

1. written - not purely improvised2. used piano and traditional piano

technique3. 8 and 16 bar phrases4. Melodies based on marches, dances

and popular songs

1. syncopation or jazzing2. some improvisation3. played by performers of

Afr ican lineage

Doc. 05358, p. 10

4b

UNIT II - LESSON S

.1\IM How did "blues" 'influence the American popular song?


define the following musical characteristics of blues: 12 bar stanza, AABrhymed verse structure and melody, improvised breaks within each 4-barphrase, blue notes, blues progression and scalename blues performers such as Leadbelly, Bessie Smith, Louis Armstrong, Ray

Charlesdifferentiate between country, city and contemporary blues styles heard inclass and identify the accompanying instruments usedcontrast European and African elements of blues

MOTIVATION Which styles of popular music use blues elements?soul, disco, folk, even "classical" composers)

(jazz, rock,

PROCEDURES:

Write on the board all terms, recordings and performers for class notes. Add

descriptions.

1. We ite the following terms on the board and define them as they appear inthe lesson. Have students copy them into their notebo.oks.a) 12 bar stanza - see diagram below I

b) AAB structure - a repeated melody (AA) followed by a contrastingmelody

c) break - short jazz solod) blue note - the lowered 3rd, 5th or 7th notes of the scalee) blues progression - the movement of chordsf) blues scale - a scale containing the lowered 3i~, 5th and 7th

notes2. (Play examples of country blues usually sung by male farm workers and

itinerant laborers. Leadbelly (Huddie Ledbetter) - "Take This Hammer"]3. Ask: How is each stanza of blues constructed? Place diagram on chalkboard

(can elicit musical elements in addition) •

12-Bar Stanza

I (chord) / I I I I I7g 4Verse A 4 I I I (Break)

IV7 I IV7 I I I I

~

4Ver se A 4 I I I (Break)

V7 V7 I IV

7 I~

4(Break) : .Verse B 4

Doc 0 0535B, P 0 11

':.~ -'- ..":',-;::

47

a) Break - short improvised jazz interludeb) Harmonies used in blues are derived trom traditional Protestant

church hymns. Play blues progression on piano.4. "Why do blues tend to sound so melancholy?"

The blues scale - lowers the third, seventh, and sometimes the fifth stepsof the major scale melodically but not always harmonically. Thi3 creates aclash of sound between the melody and harmony called the "blue note" effect.

(OPTIONAL) To be placed on the board for notes.

4~obe aBO [) 15G 0

:::r: JI :::rrr.. JY y -::zI-yrr: r

5. Blue note - The lowered 3rd, 5th or 7th notes of the scale inthe presence of the natural 3rd, 5th or 7th scale notes.

6. City Blues were early commercial blues recordings to be played at 78revolutions per minute. This style is also known as Classic Blues and wasusually sung by women in speakeasys (nightclubs serving illegal liquorduring Prohibition) and vaudeville shows.a) (Play "Bessie Smith Story," Side 1, Band 5 of Reckless Blues (recorded

1925) .Jb) Ask: Which instruments accompanied Bessie Smith? (Muted trumpet

played by Louis Armstrong, born in New Orleans in 1900, who beganplaying in streetbands, lived many years in Corona, just offNorthern BLVd. before his death in 1970.) What is a mute? wnatdoes it do to the sound?(Also Harmonium - a small portable organ.)How does Louis Armstrong's improvisation of the breaks reflectBessie Smith's word? (seems to speak on the trumpet - vocals'Lyle)How is this representative of an African musical characteristic?(responsorial or call and response)

7. Contemorarv Jazz - Soul BluesPlay Ray Charles 1970 recording of Drifting 81ues (Side 2 Band 1)Ask: Which instruments accompany Ray Charles? (guitar, bass, drums, piano,singer s)

8. The Blues has influenced development of rock and all forms of jazz. It isan easy structure for improvisation.

Doc. 053 5B, p. 12

48


Contrast European· and African elements in blues.

Europea~ African

1. s trOphic song form (all the wordsare sung to the same music)

2. syllabic setting3. basic harmonic structure4. instruments

1. responsorial2. syncopation3. blue notes, blues scale4. singing style

Doc. 05358, p. l3

49

UNIT II - LESSON 6

,~:::~How did blues influence the development of instrumental jazz styles?

?SRFORMANCE OBJECTIVES Students will be able to:

define the following styles and terms: Dixieland, polyphony, di3sonance,boogie-woogie, ostinato bass, piano fourhands, British blues, lead guitar,

rhythm guitar.identify the following performers by their recorded examples: OriginalDixieland Jazz Band, Albert Ammons and Pete Johnson, Eric Clapton and Jimmy

Page.name the instruments appropriate to each style.

~OTIVATION

As class enters play an excerpt of Tiger Rag by original Dixieland JazzBand (Record IV - Side 1, Band 3 - recorded 1918) ~ Ask students to namethe style and instrumentation (cornet, clarinet, trombone, piano, drums)and to tell.where it originated. (New Orleans - moved to Chicago - then toNew YorK). See history on back of record jacket. Recorded on wax

cylinders.

?ROCEDURES: write on the board all terms, definitions and recordings. Adddescr iptions.

Terms-Dixieland-polyphony-dissonance-boogie- woogie-ostinato bass-?iano four hands-or itish B1 ues-lead guitar-rhythm guitar

1. Place th~ list of terms on the board for class notes and add a definitionof each term as it appears in the lesson.

2. As musical selections are played for the class list on the board theartists and the title of each selection.

Artists Comoositions

a) The Original Dixieland Jazz Band Tiger RagLivery Stable BluesBoogie woogie ManSnake Dr i'Je

~ Albert _~mons/Pete Johnson£L Eric Clapton/Jirnmy Page

Doc. 0535B, p. 14

50

2. [Play example of Dixieland blues - Original Dixieland Jazz Band (Side 1Band 1 of Livery Stable Blues, recorded 1917) .JAsk: Which animals do the instruments imitate?horse-cornet, donkey-trombone).Define:Dixieland -

(rooster-clarinet,

a ,ragtime polyphonic jazz style featur ing groupimprovisation (1900-1928)

POlyphony - simultaneous use of independent melodiesDissonance - simultaneous sounding of clashing sounds[Play "Boogie Woogie Man," (Classic Jazz Piano Styles, Band 7) played byAlbert Ammons playing the ostinato bass and Pete Johnson improvising thetreble (piano four hands - two performers at one piano).JBoogie-Woogie - a blues piano style featuring continuous syncopatedmelody improvised over a 12 bar ostinato bass pattern.

4. British Blues - played by British blues and rock performers such as: JohnMayall, Eric Clapton, Jimmy Page of Led zeppelin, Mick Jagger of RollingStones. The Beatles rediscovered instrumental and vocal blues in the 1~60sby listening to B.B. King, Chuck Berry, Muddy Waters and many other bluesperformers.[play "SnakeEr ic ClaptonJimmy Page -

3.

Drive"- leadrhvthm

Side 1guitar.9:uitar

Band 2 from Anthology of British Blues.plays melody.

- plays harmony.

Ask: How does this amplified gui tar example compare wi th the pianoboogie-woogie exampl~ heard earlier?

Blues also influenced swing band arrangements and bop jazz styles whichw~ll be heard in class at a later date.


Why was blues so popular with jazz and rock performers? (It provided definitestructure for improvisation - infinite possibilities; also it is fun to play.)

Doc. 05358, p. 15

51

UNIT II - LESSON 7

':'II~ How did George Gershwin create a synthesis of European romantic music and

Amer ican jazz?

PERFO~~NCE OBJECTIVES Students will be able to:

define the following terms: rhapsody, concerto, glissando, mute, opera,libretto, aria.identify various themes of Rhapsodv in Blue and Porgy and Bess.iist European and American components of Gershwin's style.

MorIVATION Play opening of Rhapsody in Blue (1924). Ask students to namethe composer and the work, the instrument playing the glissandoand the muted solo that follows. (Gershwin, Rhapsody in Blue,clarinet - glissando, trumpet - muted solo)

PROCEDURES

1. Give a brief biography of Gershwin (1898 - 1937): born in Brooklyn ofRussian-Jewish parents; began his career as a Tin Pan Alley song plugger;he seriously studied classical composition; he had many successful Broadwayshows and pop songs with his brother Ira as the lyricist. Rhapsody wasperformed by Gershwin playing piano accompanied by Paul w~iteman's band;strings were added later. This work was a milestone since it made jazz anaccepted pprt of the "legitimate" concert scene and inspired other Europeanand American classically trained composers to include jazz elements intheir compositions.

2. Define:rhapsody - a composition of a free, fanciful or improvisatory character

(for orchestra)concerto - a co~position and solo instrumentglissando - a rapid Sliding change of pitchmute - a device for muffling or changing sound

3. Play other portions of Rhapsody in Blue especially second theme section.4. Ask: What is jazzy about it? Not jazzy?5. Mention other symphonic works of Gershwin such as American in Paris, Piano

Concerto in F.6. Gershwin was also famous for his songs. Ask class to name some of them

such as: "Swanee," "Fascinating Rhythm," "The Man I Love," Funny Face,""Embraceable You," "I Got Rhythm," "Strike up the Band."Some of his shows were: Girl Crazy, Of Thee I Sing, Strike up the Band.

7. His most famous composition was a jazz folk opera Porgy and Bess, (1935)with a libretto by DuBose Heyward and lyrics by Ira Gershwin.

Do c. a 53 5B, p. 16

52

80 Define:

oper a - a dr ama with scen ery and acting wh ich is sung toorchestral accompaniment

aria - a composition for solo voice with accompanimentlibretto - the text of an opera(Place these terms on the board.)

9. Review story of Porgy and Bess and describe main characters. Elicit fromclass: Porgy (cr.ipple), Bess (prostitute), Crown (escaped convict) ,Sportin' Life (heroin dealer). Ask: Who portrayed these characters inthe movies?

10. [Play: "I Got Plenty of Nothin."]

Ask: Why would these words have had such great significance during theDepression?

11. Also play "Summertime;" "Bess, You Is My Homan NOW"; "It Ain'tNecessarily Soo"

12. Have students enter the following in their notebooks:George Gershwin composed the following:a) Rhapsody in Blue (starts with a glissando)b)American in Parisc)Piano Concerto in Fd)Many Broadway show songse)Porgy and Bess (a jazz folk opera)

Doc. 0535B, p. 17

53

UNIT II - LESSON 8

_:"1:1HoW did popular music develop from 1930-1945?

?ERFORMANCE OBJECTIVES Students will be able to:

name major performing groups and personalities of the swing Era.discuss reasons for the popularity and decline of swing.

~arIVATION History of pop Music in America (filmstrip ~13)

PRCCEDURES1. filmstr ip (list major items on the board)2. from Dixieland to Swing syles (discuss instrumentation)3. outstanding Performers

-Benny Goodman-Earl Hines-Duke Ellington-Count Basie-Fletcher Henderson-Harry James-Lionel Hampton-Artie Shaw-TOmmy and Jimmy dorsey-Cab Cal_loway-Xavier Cuga t-Glenn Miller-Perry Como-Frank Sinatra

4. arrangements5. ballrooms, movie theatres6.- dance cr azes7. radio and disc jockeys8. Benny Goodman'S quintet9. Decline of swing10. Broadway musicals - Oklahoma - Richard Rodgers


wnich of the above are still popular today?

Doc. 0535B, p. 18

54

UNIT II - LESSON 9

AI~ How did the big bands commercialize swing?


define the following terms: swing, arrangement, reed section, brassSection, rhythm section, break, and riff.differentiate between the "King" Benny Goodman, the "Count" Basie, and the"Duke" Ellington and their bands based on representative recorded examples.

MOTIVATION As class enters and attendance is being taken play "Let's Dance"(Record 11 - Side 1, Band 1) from The Great Benny Goodman. Askclass which band is playing? Mention that Benny Goodman wasknown as the "King of Swing.~ This song was the theme of hisBenny Goodman radio show.

PROCEDURES

1. Play "King Porter Stomp" (1937), record 11 Side 1 Band 4 from The GreatBenny Goodman. Ask students to listen for the instrumentation andsoloists. The word "stompN came from the practice of the leader stompinghis foot to set the tempo. -place these definitions on the board for class notes. Include all

. .recordings, titles and artists. Add descriptions.Define: a) Brass sections - trumpets and trombones

b) Reed section - saxophones (alto, tenor, baritone)c) Rhythm section - piano, guitar, bass, drumsd) Arrangement - composition for dance band in which solo

improvised passages are pr esented with ina predictable written framework (Fletcher)Henderson was a famous jazz arranger).

e) Break - improvised solo passagesf) Riff - ostinato ensemble patterng) swing - dance music played by big jazz bands in

the 1930sThe Benny Goodman band featured famous soloists:

Benny - clarinetGene Krupa - drumsHarry James - trumpetLionel Hampton - vibraphoneThere is a strong call and response element in these arrangements.

Doc. 0535B, p. 19

55

2. Count Basie's band featured an energetic, hard-driving, percussive style,featuring high trumpets, strong brass riffs and a style of jazz phrasingstill used by jazz players today.Play "Jumoing at the Hoodside" (1938) from The Best of Basie (record 12 -

Side 1, Band 1.The woodside was the hotel where the band performed. Count Basie on thepiano sets the basic ostinato pattern of this blues-derived compositionwhich features trumpet and tenor sax solos. (If time permits - "Swinqin'the Blues" (1938) (Side 2, Band 6) is also 'excellent.

3. Duke Ellingto.n has great talent for orchestration and tone color, beautifulmelodies, adventurous harmonies, dynamic contrasts and artisticarrangements. In his later years he composed large symphonic and choralworks.(Play "Take the "A" Train" (1941) (record 13 - Side 2, Band 6 of The Bestof Duke Ellington), one of his most famous recordings."Which swing band effects can we pick out in this composition?"[If time permits play Black and Tan Fantasy (1927) (Side 1, Band 2) forblack speech inflections of the muted trumpet and trombone solos.} Thedialogue ends with a quotation from Chopin's funeral march.

POINTS FOR FURTHER DISCUSSION:

Why did swing bands have such great commercial appeal? (danceab1e,outstanding soloists, good arrangements, disciplined ensemble playing,singable melodies, promoted commercially on radio, recordings, and movies)

Doc. 0 53 5 B, p. 2 0

56

UNIT II - LESSON 10

AIM How did jazz change after World War II?

PERFORMANCE OBJECTIVES Students will be able_ to:

define the following terms: combo, scat singing, bopp cool, vibratocontrast and compare bop and cool styles and the musical and culturalphilosophies they representedidentify major performers of the above styles such as Dizzy Gillespie,Charlie "Bird" Parker, Bud Powell, Charles Mingus, Max Roach, Miles Davis,

Gerrv Mulligan.List instrumentation used in the bop and cool examples heard in class.

MarI VAT ION Play Dizzy Gillespie Night In Tunisia (Side 1, Band 4) asattendance is being taken. (Some consider it the "bepop"anthem). Ask if any can identify the style and performer.

PROCEDURES

10 List these terms on the board and provide brief definitions as the termsappear in the lesson. Have students copy this for their class notes.combo - a small jazz group~ - jazz style of the late 40s and 50s; listener oriented

rather than dance mus ic •scat singing - vocal improvising on nonsense syllablescool - post bop jazz style; more intimate sound; much use of

vibratovibrato - a slight wavering of pitch used to increase

the emotional quality of a tone2. Mention that as swing grew more and more commercial and declined during

worl~ War II, radical jazz musicians showed their disdain for corr~ercialsuccess by reaching for new forms of artistic expression. Small combosreplaced the big bandso In ~ new rhythms replaced the older four andeight beat patterns, melodies became more florid and complex, harmoniesmore dissonant and strange. It became listener oriented rather than dancemusic. It developed in Harlem jazz clubs during world War II~ also wasinfluenced by the Basie style.Bop was an aggressive rejection of middle class values, incorporating manyaspects of lower class black ghetto culture and language. Boppersrepresented a sub-culture with its own distinctive dress: goatee, beret,"shades," zootsuit, and language ("cool cat," "dig," "hip," "bread,""split," "gig," "man.").a) Play "I'll Be Boppin' Too" (1948) (Side 2 Band 6) with Dizzy Gillespie

on vocals and trumpet.

Doc. 0535B, p. 21

57

b) [Play "Ool-Ya-Koo" (1947) (Side 2 Band 4) which features scatsinging, a vocal improvising on nonsense ·syl1ables.] Oldecjazz styles also used this effect. Modern scat singecs includeElla Fitzgerald and Sarah Vaughn.]Gillespie I s trumpet style featured a vir tuoso, highly flor idtechnique emphasizing the upper range of the instruments.While older jazz styles used mainly quarters and eighths, bopimprovisation consisted of sixteenths and thirty-second notes.

c) (Play "Salt Peanuts" (1953) from the The Greatest Jazz ConcertEver (Side ::..,Band 2).1 This sele<::tion features an a11-stacbop combo (small jazz ensemble) of:

Charlie "Bird" Parker - alto saz (also consideredthe founder of bop)

Dizzy Gillespie - trumpetBud Powell - pianoCharles Mingus - bassMax Roach - drums

d) Parker announces this virtuoso display of bop improvisation in'"hich each takes turns improvising lengthy solos.

e) Notice the verbal repartee and inside jokes among theperformers.

f) Roach's drum style featured a fast 4/4 played on the cidecymbal using the rest of the drum set for punctuation andaccentuation.

3. Cool Jazz - post bop jazz style featuring a more intimate sound; apure vibrato-less sound (vibrato - a slight wavering of pitch usedto increase the emotional quality of a tone); novel instrumentationarranged in new sonorities; complex harmonies (9th, 11th, and 13thchords). Mood created was detached, serene, cerebral, and relaxed,almost an exact opposite from the frenetic energy of bop. MilesDavis was credited with originating this style. In this historicrecording, he plays with a sophisticated group of highly educatedjazz musicians. This integrated nine man combo, featured MilesDav is on trumpet (then only 22 year sold); trumpet, trombone,French horn (Gunther Schuller), tuba; alto sax (Lee Konitz)baritone sax (Gerry Mulligan-only 21) piano (John Lewis, whofounded the Modern Jazz Quintet), bass, and Max Roach (changingstyles) on drums.a) (Play "Moon Dreams" (1950) from Birth of the Cool (Record 13 -

Side 1 Band 3) .JNotice the chamber enserr~le effect of this organizedcomposition with its novel harmonic effects and tone colors.Solos are short and integrated into the overall structure asopposed to bop which featured very lengthy solos.

b) (Play (if time permits) "Deception" (1950) (Side 1, Band 6) fora Miles Davis solo {trumpet).J

Doc. 0535B, p. 22

58


How do both these styles represent a revolt against the commer:cialism ofswing?List the important artists and compositions. Add descriptions.~ Be-bop Jazz StyleDizzy Gillespie: I'm Be-Bopcin' Too

Ool-Ya-KooGillespie and Parker: Salt PeanutsCool Jazz StyleMiles Davis: Moon Dreams

List instrumentation used in bop and cool recordings.

Bop Recordingst.r umpetal to saxophonepianobassdrums

Cool- RecordingstrumpetttomboneFrench horntubaal to saxophonepianobassdrums

Doc. 0 53 5 B, p. 2 3

59

UNIT II - LESSON 11

AI~ ~ow did jazz c~ange after 1950?

PERFO~~NCE OBJECTIVES Students will be able to:

define the following terms: progressive jazz, ternary form (ABA), rondo,5/4 time, 9/8 time, avant-garde.discuss reasons for the decline of jazz as pcpular music.

MorIVATION

As attendance is taken play "Take Five" from Time cut by the Oave Brubeck

quar tet (Side 1, Band 3) .Ask class to name the instruments used:-alto saxophone (Paul Desmond)-bass piano (Dave Brubeck-drums"What is peculiar about this piece?'-It is in 5/4 time.-Based on a single, piano ostinato pattern that is played throughout.Put this on the board and play it for the class (optional).

x

~ ~.,

-It is in ternary or A B A form (written in three sections)-"What for@s the B section?" (an extended drum improvisation)?lay small sections again to reinforce concepts.

Doc. 05358, p. 24

60

PROCEDURES

1. List these teems on the boaed and define them as they appeae in thelessen. Students will copy them in G~eir class notes.-progressive jazz - popular in the 19S0s; combines cool jazz with formalism

of European "classical" music-ternary form - (ABA) a song with t~ree sections or melodies indicated by

the letters PillA-rondo form - (JIBACA) a song with a main melody (Al alternating with

different melodies (B) and (C)~5/4 time - in jazz the combining of 3/4 waltz time with 2/4 ragt.ime-9/8 time - a Turkish rhythm arranged (2-2-2-3)-avant garde - futuristic or "way-out"

2. Progressive jazz combines cool jazz with the formalism of European"classical" music, a style extremely popula(' with college audiences in the1950so Dave Brubeck, a leading exponent of this style, began as aclassical pianist. He liked to experiment with the use of odd mete('s injazz, such as combining 1/4 waltz time with 2/4 ('agtime, and arranged hisalbums Time OUt and Ti~e Further Out around different time signatures.a) Another experiment in meter and form was Brubeck's "Blue Rondo a la

Turk" (play Side 1 Band 1) which combines a Turkish 9/8 rhythm arranged(2-2-2-3), blues improvisation, and rondo form (ABACA).Put. this on the board and play it for the class (optional).

Theme

b) The title is an allusion to Mozart's ~do a la Tucca which iswell-known to all piano studentso

3. Avant-garde jazz - futu('istic, "way out"Play "Nebulae" and "Dancing in the Sun" f('om the Heliocentric worlds of SunRa and his Solar Arkestra, (Side B, Bands 3 & 4).a) "How can you descr ibe th is style?"

Anarchy of a sort - free form - no recognizable melody,dissonant harmony, novel sonorities(electric celeste) see back of recordjacket for ins trumen ts and poem.

4. List on the board the artists and compositions covered in the lesson. Adddescr iptions.

P rogr ess ive JazzDave Brubeck: "Take Five"

"Blue Rondo a la Tur~-<n

Avant-Garde JazzSun Ra: "Nebulae"

"Dancing in the Sun

Doc. 0535B, p. 25

61

?OINTS FOR FURTHER DISCUSSION

w~ic~ factors led to the decline of jazz a pcpular music?n

-Alienatation of jazz musicians towards commercial swing styles. Theysought artistic expression through bop, cool, progressive, and avant-gardestyles playing for sophisticated listeners rather than providing dance

music.-The commercialization of a cruder form of jazz "rhythm and blues" -into anew style "rock and (011" aimed at the new youth market of the 19S0s.

Do c. 0 5:3 5B, P . 26

62

REVIEW PLAN FOR MUSIC SURVEY EXAMS ~ UNIT II

.'\I:-1 How did Afro-.l\merican music develop from 1890-o1965?

?ERFOR..MANCE OBJECTIVES St'..ldents w ill be able to:

review 30 important terms learned during unit II.name 18 important performers and/or composers influenced by a variet.y ofjazz styles.recognize recorded examples of the above.

MOTIVATION Review for exam the next. day.

PROCEDURES

1. Distribute review sheet.2. Students will review terms for homework using their class notes.3. Play excerpts of 12 selections to be included on exam. Ask students to

name the style, composer or performer, and name of the composition.4. Remind students to know pertinent facts dbout other compositions, using

their class notes as a guide.5. Review elements of African music that have influenced jazz and blues.6. Review major technological inventions that helped to spread the popularity

of jazz.7. If time permits, mention definitions of terms and ask students to locate

the matching term on their sheets_

Do c. 0535B, P c 27

63

REVIEW SHEET FOR UNIT II EXAM

1. TERMS - define

l. responsorial singing 12. glissando 23. r:eed section

2. polyrhythms 13. pc1yfhony 24. rondo

3. metronome 14. rhapsody 25. ternacy form

4. tempo 15. spiritual 26. sca t sing ing

5. syncopation 16. arrangemer.t 27. improvisation

6. ostinato 17. mute 28. melismatic singing

7 . cutting contest 18. riff 29. libretto

8. technique 19. break 30. maracas, bongos, claves

9. blues scale 20. rhythm section 3l. ethnomusico10gist

10. blue note 2l. brass section 32. -opera

1l. progression 22. reed section 33. acia

II. Name 3 elements of Afcican music.

III. Name 3 technological inventions that pcpu1arized jazz.

IV. Compostions:

l. Herbie Hancock:2. Sco!:t Joplin:

3. Fats \~aller:4. Leadbel1y:S. Bessie Smi th:,- Ray Charles:o .

7. Or iginal Dixieland Jazz Band:

8. Ammons & Johnson0 Eric Clapton, Jimmy PageJ •

10. George Gecshwin

ll. Benny G<x>dman:12. Count Basie:13. Duke Ellington

14. Dizzy Gillespie15. Gillespie and Parker16. Miles Davis17. Dave Brubeck :

18. Sun-Ra

Tell EverybodvThe EntertainerMaple Leaf RagHandful of KeysGood Morning BluesReckless BluesDriftin' BluesTiger RagLivery Stable BluesBoogie-WOogie ManSnake Dr iveRhapsody in Blueporgy & BessKing Porter StomoJumpin' at the WoodsideTake the "An TrainBlack and Tan FantasyI'll Be Boppin' TooSalt PeanutsMoon DreamsTake FiveBlue Rondo a la TurkNebulae

DO c. 0 53 5B, p. 28

TEST A

NAME

64

MUSIC SURVEY EXAM 2: UNIT II

DATE: GAADE

(30 pts.)I. MATCHING QUESTIONS

10 ______Lesponsorial sinqing Ao vocal im9(Ovisation on nonsensesyllables

2. B. finger dexterity on an instrumentmetronome---3. ______syncopation C. a device foe changing or muffling tone

4. blue note---- D. studies ~~e music of a given culture

5. technique---- E. a device Eoe producing beats atvarying speeds

6. polyphony--- F. ABACA form

7. ____ p,cogress ion G. a lowered 3rd, 5th, or 7th note ofthe scale

mute--- H. early religious hymns sung by southernblacks'

9. reed section--- T. simultaneous use of different rhythms

10. ____ combo J. simultaneous use of different melodies

11. scat singing---- K. a leader answered by a chorus

12. blues scale L. a series of harmonies such asI7 Iv7 I7 v7 I

130 rondo--- M. contains the lowered 3rd, 5th, and 7thsteps of the major scale

14. ethnomusicologist---- N. a small jazz group

15. ___ spir itua1 o. shifting accents to weak beats andremoving them from strong beats

P. alto, tenor and baritone saxophones ina swing band

Doc. 0 53 5 B , p. 2 '3

65

II. NAME 3 ELEMENTS OF AFRICAN MUSIC (6 pts.)

A B. C.

:II. MATCH the composer/perEorme: to the compcsition and description byplacing the letter of the correct composition in Column A and the letterof the correct description in Column B.

A B ComDOser/Performer COTTIDOSition---l. Bessie Smi th A. King Por ter---- Stonm..2. Herbie Hancock B. Rhapsody in----

Blue

3. Duke Ellington C. Co1-Ya-Koo----

4. George Gershwin D. Good Morning-----Blues

Descr iotion

N. stride piano

O. country blues

P. city blues (Louis Arm-strong played break)

Q. cool jazz style

5. Leadbelly E. Take the "A" R. be-bop scat singing-----Train

6. Scott Jopl in F. Livery Stable S. Afro-disco jazz----Blues

7. Fats Waller G. Tell Everybody T. begins with clarinetglissando

8. Benny Goodman H. Reckless Blues U. Early piano jazz stylepopularized on thepianola

9. Dizzy Gillespie I. Moon Dreams v. uses barnyardimi tations

10. Sun-Ra J. Take Five W. Avant-garde jazz

ll. original Dixie- K. Maple Leaf Rag X. swing----land Jazz Band

12. Miles Davis L. Handful of Keys----M. Nebulae

Do c. 053 5B, p. 30

66

IV. LISTENING: NAME THE PERFO~~R, SELECTION AND STYLEo (16 ptso)(Selections will be chosen from III above.)

Performer/Comooser

1.

2.

3.

4.

5.

Selection

Doc. 0 53 5B, po 31

TEST B

NAME

I.

l.

2.

3.

4.

5.

6.

7.

8.

9.

10.

ll.

12.

13.

14.

15.

67

MUSIC SURVEY EXN~ 2: UNIT II

DATE: GRADE

MATCHING QUESTIONS (30 pts.)

___ polyr hythms A. an improvised jazz solo

___ tempo B. African percussion instruments found inthe Caribbean Islands

me1ismatic singing--- C. simultaneous use of different rhythmpa tter ns

___ c.utting contest D. ABA as in Take Five

aria---E. a drama with scenery and acting which

is sung

riff--- F. an ostinato pattern used in jazz

break--- G. a repeated melodic or rhythmic pattern

___ glissando H. trumpets and trombones in a swing band

ostinato--- I. piano competitions in rent parties inblack neighborhoods

___ rhythm section J. a sliding effect

br ass section---'--

K. the rate of speed of beats

___ opera L. simultaneous use of clashing sounds

____ maracas, claves,bongos

M. compositions of a free or improvisatory

style

___ rhapsody N. adding many notes to a syllable of text

___ ternary form o. piano, bass,.guitar, and drums ina swing band

P. a competition for solo voice wiG~accoopaniment

DOc. 0 53 5B, p. 3 2

68

II. NAME 3 INVENTIONS BETWEEN 1890-1930 THAT HELPED TO SPREAD THE POPULARITYOF JAZZ. (6 pts.)

A B. c.

III. MATCH the composer/performer to the composition and description byplacing the letter of the correct compositicn in Column A and the letterof the correct descr ipt:ion in Column B.

A B Comooser/Performer Corrrcosition Descriotion

L Count Bas ie A. Porgy and Bess N a ragtime

2. Fa ts Waller B. The Entertainer O. Afro-disco jazz

3. Scott Joplin C. Salt Peanuts P. progressive jazz

4. Herbie Hancock D. Nebulae Q. British guitarblues

5. Eric Clapton, E. Boogie-WOogie ManJinuny Page

R. stride piano

6. Ammons & Johnson F. Handful of Keys s. European jazz

7. Sun-Ra Go Black and TanFantasy

T. be-bop

8. Miles Davis H. Snake Drive U. swing

9. Dave Brubeck I. Tell Everybody V. jazz folk opera

10. Benny Goodman J. King Porter Sto~ W. piano blues

11. George Gershwin K. Moon Dreams X. avant-garde jazz

12. Dizzy Gillespie& Charlie Parker

La Jumpin' atthe Woods ide

Y. cool jazz

M. Blue Rondoa 1a Turk

Doc. 05358, p. 33

69

IV. LISTENING: NAME THE COMPOSER/PERFORMER, COMPOSITION AND STYLE.(Selections will be chosen from III above.)

(16 pts.)

Comooser/Performer Comoosition ~

1.

2.

3.

4.

5.

Doc. 05358, p. 34

70

ANSWERS TO MUSIC SURVEY EXAM 2: UNIT II

TSST rl

I. MATCHING QUESTIONS (30 pts.)

1. K 9. P

20 E 10. N

3. 0 II. A

4. G 120 M

5. B D. F

6. J 14. 0

70 L 150 H

8. C

II. NAME 3 ELEMENTS OF AFRICAN MUSIC (6 pts.)

l. impcov isation 5 • metronomic sense of tempo

2. responsocial singing 6 0 polyrhytllmic

3. melodic ostinato 7 • melismatic singing style

L rhythmic ostinato

III. ~ATCH the composer/performer to the composition and descripti?n byplacing the letter of the correct composition in Column A and theletter of the correct descr iption in Column B.

A-Compos ition B-Description A-Composition B-Descriotion

I. H P 7. L N

2. G S 8. A X

3. E X 9. C R

4. B T 10. M W

5. D 0 1L F V

6. K U 12. r Q

Doc. 0535B, p. 35

I I

IV. LISTENING: NAME THE COMPOSER/PERFORMER, COMPOSITION AND STYLE.(Selections will be chosen from III above.)

(16 pts.)

Comooser/Perfocmer Composition Style

1.

2.

3.

4.

5.

Doc. 0535B, p. 36

72

ANSWERS TO MUSIC SURVEY EXAL'1 2: UNIT II

TEST A

10 MATCHING .QUESTIONS (30 pts.)

l. C '3. G

2. K 10. 0

3. N 11. H

4. I 12 < E

5. p 13. B

6. F 14 • M

7. A 15. D

8. J

II. NAME 3 INVENTIONS BETWEEN 1890~1930 THAT HELPED TO SPREAD THE POPULARITYOF JAZZ. (2 pts. each)

1. piano rolls 4. microphone

2. victrola (record player) 50 automobile

3. radio 6. talKing movies

III. MATCH the composer/performer to the composition and description byplacing the letter of ~~e correct composition in Column A and theletter of the correct description in Column B.

A-Composition B-Descr iotion A-Composition B~Description

1. L U 7. D X

2. F R 8. K Y

3. B N 9. M P

4. I 0 10. J lJ

5. H Q 1l. A V

6. E W 12. C T

Doc. 0535B, p. 37

IJ

IV. LISTENING: NAME THE COMPOSER/PERFORMER, COMPOSITION AND STYLE. (16 pts.)(Selections will be chosen from Section III of the Exam.Selections 1 through 4 are 3 pcints each. Selection 5 is

worth 4 pcints.)

Composer/Performer

1.

2.

3.

4.

5.

Composition

Doc. 0535B, p. 38

unit ii - history of afro-american music a. audio-visual

Documents