Non-ensemble Music Electives Fitchburg High School CURRICULUM UNIT

UNIT TITLE: The History of Jazz GRADE: 9-12 NUMBER OF CLASSES: 43 (first 8 listed only)

NATIONAL STANDARD(S):

2 2

3 3

4 4

5 5

6 6

7 7

8 8

9 9 10

MA Arts Framework Standard(s): 1 RATIONALE (why this unit is taught)

Jazz is uniquely American. Its birth and development could not have occurred anywhere else in the world at any other time. By studying the history of jazz, we also can study some of the most crucial and fascinating events in American history and society of the past 100 years (or so). Its influence has been far reaching and it continues to evolve and develop. At its heart, jazz is improvisation. This backbone of jazz should encourage individuality, independence, self-reflection, and an individual sense of accomplishment and progression.

LASTING LEARNING (what main ideas should stick) Jazz is uniquely American, though its influences can be traced to the global community. Jazz continues to evolve and develop it does not stagnate; its influence has spread into all genres of music. The history of jazz (as with most music) parallels our own historical and societal changes. Improvisation takes practice and follows specific guidelines.

KNOWLEDGE AND SKILLS (define in terms of observable student behaviors) Students will be able to: demonstrate an understanding of the basic elements of jazz demonstrate an understanding of the influences which gave birth to jazz and those which have influenced jazz through time demonstrate an understanding of the historical and societal events which parallel the evolution of jazz through time critically evaluate and describe performances of jazz identify the substyles within jazz identify landmark pieces and performers within the jazz idiom compose a 12 bar blues within specific guidelines improvise within specific guidelines

REPERTOIRE (this is only the repertoire needed for the first 8 lessons planned) Party Rock Anthem LMFAO Moves Like Jagger Maroon 5 Rolling in the Deep Adele C Jam Blues Duke Ellington Ompeh Traditional Ghanaian piece Let Your Hammer Ring Traditional work song Roll Jordan Roll Fisk Jubilee Singers Juba Dance Drumming traditional Juba Clarke Buehling/David Hyatt Lost Your Head Blues Bessie Smith Hellhound on My Trail Robert Johnson I Believe Ill Dust My Broom Robert Johnson Cross Road Blues Robert Johnson Maple Leaf Rag Scott Joplin Alexanders Ragtime Band Bessie Smith Memphis Blues Hell Fighters Band The Stars and Stripes Forever John Philip Sousa (1909 and modern recordings) Cakewalking Babies from Home Clarence Williams Blue Five We Shall Walk Through the Streets of the City Doc Paulin (dirge and march) Dippermouth Blues King Olivers Creole Jazz Band Hotter than That Louis Armstrong and His Hot Five Potato Head Blues Louis Armstrong and His Hot Seven

MATERIALS NEEDED Laptop Projector Laptop/MP3 player Whiteboard Whiteboard markers Sound system which can use a standard headphone jack Boomwhackers Guitar Keyboard Music: An Appreciation Kamien To Stretch Our Ears Alexander Kens Burns Jazz

UNIT ASSESSMENT STRATEGY Assessments will be both formative and summative. Assessments will include (but are not limited to): periodic homework assignments that are relevant to the material being covered quizzes, both listening (identifying specific pieces of music and their unique qualities) and written (featuring open response, multiple choice, fill-in-the-blank, , after each distinct substyle of jazz is covered peer teaching teaching to someone at home; evaluation done by that person through a given rubric individual and group projects during class performances during class self-reflection and evaluation: written and verbal journal of classwork responses during class: written and verbal final group project to compose a 12 bar blues

SCHOOL-TO-HOME or COMMUNITY CONNECTION Students will be encouraged to share the information being learned with those is their home. Students will teach someone at home about an aspect of jazz. That person will evaluate them with a given rubric. Students will be encouraged to attend events where jazz might be heard in the community.

PRIOR KNOWLEDGE REQUIRED No previous musical experience is required for this course. Students will begin the course with a general overview of the elements of music and jazz, in order to have a common vocabulary. However, students who have had musical experiences may have an advantage. Jazz is a new language for most musicians, and they should find it cognitively and musically challenging. Students should be avid, critical listeners to music and be willing to listen to a wide variety of music without prejudice. Students should have a desire to learn and a willingness to perform in front of their peers.

ACTIVATOR OF PRIOR KNOWLEDGE Pop music will be used to learn and demonstrate an understanding of the basic elements of music. This will serve as a bridge from popular music to jazz.

LONG RANGE ASSIGNMENT OR PROJECT Group project to create a 12 bar blues which will include (but is not limited to) the following requirements: a specific number of literary conventions a specific number of verses using school appropriate language rhythm section (chord progression, bass line, and percussion) conventional blues format improvisation from each member of the group self-reflection and evaluation (both on the process and performance) performance

LESSON OUTLINE LESSON NUMBER: 1 BEHAVIORAL OBJECTIVE: The student will receive an overview of the course objectives and expectations; learn and demonstrate an understanding of the basic elements of music OUTLINE OF LESSON CONTENT: Students will learn and demonstrate an understanding of the basic elements of music by listening to and analyzing a variety of pop music. Students will receive an introduction to the basic elements of jazz, comparing and contrasting these to the basic elements of music.

LESSON OUTLINE LESSON NUMBER: 2 BEHAVIORAL OBJECTIVE: The student will learn about the historical and musical context for the emergence of Jazz in New Orleans; learn and listen to the development of the blues and ragtime from West African music, work songs, field hollers, and spirituals; learn and perform the patting Juba. OUTLINE OF LESSON CONTENT: The student will listen to and analyze (through discussion) examples of West African music, work songs, field hollers, and spirituals. Students will be asked to listen critically and discuss freely what they have heard, making conclusions and encouraging further discussion. The student will watch, learn, and perform a patting Juba: through movement will come to a deeper understanding of syncopation.

LESSON OUTLINE LESSON NUMBER: 3 BEHAVIORAL OBJECTIVE: The student will learn about early blues; be able to identify the differences between country blues and classic blues; listen to "Lost Your Head Blues" by Bessie Smith; students will learn about AAB blues; students will collectively write their own lyrics to an AAB blues. OUTLINE OF LESSON CONTENT: Students will activate their prior knowledge by analyzing the lyrics to their favorite song. This will act as the starting point for an analysis of lyrics for the blues. Students will identify form by listening to lyrics. Collectively, students will come to a deeper understanding of a specific form of blues writing (AAB) by creating their own lyrics in this idiom.

LESSON OUTLINE LESSON NUMBER: 4 BEHAVIORAL OBJECTIVE: The student will work in small groups to write lyrics for an AAB blues; learn about Robert Johnson; listen to examples of Johnson and country blues: I Believe I'll Dust My Broom, Hellhound on My Tail; compare and contrast country blues and classic blues; learn about the development of ragtime; listen to examples of ragtime OUTLINE OF LESSON CONTENT: Students will collaborate in small groups to create their own lyrics to an AAB blues. Through this creation and collaboration, students will continue to deepen their understanding of this idiom. Students will listen to and analyze numerous examples of Robert Johnson, the King of the Delta Blues, and one of the most influential singers in the past century. Students will compare and contrast the two different types of blues with further critical listening and analysis. Students will also listen to and analyze examples of ragtime.

LESSON OUTLINE LESSON NUMBER: 5 BEHAVIORAL OBJECTIVE: The student will learn about band music in the US and John Philip Sousa; the U.S. 15th Infantry, the first infantry of entirely African-Americans: both the regimental band and the first African Americans to fight for the US during WWI. OUTLINE OF LESSON CONTENT: Students will learn about the last great influence on the development of jazz: the American band tradition. Students will learn of a historically, socially, and musically significant ensemble: The 15 th Infantry, also known as the Hell Fighters Band. Students will listen to and analyze examples of band music from the early 20th Century and will draw connections to jazz. 5

LESSON OUTLINE LESSON NUMBER: 6 BEHAVIORAL OBJECTIVE: The student will learn and about and listen to band music of the early 1900s; learn about and listen to early jazz from New Orleans; learn about and listen to Louis Armstrong OUTLINE OF LESSON CONTENT: Sufficient background knowledge has now been learned to allow students to more deeply understand the beginnings of jazz and its profound birth. Students will make connections between the variety of musics which have influenced jazz, and through further listening and analyzing, will hear these connections with numerous examples of early jazz. Students will learn about and listen to a master of the genre Louis Armstrong.

LESSON OUTLINE LESSON NUMBER: 7 BEHAVIORAL OBJECTIVE: The student will improvise and create a short story; improvise rhythmic patterns in small and large groups; improvise a soundscape OUTLINE OF LESSON CONTENT: At the heart of jazz is improvisation. Students will experience improvisation within specific guidelines through various activities created. Students will also reflect on the process of their own improvisations and draw connections between their improvisation and the improvisation of jazz musicians.

LESSON OUTLINE LESSON NUMBER: 8 BEHAVIORAL OBJECTIVE: The student will create a 12 bar blues progression using Boomwhackers; write lyrics to their 12 bar blues progression; perform their 12 bar blues; be assessed on materials covered in this section OUTLINE OF LESSON CONTENT: Students will have another opportunity to experience being in the idiom of jazz by creating a standard 12 bar blues progression. Students will achieve this by means of collectively assembling a puzzle. Students will then be assessed on the material which has been covered in the past classes.