unit ii - history of afro-american music and a survey of jazz styles a. audio-visual materials PDF
Preview unit ii - history of afro-american music and a survey of jazz styles a. audio-visual materials
UNIT II - HISTORY OF AFRO-AMERICAN MUSIC AND 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 JclZZ 11. Progressive and Avant-Garde Jazz 12. Review 13. Exam Doc. 0535B, p. 1 37 RECORDINGS AND FIL.\1STRlPSUSED IN UNIT II Lessons 1-2 African Music Folkways 8852 Best of Herbie Hancock Columbia JC' 36309 Negro Folk Music of Africa Folkways FE 4500 and America Sound of the Sun-Steel Band Nonesuch H- 2016 The Gospel Sound Columbia G 31086 Lesson 3 Pop Music in America EAV Filmstrips ~ 1 and 2 Lesson 4 Piano Rags by Scott Joplin Nonesuch H- 71248 Classic Jazz Piano Styles RCA Vintage Series LPV 543 Lesson 5. Take This Hammer - Leadbel1y Folkways SLP l7A The Bessie Smith Story - Volume 1 Columbia CL 855 Crying Time - Ray Charles ABC-Paramount 544 Lesson 6 The Original Dixieland Jazz Band RCA Vintasge Series LPV 547 Classic Jazz Piano Stvles RCA Vintasge Series LPV 543 An Anthology of British Blues Immediate Z12 52006 Lesson 7 George Gershwin Rhapsody in Blue Mercury SR 90002 Porgy and Bess Columbia OL 5410 Lesson 8 pop Music in America EAV Filmstrip #3 Lesson 9 The Great Benny Goodman Columbia CL 820 The Best of Basie Roulette SR 52081 The Best of Duke Ellington Historia H 621 Lesson 10 Dizzy Gillespie RCA Vintage Series LPV 530 Miles Davis - Birth of the Cool Capi tal DT 1974 The Greatest Jazz Concert Ever prestige PR 24024 (Dizzy Gillespie, Charlie Parker, Charles Mingus, Max Roach) Lesson 11 Time OUt- Dave Brubeck Quartet Columbia CL 8192 The Heliocentric Worlds of Sun Ra ESP- 1014 Doc. 0535B, P• 2 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 African music: responsorial singing, melodic and rhythmic ostinato patterns, metronomic sense of tempo, polyrhythmic use of percussion instruments, melismatic and quarter tone singing style shouting tone quali ty, ethnomus j,cologist. f 2. contrast and compare differences between European style of melody and accompaniment to traditional African approach. MOTIVATION Refer to a map and ask students to name regions of Africa from where most Afro-Americans can trace their ancestry. Ask class which book and TV serial told the story of a man who was able to trace his family history using the folk legends he heard from his grandparents?" (Roots by Alex Haley) Point out that the black ciyil rights movement stimulated a great interest in the study of African culture in the 1960s and 70s. Explain that the musical examples which follow have great importance because of their influence on the entire development of jazz and rock and that American popular music now has world-wide influence due to advances in record ing-,TV and mov ies. PROCEDURES 1. Terms and Definitions Write these terms and their definitions on the board and have students copy them into their notes. Reiterate when mentioned in discussion. ethnomusicologis~ - scholar who studies the music of a given region improvisation - making up music as you go along • responsorial singing (call and response) - leader answered by a chorus melodic ostinato - repeated melody • rhythmic ostinato - repeated rhythm tempo - 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 ceremonial music of a chieftain and his tribe. It was recorded by an ethnomusicologist. Ask: Which are the main stylistic characteristics? Responsorial singing - leader answered 0y a chorus Choral singing in harmony Short phrases repeated constantly (ostinato) although the leader tends to vary his part slightly each time and improvise changes. The chorus tends to repeat the same phrase. Multiple percussion instruments in the accompaniment - drums, rattles, sticks. Metronomic sense of tempo and pulse ~ - speed of beats Metronome - a clock-like device for producing beats at a variety of speeds from 40 to 208 per minute Singing tends to feature melismas and quarter tones Harsh, 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 stresses harmony. Each drum plays this pattern separately. Drums have varying sizes and pitc~es. 4. [Play African Music, Band 5, Side 2.] This is a secret society dance song using 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 ::he' period of time to the listener or dance.r in ceremony? (trance, , frenzy, ecstasy, fainting) 5. [Play an appropriate example to demonstrate improvising.] Improvisation is a main stylistic ingredient of West African nusic. Since there 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 written transcription of music. Contemporary example: fusion-disco-jazz. write this on the board and play Herbie 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·etraditional American and British folksongs 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? PERFORMANCE OBJECTIVES Students will be able to: identify similarities between West African examples heard in previous lesson 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 Caribbean from the Deep South in North America. MGrIVATION ,Hold up maracas, claves, guiro and demonstrate. Ask class to name each instrument. use pictures if the instruments are not available. In the Caribbean, African istruments received new names. write these notes on the board and have students copy them into their notebooks. a) rattles became maracas b) sticks became claves c) drums became bongos, cOIlgas d) xylophone became marimba Music sung and played by persons of African descent in the islands of the Caribbean_and parts of Central and South America is often virtually indis~inguishable from West African music with the exception of the language 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 plantations under a few European overseers. _ The predominantly Catholic religion allowed for the inclusion of tribal gods as new saints. Many African religious customs, such as voodoo and other 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 of Yorubas from Nigeria. Play Side 2, Band 18 of Negro Folk Music of Africa and America.] Notice the po1ycythmic and responsorial elements. The refrain 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).J In Trinidad (an island off the coast of Venezuela which has large oil refineries), island natives in search of rhythmic instruments (After drums and stick bands had been outlawed by the colonial government.) discovered that oil drums of various sizes and indentations made fine musical instruments when struck by rubber mallets. The soprano drum is dented to produce 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 workers b) blacks formed a minority of the population in many areas c) protestant missionaries introduced hymn tunes that were incorporated into black church service d) much closer relationship between black and white culture in the south and more repression 4. 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 old parishioners 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, and fingersnapping. In this example, however, only hand clapping and foots~amping occurs. 5. Gospel style - (play: "Said I Wasn't Gonna Tell Nobody" from the Gospel Sound Side 3, Band 7 recorded 1960 by the Abyssinian Baptist Gospel Choir in New Yor k City (Harlem) .J a) 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 gospel singing? Many famous jazz, soul, and rock musicians began their musical careers singing in church. They then transferred this style ':0 their type of 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? PERFORMANCE OBJECTIVES Students will be able to: 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 of jazz 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, George Gershwin, Original Dixieland Jazz Band, Bing Crosby, Al Jo1son, Paul Whiteman's Band, Rudee Valee. discuss sociological reasons for the development of popular music in America (World War I, Prohibition, flappers, automobiles, post-war prosperity and depression) . MarI~TION: Mention that the two filmstrips show the background for the development of American popular music in this century. This development 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 societal changes resulting from the items listed below. Musical Influences 1890-1930 a. John Philip Sousa ••••••••••••••••. marches b. Stefhen Foster •.•••••.••••••.••••• ballads show Afro-Amer ican influence c. Tin Pan Alley ••••.•••••••••••••••• song publishers d. pianola (player piano) •• piano rolls 0 ••• 0 ••••• e. Scott Joplin •.•..••.•.•••••••••.•. rags f. Irving Berlin ••..•.•.••..•..•.•.•• "Alexander 's Ragtime Band" g. ragtime dances •..•..•••..••.•••.•• Castle Walk, Charleston, Black-bottom h. Victor Herbert •••.•••.•••••••...•• operettas i. George M. Cohan ••••••••••••••.•••• war songs j. victrola (record player) •••••••.•• 78 rpm records Doc. 0535B, p. 7 43 k. original Dixieland Jazz Band•..•... ragtime, blues :<ing 01iver • Louis Armstrong Ai Jo1son Sojil ie Tucker Paul l'lhiteman George Gershwin 1. radio m. microphone ...••.•..•.. ~••••.••••••• Bing Crosby n. prosperity •.. post world War I pleasure seeking flappers ••••••• , ., •••.••••••••••.•• women s suffr age movement I o. depression p. talking movies q. age of dance marathons r. automobile Doc. 0535B, p. 8 44 UNIT II - LESSON 4 AIM How did ragtime synthesize European and African musical styles? PERFORMANCE OBJECTIVES Students will be able to: define the fOllowing terms: ragtime, syncopation, bass, afterbeat, slide piano, cutting contest, technique identify prominent ragtime and stride pianists such as Scott Joplin, Jelly Roll Morton, Eubie Blake, Fats Waller *1 recognize elements listed in recorded examples MOTIVATION (Playa short excerpt of "The Entertainer."] Ask students to identify the style, composer, title, and movie which popularized this selection. (The Sting). Use the piano or recording. Piano Rags by Scott Joplin-Side 1. Band 2. PROCEDURES 1. Write the following terms on the board and add the brief definitions as the terms 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 bass part or accompaniment maintains the basic pulse and the treble or melody is syncopated. a) Mention that this style was the earliest written form of jazz; was popularized by piano rolls (forerunners of recordings); melodies were derived from marching band music and European - American dances such as the polka, quadrille and schottischee b) It had a great impact on development of American popular music (Tin Pan alley, Broadway shows). Doc. 0535B, p. 9 45 9. Define syncopation - a rhythmic device of stressing a weak beat, accenting notes in between beats or omitting normally stro!.g beats. (Although it '.vas used 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 good choice. Show the basic bass note and afterbeat left hand accompaniment patterns occurring on the regular beat and the syncopated right hand, or have the class count or clap 1-2-3-4 but accent or emphasize the numbers 2 and 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 of ill-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 as stride piano. Waller perfected his stride piano technique in cutting contests which 'Here informal piano competitions held in black neighborhoods in rent-party sessions. A party was held to raise money to pay the rent; the piano winner usually received a free dinner. "Fats" must have won lots of contests. (technique - finger dexterity) 7. [Play Jazz Piano Styles Side 1, Band 4, Handful of Keys by Fats Waller (see back of record jacket).J 8. Make a list on the chalkboard of the players and composers of ragtime mentioned 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 POINTS FOR FURTHER DISCUSSION How did ragtime and stride piano combine European and African elements? European African 1. written - not purely improvised 1. syncopation or jazzing 2. used piano and traditional piano 2. some improvisation technique 3. played by performers of 3. 8 and 16 bar phrases African lineage 4. Melodies based on marches, dances and popular songs Doc. 05358, p. 10
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