The Glyn Dryhurst Dixieland Jazz Band
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Lesson Plan Summary
Lesson Plan Summary Magic Tree House #42: A Good Night for Ghosts Scat-A-Dat-Do with Louis Armstrong FOCUS QUESTION: What contributions did Louis Armstrong make to the world of music? DURING THIS BOOK STUDY, COMMON CORE STANDARDS EACH STUDENT WILL: ADDRESSED: MUSIC AND VISUAL ARTS: Learn the definition and musical style Creative responses to texts of scat singing. Significant individuals Musical styles Practice scat singing. Write and perform an original line of READING: scat singing. Analyze texts for main idea and details. Comprehend the vocabulary of solo, duo, trio, and quartet. Summarize story parts. Read with fluency to support Study the biography of Louis comprehension. Armstrong WRITING: Record a main event and supporting Text types and purposes details of Louis Armstrong’s life. SPEAKING AND LISTENING: Present a project to the class. Comprehension and collaboration Presentation skills Respectful audience behavior 42-2S512 Created by: Melissa Summer Woodland Heights Elementary School, Spartanburg, South Carolina and Paula Cirillo, Hill Academy Moorpark, California Copyright © 2012, Mary Pope Osborne, Classroom Adventures Program, all rights reserved. Lesson Plan Magic Tree House #42: A Good Night for Ghosts Scat-a-dat-do with Louis Armstrong http://www.youtube.com/watch?v=rT1Kuy922c0 DIRECTIONS: 1. INTRODUCE SCAT SINGING with Hoots the Owl at the link above. 2. DEFINE AS A CLASS: What is scat singing? 3. STUDY THE BIOGRAPHY of Louis Armstrong, who was famous for his scat singing. Students can choose to work in one of the following ensembles: SOLO (alone) DUO (with a partner) TRIO (in a group of three) QUARTET (in a group of four) Students will work in their ensembles to summarize the main ideas in a reading about Louis Armstrong’s life. -
Jazz and the Cultural Transformation of America in the 1920S
Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive. -
INTRODUCTION: BLUE NOTES TOWARD a NEW JAZZ DISCOURSE I. Authority and Authenticity in Jazz Historiography Most Books and Article
INTRODUCTION: BLUE NOTES TOWARD A NEW JAZZ DISCOURSE MARK OSTEEN, LOYOLA COLLEGE I. Authority and Authenticity in Jazz Historiography Most books and articles with "jazz" in the title are not simply about music. Instead, their authors generally use jazz music to investigate or promulgate ideas about politics or race (e.g., that jazz exemplifies democratic or American values,* or that jazz epitomizes the history of twentieth-century African Americans); to illustrate a philosophy of art (either a Modernist one or a Romantic one); or to celebrate the music as an expression of broader human traits such as conversa- tion, flexibility, and hybridity (here "improvisation" is generally the touchstone). These explorations of the broader cultural meanings of jazz constitute what is being touted as the New Jazz Studies. This proliferation of the meanings of "jazz" is not a bad thing, and in any case it is probably inevitable, for jazz has been employed as an emblem of every- thing but mere music almost since its inception. As Lawrence Levine demon- strates, in its formative years jazz—with its vitality, its sexual charge, its use of new technologies of reproduction, its sheer noisiness—was for many Americans a symbol of modernity itself (433). It was scandalous, lowdown, classless, obscene, but it was also joyous, irrepressible, and unpretentious. The music was a battlefield on which the forces seeking to preserve European high culture met the upstarts of popular culture who celebrated innovation, speed, and novelty. It 'Crouch writes: "the demands on and respect for the individual in the jazz band put democracy into aesthetic action" (161). -
The Influence of Female Jazz Musicians on Music and Society Female Musicians Tend to Go Unrecognized for Their Contributions to Music
Cedarville University DigitalCommons@Cedarville The Research and Scholarship Symposium The 2016 yS mposium Apr 20th, 3:00 PM - 3:20 PM Swing It Sister: The nflueI nce of Female Jazz Musicians on Music and Society Kirsten Saur Cedarville University, [email protected] Follow this and additional works at: http://digitalcommons.cedarville.edu/ research_scholarship_symposium Part of the Musicology Commons, Music Performance Commons, and the Women's Studies Commons Saur, Kirsten, "Swing It Sister: The nflueI nce of Female Jazz Musicians on Music and Society" (2016). The Research and Scholarship Symposium. 15. http://digitalcommons.cedarville.edu/research_scholarship_symposium/2016/podium_presentations/15 This Podium Presentation is brought to you for free and open access by DigitalCommons@Cedarville, a service of the Centennial Library. It has been accepted for inclusion in The Research and Scholarship Symposium by an authorized administrator of DigitalCommons@Cedarville. For more information, please contact [email protected]. Kirsten Saur, 1 Kirsten Saur Swing It, Sister: The Influence of Female Jazz Musicians on Music and Society Female musicians tend to go unrecognized for their contributions to music. Though this has changed in recent years, the women of the past did not get the fame they deserved until after their deaths. Women have even tried to perform as professional musicians since ancient Greek times. But even then, the recognition did not go far. They were performers but were not seen as influences on music or social standings like male composers and performers were. They were not remembered like male performers and composers until past their time, and the lives of these women are not studied as possible influences in music until far past their times as well. -
Learning Activity
From the Top at Carnegie Hall Episode 10: “Music Is Where the Heart Is” Airing on PBS (check local TV listings) Available online at pbs.org Learning Activity Title: We’ll Improvise Description: Students will watch an inspired jazz-style performance of “Old MacDonald” and then try improvising on their favorite children’s songs. Grade Level: 5-8 National Music Standards: 3 Improvising melodies, variations and accompaniments; 6 Listening to, analyzing and describing music Background This episode includes two jazz-inspired classical pieces and one jazz version of a familiar children’s song, “Old MacDonald” by fourteen-year-old jazz singer Nikki Yanofsky. One of the major identifying characteristics of jazz is improvisation: using the written score as a guide and making up your own variations on the music. Nikki sings “scat” during her performance. Scat singing, in which a performer uses non-word sounds or nonsense syllables to improvise rhythms and melodies, is the hallmark of jazz vocal improvisation. Classical musicians improvise, too, but usually only where the composer has indicated that a cadenza is called for. The cadenza gives the performer a chance to exhibit his or her range, technique, and musicality. Nikki Yanofsky sings “Old MacDonald” onstage at Carnegie Hall Jazz is a truly American musical genre, with its roots in the music that African slaves brought with them to North America as captives. Emerging in the late 1800s as a distinct style, jazz drew on musical forms such as field songs, spirituals, the blues, and ragtime, with both African and European influences. The lively, energetic, and free-form qualities associated with jazz, and especially its distinctive and strong rhythms, have made it popular all over the world. -
Biojazz Heroes of Music
Arts for Learning CT PROGRAM GUIDE LEARNING OBJECTIVES To spread appreciation for To demonstrate this popular American Jazz as a vehicle for music. To create an communication and understanding of music a means of self- and its relation to expression. American cultural history To show how music between 1890 through the is made through 1940s. To develop listening and teamwork and analytical skills so that group-participation. students may distinguish individual instruments in ABOUT THE PROGRAM an ensemble. With riveting and soulful renditions of classic American songs, these Cool Cats will demonstrate the important values of diversity, freedom of expression, and respect for others that resonate in Jazz. Featuring Dixieland hits and Swing Jazz numbers, a Cool Cat concert will leave students and teachers dizzy with the excitement so inherent to Jazz music. COOL CAT INSTRUMENTS Brass: Trumpet, Trombone Reeds: Clarinet, Saxophone Percussion: Bass Drum, Snare Drum, Tom- Toms, Cymbals, Hi-Hat. String: Banjo, Double Bass ARTS FOR LEARNING CT 1 EVERGREEN AVENUE 3RD FLOOR HAMDEN, CT 06518 About the Artist & Program Preparations ABOUT THE ARTIST VOCAB & CONCEPTS PRE-POST PROGRAM The Cool Cats are an New Orleans: A city in Louisiana on the PRE PROGRAM Mississippi river where Jazz was born. • Listen to early Jazz recordings energetic five-piece Jazz: A combination of African and from Duke Ellington, Scott Joplin, European music, developed in America. Jazz band specializing Mardi Gras: A French word meaning Fat and Louis Armstrong. How does Tuesday. The day before Lent. this compare with contemporary in great American music Praline: New Orleans dessert made with music? of the early 20th chocolate and nuts. -
JREV3.6FULL.Pdf
KNO ED YOUNG FM98 MONDAY thru FRIDAY 11 am to 3 pm: CHARLES M. WEISENBERG SLEEPY I STEVENSON SUNDAY 8 to 9 pm: EVERYDAY 12 midnite to 2 am: STEIN MONDAY thru SATURDAY 7 to 11 pm: KNOBVT THE CENTER OF 'He THt fM DIAL FM 98 KNOB Los Angeles F as a composite contribution of Dom Cerulli, Jack Tynan and others. What LETTERS actually happened was that Jack Tracy, then editor of Down Beat, decided the magazine needed some humor and cre• ated Out of My Head by George Crater, which he wrote himself. After several issues, he welcomed contributions from the staff, and Don Gold and I began. to contribute regularly. After Jack left, I inherited Crater's column and wrote it, with occasional contributions from Don and Jack Tynan, until I found that the well was running dry. Don and I wrote it some more and then Crater sort of passed from the scene, much like last year's favorite soloist. One other thing: I think Bill Crow will be delighted to learn that the picture of Billie Holiday he so admired on the cover of the Decca Billie Holiday memo• rial album was taken by Tony Scott. Dom Cerulli New York City PRAISE FAMOUS MEN Orville K. "Bud" Jacobson died in West Palm Beach, Florida on April 12, 1960 of a heart attack. He had been there for his heart since 1956. It was Bud who gave Frank Teschemacher his first clarinet lessons, weaning him away from violin. He was directly responsible for the Okeh recording date of Louis' Hot 5. -
The Many Faces of “Dinah”: a Prewar American Popular Song and the Lineage of Its Recordings in the U.S
View metadata, citation and similar papers at core.ac.uk brought to you by CORE The Many Faces of “Dinah” The Many Faces of “Dinah”: A Prewar American Popular Song and the Lineage of its Recordings in the U.S. and Japan Edgar W. Pope 「ダイナ」の多面性 ──戦前アメリカと日本における一つの流行歌とそのレコード── エドガー・Ｗ・ポープ 要 約 1925年にニューヨークで作曲された「ダイナ」は、1920・30年代のアメリ カと日本両国におけるもっとも人気のあるポピュラーソングの一つになり、 数多くのアメリカ人と日本人の演奏家によって録音された。本稿では、1935 年までに両国で録音されたこの曲のレコードのなかで、最も人気があり流 行したもののいくつかを選択して分析し比較する。さらにアメリカの演奏家 たちによって生み出された「ダイナ」の演奏習慣を表示する。そして日本人 の演奏家たちが、自分たちの想像力を通してこの曲の新しい理解を重ねる中 で、レコードを通して日本に伝わった演奏習慣をどのように応用していった かを考察する。 1. Introduction “Dinah,” published in 1925, was one of the leading hit songs to emerge from New York City’s “Tin Pan Alley” music industry during the interwar period, and was recorded in the U.S. by numerous singers and dance bands during the late 1920s and 1930s. It was also one of the most popular songs of the 1930s in Japan, where Japanese composers, arrangers, lyricists and performers, inspired in part by U.S. records, developed and recorded their own versions. In this paper I examine and compare a selection of the American and Japanese recordings of this song with the aim of tracing lines ─ 155 ─ 愛知県立大学外国語学部紀要第43号（言語・文学編） of influence, focusing on the aural evidence of the recordings themselves in relation to their recording and release dates. The analysis will show how American recordings of the song, which resulted from complex interactions of African American and European American artists and musical styles, established certain loose conventions of performance practices that were conveyed to Japan and to Japanese artists. It will then show how these Japanese artists made flexible use of American precedents, while also drawing influences from other Japanese recordings and adding their own individual creative ideas. -
STANLEY FRANK DANCE (K25-28) He Was Born on 15 September
STANLEY FRANK DANCE (K25-28) He was born on 15 September 1910 in Braintree, Essex. Records were apparently plentiful at Framlingham, so during his time there he was fortunate that the children of local record executives were also in attendance. This gave him the opportunity to hear almost anything that was at hand. By the time he left Framlingham, he and some friends were avid record collectors, going so far as to import titles from the United States that were unavailable in England. By the time of his death, he had been writing about jazz longer than anyone had. He had served as book editor of JazzTimes from 1980 until December 1998, and was still contributing book and record reviews to that publication. At the time of his death he was also still listed as a contributor to Jazz Journal International , where his column "Lightly And Politely" was a feature for many years. He also wrote for The New York Herald- Tribune, The Saturday Review Of Literature and Music Journal, among many other publications. He wrote a number of books : The Jazz Era (1961); The World of Duke Ellington (1970); The Night People with Dicky Wells (1971); The World of Swing (1974); The World of Earl Hines (1977); Duke Ellington in Person: An Intimate Memoir with Mercer Ellington (1978); The World of Count Basie (1980); and Those Swinging Years with Charlie Barnet (1984). When John Hammond began writing for The Gramophone in 1931 he turned everything upside down and Stanley began corresponding with Hammond and they met for the first time during Hammond's trip to England in 1935. -
Recorded Jazz in the 20Th Century
Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana -
History of Jazz Tenor Saxophone Black Artists
HISTORY OF JAZZ TENOR SAXOPHONE BLACK ARTISTS 1940 – 1944 SIMPLIFIED EDITION INTRODUCTION UPDATE SIMPLIFIED EDITION I have decided not to put on internet the ‘red’ Volume 3 in my Jazz Solography series on “The History of Jazz Tenor Saxophone – Black Artists 1940 – 1944”. Quite a lot of the main performers already have their own Jazz Archeology files. This volume will only have the remainders, and also auxiliary material like status reports, chronology, summing ups, statistics, etc. are removed, to appear later in another context. This will give better focus on the many good artists who nevertheless not belong to the most important ones. Jan Evensmo June 22, 2015 INTRODUCTION ORIGINAL EDITION What is there to say? That the period 1940 - 1944 is a most exciting one, presenting the tenorsax giants of the swing era in their prime, while at the same time introducing the young, talented modern innovators. That this is the last volume with no doubt about the contents, we know what is jazz and what is not. Later it will not be that easy! That the recording activities grow decade by decade, thus this volume is substantially thicker than the previous ones. Just wait until Vol. 4 appears ... That the existence of the numerous AFRS programs partly compensates for the unfortunate recording ban of 1943. That there must be a lot of material around not yet generally available and thus not listed in this book. Please help building up our jazz knowledge base, and share your treasures with the rest of us. That we should remember and be eternally grateful to the late Jerry Newman, whose recording activities at Minton's and Monroe's have given us valuable insight into the developments of modern jazz. -
“Evocative Original Music” – LOS ANGELES TIMES
“Evocative original music” – LOS ANGELES TIMES A composer who brings to her music feverish imagination, impeccable musicianship, complexity, versatility, unbridled joy, and fearlessness, Emmy-award winning composer Laura Karpman’s rigorous musical approach, coupled with conceptual and progressive uses of technology and recording, is that of a true 21st century American composer. Named one of the most important women in Hollywood by Variety Magazine, she is one of a handful of female composers with an active career in film and television, winning four Emmys and receiving an additional seven nominations, an Annie Award nomination and two GANG awards and a nomination for her video game music. Karpman’s concert music is widely performed in major venues internationally, and her lifelong obsession with jazz (which began with memorizing Ella Fitzgerald’s scat solos at age 11) is embedded in her uniquely creative work. Recent and upcoming commissions include a new opera Wilde Tales for The Glimmerglass Festival, her new genre-breaking work Hidden World of Girls with the Kitchen Sisters for the Cabrillo Festival, the One Ten Project for the Los Angeles Opera, Different Lanes for string quartet and two iPads, a new opera Balls! about Billie Jean King/Bobby Riggs with New York Times columnist Gail Collins for The Industry in LA (and for which she received an Opera America female composer grant), plus works for the San Francisco Gay Men’s Chorus and Pacific Symphony. Karpman's ground-breaking, two-time Grammy-Award winning score for the multi- media evening ASK YOUR MAMA, featuring Jessye Norman, The Roots, jazz vocalist de’Adre Aziza, and George Manahan conducting, premiered with the Orchestra of St.