African-American Innovation Baltimore Symphony Orchestra Ken Lam, Conductor

African-American Innovation Baltimore Symphony Orchestra Ken Lam, conductor

Shannan Johnson, narrator Baltimore City College Choir, Marcus Smith, director

Creative and Innovative Lesson Seeds, Sprouts and Resources

STEAM activated Arts integrated

MUSIC FOR YOUTH ● Grades 4-6 Wednesday, February 18, 2015 10am & 11:30am Friday, February 20, 2015 10am & 11:30am

AFRICAN-AMERICAN INNOVATION

TABLE OF CONTENTS ● OVERVIEW INTRODUCTION ● page 2 HOW TO USE THIS GUIDE ● page 3 A SNAPSHOT OF AFRICAN-AMERICAN SPIRITUALS ● page 4 A SNAPSHOT OF TAKE THE A TRAIN ● page 7 A SNAPSHOT OF PROMENADE: THE REAL MCCOY ● page 9

LESSON PLAN SEEDS ARTS INTEGRATION ACTIVITIES SEED 1 ● page 11 ELLINGTON & MCCOY ● page 15

All That Jazz: Learn about jazz and the THE A TRAIN: THEN AND NOW ● page 16 life of Duke Ellington MESSAGES OF FREEDOM ● page 17

SLAVE QUILTS: FACT OR FICTION ● page 18 SEED 2 ● page 12 CREATE A JAZZY JINGLE ● page 19 Get on Board: the Underground

Railroad and conductor Harriet Tubman

SEED 3 ● page 13 TEACHER RESOURCES Wade in the Music: Discover the world DUKE ELLINGTON ● page 20 of Spirituals GEORGE GERSHWIN ● page 22 ELIJAH MCCOY ● page 24 SEED 4 ● page 14 Innovators: From the minds of brilliant

African Americans came exciting and JUST FOR FUN ACTIVITY useful inventions MAKE YOUR OWN SUPER-SOAKER ● page 26

PRE AND POST CONCERT YOUR TRIP TO THE MEYERHOFF ● page 30 FIELD TRIP REVIEW ● page 31

ADDITIONAL RESOURCES

BOOKS ● page 32 WEBSITES ● page 33 VIDEOS & FIELDTRIPS ● page 34

ACKNOWLEDGEMENTS SPECIAL THANKS ● page 35

INTRODUCTION ●

Welcome to the Baltimore Symphony Orchestra’s Teachers’ Resource Guide!

We are delighted you will be joining us, along with educators and students from across the state of Maryland and beyond, for the BSO’s 2014-15 Midweek Education Concerts.

This concert, African American Innovation, celebrates the innovations of some very special African- Americans throughout history. Through music, we celebrate three very special innovators: Elijah McCoy, Duke Ellington and Harriet Tubman. These innovators all did something new—they invented something that had never been done before, they discovered a new way of playing music or they used something that already existed in a completely unique way. With music by Gershwin, Duke Ellington, and several well-known African-American Spirituals, we hope you enjoy this exciting concert honoring Black History Month and join us rejoicing in the ingenuity of spirit with the Baltimore Symphony Orchestra and Baltimore City College Choir.

Inside this guide you will find unique classroom ideas (in the form of seeds and sprouts) and suggested classroom activities to help prepare your students for their upcoming concert visit. The guide was designed by a handpicked team of teachers from a range of counties across Maryland, with specialism in music and science. In order to strengthen the STEAM connections, this guide was also produced in consultation with Michael Karweit, a member of the BSO Science Advisory team, and recently retired Research Professor at Johns Hopkins University in the Department of Chemical and Biomolecular Engineering.

We hope you find the resources exciting, engaging, and invaluable as you plan your upcoming concert visit and we so look forward to seeing you at the Meyerhoff!

Annemarie Guzy Director of Education Baltimore Symphony Orchestra

HOW TO USE THIS GUIDE ●

Lesson Plan Seeds and Sprouts

Choose one or grow your own!

Seed This BSO Teachers’ Resource Guide has four lesson “seed” suggestions. Think of the lesson seed as a topic. Each seed has an objective, essential questions, standards, and resources.

Sprout

Each seed has suggested “sprouts” or ideas that grow out of the seed. As you grow the sprouts, look to the resource list on each page. This list contains resources that are provided within this teachers’ guide, as well as a range of additional resources you may wish to use.

Grow your own! We hope one of our lesson ideas will spark a new idea for you and your students. Encourage collaboration with other teachers in your building, and create your own arts-integrated seeds & sprouts. Don’t leave your concert experience

behind at the Meyerhoff!

Use another sprout as a follow-up activity, use one of our suggested closure activities, or use our wrap-up worksheet.

Tell us what you think by sharing your

feedback and ideas with the BSO! Email us at [email protected]

A SNAPSHOT OF AFRICAN-AMERICAN SPIRITUALS ● FACETS MODEL

African- About 1750 to American slaves Early 1900’s; U.S. southern plantations

Deeply To express emotional emotions of the with spiritual slave experience and desire for overtones African- freedom American Spirituals Call and Day-to-day life, response struggles, hopes, and dreams

Double- Despair, hope, coded language freedom and with simple promise of a repetitive verses better life

The Facets Model is adapted from Barrett, J. R., McCoy, C. W., & Veblen, K. K. (1997). Sound ways of knowing: Music in the interdisciplinary curriculum. New York, NY: Schirmer Books. Used with permission of the author.

A SNAPSHOT OF AFRICAN-AMERICAN SPIRITUALS ● IN DEPTH

Who created it? Spirituals were created by African-American slaves.

When and where was the work created? Enslaved African-Americans that resided on plantations throughout the United States created spirituals during the mid-1700’s through to the early 1900’s.

Why was it created? Spirituals were created as a form of religious devotion, a desire to be free, and to express the emotion of the slave experience. There were several types of spirituals and each served a specific purpose to the singer:  Jubilee Songs: songs of praise and joy  Sorrow songs: expressed the intensely difficult condition of the slave experience  Works songs: sung to pass the time and distract workers from strenuous tasks they were forced to complete

Subject: What is the subject of the work? Spirituals, like the oral traditions brought from Africa by slaves, told stories of their day-to-day life, struggles, hopes, and dreams. Using popular stories from the Bible, many lyrics told these stories using “code words” to reference people, places, and events in their daily lives. Common biblical places such as the Promised Land, the Jordan River, Egypt, Jericho, and Israel were code words for the plantation, waterways, North and South, and other landmarks that were important in gaining access to freedom.

Bible characters such as Jesus, Mary, Moses, Joshua, and David were used as a symbol for hope. Often African-American abolitionists were

given nicknames from characters in the bible whom had similar stories of freedom and triumph. For example, Hariet Tubman was nicknamed “Moses” as she aided in the escape of slaves from the South to the North, like the biblical character Moses who lead the Israelites out of Egypt to the Promised Land. Since the code words were often undetected by slave owners, slaves could sing these songs freely as they lived and worked on the plantations of the South. Harriet Tubman used the spirituals specifically to guide escaped slaves to freedom.

Content: What is being expressed? Common themes in spirituals were freedom, hope, and promise of a better life. Along with the message of liberty, spirituals also expressed the miserable and painful situations that slaves endured.

Techniques: What techinques did the composer use to help us understand what is being expressed? Spirituals often used double-coded language to express deeper meaning, and Harriet Tubman was an expert at using code words to guide slaves to freedom. The code word would often be repetitive to bring emphasis to the secret meaning of the song. The use of call and response techniques allowed the song to be participatory and involved a number of people as it was sung. This technique also made it easy to add additional verses later as needed. The verses were simple and easy to remember. Spirituals were solely passed to others orally and were not written down because learning to read and write was against the law for slaves.

Form: What is the structure or form of the work? Many spirituals took the form of call and response with added improvisations by the leader. There are also types of spirituals for a single singer, and for a chorus.

Sound: What does the piece sound like? Spirituals sound deeply emotional with beautiful melodies and moving lyrics. Sometimes spirituals also include moans, groans, or outbursts of tearful expressions.

A SNAPSHOT OF TAKE THE A TRAIN ● FACETS MODEL

1939 in Duke Ellington, New York City; Billy Strayhorn & Lyrics 1944 in Joya Sherrill Detroit

To create Up-tempo, jazzy music based on horns; section directions to vs. section Ellington’s house Take the A

Train A subway

A-A-B-A train for

passengers traveling to

Harlem, NY

Upbeat, fast- Directions to moving, and Ellington’s house vibrant sounds on the A train

A SNAPSHOT OF TAKE THE A TRAIN ● IN DEPTH

Who created it? Duke Ellington and Billy Strayhorn wrote the music and Joya Sherill wrote the lyrics.

When and where was the work created? The music was composed in 1939 in New York. Lyrics were added in Detroit in 1944.

Why was it created? In 1928 Strayhorn played for Ellington after a show in Pittsburg, mimicking the orchestra’s Sophisticated Lady and playing his own version of the song. Ellington was so impressed, it eventually led to an invitation to Ellington's home in the Sugar Hill neighborhood in Harlem. Using the subway directions that Ellington gave him, Strayhorn wrote the song Take the ‘A’ Train. He composed it in his head at a party, and then later wrote it down. He said his most meaningful work was written this way.

Subject: What is the subject of the work? The subject is the ‘A’ train, a train service that goes to Harlem, New York. When the piece was written, this line was relatively new.

Content: What is being expressed? Take the A Train was based on directions to Ellington’s house in Harlem. The piece also demonstrates New York pride for the subway and Harlem.

Techniques: What techinques did the composer use to help us understand what is being expressed? This song has an upbeat feeling, with fast-moving and vibrant sounds.

Form: What is the structure or form of the work? The piece is a song, with the form of A-A-B-A.

Sound: What does the piece sound like? The piece has an up-beat tempo with lots of rhythmic movement within each section. Throughout the song you hear various horn solos.

A SNAPSHOT OF PROMENADE: THE REAL MCCOY ● FACETS MODEL

George Gershwin 1937, Los Angeles, CA

Carefree, Written for relaxed, the movie repetitive Shall We Dance Promenade: The Real McCoy Two characters Introduction, walk dogs on repeated the deck of an A section, ocean cruise B section

Playful pantomime Elements of jazz between Astaire and Rogers

A SNAPSHOT OF PROMENADE: THE REAL MCCOY ● IN DEPTH

Who created it? George Gershwin and his brother Ira Gershwin wrote the score for the film Shall We Dance.

When and where was the work created? The Gershwin brothers wrote “Promenade: Walking the Dog (The Real McCoy)” as part of the film score Shall We Dance in 1937 in Los Angeles, CA.

Why was it created? “Promenade: Walking the Dog (The Real McCoy)” was written for the movie Shall We Dance starring Fred Astaire as Peter Peters and Ginger Rogers as Linda Keene. The film also included dance choreographed by George Balanchine.

Subject: What is the subject of the work? The film Shall We Dance was the seventh of the Fred Astaire and Ginger Rogers movies. The movie tells the story of Peter Peters who falls in love with Linda Keene. The music “Promenade: The Rel McCoy” was the music for a scene in the film when Peter and Linda meet for the second time. At the conclusion of the film, after Peter pursues Linda without any luck, Peter settles for dancing with someone who is holding up a photo of Linda, since he can’t have ‘the Real McCoy’.

Content: What is being expressed? The scene is a pantomime between Astaire and Rogers, who playfully walk back and forth with two dogs (Astaire only ‘borrows’ a dog so as to have a chance to walk with Rogers).

Techniques: What techniques did the composer use to help us understand what is being expressed? This popular tune incorporates Gershwin’s well-known style that fuses a playful American sound with elements of jazz.

Form: What is the structure or form of the work? The piece contains an introduction, then the A section that repeats, followed by the B section.

Sound: What does the piece sound like? This piece sounds carefree and relaxing. The tune repeats to parallel the back and forth movements of Peter and Linda in the scene. 10

LESSON PLAN SEEDS ● STEAM Activated – Arts Integrated

THE MUSIC:

African-American Innovation

SEED 1: Sprout 1: Get to know Duke All That Jazz: Learn about Ellington and Billy Strayhorn jazz and the life of Duke Sprout 2: The instruments of a

Ellington Jazz Band Sprout 3: Read all about him! Learn about Gershwin’s life. ESSENTIAL QUESTIONS

 What is jazz? STANDARDS  Who was Duke Ellington? NATIONAL CORE ARTS STANDARD:  What are the instruments in a jazz band? Anchor Standard 7: Perceive and analyze artistic work. (1a / 2a)

 How do musicians generate creative ideas? Anchor Standard 11: Relate artistic ideas and works with societal, cultural, and historical context to deepen understanding. (1a) ACTIVITIES

1. Learn about Duke Ellington and his impact on COMMON CORE STANDARDS: CCSS.ELA-LITERACY.RI.4.9: Integrate information from two texts on the American music and his innovations in jazz. Go same topic in order to write or speak about the subject on the road with Duke Ellington by viewing knowledgeably. documentary footage that follows Ellington as he performs around the world from the stage, CCSS.ELA-LITERACY.RH.6-8.1: Cite specific textual evidence to support analysis of primary and secondary sources. behind-the-scenes moments, and more. 2. Explore the instruments of Jazz that give this music its unique sounds. 3. Explore the world of George Gershwin, his music and his creative process.

BSO RESOURCES

BSO Teachers’ Guide Digital CD Ellington & McCoy Activity (p. 15) The A Train: Then & Now (p. 16) Duke Ellington Biography and Activity (p. 20) George Gershwin Biography and Activity (p. 22)

ADDITIONAL RESOURCES Documentary: On the Road with Duke Ellington https://www.youtube.com/watch?v=qrUPQYriTVY&list=RDqrUPQYriTVY#t=707 PBS Jazz Kids http://www.pbs.org/jazz/classroom/indexk5.htm Chuck Vanderchuck’s Something Something Explosion http://pbskids.org/chuck/index.html#/jazz Duke Ellington Activities from the Smithsonian http://amhistory.si.edu/ourstory/activities/jazz/ Instruments of the Jazz Band http://www.jbjazz.com/uploads/JBJO-Performance-Guide.pdf

LESSON PLAN SEEDS ● STEAM Activated – Arts Integrated

THE MUSIC:

African-American Innovation

SEED 2: Sprout 1: Explore the Get on Board: the Underground Railroad

Underground Railroad and Learn all about the Sprout 2: conductor Harriet Tubman life of Harriet Tubman and her role as conductor of the Underground Railroad ESSENTIAL QUESTIONS

 What was the Underground Railroad? STANDARDS  What was the role of the conductor of the COMMON CORE STANDARDS: CCSS.ELA-LITERACY.RI.4.3: Explain events, procedures, ideas or concepts Underground Railroad? in a historical, scientific or technical text, including what happened and  How did Harriet Tubman use spirituals to bring slaves why, based on specific information in the text. to freedom? CCSS.ELA-LITERACY.RI.4.6: Compare and contrast a firsthand and secondhand account of the event or topic; describe the differences in ACTIVITIES focus and the information provided.

1. Go on a Web Quest to discover more about the CCSS.ELA-LITERACY.RI.4.9: Integrate information from two texts on the Underground Railroad. Start your Quest here: same topic in order to write or speak about the subject knowledgeably. http://www.nbhistoricalsociety.org/UGRRWebsites.

pdf CCSS.ELA-LITERACY.RH.6-8.1: Cite specific textual evidence to support

2. Play the “Underground Railroad: Journey to analysis of primary and secondary sources.

Freedom” game online from National Geographic:

http://education.nationalgeographic.com/education /media/underground-railroad-journey- BSO RESOURCES freedom/?ar_a=1 Messages of Freedom (p. 17)

3. Learn about the life of Harriet Tubman and how she ADDITIONAL RESOURCES used spirituals to help bring slaves to freedom. Maryland Public Television: Thinkport: Pathways to Freedom http://pathways.thinkport.org/resources/ National Geographic: The Underground Railroad: Journey to Freedom http://education.nationalgeographic.com/education/media/unde rground-railroad-journey-freedom/?ar_a=1 Harriet Tubman Activities https://artsedge.kennedy-center.org/educators/lessons/grade-3- 4/Harriet_Tubman_Secret_Messages_Shared_Through_Song Comprehensive Listing of Related Websites http://www.nbhistoricalsociety.org/UGRRWebsites.pdf

LESSON PLAN SEEDS ● STEAM Activated – Arts Integrated

THE MUSIC:

African-American Innovation

SEED 3: Sprout 1: Sing and learn African- Wade in the Music: American Spirituals Discover the world of Sprout 2: Explore the secret

messages of freedom spirituals

ESSENTIAL QUESTIONS STANDARDS CONTINUED  Where do spirituals come from? NATIONAL CORE ARTS STANDARDS: Anchor Standard 11: Relate artistic ideas and works with societal,  How do you sing spirituals? cultural, and historical context to deepen understanding. (1a)  Why were secret codes used? COMMON CORE STANDARDS: ACTIVITIES CCSS.ELA-LITERACY.RI.4.3: Explain events, procedures, ideas or concepts 1. Listen to spirituals and sing them in the classroom. in a historical, scientific or technical text, including what happened and why, based on specific information in the text. 2. Dive into the lyrics of spirituals such as “Swing Low Sweet Chariot”, “Follow the Drinking Gourd” and CCSS.ELA-LITERACY.RI.4.6: Compare and contrast a firsthand and “Wade in the Water” to uncover the secret secondhand account of the event or topic; describe the differences in messages hidden in the lyrics, and explore how to focus and the information provided.

convey secret meaning through code. CCSS.ELA-LITERACY.RI.4.9: Integrate information from two texts on the same topic in order to write or speak about the subject knowledgeably. STANDARDS NATIONAL CORE ARTS STANDARDS: CCSS.ELA-LITERACY.RH.6-8.1: Cite specific textual evidence to support Anchor Standard 4: Select, analyze, and interpret artistic work for analysis of primary and secondary sources.

presentation. (1a / 2c / 4a)

Anchor Standard 7: Perceive and analyze artistic work. (1a / 2a) BSO RESOURCES BSO Teacher’s Guide Digital CD Messages of Freedom (p. 17)

Slave Quilts: Fact or Fiction? (p.18)

ADDITIONAL RESOURCES PBS: History Detectives: Slave Songbook Video https://www.youtube.com/watch?v=1JtD_YpyXYU&feature=youtu.be List of Texts for Spirituals http://www.negrospirituals.com/news-song/index.htm Spiritual Decoding Activity http://bento.cdn.pbs.org/hostedbento- prod/filer_public/Underground%20Railroad%20William%20Still/Classr oom/Lesson_HiddenMessages.pdf Secret Codes worksheet https://artsedge.kennedy- center.org/~/media/ArtsEdge/LessonPrintables/grade-3- 4/harriet_tubman_codes_and_phrases_used_on_the_underground_r ailroad.ashx

LESSON PLAN SEEDS ● STEAM Activated – Arts Integrated

THE MUSIC:

African-American Innovation

SEED 4: Sprout 1: Meet “The Real Innovators: from the McCoy”

Sprout 2: Inspiration to minds of brilliant African- Americans came exciting Innovation: the birthplace of now and useful inventions everyday household objects

ESSENTIAL QUESTIONS STANDARDS NATIONAL CORE ARTS STANDARD:  Who were some famous African-American inventors? Anchor Standard 1. Generate and conceptualize artistic ideas  How have their inventions changed our lives? and work. (MU: C1.1.4a, MU: C1.1.5a, MU: C1.1.6a)

 What are patents and why are they important?

Anchor Standard 2: Organize and develop artistic ideas and work. (MU: Cr2.1.4, MU: Cr2.1.5, MU: Cr2.1.6) ACTIVITIES

1. Learn all about Elijah McCoy and how his invention Anchor Standard 3: Refine and complete artistic work. (MU: Cr3.1.4, MU: Cr3.1.5, MU: Cr3.1.6) for trains soon became known as “The Real McCoy.” 2. Research and discover how many household items COMMON CORE STANDARDS: were invented by African-Americans. Use this list as CCSS.ELA-LITERACY.RI.4.3: Explain events, procedures, ideas or concepts a starting point: in a historical, scientific or technical text, including what happened and why, based on specific information in the text. http://www.blackinventions101.com/inventionslist. html NEXT GENERATION SCIENCE STANDARDS: 3. Weave your knowledge about African-American 4-PS3-1. Use evidence to construct an explanation relating the speed of inventors and their innovations into song and create an object to the energy of that object. a jazzy jingle about innovation. 4-PS3-4. Apply scientific ideas to design, test and refine a device that 4. Recreate African-American invention the ‘Super- converts energy from one form to another. Soaker.’ BSO RESOURCES Create a Jazzy Jingle (p. 19) Elijah McCoy Biography and Activity (p. 24)

Just for Fun: Super Soaker (p. 26)

RESOURCES The Black Innovators Online Museum http://edhelper.com/ReadingComprehension_54_841.html Scholastic’s Top Ten African-American Inventors http://teacher.scholastic.com/activities/bhistory/inventors/mccoy.htm Video on Elijah McCoy https://www.youtube.com/watch?v=GaWfK1tevLI The Black Inventors Match Game Free App https://play.google.com/store/apps/details?id=com.blackInventors.MatchGame&hl=en The Museum of Black Inventions and Innovations http://www.blackinventions101.com/inventionslist.html

ARTS INTEGRATION ACTIVITY ● Ellington & McCoy

INSTRUCTIONS: Use the Internet to fill in the blanks and discover fun facts about African-American Innovators. Have a “Fact- finding Race” with a classmate or work in teams. (Cite your source)

Duke Ellington

 The song, “Take the ‘A’ Train”, ended up in the ______because songwriter Billy Strayhorn didn’t think it was good enough.

 The “A” train was a real train that people in New York took if they wanted to go to ______. What happened when people made a mistake and took the “D” train?

 He didn’t call his music Jazz. He called it______.

 What did Duke Ellington’s grandparents and Elijah McCoy’s parents have in common with Harriet Tubman?

Elijah McCoy

 Before becoming an American citizen, Elijah McCoy lived in two other countries. Show their locations on a Google Map.  Imagine that you are a train engineer living in 1870. Create a case for Elijah McCoy’s invention by making a dramatic speech about how trains operate without his Lubricating Cup. Record your speech with a video camera or an iPad. Play it for your classmates.

ARTS INTEGRATION ACTIVITY ● THE A TRAIN: THEN & NOW

THE MUSIC: ARTS Duke Ellington’s Take the A Train

INSTRUCTIONS: Explore the A Train, both then and now, by visiting the links below:

 Take a ride on the A Train: see people and places along the way, photos from the 1920s to the present. www.bbc.com/news/world-18623559  What other famous people lived in Sugar Hill? Follow this link and find out: http://en.wikipedia.org/wiki/Sugar_Hill,_Manhattan

You must take the A train To go to Sugar Hill way up in Harlem

If you miss the A train You'll find you missed the quickest way to Harlem

Hurry, get on, now it's coming Listen to those rails a-humming

All aboard, get on the A train Soon you will be on Sugar Hill in Harlem

ARTS INTEGRATION ACTIVITY ● Messages of Freedom

Messages of Freedom, Hope and Life View this slideshow and learn about the history of spirituals, types of spirituals and how to sing them http://www.bsomusic.org/media/382041/messages-of-freedom-hope-and- life.pptx

Activity Answer the questions below. 1. Name two countries were slaves came from:

______

2. Name two traditions slaves brought with them from Africa:

______

3. Name two ways spirituals developed:

______

4. Describe some of the messages of spirituals:

______

ARTS INTEGRATION ACTIVITY ● Slave Quilts: Fact or Fiction?

Did Quilts Hold Codes to the Underground Railroad? Read the article, written by Sarah Ives for National Geographic News February 5, 2004: http://news.nationalgeographic.com/news/2004/02/0205_040205_slavequilts.html

Debate: Based upon what you have read, do you believe that the slave quilts could have been real? Do you feel oral history passed down through the years can be used as factual evidence? Why or why not? If you have time, find other articles on the Internet to help you decide.

______

Fun Follow-up: Make your own secret quilt View Maryland Public Television’s suggested activity here: http://pathways.thinkport.org/secrets/secret_quilt.cfm

ARTS INTEGRATION ACTIVITY ● Create a Jazzy Jingle

THE MUSIC: Create a Jazzy Jingle about African-American Innovations

Purpose This activity is designed to help students understand and relate to inventions created by African Americans. Using music and poetry, students will create a jingle for one of these inventions.

Essential Components for the Process

Jingle  Research African American inventions found on the Black Inventor  Name of the invention Online museum (http://www.blackinventor.com)  Inventor’s name  Select one that intrigues or inspires you  Patent information  Creatively brainstorm your lyrics for the jingle. Think about  Why the invention is useful today adjectives that describe the invention. Make sure your lyrics include all the items on the essential components list.  Decide on a melody or song. You may choose an existing melody/song or write your own! The jingle should be between 30 seconds and two minutes.  Using props, poster board, images, dance or actions, perform your jingle for the class.

STANDARDS

NEXT GENERATION SCIENCE STANDARD: 3-5-ETS1-2: Generate and compare multiple possible solutions to a problem based on how well each is likely to meet the criteria and constraints of the problem.

NATIONAL CORE ARTS STANDARDS: Anchor Standard 1. Generate and conceptualize artistic ideas and work. (MU: C1.1.4a, MU: C1.1.5a, MU: C1.1.6a)

Anchor Standard 2: Organize and develop artistic ideas and work. (MU: Cr2.1.4, MU: Cr2.1.5, MU: Cr2.1.6)

Anchor Standard 3: Refine and complete artistic work. (MU: Cr3.1.4, MU: Cr3.1.5, MU: Cr3.1.6)

COMMON CORE STANDARDS: CCSS.ELA-LITERACY.RI.4.3: Explain events, procedures, ideas or concepts in a historical, scientific or technical text, including what happened and why, based on specific information in the text.

TEACHER RESOURCE ● COMPOSER BIOGRAPHY ● Duke Ellington

An American Composer: One of the Originators of Big-Band Jazz

Duke Ellington was born on April 29, 1899 in a middle-class neighborhood of Washington, D.C. He was first introduced to music by his two talented pianist parents. At the age of 7, he began studying piano and was greatly influenced by ragtime pianists. As a teenager, he worked as a soda jerk (a soda fountain machine operator) which inspired his first composition, "Soda Fountain Rag," written when he was only 17 years old. Ellington was offered a scholarship, but instead he followed his passion for

Born: ragtime and began playing professionally. April 29, 1899 Ellington moved to New York in 1923 with his Washington D.C. Washington Band members. His small ensemble Died: transformed to a full orchestra. Along with Louis Armstrong, May 24, 1974 New York Ellington became a popular act at the Cotton Club in Harlem. During the 1930’s and 1940’s, Ellington recorded many of his most popular works such as Black and Tan Fantasy, Mood Indigo, and It Don’t Mean a Thing. In 1962, he composed his first film score, Anatomy of a Murder and collaborated with younger jazz musicians such as John Coltrane and Charlie Mingus. He has received many honorary awards such as doctorates from Howard University and Yale, the Presidential Medal of Honor, and a Pullitzer Prize. Duke Ellington composed over two thousand compositions until his death on May 24, 1974. His last words were "Music is how I live, why I live, and how I will be remembered.”

TEACHER RESOURCE ● BIOGRAPHY ACTIVITY ● Duke Ellington

An American Composer: One of the Originators of Big-Band Jazz

1. How old was Ellington when he began playing the piano? ______

2. What inspired Ellington’s first composition? ______

3. Why do you think Ellington turned down the scholarship to pursue a career in music? ______

4. Where did Ellington’s orchestra perform the most? ______

5. Some of Ellington’s most famous songs were ______

6. Can you name some famous musicians Ellington worked with? ______

7. Name some awards and honors received by Duke Ellington ______

TEACHER RESOURCE ● COMPOSER BIOGRAPHY ● George Gershwin

All-American Composer of Popular Songs

George Gershwin’s parents emigrated from Russia in 1891. The family lived in poor Jewish community on the Lower East Side of Manhattan. George played a lot of street sports, but didn’t hear much music until 1910 when his parents bought an upright piano. He began music lessons in 1912, when he was 16. Two years later he began work as a “song-plugger” at Remick’s Music Publishers in New York. A song-plugger would play songs outside the music Born: September 26, 1898 store to advertise the music that people could buy inside. Brooklyn, New York Gershwin began writing his own songs. His first big success was Died: July 11, 1937 “Swanee.” The recording sold hundreds of thousands of copies. In Hollywood, California the 1920’s and the 1930’s he wrote music for musicals and film scores. His brother, Ira, wrote lyrics for nearly all George’s music. The Gershwins’ musical Of Thee I Sing was the first musical to win the Pulitzer Prize. Gershwin wrote popular songs. His songs have pleasing memorable tunes, a repetitive formula, and some influence from jazz. George Gershwin was able to make a lot of money from his compositions, because of all his success with films and musicals. He had elite friends, collected art, and even was romantically linked with various movie stars.

TEACHER RESOURCE ● BIOGRAPHY ACTIVITY ● George Gershwin

All-American Composer of Popular Music

1. George Gershwin started playing ______in

______when his parents bought a piano.

2. He began music lessons in ______.

3. What does a “song-plugger” do?

______

4. In the 1920’s and 1930’s Gershwin wrote music for

______and ______.

5. What is one elements of Gershwin’s music that makes his music popular?______

6. Gershwin also worked with his ______, Ira, who wrote the ______for his music.

7. Did Gershwin make a lot of money from his compositions?

______

TEACHER RESOURCE ● INVENTOR BIOGRAPHY ● Elijah McCoy

African-American Inventor Elijah “The Real” McCoy

Could you imagine life without the ironing board, light bulb, peanut oil & peanut butter, leather shoe, electric microphone, bleach, super-soaker, refined sugar, hairbrush, folding chair and doorknob. All of the inventions above plus thousands more were created by African American Inventors. Read the article below about one of these great African American inventors.

“The Real” McCoy

Elijah J. McCoy, a black Canadian-American inventor and engineer, is famous for his 57 different U.S. patents, most to do with lubrication of steam engines. Elijah McCoy was born in 1843 to parents who had escaped slavery via the Underground Railroad and fled to Canada. McCoy was sent to Scotland for school and returned as master mechanic and engineer. However, the job opportunities for a black man, no matter how educated, were limited. The only work McCoy could find was with the Michigan Central Railroad. Born: May 2, 1844 McCoy's job was to walk along the trains that pulled Colchester, Ontario, Canada into the station and oil the moving parts by hand. McCoy

Died: realized that a person wasn't necessary for this job so he October 10, 1929 invented the automatic oil cup. This invention lubricated the Detroit, MI train's axels and bearings while the train was in motion. As a result, trains didn't have to stop as frequently. That cut down on costs, saved time, and improved safety. The oil cup was a huge success, and imitators began producing knockoffs. However, savvy engineers knew that McCoy's cup was the best, so when purchasing the part they'd ask for "the real McCoy."

TEACHER RESOURCE ● BIOGRAPHY ACTIVITY ● Elijah McCoy

African-American Engineer Elijah “The Real” McCoy

1. What did McCoy’s parents do to escape slavery?

______

2. Who employed Elijah McCoy? ______.

3. What was the inspiration behind McCoy’s invention?

______

4. What did his invention do?

______

5. How many patents did he hold? ______.

6. Why do you think it was important for engineers to have the “Real

McCoy"?______

______

JUST FOR FUN ACTIVITY ● The Super Soaker

SCIENCE FUN: Meet the inventor of The Super

Soaker and make your own!

While Mr. Johnson won’t be covered in our concert, we thought you’d have fun learning about another exciting African-American innovator.

Lonnie Johnson was born October 6, 1949 in Mobile, Alabama. His father taught Lonnie and his brother to repair things around the house. They started to create their toys, including a go-kart from an old lawn mower motor. However Lonnie’s parents were not excited about the rocket fuel he made that exploded and burned up part of the kitchen. Lonnie placed first in the science fair competition in high school by building a robot made of scrap from the junkyard. He won a mathematics scholarship to Tuskegee University. Born: October 6, 1949 Mobile, Alabama After graduation Lonnie joined the Air Force. He would work as Acting Chief of the Space Nuclear Power Safety. When Lonnie left the Air Force he went to the Jet Propulsion Laboratories (JPL) in Pasadena, California. He later worked at NASA on the Galileo Mission. Lonnie wanted to make a water gun that was safe for children to use. Using basic tools he created the Super Soaker, one of the most popular toys from the 1990s. When the toy company saw Lonnie use the Super Soaker at demonstration they said “Wow!” Lonnie holds over 80 patents.

JUST FOR FUN ACTIVITY ● The Super Soaker

The African-American Inventor of the Super-Soaker

1. Who taught Lonnie Johnson how to use tools? ______

2. What happened when Lonnie was making rocket fuel in the kitchen? ______

3. What was Lonnie’s major in college? ______.

4. Lonnie joined the ______when he left college.

5. While working at JPL Lonnie helped with missions to the planets ______and ______.

6. Why did Lonnie invent the Super-Soaker? ______

7. Lonnie has over ______patents.

8. Do you think you can create an invention as interesting as the Super Soaker? If yes, what would it be? ______

JUST FOR FUN ACTIVITY ● The Super Soaker

SCIENCE FUN: Make your own Super Soaker!

Purpose The activity is designed to demonstrate the principle of fluid dynamics. A super soaker will also demonstrate the principles of gravity, simple machines and properties of forces.

Materials Procedure

 2-liter bottle  Make a 3mm hole in the lid of the two-liter bottle.  1m of 6mm plastic tubing  Put the plastic tubing through the hole in the lid.  Hose connector  Screw the lid back on the bottle, making a tight fit.  Hose nozzle like a trigger  Fasten the hose connector to the tubing and then the nozzle.  Fill the two-liter bottle with water and try it out!

NEXT GENERATION SCIENCE  Answer these key questions: STANDARDS 1. Was there a large difference in the distance the 4-PS3-1 Use evidence to construct an water travelled? Why did this happen? explanation relating the speed of

an object to the energy of that 2. What components of the super soaker could be object changed to make it work better? 4-PS3-4 Apply scientific ideas to design, test 3. What type of energy is transferred from the water in and refine a device that converts the bottle: potential or kinetic? How do you know energy from one form to another. this?

4. Hypothesize what could happen if dry ice was added to the water.

 Follow up with these additional reading resources: http://blackinventor.com/lonnie-johnson/ http://www.nytimes.com/2013/08/04/magazine/who- made-that-super-soaker.html?_r=1& https://www.youtube.com/watch?v=4XGq3SZEDZI

JUST FOR FUN ACTIVITY ● The Super Soaker

Data Table for Super Soaker 1. Record the distance of how far the water in your super soaker can go. Make sure to include the units. 2. Write down your observations. 3. Use graph paper or a computer to graph your findings. A photo of Lonnie Johnson and the prototype of his invention

Distance of the water Observations 1.

PRE CONCERT RESOURCE ● YOUR VISIT TO THE MEYERHOFF

Your Visit to the Meyerhoff A virtual guide to the Joseph Meyerhoff Symphony Hall and your BSO Midweek concert http://bsomusic.org/media/353715/Your-visit-to-the-Meyerhoff.ppt

POST CONCERT RESOURCE ● FIELDTRIP REVIEW

Name ______Class ______

1. What concert did you see at the Meyerhoff Symphony Hall?

______

2. What was your favorite part of the concert?

______

Draw a picture of something fun that you remember from the concert. You may want to ask your teacher for a bigger piece of paper.

ADDITIONAL RESOURCES ● Books

Books for Teacher Reference

Armstrong, Louis. In His Own Words: Selected Writings. Oxford University Press: Oxford. 1999, p. 132.

Cooper, Michael L. Slave Spirituals and the Jubilee Singers. Clarion Books: New York 2001.

Downey, James and Paul Oliver. “Spirituals” The New Grove Dictionary of Music and Musicians ed. Stanley Sadie. Macmillian: New York, 1980.

Hodeir, André. “Duke Ellington” The New Grove Dictionary of Music and Musicians ed. Stanley Sadie. Macmillian: New York, 1980.

Johson, James Weldon and J. Rosamond Johnson. The Books of American Negro Spirituals (in one volume). Da Capo Press, 2002.

Schwartz, Charles. “George Gershwin” The New Grove Dictionary of Music and Musicians ed. Stanley Sadie. Macmillian: New York, 1980.

Tobin, Jacqueline L., Raymond G. Dobard and Maude S. Wahlman. Hiddne in Plain View: A Secret Story of Quilts and the Underground Railroad. Doubleday: New York, 1999

Books for Students

Cole, Henry. Unspoken: A Story From The Underground Railroad. Scholastic, 2012. Hopkinson, Deborah. Sweet Clara and the Freedom Quilt (Reading Rainbow Books). 1995. Marasalis, Wynton. Jazz ABZ: An A to Z Collection of Jazz Portraits. Candlewick, 2005. McDonough, Yona Zeldis. What Was the Underground Railroad? Grosset & Dunlap, 2013. Pinkney, Andrea Davis. Duke Ellington: The Piano Prince and His Orchestra. Hyperion, 2006. Ringgold, Faith. Aunt Harriet’s Undergound Railroad in the Sky. Dragonfly Books, 1995. Ryan, Pam Muñoz. When Marian Sang. Scholastic: New York, 2002. Venezia, Mike. George Gershwin (Getting to Know the World’s Greatest Composers) Children’s Press. 1995.

ADDITIONAL RESOURCES ● Websites Websites Maryland Historical Society African-American Collection http://www.mdhs.org/digital- images?SearchTitles=&field_creator_value=&field_collection_value=&field_subject_value=%22African+American+histor y%22

The Library of Congress American Memory Faces and Voices from the Presentation (Interviews with seven different former slaves, note: Fountain Hughes’s interview was recorded in Baltimore) http://memory.loc.gov/ammem/collections/voices/vfssp.html

Follow the Drinking Gourd http://www.blackherbals.com/follow_the_drinking_gourd.htm

Spirituals Resources http://www.negrospirituals.com/

Underground Railroad Terminology www.pbs.org/black-culture/shows/list/underground-railroad/stories-freedom/underground-railroad-terminology/

The Black Innovators Online Museum http://edhelper.com/ReadingComprehension_54_841.html

Make Your Own Secret Quilt Message http://pathways.thinkport.org/secrets/secret_quilt.cfm

Instruments of the Jazz Band http://www.jbjazz.com/uploads/JBJO-Performance-Guide.pdf

Sweet Chariot: The Story of the Spiritual http://www.spiritualsproject.org/sweetchariot/Times/context.php

Some of the earliest audio recordings of spirituals (click on “Music Example” links) http://www.buckschoral.org/news-and-archives/resources/spiritual-history/chapter-7/

ADDITIONAL RESOURCES ● Videos & Fieldtrips Videos Burns, Ken. Jazz (PBS series) DVD 10 pack Lesson plans to go with series: http://www.pbs.org/jazz/classroom/

Duke Ellington at the Movies http://www.legacy.com/news/legends-and-legacies/duke-ellington-at-the-movies/787/

Live Performance of Ellington playing I’ve Got Rhythm https://www.youtube.com/watch?v=1bKstQNsQKc&feature=youtu.be

Follow the Drinking Gourd information video https://www.youtube.com/watch?v=lRGSgiTc7Jk

Reading Rainbow featuring “Follow the Drinking Gourd.” http://cullmancatswes.ss4.sharpschool.com/cms/One.aspx?portalId=109773&pageId=473262

Secrets and Codes of the Underground Railroad https://www.youtube.com/watch?v=GlwDAwKNfTU

Underground Railroad Secret Code Museum advertisement in Atlanta https://www.youtube.com/watch?v=2uNHREQheqs

Secret Code Quilt http://pathways.thinkport.org/secrets/flash/quilt_shell.cfm

Fieldtrips Reginald F. Lewis Museum www.rflewismuseum.org/

Frederick Douglass/Isaac Myers Maritime Park www.douglassmyers.org/

Sports Legends Museum: The Negro Leagues Baseball History http://baberuthmuseum.org/exhibit/the-negro-leagues-a-baseball-legacy/

The National Great Blacks in Wax Museum www.greatblacksinwax.org/

Hampton National Historic Site tinyurl.com/HamptonNationalHistoricSite

SPECIAL THANKS ● The Baltimore Symphony Orchestra acknowledges with gratitude The Baltimore Symphony Orchestra is the work of the following individuals who contributed to the proud to acknowledge support for its development of these materials: Midweek Education Series from the

following funders: Michael DuBose, Lesson Plan Writing Workshop Facilitator; Lead Writer Creative Arts Technology Specialist for Prince George’s County Public Schools Official Education Partner:

Krystal Williams: Lead Music Specialist

Instrumental Music at Western Senior High School (Baltimore City)

Elizabeth Fetters: Music Specialist Official Curriculum and Assessment Vocal/General Music teacher at Southampton Middle School (Harford County) Partner:

Susan Barnett: Science Specialist Science teacher at Landsdowne Middle School (Baltimore County)

Ryan Kaiser: Social Studies Specialist Social Studies teacher at Mt. Washington School (Baltimore City) Midweek Education Concert Series Carol Bogash, Vice President for Education and Community Engagement Sponsors: Baltimore Symphony Orchestra

Annemarie Guzy, Director of Education Baltimore Symphony Orchestra

Ken Lam, Associate Conductor for Education Baltimore Symphony Orchestra

Mollie Westbrook, Education Assistant Baltimore Symphony Orchestra

Maryland State Department of Education