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The Melting Pot: Introduction to Jazz

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The Melting Pot: Introduction to Jazz The Melting Pot: Introduction to Jazz OVERVIEW Students will understand the historical and cultural forces that converged to create jazz music, referred to by many as the only truly American art form. Please Note: This lesson plan is contingent upon some prior understanding of slavery in the southern United States. It is in no way meant to replace a thorough study of this subject, but to enhance students’ understanding of this time period and its lasting cultural effects. LOUISIANA STATE STANDARDS ADDRESSED US.1.3 Propose and defend a specific point of view on a contemporary or historical issue and provide supporting evidence to justify that position US.1.5 Analyze historical periods using timelines, political cartoons, maps, graphs, debates, and other historical sources ELA: Draw relevant evidence from grade-appropriate literary or informational texts to support analysis, reflection, and research. Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content. Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences. MATERIALS NEEDED Computer with PowerPoint Slides and access to YouTube Projector connected to computer Speakers Spotify Jazz Curriculum Playlist and Track List Copies of Worksheets: Spirituals, Work Songs, Delta Blues, Jazz VOCABULARY Spiritual: a sacred song sung by slaves in the United States Work song: an often-improvised song sung while doing manual labor. This term can be used to reference those songs sung by slaves in the United States or laborers in prisons. Delta Blues: style of music developed in rural Mississippi and Louisiana, usually AAB form Improvisation: playing music freely, making it up on the spot, rather than composing written music Jazz: style of music that developed in the early 20th century in American cities. It is an improvised style of music and varies greatly by city. ACTIVITY I. Review the slave trade in Louisiana II. Why do we sing? Ask students for reasons someone might sing, list them on the white board (examples will likely include boredom, happiness, celebration, sadness, prayer, means to express themselves) Project the two Frederick Douglass quotes from Narrative of the Life of Frederick Douglass (Slide 2). Ask a volunteer to read each quote aloud. Has anyone heard of slave songs before? (Depending on prior lessons, spirituals may have been covered, and possibly the use of songs to convey secret messages and codes.) III. Spirituals Pass out Spirituals Worksheet (Document 1). Project the text for “Steal away” (Slide 3) and listen to it (Track 1). Have students fill in their responses to “Steal Away” on their worksheets. Give students properties of the Spiritual (Slide 4). Spirituals are songs sung by the slaves in America. They are religious or spiritual in nature, usually alluding to stories from the Bible. They were not written down (slaves were not allowed to read or write), but passed down orally from generation to generation. Many spirituals carry dual-meanings; for instance, “Steal Away” can express hope or inspiration that they will be delivered from their present struggle or (as some believe) highlight instructions for escaping slavery along the Underground Railroad. Project text for “All God’s chillun got wings” (Slide 5-6). Listen to “All God’s chillun got wings,” (Track 2). References of flight are significant and often mentioned in slave songs and folk tales. Ask the students for their input as to why they think slave folklore is littered with references to flying away, or flight in general. Have them fill in their thoughts on their Spirituals Worksheet. Proceed to Slide 7 and have a student read out the quote from Dr. Martin Luther King Jr.’s speech at the 1964 Berlin Jazz Festival. Have the class discuss the quote. While listening to “Oh, Freedom!” (Track 3), have students record their reflections to both the quote and song on their Spirituals Worksheet. IV. Work Songs Proceed to Slide 8 and pass out Work Songs Worksheet. Introduce Alan Lomax’s recording of “Early mornin’” In the 1900s, a man named Alan Lomax went to a prison in Mississippi called Parchman Farm and heard the prisoners singing while working in the fields. Though these recordings were from the 1940s, many of these men were born around the year 1900, which means that the work songs of their ancestors were passed down to them, just one generation from slavery. This is why we think 2 these recordings are the closest we have to what it would sound like to be outside on a plantation, like Frederick Douglass described. Instruct the students to listen for how (without video) we know that the men are working, and have them write down all the words that they can pick up on their worksheets. (It is very difficult to understand the words in this recording. That is okay! Students will focus to pick up as many as they can.) Listen to “Early mornin’” (Track 4) for 2-3 minutes, or just until 1:37 (it is at this point that the words, “Gonna rise and fly” are audible) Ask the students for lines they understood. If this line is not mentioned, be sure to highlight it. This is one way we can see the work songs are related to the spirituals of the American slaves. These songs were either passed down aurally or improvised to reflect issues the slaves were dealing with at the time. This same prison where Alan Lomax recorded “Early mornin’” (Parchman Farm) is referenced in the play The Piano Lesson by August Wilson. The actors portray another work song called, “Berta, Berta”. Watch the clip of “Berta, Berta,” (Youtube link embedded on Slide 7) and fill in your worksheet the emotions you observe (there are four men singing, so you may find many!) How does singing the song change the mood of the scene between the four men? What differences are there between “Early mornin’” and “Berta, Berta”? (They may hear many: the men are singing in harmony on Berta, Berta, they will likely be able to hear more words on Berta, Berta. These are all correct. It is important, however, that it is clear that “Early mornin’” is a primary source, recorded by real inmates in a prison, and that “Berta, Berta” is a secondary source, being performed by actors in a play --and here, a movie.) Instruct the students to complete the two writing assignments on their Work Songs Worksheets (note: this may be completed in class while listening to either piece again or assigned as homework, depending on time). V. Delta Blues Proceed to Slide 9 and pass out Delta Blues Worksheet. Instruct students to fill in their sheets as you cover the following material: The Delta Blues was a style of music that originated in the Mississippi Delta and parts of Louisiana in the early 20th century. It originated in poor communities and was primarily sung by one person (usually male) with guitar. Most Delta Blues songs were about poverty, or love or life gone wrong. The Delta Blues were often very simple and the form is very clear: it is what we would call ‘AAB’ form. This means that each verse is composed of only three lines: Line A Line A (repeated) Line B 3 Listen to Robert Johnson “Cross Road Blues” with the lyrics projected (Slide 10), (Track 5). Students should fill in their Delta Blues Worksheets. Brainstorm: What would your blues song be about? Social Studies tie-in: What do you think some common themes may have been in the blues style, originating around 1900? Why did the blues develop? What does it say about the population singing the blues? Play “Off the Wall” (Track 6) and instruct students to write their own 12-bar blues on their worksheet while they listen. IV. Jazz Introduce Jazz to students (Slide 11): Divide the students into groups of 3-5. Instruct the students that as you play the next piece, they should have a conversation between them all. Play just a couple minutes of Struttin’ with Some Barbecue (Track 7) as the students talk to each other. Stop the music, and rotate two people from each group to the next (remove two students from the first group and trade them with the next, and those with the next, so that each group now has two new people in it). Instruct the students to have another conversation, and play just another minute of Struttin’ with Some Barbecue. Have students return to their seats. Proceed to Slide 12 and introduce Jazz: As more jobs came to cities, more people flocked to them for work. Musicians from the lower classes played together in night clubs. They played improvised music: this means music made up on the spot, rather than played from written sheet music. Some Jazz musicians compare improvising music to having a conversation. They listen to each other and what their friends play, and they answer it back with their own music. The conversation you just had was already an improvisation, like a jazz piece. Because each player is reacting to every other player, each time each piece was played, it was different, just like your conversations changed when you changed groups. Each musician had their own way of improvising and therefore each city had its own individual type of jazz. “Struttin’ with Some Barbecue” is an example of New Orleans-style jazz. Short Story: Give students 5-10 minutes to write a short story with “Struttin’ with Some Barbecue” as their inspiration.
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