I Love Jazz Curriculum

and

Collective Improvisation: Jazz in St. Louis Curriculum

Grade Level: 6-9, adaptable to grades 10-12

Time Allotment: Activities may be used as a complete unit or select and utilize individual lessons.

Learning Objectives: Introduce students to the American art forms of Jazz and Ragtime Introduce students to several St. Louis activist Jazz and Ragtime Greats Introduce students to Jazz and musical vocabulary Discuss racial issues from the 19th Century to the Present Introduce students to the East St. Louis Race riot of 1917 Discuss racism and stereotyping

Show Me Performance Standards Goal 1 - 2, 4, 5, 7, 9 Goal 2 - 1, 2, 4 Goal 3 - 1, 2, 3, 4, 5, 6, 7, 8 Goal 4 - 1, 2

Fine Arts Knowledge Standards - 2, 3, 4, 5 Social Studies Knowledge Standards - 6, 7 Communication Knowledge Standards - 1, 3, 4, 5, 6, 7

Prep for teachers  Study and select activities for your students.  Prepare to tape the documentary “Collective Improvisation: Jazz in St. Louis” so that students may recheck information.  Preview websites used.  Copy necessary materials from this curriculum. If necessary, print website information cited for research.

Introductory Activity

1 Before watching the show I Love Jazz or the documentary “Collective Improvisation: Jazz in St. Louis” develop a learning focus by discussing authentic American art forms. Introduce and ask for discussion about Clint Eastwood‟s quote "Americans don't have any original art except western movies and jazz". Students should preview the questions so that they can thoroughly complete the Discussion Guide after viewing the documentary.

Lesson One The student will:

1. gain an understanding of origins of jazz 2. gain a basic understanding of why jazz is an American art form 3. gain an understanding of basic elements of jazz

Jazz History Handout

Jazz, an outgrowth of the African American experience, is the first indigenous American style to affect music in the rest of the World. Jazz developed from the African American experience. Although New Orleans is generally credited with the early growth of jazz, this art form was developed simultaneously in other cities, such as St. Louis. New Orleans was a port city with Creole, Caribbean and Hispanic influences as well as a large Black population

Jazz joins traits from West African folk music, which had evolved into slave songs and spirituals, and popular European music of the 18th and 19th centuries. Jazz got its rhythm and blues quality from African music, as well as the tradition of playing an instrument as an extension of human voice. European music contributed harmony, which are the chords that accompany a tune, and most of the instruments used in jazz, such as the piano, saxophone and trumpet. Many experts agree that swing rhythm and improvisation are the two most important elements of jazz. Improvisation came from both the West African and European influences. Jazz was developed at a time of extreme discrimination and segregation, so improvisation allowed the artists a voice.

The origins of the term Ragtime, an art form that was the precursor of Jazz, is obscure. It is said that the syncopated or "ragged" melody line gave rise to the term. Another view is that the music was first played by itinerant bands dressed in ragged clothing and the music was thus identified as "rag music" and eventually became "ragtime." Ragtime, which first blossomed in the late 1890s, was the creation of itinerant pianists, most of whom were Black, and who lived and traveled throughout the Mississippi Valley.

Jazz and Ragtime Vocabulary

Bebop: A style of music developed by Charlie Parker, Dizzy Gillespie, and others in the early 1940s and characterized by challenging harmonies and heavily syncopated rhythms that demanded a new standard for instrumental virtuosity and impacted every subsequent style of jazz.

2 Big band: A style of orchestral jazz that surfaced in the 1920s and blossomed as popular music during the Swing Era (1935–50). Also: any ensemble that played this type music (i.e., a band consisting of a brass, woodwind, and rhythm section that played carefully orchestrated arrangements).

Boogie-woogie: A musical style characterized by a regular bass figure, an ostinato and the most familiar example of shifts of level in the left hand which elaborates on each chord, and trills and decorations from the right hand. Video Clip on available on www.hectv.org

Bossa nova: A musical style developed in the 1960s that combines elements of cool jazz with Brazilian music and features complex harmonies, a steady straight-eighth-note groove, and sensual melodies.

Blues: African-American music, developed in the South during the mid-1800s that became the foundation of most American popular music.

Brass: A family of musical instruments that includes trumpets, trombones, tubas, and French horns.

Call and response: A musical conversation in which instrumentalists and/or vocalists answer one another.

Cool: A style of playing characterized by spare lyricism and a relaxed demeanor. First inspired by the understated style of saxophonist Frankie Trumbauer in the 1920s, cool jazz became widespread in the early 1950s.

Ensemble: A group of more than two musicians.

Free jazz: A style of music pioneered by Ornette Coleman in the late 1950s that shunned Western harmony and rhythm in favor of greater freedom of self-expression.

Front line: Collectively, the primary melody instruments in a New Orleans band, namely the trumpet, the trombone, and the clarinet.

Groove: A musical pattern derived from the interaction of repeated rhythms.

Hard bop: A style of jazz characterized by intense, driving rhythms and blues-based melodies with a bebop sensibility.

Harmony: The chords supporting a melody.

Horn section: A grouping of musical instruments in a band or orchestra that generally includes saxophones, trumpets, and trombones.

Improvisation: The impromptu creation of new melodies to fit the structure of a song

3 Ostinato: A musical phrase that is repeated over and over, generally by the bass.

Percussion: A family of instruments generally played by striking with hands, sticks, or mallets.

Ragtime: A musical precursor of jazz, generally played on the piano, that appeared in the first years of the 20th century and that combined European classical technique with syncopated rhythms, which were said to “rag” the time.

Rhythm: The organized motion of sounds and rests; the patterned repetition of a beat or accent that drives a musical piece forward.

Rhythm section: A grouping of instruments that provide the rhythmic and harmonic structure in band or orchestra; usually the drums, bass, and piano.

Riff: A short, repeated musical phrase used as a background for a soloist or to add drama to a musical climax.

Solo: The act or result of a single musician improvising, usually within the structure of an existing song.

Stride: A style of playing piano in which the left hand covers wide distances, playing the bass line, harmony, and rhythm at the same time, while the right hand plays melodies and intricate improvisations. Video Clip on available on www.hectv.org

Swing: The basic rhythmic attitude of jazz; based on the shuffle rhythm. Also: a style of jazz that appeared during the 1930s and featured big bands playing complex arrangements.

Syncopation: The act of placing a rhythmic accent on an unexpected beat.

Woodwind: A family of musical instruments that includes saxophones, clarinets, flutes, oboes, and bassoons.

Adapted from the NEA Jazz in Schools website, http://media.jalc.org/nea/lesson1/glossary.php?uv=s

Discussion Questions

Why is jazz an American art form? Could it have developed in a different country or at a different time in history?

What aspects of New Orleans and St. Louis lead to the development of jazz?

What aspect of jazz makes it a unique form of self-expression? How did improvisation relate to historical events of the time?

4 Learning Activity:

Activity Set One: Multi-Media Presentations

Materials Needed: documentary “Collective Improvisation: Jazz in St. Louis”, students‟ partially completed copies of the Discussion Guide and Vocabulary Words.  Watch the documentary “Collective Improvisation: Jazz in St. Louis”  Complete and discuss Discussion Guide.  Review Vocabulary Words.

Using a variety of sources, Cable television, Internet, books, magazines and music, have students prepare a Multi-Media Presentation of history of Jazz. A sampling of the Vocabulary Words should be present in the presentation.

Lesson Two The student will: 1. Understand economic and social factors contributing to the Great Migration.

2. Follow the pattern of the Great Migration through maps and demographics.

Great Migration

In 1910, seven million of the nation's eight million African Americans resided in the rural South. But over the next fifteen years, more than one-tenth of the country's Black population would voluntarily move north; The Great Migration, which lasted until 1930, had begun. This came about for a variety of reasons.

The first reason was financial. Cotton had been King in the South for centuries, but beginning in 1913, a series of calamities devastated the crop. World cotton prices fell, a boll weevil infestation began in Texas and moved East, covering vast areas, and finally in 1915, severe floods inundated the Mississippi Valley. These factors combined to ruin the Black sharecroppers and tenant farmers who already struggled due to Jim Crow Laws and discrimination. Many fell deeply into debt or lost everything.

The second reason was World War I, which pulled millions of men into the Armed Services and reduced immigration. The resulting severe labor shortage had to be met, and the South, with its Black sharecroppers and tenant farmers reeling from the cotton catastrophe, became prime recruiting territory. Several railroad companies were so desperate for employees that they actually paid African Americans' travel expenses to the North. Northern labor agents scoured the South, encouraging Blacks to leave and go find jobs in the North. The chance to earn a living wage, along with tightening Jim Crow Laws, segregation, discrimination and disenfranchisement of voters, sent many Blacks to the North.

5 Although the Great Migration slowed during the Depression, nearly one-fourth of all Blacks lived in the North or West by 1940. The trend continued during and after World War II. By 1960, forty percent of all Blacks lived outside the South, while seventy-five percent of all Blacks lived in cities.

Discussion Questions

1. Why did so many African-Americans migrate to the North during the late nineteenth and early twentieth centuries? 2. How did the Great Migration allow for the spread of Jazz?

Learning Activity:

Activity Set Two: Mapping the Great Migration

Materials Needed: documentary “Collective Improvisation: Jazz in St. Louis”, students‟ partially completed copies of the Discussion Guide, United States maps.  Watch the documentary “Collective Improvisation: Jazz in St. Louis.”  Complete and discuss Discussion Guide.

Using a variety of sources, Cable television, Internet, books, magazines, have students research the Great Migration and create a map, tracing routes used. When the map is complete, lead the students in a discussion of how Jazz was spread by participants in the migration.

Lesson Three The student will: 1. Understand economic and social factors contributing to the East St. Louis Race riot. 2. Have a basic understanding of the history of race relations in the United States.

East St. Louis Race Riot-1917 (From material by John Cobb and Elliott Rudwick) *Be aware some of this material is violent. Please read and use with discretion

America was built on the premise where human progress combined with scientific advances and expansion meant a better life for future generations. Unfortunately, there have been numerous instances where we have grievously fallen short of this credo. July 2, 2006 marked the 89th anniversary of the race riots that took place in East St. Louis back in 1917. What follows is a summary of information gleaned from Elliott Rudwick, John Cobb, the Journal and the Post-Dispatch.

Race relations have been a blot on our nation's history for a very long time. Slavery was introduced to Jamestown Virginia in 1619 and it took a Civil War to rid the nation of that infamous “peculiar institution.” Despite adding civil rights amendments to the

6 Constitution, Lynch Law, the KKK, and Jim Crowism conspired to delegate Blacks to a second-class status for more than a hundred years after the war.

It is necessary to examine the historical context to understand why the East St. Louis riot happened. Due to the creation of job opportunities from the outbreak of war in Europe, Blacks for the first time in history moved north in an event that came to be known as the Great Migration. They were looking for economic opportunity. Following on the heels of this exodus, they organized to challenge the concept of white supremacy and the established order. The result was bloody conflict.

Whites had not yet learned to accept Blacks as part of the urban landscape and resented this “invasion.” East St. Louis at the time was particularly appealing to those looking for work because of its booming economy and reputation for good paying jobs.

Segregation was the established order of the day. Blacks were treated in separate wards of the two city hospitals and were attended by Black physicians. At the plants and packing houses, they had their own washrooms, worked in segregated labor gangs and ate in an isolated section of the dining halls. Their presence in the city was confined to a ghetto in the south end of town.

As long as the Blacks constituted a small minority, they were not perceived as a threat. Race problems were for the South. But their numbers tripled between 1900 and 1914, and grew exponentially as war in Europe ruled the engines of industry in the United States.

The situation was exacerbated when labor-management problems worsened. At many companies, workers were trying to unionize. The companies refused to recognize unions and in an attempt to impede the unions from gaining control, many Corporate Managers decided to hire Blacks from the South to limit the future demands of white workers. The workers would not try to complain as much if they knew they would be replaced. The stage was set for an explosive situation.

At the height of the important crisis, Mayor Mollman and the police blamed the perceived crime wave on newly-arrived migrants. Pawn shops and dealers soon did booming business in the arms trade. It was a common belief among the whites that the first thing Blacks did when they arrived in the city was to buy a gun. Rumors began to circulate that the “gun-toting Negroes” were plotting a race war. The city became a ticking time bomb.

Actually in the East St. Louis frontier land of 1917, whites also beat a well-worn path to the pawnshops where window displays urged, “Buy a gun for Protection.” An arms embargo was soon placed on the Black population which prohibited them from purchasing guns.

A rumor circulated among whites that the Blacks in the city were planning a massacre on the 4th of July. It was probably just hearsay, but the very thought of such an occurrence struck fear in whites and set the stage for subsequent events. There was a preliminary

7 riot on May 28th after a large crowd of union delegates had met with the Mayor and the City Council. As the group was leaving City Hall, they heard a rumor that a Black man had just shot a white man during a robbery. When the story was passed along, it was embellished to the point where one white woman had been insulted and two others shot. “Take guns away from the Negroes,” the mob shouted as they marched to the downtown. No one was killed in the attacks but a number of Black men were severely beaten.

In the days to follow, there were numerous instances where Blacks were attacked by white mobs for no other reason than racial hatred. On July 1st, a car driven by whites fired shots into Black homes. Later, the police received a report that armed Blacks were on the rampage. A police car was dispatched and met more than 200 Blacks, many of them armed, and who without a word of warning opened fire. One of the detectives was killed instantly and the other died the following day.

A newspaper account of the attack inflamed passions. This action was just the evidence East St. Louisans needed to prove that Blacks were mobilizing for a massacre. On the morning of July 2nd, there was a protest meeting at the Labor Hall. Various speakers told the audience to start arming themselves. After the meeting, the group marched in military fashion toward the main street. The mob began attacking and shooting every Black they encountered with little regard for age or sex. Streetcars were stopped and Blacks were pulled off. Although the assaulting groups contained only about 25 people, they were encouraged by large crowds that had gathered on the streets.

By afternoon the crowd invaded the area south of Broadway shouting that they planned to avenge the two detectives who were killed. Homes were set on fire. Blacks who attempted to escape the flames were picked off and shot one at a time. Another Black man was lynched from a telephone pole. Encouraged by mobs who shouted, “Burn „em out,” the rioters destroyed over 200 homes. The Illinois National Guard was called to the scene but the militia did not deal firmly with rioters and proved to be largely ineffective.

Violence fed upon itself and in the Black Valley, small gangs lighted torches, joking and waiting for Blacks to flee from the furnaces which had been their homes. When an ambulance arrived to take one man to the hospital, rioters warned if they took the Black man to the hospital, they would kill the workers as well. When more militia arrived that night, the rioting slowed down but was not yet over. An entire square block was burned to an ash heap.

Many Blacks owed their lives to the alarm set by True Light Baptist Church which rang its bell to indicate that rampaging whites were coming. Sympathetic whites hid Black families in their basements while flames illuminated the night sky. Hundreds of refugees were brought to the city hall auditorium.

The next day, when it had ended, reports in the newspapers said that over 200 people had been killed, but the official count was 39 Blacks and 9 whites. These figures may be too unfounded because it can be presumed that some of the bodies were never found. It is

8 estimated that up to seven thousand Black families fled to St. Louis, many of which never returned. Ultimately half a million dollars of damage occurred.

In trials that were held afterwards, twelve Blacks (charged with murder) went to prison for the deaths of the two detectives. Nine whites (charged with homicide) were sent to the penitentiary, forty-one whites were found guilty of misdemeanors, twenty-seven whites paid small fines, and fourteen received short terms in county jail.

In November a Senate-House congressional committee prepared a report which was a stinging reprimand of the community‟s social and business biases which made the riot possible.

No other riot in American history claimed the lives of more African Americans than the one that raged in East St. Louis during that hot summer day in 1917. It was a stain on the fabric of the city‟s character that would take a long time to fade. Local business leaders were so disgusted by the clash that a number of significant changes were made. The mayoralty system was replaced with a city commission form of government so that the power of the mayor‟s office would be shared.

The Chamber of Commerce supported a social welfare program that directly benefited Blacks, and a commitment was made to improve housing for the beleaguered minority. Finally, conditions were improved with the creation of an Urban League which gave Blacks a voice in community affairs.

Learning Activity:

Activity Set Three: Interpreting the East St. Louis Race Riots

Materials Needed: copies of “Race Riot at East St. Louis-1917” per student or Group, discussion guide for race riots.  Read “Race Riot at East St. Louis-1917” individually or as a group.  Complete and discuss Discussion Guide. See suggested responses in Teacher‟s Discussion Guide.

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Name ______Date______

East St. Louis Race Riot-1917 Discussion Guide

1. What do you know about the history of race relations in the United States?

2. When did slavery start in this country?

3. What are the differences between slaves and indentured servants?

4. Name several of the Post Civil War institutions that prevented African Americans from exercising their civil rights.

5. Explain segregation with examples.

6. What event triggered the Great Migration of African Americans?

7. What was the biggest factor that contributed to the East St. Louis Race Riots?

8. Explain the circumstances of the actual riot, i.e. who attacked first; how many people were killed or injured; etc?

9. What long term effects did the riots have on the city?

10. Did everyone in town support and participate in the riot?

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Name______Date______

East St. Louis Race Riot-1917 Discussion Guide (Suggested Answers) 1. What do you know about the history of race relations in the United States? Any reasonable answer will suffice.

2. When did slavery start in this country? Jamestown, 1619.

3. What are the differences between slaves and indentured servants? Slaves were forced into labor; indentured slaves earned their freedom typically after 7 years of work.

4. Name several of the Post Civil War institutions that prevented African Americans from exercising their civil rights. Jim Crow Laws, KKK, Lynch Law.

5. Explain segregation with examples. Separate dining halls, washrooms, living areas, etc.

6. What event triggered the Great Migration of African Americans? WWI-Higher paying industrial jobs.

7. What was the biggest factor that contributed to the East St. Louis Race Riots? Fear, rumors, untruths.

8. Explain the circumstances of the actual riot, ie who attacked first; how many people were killed or injured; etc? Whites attacked first; 39 Blacks killed; 9 whites killed.

9. What long term effects did the riots have on the city? Mayor replaced by city commission, social welfare program put in place, many (7000) African Americans left, not to return.

10. Did everyone in town support and participate in the riot? No, church members hid and protected African Americans also some local families hid and protected African Americans as well.

11 Choose from the activities listed below; you may choose to allow the students to select one or have the class do each of the activities.

1. Role Playing: Select one student to play these parts: mayor, newspaper editor (Both Black and white), union delegate, policeman, white man, Black man, church member.

Task them with re-writing history through conflict resolution.

2. Timeline: Create a timeline of race relation from the 1600‟s through the present day.

3. Short story: Write a short fictional account from an African American or white child‟s point of view on the race riots OR have them write lyrics as Scott Joplin witnessing the riots and how he would have described it in song.

Lesson Four

The student will: 1. Understand the background of early Jazz and Ragtime figures. 2. The importance of St. Louis in the development of Jazz and Ragtime. 3. Have an understanding of the growth of this unique African American form of music.

Tom Turpin, who is recognized as the “Father of St. Louis Ragtime,” was born Thomas Million Turpin on June 18, in the early 1870‟s to John and Lulu Turpin in Savannah, Georgia. After the family moved to St. Louis, he helped his father run a saloon and became active in local politics. In the 1880‟s, Turpin and his brother bought a Nevada gold mine, which Scott Joplin immortalized in “The Searchlight Rag.” After the mine failed, the brothers returned to St. Louis and Turpin opened the “Rosebud Café.” He had already made his mark as the author of “Harlem Rag” (1897), the first published instrumental rag by an African American composer. While Turpin published only four other rags in his lifetime- "The Bowery Buck" (1899), "A Ragtime Nightmare" (1900), "St. Louis Rag" (1903), and "The Buffalo Rag" (1904), his influence on the development of ragtime was immense. His café became a regular meeting place for St. Louis‟ best rag players and was headquarters for any traveling musician passing through town. Being an avid fan of Scott Joplin and W. C. Handy, Turpin brought both of these musicians to play at his club. Not only was he a successful saloon owner, he served as a deputy constable and was one of the first politically powerful African-Americans in St. Louis.

W. C. Handy was born William Christopher Handy on November 16, 1873 in Florence, Alabama. Growing up, he displayed a keen interest in music with an intuitive ear.

12 Unfortunately, his family and church frowned upon playing musical instruments. When he joined his first band as a teenager, he was forced to keep it secret from his family. In 1892 he passed a teaching exam and entered that profession. The low pay caused him to quit and organize a small orchestra and teach musicians how to read notes. In 1900, Handy became a professor at the Agricultural and Mechanical College in Normal, Alabama. This was one of the two colleges in the state that allowed Blacks to attend.

After a dispute with school administrators, Handy resigned and was offered a position to direct a Black band named the Knights of Pythias. He then moved his band to Memphis, Tennessee on the famous Beale Street. This sparked the beginnings of the new genre of music known as the blues. The first song he wrote, “Mr. Crump” was later renamed, “Memphis Blues.” After this composition, he wrote, “St. Louis Blues” which became an influence for ragtime music.

Handy died on March 28, 1958 at the age of 84. His influence on the blues and ragtime is immeasurable. Because of this, he earned the name, “Father of the Blues” after single handedly introducing a new style of music to the world.

Scott Joplin was probably born around 1867 in Texas although experts are not positive of the exact place or date. It is known that as a child, his family moved to Texarkana. Scott gained access to a piano in a home owned by whites where his mother worked. He taught himself how to play.

Joplin‟s talent was noticed by a music teacher, who instructed him further. In the 1880s the family moved to Joplin, Missouri. From here he started a musical career and traveled to St. Louis, which had become a major center of ragtime. Throughout the late 1800s, Joplin was traveling as a musician throughout the East and Middle United States. In 1896 he attended George R. Smith College, an institution for Black musicians. At the end of his course of study he still had not mastered music notation although as history has shown, he was a great composer. In 1896 Joplin published two marches and a waltz. In 1889 his first rag, “Original Rags” was sold. His next song, “Maple Leaf Rag,” sold over half a million copies by 1909 and continued to be a best seller for the next two decades.

In St. Louis, Joplin became associated with saloon owner, Tom Turpin. He performed little, but spent much of his time composing and teaching. Joplin‟s publisher had located in St. Louis and he spent a great deal of time in those offices, chatting with other ragtime composers.

Joplin tried unsuccessfully to find funding for an opera he had written. He eventually produced it himself, only to have it fail financially and he himself never saw the completely staged performance. All of his possessions, including the opera libretto and score, were confiscated to pay the debts that had accumulated from the failed attempt. Newspaper accounts indicate that the opera was about a meeting between President Theodore Roosevelt and Booker T. Washington, the first head of the Tuskegee Institute in Alabama.

13 By 1916, Joplin was experiencing physical and mental problems which caused him to be hospitalized and then transferred to a mental institution where he died on April 1, 1917. At the time of his death, he was almost forgotten and interest in ragtime was quickly waning. In the 1940s musicians began seeking a revitalization including ragtime in their development of traditional Jazz. In 1970 new recordings of Joplin‟s music were published which quickly became popular and introduced his music and ragtime to a whole new generation. In 1976 he was posthumously awarded the Pulitzer Prize for his significant contribution to American music.

Learning Activities

Activity Set Four: Researching Jazz and Ragtime influences

Materials Needed: copies of biographies of Tom Turpin, W. C. Handy, Scott Joplin or other artists

 Read and discuss the diverse backgrounds of these men and women, who came together to create a whole new genre of music expressing the Black experience in America.

Using a variety of sources, Cable television, Internet, books, magazines, have students research and write a biography on other important figures of Jazz and ragtime. Alternately, students would be asked to write a poem about one of these people. The poem could be written in a variety of styles. Dennis Owsley – author Josephine Baker Miles Davis Helen Humes Clark Terry Ella Fitzgerald Lester Bowie Duke Ellington Singleton Palmer Count Basie Fate Marble Charles Creath Louis Armstrong Jelly Roll Morton

Web Links

Life of Dizzie Gillespie on the A & E Channel, http://www.aetv.com/class/admin/study_guide/archives/aetv_guide.0632.html Ella Fitzgerald: Forever Ella on the A & E Channel, http://www.aetv.com/class/admin/study_guide/archives/aetv_guide.0874.html Duke Ellington: Reminiscing in Tempo on the A & E Channel, http://www.aetv.com/class/admin/study_guide/archives/aetv_guide.0056.html History of the Civil Rights Struggle, War and Depression on the History Channel, http://www.history.com/minisite.do?content_type=Minisite_Generic&content_type_id=5 90&display_order=1&sub_display_order=6&mini_id=1071

14 History of the Civil Rights Erosion of Rights on the History Channel, http://www.history.com/minisite.do?content_type=Minisite_Generic&content_type_id=5 89&display_order=5&sub_display_order=18&mini_id=1071 The Mighty Mississippi on the History Channel, http://www.history.com/classroom/admin/study_guide/archives/thc_guide.0167.html Encyclopedia Articles coving Ragtime on the History Channel, http://www.history.com/search.do?searchText=ragtime&targetDB=THC_BOOKS_V2 Jazz Talk Lesson Plan on the Discovery Channel School, http://school.discovery.com/lessonplans/activities/jazztalk/ Ladies of Jazz, http://www.ddg.com/LIS/InfoDesignF96/Ismael/jazz/jzindex.html International Association for Jazz Educators, http://www.iaje.org National Initiatives: National Endowment for the Arts Jazz Masters, http://arts.endow.gov/national/jazz/index.html National Endowment for the Arts Jazz in Schools, http://media.jalc.org/nea/home.php A Passion for Jazz, http://www.apassion4jazz.net/ American Artforms, http://www.spark-online.com/march00/miscing/english.html Elements of Jazz, http://www.outsideshore.com/school/music/almanac/html/Elements_Of_Jazz/index.htm Jazz PBS Kids Go! http://pbskids.org/jazz/ The Great Migration on PBS, http://www.pbs.org/wnet/aaworld/reference/articles/great_migration.html The African American Mosaic, Library of Congress, http://www.loc.gov/exhibits/african/afam008.html The Great Migration a Story in Paintings, http://www.columbia.edu/itc/history/odonnell/w1010/edit/migration/migration.html The African American Registry Tom Turpin, http://www.aaregistry.com/african_american_history/1677/Tom_Turpin_was_an_early_ Ragtime_icon The Scott Joplin International Ragtime Foundation, http://www.scottjoplin.org/biography.htm W. C. Handy, Father of the Blues, http://www2.una.edu/library/handy/biography.htm Ragtime: the First American Music? http://www.firstladies.org/curriculum/curriculum.aspx?Curriculum=1515

Books

Owsley, Dennis. City of Gabriels: The History of Jazz in St. Louis 1895 to 1973. St. Louis: Reedy Press. 2006.

Ward, Geoffrey C., Burns Ken, Burns Ken C. Jazz: A History of America's Music. Knopf Publishing Group. 2002.

Marsalis, Wynton, Rogers, Paul. Jazz ABZ: A Collection of Jazz Portraits from A to Z. Candlewick Press. 2005.

15 Lawrence, Jacob. Great Migration: An American Story. Harper Collins Children‟s Books. 2005.

Grossman, James R. Land of Hope: Chicago, Black Southerners, and the Great Migration. University of Chicago Press. 1991.

Preston, Katherine K. Scott Joplin: Composer. Holloway House Publishing. 1990.

Yaeger, Mary. W. C. Handy: Father of the Blues. Seacoast Publishing. 2003.

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