Scat Singing for Kids! a Step-By-Step Journey in Jazz
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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. -
Sing It and Swing It ! Incorporating Vocal Jazz Into Your Choral Program Presented by April Tini MSVMA Summer Workshop 2018
Sing It and Swing It ! Incorporating vocal jazz into your choral program Presented by April Tini MSVMA Summer Workshop 2018 ELEMENTS OF A SUCCESSFUL VOCAL JAZZ PROGRAM: The vocal ensemble - auditions, size of group, parts/voicing, sound, style Repertoire The rehearsal and preparation process The sound system The rhythm section The jazz soloist Improvisation Targeted Listening TODAY’S WORKSHOP DEMO VOCAL EXAMPLES: VJ Warmups, swing feel, straight tone, soloist, improv basics VOCAL JAZZ EVENTS AND EXPERTS THROUGHOUT THE STATE: • MDJW - Metro Detroit Jazz Workshop/Vocal Workshop - Detroit, July 2019; www.helpwithjazz.com or facebook page. Scott Gwinell, Director • Michigan Jazz Festival - July 2019, Schoolcraft College; 7 stages, live jazz, free • Detroit Jazz Festival - Labor Day Weekend, Downtown Detroit Rivefront • DJF Youth Vocal Competition - Detroit Jazz Festival Affiliation; for your soloists! • Detroit Music Hall - Regular Sunday night jam sessions, 6 PM, led by Scott Gwinell • Detroit Music Hall Educational Outreach Program - clinicians available to come to your school and offer workshops, masterclasses www.musichall.org • GCIVJF - Gold Company Invitational Vocal Jazz Festival, Greg Jasperse, director, March 2019, annually; exceptional vje experience for students and teachers • CLINICIANS to help your students (within our state): Duane Davis - Grand Rapids area Jed Scott - Grand Rapids, Grand Rapids Community College Greg Jasperes - Kalamazoo, WMU Gold Company Sunny Wilkinson - East Lansing area Scott Gwinell - Detroit area and -
Why Jazz Still Matters Jazz Still Matters Why Journal of the American Academy of Arts & Sciences Journal of the American Academy
Dædalus Spring 2019 Why Jazz Still Matters Spring 2019 Why Dædalus Journal of the American Academy of Arts & Sciences Spring 2019 Why Jazz Still Matters Gerald Early & Ingrid Monson, guest editors with Farah Jasmine Griffin Gabriel Solis · Christopher J. Wells Kelsey A. K. Klotz · Judith Tick Krin Gabbard · Carol A. Muller Dædalus Journal of the American Academy of Arts & Sciences “Why Jazz Still Matters” Volume 148, Number 2; Spring 2019 Gerald Early & Ingrid Monson, Guest Editors Phyllis S. Bendell, Managing Editor and Director of Publications Peter Walton, Associate Editor Heather M. Struntz, Assistant Editor Committee on Studies and Publications John Mark Hansen, Chair; Rosina Bierbaum, Johanna Drucker, Gerald Early, Carol Gluck, Linda Greenhouse, John Hildebrand, Philip Khoury, Arthur Kleinman, Sara Lawrence-Lightfoot, Alan I. Leshner, Rose McDermott, Michael S. McPherson, Frances McCall Rosenbluth, Scott D. Sagan, Nancy C. Andrews (ex officio), David W. Oxtoby (ex officio), Diane P. Wood (ex officio) Inside front cover: Pianist Geri Allen. Photograph by Arne Reimer, provided by Ora Harris. © by Ross Clayton Productions. Contents 5 Why Jazz Still Matters Gerald Early & Ingrid Monson 13 Following Geri’s Lead Farah Jasmine Griffin 23 Soul, Afrofuturism & the Timeliness of Contemporary Jazz Fusions Gabriel Solis 36 “You Can’t Dance to It”: Jazz Music and Its Choreographies of Listening Christopher J. Wells 52 Dave Brubeck’s Southern Strategy Kelsey A. K. Klotz 67 Keith Jarrett, Miscegenation & the Rise of the European Sensibility in Jazz in the 1970s Gerald Early 83 Ella Fitzgerald & “I Can’t Stop Loving You,” Berlin 1968: Paying Homage to & Signifying on Soul Music Judith Tick 92 La La Land Is a Hit, but Is It Good for Jazz? Krin Gabbard 104 Yusef Lateef’s Autophysiopsychic Quest Ingrid Monson 115 Why Jazz? South Africa 2019 Carol A. -
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. -
Vocal Jazz in the Choral Classroom: a Pedagogical Study
University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie. -
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. -
Newsletter 4
August 2018 The Ninth Annual Monty Alexander Jazz Festival by Becca Newell Jazz enthusiasts rejoice! The energetic, ever-swingin’ since birth, the 17-year-old was recently named one of seven rising Monty Alexander returns to Easton this Labor Day weekend for his stars for 2018 by USA Today network’s 201 Magazine. Adding to eponymous festival, featuring an exciting lineup that boasts some—if not the long list of accolades, Whitaker’s debut album Outta the Box, the—best jazz musicians in the country. which was released last year, was named “one of the best debut albums The Ninth Annual Monty Alexander Jazz Festival will be held Friday, of 2017” by New York City Jazz Record. This show starts at 11 a.m. August 31st to Sunday, September 2nd, at the Avalon Theatre. Saturday’s matinee show at 2 p.m. highlights an extraordinary range of American and Brazilian musicians, featuring tenor/alto saxophonist Legendary jazz piano master Monty Alexander Harry Allen, renowned for his inventive tone that’s rooted in tradition. Allen will lead a salute to Stan Getz and the Getz/Gilberto collabora- tion with Antonino Carlos Jobim, which resulted in an award-winning album by the same name. Later that evening, at 8 p.m., Monty Alexander takes the stage. Considered one of the top five jazz pianists ever, Alexander’s musi- cal expression combines elements of the blues, gospel, calypso, and reggae. Known for his vibrant personality, charisma, and breathtaking talent, Alexander’s performance is not to be missed. Lyrical composer and trumpeter Dominick Farinacci photo: Joe Martinez The festival kicks off Friday evening at 8 p.m. -
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. -
The Art of Lyric Improvisation
THE ART OF LYRIC IMPROVISATION A Comparative Study of Two Renowned Jazz Singers ______________________________________________ A thesis in partial fulfilment of the Requirements for the Degree of Masters of Music in the University of Canterbury by S. J. de Jong University of Canterbury 2008 _________________________________________ de Jong i Table of Contents THE ART OF LYRIC IMPROVISATION ........................................................................................................ i Table of Contents ........................................................................................................................................... i Abstract .................................................................................................................................................... iii Introduction ................................................................................................................................................... 1 Chapter 1: Historical and Biographical Overviews ....................................................................................... 5 1.1: Jazz Historical Background ................................................................................................................ 5 1.2: “Sometimes I’m Happy” .................................................................................................................... 6 1.3: Sarah Vaughan .................................................................................................................................. -
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. -
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.