Lesson Plan 1 Student Handout

LESSON PLAN 1 STUDENT HANDOUT
Jazz Musicians as Cultural Intermediaries
Jazz was born out of the cultural experience of African Americas and can be traced in a direct line to the slave songs of the
plantations through the Negro Spirituals, Ragtime, and the Blues. Music was an essential aspect of African American life.
Many of the great spirituals expressed faith, perseverance, and a passion for freedom. In the riotous rhythms of Ragtime
according to James Weldon Johnson, a prominent African American poet and musician, the Negro expressed his
irrepressible buoyancy, his keen response to the sheer joy of living. Blues were a reflection of the trials and tribulations of
life. The cultural experiences of African Americans weave in and out of the lyrics and reflect emotions ranging from
lamentation to exuberance.
In 1921 Johnson published an anthology of African American poetry and spirituals, entitled The Book of American Negro
Poetry. In his preface Johnson wrote that artists accomplish their best when working with something they know best and,
according to Johnson, race is what African Americans know best. In his poem, O Black and Unknown Bards, (HOT
LINK: http://ctl.du.edu/spirituals/literature/johnson.cfm) Johnson recognizes the power of song and celebrates the
memory of slave singers, gone, forgot, unfamed. The poem reflects Johnsons view that music formed the core of African
American culture.
Jazz was born in the lower Mississippi Delta and was nourished in New Orleans. In the first decades of the twentieth
century its emotional rhythms moved north with the Great Migration, a mass movement of Blacks from the South to urban
areas seeking better opportunities and attempting to escape from rigid Jim Crow laws [1] that held them in a state of
virtual slavery. This distinctly American music, with an emphasis on improvisation, captured the spirit of the nation. The
radio and phonograph had a major impact on Jazzs popularity as improvisation and the spontaneity that typified the music
was better conveyed through sound than sheet music.
During World War I, African American soldiers introduced jazz to Europe. Band director Lt. James Reese Europe (HOT
LINK: http://en.wikipedia.org/wiki/James_Reese_Europe) and his Harlem Hellfighters of the 15th Regiment Machine Gun
Battalion, gave a concert in Paris as part of the Allied celebration surrounding the Versailles Peace Conference. Popular
enthusiasm for jazz prompted the French government to request that Europes band give a series of performances in
Paris. A French band director, unable to coax the same sound from his military band, invited Lt. Europe to a rehearsal.
Europe explained that jazz was more than musical chords; it was a release of emotions. In an interview published in the
Literary Digest on his return to the United States, Europe remarked: I have come back from France more firmly
convinced than ever that Negroes should write Negro music. We have our own racial feeling and if we try to copy whites
we will makes bad copies. . . . The music of our race springs from the soil. . . . (Literary Digest, April 26, 1919, Vol. 61,
No. 4, pp. 27-28)
By 1920, jazz had traveled from the rural Mississippi Delta to New Orleans and through the Great Migration to northern
urban centers and across the Atlantic to the capitals of Europe. The music had captured the imagination of white society
and thousands of patrons flocked to dance halls and cabarets to revel in the music of African American musicians and
singers. Music from the jazz clubs confronted the prejudice of the era. In the midst of the racial turmoil of the 1920s
Survey magazine remarked that jazz with its mocking disregard for formality is a leveler and makes for democracy.
(Survey, March 1, 1925, p. 665)

Although jazz musicians helped to erode racial prejudice, they were sometimes unable to break down long established
barriers. At the same time Black musicians were opening doors, Harlems Cotton Club, the most popular New York jazz
club of the 1920s and 1930s, featured Black entertainers but seated only white patrons. In Chicago, Black musicians were
prohibited from playing at downtown clubs but became well established in enclaves outside the center city.
In time color lines began to blur and interracial jazz bands formed.[2] Black and white jazz musicians formed bonds based
on their music and gradually saw themselves as workers in similar creative enterprises. . . . Occasionally these bonds
were strong enough to overcome deep mistrusts. (Burton Peretti, The Creation of Jazz: Music, Race, and Culture in
Urban America, p.199)
In the 1920s some African American musicians looked upon jazz as a means of smashing Jim Crow barriers. Mixed
audiences in northern urban areas began to put aside their prejudices. According to pianist Earl Fatha Hines, it was
musicians and theatrical people who first began to change the strictly segregated way of life. A half-century later, Hines
organized band tours through the South to challenge Jim Crow laws.
While millions celebrated Americas popular culture, jazz was not free of critics. In 1922 The Ladies Home Journal ran a
series of articles charging, Jazz disorganizes all regular laws and order; it stimulates to extreme deeds, to a breaking
away from all rules and conventions; it is harmful and dangerous, and its influence is wholly bad. (Anne Shaw Faulkner,
Does Jazz Put the Sin in Syncopation, The Ladies Home Journal, Vol. 38, No. 8, August 1921, p. 34) Jazz was considered
to be nothing more than vulgar, cheap music. A refrain echoed by established African American families in the North
admonished black migrants urging them to blend in. But, jazz survived the barrage of detractors and became widely
accepted. So dominant was its impact on American society that the 1920s came to be called the Jazz Age.
Questions to consider:
1. How does James Weldon Johnsons poem O Black and Unknown Bards reflect the influence of music on Black
culture?
2. How important was the Great Migration in spreading jazz throughout the nation?
3. According to James Reese Europe, how was the Black experience interwoven with jazz?
4. What accounts for the popularity of jazz in American popular culture?
5. How did jazz musicians begin the process of breaking down racial barriers? How effective were they?
6. Why do you think that jazz in the 1920s was characterized in some quarters as harmful to American values?
The Disparity between American Ideals and Realities
The ringing words of the Declaration of Independence, We hold these truths to be self-evident, that all man are created
equal, that they are endowed by their Creator with certain unalienable Rights, that among these are Life, Liberty, and the
pursuit of Happiness, set forth the ideals of the American Revolution. The Declaration was more than a statement of
independence; it formulated a basis of a free government based on equal opportunities for all. The Revolution was not
justified so that one segment of the population could impose its will on another. The American ideal of equal opportunity
and equal justice before the law were confronted by the realities of slavery. Benjamin Banneker, a free black from
Maryland, wrote a letter in August 1791 to Secretary of State Thomas Jefferson expressing the disparity between the
American ideal and the political and social reality of slavery. (HOT LINK:http://negroartist.com/writings/Letter%20From
%20Benjamin%20Banneker%20to%20Thomas%20Jefferson.htm) In his letter, Banneker, a talented mathematician and
surveyor, recalled Jeffersons stirring words of the Declaration of Independence.
Sir, how pitiable is it to reflect, that although you were so fully convinced of the benevolence of the Father
of Mankind, and of his equal and impartial distribution of these rights and privileges, which he hath conferred
upon them, that you should at the same time counteract his mercies, in detaining by fraud and violence so
numerous a part of my brethren, under groaning captivity and cruel oppression, that you should at the same
time be found guilty of that most criminal act, which you professedly detested in others, with respect to
yourselves.
Although the Constitution, ratified in 1787, (HOT LINK:http://www.archives.gov/exhibits/charters/constitution.html) did
not mention the word slavery, it was far from silent on the subject:
The three-fifths compromise (Article I, Section 2): Representatives and direct Taxes shall be apportioned among
the several States which may be included within this Union, according to their respective Numbers, which shall be
determined by adding to the whole Number of free Persons, including those bound to Service for a Term of Years
[indentured servants], and excluding Indians not taxed, three fifths of all other Persons. . . .
The slave trade: The Migration or Importation of such Persons as any of the States now existing shall think
proper to admit, shall not be prohibited by the Congress prior to the Year one thousand eight hundred and
eight . . . (Article I, Section 9); and Article V on the amendment process providing that no amendment which
may be made prior to the Year One thousand eight hundred and eight shall in any Manner affect the first and
fourth Clauses in the Ninth Section of the first Article

Article IV, Section 2 commonly called the fugitive slave clause required all states to recognize the laws of states
that bound persons in service and the return of such laborers who escaped into another [state].
In addition to these specific references the federalist system, incorporated in the Constitution, recognized the rights of
states to pass laws that were not in conflict with the Constitution thus legitimating the institution of slavery through state
statutes.
During the debates at the Federal Convention in Philadelphia, some delegates from both North and South recognized the
inconsistency of perpetuating slavery while establishing a government based on principles of the Enlightenment. Luther
Martin, a delegate to the Federal Convention representing the slave state of Maryland, urged the Maryland ratification
convention in January 1788 to reject the Constitution arguing, slavery is inconsistent with the genius of republicanism,
and has a tendency to destroy those principles on which it is supported, as it lessens the sense of the equal rights of
mankind, and habituates us to tyranny and oppression. (Nash, Race and Revolution, pp. 142-3)
On July 5, 1852, Abolitionist Frederick Douglass spoke in Rochester, New York, on the commemoration of the signing of the
Declaration of Independence. Douglass told his audience that the Fourth of July is yours, not mine. You may rejoice, I
must mourn." This moving speech (HOT LINK: <http://www.pbs.org/wgbh/aia/part4/4h2927.html>) clearly expresses the
sentiments of African Americans who were left out of the American Dream.
President Lincolns Emancipation Proclamation (HOT
LINK: http://www.archives.gov/exhibits/american_originals_iv/sections/nonjavatext_emancipation.html) and the passage
of the Thirteenth, Fourteenth, and Fifteenth Amendments to the Constitution [3] (Reconstruction Amendments) appeared
to return government to the principles expressed in the Declaration of Independence. However, by the end of
Reconstruction the intent of these amendments and the civil rights legislation passed in pursuit thereof were eroded by
legal restrictions placed on African Americans in the form of Jim Crow laws. While the former Confederate and border
states passed laws enforcing a rigid segregation policy (de jure segregation), the North and West practiced a different form
of segregation (de facto segregation) based on social mores. From the post-Civil War period through the mid-twentieth
century voices of protest decried segregation of the races and made some inroads in rescuing the American dream of
equality.
The twentieth-century poet Langston Hughes, in his poem Let America Be America Again (HOT
LINK:http://www.poets.org/viewmedia.php/prmMID/15609), expressed his sentiments about the gap between the ideals
of the American dream and the experience of the people of color, immigrants, poor farmers, and urban laborers. Hughes
has been described as the Jazz Poet who openly expressed his commitment to a transformation of American society.
(Amiri Baraka in the Forward to Hughes The Big Sea: An Autobiography, New York: Thunder Mouth Press, 1986)
Nearly a century after the passage of the Reconstruction Amendments to the Constitution, the civil rights movement
(referred to in history as the Second Reconstruction) battered away at de jure segregation patterns in the South and de
facto segregation in the remainder of the nation. African Americans, working to achieve full citizenship, set the agenda for
women and other minorities striving to make the ideals expressed in the Declaration of Independence a reality for all
Americans.
There is no question that the disparity between American ideals and realities has affected, and is reflected in, the evolution
of jazz; in what ways and to what extent is open for discussion.
1. What inferences can you draw from does Bannekers letter to Thomas Jefferson regarding the aspirations of
African Americans in the latter part of the eighteenth century?

2. How does the poem Let America Be America Again reflect the disparity between the ideals and reality of the
American dream?
3. Examine the lyrics of Spirituals, ragtime, and the blues that relate to the conflicts expressed in Let America Be
America Again. How do these lyrics reflect the life experiences of African Americans?
4. Research how the compositions of jazz musicians are linked to the struggle for legal and social equality in
twentieth-century America.
Thelonious Monk, piano (1917 - 1982)
Biography (HOT LINK: http://www.monkinstitute.org/theloniousmonk)
Thelonious Monk, the High Priest of Bebop, was born in North Carolina in 1917. In 1922 the Monk family moved to New
York in the closing years of the Great Migration. The young Monk was a musical prodigy and as a teenager won renown as
a pianist. In a 1964 feature story, Time magazine described Monk as a man who never lies. He never shouts. He has
no greed. He has no envy. The article further credits Monk as an inspiration to other jazz musicians. Rhythm
scrambled forward at his touch; the oblique boldness of his harmonies forced the horn players into flights the likes of which
had never been heard before. (Time, Vol. 83, No. 9, February 28, 1964, p. 86)
Consider the following questions as you read the biography of Thelonious Monk:
1. What can you infer from the Apollo Theater decision to bar Thelonious Monk from competition?
2. How did Monks association with leading jazz musicians in Harlem influence his musical career?
3. What are the basic characteristics of Monks musical style?
4. What accounts for his popularity?
5. How do contemporaries view Monks bebop style of jazz?
Duke Ellington, piano (1899 - 1974)
Biography (HOT LINK: http://www.schirmer.com/composers/ellington_bio.html)
Pianist Edward K. Duke Ellington was acclaimed during his lifetime as a great jazz composer, band leader, and
performer. He was the first jazz musician to be inducted in the Royal Music Academy of Stockholm and received the
Presidential Medal of Freedom. In 1943 Ellingtons opera on African Americans, Black, Brown and Beige, premiered in New
York and in 1963 he composed My People for the Century of Negro Progress Exposition in Chicago. He traveled extensively
through Europe, Asia, and Latin America in the 1960s and to the Soviet Union in 1971. During his travels abroad Duke
Ellington was recognized as a goodwill ambassador spreading American popular culture.
Consider the following questions as you read the biography of Duke Ellington:
1. Why was Duke Ellington considered one of the worlds greatest jazz composers?
2. How did critics view his performances in the 1930s? What effect did the tour have on Ellington and his band?
3. How was Ellingtons debut at Carnegie Hall different from those of other jazz musicians who appeared decades
prior to his performance on stage at this venerable musical institution?

4. Why was Duke Ellington considered an ambassador of American popular culture?
Footnotes:
[1] Following Reconstruction, in the last decades of the 19th century, Southern legislatures passed Jim Crow laws that
restricted the rights of African Americans. These laws were named after a character in a minstrel show.
[2] The first important interracial jazz group was the Benny Goodman Trio in 1935.
[3] The Thirteenth Amendment abolished slavery; the Fourteenth defined citizenship and gauranteed that citizens could not
be denied due process of law or equal protection of the law; and, the Fifteenth Amendment specified that citizens could not
be denied the right to vote by the federal or state governments "on account of race, color, or previous condition or
servitude."
WHAT IS JAZZ
1. Jazz is
A. early symphonic music
B. music based on strictly planned notation
C. a combination of a partly planned and partly spontaneous musical dialogue
between the musicians who are performing it
D. a computer disc having slight less storage space than a Zip disc
E. music without vocals
2. To create jazz, musicians use
A. inspiration
B. musical theory
C. past styles of music
D. their life experience
E. all of the above
3. Jazz has been around for
A. one hundred years
B. two hundred years
C. three hundred years
D. fifty years
E. twenty-five years
4. Jazz first appeared in
A. New York City
B. Chicago
C. New Orleans
D. Europe
E. Mississippi
5. Jazz evolved from
A. Ragtime
B. brass band music
C. Spirituals
D. Blues
E. all of the above
6. The musicians responsible for devising jazz's major elements were primarily
A. Victorians
B. Europeans
C. Appalachian farmers
D. African Americans
E. early American folk singers
7. Jazz has influenced the following kind(s) of musical style(s):
A. Hip Hop
B. 20th Century classical music
C. Rock
D. Rap
E. all of the above
8. Jazz has been influenced by the following kind(s) of musical style(s):
A. traditional African music
B. classical music
C. Latin music
D. the blues
E. all of the above
9. In 1987, Congress declared jazz
A. an American National Treasure
B. illegal
C. the National Pastime
D. part of America's new music
E. a requirement for high-school graduation
10. Jazz has become a popular element in American lifestyle and attitude in that
A. everyone knows how to play it
B. jazz terms have become an accepted part of everyday language and slang
C. there are more jazz radio stations than ever before
D. there are more jazz musicians than any other kind of musician
E. none of the above
11. Choose the issue(s) that most closely influenced the creation of jazz:
A. Religious issues
B. Trade
C. Social issues
D. Education
E. Voting rights
12. Jazz has been most intimately linked with legal and social equality for
A. African Americans
B. women
C. musicians
D. laborers
E. Latin Americans
13. In the 1920s, jazz symbolized the cultural struggle between:
A. industrialists and union organizers
B. modernists and traditionalists
C. suffragettes and religious leaders
D. communists and socialists
E. democrats and republicans
14. The "Jazz Age" pertains to what period of time in American history?
A. the "Turn of the Century"
B. the Victorian Age
C. the 1920s
D. the Depression
E. the 1960s
15. The "new" jazz music was thought to be a rejection of Victorian values and:
A. the fashions of the times
B. traditional ideas of what "good" music was supposed to be
C. the work ethic
D. segregation
E. written music
16. The Swing Era occurred during the
A. 1920s
B. 1930s
C. 1940s
D. 1950s
E. 1960s
17. After World War II, jazz was mostly performed in
A. large ensembles
B. small combos
C. duos
D. big bands
E. colleges
18. In the late 1950s and early 1960s, avant-garde and free jazz reflected
A. urbanization
B. growing unemployment
C. the Equal Rights Amendment
D. the Computer Age
E. the loosening of strict standards of behavior
19. Jazz, after the Great Depression, brought America much needed
A. self esteem
B. slang
C. rest
D. income
E. records
20. At the turn of the century, jazz reflected the
A. need for good dance music
B. rejection of Victorian values
C. disinterest of Americans in anything new
D. need for great composers
E. mood of the pilgrims
21. After World War II, the size of the jazz ensemble
A. increased
B. remained the same
C. was a much talked about subject
D. was divided in two
E. decreased
22. Jazz was introduced in Europe corresponding which of the following events
A. the 1889 Paris World Exhibition
B. during World War I (1914-1918)
C. during World War II (1939-1945)
D. the Berlin Blockade of 1948
E. Duke Ellington's tour of the Soviet Union in 1971
23. Jazz was introduced in northern urban centers during the period in history called
A. Reconstruction
B. Gilded Age
C. Harlem Renaissance
D. The Great Migration
E. New Deal
24. Which of the following Harlem Renaissance authors is known as the "jazz poet"?
A. Claude McKay
B. Countee Cullen
C. Langston Hughes
D. James Weldon Johnson
E. Zora Neal Hurston
25. Who became known as the "High Priest of Bebop"?
A. Benjamin Banneker
B. Edward "Duke" Ellington
C. James Reese Europe
D. Langston Hughes
E. Thelonious Monk
Fill in the blank with the correct answer

1. Jazz is ____________________ conversation.
2. Jazz is a partly ____________________ and partly _____________________

musical dialogue among the performers.
3. Two elements of jazz are ____________________ and ____________________.

4. Jazz is only a ____________________ old.
5. Out of the ____________________ experience in America, jazz was born.
6. Jazz evolved from ____________________songs, ____________________and the
____________________.
7. The city that was the birthplace of early jazz was____________________.
8. The major contributors to jazz have been primarily____________________.
9. Jazz first appeared on the musical scene in the early ____________________.
10. ____________________ has been a major influence on virtually all other musics in
the 20th century.
11. Jazz is more about the ____________________ music is played rather than
____________________is played.
12. As far as musics go, jazz is relatively ____________________.
13. The core of jazz is about ____________________ and not intellectual definition.
14. America's ____________________ art form is jazz.
15. Jazz has been linked more than any other music with legal and social equality for all,
particularly _____________________.
16. In the 20's, jazz symbolized the cultural struggle between ____________________
and ____________________.
17. The 1920's has been coined the ____________________ Age.
18. The new music, jazz, was a metaphor for the rejection of ____________________
values which dominated 19th century life.
19. Jazz reached new levels of sophistication in the 1930's during the
____________________.
20. Jazz brought America much needed ____________________ following the Great
Depression.
21. After World War II, there was a ____________________ in the size of the jazz
ensemble.
22. ____________________ jazz reflected America's social and political changes of the
late 1950's - 1960's.
23. Today, jazz is ____________________.
24. Jazz emerged out of Ragtime during a period of ____________________ and
____________________ growth.
25. Jazz's most altruistic intention is to bring people ____________________.
Please answer true or false to the following questions.

1.Jazz is musical conversation. T F
2.Jazz is a completely planned musical dialogue among the musicians who are T F
performing it.
3.Jazz, more than any other music, has been linked with legal and social equality for T F
all, particularly Native Americans.
4.Jazz is a music of the present moment. T F
5.Jazz is an "old timer" to music, like symphonic music. T F
6.Jazz was born out of the Black experience in America. T F
7.Jazz fuses both African and European musical traditions. T F
8.Jazz evolved from rock 'n roll. T F
9.Jazz evolved from spirituals. T F
10.Jazz first appeared in the early 1800s. T F
11.Jazz first appeared in New Orleans. T F
12.Europeans devised the major elements of jazz. T F
13.African Americans have had the most influence on the development of jazz. T F
14.The 1920s was known as the "Classical Age." T F
15.Jazz is more about the way music is played rather than what is played. T F
16.Jazz is relatively simple. T F
17.Jazz makes less demands on the listener than most other popular styles. T F
18.The core of jazz is about feeling, not intellectual definition. T F
19.There are many musical, technical, and emotional elements occurring T F
simultaneously in jazz.
20.Jazz is America's indigenous art form. T F
21.Jazz has made no impact on American culture. T F
22.James Weldon Johnsons poem O Black and Unknown Bards reflects the view that T F
music was an important part of African American culture.
23.In the 1920s the Cotton Club in New York broke down racial barriers by featuring T F
integrated jazz bands and opening its doors to black and white patrons.
24.President Lincolns Emancipation Proclamation and the passage of the T F
Reconstruction amendments to the Constitution ended racial segregation in
America.
25.Jazz musicians helped to break down barriers between the people of the United T F
States and the Soviet Union during the Cold War.
Write a one to two page answer.

Essay Question #1
Reread the impressions you jotted down while listening to each of the jazz selections at the
beginning of the lesson. Compare each tune's differences and similarities, if any. Can you
group any of the songs together by melody, rhythm, or mood? Why or why not.
Essay question #2
Are any of the tunes you heard at the beginning of the lesson more familiar to you than
others? Describe why or why not. Include impressions you had about rhythm, melody, which
instruments you recognized, and how they sound together.
Essay question #3
How might the city or neighborhood in which you live influence your musical taste ?
Essay question #4
Describe an important event or time in history - it could be something that just happened or
something that happened long ago. How might this event influence popular culture, such as
art, books, theater, music, fashion, language.
Essay question #5
Explain how jazz played a role in the struggle for social and legal equality in United States
history during the twentieth century.
Match the words in the columns correctly.
1. Jazz A. Jazz Age 1. _____
2. Improvisation B. what is played 2. _____
3. Spontaneous Musical Dialogue C. created much controversy 3. _____
4. Jazz's Musical Traditions D. African Americans 4. _____
5. Slave Work Songs E. "Mister Magic" 5. _____
6. Ragtime F. Musical Conversation 6. _____
7. New Orleans G. Urban and industrial growth 7. _____
8. Early 1900's H. Avant-garde and free jazz 8. _____
9. The way the music is played is more important I. Spontaneous Composition 9. _____
than...
10. Relatively complex J. Jazz 10. _____
11. Jazz is more about feeling than... K. Big Bands, Written Arrangements 11. _____
12. Jazz has inspired many but has also... L. precursor to the blues 12. _____
13. Social and legal equality for M. Weather Report 13. _____
14. Jazz emerged out of N. intellectual definition 14. _____
15. Turn of the century O. A sophisticated piano style 15. _____
16. Jazz symbolized the cultural... P. "Maple Leaf Rag" 16. _____
17. 1920's Q. When jazz first appeared 17. _____
18. Swing Era R. Ornette Coleman 18. _____
19. Late 1950's - 60's S. Jazz 19. _____
20. "Birdland" T. "Shaw 'Nuff" 20. _____
21. Scott Joplin U. Ragtime 21. _____
22. Dizzy Gillespie V. Birthplace of jazz 22. _____
23. "Lonely Woman" W. struggle between modernists and 23. _____

traditionalists
24. Grover Washington X. Count Basie 24. _____
25. "Jumpin' at the Woodside" Y. African and European 25. _____
ANSWERS
Grade Eleven
Lesson Plan 1
Multiple Choice
1. C a combination of partly planned and partly spontaneous musical dialogs between
the musicians who are performing it.
2. E all of the above
3. A one hundred years
4. C New Orleans
6. D African Americans
9. A an American National Treasure
10. B jazz terms have become an accepted part of everyday language and slang
11. C Social issues
12. A African Americans
13. B modernists and traditionalists
14. C the 1920s
15. B traditional ideas of what "good" music was supposed to be
16. B 1930s
17. B small combos
18. E the loosening of strict standards of behavior
19. A self esteem
20. B rejection of Victorian values
21. E decreased
22. B during World War I (1914-1918)
23. D The Great Migration
24. C Langston Hughes
25. E Thelonious Monk
Fill in the Blank

1. musical
2. planned, spontaneous
3. improvisation, rhythm
4. century
5. black
6. slave work, spirituals, blues
7. New Orleans
8. African Americans
9. 1900's
10. Jazz
11. way, what
12. complex
13. feeling
14. indigenous
16. modernists, traditionalists
17. Jazz Age
18. Victorian
19. Swing Era
20. self esteem
21. decrease
22. Free
23. universal
24. urban, industrial
25. together
True/False
1. T
2. F
3. F
4. T
5. F
6. T
7. T
8. F
9. T
10. F
11. T
12. F
13. T
14. F
15. T
16. F
17. F
18. T
19. T
20. T
21. F
22. T
23. F
24. F
25. T
Matching
1. F Jazz/musical conversation
2. I Improvisation/spontaneous composition
3. S Spontaneous Musical Dialogue/jazz
4. Y Jazz's Musical Traditions/African and European
5. L Slave Work Songs/precursor to the blues
6. O Ragtime/a sophisticated piano style
7. V New Orleans/birthplace of jazz
8. Q Early 1900's/when jazz first appeared
9. B The way the music is played is more important than/ what is played
10. J Relatively complex/jazz
11. N Jazz is more about feeling than.../intellectual definition
12. C Jazz has inspired many but has also.../created much controversy
13. D Social and legal equality for/African Americans
14. U Jazz emerged out of/Ragtime
15. W Turn of the century/struggle between modernists and traditionalists
16. G Jazz symbolized the cultural.../urban and industrial growth
17. A 1920's/Jazz Age
18. K Swing Era/big bands, written arrangements
19. H Late 1950's - 60's/Avant-Garde and Free Jazz
20. M "Birdland"/Weather Report
21. P Scott Joplin/Maple Leaf Rag
22. T Dizzy Gillespie/Shaw Nuff
23. R "Lonely Woman"/Ornette Coleman tune
24. E Grover Washington/Mister Magic
25. X "Jumpin' at the Woodside"/Count Basie
LESSON PLAN 2
IMPROVISATION
STUDENT HANDOUT
Jazz in America Glossary for Lesson Plan II--Elements of Jazz
arrangement: The specific organization or performance order of a given

composition (i.e., who plays what when).
chord: Two or more notes played simultaneously.
chorus: A single play-through of the structure (i.e., the entire chord progression)
being used to organize the music in a composition; one time through the chords of
a tune.
comp, comping: syncopated chording by the keyboardist or guitarist which provides

improvised accompaniment for simultaneously performed melodies, ideally in a
complimentary fashion that enhances the soloist (comes from the words to
compliment and to accompany).
embouchure: The position of the mouth in the playing of wind instruments.

ending: The optional part of the tune which follows the last chorus, sometimes
referred to as a coda; could be a vamp, repetition of the last phrase, a tag, etc.
form: Refers to a composition's internal structure; the repeated and contrasting

sections in the design of a composition; common jazz forms include 32-bar
standard forms (such as AABA and ABAC), 16-bar tune, and 12-bar blues.
harmony: Two or more notes played simultaneously and compatibly; the

combination of notes into chords and chord progressions.
head: The melody statement of the tune; usually played as the first and last
chorus.
improvisation: Spontaneous invention within the context of a given tune;

spontaneous composition.
intro: The introductory section of a tune prior to the theme statement, or head.
jam session: An informal gathering and performance of musicians, stressing

improvisation.
out-head: The last chorus of a tune when the music returns to the original theme,
or head.
rhythm: The pulse or pattern of beats of a given piece of music; the element of
music dealing with time.
swing: 1. To swing is when an individual player or ensemble performs in such a

rhythmically coordinated way as to command a visceral response from the listener
(to cause feet to tap and heads to nod); an irresistible gravitational buoyancy that
defies mere verbal definition. 2. A way of performing eighth notes where downbeats
and upbeats receive approximately 2/3 and 1/3 of the beat, respectively, providing
a rhythmic lilt to the music. 3. A stylistic term to designate a jazz form that
originated in the 1930s with the advent of the big bands (as in Swing Era).
syncopation: The accenting of a normally weak beat or weak part of a beat; the
accenting of "upbeats."
tempo: Refers to the speed of the underlying beat or pulse of a piece of music.
vamp: One chord or a brief chord progression which is insistently repeated

numerous times in succession.
A Few "SAT" Words
autonomous: Not controlled by others or by outside forces.
autonomy: The condition or quality of being autonomous; independence (e.g., Jazz

musicians have the autonomy to play chords any way they want.).
cognition: The mental process or faculty of knowing, including aspects such as

awareness, perception, reasoning, and judgment.
cognitive; cognitively: Of, characterized by, involving, or relating to cognition (e.g.,

In the same way people converse, most jazz musicians improvise more intuitively
than cognitively.).
extant: Already in existence; still in existence (e.g., A contrafact is a tune based on

an extant set of chord changes.).
intuition: The act or faculty of knowing or sensing without the use of rational
processes.
intuitive; intuitively: Of, relating to, or arising from intuition; subconsciously;

reflexively; (e.g., In the same way people converse, most jazz musicians improvise
more intuitively than cognitively.).
TEST BANK
Select the BEST answer

1. Most consider the most essential ingredient in jazz to be
A. time
B. jazz "sounds"
C. improvisation
D. harmony
E. chords
2. For a musician to improvise, he/she should
A. play a lot of notes
B. have a musical vocabulary covering a wide variety of musical styles
C. be able to play very high
D. be able to sing
E. be able to read music
3. Improvisation is
A. spontaneous combustion
B. spontaneous composition
C. playing without rehearsal
D. preplanned composition
E. dissonant harmonies
4. Rhythm can be defined as
A. the speed of the beat
B. the element of music dealing with time
C. accenting notes that are not naturally accented
D. two or more notes played at the same time
E. a metronome marking
5. A regular pattern formed by a series of notes of differing duration and stress is
A. improvisation
B. a chorus
C. the head
D. rhythm
E. conversation
6. Jazz rhythms
A. can be simple or complex
B. can only be played on drums
C. do not determine the feel of a song
D. are always constant
E. are easy to measure
7. Tempo defines
A. the speed of improvisation
B. the amount of players in a band
C. the speed of the beat of a tune
D. the pattern of the beat
E. the groove of a tune
8. In jazz, the tempo
A. never changes from tune to tune
B. is usually quite fast
C. is usually quite slow
D. may range from very fast to very slow
E. there is no tempo in jazz
9. A slow jazz tune is called
A. burning
B. a ballad
C. allegro
D. a swing tune
E. a march
10. Circle the phrase or phrases that best describe swing:
A. A dizzying pattern of notes and tempos
B. A slow, hypnotic rhythm
C. A stream of notes in a long-short, long-short pattern
D. The liveliness and/or rhythmic lilt of the music
E. complex harmonies
11. Which of the following contribute to jazz's uniqueness as compared to most popular music?
A. It's a very new music
B. Its overuse of exotic instruments
C. You can tap your foot to it
D. The varied use of simple and complex rhythms, interwoven with each other into one cohesive
sound
E. The use of a recurring chord progression that serves as the structure of the tune
12. Which instrument is not usually associated with jazz?
A. Flute
B. Guitar
C. Trumpet
D. Saxophone
E. Bassoon
13. An instrument's sound in the hands of a jazz musician
A. can vary greatly
B. varies very little as each instrument has its own particular sound regardless whose playing it
C. always has a crystal clear, "pure" tone
D. often emulates the human voice
E. A and D
14. In terms of sound, jazz musicians
A. find one tone, or "color" they like and never change
B. alter the sound of their instrument as the mood strikes them
C. do not think the actual "sound" of the instrument is that important
D. always try to sound like new musicians with completely different tones each time they play
E. let the instrument decide
15. What distinguishes jazz musicians apart from other jazz musicians?
A. the amount of notes they play
B. how fast they play
C. their distinctive sound
D. nothing, they all strive to sound alike
E. A, B, and C
16. The definition of comping is
A. the rhythmically syncopated playing of chords
B. giving something away, such as tickets
C. comparing musical notes
D. taking a solo
E. each member of the band plays the same chords
17. Whose role is it to comp the chords?
A. the drummer
B. the saxophone player and/or bassist
C. the bassist and guitarist
D. the pianist and/or guitarist
E. the saxophonist and/or trumpet player
18. How many notes are usually played simultaneously in jazz chords?
A. two
B. four to seven
C. three
D. nine
E. eight to ten
19. Harmony is defined as
A. two or more notes played one right after the other
B. two or more notes played at the same time
C. four or more notes played at the same time
D. people singing the same notes together
E. a synonym for melody
20. In a jazz composition, the main purpose of harmony is to
A. create a variety of simple and complex rhythms
B. provide the rhythm
C. accompany the written melodies and performers' improvisations
D. give all the musicians in a band the chance to play the head
E. bring dissonance to the music
21. Form can be considered
A. the arrangement of notes on the page
B. complicated chord progressions
C. a musical blueprint, or basic structure of a song
D. the opposite of syncopation
E. the notes played by the drummer
22. One time through the chords of a tune is called
A. a chorus
B. harmony
C. a melodic progression
D. the arrangement
E. a vamp
23. The "head" is
A. the bandleader
B. the featured soloist
C. the melody
D. the chorus
E. the metal part on a drum set
24. What is meant by the expression, "Taking the tune out?"
A. performing the tune before a live audience
B. deciding not to play the tune
C. playing the tune twice, in different variations
D. repeating the chorus for the last time, ending, or completing the tune.
E. change the order of the solos
25. The arrangement is
A. where each band member will stand on the stage
B. how the instruments will be held
C. the order in which players will take their solos
D. the size of the ensemble
E. musical instructions that determine which instruments play what when

1. Jazz's most essential ingredient is ____________________.
2. Improvisation is ____________________.
3. Jazz improvisation is very similar to ____________________.
4. In order to be able to improvise a musician needs to have the ability to play by
____________________.
5. A jazz musician needs to have a musical ____________________ covering a wide variety of styles.
6. Rhythm is the part of the music that makes the listener want to ____________________
7. The element of music dealing with ____________________ is referred to as rhythm.
8. Jazz rhythms can range from simple to ____________________.
9. The speed of the pulse is referred to as the ____________________.
10. Extremely fast tunes in jazz are called ____________________.
11. ____________________ is the accenting of beats that are not naturally accented.
12. ____________________ is a difficult to define rhythmic concept.
13. Jazz players strive for a tone that is generally more ____________________ in nature.
14. The buoyancy, rhythmic lilt, and liveliness of the music is referred to as ____________________.
15. The most common instrument associated with jazz is the ____________________.
16. The ____________________ is the most common brass instrument in a jazz group.
17. The rhythm section is made up of ____________________, ____________________, and
____________________.
18. A jazz musician's particular sound is part of his/her ____________________.
19. Two or more notes played at the same time constitutes ____________________.
20. Another name for harmony is a ____________________ or a ____________________.
21. Jazz chords usually consist of ____________________ notes played simultaneously.
22. A series of chords is known as a ____________________.
23. The term "comping" comes from the words to ____________________ and to
____________________.
24. The way in which the sections of chord progressions in a tune are grouped determines the
____________________ of the tune.
25. Each time through the chords of a tune is called a ____________________.
1.Improvisation is, perhaps, jazz's most essential ingredient. T
2.Improvisation is written ahead of time. T
3.Improvisation is not similar to regular conversation. T
4.In order to improvise well, a musician needs to be technically able to play his/her instrument well. T
5.It is not important for jazz musicians to use their ears when playing. T
6.Rhythm is the element of music that deals with time. T
7.A tune's groove is also called the "feel" of a tune. T
8.Tempo refers to all chords of a tune. T
9.Fast tempos in jazz which are called "burning." T
10.The accenting of beats that are not naturally accented is known as syncopation. T
11."Swing" is an easy to define rhythmic concept. T
12.If a jazz performance is rhythmically cohesive and has a buoyant upbeat feeling, it's known as swinging. T
13.Jazz players strive for a clear pure tone. T
14.The most common instrument used in jazz is the flute. T
15.Every jazz musician has his/her own particular sound which is part of his/her musical signature. T
16.The rhythm section is comprised of piano, bass, and saxophone. T
17.The trumpet is the most common brass instrument found in jazz. T
18.Two or more notes played at the same time constitute harmony. T
19.Another word for harmony is measure. T
20.Jazz chords are usually four to seven notes played simultaneously. T
21.Another name for chord is timing. T
22.A series of chords is known as a chord progression. T
23.Pianists and saxophonists comp the chords. T
24.The way recurring chord progressions of a tune are grouped is called the form of the tune. T
25.A chorus is never played by a jazz group. T

Essay question #1
What is improvisation? How is improvisation similar to regular conversation? Explain why improvisation is
jazz's most essential ingredient.
Essay question #2
Why is rhythm such an integral part of jazz?
Essay question #3
Define the term "swing." What importance does "swing" play in the performance of jazz? Why is this
ingredient so essential?
Essay question #4
How does jazz harmony differ from harmony found in other musics? Why is the knowledge of harmony
crucial to the improviser?
Essay question #5
What is form? What are some common forms in jazz? What is a chorus? What is an arrangement?
pending
1. chorus A. a pattern formed by a series of notes of differing duration and 1. _____
stress
2. spontaneous composition B. the composed melody of a tune 2. _____
3. Swing refers to... C. the accenting of beats that are not naturally accented 3. _____
4. the speed of the pulse D. a jazz musician needs to be able to play by ear. 4. _____
5. saxophone E. that is more "vocal" in nature. 5. _____
6. part of a jazz musician's "signature" F. the most common jazz brass instrument 6. _____
7. improvisation G. rhythm 7. _____
8. changes H. jazz jargon meaning chords 8. _____
9. another term for extremely fast I. chord 9. _____
10. Jazz chords are usually... J. common sequence of events for a jazz performance 10. ____
11. rhythm K. one time through the chords of a tune 11. ____
12. comping L. common forms 12. ____
13. chord voicing M. form 13. ____
14. Jazz players strive for a tone... N. burning 14. ____
15. chord progression O. a series of chords 15. ____
16. In order to improvise... P. jazz's most essential ingredient 16. ____
17. trumpet Q. a jazz musician's particular sound on his/her instrument 17. ____
18. AABA, ABAC, 16-bar tune, 12-bar blues R. comes from the words "accompany" and "compliment" 18. ____
19. syncopation S. tempo 19. ____
20. a tune's musical (harmonic) blueprint T. a music's buoyancy, liveliness, and cohesiveness. 20. ____
21. two or more notes played at the same time U. improvisation 21. ____
22. the "head" V. 4-7 notes played simultaneously 22. ____
23. the time element of music W. the most common jazz instrument 23. ____
24. musical instructions that determine who plays what, and X. arrangement 24. ____
when
25. head-solos-head Y. the order in which the notes of a chord are arranged 25. ____
ANSWER KEY
Grade Eleven
Lesson Plan 2
Multiple Choice
1. C improvisation
2. B have a musical vocabulary covering a variety of musical styles
3. B spontaneous composition
4. B the element of music dealing with time
5. D rhythm
6. A can be simple or complex
7. C the speed of the beat of a tune
8. D may range from very fast to very slow
9. B ballad
10. C and D
11. D The varied use of simple and complex rhythms, interwoven with each other into
one cohesive sound
12. E Bassoon
13. E A and D
14. B alter the sound of their instrument as the mood strikes them
15. E A, B, and C
16. A the rhythmically syncopated playing of chords
17. D the pianist and/or guitarist
18. B four to seven
19. B two or more notes played at the same time
20. B evoke emotions and moods in both performers and listeners
21. C a musical blueprint or basic structure of a song
22. A a chorus
23. C the melody
24. D repeating the chorus for the last time, ending, or completing the tune
25. E musical instructions that determine which instruments play what when
Fill in the Blank
1. improvisation
2. spontaneous composition
3. regular conversation
4. ear
5. vocabulary
6. tap his/her foot
7. time
8. complex
9. tempo
10. burning
11. Syncopation
12. Swing
13. vocal
14. swing
15. saxophone
16. trumpet
17. piano,bass ,drums
18. signature (or style)
19. harmony
20. chord, change
21. four, seven
22. chord progression
23. accompany, compliment
24. form
25. chorus
True/False
1. T
2. F
3. F
4. T
5. F
6. T
7. T
8. F
9. T
10. T
11. F
12. T
13. F
14. F
15. T
16. F
17. T
18. T
19. F
20. T
21. F
22. T
23. F
24. T
25. F
Matching
1. K chorus/one time through the chords of a tune
2. U spontaneous composition/improvisation
3. T Swing refers to.../a music's buoyancy, liveliness, and cohesiveness.
4. S the spread of the pulse/tempo
5. W saxophone/the most common jazz instrument
6. Q part of a jazz musician's "signature"/a jazz musician's particular sound on his/her
instrument
7. P improvisation/jazz's most essential ingredient
8. O changes/a series of chords
9. N another term for extremely fast/burning
10. J Jazz chords are usually.../comping
11. K rhythm/one time through the chords of a tune
12. L comping/ the way in which chord progression sections of a tune are grouped
13. M stressing the notes that are on the upbeat/form
14. N Jazz players strive for a tone.../burning
15. V chord progression/4-7 notes played simultaneously
16. D In order to improvise.../a jazz musician needs to be able to play by ear.
17. F trumpet/the most common jazz brass instrument
18. L form/the way in which chord progression sections of a tune are grouped
19. C syncopation/the accenting of beats that are normally not accented
20. M a tune's musical blueprint/form
21. I two or more notes played at the same time/harmony
22. B the "head"/the composed melody of a tune
23. G the time element of music/rhythm
24. Y who does what for each chorus/syncopation
25. J rhythmically syncopated playing of chords/comping
THE BEBOP ERA

STUDENT HANDOUT
Jazz in America Glossary for Lesson V - The Bebop Era
contrafact: A jazz tune based on an extant set of chord changes, usually

from a standard; the result when composers use the chord structure of a
given, established composition to write an entirely new composition (e.g.,
"Donna Lee" is a contrafact of "Back Home Again in Indiana;" "Moose the
Mooch" is a contrafact of "I Got Rhythm").
range: The gamut of pitches from low to high that a voice or an instrument
is capable of producing.
scat singing: A vocalist's improvisatory device whereby he/she sings in

nonsense syllables rather than lyrics as a means of approximating an
instrumental solo; vocal improvisation (note: listen to Ella Fitzgerald singing
"How High the Moon" on The Complete Ella in Berlin).
standards: Familiar, well-established popular or jazz tunes; those songs

which through widely repeated performance have become part of the
standard jazz repertoire.
Jazz in America Student Handout--Lesson Plan V--American History Essay
A Reaction to Racism in American Literature, Art, and Music
In the latter part of the 19th century, "Realism" became the dominant
feature in American literature and influenced the Progressive Era writers of
the early 20th century. In the years immediately following World War I, a
number of American authors of the realist school began to explore race
relations. Dramatists such as Eugene O'Neill and Paul Green wrote plays
based on African American themes. O'Neill's The Emperor Jones (1920)
and All God's Chillun Got Wings (1924) were immensely popular. Green won
the Pulitzer Prize for In Abraham's Bosom, a play performed by a
predominately African American cast in a period when few African American
artists were able to find work outside vaudeville or minstrel shows. At the
same time, a number of African American writers came to prominence
writing novels and poetry based on their experiences as African Americans.
This literary movement, originally centered in Harlem, New York, became
known as the "Harlem Renaissance" (1920s-1930s). It was the outgrowth of
a number of factors including the Great Migration to northern cities and the
growing anger over both overt and covert racism.
Authors, musicians, and painters gathered in Harlem and in other large

urban areas throughout the North and developed a distinctly African
American cultural movement cognizant of the political, economic, and social
issues of prejudice and discrimination that were part of the Black experience
in America. Historians have described the Harlem Renaissance as a period in
which the African American writer ". . . had achieved a degree and kind of
articulation that make it possible for him to transform his feelings into a
variety of literary forms. Despite his intense feelings of hate and hurt, he
possessed sufficient restraint and objectivity to use his materials artistically,
but no less effectively." (John Hope Franklin, From Slavery to Freedom: A
History of African Americans, 7th edition [New York: McGraw Hill, 1994]).
Another historian depicts the period in literature as one in which writers
sought to be writers, not African American writers. Although the themes of
their works reflected a pride in their race, they would "be fashioned with
high technical skill and designed for an audience not exclusively Negro.
There would, however, be no catering to whites." (Benjamin Quarles, The
Negro in the Making of America [New York: Simon and Schuster, 1996]).
The wave of lynching in America was one of the issues that galvanized the
artists of the Harlem Renaissance. The poet Claude McKay
(http://en.wikipedia.org/wiki/Claude_McKay), one of the angriest voices of
the Harlem Renaissance, wrote of the need for African Americans to resist
oppression. In his poem "If We Must Die"
(www.historymatters.gmu.edu/d/5130"), McKay was reacting to race riots of
"Red Summer" (1919). In his poem, "The Lynching," McKay equates a
lynching with the crucifixion and, in the last few lines of this short poem,
describes onlookers who came to gape at the hanging figure of a man.
...The women thronged to look, but never a one

Showed sorrow in her eyes of steely blue.
And little lads, lynchers that were to be,

Danced round the dreadful thing in fiendish glee.
In 1939, Billie Holiday, one of the most famous of all jazz singers, recorded
the song "Strange Fruit" which expressed her feelings regarding lynching in
America and made a powerful statement against racism that was ever-
present in her style. Holiday used jazz as an instrument to marshal public
opinion to support anti-lynching legislation that languished in congress.
Lynching was also the subject of works by African American visual

artists. Lynch Mob Victim, painted by William Johnson, depicts a lynched
man with women weeping at his feet resembling often-depicted scenes of
the crucifixion of Christ. Johnson also included lynched figures in the
background of a painting of Abraham Lincoln and Frederick Douglas
entitled Let My People Free (ca. 1945).
Racism, in no small way, contributed to the demise of Swing and inception of

Bebop in the late 1930s and early 40s. This new, complex, combo-oriented
African American innovation was, in part, an outgrowth of the young black
players' rejection of the awkward integration and discriminatory pay scales
of big band swing (African Americans were almost always paid less than
their white counterparts). More often than not, they had watched their music
capitalized on by white America; the attendant financial rewards likewise
eluded them. African Americans had to contend with the most oppressive
manifestations of racial prejudice and segregation. Even those jazz stars
featured with the name white bands were subject to the most demeaning
indignities. Of his experiences with the Artie Shaw band, African American
jazz trumpet superstar Roy Eldridge said "Man, when you're on the stage,
you're great, but as soon as you come off, you're nothing. It's not the worth
the glory, not worth the money, not worth anything." (James Lincoln
Collier, The Making of Jazz: A Comprehensive History [New York: Dell
Publishing, 1979]).
Bebop was a dramatic and self-conscious revision of swing, an attempt by its

originators in the early 1940s to reclaim the music that was so successfully
commercialized and marketed by the white bands. The bebop pioneers were
intensely serious which was reflected in the complexity of their music; they
effectively and consciously created a new musical elite that excluded from
their ranks all who did not meet predetermined artistic standards. With its
fiery spirit, bebop was to represent, in some measure, a new black militancy
which would continue to grow over the next two decades.
For further research on lynching in American history examine the Crime

Library's website "Lynchings in America: Carnival of Death"
(http://www.trutv.com/library/crime/notorious_murders/mass/lynching/inde
x_1.html). The five short readings entitled, "Lynchings in America," "The
History of Lynching," "Lynchings in the Press," "The Ku Klux Klan," and "The
Beginning of the End" provide a good overview of this macabre episode in
American history and the failed efforts to secure an anti-lynching law in the
United States.
The Library of Congress' American Memory Collection "African American

Perspectives" also contains an essay entitled "Mob-violence and Anarchy,
North and South" (http://lcweb2.loc.gov/ammem/aap/aapmob.html) and a
short biographical sketch of Ida B. Wells-Barnett
(http://lcweb2.loc.gov/ammem/aap/idawells.html), a crusader in the
campaign to pass anti-lynching legislation. The website links to both an
audio and text excerpt of Ida Wells-Barnett's pamphlet "Lynch Law in
Georgia." Also examine the "Time Line of African American History" for the
years 1881-1900 (http://lcweb2.loc.gov/ammem/aap/timelin2.html) and
1901-1925 (http://lcweb2.loc.gov/ammem/aap/timelin3.html) that give
statistics on the number of lynchings reported during given years.
1. How did literary works of the Harlem Renaissance explore and expose critical social
issues?
2. How did artists such as Claude McKay, Billie Holiday, and William Johnson use their
talents to promote awareness of the horrors of lynching in America?
3. How did racism play a role in the demise of Swing and inception of Bebop?
Jazz in America Student Handout--Lesson Plan V--Jazz Biography 1
CHARLIE PARKER, alto saxophone (1920-55)

Biography: http://en.wikipedia.org/wiki/Charlie_Parker
Alto saxophonist Charlie Parker developed a new jazz style that moved away
from music popularized by the big bands. Although some jazz musicians and
the general public seemed to scorn Bebop and clung to Swing, Parker's new
style came to have a commanding influence despite the rift it caused among
old and new jazz musicians.
Consider the following questions as you read the biography of Charlie

Parker:
1. When was Charlie Parker introduced to music?
2. What differentiated Bebop from Swing?
3. What accounts for Bebop's popularity?
4. Why did some define Bebop as "outlaw" music?
Jazz in America Student Handout--Lesson Plan V--Jazz Biography 2
BILLIE HOLIDAY, vocals (1915-1959)

Biography: http://en.wikipedia.org/wiki/Billie_Holiday
Billie "Lady Day" Holiday is considered to be one of the world's greatest

blues and jazz singers of all time. Born Eleanor Fagan Gough in Baltimore,
Maryland, Billie changed her name when she began her singing career. When
asked about her singing style, Holiday replied, "I don't think I'm singing. I
feel like I am playing a horn. I try to improvise like Les Young, like Louis
Armstrong, or someone else I admire. What comes out is what I feel."
Consider the following questions as you read the biography of Billie Holiday:
1. What difficulties did Billie Holiday encounter in her early life in Baltimore?
2. How did Holiday get her start in the entertainment world?
3. Why do you think Holiday chose to record "Strange Fruit?" What does this recording
reveal about racism?
4. What makes Billie Holiday's singing style so different from others?
TEST

1. One reason for the demise of swing was
A. World War II and the draft
B. ragtime
C. too many soloists
D. poor arrangements
E. a lack of interest on the part of the public
2. Reasons for the demise of swing did not include

A. racism
B. 20% Amusement Tax
C. a rising interest in Rock 'n Roll
D. transportation was difficult
E. Recording ban by order of the American Federation of Musicians
3. The musical format during the Swing Era was somewhat restrictive in the sense that
A. arrangers were not utilized
B. all the music was written with no room for solo improvisation
C. it could not be appreciated by the public at large
D. rhythm sections became stereotyped, lacking creativity
E. black and white musicians never played together
4. By the early 1940s most big bands sounded stylistically

A. different
B. complex
C. innovative
D. surprising (one never knew what the band was going to do next)
E. alike
5. The Recording Ban ran from

A. July 1942 - November 1943
B. April 1941 - November 1942
C. July 1940 - October 1943
D. August 1941 - November 1943
E. May 1939 - November 1941
6. Many big bands broke up because

A. band members didn't like one another other
B. the players resented the arrangers
C. they were not able to record new material during the recording ban
D. dance halls were too small to bring in enough revenue to pay the band
E. instruments became too expensive
7. Toward the end of the Swing Era, African American jazz musicains
A. were rarely given the opportunity to improvise compared to their European
American counterparts
B. were generally treated less fairly than their European American counterparts
C. witnessed no capitalizization on jazz by European Americans
D. were generally treated more fairly than their European American counterparts
E. were not permitted to play with European American musicians
8. One of the reasons African Americans wanted to create their "own" music, Bebop,
was because
A. Swing music was becoming too difficult
B. they wanted to create a music that everyone could play
C. they were tired of always having to be creative
D. they were tired of watching their musical innovations capitalized on by
European Americans
E. of the money they could make
9. One of the reasons African American musicians moved away from Swing in the mid
1940s was because
A. they wanted to write more innovative arrangements
B. they missed playing in their hometowns
C. they wanted to play a simpler form of music
D. they preferred Rock 'n roll
E. they wanted to create a music for listening and not for dancing, i.e., art music
10. European American jazz musicians were usually paid

A. less than their African American counterparts
B. more than the composers
C. more than their African American counterparts
D. in cash only
E. by check only
11. The jazz music that immediately followed the Swing era was
A. Ragtime
B. Bebop
C. Dixieland
D. the Blues
E. Free jazz
12. Part of the philosophy behind Bebop was that it was

A. for everyone to play
B. for entertainment
C. easy to understand
D. art music
E. a mostly European invention
13. Bebop had the effect of removing jazz from

A. the mainstream of popular music
B. recording studios
C. the small ensemble setting
D. night clubs
E. improvised music
14. Bebop musicians considered themselves

A. entertainers
B. businessmen
C. comedians
D. vaudevillians
E. artists
15. Bebop was primarily designed as a vehicle for

A. elaborate arranging
B. improvisation
C. communication between listener and audience
D. more revenue
E. white musicians to display their conservatory training
16. Bebop was

A. a European invention
B. new culture
C. an African American invention
D. a routine way of approaching chord progressions
E. considered the popular music of the mid 1940s to mid 1950s
17. Bebop
A. was usually performed in large ensembles
B. was usually performed in small ensembles
C. was carefully arranged
D. featured only saxophone and trumpet
E. was more polyphonic than homophonic
18. The usual size of a Bebop combo was a (an)

A. sextet
B. septet
C. duo
D. octet
E. quintet
19. Two of the most common instruments in a Bebop combo were

A. saxophone and trumpet
B. flute and guitar
C. piano and tuba
D. banjo and bass
E. trombone and clarinet
20. Bebop utilized

A. elaborate arrangements
B. simple chord structures
C. "trimmed down" arrangements
D. complex introductions and endings
E. simple melodies
21. The basic format of Bebop was performance of the head, then improvised solos, then
trading fours or eights, then:
A. collective improvisation
B. audience participation
C. a pause for applause
D. the last chorus, usually the"head" in unison
E. an African ending
22. When singers participated in Bebop they would often

A. sing in an operatic manner
B. leave all the improvisation to the instrumentalists
C. never sing the original lyrics
D. sing clearly defined words when they improvised
E. scat sing
23. The most important trumpet player in the Bebop Era was
A. Wynton Marsalis
B. Dizzy Gillespie
C. Louis Armstrong
D. Miles Davis
E. Chet Baker
24. The Harlem Renaissance was a period in which African American writers
A. imitated classical European styles in literature
B. focused on African American experiences in their writings
C. abandoned realism in favor of romanticism
D. wrote idealist novels in the style of the 17th-century English Renaissance
E. wrote poems and novels to please white audiences
25. Claude McKay and Billie Holiday used their talents to expose
A. business fraud
B. political corruption
C. racism in America
D. the horrors of war
E. lavish military expenditures after World War I

1. One of the reasons for the demise of swing was the draft of musicians into
_____________________________.
2. __________________________ and __________________________ were rationed

during World War II making transportation more difficult.
3. Bebop came about, in part, due to Swings __________________________ musical

formats.
4. The improvised solos during the Swing era were generally much
__________________________ than those of the Bebop Era.
5. One of the reasons for the stagnation of Swing music toward the end of the Swing
Era was the use of the same kinds of basic __________________________
progressions used over and over.
6. The Bebop Eras dates were basically ____________ to.____________.
7. Most big bands, by the early 40's sounded stylistically

__________________________
8. The recording ban lasted from July ____________ to November ____________.

9. Many big bands broke up during the recording ban because they could not
__________________________ new music.
10. Becoming increasingly disenchanted with Swing music toward the end of the Swing
Era, jazzs African American innovators pioneered __________________________.
11. While today Bebop is played by musicians of virtually every ethnicity, it was invented
by _______________________________.
12. Bebops primary intended purpose was for __________________________, noT For
dancing.
13. Bebop was intended to be __________________________ music, not

entertainment music.
14. Bebop removed jazz from the mainstream of __________________________music.
15. Bebop musicians considered themselves __________________________, not

entertainers.
16. Bebop solos were generally more __________________________ than their Swing
counterparts.
17. The night club in Harlem famous for its jam sessions in the 1940s and its important
roll in the incubation of Bebop was _______________________________.
18. The street dubbed the Street of Bop, famous for featuring several jazz clubs was
_______________________________.
19. Bebop is designed for __________________________, not elaborate arrangements.
20. Singing nonsense syllables in a Bebop fashion is known as

__________________________ singing.
21. A Bebop tune written utilizing the same chord progression as an extant standard is
called a _______________________________.
22. During the first chorus of a Bebop tune, the__________________________is

usually played in unison.
23. The most important alto saxophonist during the Bebop era was
______________________________.
24. The most important trumpet player during the Bebop era was
_______________________________.
25. Geographically, Bebop was centered in _______________________________.

Essay Question #1
Explain the cultural reasons for the demise of swing. How did World War II have an effect on
the demise of swing? Give examples.
Essay question #2
Explain the musical reasons for the demise of swing.
Essay question #3
How did racial inequality play a part in the birth of Bebop?
Essay question #4
Explain the performance practice of Bebop and how it differs from Swing. Compare and
contrast the two.
Essay question #5
How did the arts help to promote an awareness of the horrors of lynching in America? What
influence does literature, art, and music have on promoting social awareness in todays
society?

1.One of the reasons for the demise of Swing was World War II. TF
2.Toward the end of the Swing Era transportation was easy. TF
3.Gas rationing contributed to the demise of Swing. TF
4.Compared to Bebop, Swing was generally more complex. TF
5.There were longer solo opportunities in Swing than in Bebop. TF
6.The rhythms toward the end of the Swing Era became stereotypical and lacking in TF
creativity.
7.Toward the end of the Swing Era, Swing music presented many surprises in its TF
musical presentation.
8.Toward the end of the Swing Era and prior to the Bebop Era, jazz had fallen into a TF
rut.
9.By the early 1940's most big bands sounded stylistically different. TF
10.The recording ban went From July 1942 to November 1942. TF
11.Not being able to record new material during the recording ban, many big bands TF
broke up.
12.During the Bebop Era, there was racial equality between African and European TF
American jazz musicians.
13.African American musicians were usually paid the same as European American TF
musicians.
14.Just prior to the Bebop Era, many African American jazz musicians became TF
increasingly disenchanted with Swing music.
15.One of the reasons African American jazz musicians desired to create a new style of TF
jazz music was because they were tired of were tired of watching their innovations
capitalized upon by their European American counterparts.
16.Thelonious Monk played the saxophone. TF
17.Bebop had the effect of removing jazz from the mainstream of popular commercial TF
music.
18.Bebop musicians considered themselves entertainers, not artists. TF
19.Bebop was a completely African American invention. TF
20.The performance practice of Bebop was primarily a large group. TF
21.Bebop was very virtuosic music, not easy to play. TF
22.Most Bebop arrangements are simple, "trimmed down" compared to Swing TF
arrangements.
23.Long introductions are common in Bebop. TF
24.Billie Holiday is noted for her mellow style that meshed with the Big Band sounds TF
during the Swing era.
25.Strange Fruit, popularized by Billie Holiday, was a social commentary on racism in TF
America.
1. one reason for the demise of swing A. difficult to play 1. _____
2. Thelonious Monk B. middle choruses 2. _____
3. recording ban C. trumpet, saxophone, piano, bass, and drums 3. _____
4. Kenny Clarke D. jazz vocalist 4. _____
5. lynchings E. blues, standards, contrafacts, originals 5. _____
6. Ella Fitzgerald F. World War II 6. _____
7. Swing G. head played in unison 7. _____
8. Bebop H. Strange Fruit 8. _____
9. virtuosic music I. Afro-Cuban 9. _____
10. famous Harlem night club J. Max Roach 10. _____
11. improvised solos K. piano 11. _____
12. musical conversation L. Bebop's main focus 12. _____
13. midnight curfews M. last chorus 13. _____
14. Bebop quintet N. complex 14. _____
15. A Night in Tunisia O. drums 15. _____

16. jam session P. scat singing 16. _____
17. improvisation Q. Minton's Playhouse 17. _____
18. first chorus R. non-rehearsed jazz performance 18. _____
19. drums S. a music for dancing 19. _____
20. out head in unison T. alto saxophone 20. _____
21. Bebop tune sources U. trading fours 21. _____
22. Bebop rhythm V. a music for listening 22. _____
23. vocal improvisation using nonsense syllables W. trumpet 23. _____
24. Charlie Parker X. July 1942 - November 1943 24. _____
25. Dizzy Gillespie Y. brown outs 25. _____
ANSWER KEY
Grade Eleven
Lesson Plan 5
Multiple Choice
1. A World War II and the draft
2. C a rising interest in Rock 'n Roll
3. D rhythm sections became stereotyped, lacking creativity
4. E alike
5. A July 1942 - November 1943
6. C they were not able to record new material during the recording ban
7. B were generally treated less fairly than their European American counterparts
8. D they were tired of watching their musical innovations capitalized on by European
Americans
9. E they wanted to create a music for listening and not for dancing, i.e., art music
10. C more than their African American counterparts
11. B Bebop
12. D art music
13. A the mainstream of popular music
14. E artists
15. B improvisation
16. C an African American invention
17. B was usually performed in small ensembles
18. E quintet
19. A saxophone and trumpet
20. C "trimmed down" arrangements
21. D the last chorus, usually the "head" in unison
22. E scat sing
23. B Dizzy Gillespie
24. B focused on African American experiences
25. C racism in America
Fill in the Blank

1. World War II (or the army)
2. gas and rubber (or tires)
3. restrictive
4. shorter (or simpler)
5. chord
6. 1940 - 1955
7. the same (or similar)
8. 1942, 1943
9. record
10. Bebop
12. listening
13. art
14. popular (or commercial)
15. artists
16. complex
17. Minton's Playhouse (or just Minton's)
18. 52nd street
19. improvisation
20. scat
21. contrafact
22. head
23. Charlie Parker
24. Dizzy Gillespie
25. New York City
True/False
1. T
2. F
3. T
4. F
5. F
6. T
7. F
8. T
9. F
10. F
11. T
12. F
13. F
14. T
15. T
16. F
17. T
18. F
19. T
20. F
21. T
22. T
23. F
24. F
25. T
Matching
1. F one reason for the demise of swing/World War II
2. K Thelonious Monk/piano
3. X recording ban/July 1942 - November 1943
4. O Kenny Clarke/drums
5. H lynchings/Strange Fruit
6. D Ella Fitzgerald/jazz vocalist
7. S Swing/a music for dancing
8. V Bebop/a music for listening
9. A virtuosic music/difficult to play
10. Q famous Harlem night club/Mintons Playhouse
11. B improvised solos/middle choruses
12. U musical conversation/trading fours
13. Y midnight curfews/brown outs
14. C Beboop quintet/trumpet, saxophone, piano, bass, and drums
15. I A Night in Tunisia/Afro-Cuban
16. R jam session/non-rehearsed jazz performance
17. L improvisation/Bebop's main focus
18. G first chorus/head played in unison
19. J drums/Max Roach
20. M out head in unison/last chorus
21. E Bebop tune sources/blues, standards, contrfacts, originals
22. N Bebop rhythm/complex
23. P vocal improvisation using nonsense syllables/scat singing
24. T Charlie Parker/alto saxophone
25. W Dizzy Gillespie/trumpet
COOL JAZZ
STUDENT HANDOUT
Jazz in America Glossary for Lesson VI - Cool, Hard Bop, and Modal
Jazz
contrafact: A jazz tune based on an extant set of chord changes, usually

from a standard; the result when composers use the chord structure of a
given, established composition to write an entirely new composition (e.g.,
"Donna Lee" is a contrafact of "Back Home Again in Indiana;" "Moose the
Mooch" is a contrafact of "I Got Rhythm").
dynamic range: The expanse between the softest and loudest passages of
music.
homophony: Distinguished by a single melodic line with accompaniment

(e.g., One musician improvising a solo with rhythm section accompaniment
is an example of homophony.).
modal jazz: Jazz tunes that stay on each mode (and thus each chord) for a
long time, usually at least four bars per mode (in contrast with standard jazz
repertoire which changes chords far more frequently - usually at least once
per measure).
mode: A type of scale defined by its particular sequence of melodic intervals

(e.g., C dorian mode: C D Eb F G A Bb C)
nonet: A band, ensemble, combo, or unit consisting of nine musicians.
polyphony: The simultaneous sounding of two or more melodies of equal

importance (e.g., Polyphony is a device often employed in Cool jazz).
Jazz in America Student Handout--Lesson Plan VI--American History

Essay
The 1950s: A Decade of Change
The 1950s was a time of economic growth. Since the mid-1940s Americans
were eager to spend money on cars, appliances, and virtually any
commodity that had been rationed during the war years. The 1950s
heightened a consumer-spending spree despite a rise in the price of goods
that had previously been held in check by wartime price controls. The gross
national product, a measure of the total value of the nation's goods and
services, nearly doubled, rising from approximately $300 billion in 1950 to
$500 billion in 1960. Defense spending, fueled by the Cold War and military
expenditures during the Korean conflict, represented an important stimulant
to the economy.
As the annual earnings of most American workers grew, so did the desire to
purchase goods and services. The construction of new homes boomed in the
late 1940s and throughout most of the 1950s. Planned suburban
communities drew the middle class from large crowded cities, leaving the
inner cities to low income and minority groups. Levittown, a planned
community on Long Island begun in 1946, was typical of the new suburbia.
The prosperity of the 1950s produced thousands of new "Levittowns" across
the nation. Homes had the latest conveniences, including a garage for the
family car, that had spurred the growth of suburban communities. Shopping
centers dependent on the family automobile grew from a mere eight in the
nation in 1945 to 3,840 in 1960. During the '50s, shopping became, what
one historian called, "a major recreational activity."
Social critics, however, lamented the new landscape created by the

consumer economy. Malvina Reynolds, a California folksinger, ridiculed the
sameness of "Levittowns" calling them "Little boxes on the hillside, Little
boxes made of ticky tacky..." Some writers criticized what they viewed as
changes in traditional American values while others rebelled against the
materialistic society of the 1950s. Among these were a new group known as
beatniks.
Although the annual earnings of most American workers grew, all did not
share the prosperity-another American existed hidden by the opulence of the
1950s. Michael Harrington's The Other America and James Baldwin's Notes
of a Native Son are two important "muckraking" works that exposed the
extent of poverty in the midst of affluence in postwar America.
The prejudice and discrimination of Jim Crow America came under a vigorous
attack following World War II. The war had been fought, in part, against the
racial ideology of Nazi Germany, and African American soldiers wanted
nothing less than an end to racism at home. Two-thirds of the 15 million
African Americans in 1950 lived in a rigidly segregated South. In 1944,
Swedish writer Gunnar Myrdal published a massive report, The American
Dilemma, on the contradiction between America's ideal of equal justice and
its history of depriving African Americans of civil and equal rights.
Since the end of World War II, African Americans in increasing numbers
refused to adhere to segregation enforced by Jim Crow legislation. The
National Association for the Advancement of Colored People (NAACP) had for
years fought legal battles in the courts to end segregation. In 1950, NAACP
attorney Thurgood Marshall (later to be appointed to the Supreme Court by
President Lyndon Johnson) successfully argued that his African American
client had the right to attend a previously all-white law school at the
University of Texas. This case, Sweatt v. Painter made it clear that statutory
segregation was doomed.
In 1954 the Supreme Court issued its landmark decision in Brown v. Board
of Education of Topeka, Kansas (www.watson.org/~lisa/blackhistory/early-
civilrights/brown.html) which ruled that "separate but equal" school systems
were unconstitutional. Throughout the South, white citizens councils formed
to stop integration. Despite the Supreme Court's momentous ruling in the
Brown case, less than two percent of African Americans in the South were
attending integrated schools ten years later.
President Dwight Eisenhower had criticized the unanimous decision in the

Brown Case in 1954 as upsetting "the customs and convictions" of most
Americans and remarked "that prejudices, even palpably unjustifiable
prejudices, will not succumb to compulsion." However, in 1957, when
Governor Orval Faubus of Arkansas called out the state's National Guard to
prevent court-ordered integration of Central High School in Little Rock,
Eisenhower sent federal troops to escort students to their classes
(www.centralhigh57.org/).
The boycott was one of the most successful tools African Americans
employed. In 1955, Rosa Parks, an African American seamstress, aroused
the conscience of the nation when she refused to give up her seat on a
Montgomery, Alabama bus to a white passenger
(www.watson.org/~lisa/blackhistory/civilrights-55-65/montbus.html). This
act of civil disobedience began a year-long boycott and served notice that
African Americans would no longer tolerate segregation.
The Montgomery Bus Boycott brought Dr. Martin Luther King, Jr., pastor of
the Dexter Avenue Baptist Church in downtown Montgomery, to prominence.
In 1957, Dr. King founded the Southern Christian Leadership Conference and
mobilized the power and influence of Black churches in an all-out thrust
against segregation. The civil rights movement of the 1950s continued
through the 1960s, breaking down entrenched legal barriers that had
segregated the races.
Jazz in the 1950s, like the society it reflected and culture to which it
contributed, also went through considerable change. Cool, Hard Bop, and
Modal Jazz were manifestations of the diversity of the times, reflecting, in
part, both "have" (affluence, prosperity) and "have not" (civil rights, equal
opportunity) America. The national pride during and immediately following
World War II was gradually replaced by questions, doubts, and, eventually,
hostility and opposition, leading to the 1960s - one of America's most
tumultuous decades.
For further research examine the unique popular culture that developed in
the 1950s (http://www.chiff.com/pop-culture/1950s.htm).
1. What accounts for the prosperity of the 1950s?
2. What were the "Levittowns?"
3. How important was the Supreme Court's decision in Sweatt v. Painter?
4. What were the issues that led to the Brown v. Board of Education case?
5. How important was the Brown case in breaking down racial segregation in schools?
6. How did the integration of Little Rock's Central High School underscore the difficulties
involved in enforcing the Brown decision?
7. What were the tactics used to begin to break down racial barriers in Montgomery,
Alabama in the mid-1950s?
8. How did jazz in the 1950s reflect the Decade of Change?
Jazz in America Student Handout--Lesson Plan VI--Jazz Biography 1
MILES DAVIS, trumpet (1926-1991)

Biography: http://en.wikipedia.org/wiki/Miles_Davis
Miles Davis was from an upper middle-class professional and musical family
in St. Louis, Missouri; his father was a successful dentist and his mother and
sister were both capable musicians. Davis' musical career began on his
thirteenth birthday when his father gave him a trumpet. He studied briefly at
the famed Juilliard School of Music in New York. Davis, never settling on one
style of jazz, was in a constant state of evolution playing bop, cool jazz
(which he helped introduce), hard bop, modal music, and a blend of avant-
garde and fusion. He was also recognized as a skilled composer. As a
bandleader, his ability to recognize potential in new musicians opened
careers for numerous jazz greats including such artists as pianist Herbie
Hancock, bassist Ron Carter, saxophonist Wayne Shorter, and drummer Tony
Williams.
Consider the following questions as you read the biography of Miles Davis:
1. How did Miles Davis become interested in music?
2. What influence did jazz musicians Dizzy Gillespie and Charlie Parker have on Davis?
3. What was so noteworthy about Davis' audio recordings of the 1960s?
4. How did jazz purists react to Davis' free-form fusion jazz?
Jazz in America Student Handout--Lesson Plan VI--Jazz Biography 2
ART BLAKEY, drums (1919-1990)

Biography: <http://en.wikipedia.org/wiki/BArt_Blakey
Art Blakey, one of the greatest jazz drummers of all time, helped to define
hard-bop and, along with pianist Horace Silver, founded the "Jazz
Messengers" in 1954, a jazz combo devoted to keeping jazz vibrant and
spirited. This group was noted for being a training ground for up-and-coming
young jazz players, many of whom were to go on to become highly
successful in their own right.
Consider the following questions as you read the biography of Art Blakey:
1. Why did Art Blakey form the "Jazz Messengers?"
2. Why did Blakey encourage up-and-coming jazz musicians to be innovative and take
risks?
3. What regard do other great contemporary jazz musicians have for Art Blakey?
Alumni from the Jazz Messengers who played with the group for various
stints from 1954 to 1990 include such prominent jazz artists as pianists
Kenny Barron, Joanne Brackeen, Chick Corea, Kenny Drew, Benny Green,
Keith Jarrett, Geoff Keezer, Wynton Kelly, Mulgrew Miller, Horace Silver,
McCoy Tyner, Cedar Walton, and James Williams; trumpeters Terence
Blanchard, Randy Brecker, Clifford Brown, Donald Byrd, Kenny Dorham,
Freddie Hubbard, Chuck Mangione, Wynton Marsalis, Lee Morgan, Wallace
Roney, and Woody Shaw; saxophonists Benny Golson, Don Byas, Lou
Donaldson, Kenny Garrett, Johnny Griffin, Philip Harper, Donald Harrison,
Javon Jackson, Branford Marsalis, Hank Mobley, Jackie McLean, Billy Pierce,
Wayne Shorter, and Bobby Watson; trombonists Curtis Fuller, Slide Hampton,
and Steve Turre.
Test bank
1. The era of cool jazz was from
A. 1925 - 1935
B. 1935 - 1945
C. 1940 - 1950
D. 1949 - 1955
E. 1955 - 1963
2. If Bebop were a reaction to Swing, then Cool might be considered a reaction to

A. Dixieland
B. the Blues
C. the reaction
D. Rock 'n Roll
E. Swing
3. Cool jazz was

A. usually slower paced and more subdued than Bebop
B. usually fast paced
C. usually energetic and overtly emotional
D. usually louder than Bebop
E. the slang term for the "hot" style of jazz
4. The type of jazz that put jazz back into the mainstream of American music in the
1950s was
A. Modal Jazz
B. Cool
C. Funk
D. Hard Bop
E. Bebop
5. Cool jazz was performed by

A. both white and black musicians in most of Americas major cities
B. white musicians exclusively
C. black musicians exclusively
D. mostly women
E. classical musicians
6. One of the saxophonists associated with Cool jazz was

A. Chet Baker
B. Dave Brubeck
C. Gerry Mulligan
D. Charlie Parker
E. Milt Jackson
7. A trumpet player associated with Cool jazz was
A. Miles Davis
B. Gerry Mulligan
C. Dizzy Gillespie
D. Dave Brubeck
E. Freddie Hubbard
8. Cool combos ranged from

A. quartets to sextets
B. trios to nonets
C. duets to octets
D. quartets to big bands
E. chamber orchestra to symphonic orchestra
9. Cool groups sometimes included

A. vibes and French horn
B. banjo and guitar
C. clarinet and violin
D. bassoon and oboe
E. acoustic guitar and electric bass
10. Cool jazz influences and tune sources included

A. symphonic repertoire only
B. Dixieland
C. the Blues exclusively
D. Swing and Bebop
E. Hard Bop
11. In Cool jazz

A. classical music elements could often be found
B. there was a return to the collective improvisation of the Dixieland Era
C. there was very little room for improvisation
D. there was little organization to the music
E. conductors were usually used
12. Cool jazz employed

A. homophony exclusively
B. simple chord structures
C. homophony and polyphony
D. polyphony exclusively
E. little harmonic structure
13. Polyphony is
A. one melodic line with accompanying chords
B. two voices singing in unison
C. two instruments playing in unison
D. a particular type of dance
E. two or more independent melody lines sounded together
14. The rhythm sections in Cool jazz were

A. loud and involved
B. not used
C. passive, providing subtle accompaniment
D. used infrequently
E. provided strong accented accompaniment and exciting interplay
15. Hard Bop represented a return to

A. the fast-paced, "hot" style of Bebop
B. the avant garde
C. Swing
D. Dixieland
E. collective improvisation
16. Hard Bop was center mainly in Northern cities and was dominated by
A. white musicians
B. women
C. young African American musicians
D. retired musicians
E. the record companies
17. Hard Bop and Funky jazz share in common

A. collective improvisation
B. an integration of composition, arrangement, and improvisation
C. a smooth and "cool" style
D. a frequent use of conductors
E. difficult chord changes
18. One of the major differences between Hard Bop and Funky jazz was
A. the type of audience that listened
B. the musicians who played these two styles
C. their record labels
D. the tune sources
E. the use of electric instruments
19. Compared to Funky jazz, the harmony for Hard Bop usually
A. was more complex
B. was less complex
C. utilized fewer chords
D. was blues based
E. was modal
20. Modal Jazz was usually based on

A. complex chord progressions
B. a limited number of modes (scales)
C. the Blues
D. a progression of quickly changing chords
E. contrafacts
21. The first important Modal Jazz recording was

A. Song for My Father, Horace Silver
B. Kind Of Blue, Chet Baker
C. Giant Steps, John Coltrane
D. Take Five, Dave Brubeck
E. Kind of Blue, Miles Davis
22. Important Modal jazz musicians include

A. Art Blakey and the Jazz Messengers
B. John Coltrane
C. Dave Brubeck
D. Chet Baker
E. Modern Jazz Quartet
23. Regarding American culture, Cool jazz reflected

A. emotional self control in time of crisis
B. a cooling down of Americans top choice of entertainment
C. global cooling, the predominant environmental effect in the 1950s
D. the laid back California lifestyle
E. A, B, and D
24. Levittowns were

A. housing developments for low income persons living in the inner-city
B. planned communities in the suburbs
C. segregated housing developments built throughout the South in the 1950s
D. communities established in rural areas to relocate unemployed urban workers
and their families
E. socialist communities established by religious organizations in post-World War
II America
25. A landmark Supreme Court decision declaring the segregated schools were
unconstitutional
A. Marbury v. Madison
B. Dred Scott v. Sandford
C. Plessy v. Ferguson
D. Brown v. Board of Education Topeka, Kansas
E. Regents of the University of California v. Bakke

1. If Bebop were a reaction to Swing, then Cool might be considered a reaction to the
_____________________________.
2. The style of jazz that, compared to Bebop, is slower paced, more subdued, less
emotional, softer, and more controlled is _____________________________.
3. Regarding audience appeal, Cool Jazz was more _____________________________

than Bebop.
4. Cool jazz was mostly associated with _____________________________.
5. A prominent Cool Jazz baritone saxophonist, best known for his work with Chet
Baker, was _________________________.
6. The prominent Cool Jazz pianist who recorded Take Five was
_____________________________
7. Cool Jazz combos ranged in size from _____________________________ to

_____________________________.
8. Cool Jazz combos often included more "classical" instruments such as

________________________________.
9. Cool influences and tune sources included Swing, Bebop, Pop, and
_____________________________ music.
10. The dynamic and expressive range was more _____________________________ in

Cool Jazz than in Bebop.
11. There was far more _____________________________ influence in Cool Jazz than
Blues influence.
12. An important African American trumpeter in Cool Jazz was

_____________________________.
13. Hard Bop represented a return to the fast paced, "hot" style of
_____________________________.
14. Hard Bop was heavily dominated by young _____________________________

musicians.
15. Hard Bop was mainly centered in _____________________________ cities with a

large African American population.
16. The substyle of Hard Bop distinguished by its Blues and Gospel influence, simple
forms, explicitly stated rhythms, and down home earthy feel is known as
_____________________________ Jazz.
17. The Hard Bop drummer best known for bringing his jazz message to the people
was _____________________________.
18. The style of jazz based on a limited number of scales as opposed to progression of
changing chords is known as _____________________________ Jazz.
19. The first important Modal Jazz recording was _____________________________ by

_____________________________.
20. An important African American tenor saxophonist known for his Hard Bop AND Modal
Jazz playing was _____________________________, recording both Giant Steps and
Impressions.
21. Cool Jazz reflected the importance of cooling off in American culture such as
Congress passing of the _____________________________ Act which mandated a
cooling off period in labor disputes.
22. Cool Jazz was most associated with what state? _____________________________
23. Hard Bop was most associated with what city? _____________________________
24. Modal Jazz, in part, was a rejection of _____________________________ chord

progressions, creating a path toward an eve more Afro-centric music.
25. _____________________________ is currently enjoying a resurgence as it is the

main influence behind todays young straight ahead players.

Essay Question #1
Explain how Cool Jazz is different from Bebop and why Cool Jazz came after Bebop. How did
this reflect what was going on in America at the time?
Essay question #2
Who were some of the important figures in Cool Jazz? How was their music similar? What
kind of cultural statements were they attempting to make with this new style of jazz?
Essay question #3
What is the difference between Hard Bop and Cool Jazz? Why did Hard Bop come after Cool
Jazz? What was the social statement being made by this stylistic change and how did it
affect the cultural American landscape?
Essay question #4
Write about Hard Bop and Funky Jazz: their similarities and differences. Address
instrumentation, group size, tune sources, performance practices, etc.
Essay question #5
How was Cool Jazz a reflection of the American attitude after World War II? What were
Americans feeling at the time? Address the political and social landscape of America in the
1950s.

1.If Bebop were a reaction to Swing, then Cool might be considered a reaction to the TF
reaction.
2.Cool Jazz was usually a faster, more emotional style of jazz than Bebop. TF
3.Cool Jazz was associated mostly with young African American players. TF
4.Cool combos ranged from trios to nonets. TF
5.Besides standard Bebop instrumentation, Cool Jazz combos often included more TF
"classical" instruments like flue, French Horn, oboe, etc.
6.Both homophony than polyphony could be found in Cool Jazz. TF
7.In Cool Jazz there was an integration of arrangement and improvisation. TF
8.Compared to Bebop, Cool Jazz was more harmony oriented and less tune oriented. TF
9.An important figure during the Cool Jazz Era was Miles Davis. TF
10.Very few differences exist between Hard Bop and Cool Jazz. TF
11.Hard Bop was heavily dominated by young African Americans. TF
12.Hard Bop was mainly centered in U.S. Southern cities. TF
13.A distinct substyle of Hard Bop was Funky Jazz. TF
14.An important Funky Jazz group was the Hot Five. TF
15.An important pianist playing both Hard Bop and Funky Jazz was Horace Silver. TF
16.Hard Bop was more "earthy" and Funky was more cerebral. TF
17.A popular tenor saxophonist during the Hard Bop Era was John Coltrane. TF
18.An important Hard Bop and Funky Jazz group was Art Blakey and the Jazz TF
Messengers, led by drummer Art Blakey.
19.Modal Jazz is based on swiftly changing complex chord progressions. TF
20.The 1950s began as a period of slow economic growth and ended with a severe TF
economic depression.
21.White Citizens Councils were established in Little Rock, Arkansas to peacefully TF
integrate Central High School in 1957.
22.The Supreme Court's ruling in Brown v. Board of Education Topeka, Kansas brought TF
an immediate end to segregated schools throughout the South.
23.Rosa Parks was one of the central figures that played a role in the Montgomery Bus TF
Boycott School.
24.The "Jazz Messengers" was formed in order to keep the Big Band era alive. TF
25.Art Blakey encouraged new jazz musicians to be innovative and take risks. TF
1. Cool Jazz style A. Miles Davis 1. _____
2. young white players B. Take Five 2. _____
3. Gerry Mulligan C. improvisation 3. _____
4. white Cool Jazz trumpet player D. usually more narrow than in Bebop 4. _____
5. Cool Jazz, Hard Bop, and Modal trumpet player E. Cool Jazz 5. _____
6. Cool Jazz combos F. employed complex scales 6. _____
7. Cool Jazz instrumentation G. slow paced, more subdued than Bebop 7. _____
8. Dave Brubeck and Paul Desmond H. simple and explicit 8. _____
9. two or more simultaneous melodies I. tenor saxophone 9. _____
10. Cool Jazz: integration of arrangement and J. Chet Baker 10. _____
11. In Cool Jazz, the rhythm section was... K. Cannonball Adderley 11. _____
12. In Cool Jazz, the dynamic range was... L. often included "classical" instruments 12. _____
13. tune oriented M. Kind of Blue 13. _____
14. Hard Bop heads and solos... N. Cool Jazz baritone saxophonist 14. _____
15. Funky Jazz rhythms O. Modern Jazz Quartet 15. _____
16. strong influence of Gospel and R&B P. Swing, Bebop, Pop, and Classical Music 16. _____
17. Sonny Rollins Q. trios to nonets 17. _____
18. alto saxophone R. John Coltrane 18. _____
19. The Jazz Messengers S. cooling off period in labor disputes 19. _____
20. Modal Jazz T. polyphony 20. _____
21. Piano U. basically passive 21. _____

22. John Lewis and Milt Jackson V. Funky Jazz 22. _____
23. Taft-Hartley Act W. mostly associated with Cool Jazz 23. _____
24. Cool Jazz influences X. Horace Silver 24. _____
25. Giant Steps and Impressions Y. Art Blakey 25. _____
ANSWER KEY
Grade Eleven
Lesson Plan 6
Multiple Choice
1. D 1949 - 1955
2. C the reaction
3. A usually slower paced and more subdued than Bebop
4. B Cool
5. A both white and black musicians in most of America's major cities
6. C Gerry Mulligan
7. A Miles Davis
8. B trios to nonets
9. A vibes and French horn
10. D Swing and Bebop
11. A classical music elements could often be found
12. C homophony and polyphony
13. E two or more independent melody lines sounded together
14. C passive, providing subtle accompaniment
15. A the fast-paced, "hot" style of Bebop
16. C young African American musicians
17. B an integration of composition, arrangement, and improvisation
18. D the tune sources
19. A was more complex
20. B a limited number of modes (scales)
21. E Kind of Blue, Miles Davis
22. B John Coltrane
23. E A, B and D
24. B planned communities in the suburbs
25. D Brown v. Board of Education
Fill in the Blank

1. reaction (or Bebop)
2. Cool Jazz
3. popular
4. white musicians (or the West Coast)
5. Gerry Mulligan
6. Dave Brubeck
7. trios, nonets (or 3 to 9 pieces)
8. flute (or oboe, French horn)
9. classical
10. narrow (or limited)
11. classical music
12. Miles Davis
13. Bebop
14. African American
15. Northern
16. Funky
17. Art Blakey
18. Modal
19. Kind of Blue, Miles Davis
20. John Coltrane
21. Taft-Hartley
22. California
23. New York
24. urban, industrial
25. Hard Bop
True/False
1. T
2. F
3. F
4. T
5. T
6. T
7. T
8. F
9. T
10. F
11. T
12. F
13. T
14. F
15. T
16. F
17. T
18. T
19. F
20. F
21. F
22. F
23. T
24. T
25. T
Matching
1. G Cool Jazz Style/slow paced, more subdued than Bebop
2. W young white players/mostly associated with Cool Jazz
3. N Gerry Mulligan/Cool Jazz baritone saxophonist
4. J white Cool Jazz trumpet player/Chet Baker
5. A Cool Jazz, Hard Bop, and Modal trumpet player/Miles Davis
6. Q Cool Jazz combos/trios to nonets
7. L Cool Jazz instrumentation/often included "classical" instruments
8. B Dave Brubeck and Paul Desmond/Take Five
9. T two or more simultaneous melodies/polyphony
10. C Cool Jazz: integration of arrangement and/improvisation
11. U In Cool Jazz, the rhythm section was.../basically passive
12. D In Cool Jazz, the dynamic range was.../usually more narrow than in Bebop
13. E tune oriented/Cool Jazz
14. F Hard Bop heads and solos.../employed complex scales
15. H Funky Jazz rhythms/simple and explicit
16. V strong influence of Gospel and R&B/Funky Jazz
17. I Sonny Rollins/tenor saxophone
18. K alto saxophone/Cannonball Adderley
19. Y The Jazz Messengers/Art Blakey
20. M Modal Jazz/Kind of Blue
21. X Piano/Horace Silver
22. O John Lewis and Milt Jackson/Modern Jazz Quartet
23. S Taft-Hartley Act/cooling off period in labor disputes
24. P Cool Jazz influences/Swing, Bebop, Pop, and Classical Music
25. R Giant Steps and impressions/John Coltrane
JAZZ TODAY, TOMORROW
STUDENT HANDOUT
Jazz in America Glossary for Lesson VIII - Jazz Today, Jazz

Tomorrow
looping: The continuous repetition of a musical phrase manipulated by
electronic means; in acid jazz, the accompaniment portion of old records are
often sampled then looped, providing the background for new recordings
(over which are placed other synthesized sounds, raps, and jazz
improvisations).
mainstream: Originally a term that embraced certain music (particularly

small bands) which extended the swing jazz tradition into the present,
mainstream has also been used as an umbrella term that includes all post-
bebop acoustic jazz except that which is considered free or avant garde jazz;
jazz reflecting the hard bop sensibilities.
sampling: Consists of digitally recording acoustic, synthesized, or previously

recorded sounds for the purpose of electronically manipulating them (e.g.,
changing pitch, changing timbre, looping them, etc.); in acid jazz, entire
musical phrases from old albums are often sampled then resynthesized as
the basis for new recordings.
straight ahead: Term used to suggest a manner of playing which adheres

closely to the tradition of jazz, as in played straight, moving in a straight
forward manner; also used as a stylistic designation related to mainstream
(see mainstream) playing; acoustic jazz based on the hard bop tradition and
sensibilities.
Jazz in America Student Handout--Lesson Plan VIII--American

History Essay
The American Century
At the dawn of the twentieth century, the acquisition of territories in the

Caribbean and across the Pacific thrust the United States on the world's
stage. The United States, although attempting to cling to an isolationist
policy, began to play a major role in international affairs. President Theodore
Roosevelt romped through the Caribbean with a "big stick," insured U.S.
construction and control of the Panama canal, brokered a treaty ending the
Russo-Japanese War, and helped arrange a conference to mediate an
international dispute over Morocco.
American entry into World War I in 1917 broke the stalemate that had
prolonged the bloody struggle and placed the United States on center stage
negotiating a treaty to "make the world safe for democracy." Political
wrangling at home over the League of Nations set in motion a new
isolationist policy that attempted to keep the United States from becoming
involved in international disputes while maintaining an interest and influence
in world affairs. With the world plunged into global war in the late 1930s, the
United States forged a wartime alliance upon entering World War II in 1941.
The war changed the course of world affairs and by mid-century the United
States had emerged as the world's leading economic and political power.
Commanding the leadership of the Western world, the United States
confronted the Soviet Union in a Cold War until the collapse of Communism
in the last decade of the century.
While the United States was reluctant to enter upon the world stage at the
beginning of the century, American culture was exported around the globe.
Jazz musicians captivated Parisians during the victory celebrations at the
close of World War I. In the 1920s, Paris, London, and Berlin roared with the
unique sounds of a new American music. African American singers and
musicians flocked to European capitals where they were not hindered by Jim
Crow laws or practices they faced in the United States. In many countries
throughout the world, American movies were immensely popular and the
illusions of the cinema were accepted as a true depiction of American life.
Just as American literature had come into its own in the mid-nineteenth
century, American artists and musicians no longer looked to Europe as the
repository of culture.
During the post-World War II era, the U.S. Department of State recognized
the significance of American popular culture and sent artists as "cultural
ambassadors" throughout the world to promote improved political relations.
Immensely popular American music could not be restrained by an Iron
Curtain. Jazz musicians electrified young audiences throughout Eastern
Europe and the Soviet Union , playing a major role in promoting cultural
exchanges that helped relieve international tensions.
Like no other period in history, lifestyles in America changed significantly

during the twentieth century. The revolution in technology and
communications propelled rapid change in American society. Opponents of
change clung to a nostalgic feeling of "the good old days," seeking to stem
the tide or slow the rate of change. Women, deprived of a basic right in a
democratic society, won the right to vote in 1920. Gender roles in society
underwent significant changes during the century as restrictive barriers
designating societal roles broke down. In the realm of civil rights, African
Americans created a Second Reconstruction destroying obstacles that had
been established by law and practice to prevent full participation in the
political, economic, and social life of the nation. The struggle to change a
system became a model for women and other minorities in seeking full
participation in American society.
American popular culture reflected societal change. Literature, art, and
music were instruments carrying a message of reform. Television brought
issues into the home as millions watched police dogs attack civil rights
marchers and anti-war protestors; they saw Americans fight raging battles
with police and national guard units on college campuses and in the streets
of American cities. Amidst changes in American society, romanticism gave
way to reality as movie directors began to place a greater focus on burning
social issues.
Jazz performer and composer Wynton Marsalis recognizes the importance of

the arts and is an avowed supporter of arts education for young people.
According to Marsalis, "the arts interpret the way that we live our lives and
gives us a code of conduct and a way to understand what our life has to
offer . . . it can teach us history." The arts, at the focal point of American
popular culture, reflect the conscience of the nation.
Lifestyles and values that are reflected in the arts and music of an epoch are
essential aspects of the study of any era of history. An investigation of
American popular culture enlivens the study of our nation's history. The
University of Virginia's American Studies "Yellow Pages"
(http://xroads.virginia.edu/~YP/yppop.html) has several different categories
including popular music and dance, film, television, and jazz that link to
other websites providing useful data for an investigation of American popular
culture in the twentieth century.
1. Why is the twentieth century known as "The American Century?"
2. What influence did American popular culture have on other countries?
3. How has jazz reflected the profound changes in American lifestyle in the 20th
century?
Jazz in America Student Handout--Lesson Plan VIII--Jazz Biography
WYNTON MARSALIS, trumpet (b. 1961)

Biography: http://en.wikipedia.org/wiki/Wynton_Marsalis
Wynton Marsalis is recognized as one of today's most prominent jazz

musicians. Many of his compositions show the influence of early New Orleans
jazz, the blues, and elements of classical music. Marsalis' insistence on
preserving "traditional jazz" has made him both popular and controversial.
Some look upon him as the savior of pure jazz while others argue that his
efforts to preserve jazz are nothing more than regressive. Despite the
controversy, Marsalis is a giant on the contemporary jazz scene.
Consider the following questions as you read the biography of Wynton
Marsalis:
1. What was the extent of Wynton Marsalis' musical training as a youth? As a young
adult?
2. How was Marsalis' epic oratorio on slavery, Blood on the Fields, received?
3. What emphasis does Marsalis place on music education for young people?
4. What recognitions has Marsalis received for his recordings and compositions?
5. How has Marsalis influenced American popular culture?
JAZZ IN THE 1990'S AND BEYOND
CHICK COREA, piano and electric keyboards (b. 1941)

Biography: http://www.chickcorea.com/bio.php
DAVE DOUGLAS, trumpet (b. 1963)

Biography: www.davedouglas.com/bio.html
ROY HARGROVE, trumpet (b. 1969)

Biography: http://en.wikipedia.org/wiki/Roy_Hargrove
KEITH JARRETT, piano (b. 1945)

Biography: http://en.wikipedia.org/wiki/Keith_Jarrett
DAVID LIEBMAN, tenor and soprano saxophone (b. 1946)

Biography: http://en.wikipedia.org/wiki/Dave_Liebman
BRANFORD MARSALIS, tenor saxophone (b. 1960)

Biography: http://en.wikipedia.org/wiki/Branford_Marsalis
PAT METHENY, guitar (b. 1954)

Biography: http://en.wikipedia.org/wiki/Pat_Metheny
DAVID MURRAY, saxophone (b. 1955)

Biography: http://en.wikipedia.org/wiki/David_Murray_%28jazz_musician
%29
JOSHUA REDMAN, tenor saxophone (b. 1969)

Biography: http://en.wikipedia.org/wiki/Joshua_Redman
MARIA SCHNEIDER, composer and arranger (b. 1960)

Biography: <http://en.wikipedia.org/wiki/Maria_Schneider_%28musician
%29
Jazz in the last decade of the 20th century has had numerous faces, many of
which have been influenced by a trend towards commercialization,
consumerism, and corporate control of media. In all periods of jazz, business
and financial elements have played some role in the direction of the art; in
the 1980s -1990s, image and sales-driven corporations made a major
impact in creating a conservative musical environment. Many would say that
while the most successful (fiscally and/or perceptually) jazz artists in the
1990s have indeed been exceptionally talented, they also have been
considerably marketable and, perhaps, somewhat unadventurous in their
musical choices. This jazz conservatism has created a backlash of non-
traditionalists and non-conformists (who have been experimental and
adventurous), risking their financial comfort in the name of art. Also in this
period, artists from previous decades, considered marketable by record
companies due to name recognition, have often redefined and reconstructed
their artistic vision with varying degrees of success.
Perhaps the most frequent topic of conversation in jazz today is youth. The
talk mainly concerns a group of outstanding instrumentalists in their
twenties and thirties (known in the mid 1990s as jazz's "young lions"),
including such artists as tenor saxophonists Joshua Redman and James
Carter, trumpeters Roy Hargrove and Nicholas Payton, pianists Cyrus
Chestnut and Jacky Terrasson, and bassist Christian McBride; they are
credited with helping bring audiences their own age and younger to jazz.
Consider the following questions as you read the biographies of one or more
of the artists on the jazz scene today:
1. When did this musician's career begin? If prior to the 1990's, has he or she redefined
his or her style?
2. What were this musician's influences?
3. Has this musician innovated or extended the jazz language or style?
4. Does this artist's music reflect current American culture? How?
TEST BANK

1. Jazz Today has basically two camps. One camp is with no labels or preconceived
style, and the other is
A. Dixieland Jazz
B. Mainstream Jazz (AKA straight ahead jazz)
C. Vocal Jazz
D. Acid Jazz
E. None of the Above
2. New offshoots of jazz today include
A. M-Base
B. Acid Jazz
C. Mainstream Jazz
D. Answers A and B
E. Answers B and C
3. Marian McPartlands national show, Piano Jazz, can be heard on

A. NPR
B. MTV
C. CBS
D. PBS
4. Important women jazz vocalists include

A. Ella Fitzgerald
B. Billie Holiday
C. Sarah Vaughan
D. All of the Above
5. Instrumental jazz, from its earliest roots, has been primarily

A. female dominated
B. straight ahead
C. male dominated
D. neither male nor female dominated
E. synthesized sounds
6. Straight Ahead Jazz artist, Wynton Marsalis, plays the

A. drums
B. piano
C. soprano saxophone
D. alto saxophone
E. trumpet
7. No Labels artists Branford Marsalis and Michael Brecker both play the
A. guitar
B. tenor saxophone
C. alto saxophone
D. trumpet
E. electronic keyboards
8. M-Base artist, Gary Thomas, plays

A. electric guitar and electric bass
B. alto saxophone and EWI
C. tenor saxophone and flute
D. electronic keyboards
9. Regina Carter is famous for her work on the

A. violin
B. flute
C. guitar
D. piano
E. trumpet
10. DIVA is
A. a female jazz vocalist
B. an Acid Jazz band
C. a brand of alto saxophone
D. a male vocal jazz group
E. an all-female big band
11. Acid Jazz groups include

A. Digable Planets
B. Groove Collective
C. US3
D. all of the above
12. Jazz will increasingly witness the inclusion of more World Music, i.e.,
A. Eastern, African, Latin, and 20th and 21st Century Classical musics
B. music from other planets
C. music with no sound
D. all of the above
13. Mainstream jazz will most likely continue and grow as young players study the
genius of
A. Hip Hop
B. Rap
C. technology
D. past jazz masters
E. Free Jazz
14. Technical mastery of the acoustic instruments of jazz in the future will most likely
A. remain about the same
B. decrease
C. increase
D. become less important
15. As computers and recording studios become more technologically advanced, jazz will
most likely witness more use of
A. synthesized sounds
B. sampling
C. looping
D. electronic techniques not yet invented
E. all of the above
16. Jazz will become a mainstay of American

A. public education
B. popular music
C. Airlines
D. conservative values
17. Jazz has reflected the profound and rapid changes in American lifestyle in the
A. 18th Century
B. 19th Century
C. 18th and 19th Centuries
D. 19th and 20th Centuries
E. 20th Century
18. Jazz will continue to epitomize the American ideal of

A. individual expression
B. education
C. women in jazz
D. conservatism
E. rural life
19. Perhaps there is no better example of democracy than a(n)

A. music conservatory
B. jazz-funk recording
C. jazz ensemble
D. orchestra
E. saxophone playing president
20. The study of jazz provides insight into

A. homogeneity
B. responsibility and teamwork
C. the 19th century
D. only music
21. A better understanding and respect for this countrys diverse cultural heritage can be
attained from the study of
A. technology
B. music conservatories
C. classical music
D. jazz
22. Jazz will continue to reflect young peoples desire to express their differences from
and pay homage to
A. instrumental music
B. vocal music
C. classical music
D. new, young artists
E. earlier generations
23. Jazz expresses emotions with impervious

A. honesty
B. dishonesty
C. apathy
D. indifference
E. conservatism
24. Artistic director of the Jazz at Lincoln Center program devoted to the promotion of
music education for young Americans.
A. Wynton Marsalis
B. Maria Schneider
C. Gil Evans
D. Bob Brookmeyer
E. Thelonious Monk
25. Wynton Marsalis epic oratorio on slavery

A. In Abrahams Bosom
B. Let My People Free
C. Strange Fruit
D. All Gods Chillun Got Wings
E. Blood on the Fields
1. Mainstream jazz is also known as ______________________________________
jazz.
2. The retro movement of mainstream jazz has been under the tutelage of trumpet
player ___________________________________.
3. ____________________ Jazz is based on jazz/funk recordings of the 1960s, early

70s, classic R&B, and hip hop.
4. The M in M-Base jazz stands for ____________________________.
5. In the past, women in jazz have made their greatest impact in the
_________________________ jazz arena.
6. _____________________________________ jazz will most likely continue flourish

as young players study the past masters.
7. The most well-known all-female big band touring and recording today is
____________________________.
8. In the future, jazz will most likely be created by

___________________________________ technicians as well as musicians.
9. In the future, not only will jazz be taught in music classes, but
______________________________________ classes as well.
10. Jazz artists Steve Davis, Jeff Tain Watts, and Cindy Blackman all play
________________________________ (what instrument).
11. Jazz artists Pat Methany and John Scofield both play
________________________________ (what instrument).
12. Jazz artists Danilo Perez, Marcus Roberts, and Patrice Rushen all play
________________________________ (what instrument).
13. Jazz will continue to epitomize the American ideal of individual

__________________________________.
14. The study of jazz provides better understanding of and respect for this countrys
diverse __________________________________.
15. As it did throughout the ________ century, jazz will continue to give the American
people a collective picture of cultural conditions and changes.
16. Perhaps there is no better example of _____________________ than a jazz
ensemble: individual freedom but with responsibility to the group.
17. From its beginning, jazz has been an art for energetic people brave enough to
express their true _________________________.
18. Jazz artists Ingrid Jensen, Dave Douglas,Terence Blanchard, and Roy Hargrove all
play ________________________________ (what instrument).
19. Instrumental jazz has been primarily ____________________ dominated.
20. Jazz artists Michael Brecker, Branford Marsalis, and Joshua Redman all play
_____________________________ (what instrument).
21. Betty Carter, Ella Fitzgerald, Billie Holiday, Carmen McRae, and Sarah Vaughan are all
jazz _____________________________.
22. ______________________________________ refers to digitally recorded

synthesized and/or acoustic sounds.
23. ___________________________________ is the continuous repetition of a musical

phrase manipulated by electronic means.
24. In the past, _______________________________ in jazz have made their greatest

impact in the vocal jazz arena.
25. Institutions of higher learning (colleges, universities, and music conservatories) will
continue to increase their jazz course offerings, conferring a bachelors, masters, and
even a ______________________________ in Jazz Studies.

Essay Question #1
Discuss how jazz has reflected the profound and rapid changes in American culture and
lifestyle during the 20th Century.
Essay question #2
Jazz of today has a direct relationship to the jazz of tomorrow. Discuss how todays artists
and society will affect the jazz of tomorrow.
Essay question #3
Women, especially of late, have been important in the field of jazz. Discuss female artists
and their contributions to todays jazz scene.
Essay question #4
Technology is emerging in all areas of our society. Discuss the relationship of jazz and
technology, both today and in the future.
Essay question #5
Relate the evolution of jazz to the evolution of society in America in the 20th century.

1.Mainstream jazz is also known as looping. TF
2.No Labels jazz can include elements of classical music. TF
3.New offshoots of jazz today include M-Base and Acid Jazz. TF
4.Mainstream artist, Wynton Marsalis, plays the tenor saxophone. TF
5.Much of Acid Jazz is performed and recorded with Rap vocals. TF
6.Lillian Hardin Armstrong contributed to the instrumental jazz tradition. TF
7.DIVA is a male dominated big band. TF
8.Technology is important to the evolution of jazz. TF
9.In the future, Jazz will most likely be created by computer technicians as well as TF
musicians.
10.Jazz, being a style of music, is only taught in music classes. TF
11.Women do not contribute to the composing and arranging of jazz music. TF
12.World Music most likely will play an important role in the jazz of the future. TF
13.Colleges and universities do not include jazz in their degree offerings. TF
14.The styles of jazz have changed profoundly throughout its short history. TF
15.The study of jazz does not include cultural sensitivity and awareness. TF
16.The study of jazz provides insight into teamwork, ethnic diversity, and goal TF
accomplishment.
17.Jazz does not pay homage to the past. TF
18.Jazz is the same as it was at its roots. TF
19.The study of jazz provides respect for this countrys diverse cultural heritage. TF
20.Dixieland is no longer being performed. TF
21.History and jazz have nothing in common. TF
22.Identifying and emulating the jazz masters of the past is part of mainstream jazz TF
today.
23.M-Base Jazz is based upon harmonic elements of the late 1990s. TF
24.American society experienced rapid and revolutionary changes at the beginning of TF
the century but has changed little since the "Jazz Age."
25.Wynton Marsalis is known for his new jazz compositions that are based solely on TF
African rhythms.
1. jazz of the future A. digitally recording sounds 1. _____
2. Mainstream Jazz B. DIVA 2. _____
3. M-Base C. Gary Thomas 3. _____
4. new jazz offshoots D. Piano Jazz 4. _____

5. acid jazz E. tenor saxophone 5. _____
6. Christian McBride F. Macro-based jazz 6. _____
7. Marian McPartland G. alto saxophone 7. _____
8. Geri Allen H. M-Base and Acid Jazz 8. _____
9. sampling I. musicians and computer technicians 9. _____
10. Steve Davis J. drums 10. _____
11. looping K. continuous electronic repetition of a musical phrase 11. _____
12. Bobby Watson L. Dolphy's Dance 12. _____
13. Branford Marsalis M. US3, Digable Planets, Groove Collective 13. _____
14. M-Base artist N. bass 14. _____
15. World Music O. Eastern, African, and Latin 15. _____
16. No Labels Jazz P. anything goes 16. _____
17. PanaMonk Q. Danilo Perez 17. _____
18. Retro movement trumpet player R. Wynton Marsalis 18. _____
19. all female big band S. straight ahead 19. _____
20. Maria Schneider T. jazz ensemble 20. _____
21. Acid Jazz artists U. increasingly adding jazz curricula 21. _____
22. jazz education V. music, social studies and American history classes 22. _____
23. democracy W. composer/arranger 23. _____
24. music conservatories and universities X. electronic excerpts of 1960s and '70s recordings 24. _____
25. Jazz - a symbol of... Y. modernization, city life, and interracial activity 25. _____
ANSWER KEY
Grade Eleven
Lesson Plan 8
Multiple Choice
1. B Mainstream Jazz (AKA straight ahead jazz)
2. D Answers A and B
3. A NPR
4. D All of the Above
5. C male dominated
6. E trumpet
7. B tenor saxophone
8. C tenor saxophone and flute
9. A violin
10. E an all-female big band
11. D all of the above
12. A Eastern, African, Latin, and 20th and 21st Century Classical musics
13. D past jazz masters
14. C increase
16. A public education
17. E 20th Century
18. A individual expression
19. C jazz ensemble
20. B responsibility and teamwork
21. D jazz
22. E earlier generations
23. A honesty
24. A Wynton Marsalis
25. E Blood on the Fields
Fill in the Blank

1. Straight ahead
2. Wynton Marsalis
3. Acid
4. Macro
5. vocal
6. Mainstream (or straight ahead)
7. DIVA
8. computer
9. social studies (or American history)
10. drums
11. guitar
12. piano
13. expression
14. cultural heritage
15. 20th
16. democracy
17. emotions
18. trumpet
19. male
20. tenor saxophone
21. vocalists
22. sampling
23. Looping
24. women
25. doctorate (or doctoral degree)
True/False
1. F
2. T
3. T
4. F
5. T
6. T
7. F
8. T
9. T
10. F
11. F
12. T
13. F
14. T
15. F
16. T
17. F
18. F
19. T
20. F
21. F
22. T
23. F
24. F
25. F
Matching
1. I jazz of the future/musicians and computer technicians
2. S Mainstream Jazz/straight ahead
3. F M-Base/Macro-based jazz
4. H new jazz offshoots/M-Base and Acid Jazz
5. X acid jazz/electronic excerpts of 1960s and 70s recordings
6. N Christian McBride/bass
7. D Marian McPartland/Piano Jazz
8. L Geri Allen/Dolphys Dance
9. A sampling/digitally recording sounds
10. J Steve Davis/drums
11. K looping/continuous electronic repetition of a musical phrase
12. G Bobby Watson/alto saxophone
13. E Branford Marsalis/tenor saxophone
14. C M-base artist/Gary Thomas
15. O World Music/Eastern, African, and Latin
16. P No Labels Jazz/anything goes
17. Q PanaMonk/Danilo Perez
18. R Retro movement trumpet player/Wynton Marsalis
19. B all female big band/DIVA
20. W Maria Schneider/composer/arranger
21. M Acid Jazz artists/US3, Digable Planets, Groove Collective
22. V jazz education/music, social studies and American history classes
23. T democracy/jazz ensemble
24. U music conservatories and universities/increasingly adding jazz curricula
25. Y Jazz - a symbol of.../modernization, city life, and interracial activity

Lesson Plan 1 Student Handout

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LESSON PLAN 1 STUDENT HANDOUT

Jazz Musicians as Cultural Intermediaries

was better conveyed through sound than sheet music.

No. 4, pp. 27-28)

(Survey, March 1, 1925, p. 665)

Urban America, p.199)

4. What accounts for the popularity of jazz in American popular culture?

The Disparity between American Ideals and Realities

surveyor, recalled Jeffersons stirring words of the Declaration of Independence.

Although the Constitution, ratified in 1787, (HOT LINK:http://www.archives.gov/exhibits/charters/constitution.html) did

fourth Clauses in the Ninth Section of the first Article

President Lincolns Emancipation Proclamation (HOT

LINK: http://www.archives.gov/exhibits/american_originals_iv/sections/nonjavatext_emancipation.html) and the passage

of jazz; in what ways and to what extent is open for discussion.

African Americans in the latter part of the eighteenth century?

Thelonious Monk, piano (1917 - 1982)

Biography (HOT LINK: http://www.monkinstitute.org/theloniousmonk)

3. What are the basic characteristics of Monks musical style?

4. What accounts for his popularity?

5. How do contemporaries view Monks bebop style of jazz?

Duke Ellington, piano (1899 - 1974)

Biography (HOT LINK: http://www.schirmer.com/composers/ellington_bio.html)

Ellington was recognized as a goodwill ambassador spreading American popular culture.

prior to his performance on stage at this venerable musical institution?

Fill in the blank with the correct answer

2. Jazz is a partly ____________________ and partly _____________________

3. Two elements of jazz are ____________________ and ____________________.

Please answer true or false to the following questions.

Write a one to two page answer.

2. Improvisation B. what is played 2. _____

3. Spontaneous Musical Dialogue C. created much controversy 3. _____

4. Jazz's Musical Traditions D. African Americans 4. _____

5. Slave Work Songs E. "Mister Magic" 5. _____

6. Ragtime F. Musical Conversation 6. _____

7. New Orleans G. Urban and industrial growth 7. _____

8. Early 1900's H. Avant-garde and free jazz 8. _____

10. Relatively complex J. Jazz 10. _____

14. Jazz emerged out of N. intellectual definition 14. _____

15. Turn of the century O. A sophisticated piano style 15. _____

17. 1920's Q. When jazz first appeared 17. _____

18. Swing Era R. Ornette Coleman 18. _____

19. Late 1950's - 60's S. Jazz 19. _____

20. "Birdland" T. "Shaw 'Nuff" 20. _____

21. Scott Joplin U. Ragtime 21. _____

22. Dizzy Gillespie V. Birthplace of jazz 22. _____

23. "Lonely Woman" W. struggle between modernists and 23. _____

24. Grover Washington X. Count Basie 24. _____

25. "Jumpin' at the Woodside" Y. African and European 25. _____

Fill in the Blank

Jazz in America Glossary for Lesson Plan II--Elements of Jazz

arrangement: The specific organization or performance order of a given

chord: Two or more notes played simultaneously.

comp, comping: syncopated chording by the keyboardist or guitarist which provides

embouchure: The position of the mouth in the playing of wind instruments.

form: Refers to a composition's internal structure; the repeated and contrasting

harmony: Two or more notes played simultaneously and compatibly; the

improvisation: Spontaneous invention within the context of a given tune;

jam session: An informal gathering and performance of musicians, stressing

swing: 1. To swing is when an individual player or ensemble performs in such a

vamp: One chord or a brief chord progression which is insistently repeated

A Few "SAT" Words

autonomous: Not controlled by others or by outside forces.

autonomy: The condition or quality of being autonomous; independence (e.g., Jazz

2. Jazz is a partly and partly _

3. Two elements of jazz are and .

2. and were rationed

6. The Bebop Eras dates were basically to..

8. The recording ban lasted from July to November .