Teacher's Guide to Jazz Week
Identifieur interne : 001744 ( Istex/Corpus ); précédent : 001743; suivant : 001745Teacher's Guide to Jazz Week
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- Music educators journal [ 0027-4321 ] ; 1969-03.
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DOI: 10.2307/3392459
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</publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.2307/3392459</article-id><article-id pub-id-type="publisher-id">10.2307_3392459</article-id><article-categories><subj-group subj-group-type="heading"><subject>Articles</subject></subj-group></article-categories><title-group><article-title>Teacher's Guide to Jazz Week</article-title></title-group><pub-date pub-type="ppub"><month>03</month><year>1969</year></pub-date><volume>55</volume><issue>7</issue><fpage>48</fpage><lpage>49</lpage><custom-meta-wrap><custom-meta xlink:type="simple"><meta-name>sagemeta-type</meta-name><meta-value>Journal Article</meta-value></custom-meta><custom-meta xlink:type="simple"><meta-name>search-text</meta-name><meta-value> TEACHERs' GUIDE TO MONDAY, APRIL 7 Origins of jazz Baba Oiatunji and Company. Jazz is a truly American musical expression. Billy Taylor points out that its strong rhythm and beat, the basic building blocks of jazz, were brought to America by slaves from West Africa 200 years ago. To illustrate African rhythm, Oiatunji and his drummers play “Oya,” a West African song. How has this rhythm influenced jazz? Oiatunji plays another song “Uhuru” and the Billy Taylor Trio plays the same tune with jazz variations. The basic African beat is apparent in both interpretations. Taylor points out that the notation of African rhythms is not so difficult, but the subtle way these rhythms are put together create a fantastic counterpoint. Oiatunji explains and demonstrates the instruments he uses: the nogoma (a Conga drum carved out of a log), the talking drum (a small, hourglass-shaped drum), the African xylophone, the big sanza (a piano-like box for bass tones), the small sanza (a hand-held box for high tones), the shekere (a gourd rattle), and the ag go go (a double cowbell and clapper). To show the direct influence of African rhythms on jazz, Billy and his Trio play a familiar tune, “Night in Tunisia,” straight. The Trio is then joined by Oiatunji. Suggested Materials. Sidney Fox. The Origins and Development of Jazz (text and records with teacher's guide). Follett Educational Corporation. Andre Hodeir. Jazz: Its Evolution and Essence. Grove Press. Marshall W. Stearns. Story of Jazz. New American Library. “Introduction to Jazz.” Decca 8244. Baba Oiatunji. “Drums of Passion.” Columbia CS-8210. TUESDAY, APRIL 8 Ragtime and blues Willie “The Lion” Smith. Besides rhythm and beat, jazz has a special kind of melody. One of the earliest kinds of jazz for piano is ragtime. To illustrate how ragtime changes a regular tune, Willie plays “English Country Gardens” square and then as ragtime jazz. Billy then plays a modern jazz version of the same tune. Since in ragtime the piano plays alone, it must provide its own rhythm. Willie plays “Maple Leaf Rag,” showing how his two hands can play different rhythms at the same time. Ragtime is happy jazz. But jazz can be lonesome and sad too, as in the blues. Willie illustrates with “St. Louis Blues.” He then plays one of his own compositions, “Here Comes the Band. To show the close relationship among all kinds of jazz, Billy, playing modern jazz style, and Willie, playing ragtime, have a jazz conversation. They play “Honeysuckle Rose” as a duet. Suggested Materials. Rudi Blesh and Harriet Janis. They All Played Ragtime. Oak Publications. Charles Boeckman. Cool, Hot and Blue: A History of Jazz for Young People. Robert B. Luce, Inc. Scott Joplin. “Maple Leaf Rag” (original version for solo piano). Melrose Music Corporation. 48 JAZZ WEEK 8:00-8:30 am CBS-TV WEDNESDAY, APRIL 9 Dixieland jazz Wilbur de Paris and his Traditional Jazz Band. Traditional jazz began about seventy years ago when Negro marching bands in the South played in parades and at holiday celebrations. Traditional jazz is lively, happy, and exciting. Wilbur de Paris and his band play “Marchin and Swingin” to show the marching rhythm. In traditional jazz all the musicians play different melodies at the same time. This mixture of tunes in jazz is called counterpoint. In New Orleans, about 1900, the marching bands began playing for dances. It was at that time that soloists began improvising. Improvisation is a very important part of jazz. To show what kind of music dance bands played, Wilbur and his band play “High Society.” Several of the band members improvise. This kind of jazz is not always lively, however. Wilbur and his band play a slow, wailing traditional blues song, “Blues Ingee. Traditional and modern jazz meet when Wilbur and his band with Billy Taylor on the piano play “I Found a New Baby. Suggested Materials. Jerry Coker. Improvising Jazz. Prentice-Hall, Inc. Leonard Feather. Encyclopedia of Jazz. Horizon Press, Inc. Phil Rizzo. First Step to Improvisation. Modern Music School. “Jazz.” Vol. 3. New Orleans. Folkways 2803. “Jazz Odyssey.” Vol. 1. Sound of New Orleans. 3-Columbia C3L-30. “Dixieland at Its Best.” Camden (S) 838. “Best of Dixieland.” RCA Victor LPM/ LSP-2982. Wilbur de Paris. “Marchin1 and SwinginV Atlantic (S) 1233. THURSDAY, APRIL 10 Swing and be-bop Eddie Daniels and his Quintet. Swing had a smoother sound than traditional jazz and was usually played by large orchestras. One of the best swing orchestras was led by clarinetist Benny Goodman. A record of Goodman's “Clarinet Marmalade” is played while photos of the Goodman Orchestra are shown. In the next period, Dizzy Gillespie and Charlie Parker extended the swing into longer phrases and fragmented rhythms and worked with intricate syncopations. Up to this point, jazz had been functional—parades, dances—but all of a sudden people got interested in the soloists and started listening. The new sound was called be-bop and was usually played by small groups of four or five musicians. Eddie Daniels and his Quintet play a be-bop piece, “Ornithology.” Eddie then plays a progressive jazz piece, “Oleo,” to demonstrate the tenor saxophone. Suggested Materials. George T. Simon. Big Bands. Macmillan Company. “Jazz in the Classroom” (LP's and scores for analysis). Berklee Press Publications. “Jazz.” Vol. 8. Big Bands Before 1935. Folkways 2808. “Be-Bop Era.” RCA Victor LPV-519. Benny Goodman. “King of Swing.” 2- Columbia OSL-180. FRIDAY, APRIL 11 Rock music Eric Gales' Rock Sextet. Jazz has influenced and has been influenced by many different types of music. According to Taylor, there's a jazz like classical music, like rock and roll, like folk music, like soul music, and there's a jazz that sounds like nothing else but jazz. “Rock and jazz branch from the same tree. Some of the sounds of early rock and roll were right out of the Latin jazz bag; the repeated triplets came straight from the Gospel type of jazz; and many of the devices were from the boogie-woogie kind of piano. Contemporary rock music has gone back to the staccato kind of ragtime syncopation as opposed to the smoother sound of swing or the long lines of be-bop. Also much of rock has an African rhythmic structure. To show how elements of jazz can be found in rock, Eric Gales' Sextet plays “Soul Finger.” Rock's influence on modern jazz is illustrated when the Billy Taylor Jazz Quintet plays “Sunny. Billy points out that rock uses more guitars and percussion instruments than jazz. Rock also has a simpler beat than modern jazz. Eric Gales' Sextet gives another example of the rock sound with “Hey Jude.” To conclude, jazz quintet and rock sextet play “Captain Kangaroo's Finale. Suggested Materials. Leonard Feather. Encyclopedia of Jazz in the Sixties. Horizon Press, Inc. “Blues in Modern Jazz.” Atlantic 1337. “Outstanding Jazz Compositions”—20th Century. 2-Columbia C2L-31; C2S-831. Selected examples from: Elvis Presley, Ray Charles, Aretha Franklin, the Beatles, Country Joe and the Fish, and the Fifth Dimension. </meta-value></custom-meta></custom-meta-wrap></article-meta></front></article></istex:document></istex:metadataXml><mods version="3.6"><titleInfo lang="en"><title>Teacher's Guide to Jazz Week</title></titleInfo><titleInfo type="alternative" lang="en" contentType="CDATA"><title>Teacher's Guide to Jazz Week</title></titleInfo><typeOfResource>text</typeOfResource><genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre><originInfo><publisher>SAGE Publications</publisher><place><placeTerm type="text">Sage CA: Los Angeles, CA</placeTerm></place><dateIssued encoding="w3cdtf">1969-03</dateIssued><copyrightDate encoding="w3cdtf">1969</copyrightDate></originInfo><language><languageTerm type="code" authority="iso639-2b">eng</languageTerm><languageTerm type="code" authority="rfc3066">en</languageTerm></language><relatedItem type="host"><titleInfo><title>Music educators journal</title></titleInfo><genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre><identifier type="ISSN">0027-4321</identifier><identifier type="eISSN">1945-0087</identifier><identifier type="PublisherID">MEJ</identifier><identifier type="PublisherID-hwp">spmej</identifier><part><date>1969</date><detail type="volume"><caption>vol.</caption><number>55</number></detail><detail type="issue"><caption>no.</caption><number>7</number></detail><extent unit="pages"><start>48</start><end>49</end></extent></part></relatedItem><identifier type="istex">018CDCDF77AAFEED9F0E89CB91846FDA777B3280</identifier><identifier type="ark">ark:/67375/M70-SC84SXS2-3</identifier><identifier type="DOI">10.2307/3392459</identifier><identifier type="ArticleID">10.2307_3392459</identifier><recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-0J1N7DQT-B">sage</recordContentSource></recordInfo></mods><json:item><extension>json</extension><original>false</original><mimetype>application/json</mimetype><uri>https://api.istex.fr/document/018CDCDF77AAFEED9F0E89CB91846FDA777B3280/metadata/json</uri></json:item></metadata><author></author><serie></serie></istex></record>Pour manipuler ce document sous Unix (Dilib)
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