COURSE TITLE:
JAZZ: Its Origins & Eras
NO OF CREDITS:
6 QUARTER CREDITS
[semester equivalent = 4.00 credits]
WA CLOCK HRS:
OREGON PDUs:
INSTRUCTOR:
SHERRY BOZORTH, M.A.I.S.
360/225-6186
bozdv54@gmail.com
60
60
COURSE DESCRIPTION
This course will explore the history of jazz, the eras – genre of jazz, and how music of the time reflects in
society. Many scholars call jazz a “truly American music,” with its beginnings in Africa, its roots in slavery,
and its heart in the people of America.
Read about and listen to early field hollers and work songs where you feel the passion of blues singers
and lose yourself in the Delta Blues. You will become enriched by the uniqueness of New Orleans, jump
aboard a Mississippi river boat and travel north to Chicago and New York where you will take a journey to
Tin Pan Alley, tap your foot with boogie-woogie, jitterbug with the Big Bands of WWII. Then you will listen
to sound clips and videos on various websites, including YouTube, itunes.com, and amazon.com with an
open mind to Be-bop, Cool Jazz, a many more forms of the great American music called “Jazz.”
There are no additional materials to be ordered from the instructor. Optional Netflix membership starts at
approximately $5.
LEARNING OUTCOMES:
Upon completion of this course, participants will have:
1. A general outline of the history of jazz, key musicians and music of each era
2. An understanding of how music is reflective of society and the daily lives of individuals.
3. Experience locating and using resources for resources for the history of jazz: songbooks, movies,
and song downloads
COURSE REQUIREMENTS:
Completion of all specified assignments is required for issuance of hours or credit. The Heritage Institute
does not award partial credit.
HOURS EARNED:
Completing the basic assignments (Section A. Information Acquisition) for this course automatically earns
participant’s their choice of 60 Washington State Clock Hours or 60 Oregon PDUs. The Heritage Institute
is an approved provider of Washington State Clock Hours and Oregon PDUs.
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UNIVERSITY QUARTER CREDIT INFORMATION
REQUIREMENTS FOR UNIVERSITY QUARTER CREDIT
Continuing Education Quarter credits are awarded by Antioch University Seattle (AUS). AUS requires
75% or better for credit at the 400 level (Upper Division) and 85% or better to issue credit at the 500 level
(Post-Baccalaureate). These criteria refer both to the amount and quality of work submitted.
Teachers who register for Antioch University Seattle 400 or 500 Level Credit will be required to:
1. Complete Section A: Information Acquisition assignments
30%
2. Complete Section B: Learning Application assignments appropriate for your levels
40%
3. Complete Section C: Integration Paper assignment
30%
CREDIT/NO CREDIT (No Letter Grades or Numeric Equivalents on Transcripts)
Antioch University Seattle (AUS) Continuing Education (CE) Quarter credit is offered on a Credit/No
Credit basis; neither letter grades nor numeric equivalents are on a transcript. 400 level credit is equal to
a “C” or better, 500 level credit is equal to a “B” or better. This information is stated on the back of the
transcript.
AUS CE quarter credits may or may not be accepted into degree programs. Prior to registering determine
with your district personnel, department head or state education office the acceptability of these credits for
your purpose.
ADDITIONAL COURSE INFORMATION
REQUIRED TEXT:
none
(Supplementary materials located online)
MATERIAL FEE:
• There are no additional materials to be ordered from the instructor.
• Optional Netflix membership, starting at approx. $5
HEADING REQUIRED FOR ALL ASSIGNMENTS:
A heading is required; please use the following format:
Your Name:
Course Name:
Date:
Jazz: Its Origins & Eras
2
Instructor Name:
Course Number:
Level: Clock/PDU/Credit (400 or 500)
Rev 7/21/2015
ASSIGNMENTS REQUIRED FOR HOURS OR UNIVERSITY QUARTER CREDIT
A.
INFORMATION ACQUISITION
Assignment #1:
1. Describe in 1-2 pages your current teaching situation, your background in music (as a musician,
singer, or “listener”) and your interest in the history of jazz and why you’ve selected this course.
2. What do you hope to gain or learn?
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #1’.
Assignment #2:
1. Read the history of jazz overview in the supplementary materials indicated as assignment #2.
2. Watch YouTube videos where indicated (20 videos of your choosing.)
3. Make a list or outline of key elements from each section (3 - 4 pages.)
4. Make a list of YouTube videos that are age-appropriate for your students (1 - 2 pages.)
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #2’.
Assignment #3: http://www.apassion4jazz.net/timeline.html
1. Using the indicated website, click on and read about 15 types of jazz (see supplementary materials
assignment #3 for list.)
2. For the 9 jazz styles listed that do not have information to click on, do an Internet search for five (5) of
the nine making a list of the websites where you found information about each.
3. Make a list of the styles of jazz that you would like to explore further.
4. Write a 2-3 page summary (or Power Point presentation) of the 20 jazz styles from part 1) and part 2).
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #3’.
Assignment #4: http://teacher.scholastic.com/activities/bhistory/history_of_jazz.htm
Read the information for each section, and click on the audio clip to hear an excerpt. The audio files are
for RealPlayer. This website offers a link for a free download of RealPlayer.
a) Late 1800s – Today, The Blues – Back to the Source
b) 1900s – New Orleans – The Melting Pot of Sound
c) 1901 – Louis Armstrong is Born – The Jazz Original
d) Improvisation – The Expression of Freedom
e) Mid 1930s – Swing: Sound in Motion
f) Duke Ellington: Master Composer
g) 1940s – Bebop: The Summit of Sound
h) Dizzie Gillespie: A Jazz Visionary
i) 1950s – Latin and Afro-Cuban Jazz: Beyond the Borders
Send 1-2 sentences stating completion of the viewing of videos to instructor at bozdv54@gmail.com
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #4’.
Assignment #5:
1. View at least 3 of the 10 DVDs in Ken Burn’s series “Jazz” 2004, available at Netflix.com
OR
2. Or read the book Jazz, available at Amazon.com = ASIN: ASIN: B000BITUEI.
OR
3. Watch 3 of the “The Legends of Jazz:” (see bibliography) DVDs available through netflix.com.
4. Write a 3 - 4 page reflection of what you listened to noting which were your favorites and why.
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #5’.
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Assignment #6:
1. Read a book on the history of jazz, a specific jazz genre, a jazz musician or composer, from the
bibliography or a book of your choice.
2. List the author, title, year published, number of pages, and ISBN number.
3. Write a 3 - 4 page reflection of the sections most interesting to you, include which might be useful in
your professional situation and describe how you might use them.
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #6’.
Assignment #7:
1. Using Amazon.com and other websites and libraries, make a “wish list” of age-appropriate videos or
DVDs for use in your classroom.
2. Include a brief description, length of movie, release date (year), and ASIN number. (2 - 3 pages)
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #7’.
Assignment #8:
1. Using Amazon.com and other websites and libraries, make a bibliography of age-appropriate books
for use in your classroom.
2. Include a brief description, publisher & year, binding (hardback or paperback), number of pages, and
the ISBN-10 number.
3. Be sure to indicate which books are for student use (reading level) and which would be read aloud by
the teacher. (1 – 2 pages)
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #8’.
Assignment #9:
1. Conduct a search via newspapers, magazines, and internet websites, for live jazz performances in
your area (jazz clubs, festivals, high school and community college jazz band and jazz choir
concerts.) Make a list (1 – 2 pages.)
2. Attend at least 1 live performance, write a 1-2 paragraph reflection, or make a plan to attend a jazz
performance (1-2 paragraphs.)
3. Interview 3 – 5 jazz musicians or singers, or friends and family members, about their experiences in
performing, or listening to, jazz. What is it about jazz that interests them? (2 – 3 pages)
4. Make a list of jazz radio stations in your area (if any) and listen to a jazz station on your car radio for 2
- 3 hours.
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #9’.
This completes the assignments required for Hours.
Continue to the next section for additional assignment required for University Quarter Credit.
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ADDITIONAL ASSIGNMENTS REQUIRED HOURS UNIVERSITY QUARTER CREDIT
B.
LEARNING APPLICATION
In this section you will apply your learning to your professional situation. This course assumes that most
participants are classroom teachers who have access to students. If you are not teaching in a classroom,
please contact the instructor for course modifications. If you are a classroom teacher and start or need to
complete this course during the summer, please try to apply your ideas when possible with youth from
your neighborhood, at a local public library or parks department facility (they will often be glad to sponsor
community-based learning), or with students in another teacher’s summer classroom.
Assignment #10: (Required for 400 and 500 Level)
Make a list of 10 – 20 recordings (available on iTunes.com or Amazon.com) that would be appropriate for
use in your classroom and burn a CD for classroom use.
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #10’.
Assignment #11: (Required for 400 and 500 Level)
1. In 2 - 3 pages reflect on ways that JAZZ has changed or remained similar as society changes.
2. Include how the music was communicated – oral tradition, sheet music, recordings, radio; Lyrics –
use of popular slang, reflection of social events; Instrumentation – type of instruments used, “pluggedin” or “acoustic”; Social aspects – do the songs reflect social issues? How?
3. How is fashion or pop culture of the era reflected in the music?
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #11’.
Assignment # 12:
1. Prepare 3 lessons integrating the knowledge obtained from this course.
2. Use your school or district’s lesson plan format, or the lesson template provided at the end of the
syllabus.
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #12’.
Continue to the next section for additional assignments required for University Quarter Credit.
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ADDITIONAL ASSIGNMENTS REQUIRED FOR LEVEL UNIVERSITY QUARTER CREDIT
500 LEVEL ASSIGNMENTS
Assignment #13 (500 Level only)
In addition to the 400 level assignments, complete one of the following:
Option A) Go into detail exploring one era or type of jazz, making a list of “read aloud” books (picture
books) and/or reading level books appropriate for your students on this era or genre.
Write a 3-4 page paper:
• Identify each book you read.
• Share one specific area of learning that was new to you.
• Explain why you think the book will be interesting to your students.
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #13-A’.
OR
Option B) Research in depth a musician, singer, or a composer from a specific jazz era. Write a 3-4 page
reflection on how that songwriter inspired you to think beyond your limits. Include how you think the use of
this information and music could be integrated into your classroom setting and why.
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #13-B’.
OR
Option C) An assignment of your own choice with the instructor’s prior approval.
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #13-C’.
C.
INTEGRATION PAPER
Assignment #14: (Required for 400 and 500 Level Credit)
Write a 4-5 page Integration Paper answering these questions:
1. What did you learn vs. what you expected to learn from this course?
2. What aspects of the course were most helpful and why?
3. What further knowledge and skills in this general area do you feel you need?
4. How, when and where will you use what you have learned?
5. How and with what other school or community members might you share what you learned?
Send to instructor: bozdv54@gmail.com, Subject line to read ‘Jazz #14’.
INSTRUCTOR COMMENTS ON YOUR WORK:
• Please indicate by email to the instructor if you would like to receive comments on your assignments.
• If you would like to receive your material back, please send a packet with your address and sufficient
return to instructor’s address (will email address after registration.)
• Please do not send a prepaid postal receipt, as they are not valid after the day of purchase.
QUALIFICATIONS FOR TEACHING THIS COURSE:
Sherry Carlson Bozorth, M.A.I.S., has been an educator of elementary and middle school
students for over three decades. She received her bachelor's degree in education and music education
from Oregon College of Education (now called Western Oregon State College). She earned her Master's
Degree in Interdisciplinary Studies from Oregon State University, in music education and
ethnomusicology (with emphasis in African music and the music of the Pacific Northwest Coastal Native
American). She has presented several mini-workshops to elementary music specialists, and has
volunteered as a consultant to new music specialists in her area.
Sherry has taught action-filled, fun, creative, hands-on workshops for The Heritage Institute since
1998, adding independent study distance courses in 2009.
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JAZZ: ITS ORIGINS & ERAS
BIBLIOGRAPHY & SUGGESTED ASSIGNMENT OPTIONS
Books: (option - assignment #5)
Allen, Francis, Slave Songs of the United States, 2010, paperback, 176 pages, ISBN-10: 1141051168
This book, originally published in 1867, is a collection of songs of African-American slaves, some written
after the emancipation, but all inspired by slavery.
Basie, Count, Good Morning Blues: The Autobiography of Count Basie, 2002, 432 pages, ISBN-10:
0306811073
This biography is compiled from conversation the author had with Basie, who died in 1984, from his first
piano playing jobs in New Jersey, to his fame as a big band leader from the 1930s to the 1980s. This
book has appeal for jazz buffs and fans, although some of the book reads less like an autobiography and
more like an itinerary of his career.
Blesh, Rudi, They All Played Ragtime, 1974, paperback, 347 pages, ISBN-10: 082560091X
Ragtime came alive in the 1890s and faded with WWI, but is staging a worldwide comeback today. This
book is the history of ragtime from its origin in the Gay Nineties in Missouri, to its success that swept
th
across America and Europe in the early 20 century. The lives of Scott Joplin, James Scott, Joe Lamb,
and many more are remembered. It contains exhaustive lists of composers, compositions, piano rolls, and
sound recordings, as well as complete piano scores of 16 rags which were mostly unpublished before this
publication.
Ellington, Edward Kennedy, Music is My Mistress, 1976, paperback, 544 pages, ISBN-10: 0306800330
Duke Ellington’s story spans a half-century, from Harlem’s Cotton Club in the 1920s, through his career
as a big band leader and composer, told in his own words. There are 100 photographs giving a view into
Ellington’s world, which included his family, his friends, and his associates: Louis Armstrong, Lena Horne,
Ella Fitzgerald, and Frank Sinatra among them. He not only composed songs, but suites, sacred works,
music for stage and screen, and symphonies.
Gioia, Ted, The History of Jazz, 1998, paperback, 480 pages, ISBN-10: 019512653X
th
This book traces jazz from pre-Civil War New Orleans through the history of jazz through the 20 century,
th
giving first hand accounts of slave dances in early 19 century New Orleans, relating the history of jazz to
its roots in Africa to the international respect it gets today, covering the major trends and people who have
shaped jazz: among them are Louis Armstrong, Count Basie, Benny Goodman, Charlie Parker, Dizzy
Gillespie.
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JAZZ: ITS ORIGINS & ERAS
BIBLIOGRAPHY & SUGGESTED ASSIGNMENT OPTIONS
Picture Books: (Can be used in assignment #8)
Ehrhardt, Karen, This Jazz Man, 2006, hardback, 32 pages, ISBN-10: 0152053077
Using the melody to “This Old Man,” this book counts to nine as it introduces in a rhyming rhythm,
African-American jazz musicians, with Louis Armstrong as #1, ending with all the musicians playing
together. Great illustrations give the readers/musicians clues to the script.
King, Coretta Scott, Jazz on a Saturday Night, 2007, hardcover, 40 pages, ISBN-10: 0590478931
The authors use bright colors and musical patterns in this toe-tapping homage to jazz greats, from Miles
Davis and Charlie Parker to Ella Fitzgerald. Read the biography of each musician and learn about jazz,
while listening to each instrument play on an accompaning CD.
Gollub, Matthew, The Jazz Fly, (book w/audio CD), 2003, hardcover, 32 pages, ASIN: B0002ABT9O
Incorporating animal sounds and a script that reflects scat singing, a fly gets lost on his way to a
performance. Animals along the way can’t help until “dog,” who gives him directions to the jazz club. “ZAbaza,” “BOO-zaba,” and “ZEE-zah RO-ni” are the responses from the animals fly asks for assistance, and
when he does arrive at the club, he sits down to play his drums and incorporates the responses into his
song. An accompanying CD includes the narrative and the background music of a jazz quartet.
Raschka, Christopher, Charlie Parker Played Be-Bop, 1997, hardcover, 32 pages, ISBN-10: 0531070956
The typed print of this book, italics and bold, “strut and swing” through this book, as well as the
illustrations, make this book on jazz great, Charlie Parker, a wonderful opportunity for young readers to
learn about jazz.
Winter, John, Dizzy, 2006, hardcover, 32 pages, ISBN-10: 0439507375
This book introduces young readers to jazz musician Dizzy Gillespie, through varying sizes and colors of
print that complement the text.
DVDs: (option – assignment #5) – available at Netflix.com
Burns, Ken, Jazz, 2004, (box set of 10 DVDs), 1144 minutes, ASIN: B000BITUEI
Netflix Series, JAZZ LEGENDS
• Louis Armstrong and Friends (Storyville Films)
• The Golden Age of Jazz: Part I (ASIN: B0002ABT9O)
• Boogie-Woogie
• The Vocalists
• Big Bands I
• Big Bands II
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JAZZ: ITS ORIGINS & ERAS
LESSON PLAN TEMPLATE
Grade Level:
____________
Subject:
______________________________________________________________________
Theme/Topic: ______________________________________________________________________
Student Outcomes: (with Connection to State Standards)
Required Materials and Equipment:
Agenda: (The major events of the day posted for public viewing. Schedule warm-up, bathroom breaks,
surprises (pop quiz), guest speakers, specials, assemblies, movie clips, outside assignments etc. so
students can manage their time with you.)
Warm Up: (A one to two sentence task, written or drawn on the board, to be completed alone or in groups
prior to the beginning of the lesson. At the elementary level it would be used for classroom transitions,
and in grades 7-12 to define one content area from another. The warm-up is designed to access learning
from the previous lesson and settle students into the flow for the present lesson on hand.)
Anticipatory Set: (Attention Getter to kindle student interest)
Direct Instruction (10-20 mins): (Input, Modeling/demo, giving directions, check for understanding)
Guided Practice (x mins): (Under teacher’s direct supervision, students individually apply or practice
what they have just learned and receive immediate feedback)
Closure (x mins): (Actions designed to cue in students that they have arrived at an important point in the
lesson or at the end of the lesson; often closure consists of review and clarifying key points)
Independent Practice: (Student directed, may be incorporated before closure or as outside
assignment. The aim is repetition in enough different contexts so that the learning may be applied to any
relevant situation, not only the context in which it was originally learned.)
Assessment and Follow-Up: (Self-reflection, collaborative rubric, other rubric, anecdotal evidence,
teacher created quiz/test etc., peer review, standardized test, exhibition, portfolio piece(s))
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