MUSIC
9-12
GRADES
ARTS TOOLKIT
• lesson plans
A History of Jazz
Length: 5-7 sessions
Concept/Objectives
Students will understand the origins and evolution of jazz music, including differences in its diverse styles.
Activity
Students choose how they want to respond to the study of jazz history: create a jazz timeline; introduce and
perform a piece of jazz music; and/or use presentation software, video, audio or other media to share what
they have learned, with a focus on a particular area of interest.
Music Toolkit Resources
From Music Through Time DVD:
Introduction to Jazz: Origins
Introduction to Jazz: Style
Jazz Performances: “I Got It Bad”
“I’m Confessin’ ”
Length: 8:11
Length: 9:00
Length: 4:28
Length: 3:20
Kentucky Academic Content
Big Idea:
Humanity in the Arts
Academic Expectations
2.26
Program of Studies
Understandings
AH-HS-HA-U-2
AH-HS-HA-U-3
Skills and Concepts
AH-HS-HA-S-Mu1
AH-HS-HA-S-Mu4
Related Core Content
AH-HS-2.1.1
Arts Toolkit Music • Lesson Plans •
349
Instructional Strategies and Activities
Preparation
This lesson is highly project-oriented. Students will be given three
options for culminating activities, explained in handouts.
MATERIALS
• Handouts: Guided Viewing,
Jazz History Summary, The
Timeline Project, The
Presentation Project, The Live
Performance Project
Introducing the Concept
Jazz is a thoroughly American invention, with roots in African cultural
styles and European musical forms and instrumentations. New Orleans
is the birthplace of jazz, originally called jass. Formed from many
musical tributaries, the musical river we call jazz came together around
1900, about the same time that its future great soloist Louis Armstrong
was born in that same city. Jazz is very much an art form tied to the
Modern/Post-Modern era.
Jazz was a creation that took the European march music and brass
instruments so popular in New Orleans at the time and combined them
with the rhythms and musical sensibilities of the substantial AfricanAmerican culture that also made up the city. Also in the mix were
ragtime, a style of music popular in the late 1800s, and blues. The
earliest jazz style was what we now call Dixieland, and from there it has
changed numerous times.
Some people think they don’t like jazz, but probably that is because they
have heard some style that they don’t like and attribute that to all of
jazz. However, when they learn more about the various styles within jazz
music, they almost always find something to enjoy. Just because they
don’t like free jazz or hard bop, that doesn’t mean they won’t like swing
or cool jazz. The danger is in not knowing enough about jazz to recognize
the diverse styles it encompasses.
Over the past century, jazz has undergone many phases and style shifts.
In this lesson, students will explore the evolution of this uniquely
American music that has earned fans and influenced other musical
styles around the globe. By the way, many people think hip-hop is a
direct descendant of jazz.
Day 1: Introduce Jazz
Using the information above, introduce jazz as a musical genre rooted in
American culture. Show Introduction to Jazz: Origins from the Music
Through Time DVD featuring jazz pianist Harry Pickens. Have
students answer questions on the Guided Viewing handout as they view
the segment. Then, provide copies of the Jazz History Summary handout
for additional information. (Depending on time restraints, the teacher
may also opt to use Introduction to Jazz: Style also featuring Harry
Pickens.)
Day 2: Listen to Music
Play selections of recordings from as many as possible of the styles that
have developed in jazz from its beginnings through the present time.
Start with the performance “I’m Confessin’ ” from the Music Through
Time DVD. Point out that the singer uses a style of jazz singing near the
end of the song known as “scat.” This vocalization style was created and
350 • Lesson Plans • Arts Toolkit Music
VOCABULARY
blues
band
bar
brass
call and response
ensemble
expression
improvise
instrumental
jazz
march
ragtime
rhythm
solo
style
syncopation
WRITING TO
COMMUNICATE
Some project options require
more writing than others.
Student choice of project
format will determine how
much writing is part of this
lesson.
Teachers may also require
students to write summaries of
their projects and/or process.
ADAPTATIONS FOR
DIVERSE LEARNERS
Range of project options
provides for the variety of
abilities in the class.
Options appeal variously to
visual, aural, linguistic,
rhythmic, or kinesthetic
learners.
developed by singers such as Louis Armstrong and Ella Fitzgerald,
among many others. If desired, the teacher may also use Harry Pickens’
performance of Duke Ellington’s “I Got It Bad (And That Ain’t Good)” as
an example of a solo instrumental performance.
Other jazz listening selections can be found on CDs or from mp3 sources
(or even tape or vinyl). Locate at least one recording from each decade or
style (see Resources for suggestions) to use as class listening examples,
so as to demonstrate the diversity of jazz styles over time. If at all
possible, try to locate a copy of “Livery Stable Blues” by The Original
Dixieland Jass Band. This was the first jazz song ever recorded (1917).
Talk students through each selection played, making sure they can put
each in context according to its style, artist, and/or time period. Students
can refer to the Jazz History Summary handout for additional contextual
information. Point out differences in mood, instrumentation, rhythms,
styles, and the like to help students compare and contrast the listening
examples. Ask them which jazz styles appeal to them most and lead
them in discussion to find out whether jazz is what they thought it was
before this lesson began. Ask: Do they recognize some of the listening
examples from film soundtracks or television commercials? From the
listening habits of adults in their families?
Day 3: Introduce the Projects
TECHNOLOGY
Students may opt to use video,
audio, or computer technology
to complete their jazz history
projects.
Students will be asked to complete individual projects in response to
their study of jazz. Explain that these projects can take three forms: an
annotated timeline of jazz history; a presentation of some facet of jazz
history focusing on an artist, a style, or some other topic; or a live
musical performance of a jazz piece (the composition does not have to be
original). This range of choices provides for the variety of abilities and
interests in the class.
Explain parameters for each option and provide target dates for project
completion:
Timeline: Students who opt to create the timeline will follow instructions on the handout provided.
Presentation: Students who opt to design a presentation will
follow instructions on the handout provided. After the presentation,
students should allow for a short question/answer or comments session.
Live Performance: If some students are musicians, the teacher may
opt to allow them to perform as solo artists or within an ensemble; however, each student in an ensemble (in the spirit of those great jazz traditions of solo and improvisation) will be required to solo as part of the
performance. Students who opt to produce a live performance will follow instructions on the handout provided. After the presentation,
students should allow for a short question/answer or comments session.
(As an option, the teacher may allow students to videotape their
performances ahead of time to show for the class. All pre- and postperformance guidelines would still be applicable.)
Arts Toolkit Music • Lesson Plans •
351
Day 4
On this day, students must sign up for one of the project options. After
doing so, students may begin to research material needed for their
project. (If additional class time is to be provided for research or project
development, the teacher may schedule more days as needed.)
Project Presentations
On the day projects are due, allow time for any performances or
presentations that have been scheduled. (If additional days are needed
because of a large number of presentations or live performances, the
teacher may schedule them accordingly.)
Support/Connections/Resources
Locate at least one recording from each decade or style (see the Jazz
History Summary handout for suggested artists/styles). See Harry
Pickens’ list of favorite jazz CDs on the World of Music CD-ROM for
more suggestions.
Numerous web sites are available on the topic of jazz music and jazz
history. Here are a few examples:
• PBS Jazz series, including history, jazz notes, biographies, and
classroom resources, at www.pbs.org/jazz
• Smithsonian Jazz, with music clips, interactive jazz classes, oral
histories, and resources, at www.smithsonianjazz.org
• National Endowment for the Arts Jazz in the Schools, a web-based
curriculum with timeline and lesson plans, at
www.neajazzintheschools.org/
• Jazz Roots, with information about early jazz musicians, venues, and
other interesting facts, at www.jass.com
• A Passion for Jazz with music information, at
www.apassion4jazz.net
Applications Across the Curriculum
Language Arts
Biography; research topics
Social Studies
History; migration; sociology
Practical Living
Music as a contributor to emotional or social health
Vocational Studies
Careers in music
352 • Lesson Plans • Arts Toolkit Music
JAZZ MUSIC AND
JAZZ DANCE
Jazz music and jazz dance are
interconnected, with the
musician responding to the
dancer and the dancer
responding to the musician.
Jazz dance grew out of the
music and communicates both
the rhythmic complexity and
emotional dynamics of jazz
music.
Program 9, Jazz Dance, of
DanceSense (in the Dance
Arts Toolkit) explores the origin, evolution, and
characteristics of jazz dance.
The teacher’s guide, in the
History & Styles section of the
Dance binder, provides
additional information.
And there are two jazz dance
performances on the Dance
Performances DVD in the
Dance Toolkit. If you teach
both dance and music, you
may want to integrate dance
into your lesson plan.
Performance Event
Jazz History Project – TIMELINE OPTION
Directions: Students who opt to prepare a timeline as a culmination of
the study of jazz history must follow guidelines on the handout provided
for this project. Timeline will be judged according to the scoring guide
provided.
PERFORMANCE SCORING GUIDE
Student
designs and
presents an
excellent, wellresearched
jazz history
timeline as
outlined in
handout
guidelines.
Student
designs and
presents a well
researched
jazz history
timeline as
outlined in
handout
guidelines.
Student
designs and
presents a
partially
researched
jazz history
timeline.
Student
presents a
poorly
designed
and/or
researched jazz
history timeline.
Nonparticipation
43332
32221
21110
100
44443
55
66
77
88
99
5556
667
778
889
9910
1
11
12
13
11
12
13
14
11
12
13
14
11
11
12
13
14
11
12
13
14
17
18
19
2
17
18
19
20
17
18
19
20
17
18
19
20
17
18
19
20
Student
presents work
that is legible,
attractive, and
informative.
Student
presents a
timeline that is
accurate and
in correct
chronological
order.
Student
includes
appropriate
and engaging
illustrations or
graphic
elements.
Text is succinct;
type is appropriately sized
and bold
enough to be
read when
displayed.
Timeline
includes title
and student’s
name.
Continuum line
and decade
divisions are
clear and add
to audience’s
understanding.
Student
presents work
that is legible
and
informative.
Student
presents a
timeline that is
accurate and
in correct
chronological
order.
Student
includes
adequate
illustrations or
graphic
elements.
Text is succinct;
type is bold
enough to be
read when
displayed.
Timeline
includes title
and student’s
name.
Continuum line
and decade
divisions are
clear.
Student meets
the
project target
date.
Student
presents work
that is
informative.
Student
presents a
timeline that is
in correct
chronological
order.
Student
includes few or
no illustrations
or graphic
elements.
Type is bold
enough to be
read when
displayed.
Timeline may
or may not
include title
and student’s
name as
required.
Continuum line
and decade
divisions are
unclear.
Student
presents a
timeline that is
somewhat in
correct
chronological
order.
Student
includes no
illustrations or
graphic
elements.
Type may not
be legible.
Timeline does
not include title
and student’s
name.
Continuum line
and decade
divisions are
unclear.
Student does
not meet the
project target
date.
Student may or
may not meet
the project
target date.
Student meets
project target
date.
Arts Toolkit Music • Lesson Plans •
353
Performance Event
Jazz History Project – PRESENTATION OPTION
Note to Teacher: For this option, you will need to establish a minimum
length (e.g., 10-15 minutes) for these presentations and fill this
information in on the Presentation Project description.
Directions: Students who opt to prepare a presentation as a
culmination of the study of jazz history must follow guidelines on the
handout provided for this project. Presentation will be judged according
to the scoring guide provided.
PERFORMANCE SCORING GUIDE
Student
designs and
presents an
excellent, wellresearched
presentation
on an
appropriate
jazz history
topic as
outlined in
handout
guidelines.
Student
designs and
presents a
wellresearched
presentation
on an appropriate jazz
history topic as
outlined in
handout
guidelines.
Student
designs and
presents a
presentation
on an
appropriate
jazz history
topic as outlined in handout guidelines.
Student designs
and presents a
presentation
on a jazz history
topic.
Nonparticipation
43332
32221
21110
10000
44443
10
55
66
77
88
99
10
5556
10
667
778
889
9910
10
11
12
13
14
15
16
11
12
13
14
15
16
11
12
13
14
15
16
11
12
13
14
15
16
11
12
13
14
15
16
17
18
19
20
17
18
19
20
17
18
19
20
17
18
19
20
17
18
19
20
Student uses
multimedia
(two or more
media) during
the
presentation.
Student
engages the
audience to
enhance their
learning
experience.
Student follows
the
presentation
by actively
leading and
participating
in a question/
answer or
comments
session.
Student meets
the designated
presentation
target date
and fulfills the
minimum
length
requirement.
Student uses
multimedia
(two or more
media) during
the
presentation.
Student
generally
engages the
audience to
enhance their
learning
experience.
Student follows
the
presentation
by
participating in
a question/
answer or
comments
session.
Student meets
the
designated
presentation
target date
and fulfills the
minimum
length
requirement.
Student uses
one or more
types of media
during the
presentation.
Student may
not fully
engage the
audience.
Student may or
may not follow
the
presentation
by
participating in
a question/
answer or
comments
session.
Student may or
may not meet
the designated
presentation
target date
and may or
may not fulfill
the minimum
length
requirement.
354 • Lesson Plans • Arts Toolkit Music
Student uses
one or more
types of media
during the
presentation.
Student does
not engage
the audience.
Student does
not follow the
presentation by
participating in
a question/
answer or
comments
session.
Student does
not meet the
designated
presentation
target date
and/or does
not fulfill the
minimum
length
requirement.
Performance Assessment
Jazz History Project – LIVE PERFORMANCE OPTION
Directions: Musicians who opt to prepare a live performance as a
culmination of the study of jazz history must follow guidelines on the
handout provided for this project. Performances will be judged according
to the scoring guide provided.
PERFORMANCE SCORING GUIDE
Student
competently
performs a
piece of jazz
music, either
solo or through
a solo part
within an
ensemble
performance.
Student
adequately
performs a
piece of jazz
music, either
solo or through
a solo part
within an
ensemble
performance.
Student
attempts to
perform a
piece of jazz
music, either
solo or through
a solo part
within an
ensemble
performance.
Student follows
the
performance
by allowing
for a question/
answer or
comments
session.
Student follows
the
performance
by allowing
for a question/
answer or
comments
session.
Student
attempts to
perform a
piece of jazz
music, either
solo or with an
ensemble.
Nonparticipation
43332
32221
21110
100
44443
55
66
77
88
99
5556
667
778
889
9910
1
11
12
13
11
11
12
13
14
11
12
13
14
15
11
12
13
14
11
12
13
14
17
18
19
2
17
18
19
20
17
18
19
20
17
18
19
20
17
18
19
20
Student
precedes
performance
with a wellresearched
introduction
that includes a
description of
the instrument
or vocal
technique
used, context
according to
style, and
suggested
characteristics
for the
audience to
listen for.
Student
provides a
printed
program or
handout to
enhance the
audience
experience.
Student follows
the
performance
by actively
participating in
a question/
answer or
comments
session.
Student
precedes
performance
with an
introduction
that includes
two of the
following: a
description of
the instrument
or vocal
technique
used, context
according to
style, and/or
suggested
characteristics
for the
audience to
listen for.
Student
precedes
performance
with an
introduction
that includes
one or more of
the following: a
description of
the instrument
or vocal
technique
used, context
according to
style, and/or
suggested
characteristics
for the
audience to
listen for.
Student may or
may not
precede
performance
with an
introduction
that includes at
least one of the
following: a
description of
the instrument
or vocal
technique
used, context
according to
style, or
suggested
characteristics
for the
audience to
listen for.
Arts Toolkit Music • Lesson Plans •
355
Multiple Choice Questions
1. The earliest jazz style is called
A. be-bop.
B. big band swing.
C. Dixieland.
D. cool jazz.
MULTIPLE CHOICE
ANSWER KEY
1. C
2. A
3. A
4. D
2. Over the past century jazz has
A. undergone many phases and stylistic shifts.
B. remained pretty much the same.
C. changed only slightly from its original style.
D. limited itself to a New Orleans-area regional musical style.
3. Jazz is a musical style that
A. originated by combining European and African musical elements.
B. was started by only one artist and grew outward from there.
C. is more about the individual virtuoso than about group collaboration.
D. has been defined by two basic qualities—instrumentation and
rhythmic patterns.
4. “Democracy” is an important concept in jazz because every jazz
musician is
A. a registered voter.
B. an American.
C. trained exactly the same way.
D. allowed to develop a unique, individual style.
Author: Kate Larken
Copyright 2007 KET
Reviewed by the Kentucky
Department of Education
This lesson plan is part of the
Music Arts Toolkit. To order the
entire toolkit or for more
information about the Arts
Toolkit project, visit
www.ket.org/artstoolkit or
call (859) 258-7294.
356 • Lesson Plans • Arts Toolkit Music
Introduction to Jazz: Origins
GUIDED VIEWING
While viewing this video segment featuring jazz pianist and educator Harry Pickens,
answer the following questions.
A. What jazz standard does Harry Pickens play at the beginning of the segment?
B. What phrase did Billy Taylor once use to describe jazz?
C. What role do innovators play in jazz?
D. How have these five factors contributed to the development and evolution of jazz?
1. AFRICA—
2. EUROPE—
3. NEW ORLEANS—
4. DEMOCRACY—
5. COLLECTIVE CREATIVITY—
Arts Toolkit Music • Lesson Plans •
357
Introduction to Jazz: Origins
TEACHER ANSWER SHEET FOR GUIDED VIEWING
A. What jazz standard does Harry Pickens play at the beginning of the segment?
“What A Wonderful World”
B. What phrase did Billy Taylor once use to describe jazz?
“America’s classical music”
C. What role do innovators play in jazz?
Innovators contribute to the constant evolution of jazz.
D. How have these five factors contributed to the development and evolution of jazz?
1. AFRICA—
culture, music and rhythms, collective function, individual expression
2. EUROPE—
instruments, musical forms
3. NEW ORLEANS—
a melting pot of cultures
4. DEMOCRACY—
Each jazz musician is allowed to develop a unique, individual voice or style to contribute to the
greater
effort.
5. COLLECTIVE CREATIVITY—
Jazz didn’t start with only one artist, and it can only go forward with the efforts of many contributing
new ideas and ways of expression to the whole art form.
358 • Lesson Plans • Arts Toolkit Music
JAZZ HISTORY SUMMARY
From its beginning, jazz music has always included several components that make it unique:
• solo work (Even in an ensemble where individuals support one another in close musical communion,
every player also gets an opportunity to solo.);
• improvisation (Jazz players “riff” off whatever melodic structure is being played, often taking the
music to exciting heights in the process, but always coming back to the basic structure eventually.);
• experimentation (From Dixieland to swing, be-bop, fusion, and every other phase jazz has
experienced, innovators have never shied away from experimenting with new possibilities in their
art form.);
• adventurous rhythms (Syncopation is one of the many hallmarks of jazz music.);
• an urban sensibility (Jazz was born and evolved almost entirely in America’s larger cities.).
In about a century’s time, jazz has undergone some extreme changes. Here is the “very short version” of
how jazz began and where it has been … so far:
End of the 1800s – Jazz music emerges in New Orleans. It grew out of a combination of field/work
songs (the first African-American musical form), Delta blues and gospel music in the rural South,
ragtime piano music, and military marching music from European troops stationed in New Orleans. In
these early days, jazz was spelled jass.
1900s – Jazz continued to develop into its early Dixieland style. Louis Armstrong (first great jazz soloist)
was born in New Orleans in 1901; around 1912 (in “reform school” after getting in trouble with the law)
he learned to play the coronet, the instrument which much later made him famous.
1910s – First jazz recording is made (“Livery Stable Blues” in 1917). Storyville entertainment district of
New Orleans closed, and jazz musicians migrated to northern cities. Dixieland is still the dominant
style.
1920s – Jazz spread across the country and around the world. This was the era of Prohibition (no legal
alcohol sales), flappers, and author F. Scott Fitzgerald. A famous American popular/social dance, the
Charleston, was invented to accompany jazz music. Jazz became a hit in Paris; gypsy guitarist Django
Reinhardt and singer Josephine Baker became famous jazz stars in Europe. The Harlem Renaissance
era began in New York, and the Cotton Club opened with Fats Waller, Cab Calloway, and Duke Ellington
performing (black performers/white-only audience). George Gershwin wrote jazz-related music for
Broadway shows. Bessie Smith, Jelly Roll Morton, Louis Armstrong recorded hit records.
1930s – Benny Goodman broke the color barrier by integrating his quartet; toured his big band nationwide; and played Carnegie Hall in New York City, establishing jazz as legitimate art form. Great
vocalists were Ella Fitzgerald (helped to develop scat singing), Frank Sinatra, and Billie Holiday.
Kansas City (with its political corruption and criminal syndicate-owned nightclubs providing plenty of
work for musicians) became a major “experimental jazz” city through its late-night jam
sessions; Count Basie orchestra began in Kansas City.
1940s – Big Band swing music dominated World War II era; jazz spread in Europe because of
recordings shared by American military personnel and because of the popularity of Glenn Miller (big
band leader, Air Force orchestra director). 33 1/3 LPs—“long-playing” wax/vinyl recordings—were
invented. France invented jazz festivals. Charlie Parker and Dizzy Gillespie started be-bop style (and
because of the jazz clubs, 52nd Street in NYC became known as “Bebop Street”); combos replaced big
bands. Then, R&B developed (Ray Charles, James Brown were popular early R&B artists), starting
another musical trend.
Arts Toolkit Music • Lesson Plans •
359
1950s – The “beat” generation dominated popular culture. Newport Jazz Festival originated in the
U.S. Museums integrated jazz music to complement their abstract visual art. Racial integration was a
major topic of the day, and black jazz musicians began using jazz as a means of expressing anger at
racial,
political and social injustice. Dave Brubeck and Miles Davis originated “cool jazz.” Because West Coast
jazz had become softer and lighter than traditional jazz, East Coast jazz artists (Miles Davis,
Thelonious Monk, Sonny Rollins) returned to an edgier style. As in previous decades, vocal jazz
continued to remain popular.
1960s – This was a time of great social change: the era of rock music, Vietnam War protests, and the
American Civil Rights movement—Dr. Martin Luther King and Malcolm X. Radical new “free jazz” was
quite informal. John Coltrane became an important composer; Miles Davis first performed jazz in huge
arenas and introduced electric instruments and rock rhythms.
1970s – Jazz fusion (jazz + rock) was developed. “Loft jazz” was performed for free in empty factory
buildings. Spectacle, stage makeup, costumes, dance, and world music were introduced in more formal,
theatrical jazz performances.
1980s – The CD (compact disc) was invented, replacing vinyl discs (records). The recording industry
transferred historic jazz recordings (and other musical types) to CDs as a way to preserve American
music history.
1990s & 2000s – New trends in African-American and popular music (rap, hip-hop) grew out of jazz.
Electronic rhythms became important. Jazz artists in this era include diverse instrumentalists and
vocalists such as Ellis, Wynton and Branford Marsalis, Diana Krall, Keith Jarrett, Pat Metheny,
Cassandra Wilson, Harry Connick Jr., Madeleine Peyroux, and Norah Jones. “Smooth jazz” increased in
popularity. Jazz continued to reflect the contemporary world and the urban human condition.
And, most of all, jazz continues to evolve … with no end in sight.
360 • Lesson Plans • Arts Toolkit Music
A History of Jazz
The TIMELINE Project
Project Target Date: _________________
You may choose to create a timeline as your culminating activity after studying jazz history. This handout offers some ideas and rules for designing a timeline.
GUIDELINES
In creating this timeline, you may use information from notes, handouts, recordings, videos, live
performances, chronology, discussion, books, the Internet, and any other sources provided in class or
located on your own. Taking good notes, paying attention, listening to the music examples, and “digging
a little deeper” will always pay off in a project of this type.
To make the physical timeline:
Begin with a sheet of printer/copier paper (21.7 x 28 cm = 8 1/2 x 11 inches). With a ruler, make
light pencil marks at 7 cm, 14 cm, and 21 cm along both edges of the long sides of the paper.
Then line up the ruler across the paper to connect each pair of marks, and draw a light pencil
line between them. Cut along the pencil lines. You should now have four strips of paper that are
of equal width and length. Tape or glue these strips end to end, overlapping very slightly. You
will end up with a long strip of paper approximately 85 cm (33 inches) long. Your timeline can `
be created horizontally or vertically, according to your own design, but it must take up the
entire length and width of the long strip you have created. (Uniformity means more timelines
can be displayed simultaneously in limited wall space.)
Designing the timeline:
• Complete your project and turn it in on or before the target date.
• Layout may be horizontal or vertical.
• Use the entire length and width.
• Design on one side only so it can be displayed in its entirety on bulletin board.
• Include the title: “A History of Jazz.”
• Your name and class period must be on the front for display:
- in the lower right corner of a horizontal timeline.
- at the bottom of a vertical timeline.
• Use a ruler to draw the main continuum line.
• Dividing your timeline into decades is the best way to organize it.
• Be brief! Each item on the timeline should be succinctly stated.
• Use dark ink and a fine point pen, or type and paste words onto the timeline.
• Make words large enough to read comfortably when displayed on the wall.
• Be sure your information is accurate and in correct chronological order.
• Use color, shapes, and/or illustrations to make your timeline visually appealing.
• You may either draw or cut-and-paste illustrations.
• Review the principles of design (from visual arts)—a good design uses space and balance
appropriately.
• Be very neat! Your timeline will be displayed. Make sure it is legible (easy to read and
understand), informative, and attractive.
Arts Toolkit Music • Lesson Plans •
361
A History of Jazz
The PRESENTATION Project
Project Target Date: _________________
You may choose to create a presentation as your culminating activity after studying jazz history. This
handout offers some ideas and rules for designing a presentation.
GUIDELINES
• If you take the presentation option, you will be required to focus on a different topic from all others
who are developing presentations.
• Presentations will be made to the class on the designated target date. Be ready and bring all your
materials to class when the day for presentations arrives.
• You will choose the topic or focus for the presentation as well as the format. You may use some type
of computer-based presentation software (such as PowerPoint), posters, handouts, recordings, video
or live performance, in any combination. (These are suggestions; the project does not have to include
all of these possibilities, but should include more than one presentation format.)
• Your presentation should be at least
minutes long. You should “teach” the class about the
topic, using the presentation as the method for doing so.
• Your presentation should focus on one particular aspect (or several closely-related aspects) within
the large scope of jazz history.
For example, a student might choose to design a presentation focusing on Big Band Swing. In this
presentation, the student would offer background information regarding how this style came into
being and/or became popular, names of band leaders who were significant in this movement, titles of
well-known songs, definitions of key words, related popular dances, the decade or decades in which
this style of jazz was most popular, the cultural context for it, and why it ultimately fell from
popularity (including what jazz style replaced it). Ideally, the student would also include in the
presentation some of the recordings from this style and era, as well as some images to illustrate the
information.
You have a great deal of freedom within these guidelines to be creative with your presentation. Choose
a topic that you are interested in, research it thoroughly, and let your imagination help you design the
best possible presentation, using all the resources you have available to engage your audience. If you
are enthusiastic and well-prepared, your audience will be more interested in your presentation, and
they will leave it knowing more about your topic than ever before.
362 • Lesson Plans • Arts Toolkit Music
A History of Jazz
The LIVE PERFORMANCE Project
Project Target Date: _________________
You may choose to rehearse for a live performance as your culminating activity after studying jazz
history. This handout offers some ideas and rules for designing and producing a live performance.
GUIDELINES
• You may perform solo or within an ensemble. However, each student in an ensemble (in the spirit
of those great jazz traditions of solo and improvisation) will be required to solo as part of the
performance.
• The piece of jazz music you perform may be an original composition, but this is not necessary or
required. A jazz standard or other composition by any jazz composer will be fine.
• Be prepared. Rehearse!
• Be on time for your performance. Bring everything you need with you.
• Before the performance, you should describe the instrument or vocal technique you will be using.
• Introduce the piece of music in a knowledgeable manner, placing it in context according to the style
of jazz it employs.
• Suggest characteristics for the audience to listen for.
• For a more “professional” performance, provide a printed program or other handout for the
audience, so as to enhance their listening experience.
• If you are playing as part of an ensemble, be sure to listen and respond to what your musical
colleagues are doing. Demonstrate to the audience, through your performance, that you understand
what ensemble work is all about. Fulfill your role as an equal, supporting partner in the total group
effort.
• After the performance, allow for a short question/answer or comments session. Attempt to engage
the audience and encourage them to participate.
• Thank the audience for their attention. If they applaud or compliment your performance, accept
graciously. Confidence and competence are very important, but modesty is also often a virtue in
these situations.
Arts Toolkit Music • Lesson Plans •
363
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364 • Arts Toolkit Music • Lesson Plans