Jazz from 1930-1960: Embracing the Music of
the Era
Ashley Abbott
12th grade
American Musical Landscape, 5th Edition
Chapter 13, p.196-230
This DRL Unit was created with the intent of introducing jazz music and the
societal effects that aided in the birth of the genre. The unit focuses on
composers, virtuosos, concepts, and musical vocabulary. Throughout this
unit, students will be involved in lessons that prepare them to read and
analyze content, as well as conceptualize and analyze the information
contained in the text to further their understanding of American jazz music
from 1930-1960.
Tennessee Standards
3.1 Identify elements of music, genres, and/or style periods
6.1 Demonstrate knowledge of the technical vocabulary of music
6.3 compare compositional devices and techniques used in various musical genres
7.1 Evaluate the quality and effectiveness of music performances.
8.1 Demonstrate an understanding of how the elements of music change from one style
period/genre to another
9.1 Explore the reciprocal relationship between music and the influences of history and
culture.
9.2 distinguish characteristics of representative music genres and styles from a variety
of historical periods
Learning Objectives
Pre-Reading

TSWBAT explain the effects of society that led to the creation of jazz music
during the early 20th century.
Reader/Text Interaction

TSWBAT identify statements at various levels of comprehension

TSWBAT defend or support their answers

TSWBAT identify instruments in a big band

TSWBAT compare the musical elements of big band and swing music.

TSWBAT identify popular big band musicians and arrangers

TSWBAT explain the importance of Glenn Miller

TSWBAT demonstrate the ability to work effectively in a group by employing
good listening skills, eye contact, and clear communication skills

TSWBAT identify important jazz musicians, including they instruments they
played, as well as the sub-genre they were involved in

TSWBAT complete a graphic organizer about the life of Dizzy Gillespie
Post-Reading

TSWBAT work affectively lin groups by maintaining eye contact, actively
critiquing peers, and displaying good listening skills

TSWBAT employ the use of technology in order to publish a “wordle”

TSWBAT create a biography of jazz musicians using correct music vocabulary

TSWBAT edit classmate papers using a peer-evaluation editing form

TSWBAT complete a magazine column based on the RAFT writing prompt

TSWBAT match terms to the correct meaning by employing their knowledge of
music vocabulary

TSWBAT demonstrate active listening skills of paying attention through eye
contact and body posture.

TSWBAT summarize selected sections of the text by making study guides for
their assigned section
Pre-Reading Lesson Plan Using Guided Imagery
Course Data
Name: Ashley Abbott
Grade Level: 12th
Unit Topic: Jazz 1930-1960
Lesson Topic: Pre-reading Activity for Jazz Unit
Length of Lesson: 1 class period
Materials
Ipod and Speakers
Jazz Playlist
Music Journal
Lesson Objectives
 TSWBAT explain the effects of society that led to the creation of jazz music
during the early 20th century (cognitive, content)
Anticipatory Set/Focus
BR: Students will listen to “Sophisticated Lady” by Duke Ellington and write a response
in their music journal.
ABK: I will discuss some societal issues during this time period, such as WW I, WW II,
Civil Rights, etc.
RRL: I will discuss how music can evoke certain emotions based on what the composer
was feeling when they wrote the piece.
Involve All Students: I will ask students if they can think of a time where they have
played or performed music because they were feeling a certain way and let the students
share a story or two.
Label Learning: I will discuss the objectives for the day after the bell-ringer.
Instruction
After the Focus, I will explain to the students that we will be using Guided Imagery to
think about what we will be learning throughout this unit. I will explain that the goal
will be to get students to feel what some musicians of this era may have felt during that
led them to pursue music and write certain types of songs.
Before we start GI, I will have students do a few physical warm-ups to get them ready:
1. Students will stand up and do a freestyle stretch.
2. Take three deep breaths, as deep as you can get, and exhale with a long sigh.
3. While inhaling, reach as high as possible until you are stretching on your
tiptoes. Then gradually stretch down and touch your toes while slowly
exhaling.
4. Sit in the floor in a comfortable position, but not too comfortable to fall
asleep.
5. Close your eyes and we will begin.
Imagine that you are someone that has been oppressed by segregation during the Civil
Rights movement. You’ve been asked to use different restaurants and bathrooms. You
are also not allowed to go to concerts or theatres at all to hear any sort of music. The
year is 1930. You are a teenage member of an African American family. Your father has
lost his job at the mill and your mother is no longer employed as a housekeeper due to
the lingering effects of the Great Depression, coupled with racism. Every member of
your family has to pitch in and help around the house, so there is no time for toys or any
fun. However, you’ve just found out from one of your friends that there is music hall,
only open at night, which features a new type of wild music. Your friend says it’s
different than anything anyone has done before. The two of you have decided to sneak
out of your house once your parents have gone to bed. As you arrive at the music hall,
you hear jazz for the first time. Imagine that feeling and just embrace it. Now take a
few minutes to think about all that you’re seeing and hearing. When you think you have
a good idea of what you’re experiencing, open your eyes slowly. Gently and quietly
stand up and stretch once more, then return to your seats.
Once everyone is seated, I will pass out a worksheet with a few questions on it.
(Attached)
Closure
AWBDB completion of the GI worksheet. This will be an informal assessment used as a
participation grade.
Guided Imagery Worksheet
NAME __________________________________________
What kinds of sounds did you “hear” during guided imagery?
How is this different from what you have heard before?
What about this makes you want to become a musician?
What do you hope to learn about jazz music?
What were some societal issues going on during this time?
Do you think some of these issues had any effect on the music? Explain.
3-Level Reading Guide Lesson Plan
Course Data
Name: Ashley Abbott
Grade Level: 12th
Unit Topic: Jazz 1930-1960
Lesson Topic: Big Band/Swing music
Length of Lesson: 1 class period
Materials
“American Musical Landscape” text
3-level guide
Music journal
Lesson Objectives
 TSWBAT identify statements at various levels of comprehension
 TSWBAT defend or support their answers
 TSWBAT identify instruments in a big band.
Anticipatory Set/Focus
BR: Students will listen to “It Don’t Mean A Thing….” by Benny Goodman and write a
response in their music journal.
ABK: We will review what we’ve learned about jazz thus far in order to compare the
new styles to the old styles.
RRL: I will discuss the importance of learning how to use a reading guide and how they
can help in the future.
IAS: I will ask students to tell me what they think they know about Big Bands and what
they hope to learn.
LL: I will explain the objectives at the beginning of class.
Instruction
I will explain to the students that the purpose of the 3-level reading guide is to
understand the intent of the author. I will explain the difference between the different
types of statements they will see on the reading guide: Level 1: Literal; Level 2:
Interpretative; and Level 3: Applied. I will also inform them that there may be
distractors contained in the guide, so they need to be very careful when reading the
questions/statements. We will go over the first question together. After doing so, I will
ask if there are any questions. If not, I will give the students their assignment. Students
will read pg. 200-212 in the text. After doing so, students will complete the three-level
guide.
Closure
AWBDB completion of the 3-level guide and their ability to defend/support their
decision for choosing certain answers.
THREE-LEVEL READING GUIDE FOR BIG BANDS AND ARRANGING
I. Literal Level: Check the items that explicitly represent some of the important details
in the reading. Explain your answers. (Distractors are highlighted, but not on student
copies.)
__________ 1. The art of arranging happened in order to make it easier for larger
groups to play.
__________ 2. The most influential big band leader was Dizzy Gillespie.
__________ 3. Swing music was the answer to jazz.
__________ 4. Duke Ellington was an arranger and performer.
__________ 5. There were no women in jazz at during this time period.
__________ 6. Clarinets were included in big band instrumentation.
II. Interpretive Level: Several statements follow that may represent what the author
means. Check the line next to any statement that you think is a reasonable inference or
conclusion. Explain your answers.
__________ 1. Big band music would never have happened if not for the Great
Depression.
__________ 2. Jazz allowed blacks and whites to work together.
__________ 3. Without music, some people would have been very unhappy.
__________ 4. Some musicians would rather play music than serve our country.
__________ 5. Jazz gave women a chance to break free from stereotypes.
III. Applied Level: To apply what you read means to take ideas from the readings and
apply it to something you are already familiar with. If you think the following
statements are supported by the reading or your prior knowledge, put a check in the
blank. Be sure to be able to support your decision.
__________ 1. Sometimes, people must break the law to do the right thing.
__________ 2. Freedom of speech helps people communicate.
__________ 3. A person must be willing to fight for what they love.
__________ 4. Usually, people do not always get the recognition they deserve.
__________ 5. In order for the world to progress, people must take risks.
SELECTIVE READING GUIDE LESSON PLAN
Course Data
Name: Ashley Abbott
Grade Level: 12th
Unit Topic: Jazz 1930-1960
Lesson Topic: Big Band and Arranging (con’t)
Length of Lesson: 1 class period
Materials
“American Musical Landscape” textbook
Selective reading guide
Music journals
Lesson Objectives
 TSWBAT identify instruments in a big band
 TSWBAT compare the musical elements of big band and swing music.
 TSWBAT identify popular big band musicians and arrangers
 TSWBAT explain the importance of Glenn Miller
Anticipatory Set/Focus
BR: Students will listen to “Taxi War Dance” by Count Basie and write a response in their
music journal.
ABK: We will review what we’ve learned about jazz thus far in order to understand how
big band swing is different.
RRL: I will discuss the importance of learning how to use a reading guides and how they
can help in the future.
IAS: I will ask students to tell me what they think they know about Big Bands and what
they hope to learn.
LL: I will explain the objectives at the beginning of class.
Instruction
Students will pair in to groups after the bell-ringer. I will explain the objectives for the
day. I will pass out the selective reading guides and model the first section for them. I
will discuss these aspects:
-Location: where you find the content in the text
-Speed: how much time is to be spent on each section
-Mission: what they are expected to learn
I will have students help me work through the intro section of the SRG. I will ask the
students if they have any questions. If not, they can begin the assignment. I will
monitor the room by walking around and spending time with each group. Once
finished, the SRGs will be turned in as an exit slip.
Closure
AWBDB the completion of the SRGs. They will also write a 1 page response about the
use of the SRG to be turned in during the next class period.
Independent Practice
Students will write a 1 page response to the prompt: “Compare and contrast the
musical elements of big band/swing and jazz music.
Vocabulary Activity Lesson Plan
Course Data
Name: Ashley Abbott
Grade Level: 12th
Unit Topic: Jazz Music 1930-1960
Lesson Topic: Vocabulary Concepts
Length of Lesson: One class period
Materials
Magic Squares Worksheet
Lesson Objectives
 TSWBAT match terms to the correct meaning by employing their knowledge of
music vocabulary
 TSWBAT demonstrate active listening skills of paying attention through eye
contact and body posture.
Anticipatory Set/Focus
BR: Students will listen to “Four and Six” by Elvin Jones and write a response in their
music journals.
ABK: I will ask the class if they have ever done vocabulary worksheets. What kind of
experience did you have with them?
RRL: I will discuss how knowing vocabulary will not only help in this class, but will aid in
a well-rounded life.
IAS: Students will write in their music journals during the bell-ringer.
LL: I will explain the objectives at the beginning of class.
EQ: What are the basic concepts of jazz music?
Instruction
Today, students will be reviewing vocabulary words in order to solidify their
understanding of musical concepts in jazz. This will help serve as a mid-unit assessment
to make sure they are on the right track.
After writing what they think “jazz” is in their music journals, I will use direct instruction
to model to students what a Magic Square is.
A Magic Square is a type of study plan that can be used to aid remembering important
vocabulary. It works kind of like a Sudoku puzzle. You will be given answers and a word
bank to match with one another. Each row and column should add up to the same
number. If you’d like to check to see if your answers are correct, you may do so using
math. I will show you how this works, by doing the first question for you.
After working the first question, I’ll ask the class for a volunteer to do the second
question to make sure they understand.
During this lesson, I will be watching to make sure they are maintaining eye contact with
me to demonstrate active listening skills.
Guided Practice
Students will then complete the worksheet on their own as I walk around the room to
check on everyone’s progress.
Closure
Achievement will be determined by the ability to correctly complete the worksheet.
Students will also be assessed as I walk around the room to determine if they are being
active listeners and will be critiqued again using a peer evaluation sheet.
Independent Practice
After completing the worksheet, students will be asked to pick three vocabulary words
and write a one-page entry in their music journals explaining the importance of their
choices and the impact they had on jazz music. This will be an informal participation
grade and grammar will not be extremely important.
Graphic Representation Plan
Course Data
Name: Ashley Abbott
Grade Level: 12th
Unit Topic: Jazz Music 1930-1960
Lesson Topic: Important Jazz Musicians
Length of Lesson: 1 class period
Materials
Ipod and speakers
Jazz playlist
“American Musical Landscape” text
Music journal
Dizzy Gillespie bio sheet
Markers
Lesson Objectives
 TSWBAT demonstrate the ability to work effectively in a group by employing
good listening skills, eye contact, and clear communication skills
 TSWBAT identify important jazz musicians, including they instruments they
played, as well as the sub-genre they were involved in
 TSWBAT complete a graphic organizer about the life of Dizzy Gillespie
TN Standards
 3.1 Identify elements of music, genres, and/or style periods
 8.1 Demonstrate an understanding of how the elements of music change from
one style period/genre to another
Anticipatory Set/Focus
BR: Students will listen to “A Night in Tunisia” by Dizzy Gillespie and write a
response in their music journal.
ABK: I will ask the class if they have ever used graphics to help them study. We will
discuss.
RRL: I will discuss how graphic organizers are important because they give students the
choice to determine what is important as they study.
IAS: Students will write in their music journals during the bell-ringer.
LL: I will explain the objectives at the beginning of class.
EQ: Why was Dizzy Gillespie such an important jazz musician?
Instruction
In the previous class, students were assigned to read pages 225-236 in their text in order
to come to this class with an understanding of important jazz musicians. Students will
put in to groups of 3-4. I will explain to the students what a graphic organizer is and how
it works. After doing so, I will pass out the biography sheet of Dizzy Gillespie. Students
will be prompted to read the bio and determine, as a group, the most important aspects
of the article. Once finished, a rep from each group will go to the board and draw a
graphic representation of facts they deemed important. After all groups have drawn, a
different rep from each group will address the class and support their group’s reasons
for choosing which ideas to represent.
Closure
AWBDB the completion of the graphic organizer. I will monitor students by walking
around the room to see that they are working effectively in groups. As an exit slip,
students will complete an evaluation by assessing each member of the group based on
how well they worked together. (Attached)
Quick Facts
 NAME: Dizzy Gillespie
 OCCUPATION: Trumpet Player
 BIRTH DATE: October 21, 1917
 DEATH DATE: January 06, 1993
 EDUCATION: Laurinburg Institute
 PLACE OF BIRTH: Cheraw, South Carolina
 PLACE OF DEATH: Englewood, New Jersey
Best Known For
A jazz trumpeter and composer, Dizzy Gillespie played with Charlie Parker and developed the music
known as bebop.
Dizzy Gillespie biography
Synopsis
Born John Birks Gillespie on October 21, 1917, in Cheraw, South Carolina, Dizzy Gillespie worked in
prominent swing bands, including those of Benny Carter and Charlie Barnet, developing his own band later
and his own signature style, known as bebop.
Profile
Jazz trumpeter, composer. Born John Birks Gillespie on October 21, 1917 in Cheraw, South Carolina. He
worked in prominent swing bands (1937–44), including those of Benny Carter and Charlie Barnet. As a
bandleader, often with Charlie Parker on saxophone, he developed the music known as bebop, with
dissonant harmonies and polyrhythms, a reaction to swing.
Gillespie's own big band (1946–50) was his masterpiece, affording him scope as both soloist and showman.
He was immediately recognizable from the unusual shape of his trumpet, with the bell tilted upwards at an
angle of 45° - the result of someone accidentally sitting on it in 1953, but to good effect, for when he
played it afterwards he discovered that the new shape improved the sound quality, and he had it
incorporated into all his trumpets thereafter.
Gillespie's memoirs To Be or Not to Bop (with Al Fraser) appeared in 1979. In 1990, he received the
Kennedy Center Honors Award.
How to Cite this Page:
Dizzy Gillespie
APA Style
Dizzy Gillespie. (2012). Biography.com. Retrieved 07:40, Nov 11, 2012 from
http://www.biography.com/people/dizzy-gillespie-9311417
Harvard Style
Dizzy Gillespie [Internet]. 2012. http://www.biography.com/people/dizzy-gillespie-9311417, November 11
MLA Style
" Dizzy Gillespie." 2012. Biography.com 11 Nov 2012, 07:40 http://www.biography.com/people/dizzygillespie-9311417
MHRA Style
' Dizzy Gillespie', Biography.com,(2012) http://www.biography.com/people/dizzy-gillespie-9311417
[accessed Nov 11, 2012]
Chicago Style
" Dizzy Gillespie," Biography.com, http://www.biography.com/people/dizzy-gillespie-9311417 (accessed
Nov 11, 2012).
CBE/CSE Style
Dizzy Gillespie [Internet]. Biography.com; 2012 [cited 2012 Nov 11]. Available from:
http://www.biography.com/people/dizzy-gillespie-9311417.
Bluebook Style
Dizzy Gillespie, http://www.biography.com/people/dizzy-gillespie-9311417 (last visited Nov 11, 2012).
AMA Style
Dizzy Gillespie, http://www.biography.com/people/dizzy-gillespie-9311417 (last visited Nov 11, 2012).
Uncovering
Masters of Jazz
A WebQuest for 12th Grade Jazz Music from 1960-1930
Designed by
Ashley Abbott
Ashley.Abbott@my.maryvillecollege.edu
Introduction | Task | Process | Evaluation | Conclusion | Credits | Teacher
Page
Introduction
Jazz music during this era was a very volatile, creative genre.
Although we have studied numerous musicians that began their
careers during this time period, there are many others that we have
not discovered.
Imagine that you are a musicologist and have been asked to submit
an essay that will be published in the local newspaper. Your job as a
proponent of music history, is to uncover underrated jazz musicians
who became famous in the United States between 1930 and 1960. It
will be up to you to find information about jazz composers that have
not been previously covered.
The Task
You will have only 30 minutes to find the information that you need
to be able to finish the essay on time so it can be printed in the local
newspaper. Find two other columnists, choosing from your
classmates, that will be working on the column with you. Make sure
you divide the questions equally so the project can be completed on
time.
The Process
To accomplish the task, you should take the following steps:
1. First, pick a team of two more students to work with.
2. Divide the work equally so you can finish on time.
Use the following questions to aid you in your search:
3. Who is the column going to be written about?
4.
5.
6.
7.
8.
9.
When and where were they born?
What instrument did they play, if any?
What are some of their most popular songs or works?
What genre of jazz did they belong to?
Who were they influenced by?
What were some of the musical concepts in their works?
You will access the following online resources to complete this process:
http://www.swingmusic.net/Small_Group_Swing.html
http://www.timeisonourside.com/STBop.html
http://www.jazzstandards.com/history/history-5.htm
After visiting the websites, it is important to find a good way to
organize the information you have found. I would recommend the
following: facts, such as birth, death, location; musical concepts,
such as instrumentation and genre; and works, such as music, songs,
etc.
Conclusion
Now that you have completed your first WebQuest, you should know
a lot more about lesser-known jazz musicians between 1930 and
1960. You should also understand that the WebQuest model is a
great tool to use if you are on a strict, short deadline. This model is
a great way to organize information.
Writing Activity Lesson Plan
Course Data
Name: Ashley Abbott
Grade Level: 12th
Unit Topic: Jazz Music 1930-1960
Lesson Topic: Writing Process Lesson Plan
Length of Lesson: 5 days
Materials
Ipod and speakers
Jazz music playlist
Music journal
“American Musical Landscape” text
Writing assignment
Lady Gaga biography used to model the process
Example of graphic organizer sheets
Peer response forms
Peer editing forms
Access to internet and www.wordle .net
Wordle example printouts
Lesson Objectives
 TSWBAT work affectively in groups by maintaining eye contact, actively critiquing
peers, and displaying good listening skills
 TSWBAT employ the use of technology in order to publish a “wordle”
 TSWBAT create a biography of jazz musicians using correct music vocabulary
 TSWBAT edit a classmate’s paper using a peer-evaluation editing form
 TSWBAT complete a magazine column based on the RAFT writing prompt
Anticipatory Set/Focus
BR: Students will listen to “What A Wonderful World” by Louis Armstrong and write a
response in their music journal.
ABK: I will ask the class what sort of strategies they have used in the past to help them
in the writing process.
RRL: I will explain to the class how much easier the writing process is if you do it in small
steps first.
IAS: Students will write in their music journals during the bell-ringer.
LL: I will explain the objectives at the beginning of class.
Instruction
DAY 1-PREWRITING:
I will discuss the RAFT writing instructions and the assignment itself (attached). I will
discuss with the class the different methods that can be used for prewriting, such as
webs, outlines, etc. After this, I will model the preferred method of using webs to create
an outline. The models is attach to this plan. I will work through the example and show
the students how to create an outline based on their webs.
DAY 2-DRAFTING:
I will describe to the students how the drafts will be written. I will provide an example
of the format that is expected. The graphic organizer is attached. Once we have gone
over the attached biography, we will fill out the organizer and then create an outline on
the board of the important information that should be included in the first draft.
DAY 3- REVISION:
Students will get in to groups of three and trade drafts. Each student will fill out two
response forms, one for each of the other members’ drafts. Once complete, students
will return the draft to their respected owners. I will monitor the work by walking
around the classroom. I will also make myself available for students to ask question
individually if needed.
DAY 4-EDITING:
I will use the Peer editing worksheet (attached). Before the students do it themselves, I
will take the biography we have been working with and model how to use the editing
sheet. Students will work independently in class to edit their own papers. I will monitor
the class and make myself available for questions if needed. Students will then finish
their final draft at home to be turned in during the next class period.
DAY 5-PUBLISHING:
Students will be asked to complete a “wordle” for each one of their articles. I will model
how to complete a “wordle” during class and show the students the finished product.
Students will be asked to complete their publishing project at home and bring a printed
copy to the next class period.
Closure
AWBDB the ability to work effectively in groups based on completion of a peer group
evaluation form (attached). In addition, final assessment will be done via a rubric based
on the completion of the magazine column.
1960s Jazz Unit Writing Assessment Assignment
Imagine that you are a current writer for Rolling Stone magazine. The upcoming
issue will cover influential artists of the 1960s. Your editor has asked you to cover the
genre of jazz. It is your job to give a brief biography of at least three jazz musicians that
became famous during this time period. This will be written in short blurbs/columns,
not to exceed 200 words each. Make sure to cover important facts of their lives, what
instrument they played, if any, artists they were influenced by, and artists who were
influenced by them. Also include any other important facts that helped make them
famous and influential. Grammar and mechanics will be graded, as well as use of proper
music vocabulary.
Peer Evaluation for Working in Groups
Reviewed for: _________________________________________
Reveiwed by: __________________________________________
1. How did you know he/she was listening effectively?
2. Was he/she able to communicate ideas clearly? How?
3. Did he/she maintain good eye contact?
4. Are there things he/she could improve on?
Peer Editing Worksheet
Writer's Name: _________________________
Editor's Name: _________________________
• Exchange papers with a partner; read through your partner’s column carefully.
• Correct any grammatical errors as you read the essay.
• Complete the worksheet below. Avoid "yes" or "no" answers to the questions; instead,
make specific suggestions that will help your partner revise the paper effectively.
• Once the worksheet has been completed pass it back to your partner and discuss the
points you’ve made. Keep in mind that the comments on the worksheet are suggestions
by your partner and that you need to decide what to heed and change.
Worksheet
What is the topic of the column?
Has the writer addressed the assignment (persuasive essay, critical review, etc.)? Why
or why not?
What do you think of the column’s title? If it's too general or bland, or if there isn't one,
suggest a good one.
Is the column interesting? Why or why not?
What is the thesis statement? Is it effectively stated?
Are the musicians introduced clearly? Suggest alternative phrasings. If there any
paragraphs for which you could not find a topic sentence, indicate the paragraph
number.
Does each topic sentence relate clearly to the topic?
Which paragraph seems to have the most interesting and convincing details? Why? Has
the writer used effective sources (i.e. to support, illustrate points made)? Where can
support (quotes, examples, facts, figures, etc.) be added? Where does the writer need
to explain the supporting details more clearly?
Is the support incorporated smoothly (and correctly) and explained so that the point or
relevance is clear?
What is the best part of the column? Why?
What is the weakest part? Why?
Does the essay end effectively?
Lady Gaga
From Wikipedia, the free encyclopedia
Stefani Joanne Angelina Germanotta(/ˈstɛfəniː dʒʌrməˈnɑːtə/; born March 28, 1986),
better known by her stage name Lady Gaga, is an American singer and songwriter.
Born and raised in New York City, she primarily studied at the Convent of the Sacred
Heart and briefly attended New York University'sTisch School of the Arts before
withdrawing to focus on her musical career. She began performing in the rock music
scene of Manhattan's Lower East Side, and was signed with Streamline Records by the
end of 2007. During her employment as a songwriter for the record company, her vocal
abilities captured the attention of recording artist Akon, who signed her to his label Kon
Live Distribution.
Lady Gaga came to prominence as a recording artist following the release of her debut
album The Fame(2008), which was a critical and commercial success that
topped charts around the world and included the international number-one singles "Just
Dance" and "Poker Face". After embarking on the The Fame Ball Tour, she followed the
album with The Fame Monster (2009), which spawned the worldwide hit singles "Bad
Romance", "Telephone" and "Alejandro". The album's success allowed her to embark on
the eighteen-month long Monster Ball Tour, which later became one of the highestgrossing concert tours of all time. Her 2011 albumBorn This Way topped the charts of
most major markets and generated more international chart-topping singles, including
"Born This Way", "Judas" and "The Edge of Glory". Besides her musical career, she
involves herself with humanitarian causes and LGBT activism.
Influenced by David Bowie, Michael Jackson, Madonna and Queen, Lady Gaga is
recognized for her flamboyant, diverse and outré contributions to the music industry
through her fashion, performances and music videos. She has sold an estimated 23
million albums and 64 million singles worldwide, making her one of the best-selling
music artists of all time and her singles are some of the best selling worldwide.[1] Her
achievements include five Grammy Awards and 13 MTV Video Music Awards. Lady
Gaga has consecutively appeared on Billboard magazine's Artists of the Year (scoring
the definitive title in 2010), ranked fourth in VH1's list of 100 Greatest Women in Music,
is regularly placed on lists composed by Forbes magazine and was named one of the
most influential people in the world by Time magazine.[2][3] In 2012, Gaga was ranked at
number four on Billboard's list of top moneymakers of 2011, grossing more than 25
million dollars.[4]
Unit Exam Review
Course Data
Name: Ashley Abbott
Date:
Grade Level: 12th
Unit Topic: The Jazz Age
Lesson Topic: Review for Unit Exam
Length of Lesson: 90 minute class period
Materials
“American Musical Landscape” text
Lesson Objectives
TSWBAT demonstrate the ability to work effectively in a group.
TSWBAT summarize different sections of the text.
Domain (Cognitive)
Type (Process)
Anticipatory Set/Focus
BR: Students will listen to “Freddie Freeloader” by Miles Davis and write a
response in their music journal.
ABK: I will ask the class if they have ever used graphics to help them study. We
will discuss.
RRL: I will discuss how study guides and summaries are important because they
eliminate unnecessary information that the student does not need to focus on.
IAS: Students will write in their music journals during the bell-ringer.
LL: I will explain the objectives at the beginning of class.
EQ: Why are study guides and summaries useful in the classroom?
Instruction
Students will put into groups of 3 or 4, with each group being assigned a specific
sections to read from the following:
The Blues pg.196-202
New Orleans and Chicago Jazz pg. 203-211
Big Band Swing pg. 213-221
Bebop, Progressive, etc. pg.221-230
Students will read their sections. After reading, they will turn their books over
and write down everything they can remember about their section. A team
leader will compile all key points into one guide to be shared with the rest of the
class. The teacher will discuss the guide in the front of the class while making
corrections and/or additions. This will be done with each section. At the end of
the lesson, every student will have a study guide for each section.
Closure
Achievement will be determined by the completion of the study guides. I will
monitor students by walking around the room to see that they are working
effectively in groups by maintaining open communication and using good
listening skills. Students will be graded on their summaries.
Independent Practice
Students will take the study guides home and write summaries for each section.
Doing so will add even more exposure to the material.