School Overview
The Jazz Age (1917-1940)
Michelle Trojan
Rowe-Clark Math and Science Academy
10th Grade U.S. History
Rowe-Clark Math & Science Academy is located on the West Side of Chicago and is one of
ten campuses of the Noble Street Charter Schools. Noble was founded in 1999 with the
goal of graduating 2020 Noble alumni from college by the year 2020. As one of the ten
schools, Rowe-Clark sets high expectations for all students to not only graduate from high
school, but succeed and graduate from college.
As a whole, Noble Street Charter Schools are 56% Hispanic, 19% African American, 2%
Caucasian, 1% Asian, and 22% other/unknown. In addition, Noble is 85% free and reduced
lunch and has a 17% special education population.
Unit Overview
Throughout this unit, students will cover the major aspects of the Jazz Age. Students will
discover the push and pull factors of the Great Migration and the major changes in
American culture after World War I. Students will identify the origins of jazz music and
how jazz moved into the northern part of the United States. In addition, students will
discover the major players of the Jazz Age. The unit will conclude with the discussion of the
contributions of the Jazz Age as well as the impact that this music has left on society.
Goal
At the end of this unit, students will have a broad understanding of the Jazz Age. Students
will be able to explain the migration of African Americans to the North as well the
emergence and popularization of jazz music throughout the United States.
Objectives
1. SWBAT define the Great Migration. SWBAT explain the push and pull factors of the
Great Migration. SWBAT describe the opposition that African Americans faced once
moved to the North.
2. SWBAT describe the major changes in American culture after World War I. SWBAT
explain the Harlem Renaissance.
3. SWBAT define jazz and identify the origins of jazz. SWBAT explain the major
components of jazz music.
4. SWBAT identify and describe the major players of the jazz movement.
5. SWBAT describe the contributions of the jazz age and draw conclusions about the
effects of the jazz age on music and society today.
1
Investigative Questions
How has jazz music affected society in 2010? What contributions did jazz musicians make
on society?
Time Required
Eight 90 minutes class periods
Recommended Grade Range
10th grade
Subject
United States History and/or American Literature
Standards
College-Readiness Standards
MID 601: Infer the main idea or purpose of more challenging passages or their paragraphs
MID 602: Summarize events and ideas in virtually any passage.
SUP 601: Locate and interpret minor or subtly stated details in more complicated passages
SUP 602: Use details from different sections of some complex informational passages to
support a specific point or argument
MOW 601: Determine the appropriate meaning of words, phrases, or statement from
figurative or somewhat technical contexts
GEN 601: Use information from one or more sections of a more challenging passage to
draw generalizations and conclusions about people, ideas and
REL 601: Order sequences of events in more challenging passages
REL 603: Understand implied or subtly stated cause-effect relationships in more
challenging passages
2
Illinois Social Science Standards
History
16.A.4a Analyze and report historical events to determine cause-and-effect relationships.
16.A.4b Compare competing historical interpretations of an event.
16.D.4a (US) Describe the immediate and long-range social impacts of slavery.
16.D.4b (US) Describe unintended social consequences of political events in United States
history
Geography
17.C.4b Analyze growth trends in selected urban areas as they relate to geographic
factors.
17.C.5b Describe the impact of human migrations and increased urbanization on
ecosystems.
Social Systems
18.A.4 Analyze the influence of cultural factors including customs, traditions, language,
media, art and architecture in developing pluralistic societies.
Illinois English Arts Standards
Reading
1.A.5a Identify and analyze new terminology applying knowledge of word origins and
derivations in a variety of practical settings.
1.B.5a Relate reading to prior knowledge and experience and make connections to related
information.
1.C.5a Use questions and predictions to guide reading across complex materials.
1.C.5b Analyze and defend an interpretation of text.
1.C.5c Critically evaluate information from multiple sources.
1.C.5d Summarize and make generalizations from content and relate them to the purpose
of the material.
3
Writing
3.A.4 Use standard English to edit documents for clarity, subject/verb agreement, adverb
and adjective agreement and verb tense; proofread for spelling, capitalization and
punctuation; and ensure that documents are formatted in final form for submission and/or
publication.
3.B.4a Produce documents that exhibit a range of writing techniques appropriate to
purpose and audience, with clarity of focus, logic of organization, appropriate elaboration
and support and overall coherence.
Illinois Fine & Performing Arts Standards
25.B.4 Analyze and evaluate similar and distinctive characteristics of works in two or
more of the arts that share the same historical period or societal context.
27.A.4b Analyze how the arts are used to inform and persuade through traditional and
contemporary art forms.
27.B.4a Analyze and classify the distinguishing characteristics of historical and
contemporary art works by style, period and culture.
27.B.4b Understand how the arts change in response to changes in society.
Materials
See individual lesson plans for specific materials.
Procedure
See individual lesson plans for specific procedures.
Evaluation
See individual lesson plans for specific evaluations for lesson plans and unit assessment.
4
Social Science
Science
This unit specifically covers the Jazz Age
(1917-1940). Students will begin with
the Great Migration after World War I,
progressing through music, and finally
the contributions of jazz music in today’s
society.
Students will not only study the music,
but the individual players as well during
this era.
English Language Arts
Math
During this unit, students will read a
variety of primary sources pertaining to
the jazz age. Students will read
biographies, letters, political cartoons,
etc. Students will need to identify the
main idea and specific supporting details
in a text.
Students will also write from not only
their own perspective, but others as well
as designated by the teacher.
Differentiation
Fine Arts
Lessons during this unit can be easily
differentiated when choosing primary
sources. The letters in this unit are at a
variety of reading levels, so students can
access the material based on their
reading level.
During this unit, students will listen to
and study jazz music. Students will be
exposed to music that they may have
never heard before and will be asked to
make connections to music today in
2010.
Students are also paired during many
activities, so the teacher has the ability
to assist students who may need extra
help.
5
Vocabulary List
1.Great Migration
2. Jazz
3. Harlem Renaissance
4. Push Factors
5. Pull Factors
6. Jim Crow Laws
7. Segregation
6
CALENDAR OF DAILY OBJECTIVES
<Insert Month and Year>
Tuesday
Wednesday
Monday
•
SWBAT
define the
Great
Migration.
•
SWBAT
explain the
push and pull
factors of the
Great
Migration.
•
•
•
•
•
7
SWBAT
define jazz
and identify
the origins of
jazz.
SWBAT
explain the
major
components
of jazz music.
SWBAT
explain the
Harlem
Renaissance.
SWBAT
describe the
contributions
of the jazz
age and draw
conclusions
about the
effects of the
jazz age on
music and
society today
Final
Assessment
due at
beginning of
•
SWBAT define
the Great
Migration.
•
SWBAT explain
the push and
pull factors of
the Great
Migration.
•
SWBAT
describe the
reactions of
others to the
Great Migration
during the
1920s.
•
Thursday
SWBAT
describe the
reactions of
others to the
Great
Migration
during the
1920s.
Friday
•
•
•
•
•
•
SWBAT identify
and describe
the major
players of the
jazz movement.
(Research)
•
SWBAT
describe the
contributions of
the jazz age
and draw
conclusions
about the
effects of the
jazz age on
music and
society today
•
•
SWBAT identify
and describe
the major
players of the
jazz movement.
(Research)
•
Final
Assessment
Work Time
•
•
SWBAT
identify and
describe the
major players
of the jazz
movement.
(Speed
Dating)
•
Final
Assessment
Work Time
•
•
SWBAT
define jazz
and identify
the origins of
jazz.
SWBAT
explain the
major
components
of jazz music.
SWBAT
explain the
Harlem
Renaissance.
SWBAT
identify and
describe the
major players
of the jazz
movement.
(Speed
Dating)
Final
Assessment
due at the
beginning of
class
Unit: The Jazz Age; Day 1 (The Great Migration)
Lesson Objective:
•
SWBAT define the Great Migration.
•
SWBAT explain the push and pull factors of the Great Migration.
Aligned State Standard (preMarch/post-March):
MID 601: Infer the main idea or purpose of more challenging passages
or their paragraphs
Assessment (sample task):
See attached.
Lesson Agenda:
•
•
•
•
•
Do Now (10 min)
INM (20 minutes)
GP: Push and pull factors (25 minutes)
IP: Presentations of factors (25 minutes)
Agenda/Homework (10 minutes)
Do Now:
Students will answer the following questions on looseleaf paper silently and individually:
•
•
•
What is your favorite vacation memory? Why?
What is your worse vacation memory? Why?
Looking back at your notes, what is a push factor? What is a pull factor?
Introduction to New Material: (key points, 3-5)
Key Points (3-5):
Method (how will you get your points across effectively to your
students?):
• The Great Migration is the
Students will review the end of World War I with a teacher led
movement of African Americans
th
discussion. In the previous unit, students covered World War I in
in the 20 century from the rural
depth, including the causes and consequences of the war. Students
south to the industrial North.
will create a timeline on the board as a review tool using their prior
• African Americans were pushed
knowledge to guide the discussion. Next, students will discuss the
from the South by Jim Crow
state of African Americans at the end of World War I.
segregation laws, lynchings and
other racial violence, low-paying
Students will the read a small portion from their textbook about the
jobs as sharecroppers or
Great Migration, using a set of comprehension questions to guide
servants, and ruined crops due
their reading.
to boll weevil infestation.
• African Americans were pulled to (Textbook: Lapsansky-Werner, Emma J., Peter B. Levy, Randy
Roberts, Alan Taylor. United States History. Boston: Prentice Hall.
the North by Economic
2008. Pages 633-635)
prosperity in northern cities, job
openings due to reduced
Students will be given 15 minutes to complete the reading and
immigration, and aid for African
guiding questions.
Americans in the North.
8
Guided Practice: (What examples are you going to work through together?)
Teacher: (what will the teacher be doing at this
point in the lesson?- what examples will you be
reviewing with students?)
Students: (what will the students be doing at
this point in the lesson?)
During this time, the teacher will have prepared multiple
letters for students to read about the various push and
pull factors during the Great Migration.
The teacher will split the class into groups of two
or three depending on class size. Each group
will receive one letter from a migrant during the
Great Migration. All students will receive a copy
of the letter and a written document analysis
form. Students will take 5-7 minutes to read their
letter as a group and then students will begin to
break the letter down, filling out the written
document analysis form. At this time, the
teacher will monitor the room to ensure that
students are on task.
The teacher will split the class into groups of two or
three depending on class size. Each group will receive
one letter from a migrant during the Great Migration.
All students will receive a copy of the letter and a
written document analysis form. Students will take 5-7
minutes to read their letter as a group and then
students will begin to break the letter down, filling out
the written document analysis form. At this time, the
teacher will monitor the room to ensure that students
are on task.
The letters that are given to the students can be
differentiated based on reading levels for students.
Once the group has finished their analysis form,
students will need to indentify the major push or pull
factor for their specific migrant.
The letters that are given to the students can be
differentiated based on reading levels for
students. Once the group has finished their
analysis form, students will need to indentify the
major push or pull factor for their specific
migrant.
Students will then need to prepare to present
their letter to the class. Students will need to
summarize the letter and identify/explain the
specific push or pull factor.
Checking For Understanding: (What questions need to be answered from students as evidence for
understanding of the material?)
What are push factors?
What are pull factors?
What was happening in the
1920s in which African
Americans would want to
leave the South and move to
the North?
Independent Practice:
(What assignment questions/problems will serve as
evidence of student mastery?)
After all groups have finished analyzing their letter,
students will present their letter to the class. The
groups of 2 or 3 (depending on class size) will each
summarize their letter for the class and identify the
push or pull factor that is discussed in their letter. All
students must speak during the presentation to receive
full credit.
As students are presenting, the rest of the class will
complete their independent practice form. (see
attached) This form will allow students to see a variety
of push and pull factors that faced African Americans
during the Great Migration.
9
Who will you target to CFU?
Students will be graded on the correct summarization
of the letter as well as the identification of push and pull
factors.
Closing: Students will turn in their Great Migration: Push and Pull worksheet as their exit ticket for the day.
HW:
10
Letter 1
Houston, Texas, 4-29-17.
Dear Sir: I am a constant reader of the "Chicago Defender" and in your last issue I saw a want ad that appealed to
me. I am a Negro, age 37, and am an all round foundry man. I am a cone maker by trade having had about 10 years
experience at the business, and hold good references from several shops, in which I have been employed. I have
worked at various shops and I have always been able to make good. It is hard for a black man to hold a job here, as
prejudice is very strong. I have never been discharged on account of dissatisfaction with my work, but I have been
"let out" on account of my color. I am a good brassmelter but i prefer core making as it is my trade. I have a family
and am anxious to leave here, but have not the means, and as wages are not much here, it is very hard to save
enough to get away with. If you know of any firms that are in need of a core maker and whom you think would send
me transportation, I would be pleased to be put in touch with them and I assure you that effort would be appreciated.
I am a core maker but I am willing to do any honest work. All I want is to get away from here. I am writing you and I
believe you can and will help me. If any one will send transportation, I will arrange or agree to have it taken out of my
salary untill full amount of fare is paid. I also know of several good fdry. men here who would leave in a minute, if
there only was a way arranged for them to leave, and they are men whom I know personally to be experienced men.
I hope that you will give this your immediate attention as I am anxious to get busy and be on my way. I am ready to
start at any time, and would be pleased to hear something favorable.
Source: The Journal of Negro History. Vol. IV, 1919, pp. 461–62, 458–59, 464
11
Letter 2
New Orleans, La., June 10, 1917.
Kind Sir: I read and hear daly of the great chance that a colored parson has in Chicago of making a living with all the
priveleg that the whites have and it mak me the most ankious to want to go where I may be able to make a liveing for
my self. When you read this you will think it bery strange that being only my self to support that it is so hard, but it is
so. everything is gone up but the poor colerd peple wages. I have made sevle afford to leave and come to Chicago
where I hear that times is good for us but owing to femail wekness has made it a perfect failure. I am a widow for 9
years. I have very pore learning altho it would not make much diffrent if I would be throughly edacated for I could not
get any better work to do, such as house work, washing and ironing and all such work that are injering to a woman
with femail wekness and they pay so little for so hard work that it is just enough to pay room rent and a little some
thing to eat. I have found a very good remady that I really feeling to belive would cure me if I only could make enough
money to keep up my madison and I dont think that I will ever be able to do that down hear for the time is getting
worse evry day. I am going to ask if you peple hear could aid me in geting over her in Chicago and seeking out a
position of some kind. I can also do plain sewing. Please good peple dont refuse to help me out in my trouble for I am
in gret need of help God will bless you. I am going to do my very best after I get over here if God spair me to get work
I will pay the expance back. Do try to do the best you can for me, with many thanks for so doing I will remain as ever,
Yours truly.
Source: The Journal of Negro History. Vol. IV, 1919, pp. 461–62, 458–59, 464
12
Letter 3
Union Springs, Ala.
Dear Old Friend: These moments I thought I would write you a few true facts of the present condition of the north.
Certainly I am trying to take a close observation—now it is tru the (col) men are making good. Never pay less than
$3.00 per day or (10) hours—this is not promise. I do not see how they pay such wages the way they work labors.
they do not hurry or drive you. Remember this is the very lowest wages. Piece work men can make from $6 to $8 per
day. They receive their pay every two weeks. this city I am living in, the population 30,000 (20) miles from Big
Chicago, Ill. Doctor I am some what impress. My family also. They are doing nicely. I have no right to complain what
ever. I rec. the papers you mail me some few days ago and you no I enjoyed them reading about the news down in
Dixie. I often think of so much of the conversation we engage in concerning this part of the worl. I wish many time
that you could see our People up there as they are entirely in a different light. I witness Decoration Day on May 30th,
the line of march was 4 miles. (8) brass band. All business houses were close. I tell you the people here are patriotic.
I enclose you the cut of the white press. the chief of police drop dead Friday. Burried him today. The procession
about (3) miles long. Over (400) auto in the parade—five dpt—police Force, Mayor and alderman and secret
societies; we are having some cold weather—we are still wearing over coats—Let me know what is my little city
doing. People are coming here every day and are finding employment. Nothing here but money and it is not hard to
get. Remember me to your dear Family. Oh, I have children in school every day with the white children. I will write
you more next time. how is the lodge.
Yours friend,
Source: The Journal of Negro History. Vol. IV, 1919, pp. 461–62, 458–59, 464
13
Letter 4
PHILADELPHIA, PA., Oct. 7, 1917
Dear Sir: I take this method of thanking you for yours early responding and the glorious effect of the treatment. Oh. I
do feel so fine. Dr. the treatment reach me almost ready to move I am now housekeeping again I like it so much
better than rooming. Well Dr. with the aid of God I am making very good I make $75 per month. I am carrying enough
insurance to pay me $20 per week if I am not able to be on duty. I don’t have to work hard. dont have to mister every
little white boy comes along I havent heard a white man call a colored a nigger you no now—since I been in the state
of Pa. I can ride in the electric street and steam cars any where I get a seat. I dont care to mix with white what I mean
I am not crazy about being with white folks, but if I have to pay the same fare I have learn to want the same
acomidation. and if you are first in a place here shoping you dont have to wait until the white folks get thro tradeing
yet amid all this I shall ever love the good old South and I am praying that God may give every well wisher a chance
to be a man regardless of his color, and if my going to the front would bring about such conditions I am ready any
day—well Dr. I dont want to worry you but read between lines; and maybe you can see a little sense in my weak
statement the kids are in school every day I have only two and I guess that all. Dr. when you find time I would be
delighted to have a word from the good old home state. Wife join me in sending love you and yours.
Source: The Journal of Negro History. Vol. IV, 1919, pp. 461–62, 458–59, 464
14
Letter 5
Dear Old Friend: These moments I thought I would write you a few true facts of the present condition of the north.
Certainly I am trying to take a close observation—now it is tru the (col) men are making good. Never pay less than
$3.00 per day or (10) hours—this is not promise. I do not see how they pay such wages the way they work labors.
they do not hurry or drive you. Remember this is the very lowest wages. Piece work men can make from $6 to $8 per
day. They receive their pay every two weeks. this city I am living in, the population 30,000 (20) miles from Big
Chicago, Ill. Doctor I am some what impress. My family also. They are doing nicely. I have no right to complain what
ever. I rec. the papers you mail me some few days ago and you no I enjoyed them reading about the news down in
Dixie. I often think of so much of the conversation we engage in concerning this part of the worl. I wish many time
that you could see our People up there as they are entirely in a different light. I witness Decoration Day on May 30th,
the line of march was 4 miles. (8) brass band. All business houses were close. I tell you the people here are patriotic.
I enclose you the cut of the white press. the chief of police drop dead Friday. Burried him today. The procession
about (3) miles long. Over (400) auto in the parade—five dpt—police Force, Mayor and alderman and secret
societies; we are having some cold weather—we are still wearing over coats—Let me know what is my little city
doing. People are coming here every day and are finding employment. Nothing here but money and it is not hard to
get. Remember me to your dear Family. Oh, I have children in school every day with the white children. I will write
you more next time. how is the lodge.
Yours friend,
Source: The Journal of Negro History. Vol. IV, 1919, pp. 461–62, 458–59, 464
15
Letter 6
[Letter from Mrs. J. H Adams, Macon, Georgia, to the Bethlehem Baptist Association in Chicago, Illinois,] 1918
Holograph Carter G. Woodson Papers Manuscript Division (119)
http://www.loc.gov/exhibits/african/afam011.html
16
Letter 7
[Letter from Cleveland Galliard of Mobile, Alabama, to the Bethlehem Baptist Association, Chicago, Illinois,] 1917
Holograph Carter G. Woodson Papers Manuscript Division (120)
http://www.loc.gov/exhibits/african/afam011.html
17
Letter 8
Times is gettin' harder,
Money’s gettin' scarce.
Soon as I gather my cotton and corn,
I’m bound to leave this place.
White folks sittin' in the parlor,
Eatin' that cake and cream,
Nigger’s way down to the kitchen,
Squabblin' over turnip greens.
Times is gettin' harder,
Money’s gettin' scarce.
Soon as I gather my cotton and corn,
I’m bound to leave this place.
Me and my brother was out.
Thought we’d have some fun.
He stole three chickens.
We began to run.
Times is gettin' harder,
Money’s gettin' scarce.
Soon as I gather my cotton and corn
I’m bound to leave this place.
Source: Written by Lucious Curtis, 1940. From Mississippi River Blues Vol. 1, Matchbox label reissue.
18
Letter 9
LUTCHER, LA., May 13, 1917
Dear Sir: I have been reading the Chicago defender and seeing so many advertisements about the work in the north I
thought to write you concerning my condition. I am working hard in the south and can hardly earn a living. I have a
wife and one child and can hardly feed them. I thought to write and ask you for some information concerning how to
get a pass for myself and family. I dont want to leave my family behind as I cant hardly make a living for them right
here with them and I know they would fare hard if I would leave them. If there are any agents in the south there
havent been any of them to Lutcher if they would come here they would get at least fifty men. Please sir let me hear
from you as quick as possible. Now this is all. Please dont publish my letter, I was out in town today talking to some
of the men and they say if they could get passes that 30 or 40 of them would come. But they havent got the money
and they dont know how to come. But they are good strong and able working men. If you will instruct me I will instruct
the other men how to come as they all want to work. Please dont publish this because we have to whisper this
around among our selves because the white folks are angry now because the negroes are going north. * * *
NATCHEZ, MISS., Sept. 22–17
Source: http://historymatters.gmu.edu/d/5332/
19
Letter 10
Dear Sir: I thought that you might help me in Some way either personally or through your influence, is why I am
worrying you for which I beg pardon.
I am a married man having wife and mother to support, (I mention this in order to properly convey my plight)
conditions here are not altogether good and living expenses growing while wages are small. My greatest desire is to
leave for a better place but am unable to raise the money.
I can write short stories all of which portray negro characters but no burlesque can also write poems, have a gift for
cartooning but have never learned the technicalities of comic drawing. these things will never profit me anything here
in Natchez. Would like to know if you could use one or two of my short stories in serial form in your great paper they
are very interesting and would furnish good reading matter. By this means I could probably leave here in short and
thus come in possession of better employment enabling me to take up my drawing which I like best.
Kindly let me hear from you and if you cannot favor me could you refer me to any Negro publication buying fiction
from their race. * * * SELMA, ALA., May 19, 1917
Source: http://historymatters.gmu.edu/d/5332/
20
Letter 11
Dear Sir: Permitt me to inform you that I have had the pleasure of reading the Defender for the first time in my life as I
never dreamed that there was such a race paper published and I must say that its some paper.
However I can unhesitatingly say that it is extraordinarily interesting and had I know that there was such a paper in
my town or such being handled in my vicinity I would have been a subscriber years ago.
Nevertheless I read every space of the paper dated April 28th which is my first and only paper at present. Although I
am greatfully anticipating the pleasure of receiving my next Defender as I now consider myself a full fledged defender
fan and I have also requested the representative of said paper to deliver my Defender weekly.
In reading the Defenders want ad I notice that there is lots of work to be had and if I havent miscomprehended I think
I also understand that the transportation is advanced to able bodied working men who is out of work and desire work.
Am I not right? with the understanding that those who have been advanced transportation same will be deducted
from their salary after they have begun work. Now then if this is they proposition I have about 10 or 15 good working
men who is out of work and are dying to leave the south and I assure you that they are working men and will be too
glad to come north east or west, any where but the south.
Now then if this is the proposition kindly let me know by return mail. However I assure you that it shall be my pleasure
to furnish you with further or all information that you may undertake to ask or all information necessary concerning
this communication.
Thanking you in advance for the courtesy of a prompt reply with much interest. * * * BESSEMER, ALA., 5/14/17
Source: http://historymatters.gmu.edu/d/5332/
21
Letter 12
Sirs: Noticing and ad in Chicago Defender of your assitance to those desiring employment there I thought I mayhaps
you could help me secure work in your Windy City. I’m a married man have one child. I have common school
education, this is my hand write. I am presently employed as a miner has been for 14 years but would like a Change.
I’m apt to learn would like to get where I could go on up and support myself and family. You know more about it than I
but in your opinion could I make anything as pullman porter being inexsperienced? I’d be so grateful to U. to place
me in something I’ve worked myself too hard for nothing. I’m sober and can adjust my life with any kind and am a
quiet christian man. * * * NEW ORLEANS, April 22, 1917
Source: http://historymatters.gmu.edu/d/5332/
22
Name: ________________________________________________________
Date: __________________
Period: __________
Textbook Comprehension Questions
1. Define Great Migration. _______________________________________________________________________
_____________________________________________________________________________________________
2. How did World War I change society for African Americans? _________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
3. What was the major publication that encouraged African Americans to move North? _______________________
4. How did the publication affect the migration of African Americans? _____________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
5. Focus on Geography: How did World War I contribute to the prosperity and labor shortage that caused migration?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
23
Name: ________________________________________________________
Date: __________________
Period: __________
Great Migration Document Analysis Form
1. What type of document is this? ________________________________________________________________
2. Who is the author of the document? _____________________________________________________________
3. When was the document written? _______________________________________________________________
4. Where was the document composed? ____________________________________________________________
5. For what audience was the document written? ____________________________________________________
6. Summarize the document. What are the major points that author is trying to make in this document?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
7. What are the push factors in this letter? Explain. ____________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
8. What are the pull factors in this letter? Explain. ____________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
9. What is the goal of the author? What does he/she want to achieve by writing this letter? ___________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
24
Name: ______________________________________________________
Date: ______________
Period: __________
Great Migration Document Share
Directions: As your classmates present their letters, identify the push and pull factors described.
Letter
1
2
3
4
5
6
7
8
9
25
Push Factors
Pull Factors
Unit: Jazz Age, Day 2 (Response to Great Migration)
Lesson Objective:
SWBAT describe the reactions of others to the Great Migration during the 1920s.
Aligned State Standard (preMarch/post-March):
SUP 602: Use details from different sections of some complex informational
passages to support a specific point or argument
MID 601: Infer the main idea or purpose of more challenging passages or
their paragraphs
Assessment (sample task):
Lesson Agenda:
See attached.
•
•
•
•
•
DO NOW (10 minutes)
INM: Jacob Lawrence (15 minutes)
GP: Partner work (30 minutes)
IP (20 minutes)
Closing/ Homework (10 minutes)
Do Now:
Students will answer the following questions individually when they enter the classroom:
•
•
Define the Great Migration.
List two push factors of the Great Migration and list two pull factors of the Great Migration.
Introduction to New Material: (key points, 3-5)
Key Points (3-5):
Method (how will you get your points across effectively to your
students?):
• The Great Migration is the
The teacher will review the Do Now activity and collect these papers
movement of African Americans
th
from the students. Next, the teacher will introduce Jacob Lawrence with
in the 20 century from the rural
a short lecture on his background and career.
south to the industrial North.
• Jacob Lawrence created the
Students will then complete a reaction response to Photo 1 (see
Migration Series in 1941 to
attached). Students will have three minutes to write down their thoughts
illustrate the journey of African
Americans to the North in search and reactions to the photo in preparation for a short discussion. After
the three minutes, the teacher will lead a discussion about the first
of a better life.
photo.
• On the path to this better life,
African Americans faced racism
Next, students will look at photo 2 (see attached) and complete a
and violence while living in the
reaction response. Students will have three minutes to write down their
North.
immediate thoughts in preparation for a short discussion. After the three
minutes, the teacher will lead a discussion about the second photo.
Finally, students will look at photo 3 (see attached) and complete a
reaction response. Students will have three minutes to write down their
immediate thoughts in preparation for a short discussion. After the three
minutes, the teacher will lead a discussion about the third photo. The
goal of both of these photos is to allow students to see how artists
portrayed the Great Migration.
The teacher will then ask the students questions about the reaction of
26
whites in the North. Students will predict how whites in the North will
react to the migration of African Americans to the North.
Guided Practice: (What examples are you going to work through together?)
Teacher:
Students: (what will the students be doing at
this point in the lesson?)
The teacher will pair the students prior to class. Then,
each pair will receive multiple documents (some for
migration and some against migration). The students
will work together to analyze the documents and
complete the written document analysis form (See
attached). Students will complete written document
forms for all primary sources.
Each pair of students will receive multiple
documents (some for migration and the others
against migration). The students will work together
to analyze the documents and complete the written
document analysis form. Students will complete a
written analysis form for all documents.
During this time, the teacher will monitor the room to
ensure student participation and understanding.
Checking For Understanding: (What questions need to be answered from students as evidence for
understanding of the material?)
What is the Great Migration?
How were African Americans treated
once they arrived in the North?
Independent Practice:
(What assignment questions/problems will serve as
evidence of student mastery?)
Who will you target to CFU?
Students will be given a role as an editor of a
newspaper during the Great Migration, either pro
migration or anti-migration. Students will then write an
editorial based on their position given to them by the
teacher. The editorial must be at least one page and
will be graded using the attached rubric.
Closing: Students will turn in their newspaper editorials as their exit ticket, which will be graded using the
attached rubric.
HW:
27
Photo 1
The First Wave of the Great Migration (1916-1919) - part I "Around the time of WWI, many
African-Americans from the South left home and traveled to cities in the North in search of a
better life." © Jacob Lawrence
http://www.opendemocracy.net/content/articles/4612/images/crowd_migration565.jpg
28
Photo 2
The First Wave of the Great Migration (1916-1919) - part I "Northern industries offered
Southern blacks jobs as workers and lent them money, to be repaid later, for their railroad
tickets. The Northbound trains were packed with recruits." © Jacob Lawrence
http://www.opendemocracy.net/content/articles/4612/images/sleeping565.jpg
29
Photo 3
The First Wave of the Great Migration (1916-1919) - part I "For African -Americans the South
was barren in many ways. There was no justice for them in courts, and their lives were often in
danger." © Jacob Lawrence
http://www.opendemocracy.net/content/articles/4612/images/noose565.jpg
30
Name: ___________________________________________________
Period: __________
Date: _______________
Reaction Response
Directions: After viewing the document, write your immediate reaction in complete
sentences.
_________________________________________________________________________________________________________
________________________________________________________________________________________________________
_________________________________________________________________________________________________________
________________________________________________________________________________________________________
_________________________________________________________________________________________________________
________________________________________________________________________________________________________
_________________________________________________________________________________________________________
________________________________________________________________________________________________________
31
Advocate Speaks Out Against Black Migration [from newspaper]
SOURCE
Cleveland Gazette 07, no. 08 (10/05/1889): 02
MEDIUM
Newspaper
CALL NUMBER
Newspaper Roll#4429
REPOSITORY
Ohio Historical Center Archives Library
http://memory.loc.gov/cgi-bin/query/r?ammem/aaeo:@field(DOCID+@lit(o16490))
32
SOURCE
Cleveland Advocate 03, no. 32 (12/16/1916): 01
SUBJECTS
United States--Race relations
Afro-Americans--Employment
Afro-Americans-History--1877-1964
MEDIUM
Newspaper
CALL NUMBER
Newspaper Roll#4155
REPOSITORY
Ohio Historical Center Archives Library
http://memory.loc.gov/cgi-bin/query/r?ammem/aaeo:@field(DOCID+@lit(o6280))
33
Pro-Migration Documents
Schomburg Center for Research in Black Culture, General Research and Reference DivisionThe
Chicago Defender, April 7, 1917
34
35
Name: ________________________________________________________
Date: __________________
Period: __________
Reactions to the Great Migration Document Analysis Form
1. What type of document is this? _________________________________________________________________
2. Who is the author of the document? _____________________________________________________________
3. When was the document written? _______________________________________________________________
4. Where was the document composed? ___________________________________________________________
5. For what audience was the document written? _____________________________________________________
6. Summarize the document. What are the major points that author is trying to make in this document?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
7. What side does the author take? How do you know? ________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
8. What is the goal of the author? What does he/she want to achieve by writing this letter? __________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
36
Name ___________________________________________________________
Date: _______________
Period: ________
4 - Excellent
The author’s role is
clearly defined and is
carried through the
entire piece. The
chosen point of view is
logical, based on the
assignment.
Audience The audience of the
piece is clearly defined,
and the writing
throughout the entire
piece is directed toward
this chosen audience.
Format
The format of the piece
fits the role, audience
and topic well. The
format is followed
consistently throughout
the writing.
Topic
The topic of the piece is
appropriate to the
novel, essential
question(s), themes,
culture or time period.
The piece is a
coherent, finished
product that addressing
the topic fully.
Role
37
Great Migration Scoring Rubric
3 - Progressing
2 – Emerging
The author’s role is defined
The author’s role is not clearly
and is carried out through
defined and is not carried out
most of the piece. The
through much of the piece. The
chosen point of view is
chosen point of view may or may
logical, based on the
not be logical, based on the
assignment.
assignment.
1 – Below Standards
There is no clear role
of the author
attempted.
The audience of the piece is
clearly defined, but the
writing does not address this
audience consistently.
The audience of the piece is not
clearly defined, and the writing is
not consistently directed.
There is no defined
audience of the piece
and the writing is
random and
inconsistent.
The format of the piece fits
the role, audience and topic.
The format is followed
through the writing, but
could be used more
consistently.
The topic of the piece is
appropriate to the novel,
essential question(s),
themes, culture or time
period. The topic is not as
fully developed as it could
be.
The format of the piece
somewhat fits the role, audience
and topic. The format is followed
throughout parts of the writing,
though not consistently.
The format of the
piece does not fit the
role, audience and
topic and/or it is not
used throughout the
writing.
The topic of the piece
is not appropriate to
the novel, essential
question(s), themes,
culture or time period
and/or the topic is not
developed in a
coherent way.
The topic of the piece is
somewhat appropriate to the
novel, essential question(s),
themes, culture or time period.
The topic is not developed in a
coherent way.
Unit: The Jazz Age; Day 3 (Origins of Jazz)
Lesson Objective:
Aligned State Standard (preMarch/post-March):
Assessment (sample task):
Lesson Agenda:
•
SWBAT define jazz and identify the origins of jazz.
•
SWBAT explain the major components of jazz music.
•
SWBAT explain the Harlem Renaissance.
MID 602: Summarize events and ideas in virtually any passage.
See attached.
•
•
•
•
•
DO NOW (10 minutes)
INM (15 minutes)
GP: Galley Walk (35 minutes)
IP (15 minutes)
Agenda/Closing (10 minutes)
Do Now:
Students will answer the following questions on a separate piece of paper upon entering the classroom.
•
•
•
What is your favorite song? Why?
Who is your favorite musical artist? Why do you enjoy listening to this person or group of people?
Ms. Trojan is going to buy ONE new CD from iTunes this afternoon. What CD should she buy and why?
Introduction to New Material: (key points, 3-5)
Key Points (3-5):
Method (how will you get your points across effectively to your
students?):
• Jazz music originated with
Students will complete their Do Now and the teacher will review the
African American musicians in
answers the students provided and then collect their papers. The teacher
New Orleans and gained
will then introduce jazz music through a reading from the textbook.
popularity in the 1920s.
Students will partner read with their assigned partner and answer a set of
• Jazz was more than a musical
style. It was also a symbol of the comprehension questions. Students will be given 20 minutes to complete
this reading.
roaring twenties and a
demonstration of the depth and
Textbook: Lapsansky-Werner, Emma J., Peter B. Levy, Randy Roberts,
richness of African American
Alan Taylor. United States History. Boston: Prentice Hall. 2008. Pages
culture.
691-694
• The Harlem Renaissance was
the flowering of African American
culture in the United States.
Guided Practice: (What examples are you going to work through together?)
Teacher:
Students:
Prior to the beginning of class, the teacher will have set
up a gallery walk for students of posters from the jazz
age. Using a poster analysis form, students will
discover the major components of jazz music.
Students will be broken up into groups of three
depending on class size. Students will sit with their
group and each receive a poster analysis form. Each
student is responsible for completing one form per
poster.
The teacher will split the students into groups of three
38
(depending on class size) and give each student a
poster analysis form. All students must complete an
analysis form for each poster. Each group will receive
one poster to analyze. Students will have 7 minutes to
analyze a poster, allowing each group to see 5 posters
total. Once the 7 minutes have passed, students will
move to a new station and complete a new poster
analysis form.
Students will be given 7 minutes to analyze a poster
from the jazz age with their group. Once students
have completed their analysis and the 7 minutes has
passed, students will move to the next station and
complete another poster analysis.
Students will have completed 5 poster analysis forms
each by the end of the gallery walk.
During this process, the teacher will monitor the room
to ensure that all students are on task and answer any
student questions.
Checking For Understanding: (What questions need to be answered from students as evidence for
understanding of the material?)
What do all of the posters have
in common?
What can you tell about the type of
instruments that are being used while
playing jazz music?
In a majority of the posters, what
do you notice about the
musicians? What do you notice
about the people listening?
Independent Practice:
(What assignment questions/problems will serve as
evidence of student mastery?)
Who will you target to CFU?
Students will complete a RAFT assignment to
demonstrate their knowledge of the lesson.
Role: You are a teenager living in the 1920s who is
studying the history of jazz music and has started
listening to jazz music.
Audience: A friend who does not know anything about
jazz music
Topic: Explain to your friend what jazz music is, where
is started and the components of jazz music. Be sure
to mention the Harlem Renaissance
Format: Letter
Students will complete a one page letter (both sides)
following the prompt above. Students are to work
silently and individually to complete this assessment.
Students will be graded with attached rubric.
Closing: Students will submit their letters for a grade using the rubric that is attached.
HW: Students will read two documents comparing and contrasting reactions to jazz music. Students will read
attached documents and answer the comparative questions that follow. This will be used as part of the DO
NOW the following day.
39
Name: __________________________________________________
Date: ______________________
Period: __________
Origins of Jazz Textbook Comprehension Questions
1. Using the text, define jazz. ___________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
2. Where did early jazz music emerge? _____________________________________________________________
3. How did jazz spread from its roots in the South to the North in the 1920s? _______________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
4. Using the text, define Harlem Renaissance. _______________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
5. What themes did the writers of the Harlem Renaissance explore? ______________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
6. Explain the lasting impact of the Harlem Renaissance on society. ______________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
40
Poster 1
Jazzin' the blues away / words by Jeff Branen ; music by Dick Heinrich.
Part of
Sheet Music Collection, The John Hay Library
Repository
Brown University Library Box A, Providence, RI, 02912
Digital ID
rpbaasm 0623 http://hdl.loc.gov/loc.award/rpbaasm.0623
http://memory.loc.gov/cgibin/query/r?ammem/aasm:@field(NUMBER+@band(rpbaasm+0623))
41
Poster 2
http://memory.loc.gov/cgibin/query/r?ammem/dukesm:@field(DOCID+@lit(ncdhasm.b0946
Old man jazz; An eccentric fox trot song. 1920
Quaw, Gene
RELATED NAMES
Illustrator: Hasen
DIGITAL COLLECTION
Historical American Sheet Music: 1850-1920
CALL/REPRODUCTION NUMBER
Music B-946
CREATED/PUBLISHED
New York, New York, Jos. W. Stern, 1920
42
Poster 3
http://memory.loc.gov/cgi-bin/query/r?ammem/dukesm:@field(DOCID+@lit(ncdhasm.b0766))
Jazzin' the cotton town blues; Novelty song. 1917
Olsen, Harry
OTHER TITLES
First line: There's a jazz band in Mississippi
Chorus: Toddlelin' on, wobblelin' on
CREATED/PUBLISHED
New York, New York, M. Witmark & Sons, 1917
DIGITAL COLLECTION
Historical American Sheet Music: 1850-1920
CALL/REPRODUCTION NUMBER
Music B-766
43
Poster 4
Jazz babies' ball; Shubert gaieties of 1919; Song-jazz dance. 1920
Pinkard, Maceo, 1897-1962
OTHER TITLES
First line: Honey, get your dancin' shoes
Chorus: First we'll dance with dignity
CREATED/PUBLISHED
New York, New York, Shapiro, Bernstein and Co., 1920
DIGITAL COLLECTION
Historical American Sheet Music: 1850-1920
CALL/REPRODUCTION NUMBER
Music B-765
REPOSITORY
Rare Book, Manuscript, and Special Collections Library, Duke University
http://memory.loc.gov/cgibin/query/r?ammem/dukesm:@field(DOCID+@lit(ncdhasm.b0765))
44
Poster 5
What-cha gonna do when there aint no jazz. 1920
Wendling, Pete
OTHER TITLES
First line: Ev'ry day you read about something else you must cutout
Chorus: What cha gonna do when there aint no jazz?
CREATED/PUBLISHED
New York, New York, Stark & Cowan, 1920
DIGITAL COLLECTION
Historical American Sheet Music: 1850-1920
CALL/REPRODUCTION NUMBER
Music A-6606; 1
http://memory.loc.gov/cgi-bin/query/r?ammem/dukesm:@field(DOCID+@lit(ncdhasm.a6606)
45
Name: _____________________________________________
Date: _________________
Period: ___________
Jazz Poster Analysis Worksheet
1. What are the main colors used in this poster? ____________________________________________
____________________________________________________________________________________
2. What symbols (in any) are used in the poster? ____________________________________________
____________________________________________________________________________________
3. What other items are shown in the poster? ______________________________________________
____________________________________________________________________________________
4. Are the messages in the poster visual, verbal, or both? Explain. _____________________________
____________________________________________________________________________________
5. Who is the intended audience? ________________________________________________________
6. What does the author of the poster hope the audience will do? _____________________________
____________________________________________________________________________________
7. The most effective posters use symbols that are unusual, simple, and direct. Is this an effective
poster? Why?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
46
Name _____________________________________________________
Date ____________
Period: ________
Origins of Jazz Music Scoring Rubric
4 - Excellent
Role
The author’s role is
clearly defined and is
carried through the
entire piece. The
chosen point of view is
logical, based on the
assignment.
Audience The audience of the
piece is clearly defined,
and the writing
throughout the entire
piece is directed toward
this chosen audience.
Format
The format of the piece
fits the role, audience
and topic well. The
format is followed
consistently throughout
the writing.
Topic
The topic of the piece is
appropriate to the
novel, essential
question(s), themes,
culture or time period.
The piece is a
coherent, finished
product that addressing
the topic fully.
47
3 - Progressing
The author’s role is defined
and is carried out through
most of the piece. The
chosen point of view is
logical, based on the
assignment.
2 – Emerging
The author’s role is not clearly
defined and is not carried out
through much of the piece. The
chosen point of view may or may
not be logical, based on the
assignment.
1 – Below Standards
There is no clear role
of the author
attempted.
The audience of the piece is
clearly defined, but the
writing does not address this
audience consistently.
The audience of the piece is not
clearly defined, and the writing is
not consistently directed.
There is no defined
audience of the piece
and the writing is
random and
inconsistent.
The format of the piece fits
the role, audience and topic.
The format is followed
through the writing, but
could be used more
consistently.
The topic of the piece is
appropriate to the novel,
essential question(s),
themes, culture or time
period. The topic is not as
fully developed as it could
be.
The format of the piece
somewhat fits the role, audience
and topic. The format is followed
throughout parts of the writing,
though not consistently.
The format of the
piece does not fit the
role, audience and
topic and/or it is not
used throughout the
writing.
The topic of the piece
is not appropriate to
the novel, essential
question(s), themes,
culture or time period
and/or the topic is not
developed in a
coherent way.
The topic of the piece is
somewhat appropriate to the
novel, essential question(s),
themes, culture or time period.
The topic is not developed in a
coherent way.
Homework: Article I
Farewell, Jazz [from newspaper]
SOURCE
Cleveland Advocate 06, no. 20 (09/20/1919): 08 [2 pages]
SUBJECTS
Afro-Americans--Social life and customs
MEDIUM
Newspaper
CALL NUMBER
Newspaper Roll#4156
REPOSITORY
Ohio Historical Center Archives Library
http://memory.loc.gov/cgi-bin/query/r?ammem/aaeo:@field(DOCID+@lit(o8706)) -
Homework: Article II
48
Love of Colored Jazz Band by the French [from newspaper]
SOURCE
Cleveland Advocate 05, no. 23 (10/12/1918): 06
SUBJECTS
World War, 1914-1918
Afro-Americans in the performing arts
Afro-American
musicians
MEDIUM
Newspaper
CALL NUMBER
Newspaper Roll#4156
REPOSITORY
Ohio Historical Center Archives Library
http://memory.loc.gov/cgi-bin/query/r?ammem/aaeo:@field(DOCID+@lit(o7664))
49
Name: _____________________________________________________
Date: __________________
Period: _____________
Reactions to Jazz Music Comparative Questions
1.What is the main idea of Article I? ______________________________________________________________
_____________________________________________________________________________________________
2. Who do you think the author of Article I is? ________________________________________________________
3. What was the purpose of Article I? ______________________________________________________________
_____________________________________________________________________________________________
4. Predict why the author of Article I wrote this document. What did he/she want to persuade readers to do?
_____________________________________________________________________________________________
_____________________________________________________________________________________________
5. Who is the author of Article II? __________________________________________________________________
6. Summarize the main idea of Article II. ____________________________________________________________
_____________________________________________________________________________________________
7. What is the goal of the author in Article II? ________________________________________________________
_____________________________________________________________________________________________
8. What is the major difference between Article I and Article II? __________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
_____________________________________________________________________________________________
50
Unit: The Jazz Age; Days 4 & 5 (Major Players)
SWBAT identify and describe the major players of the jazz movement.
Lesson Objective:
•
Aligned State Standard (preMarch/post-March):
SUP 602: Use details from different sections of some complex informational
passages to support a specific point or argument
GEN 601: Use information from one or more sections of a more challenging
passage to draw generalizations and conclusions about people, ideas and
MID 601: Infer the main idea or purpose of more challenging passages or their
paragraphs
Assessment (sample task):
See attached.
Lesson Agenda:
•
•
•
•
Do Now (10 minutes)
INM: Research (Day 1—80 minutes)
GP/IP: Speed Dating (Day 2—80 minutes)
Agenda/Homework
Do Now:
Day 1
At the door, students will receive a mini-assessment (see attached) and an index card. Each index card
has the name of a jazz musician from the era (see attached). Students will complete the attached mini
assessment silently and individually.
Day 2
Students will enter the classroom with their research from the previous class. Students will answer the
following questions on looseleaf paper individually:
•
•
•
Who was your assigned musician?
What is your musician most famous for?
What do you find most interesting about your musician?
Introduction to New Material: (key points, 3-5) Day 1
Key Points (3-5):
Method (how will you get your points across effectively to your
students?):
•
After the teacher reviews the mini-assessment with the students, the
teacher will collect the mini-assessment and introduce the index
cards. Each student has a different name (see attached list).
Students will use their textbook or computer lab to research their
assigned jazz musician.
Students will need to answer basic questions about their musician
(see attached form) in preparation for speed dating. Students will
need to complete their speed dating form on their individual musician
during this work time. Students will be given 80 minutes to complete
51
this research.
During this time, the teacher will monitor the room to ensure student
participation and progress. Also, the teacher should play sound
recordings from the Library of Congress website so that students can
get an idea of what jazz music sounds like.
See attached for places to research artists.
Guided Practice: (What examples are you going to work through together?) Day 2
Teacher: (what will the teacher be doing at this
point in the lesson?- what examples will you be
reviewing with students?)
Prior to class, the teacher will review the speed dating
process for the activity. Desks will need to be put in
partners for this activity.
The teacher will introduce the activity to the students.
Students will have 3 minutes with each other to
discover the details about their career and life. In
sharing this one another, students will need to
complete the speed dating form (see attached) about
the person that they are interviewing.
Students: (what will the students be doing at
this point in the lesson?)
Students will be paired up for the speed dating
activity with desks in rows.
Students will be given 3 minutes to “speed date”
with their fellow musician. Students will need to
share information and fill out the speed dating
form (see attached). At the end of the three
minutes, one row of students will rotate so each
student has a new partner. At the end of class,
all musicians should have met one another and
learned about the career and life of other
musicians.
Students will be paired and will be given 3 minutes to
converse. At the end of the three minutes, a jazz song
will play and one row of students will rotate and meet a
new musician. By the end of class, all musicians
should have met one another and learned about the
career and life of other musicians.
Checking For Understanding: (What questions need to be answered from students as evidence for
understanding of the material?)
What were the major
contributions of specific
musicians?
What do all of the musicians have in
common?
Independent Practice:
(What assignment questions/problems will serve as
evidence of student mastery?)
Who will you target to CFU?
Students will complete the speed dating form about all
musicians that were researched in class.
Closing: Students will turn in their speed dating form as their exit ticket for the day. Students will be
graded if they completed all musicians and if all information is correct.
HW: Students will look at various primary sources of the theaters during the jazz era and complete a
written document analysis form for each photograph. This will be used in during the next day’s Do Now
activity to duscuss the theaters during the jazz age and the audience.
52
Possible list of Musicians for Speed Dating
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
21.
22.
23.
24.
25.
26.
27.
28.
29.
30.
53
Duke Ellington
Louis Armstrong
Benny Goodman
Dizzy Gillespie
Charlie Parker
Miles Davis
Billie Holiday
Ella Fitzgerald
Sarah Vaughan
Bix Beiderbecke
Earl Hines
Nick LaRocca
Jelly Roll Morton
Joe “King” Oliver
Cab Calloway
Benny Carter
Count Basie
Sidney Bechet
Buddy Bolden
Earl Hines
Red Nichols
Charlie Christian
Thelonioius Monk
Sun Ra
Jimmy Dorsey
Tommy Dorsey
Ben Webster
Paul Whiteman
Herbie Hancock
Bud Powell
Name: _________________________________________
Date: ______________________
Period: __________
Individual Speed Dating Information Handout
Directions: Using your textbook or computer, answer the following questions about your assigned
musician. Remember you will “become” this musician next class period for our jazz party. Be sure you
know all the answers to these questions and be ready to share information about yourself with your
peers. YOU MUST PRINT A PHOTO OF YOUR MUSICIAN FROM LOC FOR THE NEXT CLASS
PERIOD.
1. Name of your assigned musician. ______________________________________________________
2. Where and when was your musician born? _______________________________________________
3. Did you musician go to school? If so, where? ____________________________________________
____________________________________________________________________________________
4. What instrument (s) does your musician play? ____________________________________________
5. During your musician’s early life, where did he/she play? Was he/she well received by the audience?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
6. At the height of your musician’s career, where did he/she play? Was he/she well received by the
audience?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
7. Did you musician collaborate with others? If so, who? _____________________________________
____________________________________________________________________________________
8. What awards did you musician win? ____________________________________________________
____________________________________________________________________________________
9. What type of jazz was your musician known for? __________________________________________
10. List three of your musician’s most popular songs. ________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
11. When and where did your musician die? ________________________________________________
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12. What were the major contributions of you musician to the music world and society at large?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
13. What type of legacy did your musician leave behind? ______________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
14. What other facts should your peers know about your assigned musician?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
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Name: ________________________________________________
Date: _________________
Period: __________
Speed Dating Evaluation Form
Directions: During the speed dating process, complete this chart for EVERY person that you meet. You
will be graded on the CORRECT completion of this chart. This is your exit ticket for the day.
Name of
Musician
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City Born In
Instrument Played
Major Life Highlights
Name of
Musician
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City Born In
Instrument Played
Major Life Highlights
Possible Sites to Perform Research on Jazz Musicians
1. Library of Congress: http://www.loc.gov
2. Biography: http://www.biography.com
3. PBS: http://www.pbs.org/jazz/index.htm
4. William Gottieb Collection: http://lcweb2.loc.gov/diglib/ihas/html/gottlieb/gottlieb-home.html
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Homework
Photo 1
Source: Portrait of Arnett Cobb and Walter Buchanan, Apollo Theatre, New York, N.Y., ca.
Aug. 1947] [graphic]
Gottlieb, William P., 1917-, photographer.
hdl:loc.music/gottlieb.01421
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Photo 2
[Charlie's Tavern, New York, N.Y., between 1946 and 1948] [graphic]
Creator
Gottlieb, William P., 1917-, photographer.
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Photo 3
[Portrait of Wesley Prince, Oscar Moore, and Nat King Cole, Zanzibar, New York, N.Y., ca.
July 1946] [graphic]
Below, King Cole (Zanzibar). An old shot from Bill Gottlieb's files
hdl:loc.music/gottlieb.01521
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Photo 4
[Portrait of Louis Armstrong and Jack Teagarden, between 1938 and 1948] [graphic]
Creator
Gottlieb, William P., 1917-, photographer.
hdl:loc.music/gottlieb.09591
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Photo 5
[Portrait of Ella Fitzgerald, Dizzy Gillespie, Ray Brown, Milt (Milton) Jackson, and Timmie
Rosenkrantz, Downbeat, New York, N.Y., ca. Sept. 1947] [graphic]
Creator: Gottlieb, William P., 1917-, photographer.
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Name: _______________________________________________
Date: _________________
Period: ___________
The Theater & The Audience Analysis
Directions: Using the photos in your packet, answer one analysis form per picture.
1. What is the main focus of your picture? How do you know? _________________________________
____________________________________________________________________________________
____________________________________________________________________________________
2. What does this photo reveal about the theaters during the jazz age? ___________________________
____________________________________________________________________________________
____________________________________________________________________________________
3. What does this photo reveal about the audience during the jazz age? __________________________
____________________________________________________________________________________
____________________________________________________________________________________
4. What can you infer from this photograph? _______________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
5. What questions do you have about this photo? ___________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
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Unit: The Jazz Age; Day 6 (Contributions)
•
Lesson Objective:
Aligned State Standard (preMarch/post-March):
SWBAT describe the contributions of the jazz age and draw
conclusions about the effects of the jazz age on music and society
today
MID 601: Infer the main idea or purpose of more challenging passages
or their paragraphs
SUP 602: Use details from different sections of some complex informational
passages to support a specific point or argument
Assessment (sample task):
Lesson Agenda:
See attached.
•
•
•
•
•
Do Now (10 minutes)
INM: Brainstorm contributions (15 minutes)
GP: Aaron Copeland Reading (35 minutes)
IP: Your Thoughts (20 minutes)
Agenda/Homework (10 minutes)
Do Now:
Students will answer the following questions on looseleaf paper:
•
•
•
Using your homework from last class, what did you notice about the theaters and audience
members during the jazz age?
Think of music that you listen to today, do you see any comparisons between that style and jazz? If
so, what?
What about the way people react to your style of music and the reactions to jazz music?
Introduction to New Material: (key points, 3-5)
Key Points (3-5):
Method (how will you get your points
across effectively to your students?):
•
The teacher will review the Do Now activity
with students, paying special attention to the
last two questions. The teacher will ask two
students to come to the board and write down
the answers of their classmates on the board
during this discussion. Students should also
be taking note of their peers answers in their
notebook, as this will help during independent
practice.
The goal of this discussion is to discover if
students can make connections between
current music in 2010 and the music of the
1920s-1930s.
At the end of the discussion, the teacher
should collect the Do Now.
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Guided Practice: (What examples are you going to work through together?)
Teacher: (what will the teacher be doing at this point in
the lesson?- what examples will you be reviewing with
students?)
First, the teacher will introduce Aaron Copland with a brief
lecture. See
http://memory.loc.gov/ammem/collections/copland/index.ht
ml for further details about the life and career of Copland.
Students: (what will the students be doing
at this point in the lesson?)
Students will be paired with another
classmate to decipher Aaron Copland’s
Influence of Jazz on Modern Music. Students
will read the document with their assigned
partner and will answer the questions on the
Copland handout (see attached).
Next, students will be paired with another classmate and
will be given the notes from Aaron Copeland and his
lecture: The Influence of Jazz on Modern Music.
http://memory.loc.gov/cgibin/query/r?ammem/coplandbib:@field(DOCID+@lit(coplan
dbib/writ0067
Students will work together to decipher his notes and list
the major contributions of jazz music according to Copland.
During this time, students will answer questions on the
Copland handout (see attached).
The teacher will monitor the room to ensure student
progress and understanding.
Checking For Understanding: (What questions need to be answered from students as evidence for
understanding of the material?)
According to Copland, what were the
major contributions of jazz musicians?
What are the major similarities?
Differences?
Independent Practice:
(What assignment questions/problems will serve as evidence of student mastery?)
Students (In partners from reading) will create a timeline on poster paper of the beginnings
of jazz through the modern influences according to past discussion and the current reading.
Students need to use prior knowledge as well as material covered today in class.
Who will you
target to
CFU?
Closing: Students will turn in their timeline and will be graded on correct information as well as neatness.
HW: Make sure to bring all materials from the unit to the next class.
66
Name: ________________________________________________
Date: ________________
Period: ___________
Aaron Copland: The Influence of Jazz on Modern Music (Guided Practice)
1. What does Copland list as precedents to jazz music? Why do you think he lists what came before
jazz?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
2. What do you think is the difference between the “spirit of the times” and the “technical procedure?”
Why do you think Copland discusses this difference?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
3. According to Copland, what other styles of music is jazz similar to? How do you know?
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
4. Looking at the document, how has the rhythm of jazz influenced other styles of music? ___________
____________________________________________________________________________________
____________________________________________________________________________________
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5. Identify what styles of music emerged after jazz according to Copland? ________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
6. In what other countries did jazz emerge? ________________________________________________
7. Imagine you are Copland in 1940, what do you think that future of jazz music is? Will it change? Will
the audience grow tired of it? Is change needed? Explain your thoughts.
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
8. In your opinion, do you enjoy listening to jazz music? Why or why not? ________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
____________________________________________________________________________________
Independent Practice: With your assigned partner, create a timeline (according to Copland) of the
journey of jazz music. Use poster paper and markers so it is visible to others. Print clearly and
use correct spelling. You may add illustration for extra points.
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The Jazz Age: Final Assessment
Task: Create your own newspaper specifically highlighting jazz music.
Role: You are a newspaper editor living in Chicago in 2010. You want to share jazz music
and its contributions with the country.
You MUST include:
•
•
•
•
•
•
Title of newspaper; Author; Cover Page
One page summary of the influence of jazz music and its contributions.
o Use both your thoughts and discussion in class
Biography of a chosen jazz musician from the era
• Must include birth/death dates
• Career highlights
• Instrument played; Songs produced
• Awards
• Picture
Summary of jazz music; What is it? Where was it played?
o Must include a jazz poster from the era (primary source)
Informational Piece: The Arrival of jazz music—think Great Migration
Biography of a current musician who has been influenced by jazz music
o
o
o
o
o
Must include birth/death dates
Career highlights
Instrument/Songs produced
Explanation of how this artist has been influenced by jazz music
Picture
This should be typed and formatted to look like an anniversary edition newspaper. You
will have one full class period to work on this. Note: You have done some very similar
assignments during this unit, so it would be important to draw upon previous writing
assignments completed as exit tickets.
This project is worth 200 points and will count as your Unit Assessment.
69