Comprehensive Unit Plan - Musical Theatre History Project

7/26/2019 Comprehensive Unit Plan - Musical Theatre History Project

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Evidence 3 — Comprehensive Unit Plan(1a.2, 2b.3, 2d.1, 3a.1, 3c.1, 3c.2, 3d.1, 4a.1, 4a.2, 4b.1, 4c.1, 4d.1, 4e.1, 4f.1, 5c.1)

Musical Theatre History

Caleb S. Garner

5/4/16 – 5/10/16

Jesse C. Carson High School



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Although theatre with music has been a staple of dramatic presentations for centuries, truemusical theatre is an American innovation that has grown into a global art form. When looking atthe history of musical theatre, we also look at the history of the United States: because of thenature of the arts, both histories evolve around each other. The content and style of the musicalschange to reflect changes in the United States. By looking at the history of musical theatre, wecan further exemplify out own history.

This unit will focus on Musical Theatre History and the historical accuracy of MusicalTheatre productions. Students will learn the progression of musical theatre by viewing excerptsfrom The Magic Flute, Lucia de Lammermoor, The Mikado, The Merry Widow, Oklahoma, The

Sound of Music, Candide, West Side Story, Hair, the Wiz, The Phantom of the Opera, Cats, LaCage Aux Follies, RENT, The Little Mermaid, The Lion King, The Producers, Wicked, and

Hamilton: An American Musical. Sometimes, rather than reflecting the people and times inwhich they were created, Broadway musicals bring historical figures, periods, and episodes tothe stage. Assuming the role of "historical detectives," compare the "history" presented in aBroadway show to actual American history. Students will explore the historical context andaccuracy of Annie, Ragtime, and Assassins.

Throughout the process, students will reflect and answer the following essential questions:

In what ways does the history of Musical Theatre reflect the happenings in the history

of the United States?

How accurate – or inaccurate – are historical events as they are retold in works of

musical theatre?

In what ways does Musical Theatre influence our perceptions of historical figures?

Within the realm of 21st century skills, the students will participate in assignments that willemploy communication skills, collaboration skills, critical thinking skills, and creativity skills.Students will also build on their skills of discernment, as they will judge the historical validity ofthe components of musical theatre as well as the emotional manipulation that the playwright’s

employ to sway the audience’s perceptions of character. Activities within the unit also develop

the student’s skill to research, analyze, and synthesize information regarding Musical Theatreand American History, thus providing a precedential standard to which the students may upholdtheir future research. Students must then share their thoughts, feelings, and processes of comingto the information with their peers, strengthening their ability to clearly articulate their newlyacquired information, perspectives, and methodology.

Rationale

3c.1 Demonstrates knowledge of links between grade/subject and the North Carolina Standard Course of Study byrelating content to other disciplines.

3c.2 Relates global awareness to the subject.3d.1 Integrates 21st century skills and content in instruction.



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Students will also develop their own literacy skills through the research project process.While researching, students must use several upper-level resources in order to expose themselveshigher levels of textual analysis for their topics. After reading, listening, and analyzing thematerials, the students then must synthesize their own materials on the content materials,strengthening their ability to read and comprehend. As the students engage in creating their

response, they also work to critique the original works. The students learn to understand precisely what the playwright is saying while questioning their assumptions or premises that may be influenced by their given circumstances, augmenting the playwright’s reasoning. Students

also strengthen their literacy skills through the production of clear and coherent writing withclearly defined audience, purpose, and tasks are seen in the development, organization, and style.Students are encouraged to incorporate technology, including the Internet and printed materials,to produce and publish writing, reinforcing their research and communication skills in addition totheir literacy skills.

The unit uses an emulsion of standards from the North Carolina Standard Course of Studyand the American Alliance for Theatre Education National Standards for Theatre in a way that

satisfies the objectives for both sets of standards. Both standards require that students look attheatre from a cultural, historical, and social context, exploring how the works were created andexploring the events that inspired the creation of such productions. The students will constructsocial meanings from the historical analysis of theatrical productions, specifically MusicalTheatre performances in this unit, to justify and critique artistic choices. The unit directlyaddresses the standards through a research project that requires the students to consider thehistorical context of musical theatre songs that depict actual events in United States history and by requiring to address and critique the effectiveness of the performances in accurately portraying the aforementioned historical events. Students will then evaluate the devices that the playwright employs to manipulate the audience’s emotional perception of the characters and how

they affect the actor’s artistic choices.

Content Standard #5: Researching by evaluating and synthesizing cultural and historicalinformation to support artistic choices

Achievement Standard, Proficient:a) Students identify and research cultural, historical, and symbolic clues in dramatic texts,and evaluate the validity and practicality of the information to assist in making artisticchoices for informal and formal productions

Achievement Standard, Advanced: b) Students research and describe appropriate historical production designs, techniques,and performances from various cultures to assist in making artistic choices for informaland formal theatre, film, television, or electronic media productions.

National Standards for Theatre Education, Grades 9-12 - American Alliance for Theatre andEducation (AATE). (n.d.). National Standards for Theatre Education, Grades 9-12 -American Alliance for Theatre and Education (AATE).http://www.aate.com/?page=nationalstandards912



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B.CU.1 Analyze theatre in terms of the social, historical, and cultural contexts in which it wascreated.

B.CU.1.1 Use theatre arts to explore concepts in world history and relate them tosignificant events, ideas, and movements from a global context.

North Carolina Essential Standards Beginning Theatre Arts, Grades 9 – 12 – Public Schools of North Carolina | State Board of Education | Department of Public Instruction. (n.d.). North Carolina Essential Standards Beginning Theatre Arts, Grades 9 – 12.http://www.dpi.state.nc.us/docs/acre/standards/new-standards/arts/theatre/9-12.pdf

Through the lens of Bloom’s Taxonomy, the Unit manages to reach all levels of cognition.Students will recognize or remember prior knowledge about American History and MusicalTheatre history from memory, primarily through daily formative assessment. Students thenmanage to understand the material by constructing meaning from the content through my presentations and through their own further research. Proof of understanding is assessed

summatively through explanation and exemplification of their findings. The presentation of theirmaterials is a function of Bloom’s Application; students are taking the learned material and usingit through products like presentations, simulations, or scenes. The use of carefully crafted projectconstraints and requirements make the students break materials into concepts and determine howthe parts relate to one another. Students will be able to differentiate and organize the concepts ofMusical Theatre productions in relation so American History, proving that the students havereached Bloom’s Analysis phase of cognition. By rating the effectiveness of the theatricaldevices employed by the playwright, students are able to articulate their judgements based on mycriteria and their newly synthesized standards through comparison and self-analysis. Thesecritiques are a product that demonstrates the processes of evaluative cognition. Students must putall of the elements together to form a coherent presentation that effectively communicates theirnew findings and ideas to the class. By reorganizing the newly crafted elements into a newstructure, the students reach the highest level of Bloom’s taxonomy, creation (Geisen).

Geisen, J. (2014). Teaching with the Revised Bloom’s Taxonomy. Faculty Development andInstructional Design Center of Northern Illinois University.

In an effort to maximize student learning, I shall implement the basic principles of theUniversal Design for Learning, which I shall call UDL for the remainder of the ComprehensiveUnit Plan, throughout the unit. The guidelines for UDL are broken into three categories: multiplemeans of representation, multiple means of expression, and multiple means of engagement. Interms of representation, the unit plan includes several options for perception. By using guidednotes, interactive lecture, and multiple uses of media, the unit appeals to tactile, auditory, andvisual modalities. By addressing the multiple modalities, the unit has created several levels oflinguistic accessibility for the students. Within the realm of expression, students will be requiredto turn in several types of products in order to appeal to several forms of assessment. Thesevariations in assessment will appear in the forms of written works, oral presentations and classdiscussions, and physical products as a result of the research project, such as posters or a portfolio. Provisions of multiple means of engagement will take the form of implementation ofdigital media within the lessons and research components of the project, working with randomly



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selected peers on the project, a final self-analysis/reflection paper, and transparency as to theimportance of eth content and skills acquired through the projects. By implementing the three primary principles of UDL, the unit will give all individuals an equal opportunity to learn thecontent material (Kolb).

Kolb, A. Y., & Kolb, D. A.. (2005). Learning Styles and Learning Spaces: EnhancingExperiential Learning in Higher Education. Academy of Management Learning &

Education, 4(2), 193 – 212. Retrieved from http://www.jstor.org/stable/40214287

http://www.jstor.org/stable/40214287






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Essential Standards for Beginning Theatre Arts

B.CU.1 Analyze theatre in terms of the social, historical, and cultural contexts in which it was created.

B.CU.1.1Use theatre arts to explore concepts in world history and relate them to significant events,ideas, and movements from a global context.

I.A.1 Analyze literary texts and performances.

I.A.1.1Analyze the plot structure and the thematic, technical, and dramaturgical elements within plays.

Learning Targets: “I can…”

I can describe parallels between Musical Theatre History and United States History. I can measure the effectiveness of the playwright’s character development and

identify how it effects the audience’s perception of the character.

Learning Outcomes: “Í will…”

I will demonstrate discernment skills to determine a resource’s validity when

comparing two or more sources of information. I will justly evaluate my own work in addition to the work of my peers. I will assume a role in a group and dutifully fulfil its requirements.

Goals and Objectives Aligned with the North Carolina Standard Course of Study

3a.1 Develops and applies lessons based on the North Carolina Standard Course of Study.



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This Comprehensive Unit Pan is designed for the Beginning Theatre Arts course at JesseC. Carson High School (JCHS) in China Grove, a small city Rowan County, North Carolina.

In the table below is listed the most recent enrollment statistics for JCHS as defined bythe National Center for Education Statistics at the U.S. Department of Education. Total student population is 1,176, total classroom teachers are approximately 69, creating a student to teacherratio of approximately 17:1. JCHS Qualifies as a title I school and includes a Title I School-wide program. As you can see, the 9th and 10th grade classes are quite larger than the 11th and 12th grade classes. However the two lower grades are fairly even, and the two higher grades are fairlyeven. In terms of enrollment categorized by race and ethnicity, white students, with a total of 955

children enrolled, predominantly populate JCHC. The second largest population at JCHS iscomposed of the Hispanic/Latino subgroup, with a total of 122 enrolled students. The third most populous subgroup is the African American group, with 56 students enrolled. The fourth largest being students of two or more races, with 21 enrolled. The fifth largest subgroup consists is 19Pacific Islander/Asian students, leaving the least populated subgroup of only three students,American Indian/Alaskan. JCHS The population contains slightly more males than females, anda population just under half of total population on free or reduced lunch.

Attention to Diversity of Students

2b.3 Understands the influence of diversity and plans instruction accordingly.2d.1 Cooperates with specialists and uses resources to support the special learning needs of all students.4a.1 Identifies developmental levels of individual students and plans instruction accordingly.4b.1 Collaborates with colleagues to monitor student performance and make instruction responsive to cultural

differences and individual learning needs.



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National Center for Education Statistics (NCES) U.S. Department of Education. (n.d.). NationalCenter for Education Statistics (NCES) Home Page, a part of the U.S. Department ofEducation. Retrieved May 3, 2016, from http://nces.ed.gov/

The school demographic is a very good representation of the Beginning Theatre Arts class

population. However, there is one student within the population of the class that does not identifywith the biological sex in which they were born, and therefore chooses to be referred to as theopposite biological sex. In the classroom population, there are also significantly more femalesthan males.

When studying history, it is often too easy to fall into the trap of ethnocentrism and dominantculture. This is evident through the assessment of student knowledge as well as teacherexperiences through our own education. Although the white male continues to dominate theoverall school demographic, it is vitally important that we represent the multiplicity of culturesthat also experienced and made our history. With that in mind, we came to the decision toinclude groundbreaking musicals that feature various cultures and ethnicities. We also came to

the decision to include a rather touchy subject in the Musical Theatre History timeline: MinstrelShows. The minstrel show, is a purely American form of entertainment developed in the 19thcentury. It was an early form of vaudeville that consisted of conic skits, variety acts, dancing,and music that was specifically performed by white actors and actresses in black face for theexplicit purpose of portraying African Americans. Although the material is extremelycontroversial, we believe that it will be an effective tool in getting an emotional response fromindividuals across the multiple ethnicities/races contained in the classroom. We also believe thatit is necessary to highlight our progression as human beings by reflecting on the mistakes of the past.

The subjects included within the lesson were designed to create a dialogue across culturesand remind students that all races/ethnicities experienced the history alongside of the dominantculture. In addition to the attempted elimination of ethnocentrism, the unit will also varyassignments in order to address differences in student learning abilities. Through variations inexpression, representation, and engagement, we hope to eliminate barriers in the learningenvironment to make the content material much more accessible for all students (Kohl).



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At the beginning of each day, there will be some form of pre-assessment, whether it be alisting activity or a 3-2-1 activity, to determine what the students already know about the contentand to see what they have retained from the precious lesson. The class period will also end withsome form of exit ticket. The entrance and exit activities will serve as formative and summativeassessments in addition to serving as ‘bookends’ for the class; they will essentially frame thedesignated time for instruction. At the beginning of each class period, I will always greet the

class with “Good Morning/Afternoon” to signal the class that we are beginning instruction.

DAY ONE – This lesson plan is scripted in detail later in the Comprehensive Unit Plan.

Day Overview: Musical Theatre History Part One “Good Morning.” Students will participate in a physical warm-up: “Enthusiasm.”

o

Call and response chant activity. Everyone gets in a circle, claps and jumps in a4/4 meter, approximately 120 beats per minute. The leader may incorporatemotions with the verses of the chant:

o Everybody needs... (Echo) Enthusiasm.... (Echo) Cause it's a part of life... (Echo)Like protoplasm... (Echo) Like bees in a hive... (Echo) It's great to be alive...

(Echo) Cause everybody needs... (Echo) (All together) Enthusiasm!o Repeat two more times. Second time in a whisper, third time in loudest voice.o

(Ward, D.) Activating Prior Knowledge/Formative Assessment:

o On a blank piece of paper, list everything that you know about musicals. This can be titles of musicals, actors or actresses, or even the history of musicals! You havetwo and a half minutes to list everything that you know about musicals! Go!

o Play thinking music for the duration of the time:https://www.youtube.com/watch?v=1jQO_Tuvd7s (Jenkins, K)

o Take up papers at the end of the song. Musical Theatre History Lesson: I will lecture and play the videos. Students are

encouraged to ask questions and discuss the topics throughout the lesson.a. What is a musical?

i. What are some defining characteristics of a musical?ii. What are some of the major themes that musicals portray? Are they always thesame?

b. Operai. Mozart

1. Video: The Magic Flute – Der Holle Rache. (Miklosa, E.)

Timeline of Content Covered and of Instructional Strategies Used

1a.2 Draws on appropriate data to develop classroom and instructional plans.4a.2 Assesses and uses resources needed to address strengths and weaknesses of students.4c.1 Uses a variety of appropriate methods and materials to meet the needs of all students.4d.1 Integrates technology with instruction to maximize students’ learning.

4e.1 Integrates specific instruction that helps students develop the ability to apply processes and strategies forcritical thinking and problem solving.4f.1 Organizes student learning teams for the purpose of developing cooperation, collaboration, and student

leadership.5c.1 Considers and uses a variety of research-verified approaches to improve teaching and learning.

https://www.youtube.com/watch?v=1jQO_Tuvd7s





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https://www.youtube.com/watch?v=QWUOeWHvn3k ii. Donizetti

1. Video: Lucia de Lammermoor – Spargi d’Amaro Pianto (Dessay, N.)https://www.youtube.com/watch?v=jazzsnBL7KY

c. Operetta

i. Gilbert and Sullivan1. Video: The Mikado – Three Little Maids from school. (Fiebig,Matthews, Chaffey) https://www.youtube.com/watch?v=VyEJZ9yODB8

ii. Franz Lehar1.

Video: The Merry Widow: Love Unspoken (Battle, Domingo).https://www.youtube.com/watch?v=RePdIllMJhU

d. Vaudevillei. Vaudevilleii. Minstrel Plays

e. Musical “plays.” i. Rodgers and Hammerstein

1. Video: Oklahoma – Oh, What a Beautiful Mornin’ (Jackman, H)https://www.youtube.com/watch?v=KNEUtN21cuU 2. Video: The Sound of Music – The Sound of Music

https://www.youtube.com/watch?v=5fH2FOn1V5g ii. My first experience with Musical Theatre – Cinderella and Camelot

Exit ticket: On a piece of paper, tell me the first time that you experienced MusicalTheatre.

DAY TWOMusical Theatre History Part Two

“Good Morning.”

Students will participate in a physical warm-up: “Enthusiasm.” o Call and response chant activity. Everyone gets in a circle, claps and jumps in a

4/4 meter, approximately 120 beats per minute. The leader may incorporatemotions with the verses of the chant:

o Everybody needs... (Echo) Enthusiasm.... (Echo) Cause it's a part of life... (Echo)Like protoplasm... (Echo) Like bees in a hive... (Echo) It's great to be alive...(Echo) Cause everybody needs... (Echo) (All together) Enthusiasm!

o Repeat two more times. Second time in a whisper, third time in loudest voice.o

(Ward, D.) Summative/Formative Assessment: 3-2-1 Activity

o On a blank piece of paper, please write:

Three things that you remember from yesterday. Two things that you think you know about Theatre from the Rogers andHammerstein era until now.

One thing that you would like to know more about in the realm of MusicalTheatre.

(Creamer, K.)o Students have two minutes to write.o Thinking Music: https://www.youtube.com/watch?v=8s65JgpxqFU (Haydn, F. J.)

https://www.youtube.com/watch?v=QWUOeWHvn3k


https://www.youtube.com/watch?v=jazzsnBL7KY


https://www.youtube.com/watch?v=VyEJZ9yODB8



https://www.youtube.com/watch?v=RePdIllMJhU


https://www.youtube.com/watch?v=KNEUtN21cuU


https://www.youtube.com/watch?v=5fH2FOn1V5g


https://www.youtube.com/watch?v=8s65JgpxqFU












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Musical Theatre History Lesson: I will lecture and play the videos. Students areencouraged to ask questions and discuss the topics throughout the lesson.a. Musical “retellings”

i. Leonard Bernstein1. Video: Candide – Glitter and be Gay (Chenoweth, K.)

https://www.youtube.com/watch?v=U5liuHR6wug 2. Video: West Side Story – Movie Opening Sequence (Bernstein, L.)https://www.youtube.com/watch?v=9K_4ZaMc1-4

b. Changing times and Musical Theatrei. Political and cultural response

1. Video: Hair – Hair (MacDermot, G.)https://www.youtube.com/watch?v=ADNbtAID5wM

2. Video: The Wiz – No Bad News (King, M)https://www.youtube.com/watch?v=VsohMAuykWY

c. Musical Domination and Mega Musicali. Andrew Lloyd Weber/Cameron Mackintosh

1. Video: The Phantom of the Opera (Webber, A. L.)https://www.youtube.com/watch?v=rHDO_3CufQ0 ii. Jerry Herman

1. Video: La Cage Aux Folles – La Cage Aux Folles (Herman, J.)a. La Cage aux Folles is the first musical in history to feature amature gay couple as its romantic leadshttps://www.youtube.com/watch?v=pmYWgTPEkrc

d. Modern/Progressive Musicals and Movies as Musicalsi. Jonathan Larson

1. Video: RENT – Seasons of Love. (Larson, J.)https://www.youtube.com/watch?v=UvyHuse6buY

ii. Disney1.

Video: The Lion King – The Circle of Life (John, E.)https://www.youtube.com/watch?v=sfsOZ_H0kzg

2. Video: The Little Mermaid – Poor Unfortunate Souls (Scott, S. R.)https://www.youtube.com/watch?v=QnQHtIA_HaI

iii. Mel Brooks1. Video: The Producers – Springtime for Hitler (Brooks, M.)

https://www.youtube.com/watch?v=Y0gUnTBA3lI e. Broadway Today/Contemporary Musicals

i. Wicked1. Video: Wicked – Defying Gravity (Block, S. J.)https://www.youtube.com/watch?v=5Bn76p910WU

i. Lin Manuel Miranda1. Video: Hamilton (Miranda, L. M.)https://www.youtube.com/watch?v=iKSx9RixuQ0

Exit Ticket: On a piece of paper, write about why you think that Wicked or Hamiltonappeals to so many younger people. What about the characters do you like? The music?The storyline?

https://www.youtube.com/watch?v=U5liuHR6wug


https://www.youtube.com/watch?v=9K_4ZaMc1-4


https://www.youtube.com/watch?v=ADNbtAID5wM


https://www.youtube.com/watch?v=VsohMAuykWY


https://www.youtube.com/watch?v=rHDO_3CufQ0


https://www.youtube.com/watch?v=pmYWgTPEkrc


https://www.youtube.com/watch?v=UvyHuse6buY


https://www.youtube.com/watch?v=sfsOZ_H0kzg


https://www.youtube.com/watch?v=QnQHtIA_HaI


https://www.youtube.com/watch?v=Y0gUnTBA3lI


https://www.youtube.com/watch?v=5Bn76p910WU


https://www.youtube.com/watch?v=iKSx9RixuQ0
















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DAY THREEMusical Theatre Historical Response Project: Day One

“Good Morning.” Students will participate in a physical warm-up: “Enthusiasm.”

o

Call and response chant activity. Everyone gets in a circle, claps and jumps in a4/4 meter, approximately 120 beats per minute. The leader may incorporatemotions with the verses of the chant:


o Repeat two more times. Second time in a whisper, third time in loudest voice.o (Ward, D.)

Summative Assessment: Carousel Groupso Write the following headings chart papers to post around the classroom:

Rogers and Hammerstein

Political Change and Theatre Mega Musicals Movie Musicals/Disney Contemporary Musicals

o Then assign participants/students to collaborative groups, usually by eithernumbering or lettering off, i.e., 1, 2, 3, 4, and 5 or A, B, C, D, and E. At that time, provide each group with a different colored marker.

o Each collaborative group is sent to one of the chart papers and asked to reviewand discuss the heading.

o After a brief discussion and sharing, each group writes a response that must bedifferent from the other groups.

o

After the collaborative groups finish with one chart paper, the groups are movedaround in a “carousel” fashion (clockwise) to facilitate the review of each chart paper by each collaborative group.

o (Creamer, K.) Historical Response Project

o Pass out assignment documentation (can be found in appendix): Sometimes, rather than reflecting the people and times in which they were

created, Broadway musicals bring historical figures, periods, and episodesto the stage. Assuming the role of "historical detectives," compare the"history" presented in a Broadway show to actual American history.

o Begin by listening to an excerpt taken from a musical.

Part One: Mystery Song Investigationo Students will be randomly assigned to a group. Listen to your group's assigned

song excerpt: Mystery Song #1 = "Hooverville" Group 1 should log on to the "Annie"

Song List & Clips page at: http://www.mtishows.com/show_detail.asp?showid=000005

Watch it in production at: http://youtu.be/86TMqllgvag

http://www.mtishows.com/show_detail.asp?showid=000005


http://youtu.be/86TMqllgvag







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Mystery Song #2 = "Crime of the Century" Groups 2 and 3 should log onthe "Ragtime" Song List & Clips page at:

http://www.mtishows.com/show_detail.asp?showid=000228 Watch it in production at: http://youtu.be/HI3EiISOJZg

Mystery Song #3 = "Henry Ford" Groups 2 and 3 should log on the

"Ragtime" Song List & Clips page at: http://www.mtishows.com/show_detail.asp?showid=000228 Watch it in production at: http://youtu.be/NCC16P9znfQ

Mystery Song #4 = "Unworthy of Your Love" Group 4 should log on tothe "Assassins" Song List & Clips page at:

http://www.mtishows.com/show_detail.asp?showid=000136 Watch it in production at: http://youtu.be/hgL6988XoNk

o Scroll down for the "Plot & Synopsis" and search for the lyrics as a Googlesearch.

o Answer the following questions: Your group's assigned "Mystery Song" title.

Title of the musical in which it's featured. Summarize additional information about the song and/or its lyrics or song

excerpt.o Provide a brief synopsis of the musical.

DAY FOURMusical Theatre Historical Response Project: Day Two

“Good Morning.” Students will participate in a physical warm-up: “Enthusiasm.”

o

Call and response chant activity. Everyone gets in a circle, claps and jumps in a4/4 meter, approximately 120 beats per minute. The leader may incorporate

motions with the verses of the chant:o

Everybody needs... (Echo) Enthusiasm.... (Echo) Cause it's a part of life... (Echo)Like protoplasm... (Echo) Like bees in a hive... (Echo) It's great to be alive...(Echo) Cause everybody needs... (Echo) (All together) Enthusiasm!

o Repeat two more times. Second time in a whisper, third time in loudest voice.o (Ward, D.)

Formative Assessment: On a sheet of paper write everything that you know about the following

historical events or figures:

Hoovervilles

The Great Depression

Henry Ford and the Assembly Line John Hinckley Jr.

Part 2. Actual History Investigationo Investigate the actual history behind your assigned song using the websites

below. Group 1: FREEDOM: A HISTORY OF US: Depression and War

http://www.pbs.org/wnet/historyofus/web12/index.html (Depression andWar)



http://youtu.be/HI3EiISOJZg





http://youtu.be/NCC16P9znfQ





http://youtu.be/hgL6988XoNk



http://www.pbs.org/wnet/historyofus/web12/index.html











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American Memory Timeline: Great Depression and World War II:Hoovervilles -- Photograph Collagehttp://memory.loc.gov/ammem/ndlpedu/features/timeline/depwwii/depress/hoovers.html (Bell, D.)

Group 2: AMERICAN EXPERIENCE: Murder of the Century: Film

Description http://www.pbs.org/wgbh/amex/century/filmmore/fd.html (Murder of the Century) Group 3: A SCIENCE ODYSSEY: People and Discoveries: Henry Ford

http://www.pbs.org/wgbh/aso/databank/entries/dt13as.html (A ScienceOdyssey)

Group 4: AMERICAN EXPERIENCE: Reagan: People & Events: JohnHinckley Jr.http://www.pbs.org/wgbh/amex/reagan/peopleevents/pande02.html (American Experience)

o

Answer the following questions: What is the time period, person, or event on which your song is based?

What are the most important things to know about this time period, person, or event? What are the who/what/when/where/whys of the topic? What facts or insights about the topic do you think are the most interesting

or relevant? What emotions did this person, event, or time period evoke in people?

Why? Does the song accurately reflect the history behind it?

Exit ticket: On a sheet of paper, draw a Venn Diagram to briefly compare and contrastthe character from the musical you are studying and the character in actual history.

Day FiveMusical Theatre Historical Response Project: Day Three “Good Morning.” Students will participate in a physical warm-up: “Enthusiasm.”

o Call and response chant activity. Everyone gets in a circle, claps and jumps in a4/4 meter, approximately 120 beats per minute. The leader may incorporatemotions with the verses of the chant:


o Repeat two more times. Second time in a whisper, third time in loudest voice.o

(Ward, D.) Part 3. Presentation Preparation

o Groups will be instructed that they must present the information that they havegathered over the past two days. They may present the information to the class inany form that they wish, as long as the content is present.

o Forms of presentations may include a PowerPoint presentation, Prezi, Glogster,Poster presentation, portfolio presentation, a short scene, Oral presentation, etc.

http://memory.loc.gov/ammem/ndlpedu/features/timeline/depwwii/depress/hoovers.html



http://www.pbs.org/wgbh/amex/century/filmmore/fd.html



http://www.pbs.org/wgbh/aso/databank/entries/dt13as.html


http://www.pbs.org/wgbh/amex/reagan/peopleevents/pande02.html









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Each group has 20 minutes to present, including time for student questions at theend of each presentation

o Students will fabricate and rehearse their presentations during this class period,knowing that they will have to present on the next class period.

Exit ticket:

o

On a sheet of paper, briefly describe the outline of your presentation and eachgroup member’s contribution to the project.

Day SixMusical Theatre Historical Response Project: Presentations

Part 4. Presentations.o Students will present in a randomized order. Each group has 20 minutes to

present.o Grades will be given with a rubric. (Rubric can be found in the Appendix)

Group discussions following each presentation. Students will talk about the process theyhave just been through. Group discussion about how they learned.

Group members fill out a form that evaluates the other members of the group and theircontributions to the project. (The form is found in the Appendix)

Materials List

Blank paper Poster Paper Markers Laptops Printers Various supplies for presentations (i.e. poster boards, tri-fold boards, craft supplies, etc.) Projector/Projection screen Speakers



16

D1FORMATIVE

D23-2-1

D2 EXITTICKET

D3CAUROSEL

D4FORMATIVE

D4 EXITTICKET

D5 EXITTICKET

D6PRESENTATIONS

D6DISCUSSIONS

D6 GROUPEVALUATIONS

I can describeparallels

between

Musical

Theatre

History and

United States

History.

X X X X X X X

I can

measure the

effectiveness

of the

playwright’scharacter

development

and identify

how it effects

the

audience’sperception of

the character.

X X X X X

I will

demonstrate

discernment

skills to

determine a

resource’svalidity when

comparing

two or more

sources of

information.

X X X

I will justly

evaluate my

own work in

addition to

the work of

my peers.

X X X X

I will assume

a role in a

group and

dutifully fulfil

its

requirements.

X X X

Assessment Plan

4a.2 Assesses and uses resources needed to address strengths and weaknesses of students.



17

The matrix above explains which and how the learning targets and outcomes will beassessed by the assessments listed below:

Day One:o

Formative Assessment: On a blank piece of paper, students will write everything

that they currently know about Musical Theatre. This can be titles of musicals,actors or actresses, or even the history of musicals.o

This is a simple pass/fail grade for participation. Day Two:

o Summative Assessment AND Formative Assessment – 3-2-1 activity: On a blank piece of paper, students will write:

Three things that they remember from yesterday.

Two things that they think they know about Theatre from theRogers and Hammerstein era until now.

One thing that they would like to know more about in the realm ofMusical Theatre.

This is a simple pass/fail grade for participation.

Summative Assessment – Exit Ticket:o On a piece of paper, write about why you think that Wicked or Hamilton appeals

to so many younger people. What about the characters do you like? The music?The storyline?

o When grading, I will be looking for clear perspective that states an opinion aboutone of the two musicals. I will be looking for several reason that support thestudent’s opinions, clean word choice, and I will be checking for grammar,mechanics, and spelling.

Day Three:o Summative Assessment - Carousel Groups

Write the following headings chart papers to post around the classroom: Rogers and Hammerstein

Political Change and Theatre

Mega Musicals Movie Musicals/Disney Contemporary Musicals

Then assign participants/students to collaborative groups, usually by eithernumbering or lettering off, i.e., 1, 2, 3, 4, and 5 or A, B, C, D, and E. Atthat time, provide each group with a different colored marker.

Each collaborative group is sent to one of the chart papers and asked toreview and discuss the heading.

After a brief discussion and sharing, each group writes a response thatmust be different from the other groups.

After the collaborative groups finish with one chart paper, the groups aremoved around in a “carousel” fashion (clockwise) to facilitate the reviewof each chart paper by each collaborative group.

This is a simple pass/fail grade for participation. Day Four:

o

Formative Assessment:



18

On a sheet of paper write everything that you know about the followinghistorical events:

Hoovervilles The Great Depression

Henry Ford and the Assembly Line

John Hinckley Jr. This is a simple pass/fail grade for participation.

o Summative Assessment – Exit ticket:

On a sheet of paper, draw a Venn Diagram to briefly compare and contrastthe character from the musical you are studying and the character in actualhistory.

When grading, I will be looking for clear perspective that shows clearanalysis of about the two versions of the same character. I will be lookingfor several reason that support the student’s opinions, clean word choice,

and I will be checking for grammar, mechanics, and spelling. Day Five:

o

Summative Assessment – Exit Ticket: On a sheet of paper, briefly describe the outline of your presentation and

each group member’s contribution to the project.

When grading, I will be looking for a clearly organized structure for theassignment.

Day Six:o Summative Assessment – Group Presentations:

Students will present in a randomized order. Each group has 20 minutes to present.

Grades will be given with a rubric. (Rubric can be found in the Appendix) o Summative Assessment – Class Discussions:

Group discussions following each presentation. Students will talk aboutthe process they have just been through. Group discussion about how theylearned.

This is a simple pass/fail grade for participation.o Summative Assessment – Group Member Evaluation form:

Group members fill out a form that evaluates the other members of thegroup and their contributions to the project. (The form is found in the

Appendix)



19

Musical Theatre HistoryCaleb S. Garner

5/4/2016

Lesson Plan Day One Script

Jesse C. Carson High SchoolBeginning Theatre Arts

DAY ONE – Day Overview: Musical Theatre History Part OneWelcome/Greeting

“Good Morning, everybody!” “To help us wake up and get ready to learn, we are going to do a quick warm up!” “Everyone get up on your feet! For this exercise, We’re going to be jumping and

clapping. I’m going to say part of a sentence, then you repeat it back to me! Sound good?

Any questions?

Insert space for student questions and answers to questions.

"Let’s try it!” “Everybody needs... (Echo) Enthusiasm.... (Echo) Cause it's a part of life... (Echo) Like

protoplasm... (Echo) Like bees in a hive... (Echo) It's great to be alive... (Echo) Causeeverybody needs... (Echo) (All together) Enthusiasm!”

o Repeat two more times. Second time in a whisper, third time in loudest voice.Activating Prior Knowledge/Formative Assessment:

“On a blank piece of paper, list everything that you know about musicals. This can betitles of musicals, actors or actresses, or even the history of musicals! You have two and ahalf minutes to list everything that you know about musicals! Go!”

o

Play thinking music for the duration of the time:

https://www.youtube.com/watch?v=1jQO_Tuvd7s (Jenkins, K)

Repeat directions if necessary. Add space for student questions and answers. “Please silently bring your papers up to the front! When you turn it in, please pick up one

of the worksheets on the desk. You’ll notice that there are lots of blanks on theworksheets! As we go through class, we will be filling in the blanks in your notes. Besure to pay attention so that we can get all of the blanks filled in!

Musical Theatre History Lesson: Part One1. “So, now that we have listed everything that we know about musicals, how do we

‘define’ what a musical is? What are some of the basic parts of a musical?” 2. Anticipate class responses and comments.

3. “Okay, so we know that musicals (repeat some of the ideas of the class), but what are

some of the major themes and commonalities that we see? Are all musicals the same? Do

they all have to be on stage?4. Anticipate class responses and comments. 5. “So, do you think it is safe to say that a musical is a stage, television, or film production

utilizing popular-style songs to either tell a story or showcase the talents of the writersand/or performers?”

6.

Anticipate class responses and comments.






20

7. “I think that we have a solid definition there! A musical is a stage, television, or film production utilizing popular-style songs to either tell a story or showcase the talents ofthe writers and/or performers.”

8. “So, now the question is this: when exactly did musicals appear? If we look back to the

Ancient Greek times, we know that the Greeks included music and dance in their stage

comedies and tragedies as early as the 5th Century B.C. The songs were often a meansfor the chorus to comment on the action, but they also took part in the plot, and musicalsolos were not unheard of. So, in a way, show tunes have been around for twenty fivehundred years. But that doesn’t really get to the first ‘musicals,’ now does it? Let’s stop

and think. What might be some of the earliest forms of musicals?” 9. Anticipate student responses. Stop before Opera is mentioned. 10. “Well, if we think about it, In the Middle Ages, Europe's cultural mainstays included

traveling minstrels and roving troupes of performers that offered popular songs andslapstick comedy! But that isn’t really a musical either. The songs were more backgroundmusic than anything. What did our definition say? Popular-style songs to either tell astory or showcase the talents of the writers and/or performers. Yes there were popular

songs, but I don’t think that any of them really told the story. They were moreunderscoring than anything. Thinking about our definition, what would you say is thefirst type of musical?”

11. Anticipate student responses. Manipulate the conversation to opera.

12. “Opera! There’s an idea! Let’s stop and think about our definition: A stage, television, orfilm production utilizing popular-style songs to either tell a story or showcase the talentsof the writers and/or performers. Operas were staged, weren’t they?”

13.

Anticipate student responses. 14. “Do we have popular songs?” 15. Anticipate student responses. 16. “Do the songs tell a story?” 17.

Anticipate student responses. 18.

“Do the songs showcase the performers or writers?” 19. Anticipate student responses. 20.

“It sounds like we have a musical! But Opera is quite different from musical theatre aswe know it. The most significant difference is that operas are generally entirely sung,while musicals combine various amounts of spoken dialogue with song, but there aresome exceptions. One of those exceptions is is Mozart’s Magic Flute. The work is in theform of a Singspiel, a popular form that included both singing and spoken dialogue, so itis much closer to the idea of musical theatre as we know it. In the song we are about tosee, we have two characters: the Queen of the Night and her daughter, Pamina. She givesPamina a dagger, ordering Pamina to kill her arch nemesis Sarastro with it andthreatening to disown her if she does not.

21.

Video: The Magic Flute – Der Holle Rache:https://www.youtube.com/watch?v=QWUOeWHvn3k

22. “So, After watching a clip from The Magic Flute, What similarities and differences canwe already see between musical theatre and opera?”

23. Anticipate student responses. Discuss student ideas. 24.

“Okay! Flash forward about 50 years, and we start to see changes in the forms of opera.We see more realistic storylines – although the storylines were still over the top. People

https://en.wikipedia.org/wiki/Singspiel









21

started to become more interested in tragic relationships of other humans. The perceivedromance of violent wars and feuds, as well as folklore and mythology, intrigued 19thcentury readers and audiences! And out of this desire for more intriguing theatre camedramma tragico, or tragic opera! Can anyone guess the defining characteristic of tragicopera?”

25.

Anticipate student response.26. “Yes! Tragedy! The plotlines are becoming thicker, we are getting more believablecharacters – and some over the top characters, and we are starting to see plot structure thatresembles modern musical theatre structure! Here, we have Donizetti’s Lucia di

Lammermoor. Lucia is known for it’s famous ‘mad scene,’ in which the main character,Lucia, was just beaten by her arranged husband on the day of their wedding. She goes crazyand murders him, then makes her way to her wedding party, where she sees her true loveand sings this song:”

27.

Lucia de Lammermoor – Spargi d’Amaro Pianto (Dessay, N.) https://www.youtube.com/watch?v=jazzsnBL7KY

28. “I know what you’re thinking. What does this have to do with musical theatre? Lucia

made it possible for playwrights to write about more risqué themes! Lucia made operaand music in the theatre immensely popular throughout Europe and the United States! Lucia made more people interested in the theatre, so we were able to grow because the people kept giving us money for new, more creative forms of musical theatre!”

29. “So everyone was super excited to be experiencing tragic opera! People just wanted moreand more! But, what happens after we get too much of something? We get tired of it,right? So, after we had tragic opera, what do you think came next?”

30.

Anticipate student response. 31. Ýes! Comic Operas! Coming to save the theatre world from a vast array of tragedies was

a team of two gentlemen like the world had never seen before! Out of the bleak tragedycame Mr. W. S. Gilbert and Arthur Sullivan! The two men collaborated onfourteen comic operas between 1871 and 1896, of which H.M.S. Pinafore, The Pirates of

Penzance and The Mikado are among the best known. Their operas have enjoyed broadand enduring international success and are still performed frequently throughout theEnglish-speaking world. Gilbert and Sullivan introduced innovations in content and formthat directly influenced the development of musical theatre through the 20th century.Sullivan's music sparkled with fresh, light melody, and Gilbert's librettos blendedsilliness and satire in settings that ranged from pure fantasy to the utterly realistic. Theterm “topsy-turvy” was coined to describe their new style! This new style became sodifferent from Opera as the world had previously known it. It was much lighter, withhumorous acting and lighter music! This whimsical style came to be known as operetta!Let’s look at a clip from one of their most popular operettas, The Mikado:”

32. Video: The Mikado – Three Little Maids from school. (Fiebig, Matthews, Chaffey)https://www.youtube.com/watch?v=VyEJZ9yODB8

33. “The Mikado's Japanese setting and costumes masked the fact that it was a send-up ofBritish social customs and pretensions. “Three Little Maids From School” was sungeverywhere. In the United States, "Mikado-mania" fed a new American passion for allthings Japanese. Once again, we see theatre reflecting the things that the country likes themost. Things are becoming popular because it fits with the new trend! Realizing thesuccess of Gilbert and Sullivan, many other playwrights continued to write in the









22

Operetta style. A man by the name of Franz Lehar began to write operetta right at the endof Gilbert and Sullivan’s career. Lehar took the operetta form and further refined it! He

managed to add more depth to his stories, masterfully combining the light, comedic styleof Gilbert and Sullivan with deeper, more meaningful plots and more complex characters.Here, we see one of the final scenes from his most famous operetta, The Merry Widow. In

this scene, the Count Danilo finally confesses his love for the main character, Hannah,after 20 years. She confesses her secret love for him, and they dance together to one ofthe most recognizable tunes of the 20th century.”

34. Video: The Merry Widow: Love Unspoken (Battle, Domingo).https://www.youtube.com/watch?v=uBlAVfUnMmM

35. “From watching Three Little Maids from School, and Love Unspoken, can we see anysimilarities and differences between Operetta and Opera?”

36. Anticipate Student response. 37.

“What similarities can we see when looking at Operetta and musical theatre?” 38. Anticipate Student response. 39. “Excellent! Gilbert and Sullivan initiated a series of works that went further, deepening

characterization and redefining musical theatre. They also made a greater effort tointegrate words and music in order to serve plot and characterization. Lehar was able tomore completely realize the major characters and almost always custom fit the characterto their situations. We begin to see more fully developed theatre thanks to the influenceof operetta!”

40. “So as operetta was widly growing in popularity, another form of theatre wassimultaneously growing in the United States: Vaudeville! A typical vaudeville performance is made up of a series of separate, unrelated acts grouped together on acommon bill. Types of acts have included popular and classical musicians, singers,dancers, comedians, trained animals, magicians, female and male impersonators,acrobats, illustrated songs, jugglers, one-act plays or scenes from plays, athletes, lecturingcelebrities, minstrels, and movies. Called "the heart of American show business,"vaudeville was one of the most popular types of entertainment in North America forseveral decades. However, out of the vaudeville circuits rose another form of vaudeville:the Minstrel Show. Has anyone ever heard of a minstrel show?”

41. Anticipate student response. 42. “The minstrel show, or minstrelsy, was an American form of entertainment developed in

the 19th century. It was in incredibly controversial form of theatre because each showconsisted of comic skits, variety acts, dancing, and music, performed by white people inmake-up or blackface for the purpose of playing the role of black people. By 1848, blackface minstrel shows were the national artform, translating formal art such as operainto popular terms for a general audience. The minstrel shows eventually grew less andand less popular due to a newly emerging form of theatre: American Musical theatre.

43.

“A new musical form that had songs and dances that were fully integrated into a well-made story with serious dramatic goals that is able to evoke genuine emotions other thanlaughter. They took operetta and vaudeville and turned them into complete shows thathad the emotional capability of straight plays! The first major musical to achieve this featwas the first musical written by the team of composer Richard Rodgers and librettistOscar Hammerstein II: Oklahoma.”

https://www.youtube.com/watch?v=uBlAVfUnMmM





23

44. Video: Oklahoma – Oh, What a Beautiful Mornin’ https://www.youtube.com/watch?v=KNEUtN21cuU

45. “After watching Oh, What a Beautiful Mornin’, why do you think this was so popular?” 46. Anticipate student responses. Talk about the ideas of Rustic America. Talk about the

ideas of accessibility to a wide scope of the population.

47.

“Rodgers and Hammerstein went on to write a string of popular Broadway musicals andinitiated what is known as the ‘golden age of musical theatre. I guarantee every singleone of you here knows at least one great Rodgers and Hammerstein accomplishment:”

48. Video: The Sound of Music – The Sound of Musichttps://www.youtube.com/watch?v=5fH2FOn1V5g

49. “My first experience with Musical theatre was actually a work of Rodgers and

Hammerstein! Tell Cinderella Story.” 50. “We are now over hallway through the realm of musical theatre history! That was a lot to

unpack, wasn’t it? Good job, everyone! Now, please take out a sheet of paper. I wouldlike for you to write about the first time that you experienced musical theatre. Was it in amusic class like me? Did someone take you to go see a show? Tell me! Write it down,

please. Once you’re finished, place the paper on the desk, and you may wait until the bellrings to leave!”

References

5c.1 Considers and uses a variety of research-verified approaches to improve teaching and learning.









24

A Science Odyssey: People and Discoveries: Henry Ford. (n.d.). Retrieved May 03, 2016, fromhttp://www.pbs.org/wgbh/aso/databank/entries/dt13as.html

American Experience: TV's most-watched history series. (n.d.). Retrieved May 03, 2016, fromhttp://www.pbs.org/wgbh/americanexperience/features/biography/reagan-hinckley/

Andrews, J. (2013). The Sound of Music. Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=5fH2FOn1V5g

Bell, D. (n.d.). Multimedia Moment: A Mystery Sparked by a Century-Old Film. Retrieved May03, 2016, from http://www.loc.gov/teachers/index.html

Bernstein, L. (2013). West Side Story (1/10) Movie CLIP - The Jets Own the Streets (1961) HD.Retrieved May 03, 2016, from https://www.youtube.com/watch?v=9K_4ZaMc1-4

Block, S. J. (2009). Wicked Stephanie J Block Defying Gravity. Retrieved May 03, 2016, from

https://www.youtube.com/watch?v=5Bn76p910WUBrooks, M. (2010). Glee's Matthew Morrison - Kennedy Center Honors - Springtime for Hitler. Retrieved May 03, 2016, from https://www.youtube.com/watch?v=Y0gUnTBA3lI

Chenoweth, K. (2008). Candide - 10 Glitter and be gay. Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=U5liuHR6wug

Creamer, K., Ph.D. (2016, March). Classroom Management Activities. Lecture presented atLearning Environments/Professional Practice in Catawba College, Salisbury, NC.

Depression and War. (n.d.). Retrieved May 03, 2016, fromhttp://www.pbs.org/wnet/historyofus/web12/index.html

Domingo, P., & Battle, K. (2013). The Merry Widow: Love Unspoken. Retrieved May 03, 2016,from https://www.youtube.com/watch?v=RePdIllMJhU

Dessay, N. (2009). Lucia di Lammermoor - Spargi d'Amaro Pianto. Retrieved May 03, 2016,from https://www.youtube.com/watch?v=jazzsnBL7KY

Fiebig, T., Matthews, D., & Chaffey, A. (2011). Three Little Maids From School Are We: TheMikado, Melbourne 2011 (Opera Australia). Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=VyEJZ9yODB8

Haydn, F. J. (2012). St Anthony Chorale - Haydn - Piano. Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=8s65JgpxqFU

Herman, J. (2011). La Cage aux Folles. Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=pmYWgTPEkrc



25

Jackman, H. (2011). Oklahoma - Oh What a Beautiful Morning (Hugh Jackman). Retrieved May03, 2016, from https://www.youtube.com/watch?v=KNEUtN21cuU

Jenkins, K. (2008). Hymn from Adiemus. Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=1jQO_Tuvd7s

John, E. (2015). The Lion King Circle of Life Helpmann Awards. Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=sfsOZ_H0kzg

King, M. (2009). The Wiz - No Bad News. Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=VsohMAuykWY

Larson, J. (2010). Seasons of Love (HD). Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=UvyHuse6buY

MacDermot, G. (2013). HAIR (Broadway) - "Hair" [LIVE @ The 2009 Tony Awards].

Retrieved May 03, 2016, from https://www.youtube.com/watch?v=ADNbtAID5wMMiklosa, E. (2009). Der Holle Rache - English Version. Retrieved May 03, 2016, from


Miranda, L. M. (2015). Hamilton the Musical on Broadway. Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=iKSx9RixuQ0

Murder of the Century Film Description. (n.d.). Retrieved May 03, 2016, fromhttp://www.pbs.org/wgbh/amex/century/filmmore/fd.html

Scott, S. R. (2009). "Poor Unfortunate Souls" from Disney's THE LITTLE MERMAID onBroadway. Retrieved May 03, 2016, fromhttps://www.youtube.com/watch?v=QnQHtIA_HaI

Ward, D. (2013, October 17). Keeping Students Engaged in the Drama Classroom. Lecture presented at North Carolina Theatre Arts Educators Fall Sharing in Hibriten High School,Lenoir, NC.

Webber, A. L. (2013). The Phantom of the Opera US Tour 2013 - HD Trailer | The Phantom of the Opera. Retrieved May 03, 2016, from


Appendix






26

1.

Research Project Guidelines2. Research Project Rubric3.

Group Member Evaluation Form4.

Guided Notes

1. RESEARCH PROJECT GUIDELINES:



27

Sometimes, rather than reflecting the people and times in which they were created, Broadwaymusicals bring historical figures, periods, and episodes to the stage. Assuming the role of"historical detectives," compare the "history" presented in a Broadway show to actual Americanhistory. Begin by listening to an excerpt taken from a musical.

Part 1. Mystery Song InvestigationProcedure:

1. Groups of five are randomly selected in order to expose you to working with a variety of people.

2.

Listen to your group's assigned song excerpt again.a. Mystery Song #1 = "Hooverville" Group 1 should log on to the "Annie" Song List

& Clips page at: http://www.mtishows.com/show_detail.asp?showid=000005 i. Watch it in production at: http://youtu.be/86TMqllgvag

b.

Mystery Song #2 = "Crime of the Century" Groups 2 and 3 should log on the"Ragtime" Song List & Clips page athttp://www.mtishows.com/show_detail.asp?showid=000228

i.

Watch it in production at: http://youtu.be/HI3EiISOJZg c.

Mystery Song #3 = "Henry Ford" Groups 2 and 3 should log on the "Ragtime"Song List & Clips page athttp://www.mtishows.com/show_detail.asp?showid=000228

i.

Watch it in production at: http://youtu.be/NCC16P9znfQ d. Mystery Song #4 = "Unworthy of Your Love" Group 4 should log on to the

"Assassins" Song List & Clips page athttp://www.mtishows.com/show_detail.asp?showid=000136

i. Watch it in production at: http://youtu.be/hgL6988XoNk 3. Scroll down for the "Plot & Synopsis" and search for the lyrics as a Google search.4. Answer the following questions:

a. Your Group’s assigned “Mystery Song” title.

b.

Title of the musical in which it's featured:c. Summarize additional information about the song and/or its lyrics or song

excerpt:d. Please provide a brief (5- to 10-sentence) synopsis of the musical.

5. Be prepared to share with your classmates. Once you have finished Part I you cancontinue to Part II.

Part 2. Actual History InvestigationProcedure:

1. Investigate the actual history behind your assigned song using the websites below.a. Group 1: FREEDOM: A HISTORY OF US: Depression and War

http://www.pbs.org/wnet/historyofus/web12/index.html i. American Memory Timeline: Great Depression and World War II:

Hoovervilles -- Photograph Collagehttp://memory.loc.gov/ammem/ndlpedu/features/timeline/depwwii/depress/hoovers.html

b.

Group 2: AMERICAN EXPERIENCE: Murder of the Century: Film Descriptionhttp://www.pbs.org/wgbh/amex/century/filmmore/fd.html











































28

c. Group 3: A SCIENCE ODYSSEY: People and Discoveries: Henry Fordhttp://www.pbs.org/wgbh/aso/databank/entries/dt13as.html

d. Group 4: AMERICAN EXPERIENCE: Reagan: People & Events: John HinckleyJr. http://www.pbs.org/wgbh/amex/reagan/ peopleevents/pande02.html

2. Answer the following questions:

a.

What is the time period, person, or event on which your song is based? b.

What are the most important things to know about this time period, person, orevent?

c. What are the who/what/when/where/whys of the topic?d.

What facts or insights about the topic do you think are the most interesting orrelevant?

e. What emotions did this person, event, or time period evoke in people? Why?3. Be prepared to share with the classmates whether or not you think the song accurately

reflects the history behind

Part 3. Research Presentation

1.

Your group must present the information that you have gathered over the past two days tothe rest of the class.a. You may present the information in any form that you wish, as long as the content

is present:i. Your Group’s assigned “Mystery Song” title.

ii. Title of the musical in which it's featured:iii. Summarize additional information about the song and/or its lyrics or song

excerpt:iv. Please provide a brief (5- to 10-sentence) synopsis of the musical.v. What is the time period, person, or event on which your song is based?

vi. What are the most important things to know about this time period, person, or event?

vii.

What are the who/what/when/where/whys of the topic?viii. What facts or insights about the topic do you think are the most interesting

or relevant?ix. What emotions did this person, event, or time period evoke in people?

Why? b. Forms of presentations may include a PowerPoint presentation, Prezi, Glogster,

Poster presentation, portfolio presentation, a short scene, Oral presentation, etc.c. Each group has 20 minutes to present, including time for questions at the end of

each presentation.d. Your group must fabricate and rehearse your presentations during this class

period, since the research has already been done.e.

You will present your findings in the next class period in a random order.






29

2.

RESEARCH PROJECT RUBRIC:

Points Possible Points EarnedRequired content was present 20

Created a Glogster, Prezi, PowerPoint, Notebook, Poster, scene, portfolio, or other pre-approved project to showcase informationlearned from completion of portfolio assignments.

20

Project demonstrates creativityand effort. 20

Neatness, Spelling,

Organization, and Mechanics 20Grammar, Conventions, andCitations/Documentation 20

TOTAL /100



30

3. GROUP MEMBER EVALUATION FORM

Please evaluate your group members according to the following scale:1 – Rarely/Never 2 – Occasionally/Sometimes 3 – Always/Most of the time Name: Did their fair share of work

Was CooperativeComments: Contributed to ideas

Available for communication

Positive and helpful

Contributed to overall success

Word to describe this person as a group member:

Please evaluate yourself according to the following scale:1 – Rarely/Never 2 – Occasionally/Sometimes 3 – Always/Most of the time

Name: Did their fair share of workWas Cooperative

Comments: Contributed to ideasAvailable for communication

Positive and helpful

Contributed to overall success

Word to describe yourself as a group member:



31

4. GUIDED NOTES

1. A musical is a stage, __________ or film production utilizing ________________ songs

to either tell a _____ or showcase the talents of the writers and/or __________.

2.

The most significant difference between _______ and musical theatre is that operas are

generally entirely ___________, while musicals combine various amounts of _______

________ with song, but there are some exceptions.

3. One of those exceptions is Mozart’s _________ ________. The work is in the form of

a Singspiel, a popular form that included both _________ and _________

____________, so it is much closer to the idea of musical theatre as we know it.4. Out of this desire for more intriguing theatre came dramma tragico, or _________

________.

5. In Tragic Opera, The plotlines are becoming _______, we are getting more believable

__________ – and some over the top characters, and we are starting to see plot ________

that resembles modern musical theatre structure!

6.

W. S. ____________ and Arthur___________ began to create a new form of operas:

_______ opera.

7. This new style became so different from Opera as the world had previously known it. It

was much lighter, with humorous ________ and lighter _________! This whimsical style

came to be known as _________.

8. "Mikado-mania" fed a new American passion for all things _________. Once again, we

see theatre reflecting the things that the country likes the most.



9. Franz Lehar managed to add more _________ to his stories, masterfully combining the

light, comedic style of Gilbert and Sullivan with deeper, more meaningful _____ and

more complex ___________.

10.

So as operetta was wildly growing in popularity, another form of theatre was

simultaneously growing in the United States: ___________.

11. A typical vaudeville performance is made up of a series of separate, unrelated

_________ grouped together on a common _______.

12. Called "the heart of American _________ _____________," vaudeville was one of the

most popular types of entertainment in North America for several decades.13. The minstrel show, or minstrelsy, was an American form of entertainment developed in

the __________ century.

14. It was in incredibly controversial form of theatre because each show consisted of comic

skits, variety acts, dancing, and music, performed by white people in make-up

or ___________ for the purpose of playing the role of black people.

15.

A new musical form that had _______ and ______ that were fully integrated into a well-

made story with serious dramatic ___________ that is able to evoke genuine emotions

other than ______________.

16. The first major musical to achieve this feat was the first musical written by the team of

composer Richard Rodgers and librettist Oscar Hammerstein II: ____________.

Comprehensive Unit Plan - Musical Theatre History Project

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