Regina Carter and Quartet

03/04UMS Youth Education

Regina Carterand Quartet

TEACHER RESOURCE GUIDE

About UMSUMS celebrates its 125th Season! One of the oldest performing arts presenters in the country, UMS serves diverse audiences through multi-disciplinary perform-ing arts programs in three distinct but interrelated areas: presentation, creation, and education.

With a program steeped in music, dance, and the-ater, UMS hosts approximately 80 performances and 150 free educational activities each season. UMS also commissions new work, sponsors artist residen-cies, and organizes collaborative projects with local, national, and international partners.

While proudly affiliated with the University of Michi-gan and housed on the Ann Arbor campus, UMS is a separate not-for-profit organization that supports itself from ticket sales, grants, contributions, and endowment income.

UMS Education and Audience Development DepartmentUMS’s Education and Audience Development Depart-ment seeks to deepen the relationship between audi-ences and art, as well as to increase the impact that the performing arts can have on schools and com-munity. The program seeks to create and present the highest quality arts education experience to a broad spectrum of community constituencies, proceeding in the spirit of partnership and collaboration.

The Department coordinates dozens of events with over 100 partners that reach more than 50,000 people annually. It oversees a dynamic, comprehen-sive program encompassing workshops, in-school visits, master classes, lectures, youth and family pro-gramming, teacher professional development work-shops, and “meet the artist” opportunities, cultivating new audiences while engaging existing ones.

Details about educational events for the 03/04 season are announced a few months prior to each event.

To receive information about educational events by email, sign up for the UMS E-Mail Club at www.ums.org.

For advance notice of Youth Education events, join the UMS Teachers email list by emailng [email protected].

We would like to give special thanksto the sponsors and supporters of theUMS Youth Education Program:

Ford Motor Company FundMichigan Council for Arts and Cultural AffairsUniversity of Michigan

Association of Performing Arts Presenters Arts Partners ProgramBorders GroupCharles Reinhart Company, RealtorsCommunity Foundation for Southeastern MichiganDoris Duke Charitable FoundationDTE Energy FoundationFord FoundationForest Health Services/Mary and Randall PittmanMaxine and Stuart Frankel FoundationGelman Educational FoundationHeartland Arts FundJazzNetKeyBankMASCO CorporationTHE MOSAIC FOUNDATION (of R. and P. HeydonNational Dance Project of the New England Foundation for the ArtsNational Endowment for the ArtsOffice of the Provost, University of MichiganPfizer Global Research and Development, Ann Arbor LaboratoriesThe Power FoundationProQuestTCF BankTIAA-CREFUMS Advisory CommitteeWallace-Reader’s Digest FundsWhitney Fund

This Teacher Resource Guide is a product of the University Musical Society’s Youth Education Program. All photos are courtesy of the artists unless otherwise noted.

UMS Youth Education

Regina Carter and Quartet

TEACHER RESOURCE GUIDE

Youth PerformanceTues, Jan 20, 200411 am - 12 amHill Auditorium, Ann Arbor

03/04UMS Youth Education

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Table of Contents

Overview* 6 Coming to the Show* 7 The Performance at a Glance 8 Motor City Moments

Regina Carter 10 Regina Carter: A Biography

Jazz Elements 14 Jazz: City Influence 16 Jazz: Style Influence 20 Traditional Instruments of Jazz 21 The Elements of Jazz

The Cannon 24 Paganini and “The Canonne”

Lesson Plans 26 Lesson Plan Overview 27 Meeting Michigan Standards* 29 Using Multimedia* 30 Jazz Vocabulary 32 Jazz Vocabulary Word-O 33 Melody, Harmony, Rhythm 34 Syncopation* 35 Appreciating the Performance 36 Jazz Wordsearch 38 Create Your Own UMS 39 Additional Lesson Plans

Jazz Poetry 42 Music as Muse 44 How to Read a Poem 45 Responding to Jazz Poetry: Figurative Language

Resources* 48 UMS Permission Slip 49 Selected Bibliography 50 Internet Resources 51 Recommended Materials 52 Community Resources

Short on Time?

We’ve starred the most important pages.

Only Have15 Minutes?

Try these:

Word Search pg. 34

Appreciating the Performance pg. 35

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WRegina Carter ArtServe Michigan photo


We want you to enjoy your time in the theater, so here are some tips to make your Youth Performance experience successful and fun! Please review this page prior to attending the performance.

Where do we get off the bus? You will park your car or bus in the place marked on your teacher’s map. Only Ann Arbor Public Schools students and students with disabilities will be dropped off in front of the theater or designated spot.

Who will meet us when we arrive? UMS Education staff and greeters will be outside to meet you. They might have special directions for you, so be listening and follow their directions. They will take you to the theater door, where ushers will meet your group. The greeters know that your group is coming, so there’s no need for you to have tickets.

Who shows us where we sit? The ushers will walk your group to its seats. Please take the first seat available. (When everybody’s seated, your teacher will decide if you can rear-range yourselves.) If you need to make a trip to the restroom before the show starts, ask your teacher.

How will I know that the show is starting? You will know that the show is starting because you will see the lights in the auditorium get dim, and a member of the UMS Educa-tion staff will come out on stage to say hello. He or she will introduce the performance.

What if I get lost? Please ask an usher or a UMS staff member for help. You will recognize these adults because they have name tag stickers or a name tag hanging around their neck.

What do I do during the show?Everyone is expected to be a good audience member. This keeps the show fun for everyone. Good audience members... • Are good listeners • Keep their hands and feet to themselves • Do not talk or whisper during the performance • Laugh at the parts that are funny • Do not eat gum, candy, food or drink in the theater • Stay in their seats during the performance • Do not disturb their neighbors or other schools in attendance

How do I show that I liked what I saw and heard? As a general rule, the audience shows appreciation during a performance by clapping. This clapping, called applause, is how you show how much you liked the show. Applause says, “Thank you! You’re great!” In a musical performance, the musicians and dancers are often greeted with applause when they first appear. It is traditional to applaud at the end of each musical selection, and some-times after impressive solos. Sometimes at music performances, the audience is encouraged to stand and clap along with the music in rhythm. At the end of the show, the performers will bow and be rewarded with your applause. If you really enjoy the show, give the per-formers a standing ovation by standing up and clapping during the bows.

What do I do after the show ends? Please stay in your seats after the performance ends, even if there are just a few of you in your group. Someone from UMS will come onstage and announce the names of all the schools. When you hear your school’s name called, follow your teachers out of the auditorium, out of the theater and back to your buses.

How can I let the performers know what I thought? We want to know what you thought of your experience at a UMS Youth Performance. After the performance, we hope that you will be able to discuss what you saw with your class. What did your friends enjoy? What didn’t they like? What did they learn from the show? Tell us about your experiences in a letter, review, or drawing. We can share your feedback with artists and funders who make these productions possible. Please send your opinions, letters or artwork to: UMS Youth Education Program, 881 N. University Ave., Ann Arbor, MI 48109-1011.

Coming to the Show



The Performance at a GlanceWho is Regina Carter?Regina Carter is a Grammy nominee, and is among the world’s elite jazz violin-ists. A native Detroiter, Regina began studying music at the age of four. Her repertoire of classical piano and violin gave way to the improvisational jazz she is famous for today. In December 2002, Regina became the first African Ameri-can, and the first jazz artist, to play Nicolò Paganini’s (see pg. 23) legendary violin. Her music spans many styles ranging from funk and Motown to classical and Cuban.

What is Jazz?Jazz is a form of American music. It is a mingling of the musical expressions of all the people who came to the United States, by choice or by force – people from Africa, Europe, Latin America – as well as the people who were already living in the U.S. Jazz is particularly American because it was created on U.S. soil (specifically New Orleans), from which all its cultural roots come. A key ele-ment to jazz is improvisation, or musical “thinking on the spot.” When impro-vising, jazz musicians create new music either completely out of their imagi-nation or based on existing music. Musicians either improvise as a group or through solos, where one musician plays alone while the others accompany.

What is a Quartet?A quartet is any musical ensemble consisting of four musicians. (The prefix quart means “four,” just as there are four quarters in a dollar.) Regina Carter will perform with a Quartet at the Youth Performance. Even though the quar-tet is named for Carter, it doesn’t mean she is the “lead” or only soloist. In this quartet, as in most others, musicians take turns playing solos. The other members of the Quartet are Mayra Casales on percussion, Alvester Garnett on drums, Chris Lightcap on the bass, and pianist Werner “Vana” Gierig.

What is a Standard?Standards are songs that are commonly heard in musicians’ repertoire. Many standards date back to the 1930s - 1950s, though any song, as long as musi-cians keep playing and reinterpreting it, can become a standard. Standards are most often heard in jazz or cabaret music. Many songs in Regina Carter’s reper-toire are standards, such as Billie Holiday’s “Don’t Explain” and Gershwin’s “Oh, Lady Be Good”.

“I have such

a passion

for jazz,

it’s not

even funny!”

-Regina Carter at the ArtServe Michigan Jazz Inservice, 2003


CITY

MO

MEN

TS

My father, Dan Carter, was the first of fourteen brothers and sisters to migrate to Detroit from the South to work at the Ford Motor Company. Here he met and married my mother Grace Williamson, a schoolteacher and Detroit native.

For many years, Detroit was a place where folks from all over the world came to find work in the automotive and music industries. Growing up in Detroit afforded me the opportunity to be exposed to and enlightened by people and music from diverse cultures. With the closing of many plants and the departure of Motown Records, Detroit’s cultural boom may not be as evident today. The city’s vibrant musical heritage is thriving, however, passed on by teachers like Marcus Belgrave and Barry Harris, and carried all over the world by countless musicians who were nurtured there.

The music on [Motor City Moments] is my story, growing up in Detroit, taking tap and ballet classes, violin and piano lessons, making mud pies, and drinking Vernor’s Ginger Ale.

- Regina Carter in the liner notes to her new CD, Motor City Moments

MOTOR

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Regina Carter: A Biography

“She can play

it hot, and

she can play it

cool, but she’ll

never play it

safe.”

-Charlie Rose, CBS NEws

Regina Carter was born in Detroit in the 1960’s to a Ford employee and a kindergarten teacher. She seemed to have a penchant for music at a very early age, and began studying piano at the ripe old age of two. Regina’s parents did not share her love of music, but felt it was essential for children to be well-rounded and disciplined in the arts. So, at the age of four, she was enrolled in a violin class that featured the Suzuki method, and soon developed a keen ear for classical music. (Suzuki is a Japanese method that teaches children to play the way children learn a language, basically by ear. Children, especially under the age of 12, have a great gift for this because the brain is still developing at this age. If children can play a tune back im-mediately, then they’re more apt to remember the melody.)

With each successive birthday, Regina’s violin teacher would add an additional half hour of practice time to her daily routine. By the time she reached adolescence, Regina practiced up to eight hours per day! He dedication and passion for the violin held its rewards. By the age of twelve, Regina was already making a name for herself, playing with the Detroit Sym-phony-easily the youngest person to join its rosters.

Regina attended Cass Tech High School in Detroit, where she recently received a Distinguished Alumni Award. But, it was not until Carter was 16, however, when a friend took her to see legendary violinist Stephane Grappelli, that the Detroit native realized that there was such a thing as jazz played on violin.

“Seeing him live was kind of what really did the trick for me,” said Carter about that fateful concert. “Seeing how much fun he was having -- the passion and freedom in the music -- I wanted to have that same experience whenever I played.”

She began listening to jazz artists such as Jean luc Ponty and Lucky Thomp-son, which further inspired her to think outside of the classic parameters of violin. Carter’s years in conservatory, where she continued to study classical music, were frustrating, as jazz remained elusive. “It seemed like this big secret, how you learned this music, and no one was willing to tell,” she said. It wasn’t until she enrolled in Oakland University and joined the college big band that a teacher sat her down in the saxophone section, gave her a list of songs to listen to, and told her to start transcribing solos, that the keys to jazz composition and improvisation were unlocked for her. As a college student, Carter took on a double major in classical music and African Ameri-can music at both the prestigious New England Conservatory and Oakland University in Rochester, Michigan, where she earned a Bachelor of Arts degree in Performance. Carter’s early musical experiences in her hometown of Detroit, as well as her membership in the Detroit Symphony Orchestra and the pop funk group Brainstorm, provided the experience she needed to record with artists rang-ing from pop icons Aretha Franklin and Patti LaBelle to some of the new di-vas in the R&B arena, including Mary J. Blige and Lauryn Hill. Her influences range from R&B to East Indian to classical music.


Carter has constantly found herself challenged to carve out a unique niche as a female jazz violinist in a world that still is not accustomed to female instrumentalists, to say nothing of musicians playing her chosen instru-ment. But Carter takes solace in her uniqueness. “I think everyone has their cross to bear no matter what they are,” said Carter. “So instead of focusing on any of that try and look at what you have and try and use that to your advantage.” It’s a formula that has apparently worked well for Carter, who in less than a decade has established herself as a leading young player on her instrument, and a top jazz improviser on any instrument, period. ”I think a lot of people look at the violin and they get a little nervous,” Carter notes. “They have a stereotype of what the violin is - very high, kind of shrill-sound-ing with long notes, and a lot of vibrato. It doesn’t have to be that at all, it can be a very fiery persuasive instrument and that’s how I like to use it. I don’t think of the music trying to fit the violin,” she continues, “or how to make the violin work in this music. For me, it just does. I’m not playing it as a violin. Instead of being so melodic, which I can be, I tend to use the instru-ment in more of a rhythmic way, using vamp rhythms or a lot of syncopated rhythms, approaching it more like a horn player does. So, I don’t feel that I have a lot of limitations - I feel like I can do anything.”

“My goal is

to continue

to write

and play music

that’s true to

me,

and if I

remember that

always,

no one can

take that

away from me.”

-Regina Carter

Regina Carter chose a road less traveled, and it is a decision that has made her into one of the hottest jazz artists today.

She has been named “World’s Greatest Jazz Violinist” by Downbeat Magazine for four years in a row!

Regina Carter recently received the Governor’s Arts Award through ArtServe Michigan.


Regina Carter continued...

For more information on

Paganini and The Cannon, see page

24 of this study guide.

December of 2001 marked a new evolution in American Jazz history. Regina Carter became the first female jazz musician to play Paganini’s Guarneri violin. This event was quite controversial to the Italian classi-cal fans and leading up to the concert there were some dissenters to the performance. Some felt that the violin should only be performed in a western European classical setting while others felt that it was “about time” that it should be used in some other settings. Considering that jazz is, in a sense, America’s classical music it would be ground breaking to have Regina perform on the instrument. That evening in Genoa, Italy, Regina performed to a sellout crowd, and received an encore and two standing ovations. As an added heartfelt bonus dear to her own cause, the concert was a benefit for victims and families of September 11.

The Guarneri violin is about 260 years old, and is kept under lock and key in the city of Genoa. It once belonged to the famous virtuoso Paga-nini, who bequeathed it to the city of Genoa upon his death. The violin is referred to as “Il Cannone” or “The Cannon” because it produces a loud, booming sound. Since Paganini’s death, the violin is only played once a year by the winners of the famous Paganini Competition. For any violinist, it is one of the biggest honors you can receive.

The Paganini Commission, a government agency charged with the physi-cal upkeep of the instrument, and the Paganini Institute, which is in charge of its legacy, helped make the decision whether or not Regina Carter should be allowed to play the world-famous violin. In his day, Paganini astounded audiences with his fiery musical technique and wild improvisations. Regina had to endure a rigorous examination of her musical skills, and training. They even contacted her childhood classi-cal music teacher! After much research on Regina Carter, the officials agreed to let her play. To the judges, Regina Carter had earned the right to play because of her own daring compositional and improvisational gifts...then the fun began! The violin was escorted by armed guards into the room where Regina was waiting, and the instrument’s caretaker

checked the humidity of the room and pulled the shades before the case was opened. Regina said she was very nervous to even touch it at first, and previously had nightmares about tripping and falling with the violin in her hands. The violin itself was bigger and wider than the one she was used to, but the real difference came with the warm, rich sound.

Regina Carter has made history by playing the violin, and has even added to its folklore. She released an album a

year later in 2002 entitled “Paganini: After a Dream” which showcases her talent as both a jazz and classically trained musician. With her talent, respect for the instrument, and stoic confidence, Regina Carter has won over even the toughest critics. With the beauty of classical jazz standards as a framework, Regina Carter weaves in and out with her jazzy improvi-sations, scattering beauty along the way and sounding as if she has played “The Cannon” since childhood.

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“Acoustic Alchemy”from J. Michael Howard Studios, copyright 2001,www.artofcool.com


Jazz: City InfluenceBackgroundJazz is a form of American music. It is a mingling of the musical expressions of all the people who came to the United States, by choice or by force – people from Africa, Europe, Latin America – as well as the people who were already living in the U.S. Jazz is particularly American because it was created on U.S. soil (specifically New Orleans), from which all its cultural roots come.

By the early 20th century, the U.S. already had its own special blend of musical traditions. Hymns, work songs, field hollers, chants, classical music, Negro spirituals, gospel songs, the blues, and ragtime were some of the types of music that Americans created for religious, work, and social purposes. Jazz incorporated all of these styles.

Jazz quickly spread and established itself as a part of American culture in the 1910s and 1920s. In fact, the 1920s are often referred to as the “Jazz Age.” It was during this time that new channels by which jazz could be heard spread rapidly: the phonograph, the radio and the talking motion picture made it possible for millions to hear jazz.

It was also at this time that a great number of Black Americans migrated north in search of better jobs and a way of life. Jazz went with them everywhere, but it was centered in four cities: New Orleans, Chicago, Kansas City, and New York. Over time the form also developed sub genres: swing, bebop, Latin, cool jazz, free jazz, and funk and fusion.

New OrleansNew Orleans has the distinction of being the birthplace of jazz; it was there that the transition from the blues to jazz took place. In a city made up of Blacks, Whites, Creoles, and other peoples with their own musical traditions, and with military brass bands present at every social, political or sporting event, it is no wonder that jazz was influenced by so many musical traditions.

Called “jazz” at first, this music clearly had a unique sound. The polyphonic structure of New Orleans jazz consisted of three separate and distinct melodic instruments - the cornet, clarinet, and trombone - played together with great artistry. The cornet usually led the way, playing the basic melodic line and emphasizing the strong beats. The trombone supported the cornet, accenting the rhythm with huffs and puffs and filling out the bottom of the design with low smears and growls. The clarinet took the part of the supporting voice and provided rich embellishment. When these instruments improvised together (called “collective improvisation”), they sounded something like a church congregation singing a spiritual: the cornet was the song leader, and the

“In jazz, it’s

like learning

a foreign language...

not only

learning the

words but

learning the

accents.”

-Regina Carter


First...we just

need to learn

how to play

these

instruments!”

-Regina Carter

trombone and clarinet wove their separate melodic lines into the basic text. The drums, bass, guitar, or banjo kept the rhythm and harmony going.Since many New Orleans musicians didn’t read music, they played from memory and improvised, which gave new rhythms and flourishes to written marches, society songs, and ragtime pieces. They naturally turned to the blues and older traditions of folk singing to create their new music.

ChicagoWhen Blacks migrated to northern cities in the 1920s, they brought blues, stomps, and catchy dance tunes with them. Several key musicians like King Oliver, Jelly Roll Morton, and Louis Armstrong moved from New Orleans to Chicago where an audience for jazz developed. Since Chicago was the biggest railroad center in the world, its industries drew Black workers from throughout the South, and the city soon became the center of jazz activity.

Kansas CityDuring the 1920s in Kansas City and the Southwest, a new style of jazz was also forming and flourishing whose roots were in orchestral ragtime and rural blues. Here an emphasis was placed on the use of saxophones, the walking bass line, and the hi-hat cymbal, which added the characteristic rhythmic swing. Perhaps most importantly, the players memorized relatively simple melodies to give the soloists freedom to concentrate on rhythmic drive. Bennie Moten, William “Count” Basie, and other band leaders advanced this style of jazz which became known as “Kansas City 4/4 Swing.” This sound is distinctive due to its rhythm and shout style vocals - four solid beats to the bar stomped by a rugged rhythm section and accompanied by a singer, shouting the blues away.

New YorkWhen jazz musicians began to congregate in Harlem in the 1920s, it was home to a host of great ragtime pianists who had developed a style called stride. The school of stride piano, founded by James P. Johnson, features the left hand pounding out powerful single bass notes alternating with mid-range chords. This way of playing freed jazz rhythmically by allowing the left hand to jump in wide arcs up and down the bass end of the piano.

Fletcher Henderson and Don Redman also introduced a new style of jazz orchestration. They led a nine-piece band and treated the sections of this relatively large ensemble as individual instruments of a smaller group. Henderson used brass and reed sections as separate voices, pitting them against each other in call-and-response form. He left room for improvisation in solo passages against the arranged background.


Jazz: Style Influence

“It don’t mean

a thing if it

ain’t got that

swing!”

-Duke Ellington

The “Swing” EraIn the ‘30s and ‘40s, swing became the popular new catch phrase, giving jazz a new look and a new name. Swing music differed from earlier jazz styles because the size of the band had grown from around five musicians to over twelve. The big band consisted of three sections: reed instruments, brass instruments, and rhythm instruments. The brass and reed sections used call-and-response patterns, answering each other with riffs -- repeated phrases that they threw back and forth. All of it was tinged with a blues tonality.

Swing became commercialized as the music was spread by the many dance bands, the popularity of live radio broadcasts, and the expansion of the recording industry. One of the most prolific and important composers in the Swing Era and throughout the 20th century was Edward Kennedy “Duke” Ellington.

BebopThe next major break in jazz styles occurred in New York in the mid-1940s among a group of musicians meeting in after-hours jam sessions. These players felt they had outgrown swing and big band arrangements and were frustrated by the lack of opportunity to experiment and “stretch out.” They began changing the music. Harmonies became more complex, tempos were accelerated, melodies were often difficult to hum or whistle, chords and scales sounded strange on first hearing, and rhythms were juggled in complicated patterns.

This new style of jazz was called bebop, or bop. Its pioneers were trumpeter Dizzy Gillespie and saxophonist Charlie Parker. Thelonious Monk, a composer and pianist, was also very influential due to his unique sense of rhythm, time and chord structures. Although bop was largely improvised, a bop number customarily began and ended with a written-down or memorized chorus played in unison. Between these two choruses, each member of the group took a solo turn. These solos are what distinguished the musicians and their sense of jazz music; they required a musicality that went beyond the training and technique of the average jazz musician.

LatinLatin Jazz also boomed during the 1940s. Latin music has influenced jazz since its earliest days: the Creole music of New Orleans used a rumba rhythm, and Jelly Roll Morton used what he called a “Spanish Tinge” in his music. However, Latin music made an indelible mark on jazz orchestras and small bop groups of the 1940s. In the early 1940s, the band leader Machito formed a group called the Afro-Cubans, and in the late 1940s, Dizzy Gillespie established his own Afro-Cuban jazz orchestra. Chico O’Farrill, Mario Bauzá, Ray Baretto,and other Latin jazz masters leave a rich legacy as well.



The BluesThe blues can be found in all periods and styles of jazz. It’s the foundation of the music. The blues is defined as many things -- a type of music, a harmonic language, an attitude towards playing, a collection of sounds -- but mostly the blues are a feeling. It is happy, sad, and everything in between, but its’ intention is always to make you feel better, not worse; to cheer you up, not bring you down.

The blues were born out of the religious, work, and social music of Southern black people during the late 1800s. It is the foundation for many kinds of music: R & B, rock ‘n’ roll, and jazz. It’s fair to call the 20th century in American music the “Blues Period.”

In its most common form, the blues consist of a 12, 8, or 4 bar pattern. The first line is played and then repeated, and the third line is a rhyming line. It usually follows the harmonic progression of the I, IV, and V chords, although there are a number of variations. The blues can be sung (some of the best blues feature very poetic lyrics), played by a solo instrument, or played by an ensemble.

One important aspect of the blues is the pattern of call-and-response. Rooted in traditional African music, call-and-response manifested in the U.S. in the form of Negro work and church songs. In these styles, the leader of the work gang or church congregation sang the call, while the remaining members responded. In a blues tune, call-and-response becomes the dialogue between instruments or between instrumentalists and vocalists.

A second important device used in the blues is the musical break. A break is a disruption of the established rhythm or tune. During the break a soloist may provide a musical statement known as a fill. The fill serves the purpose of bringing the band to a new chorus or part of the song.

Third, band members may imitate vocal lines and/or intonations with their instruments. Vocal sliding and slurring are turned into the bent and blue notes typical of blues guitar and wind and brass instruments, while the trumpet and trombone mimic vocal timbre and rasp, many times by the use of mutes.

Most importantly, the blues is an art form and as such is both a reflection and a propeller of life. In playing the blues, musicians convey both what is seen and heard around them as well as what they feel. Within this creative process, the artist is reaching beyond the moment, challenging himself, his fellow band members, and his listeners to move with him, into the next bar of music, the next solo, or the next song, but always into something new. This is the real lifeline of the blues and jazz traditions that allows them to constantly change and evolve.

By the turn of the century, New Orleans musicians began to blend the blues with the other kinds of music they heard all around them -- ragtime, military marches, dances from the Caribbean, and more -- while keeping their soulful feeling. The result was jazz.

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Cool JazzCool jazz came into popularity in the early 1950s. This lyrical style was sometimes called West Coast jazz due to the high number of musicians involved who were employed in the Hollywood studio industry. Pianists Lennie Trestano, Bill Evans, and Dave Brubeck; saxophonists Paul Desmond, Lee Konitz, and Stan Getz; trumpeter Chet Baker, and the Modern Jazz Quartet participated in the “cool” style. Miles Davis’s recordings in this style, such as “Sketches of Spain,” “Porgy and Bess,” and “Birth of the Cool,” have had a lasting impact on the jazz tradition. (Herbie Hancock played in the Miles Davis Quintet for several years.) One of the hallmarks of cool jazz is its emphasis on melodies. It tends to be less bombastic and lower energy than earlier bebop or big band, instead leaning towards a more casual, laid-back style.

Free JazzRight behind cool jazz came the free jazz tradition of the 1960s and 1970s. Free jazz artists, including saxophonist Ornette Coleman, who led the free jazz movement, looked for new inspirations and new ways to present their music. Musicians such as trumpeter John Coltrane became fascinated by Indian music, particularly the work of sitarist Ravi Shankar. Interest in Eastern and other exotic music in general grew rapidly, and a wide variety of ethnic influences were portrayed in the broadening jazz tradition. Along with the fascination for Eastern music came a curiosity in Eastern religions. Many jazz artists looked to music as a way to express religious feelings of all different faiths.

Jazz also became a forum for expressing political or social viewpoints. Bassist Charles Mingus incorporated many politically active messages into his lyrics and song titles. His music also drew heavily from African music roots, involving mimicking human voice, vocal shouts, and the traditional call-and-response. He also had his musicians perform by memory because he wanted them to liberate themselves from the page, internalize the music, and play from the heart.

Composer-pianists Sun Ra (born Berman Blount) and Cecil Taylor made important steps in free jazz by incorporating other art forms into their performances. Both recognized the way dance could enhance an aesthetic experience, and they occasionally included dancers and costumes in their performances.

Funk, Fusion, and Electronic JazzHerbie Hancock is one of jazz’s leading innovators in funk, fusion, and electronic jazz. Funk rhythms, often featuring a rhythm vamp by twanging electric guitars, were explored both by jazz artists (including Herbie Hancock’s visionary album Headhunters, featuring “Chameleon,” featured on the enclosed CD) and mainstream pop artists and were affiliated with “urban” sounds.

Jazz: Style Influence continued...

“There is an

art to listening

that you have

to learn and

understand...”

-Regina Carter


Fusion jazz occurred when jazz artists, including Hancock, took jazz as they knew it and incorporated new elements, anything from Brazilian rhythms to electronic – that is, music created by computers or machines instead of naturally resonating instruments. Electronic jazz has, at its heart, the invention of the synthesizer, which began as an electronic piano but later flourished to include sampling of sounds from daily life and manipulation of sound production to resemble other instruments. Acoustic instruments – such as guitars, can have their sound fed through sound boards that can manipulate and electronically alter the final product as heard by the audience.

Jazz TodayJazz continues to thrive and now surfaces across the spectrum from pop to hip-hop to fusion to straight-ahead jazz ensembles. It continues to evolve through jazz musicians’ exploration of the music’s roots and past masters and their own rethinking and reinterpreting of jazz styles.

Quoted from What is Jazz? Jazz Education Guide, Jazz at Lincoln Center

Recommended ListeningSwing Era:Count Basie - The Complete Decca RecordingsDuke Ellington - Reminiscing In TempoBenny Goodman - Carnegie Hall ConcertBillie Holiday - The Quintessential Billie Holiday Vol. 4 (1937)

Bebop:Dizzy Gillespie and Charlie “Bird” Parker - Groovin’ HighCharlie “Bird” Parker - The Charlie Parker StoryBud Powell - The Amazing Bud Powell Vol. 1Thelonious Monk - Genius Of Modern Music Vol. 2

Latin:Tito Puente - Top Percussion Sabu Martinez - Jazz Espagnole Eddie Palmieri/Cal Tjader - El Sonido Nuevo

Blues:Robert Johnson - The Complete Recordings (Columbia/Legacy)Sonny Boy Williamson - The Bluebird Recordings 1937-1938 (Bluebird/RCA)Son House - Delta Blues (Sony)

Cool Jazz:Miles Davis - Birth Of The CoolStan Getz - FocusDave Brubeck - Time Out

Free Jazz:John Coltrane - A Love SupremeOrnette Coleman - The Shape Of Jazz To ComeCharles Mingus - Mingus Ah Um

Funk, Fusion, and Electronic Jazz:Miles Davis - Dark MagusWeather Report - Black MarketHerbie Hancock - HeadhuntersJohn McLaughlin - Extrapolation

The Smithsonian National

Museum of American

History has declared

April as Jazz

Appreciation Month!


The Instruments of JazzLesson 1: Communicate with Movement

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SwingSwing is the basic rhythmic attitude of jazz and is so important to the music that if a band can’t swing, then it can’t play jazz well. In the words of the great Duke Ellington, “It don’t mean a thing if it ain’t got that swing.” Swing depends on how well coordinated or “in sync” the players are and the style and energy with which they play. It propels the rhythm forward in a dynamic, finger snapping way. However, rhythm alone does not produce swing. It also involves timbre, attack, vibrato, and intonation, which all combine to produce swing. Additionally, swing is the name of a jazz style that evolved in the 1930s, characterized by large ensembles playing complex arrangements to which people danced.

ImprovisationImprovisation is the spontaneous creation of music as it is performed. When a musician improvises, he or she in invents music at the moment of performance, building on the existing theme of the music. Jazz generally consists of a combination of predetermined and improvised elements, though the proportions of one to the other may differ. Sometimes improvisation is described in terms of its role within a band. Generally, the ensemble plays a chorus or succession of choruses during which an individual player improvises on the harmonies of the theme. In collective improvisation, however, the members of a group participate in simultaneous improvisations of equal or comparable importance. This builds a relationship between the members of the ensemble, helping them to “talk” to and challenge each other. It also allows a musician to be creative and show his or her personality. Through experimenting and developing personal styles of improvisation, musicians are able to challenge and redefine conventional standards of virtuosity.

MelodyJazz melodies are primarily rooted in the blues tradition. The blues scale is derived form the pentatonic (a five note) scale. Compared to the European scale (collections of seven notes know as diatonic scale in which each note has a specific relationship to the others to create a major or minor scale), the blues scale uses blue notes. Blue notes are flatted notes, generally a half step away from the obvious major scale note. Blue notes and bent notes, which the musician creates by varying the pitch, give jazz and blues melodies their unique color.

HarmonyHarmony is created by playing certain notes within a chord that compliment the melody. Harmonic progressions in jazz move in a parallel motion with the melody. Structurally, the 7th chord is the fundamental harmonic unit.

The Elements of Jazz

Jazz was the

music that

spoke to me...

I enjoy the

freedom...

The freedom to

play it my way.”

-Regina Carter


The Elements of Jazz continued...

TextureThe importance of texture in jazz reflects a central principle of the jazz tradition: the style of playing can be just as important as the notes that are played. As a musical concept, texture can mean a number of things. It can refer to the instrumentation or voicing of harmonies or to the timbre -- the tone color produced by instruments. The latter is the most distinguishing texture in jazz. In European music, timbre generally stresses an even tone, a clear and “pure” pitch. In the blues tradition, instruments can use this sound but may choose to compromise the steadiness of timbre in favor of other effects such as the imitation of the human voice. This accounts for the scoops, bends, growls, and wails heard in many jazz and blues melodies. Each jazz musician has his or her own timbral effects, and listeners can recognize various players by their individual sounds.

RhythmThe way musicians accent a beat and its subdivisions creates the rhythmic nuances that give jazz its character. In some musical styles, the beat is subdivided into two equal parts. But in jazz, the beat is divided in a lilting fashion that implies three, rather than two subunits. Much of the vitality in jazz lies in the irregularity of its rhythm and the deliberate displacement of the expected accents know as syncopation. Fundamental to jazz rhythms, syncopation involves the shifting of accents from stronger beats to weaker ones.

InstrumentsA jazz band can consist of any combination of musicians. One person can play jazz and play it beautifully. Most often, however, a jazz band consists of a rhythm section and one or more horns. The band can be small, such as a trio, or large, like a big band with as many as 18 people.

Big bands are made up of three sections: woodwind, brass, and rhythm. Woodwind sections usually have several saxophones, a clarinet, and sometimes a flute; brass sections have trumpets, trombones, and sometimes a tuba. The rhythm section almost always has a piano, double bass, and drums and sometimes includes guitar, banjo, vibraphone, or other percussion instruments. Sometimes a vocalist accompanies a band, filling the same role (or adding to it) as the brass or woodwind sections. Today, almost any type of instrument can be used in jazz ensemble, from electric or synthesized sounds to world instruments. A jazz big band is considered the American orchestra. (See page 30 for photos of the instruments.)

Source: What is Jazz? Jazz Education Guide. New York: Jazz at Lincoln Center, 2000.

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22 | www.ums.org/education The

Can

non


Paganini and “The Cannone”

Nicolò Paganini was born in Genoa October 27th to Antonio Paganini and Teresa Bocciardo. His father began teaching him the mandolin and guitar; and later he take up the violin, first under Giovanni Cervetto, then under Giacomo Costa, choirmaster of Genoa cathedral, and the opera composer Francesco Gnecco.

The Romantic period was at its height when Paganini, acclaimed throughout Italy, made his debut in the theatres of Europe. He was already seriously ill and should have given up touring years before, but Metternich heard him perform in Rome and urged him to come and play in Vienna. His illness had made him thinner than ever. Paganini himself tells us that he was so unusually skinny that “the other children called me ‘spasuia’” (“broomstick” in Geno-ese dialect). His physical appearance and constitution became more marked with age; it was the first thing that his audience, noticed about him and sub-sequently described in their letters and diaries. But all this was forgotten as soon as he placed his bow on the strings of his violin.

Paganini’s violin was created in Cremona in 1743, the work of the violin-maker Giuseppe Bartolomeo Guarneri who, with his brother Pietro, was the last craftsman in the family dynasty which upheld the city’s musical traditions for three generations. The instrument bears an original label, marked with the date 1742. Recent studies by violin-makers date the violin one year later, that is, just before Guarneri died in Cremona in1744.

Today the Cannon, or “Cannone” in Italian, is played only by a select number of musicians. It was bequeathed to the city of Genoa, Italy upon Paganini’s death. All principal parts of the “Cannone” have survived absolutely intact to the present-day, and this fact confirms its uniqueness. Since 1851, the violin, together with other Paganini memorabilia, has been kept in the seat of the City Hall of Genoa. A panel of experts take care of its custody and con-servation. Many famous violinists have performed with the violin in Italy and abroad but, it remains a privilege destined to the winner of the International Violin Competition “Premio Paganini” (Paginini Competition) to play the anti-quated and precious instrument.

Portrait of Nicolò Paganini by P. Palagi, 1818.

Regina Carterplaying

“The Cannone”

Please note:Regina Carter will not be playing the “Cannone” at the UMS Youth Performance.


Students at Go Like the Wind! Montessori School during a UMS classroom visit, November 2001.

Less

on P

lans


Lesson Plan Overview


Want More Lesson Plans?

Visit the KennedyCenter’s ArtsEdge website, the nation’s most comprehensive source of arts-based lesson plans.

www.artsedge.kennedy-center.org

IntroductionThe following lessons and activities offer suggestions intended to be used in

preparation for the Youth Performance. Teachers may pick and choose from

the cross-disciplinary activities and can coordinate with other subject area

teachers. The lesson plans are meant as aids or guideline. You may wish

to use several activities, a single plan, or pursue a single activity in greater

depth, depending on your subject area, the skill level or maturity of your

students, and your intended learner outcomes.

Learner OutcomesThe lesson plans that follow are based upon the following observable

outcomes:

• Each student will develop a feeling of self-worth, pride in work, respect,

appreciation and understanding of other people and cultures, and a desire

for learning now and in the future in a multicultural, gender-fair, and

ability-sensitive environment.

• Each student will develop appropriately to that individual’s potential, skill

in reading, writing, mathematics, speaking, listening, problem solving, and

examining and utilizing information using multicultural, gender-fair and

ability-sensitive materials.

• Each student will become literate through the acquisition and use of

knowledge appropriate to that individual’s potential, through a

comprehensive, coordinated curriculum, including computer literacy in a

multicultural, gender-fair, and ability-sensitive environment.


Lesson Plan Overview


Meeting Michigan Standards

Arts EducationStandard 1: Performing All students will apply skills and knowledge to perform in the arts.Standard 2: Creating All students will apply skills and knowledge to create in the arts.Standard 3: Analyzing in Context All students will analyze, describe, and evaluate works of art.Standard 4: Arts in Context All students will understand, analyze, and describe the arts in their

historical, social, and cultural contexts.Standard 5: Connecting to other Arts, other Disciplines, and Life All students will recognize,

analyze, and describe connections among the arts; between the arts and other disciplines; between the arts and everyday life.

English Language ArtsStandard 3: Meaning and Communication All students will focus on meaning and communication

as they listen, speak, view, read, and write in personal, social, occupational, and civic contexts.

Standard 5: Literature All students will read and analyze a wide variety of classic and contemporary literature and other texts to seek information, ideas, enjoyment, and understanding of their individuality, our common heritage and common humanity, and the rich diversity of our soci-ety.

Standard 6: Voice All students will learn to communicate information accurately and effectively and demonstrate their expressive abilities by creating oral, written, and visual texts that enlighten and engage an audience.

Standard 7: Skills and Processes All students will demonstrate, analyze, and reflect upon the skills and processes used to communicate through listening, speaking, viewing, reading, and writing.

Standard 12: Critical Standards All students will develop and apply personal, shared, and academic criteria for the enjoyment, appreciation, and evaluation of their own and others’ oral, written, and visual texts.

Social StudiesStandard I-2: Comprehending the Past All students will understand narratives about major eras of

American and world history by identifying the people involved, describing the setting, and sequencing the events.

Standard I-3: Analyzing and Interpreting the Past All students will reconstruct the past by comparing interpretations written by others form a variety of perspectives and creating narratives from evidence.

Standard II-1: People, Places, and Cultures All students will describe, compare, and explain the locations and characteristics of places, cultures, and settlements.

Standard III-3: Democracy in Action All students will describe the political and legal processes created to make decisions, seek consensus, and resolve conflicts in a free society.

Standard VII-1: Responsible Personal Conduct All students will consider the effects of an individual’s actions on other people, how one acts in accordance with the rule of law, and how one acts in a virtuous and ethically responsible way as a member of society.

MathStandard I-1: Patterns Students recognize similarities and generalize patterns, use patterns to create

models and make predictions, describe the nature of patterns and relationships, and construct representations of mathematical relationships.

Standard I-2: Variability and Change Students describe the relationships among variables, predict what will happen to one variable as another variable is changed, analyze natural variation and sources of variability, and compare patterns of change.analytic and descriptive tool, identify characteristics and define shapes, identify properties, and describe relationships among shapes.

UMS can help you meet Michigan’sCurricular Standards!

The activities in this study guide, combined with the live performance, are aligned with Michigan Standards and Benchmarks.

For a complete list of Standards and Benchmarks, visit the Michigan Department of Education online:

www.michigan.gov/mde

Insert interesting text here


ScienceStandard I-1: Constructing New Scientific Knowledge All students will ask questions that help

them learn about the world; design and conduct investigations using appropriate methodology and technology; learn from books and other sources of information; commu-nicate their findings using appropriate technology; and reconstruct previously learned knowl-edge.

Standard IV-1: Matter and Energy All students will measure and describe the things around us; explain what the world around us is made of; identify and describe forms of energy; and explain how electricity and magnetism interact with matter.

Standard IV-3: Motion of Objects All students will describe how things around us move and explain why things move as they do; demonstrate and explain how we control the motions of objects; and relate motion to energy and energy conversions.

Standard IV-4: Waves and Vibrations All students will describe sounds and sound waves; explain shadows, color, and other light phenomena; measure and describe vibrations and waves; and explain how waves and vibrations transfer energy.

Career and EmployabilityStandard 1: Applied Academic Skills All students will apply basic communication skills, apply

scientific and social studies concepts, perform mathematical processes, and apply technology in work-related situations.

Standard 2: Career Planning All students will acquire, organize, interpret, and evaluate information from career awareness and exploration activities, career assessment, and work-based experiences to identify and to pursue their career goals.

Standard 3: Developing and Presenting Information All students will demonstrate the ability to combine ideas or information in new ways, make connections between seemingly unrelated ideas, and organize and present information in formats such as symbols, pictures, schematics, charts, and graphs.

Standard 5: Personal Management All students will display personal qualities such as responsibility, self-management, self-confidence, ethical behavior, and respect for self and others.

Standard 7: Teamwork All students will work cooperatively with people of diverse backgrounds and abilities, identify with the group’s goals and values, learn to exercise leadership, teach others new skills, serve clients or customers and contribute to a group process with ideas, suggestions, and efforts.

TechnologyStandard 2: Using Information Technologies All students will use technologies to input, retrieve,

organize, manipulate, evaluate, and communicate information.Standard 3: Applying Appropriate Technologies All students will apply appropriate technologies

to critical thinking, creative expression, and decision-making skills.

World LanguagesStandard 5: Constructing Meaning All students will extract meaning and knowledge from

authentic non-English language texts, media presentations, and oral communication.Standard 6: Linking Language and Culture All students will connect to a non-English language

and culture through texts, writing, discussions, and projects.Standard 8: Global Community All students will define and characterize the global community.Standard 9: Diversity All students will identify diverse languages and cultures throughout the world.

HealthStandard 3: Health Behaviors All students will practice health-enhancing behaviors and reduce

health risks.

Each UMS lesson

plan is aligned to

specific State of

Michigan

Standards.

Insert interesting text here


The videotape accompanying this study guide includes information on the his-tory and performance of jazz. It gives an overview of the various types of musical instruments included in Ms. Carter’s quartet, as well as a question and answer session regarding jazz music today.

Regina Carter and Quartet, recorded live at the Kennedy Center for the Performing Arts in conjunction with the Prince William Network, April, 2002.Approximate running time: 60 minutes.

The Regina Carter Quartet consists of the following musicians:

Werner “Vana” Gierig, piano Daryl Hall, bass Alvester Garnett, drums Mayra Casales, percussion

The following recordings by Regina Carter are available from Verve Records:

Using Multimedia

This video contains information which is suitable for all students attend-ing the Regina Carter & Quartet Performance.

Freefall (2001) Regina Carter (1995)

Motor City Moments (2000) Rhythms of the Heart (1999)

Something for Grace (1997) Paganini” After a Dream (2003)

Jazz Vocabulary

A solid foundation in the terms and techniques of music is important to the development of any jazz musician. Study and learn the terms listed below.

AABA form – A song pattern. Each letter represents a musical pattern. In AABA, the first pattern is played twice, then the second pattern once, then the first pattern again. This is a common song pattern in jazz.

Arrangement – The orchestration of a musical work; i.e., choosing which instruments play at what time and where improvisation can be.

Bebop– A jazz style developed during the late 1930s and early 1940s, characterized by very fast tempos, complex melodies, and unusual chords. Bebop, which emphasized the inventiveness of soloists, is usually played in small groups.

Blues – A non-religious folk music that rose among African-Americans during the late 19th century and features several African influences: a call-and-response pattern, blue notes, and imitation of the human voice by musical instruments. Classic blues have a twelve-measure, three-line form, with the second line repeating the first.

Blues note – Any note that is bent or smeared, generally a half step away from the obvious note.

Blues scale – A musical scale based on the pentatonic (five-note) scale.

Call-and-Response – A musical “conversation” when players answer one another; exchanges between instrumentalists.

Chord – A combination of usually three or more notes sounded/played simultaneously or one after another.

Cool Jazz – A jazz style that developed during the late 1940s and throughout the 1950s in reaction to bebop. Cool jazz has a clean sound, complex textures, and a deliberate tone, often with a slight lagging behind the beat.

Creole – A person born in Louisiana of French, African, and sometimes Spanish ancestry. Black Creoles were often of lighter skin and sometimes considered themselves to be of a higher social class than other blacks; before the Civil War, they were more likely to be free citizens than slaves.

Gig – A job, usually a paid one, to play music. Musicians will say they “have a gig,” indicating they will be performing for an audience.

Harmony – The relation of the notes in a musical piece, or the playing of two or more notes at the same time. The patterns formed by the notes create the key that the piece is in and, with rhythm, give it expressiveness and momentum.

Improvisation – Music played without written notation; an “instant composition” that is central to jazz.

Jam Session – An informal gathering of musicians improvising and playing on their own time, usually after hours.

Key – The principal scale of a piece, in which many or most of its notes are played.

Melody – A succession of notes that together form a complete musical statement; a tune.

Meter – The basic succession of beats in a musical piece, the framework against which the rhythm is played.

Pitch – A note or musical tone.

Riff – A repeated brief musical phrase used as background for a soloist or to add drama to a musical climax.

Seventh Chord – A four-note chord that includes a triad and a note a seventh above the tonic. In jazz, the three most common seventh chords are the major seventh (e.g., C E G B), minor seventh (e.g., C E-flat G B-flat), and dominant seventh (e.g., C E G B-flat).

Soloist – A singer or instrumentalist performing a song or part of a song alone. Standard Song Form – A 32-bar form first popularized in the twenties and thirties by the composers of popular songs; along with the blues form, this AABA form (A represents a 32-bar musical pattern, and B is a different 32-bar musical pattern) is a standard one for many jazz compositions.

Swing – The commercial dance music associated with the 1930s and early 1940s and played by the big bands; also, the element in jazz that defines it and separates it from classical music. A style of playing in which the beats that are normally unaccented in classical music are given equal importance to the accented beats.

Syncopation – The shifting of a regular musical beat to place emphasis on a normally unaccented beat.

Tempo – How fast the music is played.

Texture – The instrumentation of a musical passage or the sound and qualities of an instrument or voice.

Source: What is Jazz? Jazz Education Guide. New York: Jazz at Lincoln Center, 2000.


FREE SPACE

Before the game begins, fill in each box with one of the vocabulary words or phrases below. Your teacher will call out the definition for one of the words below. If you’ve got the matching word on your board, cover the space with your chip. When you’ve got a horizontal, vertical, or diagonal row of five chips, call out WORD-O!

Jazz Vocabulary: WORD-O

AABA form arrangement bebop blues blues noteblues scale call & response chord cool jazz creolegig harmony improvisation jam session keymelody meter pitch riff seventh chordsoloist swing syncopation tempo texture


ObjectiveFor students to understand three important elements in music (melody, har-mony, and rhythm) and how instruments in jazz fulfill these roles. This lesson may be better suited to younger students.

StandardsArts Education 3: AnalyzingMath I-1: Patterns

MaterialsYour voice or a musical instrument

Opening DiscussionAt different times, instruments in jazz perform one of three jobs: being the melody, providing the harmony, or setting the rhythm. The melody is the tune. The har-mony is the notes above and/or below the tune that make the tune sound richer. The rhythm is the beat.

Activity1. Ask the class to choose a common childhood song. We recommend simple tunes like “Mary Had a Little Lamb” or “Jingle Bells.”2. First, ask the class to sing the song (or the first verse) as a group. Remind them that this “main tune” is the melody; it’s the part of the song everyone knows best.3. Now, ask students to hold their hands over their heart and to hear their heartbeat. It has a regular pattern or rhythm. Ask students to tap their desk at the same time they hear a heartbeat.4. Next, ask them to sing the song again, while they tap the rhythm on their desks. Melody and rhythm are working together.5. Ask them to sing and tap again. This time, join the singing by adding a harmony line that you sing or play.6. Now take turns altering one of the elements. What happens if the melody changes? If the rhythm accelerates or slows down? If the harmony complements the melody? If it clashes?7. Show students the instruments on the following page. Point out that in most jazz, rhythm is played by the drums. Often, the bass “keeps time” (keeps the rhythm), too. The piano can be a rhythm instrument or a melody instrument. (Even though the quartet is named for Herbie Hancock, he doesn’t always play the melody.) The saxophone, especially in Hancock arrangements, is often a melody instrument.

Discussion/Follow-upWhen students listen to the samples in the coming lessons, ask them to listen for which instruments are playing which roles.

Melody, Harmony, and Rhythm

This lesson was designed with the young learner in mind, but can be adapted for use

with older students.

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ObjectiveFor students to distinguish syncopated beats. This lesson may be better suited to younger students.

StandardsArts Education 2: Creating; 4: Arts in ContextCareer and Employability 7: Teamwork

MaterialsNone

Opening DiscussionCreate a definition for syncopation for the class. The Kennedy Center defines synco-pation as, “a type of rhythm that is the shifting of accents and stress from what are normally strong beats to the weak beats. Syncopation often involves playing one rhythm against another in such a way that listeners want to move, nod heads, clap or tap hands, or dance.” A simple mnemonic system for remembering this is to say “Syncopation is putting the em-PHA-sis on a different syl-LAB-le.”

ActivityTo illustrate syncopation, try this activity:

1. “Happy Birthday” is usally accented like this, with the stress on the strong beats:

HAP-py BIRTH-day

But if we syncopated these words, we’d choose different syllables to stress, so we might pronounce it: hap-PY birth-DAY

As a class, chant “happy birthday” with the usual accents, then change it by placing unexpected, syncopated accents into the words.

2. Now clap your hand and move your body to the beat. Are you keeping a steady rhythm, or are you clapping each time you use a syncopated beat?

3. Try this activity with other phrases or with the names of your classmates. For example, “Herbie Hancock” is usually pronounced “HER-bie HAN- cock,” but a syncopated pronunciation could be “her-BIE han-COCK.”

4. Try creating a syncopated version of “Happy Birthday” or other familiar tunes by choosing unusual syllables to accent.

Discussion/Follow-upHow does changing the accents/syncopation change the mood? the tempo?

Adapted from the Kennedy Center’s Cuesheet “What is Jazz?” created for the Billy Taylor Trio.

Syncopation

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ObjectiveFor students to gain increased appreciation for and understanding of Regina Carter and Quartet by observing the performance closely.

StandardsArts Education 3: Arts in ContextLanguage Arts 3: Meaning and CommunicationSocial Studies II-1: People, Places, and Cultures

MaterialsNone (This activity could also be done with the video Regina Carter and Quin-tet. (Originally produced by the Prince William Network and The Kennedy Center for the Performing Arts.)

Opening DiscussionGoing to a live performance is different from listening to a CD. The audience gains visual cues and clues that can enhance the music (or even detract from it). The fol-lowing questions can help you feel more “tuned into” what is happening onstage.

ActivityEncourage students to look for the following at the Youth Performance.

1. Who appears to be leading the musicians? Anyone? Is it Regina Carter, for whom the group is named?

2. Does the leader play the melody, harmony, or rhythm? Does the same person lead each piece?

3. How does the leader use his/her body to show the musicians what he/she wants to hear?

4. Do the musicians look at and listen for each other? How can you tell?

5. How are the musicians dressed? Tuxedo? T-shirt and jeans? Suits? How does their clothing affect how you respond to them as people? As musicians?

6. Do the musicians use their bodies (or faces) or just their instruments to express how they’re feeling?

7. Do any of the musicians play more than one instrument? Who? How are the sounds of those instruments similar? Different?

8. Is the bass a leading instrument or a following one? Why? What about Hancock at the piano? Any of the others?

9. What instruments seem to be the most important? The least? How did you deter-mine how important they are? Do the leading and/or melody instruments stay the same with each song or change?

10. Songs can convey different moods, emotions, stories, or feelings. Do most of the performed songs communicate similar feelings?

11. Which parts of the songs seem pre-written? Which seem improvised?

Discussion/Follow-upIf you were to meet Regina Carter, what comments would you share with her?What advice?

Appreciating the Performance

This lesson was designed with the older student in mind, but can be adapted for use

with younger students.

All of the words from the left column can be found in the puzzle. These words relate to the Regina Carter and Quartet performance. Look in all directions for the words!

bebop A style of jazz developed by young players in the early 40’s.Chicago Since the 1920’s, Chicago has been a center of jazz music.fusion A style of jazz from the 1960’s that incorporates elements of rock.pickup A phrase that occurs before the beginning of the first bar. syncopation The process of replacing “expected” beats with an off-beat.blues A style of music with a 12-bar structure and melancholy sound.chops An ability to negotiate chord changes and phrase music well.head The first and last chorus of a tune when the melody is played.rhythm The harmonius flow of musical sounds with a specific pattern.break A traditional passage where a soloist plays unaccompanied.cool A type of jazz developed in the 1950’s based on bebeop. improvisation The proces of spontaneously creating fresh, original melodies.standard A tune universally accepted and played by many jazz musicians.

Jazz Word Search

r d s p o h c n a m o b i l oo h r g g n a y h r l m y z gx s y a k e r o t u p q b f ak c s t d o b o e r k n b a cw t a t h n h s o z s i o j ii n i k q m a v w r k v b y hu j h d o a i t u x j d e y cd u a k v s h z s x o d b t zk e r e a n p i c k u p o x mh e t t o e c j k o m y p i yb j i i c v r c h f z j n z lu o s x n h x b m u l t h v on u m o l t n f m d o b h v of j d n o i t a p o c n y s cy m r l l x t q w u x z o v q

r d s p o h c n a m o b i l oo h r g g n a y h r l m y z gx s y a k e r o t u p q b f ak c s t d o b o e r k n b a cw t a t h n h s o z s i o j ii n i k q m a v w r k v b y hu j h d o a i t u x j d e y cd u a k v s h z s x o d b t zk e r e a n p i c k u p o x mh e t t o e c j k o m y p i yb j i i c v r c h f z j n z lu o s x n h x b m u l t h v on u m o l t n f m d o b h v of j d n o i t a p o c n y s cy m r l l x t q w u x z o v q

Here are the answers to the word search:

bebop Chicago fusion pickup syncopation blues chops head rhythm break cool improvisation standard

Jazz Word Search Solution


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students to:

UMS Youth Education

Burton Memorial Tower

881 N. University Avenue

Ann Arbor, MI 48019-1011

or email us at:umsyouth.umich.edu

ObjectiveFor students to learn about the workings of an arts organization, increase Internet research skills, and become familiar with a wider variety of art forms and performers.

StandardsArts Education 2: Creating; 3: Analyzing in Context; 5: Connecting to LifeEnglish Language Arts 2: Meaning/Communication; 4: Language; 6: VoiceSocial Studies II-1: People, Places, and Cultures; V-1: Information ProcessingCareer & Employability 1 - 4; 6Technology 1 - 4

MaterialsInternet Access

Opening DiscussionAt arts organizations such as University Musical Society, a great deal of work is needed to put on a concert series. UMS has eight departments, 30 staff members, and over 10 interns working together to help concerts go as well as possible!

Each year, the organization must decide what artists it will hire, when they will perform, and in what venue. It is very important to have a variety of art forms. For example, UMS offers dance, theater, jazz, orchestral, chamber music, and soloists throughout the season. It is also important to UMS to choose performers who will appeal to people from different backgrounds. For the 2002-2003 season, several shows are centered on Brazilian culture. UMS also tries to include concerts that showcase African American heritage, Asian art forms, and other cultures. In order to meet these goals, negotiations between UMS staff and the performers’ representatives sometimes begin years in advance.

Activity• After explaining briefly how an arts organization like UMS works, explain that the students will be designing a concert series of their own.

• Direct the students to UMS’s website at www.ums.org. Let them explore and read about the different performances being presented this season. What shows are most interesting to them? Is there an art form or style they particularly like?

• Keeping in mind the concerns arts administrators have when planning a season, have them select concerts they would put on their own concert series. Feel free to include performers that may not be appearing at UMS this season. Why did they select those specific artists? How are the concerts linked? Is there a theme connecting them all (cultural, same art form, good variety)? (Consider limiting five shows to start.)

• Write a memo to Ken Fischer, president of University Musical Society, Tell him what shows you think should be presented and why you selected them. Mail the memos to the Youth Education Department, and we’ll give them to Mr. Fischer ourselves!

Discussion/Follow-upWhat did you learn from this experience? How was your list different from that of others? How did you justify your choices?

Create Your Own UMS


Quick and Fun Ideas to use with Regina Carter & Quartet

1. Working Together. Write “Regina Carter and Quartet” on the board. Divide students into groups and assign a short period of time. Each group must work together to think of as many words as possible that can be spelled with the letters in the phrase on the board.

2. Scavenger Hunt. After reviewing some of the writings and activities in this guide, divide the students into groups. Ask each to come up with a list of at least three things their peers should watch for at the performance (examples: cymbals, synchronized melody, pauses between beats, etc.). Collect each group’s list and compile them into a single piece of paper. See how many you find at the perfor-mance!

Pre-Performance Activities

1. Discussion/Writing Prompt. Regina Carter keeps the tradition of jazz violin alive. What traditions do you have in your own background that you would like to see continue? Why?

2. Discussion/Writing Prompt. Regina Carter is considered the first African-American female jazz violinist to play the Paganini violin. What is something you could do to open up opportunities to others? Describe other Americans who have worked to provide equal access for others.

3. Building an Ensemble. Divide students into groups. Ask one to start tapping a rhythm on his/her pantleg or desktop and ask the others to try to copy it. Ask each student in the group to take a turn as leader. What strategies do the “following” students use to keep up with the leader? To stay in tune with each other?

4. Locating a Place. Using an online or printed map, ask students to locate Detroit. What is the approximate distance between Detoit and your hometown in miles? Where is Genoa, Italy? How many approximate miles to reach Genoa from your hometown or school?

Post-Performance Activities

1. Discussion/Writing Prompt. If you could change one thing about the perfor-mance, what would it be?

2. Visualizing Favorite Moments - TV style. Imagine that you are a television reporter who has been sent to see Regina Carter & Quartet. You can show a maxi-mum of two minutes’ worth of the production to your television audience. What moments would you choose? Why?

Additional Lesson Plan Ideas


Listen to her Music! see page 29 of this study guide for a

discography.

3. Newspaper Report. Imagine that you are a newspaper reporter who has been chosen to report on the Youth Performance by Regina Carter Create a factual report of what you saw. Here are some tips to help you write an effective news story:

• Remember to answer the famous “Five W” questions: who, what, when, where, why, and how. • Put the main ideas in the first paragraph.

4. Essay Assignment.* Ask students to create a comparison between the Regina Carter Performance and a style of music they think of as their own:

Compare and contrast the jazz music of Regina Carter and Quartet to your own culture’s music, or that of a style of music you are interested in. When forming your comparisons and contrasts, some components of musical traditions to keep in mind are:

• Types of instruments used

• People involved

• Arrangement of those involved in the ensemble (Are they standing or sitting? Close together or far apart? Standing in circles or rows?)

Be creative; please don’t limit your comparisons to those listed above. These

are only meant to be examples to get you started.

Share your students’ work with UMS!

We love to see

how you connect

your curriculum

with UMS Youth

Performances.

See the inside

back cover for

UMS’s contact

information.

Still More Ideas...


Jazz

Poe

try

Artist Winold Reiss’s son donated this pastel drawing by Reiss of poet Langston Hughes to the National Portrait Gallery in his father’s memory.

The following English Language Arts standards are addressed in this section:

Standard 3: Meaning and Communication All students will focus on meaning and communica tion as they listen, speak, view, read, and write in personal, social, occupational, and civic

contexts.Standard 5: Literature All students will read and analyze a wide variety of classic and contemporary

literature and other texts to seek information, ideas, enjoyment, and understanding of their individuality, our common heritage and common humanity, and the rich diversity of our society.

Standard 6: Voice All students will learn to communicate information accurately and effectively and demonstrate their expressive abilities by creating oral, written, and visual texts that enlighten and engage an audience.

Standard 7: Skills and Processes All students will demonstrate, analyze, and reflect upon the skills and processes used to communicate through listening, speaking, viewing, reading, and writing.

Standard 12: Critical Standards All students will develop and apply personal, shared, and academic criteria for the enjoyment, appreciation, and evaluation of their own and others’ oral, writ

ten, and visual texts.


Music and poetry have always been popular forms of artistic expression. These art forms have many similarities, which became evident in the 1920s. Since the turn of the century, many poets had been making significant con-tributions to the evolution of poetic thought. Poets like Ezra Pound, T.S. Elliot, Carl Sandburg, and E.E. Cummings had written their works with an increasing lack of formality and conventional style. The innovations taking place in poetics were juxtaposed with the evolution of jazz music in the early twentieth century. The simultaneous evolution of poetry and jazz music was not lost upon musicians and poets of the time. Amid the chaos of the 1920s, these two art forms merged and formed the genre of jazz poetry.

Langston Hughes is considered by many to be the founder of the jazz poetry genre, for none of the jazz-related poets who preceded him merged the two art forms, as he did. The respect and success that Hughes was given reflected on jazz music and its legitimacy as an important style of music. Hughes influenced many major jazz poets, including Sterling Brown, who published significant works in the 1930s. As a new genre, jazz poetry reflected the influence of jazz music upon culture in the 1920s. The jazz-related poets of the 1920s also reflect the all encompassing influence of jazz music in American society during the 1920s. Their references to the jazz cul-ture prove that it was an integral part of American society.

Here are three excerpts from Langston Hughes’ poems.

MY PEOPLE The night is beautiful, So the faces of my people, The stars are beautiful, So the eyes of my people, Beautiful also is the sun, Beautiful also are the souls of my people.

Music as Muse

Langston Hughes at the beginning of his career.

You can read more about Langston

Hughes at

www.biography.com


DREAM DEFERRED

What Happens to a dream deferred?

Does it dry up like a raisin in the sun?

Or fester like a sore-- and then run?

Does it stink like rotten meat? Or crust and sugar over-- like a syrupy sweet?

Maybe it just sags like a heavy load Or does it just explode?

BACKLASH BLUES

Mister rich man, rich man, Open up your heart and mind. Mister rich man, rich man, Open up your heart and mind. Give the poor man a chance, Help stop these hard, hard times. While you’re livin’ in your mansion You don’t know what hard times means. While you’re livin’ in your mansion You don’t know what hard times means. Poor workin’ man’s wife is starvin’, Your wife is livin’ like a queen.

from Steven C. Tracy, Langston Hughes and the Blues. Urbana: University of Illinois Press, 1988. Copyright © 1988 by the Board of Trustees of the University of Illinois.

Langston Hughes’

first published

volume of verse

appeared in

1926, entitled

“The Weary Blues”

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www.ums.org


The music, rhythm, imagery and form of a good poem creates an immediate effect in a student’s mind. Here is a set of guidelines and questions you can encourage your students to consider as they read the poetry of Langston Hughes.

1) When you first approach a poem you should read it three or four times, preferably aloud. This is important because you need to gain a sense of the music of the poem. The meaning of a poem is developed through a combi-nation of rhythm, imagery, form and sometimes rhyme; therefore, you need to hear this music of the poem.

2) Once you have read the poem a number of times, you should approach each stanza separately. This allows you to work with more manageable pieces of the poem. If the poem does not have clear stanzas, try to work with sections which are in some way clearly defined. For example: sections which have a grammatical or thematic sense; sections which are clearly defined through the rhyme scheme - rhyming couplets, lines which are linked by rhyme etc.

3) Re-read each section carefully, line by line, and focus upon anything that strikes you as interesting or unusual. Highlight or underline these things in your text and write notes in the margin. If the way in which the poem is laid out in your text does not encourage this, photocopy and enlarge the poem so that you have space to work around it.

4) Using your dictionary, look up the meanings of key words. Is the poet using a shade of meaning that is not immediately obvious? What are the connotations of particular words within their context?

5) Look carefully at the rhyme pattern. Is there anything interesting or unusual about it? Are there any obvious links between rhymed lines or even words? Is there any internal rhyme? Are there phrases which rhyme? Try to decide what effect these rhymes have on the possible meanings of the poem.

6) Try to determine what images the poet has used. Are they created through metaphor or simile? What is their effect?

7) Has the poet used any alliteration? What is its effect?

8) What is the tone of the poem?

9) Are any aspects of the poem ironic?

10) Is there any ambiguity in the poem?

How to Read a Poem

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Figurative Language

Figurative language, which uses familiar words in unfamiliar ways, makes writing and reading more interesting. The poetry of Langston Hughes includes several examples of figurative language.

A metaphor makes comparisons between two things without using the words like or as. A metaphor may say that one thing is another.

Find an example of metaphor used in Dream Deferred. What two things are being compared?

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

Personification means giving human characteristics to an idea or thing.

Find an example of personification used in My People. Describe the human characteristic given to specific things:

_______________________________________________________________________________________

_______________________________________________________________________________________

_______________________________________________________________________________________

Responding to Jazz Poetry:

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What Is The Performance Like?How do jazz musicians choose what they will play?

When you sit down to listen to CDs, do you plan what you’ll listen to far in advance? Of course not - you decide as you go, depending on what mood you’re in. One day, you might listen to songs about one topic (like love); another time, you might choose songs written by the same artist. Jazz musi-cians are like you. They can’t tell us in advance what they’ll feel like playing. It can depend on the mood they’re in and the mood that they sense from the audience.

Jazz artists have dozens - sometimes even hundreds - of songs memorized and don’t decide in advance which ones they’ll play or exactly how they’ll play them. Jazz Poetry can be very similar in that the poets improvise, or make up stanzas, to the poems they recite as they go along. Have you ever heard of or been to a “Poetry Slam” event at a bookstore or theater? The artists often create the poems on stage as they feel moved to do so. The audience will either clap cheerfully if they like the poem, or boo loudly if they think it need improvement. Many poets today start their careers this way, constantly gleening the opinion of the crowd.

In both cases, jazz music and jazz poetry, the artist has control over the tone, melody , and rhythm of the song or poem. Many artists love the freedom this type of creativity provides.

Regina Carter and Quartet will announce their song choices from the stage.

Visit UMS Online

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46 | www.ums.org/education RE

SO

UR

CE

SRegina Carter ArtServe Michigan


YOU ASKED FOR IT!

We’ve heard from

teachers that it’s

helpful to have a

paragraph or two

describing a Youth

Performance in a

letter/permission

slip to send home

to parents.

Please feel free

to use this tem-

plate, or adapt

the information to

meet the

requirements of

your school or

district.

Dear Parents and Guardians,We will be taking a field trip to see a University Musical Society (UMS) Youth Performance of Regina Carter and Quartet on Tuesday, January 20, from 11am-12pm at the Michigan The-ater in Ann Arbor.

We will travel by ( car / school bus / private bus / walking ), leaving school at approxi-mately ________am and returning at approximately ________ pm.

The UMS Youth Performance Series brings the world’s finest performers in music, dance, theater, opera, and world cultures to Ann Arbor. This performance features the jazz violinist Regina Carter and her quartet of musicians performing music from classical to Cuban and Motown.

We ( need / do not need ) additional chaperones for this event. Please ( send / do not send ) lunch along with your child on this day. If your child requires medication to be taken while we are on the trip, please contact us to make arrangements.

If you would like more information about this Youth Performance, please visit the Educa-tion section of www.ums.org/education. Copies of the Regina Carter and Quartet. Teacher Resource Guide are available for you to download.

Additional Comments from the Teacher:

If you have any questions, please don’t hesitate to call me at ___________________________ or send email to ________________________________________________________________.

Sincerely,

_______________________________________________________________________________

- - - - - - - - - - - - - -Please detach and return by :__________________- - - - - - - - - - - - - - - - -

My child, ___________________________________, has permission to attend the UMS Youth Performance of Regina Carter and Quartet on Tuesday, January 20, 2004. I understand that transportation will be by __________________________________________.

Parent/Guardian Signature_______________________________ Date_________________

Relationship to child ___________________________________

Daytime phone number_________________________________

Emergency contact person_______________________________

Emergency contact phone number_______________________

UMS Permission Slip


Selected Bibliography

Much of the textual information as well as some of the graphics included in this guide were derived from the following sources:

Websites:

”Regina Carter”:http://www.cbsnews.com/stories/2003/01/28/60II/main538281.shtml. Copyright 2003. CBS Broadcasting, Inc.

”Evening at Pops: Regina Carter”: http://www.pbs.org/wgbh/pops/background/bios/carter.html, Copyright 2003, WGBH Corporation.

“NPR: Paganini’s Cannon”:http://discover.npr.org/features/feature.jhtml?wfId=1136352 Copyright 2002, National Public Radio, Inc.

“Regina Carter Biography”: http://www.fiddlechicks.com/players/carter.html, Copyrigth 2003, Fiddle Chicks. 2003.

“The Violins in Genoa”: http://www.comune.genova.it/turismo/paganini/eng/violineng.html, Copyright 2003, Municipality of Genoa.

“Regina Carter”:http://www.berkshireweb.com/rogovoy/interviews/feat010419.html, Copyright 2001, Seth Rogovoy (Berkshire Eagle Press).

“Modern American Poetry: On The Backlash Blues”: http://www.english.uiuc.edu/maps/poets/g_l/hughes/backlash.html, Copyright 1998, University of Illinois.

“Paganini Project”: http://entertainment.msn.com/news/article.aspx?news=120670, Copyright 2003, Associated Press.

Books:

Feinstein, Sasha & Yusef Komunyakaa. The Jazz Poetry Anthology. Indiana University Press,1991.

Love, Helen B., Global Journeys in Metro Detroit; A Multicultural Guide to the Motor City, New Detroit, Inc., 1999.

Carr, Ian, Digby Fairweather, & Brian Priestley, Jazz: The Rough Guide; The Essential Companion to Artists and Albums, Rough Guides., 1995.

Schroeder, Michele, & Lea King, What is Jazz? Jazz Education Guide, Jazz at Lincoln Center, New York, 2000.

There are

more

study guides

like this

one, on

a variety of

topics, online!

Just visit...

www.ums.org


Internet ResourcesArts Resources

www.ums.orgThe official website of UMS. Visit the Education section (www.ums.org/education) for study guides, information about community and family events, and more infor-mation about the UMS Youth Education Program.

www.artsedge.kennedy-center.orgThe nation’s most comprehensive website for arts education, including lesson plans, arts education news, grant information, etc.

Regina Carter and Quintet

http://www.vervemusicgroup.com/artistA brief description of Regina Carter and her accomplishments from her recording label, Verve Records.

http://www.exploredance.com/reginacarterA website covering Regina’s Birdland Debut, written by her manager, Michelle Taylor from NIA Entertainmant. Provides email addresses to managers as well as useful web links.

Jazz

www.jazzatlincolncenter.orgA site which highlights the people and history of Jazz. Jazz at Lincoln Center is a forerunner in jazz education in the United States.

www.iage.orgThis site contains a lot of information about jazz, as presented by the International Association of Jazz Educators.

www.si.edu/ajazzhHighlights key dates in the history of jazz, presented by the Smithsonian Institu-tion’s American Jazz Heritage.

Paganini and the Guarneri Violin

http://www.comune.genova.it/turismo/paganini/welcomeProvides an overview of the Paganini violin, the creator of the reknowned instru-ment, and useful links. This site is maintained by the City of Genoa Tourism Council.

Although UMS previewed each website, we recommend that teachers check all websites before introducing them to students, as content may have changed since this guide was published.

Visit UMS Online

www.ums.org


Resources for your classroomThis page lists several recommended books to help reinforce jazz education through literature. These books are available through www.amazon.com.

PRIMARY & ELEMENTARY GRADES

• Hip Cat by Jonathan London, Woodleigh Hubbard (Illustrator)

• Mysterious Thelonius by Chris Raschka

• The Jazz Fly by Matthew Gollub, Karen Hanke (Illustrator)

• Ella Fitzgerald: A Young Vocal Virtuoso by Andrea Davis Pinkney

• Duke Ellington: The Piano Prince and his Orchestra by Andrea Davis Pinkney

• The Sound That Jazz Makes by Carole Boston Weatherford

• John Coltrane’s Giant Steps by Chris Raschka and John Coltrane

• Charlie Parker Played Bebop by Chris Raschka • DJ and the Jazz Fest by Denise walker McConduit

• The Jazzy Alphabet by Sherry Shahan

• Who Bop? by Johnathon London

• Bring on That Beat by Rachel Isadora

UPPER MIDDLE & SECONDARY GRADES

• Jazz Makers: Vanguards of Sound by Alyn Shipton

• American Jazz Musicians (A Collective Biography) by Stanley Mour

• Jazz and Its History (Masters of Music) by Giuseppe Vigna • The Golden Age of Jazz by William Gottleib

• Louis Armstrong- A Self Portrait by Richard Meryman

• The Art of Jazz by Martin Williams

• The New Grove Dictionary of Jazz by Berry Kernfeld

• Sweet Sing Blues on the Road by Wynton Marsalis and Frank Stewart

• The Music of Black Americans by Eileen Southern

• The Duke Ellington Reader by Mark Tucker

There are

many more

books available

about Jazz!

Just visit

www.amazon.com

Recommended Reading Materials


Visit UMS Online

www.ums.org


University Musical Society University of Michigan Burton Memorial Tower 881 N. University Ann Arbor, MI 48109-1011 (734) 615-0122 [email protected] www.ums.org

Jazz at Lincoln Center 33 West 60th Street New York, NY 10023-7999 www.jazzatlincolncenter.org (212) 875-5815

International Association of Jazz Educators P.O Box 724 Manhattan, KS 66505 www.iage.org (913) 776-8744

Music Educators National Conference 1806 Robert Fulton Drive Reston, VA 20191 www.menc.org (703) 860-4000

Detroit Institute of Arts African Galleries Wing (North wing, main level). 5200 Woodward Avenue Detroit, MI 48202 www.dia.org (313) 833-7900

University of Michigan School of Music - Jazz Department 1100 Baits Dr. Ann Arbor, MI 48109-2085 (734) 764-0583 contact: Ellen Rowe

Black Folk Arts, Inc. 4266 Fullerton Detroit, MI 48238 313-834-9115 contact: Kahemba Kitwana

Community Resources

These groups and

organizations can

help you to learn

more about jazz

performance styles,

and/or the

performing arts.


Visit UMS Online

www.ums.org


Community Resources continued...Wayne State University Music Department 4841 Cass Avenue, Suite 1321 Detroit, MI 48202 (313) 577-1795 [email protected]

University of Michigan Center for Afro-American and African Studies 4700 Haven 505 S State St. Ann Arbor, MI 48109 (734) 764-5513 [email protected]

African American Cultural and HistoricalMuseum of Ann Arbor 1100 N Main Street, Suite 201-C Ann Arbor, MI 48104 (734) 663-9348

Rebirth, Inc. 81 Chandler Detroit, MI (313) 875-0289 [email protected] contact: Wendall Harrison

WEMU 89.1 FM “Jazz, news, and blues” station at EMU. (734) 487-2229 The Societie of Culturally Concerned Annually sponsors the Detroit Heritage Jazz Reunion (313) 864-2337 People’s Creative Ensemble 11000 W. McNichols, Ste. B-1, Detroit, MI (313) 862-2900 contact: Ron Jackson

Southeast Michigan Jazz Association 2385 W. Huron River Drive Ann Arbor, MI 48103-2241 734-662-8514 [email protected]


Evening PerformanceJazz Divas Summit:Dianne Reeves, Dee Dee Bridgewater, and Regina CarterMon, Jan 19, at 7:30 pmHill Auditorium, Ann Arbor

Three of the hottest names in jazz hail from Michigan, and now they finally come together for a special performance on Martin Luther King, Jr. Day, during the UMS Hill Auditorium Re-Opening Weekend. Dianne Reeves returns to her home state, bringing with her Flint native Dee Dee Bridgewater, whose career in musical theater has paralleled her career as a jazz singer, and Detroit native Regina Carter, a charis-matic player who has single-handedly revived interest in the violin as a jazz instru-

ment.

This Hill Auditorium Re-Opening Weekend Sponsored by Forest Health Services, The Pfizer Corporation, TIAA-CREF, University of Michigan, University Musical Society, and the Endowments of Catherine S. Arcure & Herbert E. Sloan, and H. Gardner Ackley.

UMS Tickets Onlinewww.ums.org/tickets

UMS Tickets By Phone(734) 764-2538


September18 11 am U Theatre: The Sound of Ocean - Youth Performance, Power Center

October11 8:30 am Celebrating St. Petersburg (Day 1) - Teacher Workshop, Int’l. Institute19 1 pm Celebrating St. Petersburg (Day 2) - Teacher Workshop, Michigan League27 4:30 pm Introduction to W. African Percussion - Teacher Workshop, WISD

November8 10 am Understanding the Arab World and Arab Americans - Tchr. Wkshp, ACCESS 12 10am/12pm Doudou N’Diaye Rose and Les Rosettes - Youth Perf., Michigan Theater17 4:30 pm Arts Advocacy: You Make the Difference - Teacher Workshop, WISD

December9 4:30 pm Music of the Arab World: An Introduction - Teacher Workshop, WISD

January20 11 am Regina Carter and Quartet - Youth Performance, Hill Auditorium30 11 am Simon Shaheen and Qantara - Youth Performance, Michigan Theater

February16 4:30 pm Behind the Scenes: Children of Uganda - Teacher Workshop, MI League17 10am/12pm Children of Uganda - Youth Performance, Power Center18 10am/12pm Children of Uganda - Youth Performance, Power Center

March5 11:30 am Guthrie Theater: Shakespeare’s Othello - Youth Perf., Power Center22 4:30 pm Preparing for Collaboration: Theater Games that Promote Team-Building and Foster Creative and Critical Thinking - Teacher Workshop, WISD25 4:30 pm Moments in Time: Bringing Timelines to Life Through Drama - Teacher Workshop, WISD

April16 11 am Girls Choir of Harlem - Youth Performance, Michigan Theater

Hill Auditorium - 888 N. University, Ann ArborInternational Institute - corner of East & South University, Ann ArborMichigan League - 911 N. University, Ann ArborMichigan Theater - 603 E. Liberty, Ann Arbor Power Center - 121 Fletcher, Ann ArborWISD (Washtenaw Intermediate School District) - 1819 S. Wagner, Ann Arbor

For more information or a brochure, please call 734.615.0122 or e-mail [email protected]

UMS Youth Education Season

Want to bring students to a UMS performance not on this list?

Call the UMSGroup Sales Coordinator at (734) 763-3100.


03/04 experience the world’s best live music, dance and theater in your own backyard

ums teen rush ticket couponThe University Musical Society (UMS) is a performing arts presenter on the University of Michigan campus that brings professional performing artists to the area to perform. We host everything from dance troupes to jazz musicians, theater companies to world famous opera singers all right here in Southeastern Michigan.

Check out UMS for half the price!

WH

AT I

S U

MS?

Rush Tickets are sold to high school students for 50% off the published ticket price 90 minutes before every UMS performance. These tickets are only available if the performance is not sold out. Tickets may be purchased in person at the performance hall ticket office, but plan to get there early, because tickets go fast!

Call our box office at 734-764-2538 to check ticket availability.

The fine print...Bring your student ID and this coupon to the performance hall ticket office the night of the show. This coupon is good for ONE 50% off ticket, subject to availability. Seating is at the discretion of the UMS ticket office personnel.

for our full season and more information, visit

w w w . u m s . o r g

student name

school

email

Additional Options for TeensIn response to the needs of our teen audience members, the Universtiy Musical Society has implemented the Teen Rush Ticket Coupon program. The coupons may be downloaded from our website at www.ums.org and can be used to pur-chase tickets for any evening performance at half the price! See the copy of our coupon below.

Teen Rush Ticket Information

Teens interested in half-pricetickest for evening UMS performances may download this ticket at www.ums.org. Just present it at the box office the night of the show!


Send Us Your Feedback!UMS wants to know what teachers and students think about this Youth Performance.

We hope you’ll send us your thoughts, drawings, letters, or reviews.

UMS Youth Education ProgramBurton Memorial Tower • 881 N. University Ave. • Ann Arbor, MI 48109-1011

(734) 615-0122 phone • (734) 998-7526 fax • [email protected]

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Download additional copies of this study guide throughout the 2003-2004 season!

www.ums.org/education

Regina Carter and Quartet

Documents

Transcript of Regina Carter and Quartet