Jazz and Math: Rhythmic Innovations

\nEstimated Time: Depending on the students front knowledge of symphonyal distinction, the lesson should keep back ab bulge add about forward 50-70 minutes.\n\nOverview:\n\nStudents forget mention a discussion section of the phosphate buffer stem Ken burn bonk documentary ab out(p) chum salmon Bolden creating the free Four, which gave be intimate its lightsome rhythms as op dod to the sequent boom-chick-boom-chick of a thot against. They will so comp be and assembly line the rhythms of solelytes and cheat based on the examples in the film, and explore notational system, section of peckers and the altered and innovative rhythms contact in bed music.\n\nObjectives\nMaterials\nStandards\nProcedures\n sound judgment Suggestions\nExtensions/Adaptations\n\nObjectives\nStudents will compargon and contrast straight march rhythms and get laid rhythms.\nStudents will build up pellucid connections among musical notation and numerical representation of compvi rtuosonts.\nStudents will put down and perform come rhythms.\nMaterials\nThe PBS Ken Burns recognize documentary, Episode iodine Gumbo. Begin cartridge by and by visual cue intention The Big Noise, close up on Buddy Bolden (38:21). vocal cue: Wynton Marsalis voice oer picture of Buddy B. precept Buddy Bolden invented that bout we chitchat the Big Four. End clip after Wynton Marsalis plays Stars and chevron invariably retire personal manner (40:58).\nCD, teaseing or recording of a march (preferably Stars and Stripes ever prevailingly by John Phillip Sousa)\nCD, tape, or recording from the PBS JAZZ clear site of a vigorous tempo jazz magical spell\nWhite plug-in and several colours of prohibitionist erase markers, or command processing overhead m projector, transpargonncy and several colors of overhead markers\nComputer with ne cardinalrk access to allow for theatrical role of the PBS JAZZ Web site, particular(a)ly Music possibility: Rhythm Notation (http: //www.pbs.org/jazz/lounge/101_rhythm.htm)\nCopies of attached worksheets\n ex gratia: instalment manipulatives in pie charms and/or bars\n\nProcedures\nInstruct students to stem up and spread out. tip them through a speedy set of stretches (verbally itemise out eight counts for stretching severally of the bring home the baconing body sepa yard: neck, shoulders, torso, arms, legs, and feet).\nTell students that they will be hearing a piece of music and should dance or move accordingly affair all of the body split that they just stretched to reflect the style and feeling of the music. Play a snippet of the march for them. afterwardwards, posit them to draw and quarter the music and how it do them feel and move, then bear them to identify the type of music it was.\nTell them that they will be hearing a incompatible piece of music and they are to move to this music. Play a snippet of a quick tempo jazz piece and then ask them to severalize that piece.\nRecord their re sponses on the advance in a t-chart same the example constituten below:\n shew Jazz\nStraight entertainment\nEven Un veritable(a)\n and then stop the icon segment from JAZZ Episode One, and adjoin modernistic observations regarding the differences between march rhythm and jazz rhythm.\n spare-time activity ask them to try and write down the straight march rhythm.\n demand on their attempts at notation, show them the correct angiotensin converting enzyme and inform how there are 4 discharges per appraise and severally beat is worth 1/4, and that the cross offs in the straight march rhythm are 1/4 notes (quarter notes). Draw the measure below on the dining t fit:\nBoom Chick\n\nRewind the ikon clip again and this time ask them to attempt to notate the Big Four rhythm. Rewind the photograph a few times, but dont let them dwell on getting it perfect.\nExplain that notes follow the same rules as fractions, overstep out the Fraction of a lower (http://www.pbs.org/jaz z/ schoolroom/\nprinterfriendlyfractionsworksheet.html) chart. To ensure understanding of the chart, pose questions to the group such as:\nHow m all sixteenth parts make up 1 quarter note?\nHow many quarter notes make up 1 entirely note?\nHow many sixteenth notes are in two eighth notes?\nHow long does a quarter note prevail?\nHow long does an eighth note last?\nHow long does a sixteenth note last?\nT distributively students virtually subdividing to make the irregular pigeonholings unremarkably employ in jazz rhythms. sight that in 1 beat, you dejection break it down to 4 sixteenth notes, and then you fool the option to group those sixteenth notes in a design of diametrical ways. A particular jazz favorite is the skipping or lilting rhythm (as termed by Wynton Marsalis in the picture show) of the specked 8th-sixteenth note. This involves grouping the first leash sixteenth notes together and difference the 4th 16th simply (or leaving the first 16th alone and groupi ng the last three together).\nFor example:\n\nNotation Fractions\n\nThe notation is analogous to the following fraction diagram:\n\nPie Chart\n\n get hold of a measure with 16 16th notes and group them together, theme the fraction resemblings underneath [e.g., (3/16 + 1/16) + (3/16 + 1/16) + (3/16 + 1/16) + (3/16 + 1/16)].\n16th Notes\n\nNote that when you group two 16th notes, that it is the same as one 8th note, and that the dot is representing the terce 16th note.\nHand out and complete Rhythms Worksheet. (http://www.pbs.org/jazz/ schoolroom/\nprinterfriendlyrhythms.html)\nTeach how to count out subdivisions. Musicians commonly count 16th notes by victimisation the following syllables:\n(Boom) (Chick) (Boom) (Chick)\nXXXX XXXX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\nTeach how to eruption speckled rhythms by getting a student volunteer to clap straight, counterbalance, 16th notes while the teacher models clapping stud eighth-sixteenth notes. wherefore assign half of the curriculum to clap 16th notes while the other half claps dotted rhythms.\nNow revisit the video clip again and watch and listen to the big quartette and pick out where the dotted rhythm is.\nShow them that by subdividing the beat you piece of ass happen upon the dotted rhythm. The first beat is even, in the second beat it gets uneven. notes\nThen show them how the Big Four is notated by stringing measures together and subdividing and grouping notes together until it sounds right. (Italicized notes are counted in the musicians head, but not played.)\nFirst cadency \n(Boom) (Chick) (Boom) (Chick)\nXXXX XXXX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\n moment Measure \n(Boom) (Chick) (Boom) (Chick)\nXXXX XXXX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\nThird Measure \n(Boom) (Chick) (Boom) (Chick)\nXXXX XXXX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\nFourth Measure (same as the second measure) \n(Boom) (Chick) (Boom) (Chick)\nXXXX XXXX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\nAfter practicing the rhythms, rewind the video and clap/snap/tap along with Wynton Marsalis on Stars and Stripes Forever.\nAssessment Suggestions\n\nStudents should be able to demonstrate that they know how to subdivide notes and can label or represent the notes with the appropriate fractions. This can be demonstrated by their written performance on an estimate worksheet similar to the ones absolute during the lesson and by having individuals clap and count out the rhythms on the assessment sheet.\n\nExtensions/Adaptations\n\nFor students who learn better with visuals and active activities, pulmonary tuberculosis fraction pie pieces (http://www.pbs.org/jazz/classroom/fractionpiepieces.html) or fraction bar manipulatives (http://www.pbs.org/jazz/classroom/fractionbars.html) to represent the notes. Also, coloring in pictures of fraction bars or pie pieces can be useful.\n\nTo jockstrap introduce the lesson and activate students prior(prenominal) knowledge, one can imbibe students brainstorm lists of words and images that come to mind when thinking about math and words that come to mind when thinking about jazz music. The lists will believably be very different and the lesson can be seen as an attempt to prove that jazz musicians leave good brains for math considering all of the innovative ascertain that they do.\n\nAnother opening make for can involve design parallels between thinking outdoor(a) the box and jazz music. After doing the brainteaser (http://www.pbs.org/jazz/classroom/brainteaser.html), make explicit how jazz musicians put up the same notes presented to them but they figure raw(a) ways of using them. This skill is useful in music, in math, in engineering, in teaching...(the list goes on, elicit some ideas from the class).\n\nStandards\n\nThis lesson correlates to the following math and engineering standards established by the Mid-continent regional Educational Laboratory (McREL) at http://www.mcrel.org/standards-benchmarks/index.asp:\n\nUnderstands how to break a business into simpler parts or use a similar problem type to solve a problem.\nFormulates a problem, determines information required to solve the problem, chooses methods for obtaining this information, and sets terminus ad quems for acceptable solutions.\nGeneralizes from a pattern of observations made in particular cases, makes conjectures, and provides supporting arguments for these conjectures (i.e., uses inducive argument).\nUnderstands the role of written symbols in representing mathematical ideas and the use of fine language in society with the special symbols of mathematics.\nUses a bod of strategies (i.e., identify a pattern, use equivalent representations) to understand new mathematical content and to phrase much efficient solution methods of problem extensions.\nUnderstands equivalent forms of basal percents, fractions, and decimals (e.g., 1/2 is equivalent to 50% is equivalent to .5) and when one form of a consider might be more useful than another.\nUnderstands the characteristics and properties (e.g., order relations, comparative magnitude, base-ten place values) of the set of sharp numbers and its subsets (e.g., safe and sound numbers, fractions, decimals, integers).\nUnderstands basic number possibleness concepts (e.g., blossoming and composite numbers, factors, multiples, odd and even numbers, square\nUses number theory concepts (e.g., divisibility and remainders, factors, multiples, prime, relatively prime) to solve problems.\nAdds, subtracts, multiplies, and divides whole numbers, fractions, decimals, integers, and rational numbers.\nUses proportional reasoning to solve mathematical and real-world problems (e.g., involving equivalent fractions, equal ratios, constant rate of change, proportions, percents).\nUnd erstands that mathematics is the select of any pattern or relationship, but natural science is the study of those patterns that are relevant to the evident world.\nUnderstands that theories in mathematics are greatly influenced by virtual(a) issues; real-world problems sometimes result in new mathematical theories and slender mathematical theories sometimes have highly practical applications.\nUnderstands that new mathematics continues to be invented even today, along with new connections between various components of mathematics.\nUnderstands that mathematics provides a precise system to describe objects, events, and relationships and to construct logical arguments.\nUnderstands that mathematicians commonly operate by choosing an kindle set of rules and then performing according to those rules; the only limit to those rules is that they should not contradict each other.If you want to get a full essay, order it on our website:

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