Sal Treppiedi's CU

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Rebels & Innovators

Sal Treppiedi

Academic Setting

This curriculum unit will be used at Harrison Middle School in Albuquerque, New Mexico. This unit is intended for a seventh grade language arts and literature class, but could easily be adapted to suit grades seven through twelve. It may also be suited for a social studies or history class

            Harrison Middle School is located in the South Valley of Albuquerque, New Mexico. The South Valley is a predominantly mixed socioeconomic community comprised of low to upper middle income families, although students at Harrison tend to come from families hovering at or below the poverty line.   There are a high percentage of immigrant families that settle in the South Valley. Rural lifestyles tend to dominate the area. Family is also an integral part of the community. The extended family is as important to residents as the immediate family.

            Harrison Middle School's enrollment is approximately 700. The majority are of Hispanic descent, predominantly Mexican. Eighty-five to ninety percent are enrolled in “free or reduced lunch” programs. Twenty percent of the student population is considered special education and fifty to sixty percent of our population is either bilingual and/or enrolled in a bilingual program. This includes approximately twenty-five percent of that number in the “gifted” program.

            The State Department of Education has labeled Harrison a “probationary” school for the past two years. This year Harrison Middle School improved to a “meets standards” school. This was accomplished mostly through the determination of faculty, staff, and student body. Part of the equation includes several changes (studied by a literacy committee) made prior to the 2001-2002 school year. First, a block schedule was implemented. This schedule involved alternating class schedules Monday through Thursday with each class being one hundred and eight minutes in length. Friday's schedule had students attending all their classes at a clip of forty-five minutes each.

            Second, a daily “SSR” block was added. This class lasted 45 minutes. Students were tested at the beginning of the year and placed in one of five categories depending on their reading level. Students were tested periodically to determine whether advancement or regression was present, thus leading to movement to an appropriate level.

Third, an “Advisory” period was added. While still in development, this short twenty minute class was designed to have teachers deal with students on a one-on-one basis regarding academic issues. This class meets once a week on Friday.



These changes helped Harrison Middle School meet and surpass its goal of a “five percentile increase in reading and language arts scores on the Terra Nova test.” Throw in the clean up of the bosque, our Poetry Coffeehouses, the Millennium Male program, a successful after school program, mediation programs, and, of course, a supremely dedicated staff of teachers and it isn't hard to see why Harrison Middle School is quickly becoming a model of excellence.

Context and Background

“A little rebellion now and then is a good thing.”

Thomas Jefferson

“Invention is the process by which a new idea is discovered or created.

In contrast, innovation occurs when that new idea is adopted.”

Everett

Unit Objectives

In this unit, students will examine the careers of the musicians mentioned below determining whether each is a rebel or an innovator. First, students must identify what “rebels” and “innovators” are. Next, they will study the artists. listen to music, and, wherever possible, watch movies about the artists’ lives.

The dictionary defines “change” as “an alteration; a passing from one form or condition to another.” Change can either take place through innovation or rebellion or, possibly, a combination of the two. In this curriculum unit, the goal is for students to understand that change can take place within a society; that by either introducing a new form of music to the world or by saying “enough is enough,” one can bring about new ideas, concepts, and sounds. The students will also take the concepts they have grasped and connect them to youth culture and their everyday lives.

This curriculum unit will feature artists who through rebellion and/or innovation have brought new thought to the forefront of the music industry. They will include:

1. Leonard Bernstein

2. Chuck Berry, Little Richard and Jerry Lee Lewis

3. Billie Holiday

4. Charles Mingus

5. Jefferson Airplane

6. Willie Nelson & Waylon Jennings

7. El Vez

8. Laurie Anderson

9. Kurt Cobain

While the origins of American rebellion may be traced as far back as the Boston Tea Party, music and youth culture has taken it to a new level. According to Hank Hoffman in City Heat Magazine, rebels are “the non-conformists who stand out in the crowd, the men and women with the guts to break the rules. They've got attitude, style. They crank up the bass and let the guitars scream” (Hoffman).

Hoffman goes on to say that there are those who perpetrated rebellion through lifestyle and those who brought it about through politics (Hoffman). No matter how one sliced it, the ultimate goal of youth culture was to be seen AND heard. Jim Morrison of the Doors once said, “Erotic politicians, that's what we are. We are interested in anything about revolt, disorder, chaos and activity that appears to have no meaning” (Orman 158).

Youth culture has been identified by their music. It has given them the freedom to explore and seek out new thoughts and ideas. For example, the Woodstock Era shaped youth culture through fashion that continues to be en vogue. Bell bottoms, mini-skirts, go-go boots, sandals, etc., were all trends introduced during the Woodstock Era. These fashions allowed for freedom of expression and further perpetuated the idea that music and sex went hand in hand; an idea which flew in the face of a value system in place prior to the advent of rock and rock. In his book, The Roll of Rock, Don J. Hibbard commented, “The pervasive intensity of sound....compelled wanton expressions of freedom, emotional release, and physical movement. These outbursts, coupled with Elvis's notorious gyrating pelvis and the obvious musical associations with rhythm and blues songs, which frequently express more lurid lyrics, spelled only one thing for monitors of morality: S-E-X, the corrupter of youthful innocence, the downfall of civilization” (Hibbard 9).

But more so than sex, music provided a means of escape. It was simply a way to feel good. For the teenagers, music provided a satisfaction of psychological needs much the same as sex provided gratification to adults (Hibbard 10). In a world that was far too restrictive and repressed, the music presented an outlet, a release, a form of individuality.

One could say that, through rebellion, innovation has taken place. In his paper, “The Definition of Measurement and Innovation,” Mark Rogers uses, among others, the Business Council of Australia's definition which reads: “In business, innovation is something that is new or significantly improved, done by an enterprise to create added value either directly for the enterprise or indirectly for its customers.”

One could attach this definition to musicians as well. Styles reflect something “new or significantly improved,” while “added value” comes to the customer, a.k.a, the listener, in the form of new sounds, traditions, and perspectives. Each of the artists discussed in this unit could be considered innovators. For example, Charles Mingus, among others, helped usher in the “cool era” in jazz. Laurie Anderson put music and performance together to create her own brand of experimental music. Finally, Willie Nelson and Waylon Jennings had become so disgusted with the direction of country music that they became the first of what would be known as “country outlaws.”



The Artists

Imagine the opportunity of having two breaks in your career. Leonard Bernstein, considered by many a prominent figure in American music, earned just such an honor. Born on August 25, 1918 in Lawrence, Massachusetts, Bernstein was able to earn accolades as both a composer and a conductor. As a composer, Bernstein earned praise early on primarily for two Jerome Robbins choreographed performances: Fancy Free and West Side Story. The latter would become one of America's greatest musicals. His conducting career began to take off when Bernstein became Music Director for the New York Philharmonic in November of 1958. Unfortunately, a seemingly endless string of recordings, concerts, and other public appearances took a toll on the 72 year old Bernstein. He died in October of 1990, two months after his final concert. But what Bernstein accomplished above all else was to show that an American who did not study abroad could be a dynamic, well-trained and astute musician (Peyser 15).

Chuck Berry, Little Richard and Jerry Lee Lewis were responsible for new attitudes in rock and roll. They defied the traditional middle-class standards of taste, were associated with anti-social values, and became a part of an industry that came to embody a way of confronting the “system” on a day-to-day basis (Hibbard 1). Prior to hitting the scene, rock and roll consisted of shirt and tie, clean-cut, “the type you'd like to bring to mother” musicians. Chuck Berry, Little Richard and Jerry Lee Lewis changed that. Each transformed music in such a way that when the Beatles revitalized music, they did it using Chuck Berry and Little Richard songs and riffs.

While most classic rockers wrote tales of love, (Chuck) Berry wrote tales of teenage existence that exhibited a freshness, humor, and literacy reminiscent of Tin Pan Alley professionals (Friedlander 34). He was the first voice of an age group experiencing rebellion for the first time. Songs such as “Rock & Roll Music” and “Roll Over Beethoven” announced the arrival of a new sound. New attitudes could be witnessed in “Sweet Little Sixteen,” where a young girl in a tight dress, high heels, and lipstick proclaims her freedom from the old standard. Of course, she does return to being a sweet little girl the following day.

No one could ignore Little Richard. Even while record executives were attempting to “whiten” music, Little Richard maintained his popularity by being “a screaming, shimmering, constantly moving, wildly visual performer, he banged and kicked boogie chords out of his piano to create a new level of excitement” (Hibbard 16). While Little Richard's performances were the stuff of legend, his lyrics left little to be desired. He defied the requirements of sophisticated lyrics or melodies and believed that his music was not meant to be hummed, but reacted to (Hibbard 16).

In his book, Night Beat: A Shadow History of Rock & Roll, Mikal Gilmore, expounding on Jerry Lee Lewis, said: “Rock & roll is mean and corrupting music....to perform that music, Lewis has forsaken many hopes and few beliefs. Indeed, he lives and speaks as a man who has lost his soul--and knows exactly what that loss means. For this act, existentialists would have named him a rebel, though his friends and fans simply call him the Killer” (Gilmore 295). Of course, Lewis' most notorious exploits were his marriage to his 13 year old cousin Myra Brown and the alleged murder of one of his wives. For a musician whose career was skyrocketing faster than Elvis Presley's, this one move cost Jerry Lee Lewis more than simply fame and fortune; it cost him his career for a while.

In Lillian Urlich's book What Jazz Is All About, she proclaims, “Jazz was born and bred in America. It grew slowly through a complicated blending of African rhythms and European musical ideas--in a way that could have happened only on American soil by the most fortunate coming together of people, time and place. The miracle is that jazz happened at all--and is still happening--a new and unique art form that keeps growing and changing in our own time” (Erlich 1). The names loom larger than the music. “Cannonball” Adderley, Louis Armstrong, Art Blakey, Dave Brubeck, Ornette Coleman, Count Basie, Miles Davis, Tommy Dorsey, Duke Ellington, Ella Fitzgerald, Stan Getz, Dizzy Gillespie, Benny Goodman, Dexter Gordon, Lionel Hampton, Gene Krupa, Glenn Miller, Thelonious Monk, Charlie Parker, Sonny Rollins, Bessie Smith, and Lester Young. To this list, one must include the names of Billie Holiday and Charles Mingus.

Billie Holiday is often credited with bringing black issues to a white consciousness (Margolick 16). Holiday's song “Strange Fruit” had its debut at a New York nightclub called “Cafe Society.” Even before Dizzy Gillespie and Charlie Parker helped usher in “cool” music, even before the famous Rosa Parks incident, Billie Holiday was making waves and garnering praise and doubts from blacks and whites alike. Holiday had such a intensely mesmerizing effect on audiences that when she sang “Strange Fruit” “all service stopped. Waiters, cashiers, busboys were all immobilized. The room went completely dark, save for a pin spot on Holiday's face” (Margolick 50).

As unconventional as jazz musicians came, Charles Mingus was difficult to categorize and he wouldn't have wanted it any other way. Mingus considered himself a composer rather than an instrumentalist (Shipton 762). He worked hard toward constant improvement of his “chops.” In fact, Mingus used self-defense training and weight lifting to improve his concentration (Shipton 763).

Mingus was also a controversial figure as well. Like Billie Holiday, he would berate audiences whom he felt were being too rambunctious and not giving undivided attention to his music (Erlich 165). While his talent was never questioned, his temperament was one that you did not cross.

The Vietnam War incorporated rebellion and innovation in music from a political point of view. The Vietnam War era found artists such as Joan Baez, Phil Ochs, Arlo Guthrie, Country Joe McDonald & the Fish, Joni Mitchell, Crosby, Stills, Nash & Young, and Jimi Hendrix making political statements through their music. Although film would not touch Vietnam until the 1970's, these groups as well as others penned anti-war songs that contributed to the societal view of the war (Orman 155).

One of the most outspoken groups was the Jefferson Airplane. Comprised of Paul Kantner, Marty Balin, Jorma Kaukonen, Jack Casady, Spencer Dryden and the exceptional voice of Grace Slick, Jefferson Airplane went on to record some of the era’s most politically charged music, including “Wooden Ships,” “Volunteers” and “Uncle Sam Blues.” The latter featured these lines that may have summed up their view of the war:

            Uncle Sam ain't no woman,

            But he sure can take your man.

Lee Andresen, author of Battle Notes, a book documenting the music of the Vietnam era, commented in a telephone interview that, “When people listened to these songs, they were on the fence, so to speak. Some of these songs got them off the fence to a certain position, whether they were leaning toward being pro-war or anti-war. I think the anti-war music had more of an impact especially after Tet. There's a lot to say for the fact that people, even in the 1960's, felt that certain recording artists were like gods. Anything they said or did was sacred” (Andresen).

While the gap between rock and roll and country was decreasing, the sounds were becoming quite radical. When it came to country music, no movement is more prominent than the “outlaw movement” fathered by Willie Nelson and Waylon Jennings. For example, rock and roll was moving toward a more mellow sound with releases from James Taylor, Carly Simon, Carole King, Cat Stevens, and Elton John (Hibbard 101). Meanwhile, country artists, led by Nelson, Jennings, David Allan Coe, Kris Kristofferson, and Billy Joe Shaver, were growing their hair out, maintaining scruffy beards, and bringing a youthful energy to an industry muddled by stiff collared types (Wolff, www.allmusic.com). But these artists wanted more than to simply grow their hair out and use drugs and drink liquor; they wanted control over the music. Nelson and Jennings, among others, had grown weary of Nashville producers and wanted the reins turned over to the musicians (Wolff).

Until that point, Willie Nelson and Waylon Jennings had been writing music and/or performing as band members for other prominent artists. Nelson had written songs such as “Crazy” and “Hello Walls” which became hits for others, while Jennings, bassist in Buddy Holly's band, was the man who gave up his seat to the Big Bopper in the crash that would become known as “the day the music died,” as well as being the narrator for the long running television series “The Dukes of Hazzard.” The two would go on to collaborate and record together during the 70's, producing, among others, the classic “Mammas Don't Let Your Babies Grow Up To Be Cowboys” from the multi-platinum Waylon and Willie to collaborating with Johnny Cash and Kris Kristofferson as the supergroup The Highwaymen.

It goes without saying that imitation is the best form of flattery. Elvis Presley has been one of rock's most imitated personalities. It often appears that there are more Presley impersonators in the world than there are people who witnessed Presley in concert. Some of those imitators have carved a niche with their uniqueness. One such performer is known as El Vez, “the Mexican Elvis.”

El Vez was born Robert Lopez in Chula Vista, CA. He has taken the mystique of Elvis Presley and turned it into a Latino experience. He has gone as far as “Weird Al”-ing many of the King's songs to serve his Mexican heritage. For example, “Suspicious Minds” becomes “Immigration Time” and “C.C. Rider” becomes “Si, I'm A Lowrider.” With these and other songs, El Vez has become both a Mexican-American treasure and a favorite of all nationalities.

Experimental rock is a genre known for pushing the limits. According to a description on the “All Music Guide” website (www.allmusic.com): “the whole point is to liberate and innovate, no hard and fast rules apply, but distinguishing characteristics include improvisational performances, avant-garde influences, odd instrumentation, opaque lyrics (or no lyrics at all), strange compositional structures and rhythms, and an underlying rejection of commercial aspirations.” This aptly describes Laurie Anderson.

Anderson graduated magna cum laude from Barnard College and took an MFA from Columbia University (DeCurtis 150-151). She's been called a visual artist, musician, poet, teacher, and sculptor. Just don't ever call her boring. Anderson began getting noticed as a multi-talented, performance artist from an early age. One of her most successful crossings of styles came during her production of United States, a seven-hour multi-media stage show that incorporated many of her talents.

Kurt Cobain never wanted to be a hero or icon. It was a role that was handed to him, and that he grudgingly accepted (Gilmore 443). In short, Kurt was a misfit. He would be beaten for looking a certain way, chastised for the music he played and listened to and was pounded in the head for befriending a high school student who was openly gay (Gilmore 443). Yet, he, with his band Nirvana, went on to produce one of the top albums of the nineties: Nevermind.

Outcome

In the end, students will produce a paper on a musician to be taken from a list provided by the teacher. Once they have chosen an artist, they will research the person's life and career and determine, based on definitions to be developed throughout the unit, whether their chosen/selected musician would be considered a rebel or an innovator. Students will back up their information based on research obtained and music listened to.

Finally, my intention is for students to understand that they can be agents of change. Each of the artists mentioned above has brought change to the music industry in one form or another. Through the lives of the artists, students will come to understand that they too came be agents of change in a positive manner.

Implementation

Week One into Week Two

OBJECTIVE: When this week is completed the student will be capable of

1. describing various genres of music that will be covered in this unit

2. identifying musical acts that fall into each genre

3. explaining the difference between a rebel and innovator by constructing a Venn Diagram

4. citing examples of rebels and innovators

MATERIALS: Students will use the article “The Big Winners: Alicia Keys, U2 and 'O Brother'” from New York Times Learning Network website. Students will go over vocabulary, do a pre-reading exercise, read the article, and answer various questions through discussion or written work.

This article and its accompanying lesson plan can be found at: www.nytimes.com/learning/teachers/lessons/20020301friday.html.

Students will need butcher paper to complete the Venn Diagram along with several different color pens or markers.



Students will also use computers for research purposes.

ACTIVITIES:

1. Completion of first two parts of a KWL chart. First, students will discuss what they know about various genres of music. Second, they will brainstorm what they would like to learn.

2. Students will complete vocabulary from article. Words to be used as highlighted in the article. Students will also depict each word as a picture to be placed on “Word Wall.”

            a. This portion is optional for teachers who do not use such a tool.

            b. Teacher may use a word game to ascertain knowledge of words.

3. Read the article “The Big Winners: Alicia Keys, U2 and 'O Brother'.” Discuss the article while answering various questions. (Teachers can follow lesson plan from New York Times Learning Network.)

4. Students will use the library to do research in groups on various genres of music. They will present findings to the class.

4. Using butcher paper, students will design a Venn Diagram jotting down the characteristics of a rebel and an innovator. Students will also cite personalities from any field whom they feel are rebels and/or innovators.

5. Students will discuss their charts and post them around the classroom.

OUTCOME: By the completion of this part of unit, students will have a clearer idea of what a rebel and an innovator are. They will also have an idea of what they hope to learn from this unit.

Weeks Two thru Six

OBJECTIVES: When these lessons are completed students will:

1. Identify each of the artists studied as either a rebel or an innovator or both

2. Understand how music and culture integrated during the times of each of the performers

3. Through the listening of music, students will gain an understanding of how each artist's music reflected the times and social conditions

MATERIALS:

1. Biographies (all biographies can be found at www.allmusic.com).

2. Various other articles on each individual artist.

3. Music from artists.

4. Videos of various artists.

ACTIVITIES:

1. Students will read articles after teacher has outlined history of artist and activities of times.

2. Students will discuss biographies and articles of artists.

3. Students will answer higher order questions based on all readings and discussions.

4. Students will determine whether each artist is a rebel or an innovator or both based on information garnered during previous lessons.

Weeks Seven thru Nine

OBJECTIVES: When these lessons are completed students will:

1. Understand the difference between a rebel and a innovator.

2. Identify other musical artists who are considered either rebels or innovators.

3. Research an artist not mentioned previously.

MATERIALS:

1. Computers for research.

ACTIVITIES:

1. Students will complete a research paper using research done on the computers as well as information obtained over the last six weeks to ascertain whether an artist is a rebel or an innovator. Students will be able to explain why this artist fits one description or the other.

2. Students will use the following artists:

            a. Philip Glass

            b. Lou Reed

            c. Elvis Presley

            d. Bo Diddley

            e. The Ramones

            f. The Talking Heads

            g. The Beach Boys (with Brian Wilson)

            h. Tito Puente

            i. The Gipsy Kings

            j. Johnny Cash

            k. Kris Kristofferson

            l. Afrika Bambaataa

            m. Pink Floyd

            n. Ornette Coleman

            o. Thelonious Monk

            p. Charlie Parker

            q. Dizzy Gillespie

            r. Joan Jett

            s. Janis Joplin

            t. Madonna

            u. Willie Mae “Big Mama” Thornton

            v. Supremes

            w. Karen Carpenter

            x. Laura Nyro

            y. Joni Mitchell

            z. Yoko Ono

            aa. Marianne Faithful

            bb. Chrissie Hynde (The Pretenders)

            cc. Tina Turner

            dd. Garth Brooks

            ee. Steve Earle

            ff. Queen Latifah

            gg. Ice T

            hh. Public Enemy

            ii. Ice Cube

            jj. The Police

            kk. NWA

            ll. Tupac Shakur

            mm. The Go-Go's

            nn. Count Basie

            oo. Glenn Miller

            pp. Benny Goodman

            qq. Duke Ellington

            rr. Louis Armstrong

            ss. The Doors

            tt. Joan Baez

            uu. Herbie Hancock

            vv. John Coltrane

            ww. Al Jolson

            xx. The Grateful Dead

            yy. Muddy Waters

            zz. B.B. King

            I. James Brown

            II. Bob Dylan

            III. Hank Williams

            IV. Miles Davis

3. Students will put together an oral presentation on their artist.

Suggested Musical/Video Selections:

Leonard Bernstein

“America”

“Maria”

“Sym Dances: Rumble (Molto Allegro)”

VIDEO: West Side Story

Chuck Berry

“Rock & Roll Music”

“Roll Over Beethoven”

“Johnny B. Goode”

“Sweet Little Sixteen”

VIDEO: Hail! Hail! Rock & Roll

Little Richard

“Tutti Frutti”

“Good Golly Miss Molly”

“Long Tall Sally”

“Lucille”

VIDEO: Rock & Roll: The Early Days

Jerry Lee Lewis

“Whole Lotta Shakin’ Going On”

“Great Balls of Fire”

“Breathless”

“What Made Milwaukee Famous (Has Made A Loser Out of Me)”

VIDEO: Great Balls of Fire

Billie Holiday

“God Bless The Child”

“Strange Fruit”

“Body & Soul”

“When A Woman Loves A Man”

VIDEO: Lady Day: The Many Faces of Billie Holiday

Charles Mingus

“Cumbia & Jazz Fusion”

“Better Git It in Your Soul”

VIDEO: Mingus * Please note that portions of this video contains some language that may be unsuitable for middle school children. Previewing this video will allow you to ascertain which parts you can use.

VIDEO: Charles Mingus Sextet * Charles Mingus in concert

VIDEO: Stations of the Elevated * The music of Charles Mingus set to a backdrop of New York City landmarks.

Jefferson Airplane

“Volunteers”

“Uncle Sam Blues”

“Wooden Ships”

“White Rabbit”

VIDEO: Woodstock: 3 Days of Peace & Love

* It is not recommended that you show this entire video, but simply view the performance of Jefferson Airplane, in particular, “Uncle Sam Blues.”

Willie Nelson

“Crazy” (Also Patsy Cline version)

“Hello Walls”

“Nite Life” (Also Ray Price version)

“Whiskey River”

“On The Road Again”

Waylon Jennings

“Good Ole Boys (Theme from Dukes of Hazzard)”

“Lucille”

“Brown Eyed Handsome Man”

“Are You Sure Hank Done It This Way”

“Cut The Mustard” (with Old Dogs featuring Bobby Bare, Jerry Reed & Mel Tillis)

Willie Nelson & Waylon Jennings (also Highwaymen)

“Mammas, Don't Let Your Babies Grow Up To Be Cowboys”

“Highwayman”

“Angels Love Bad Men”

El Vez

“Aztlan”

“La Negra”

“It's Now or Never”

“Si, I'm a Low Rider”

Laurie Anderson

“O Superman”

“Big Science”

VIDEO: United States Live

Nirvana

“Smells Like Teen Spirit”

“Love Buzz”

“Come As You Are”

“Lithium”

Standards
The following 7^th grade content and performance standards are applied to this curriculum unit:

STRAND I: READING PROCESS

Reading Strategies:

Increases and monitors reading comprehension

�                     asks questions when unsure of information

�                     draws inferences about information

�                     generates further questions

�                     uses knowledge of context and vocabulary to understand text

Organizes information that is read:

�                     summarizes the information

�                     explains the importance of the information

�                     describes connections between related topics/information

Reading Applications:

Reads a variety of literary and other texts, both self-selected and assigned, to increase fluency and comprehension

STRAND II: READING ANALYSIS

Literary Analysis:

Identifies the purpose and audience for a variety of texts

Identifies the author’s purpose and perspective in a variety of texts

Literary Applications:

Analyzes a variety of texts and literary selections

Analyzes how literature expresses and transmits culture

Interprets and synthesizes information that is read, heard, or viewed

Uses the problem-solving process within various contexts and situations to refine understanding

STRAND III: EXPRESSIVE LANGUAGE: WRITING

Writing Strategies:

Demonstrates increasing proficiency in using the writing process to create a final project

Demonstrates increasing proficiency in using elements of effective writing

Demonstrates increasing proficiency in using appropriate technology to present information for the intended purpose and audience

Writing Conventions:

Demonstrates increasing proficiency with writing conventions

Demonstrates increasing proficiency in applying appropriate types of writing for the intended purpose and audience

Refines critical thinking skills and develops criteria for evaluating arguments and judgments

Expresses a firm judgment and justifies the judgment with logical, relevant reasons, clear examples, and supporting details

Interprets and synthesizes information that is read, heard, or viewed

STRAND V: RECEPTIVE LANGUAGE: LISTENING AND VIEWING

Listening/Viewing Strategies:

Organizes information that is heard or viewed

Draws inferences and conclusions from texts and events that are viewed

Analyzes visual media as sources of information, entertainment, persuasion, interpretation of events, and transmission of culture

Analyzes the effect of sound, images, and text of electronic journalism and mass media on the viewer

Listening/Viewing Applications:

Participates in group activities:

Displays appropriate turn-taking procedures

Asserts an individual point of view while contributing toward a group goal

Employs a group decision-making process

Interprets and synthesizes information that is read, heard, or viewed

Documentation

Andresen, Lee. Telephone Interview. June 12, 2002

Lee Andresen is a Wisconsin based writer who has collected music from the Vietnam War Era since the end of the war. His book, “Battle Notes,” chronicles all that music.

DeCurtis, Anthony, ed. Present Tense: Rock & Roll and Culture. Duke University Press, 1992.

DeCurtis, a Rolling Stone Magazine editor, has compiled essays from academics, rock writers, and musicians.

Epstein, Jonathan S. , ed. Adolescents and Their Music: If It's Too Loud, You're Too Old. Garland Publishing, Inc., 1994.

Essays analyzing the relationship between popular music, postmodernism, and youth culture.

Erlich, Lillian. What Jazz Is All About. Julian Messner, Inc., 1962.

An exploration of jazz – its roots, its origins, its development, and people who contributed to its growth.

Friedlander, Paul. Rock and Roll: A Social History. Westview Press, 1996.

A chronicling of the first thirty-five years of rock and roll.

Gaar, Gillian G. She's A Rebel: The History of Women in Rock & Roll. Seal Press, 1992.

The contributions of women to rock and roll.

Gilmore, Mikal. Night Beat: A Shadow History of Rock & Roll. Doubleday, 1998.

Mikal Gilmore, a writer and critic, has written essays about the music that influenced him growing up.

Hibbard, Don J. with Carol Kaleialoha. The Role of Rock. Prentice-Hall, Inc., 1983.

A discussion of the role of music on society, its impact on its audience, its relationship to society, and the motivation behind the music.

Hoffman, Hank. “Selling Rebellion: How corporate America needs nose rings for profit.” Citybeat Magazine 1998. http://www.citybeat.com/archives/1998/issue407/coverarticle1.html

The selling of music by corporate America for the purpose of turning a profit.

Margolick, David. Strange Fruit: Billie Holiday, Cafe Society, and an Early Cry for Civil Rights. Running Press, 2000.

The effect that one song had on society and culture.

Orman, John. The Politics of Rock Music. Nelson-Hall, Inc., 1984.

A survey of the implications that rock music has for the political system.

Peyser, Joan. Bernstein: A Biography. Beech Tree Books, 1987.

A biography of one of music’s most captivating and charismatic personalities.

Shipton, Alyn. A New History of Jazz. Continuum, 2001.

A history of one of society’s most influential forms of music.

Street, John. Rebel Rock: The Politics of Popular Music. Basil Blackwell, Inc., 1986.

Another look at the implications of rock music on the political system.

Wolfe, Kurt. Outlaw Country. All Music Guide. 1992-2002 AEC One Stop Group, Inc. www.allmusic.com

A definition of “Outlaw Country.”

Biographical information on all artists can be found at www.allmusic.com.