Jazz Ensemble 4 - Honors: MU.912.C.1.1

Big Idea: Critical Thinking and Reflection
  • Understanding: Cognition and reflection are required to appreciate, interpret, and create with artistic intent.
    • Benchmark: Apply listening strategies to promote appreciation and understanding of unfamiliar musical works.
☆ Categorized as Best Assessed in the Classroom (BAC)

Students will be able to:

  • discuss the factors that make an improvised solo exemplary and identify appropriate models
    • repetition of a theme, variation on the melody of the piece, quotes from solos, the melody, or other melodies, use of space as opposed to constant motion, etc.
  • follow a transcription of a solo while listening to a performance and evaluate the expressive techniques and improvisational techniques of the soloist.
    • appropriate methods of accessing recordings and transcriptions such as NAXOS, iTunes, music libraries, publications like Real Books, etc.
  • employ active listening strategies
    • active listening strategies include accessing prior knowledge to improve interest in unfamiliar works, focused listening, anticipating composer’s intent through elements such as title, similar works, time period, etc.
  • identify styles of jazz performance
    • swing, ballad, Latin, rock, fusion, etc.
  • recognize and evaluate major musical components of jazz
    • style melody/countermelody, basic jazz harmony, dynamics, tonality, phrasing, contour, shaping, tempo, rhythms, and instructional music terminology
  • identify major musical components using listening maps.
  • explain personal preferences of music using correct music vocabulary
    • course specific vocabulary referring to style, expressive elements, form, etc.

Students will know:

  • style melody/countermelody, basic jazz harmony, dynamics, tonality, phrasing, contour, shaping, tempo, rhythms, and instructional music terminology
  • swing, ballad, Latin, rock, fusion, etc.
  • repetition of a theme, variation on the melody of the piece, quotes from solos, the melody, or other melodies, use of space as opposed to constant motion, etc.
  • appropriate methods of accessing recordings and transcriptions such as NAXOS, iTunes, music libraries, publications like Real Books, etc.
  • active listening strategies include accessing prior knowledge to improve interest in unfamiliar works, focused listening, anticipating composer’s intent through elements such as title, similar works, time period, etc.
  • course specific vocabulary referring to style, expressive elements, form, etc.