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6

Cool, Hard Bop, and Modal Jazz

Overview

I.

Cool (1949-1955)

II.

Hard Bop (1951-1958)

III.

Modal Jazz

IV.

Cultural Implications

Jazz Timeline

Student Handout

Test Bank

Answer Key

footnotes

1. all styles of jazz from Early Jazz to contemporary are still being performed and recorded today; all style dates given are approximations of when each respective style came to the forefront of jazz and experienced its most concentrated development; of course, styles and dates overlap

2. The term "Funky Jazz" in the 1950s should not be confused with "Funk," a style of popular music pioneered in the 1970s. Funky Jazz is characterized by its earthy, "low down," soulful, bluesy, and gospel flavored qualities, e.g., Moanin', Art Blakey and the Jazz Messengers (IHJ). While Funk also combines elements of jazz, blues, and soul, it is characterized by syncopated rock rhythms and a heavy, repetitive bass line, e.g., Chameleon, Herbie Hancock (JIA).

3. National Center for History in the Schools, UCLA

4. NAfME: The National Association for Music Education

5. Student handouts may be downloaded from the Jazz in America website, printed, and photocopied.

6. Any material from the Jazz in America website may be downloaded, printed, and/or made into PowerPoint slide as the instructor sees fit.

7. IHJ = selection is found on Willie Hill's The Instrumental History of Jazz; JIA = selection is found on the Jazz in America website (www.jazzinamerica.org)

TOPICS:

  1. Cool: 1949-19551
  2. Hard Bop and Funky Jazz:2 1951-1958
  3. Modal Jazz: 1958-1967
  4. Important Figures
  5. Cultural Implications
HISTORY STANDARDS
National Standards for United States History3

Historical Thinking
Students should be able to:
  1. Draw upon the visual, literary, and musical sources, including: (a) photographs, paintings, cartoons, and architectural drawings; (b) novels, poetry, and plays; and (c) folk, popular and classical music, to clarify, illustrate, or elaborate upon information presented in the historical narrative (Historical Comprehension Standard 2i).
  2. Compare and contrast differing sets of ideas, values, personalities, behaviors, and institutions by identifying likenesses and differences (Historical Analysis and Interpretation Standard 3a).
  3. Consider multiple perspectives of various peoples in the past by demonstrating their differing motives, beliefs, interests, hopes, and fears (Historical Analysis and Interpretation Standard 3b).
  4. Hypothesize the influence of the past, including both the limitations and opportunities made possible by past decision (Historical Analysis and Interpretation Standard 3j).
  5. Obtain historical data from a variety of sources, including: library and museum collections, historic sites, historical photos, journals, diaries, eyewitness accounts, newspapers, and the like; documentary films, oral testimony from living witnesses, censuses, tax records, city directories, statistical compilations, and economic indicators (Historical Research Capabilities Standard 4b).
Historical Content
Students should:
  1. Understand the extent and impact of economic changes in the postwar period period (Postwar United States 1945 to Early 1970s Standard 1A) and how the social changes of the postwar period affected various Americans (Postwar United States 1945 to Early 1970s Standard 1B). Therefore, the student should be able to:
  2. Analyze the continued gap between poverty and the rising affluence of the middle class.
  3. Explain the expansion of suburbanization and analyze how the “crabgrass frontier” affected American society, and explore the influence of popular culture and analyze the role of the mass media in homogenizing American culture.
ARTS STANDARDS
National Standards for Music Education4

Artistic Process - Responding: Select, Analyze, Interpret, and Evaluate Music
Students:
  1. Choose music appropriate for specific purposes and contexts. – Identify reasons for selecting music based on characteristics found in the music, connection to interest, and purpose or context (MU:Re7.1.E.5a); Apply criteria to select music for a variety of purposes, justifying choices citing knowledge of the music and the specified purpose and context (MU:Re7.1.E.IIa).
  2. Analyze how the structure and context of varied musical works inform the response. – Compare how the elements of music and expressive qualities relate to the structure within programs of music (MU:Re7.2.8a); Identify and compare the context of programs of music from a variety of genres, cultures, and historical periods (MU:Re7.2.8b).
  3. Support an interpretation of a musical work that reflects the creators’/performers’ expressive intent. – Support personal interpretation of contrasting programs of music and explain how creators or performers apply the elements of music and expressive qualities, within genres, cultures, and historical periods to convey expressive intent (MU:Re8.1.7a).
  4. Support personal evaluation of musical works and performance(s) based on analysis, interpretation, and established criteria. – Apply appropriate personally developed criteria to evaluate musical works or performances (MU:Re9.1.8a).
  5. Relate musical ideas and works with varied context to deepen understanding. – Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life (MU:Cn11.0.T.5a).
Artistic Process - Connecting: Select, Analyze, Interpret, and Evaluate Music
Students:
  1. Synthesize and relate knowledge and personal experiences to make music. – Demonstrate how interests, knowledge, and skills relate to personal choices and intent when creating, performing, and responding to music (MU:Cn10.0.H.5a); Identify reasons for selecting music based on characteristics found in the music, connection to interest, and purpose or context (MU:Re7.1E.5a).
  2. Relate musical ideas and works with varied context to deepen understanding. – Demonstrate understanding of relationships between music and the other arts, other disciplines, varied contexts, and daily life (MU:Cn11.0.T.5a); Evaluate works and performances based on research as well as personally- and collaboratively-developed criteria, including analysis and interpretation of the structure and context (MU:Re9.1.E.IIa).
SESSION OBJECTIVES:
The student will
  1. gain a fundamental understanding of Cool Jazz
    1. reaction to bebop
    2. performance practices
  2. gain a fundamental understanding of Hard Bop and Funky Jazz
    1. reaction to cool
    2. performance practices
  3. gain a fundamental understanding of Modal Jazz
    1. reaction to hard bop and cool
    2. performance practices
  4. learn the basic definition of several terms associated with jazz
    1. nonet
    2. dynamics
    3. mode
    4. homophony
    5. polyphony
    6. contrafact
  5. listen to Cool, Hard Bop, Funky Jazz, and Modal Jazz recordings
  6. become acquainted with Miles Davis and Art Blakey
  7. participate in a class discussion regarding jazz's contribution to and reflection of American culture in the 1950s
EQUIPMENT:
  1. computer logged onto www.jazzinamerica.org
  2. LCD projector and screen
  3. CD player (optional)
MATERIALS:
  1. The Instrumental History of Jazz (IHJ) – optional
    1. two CDs
    2. accompanying booklet
  2. Student Handouts (one per student)5
    1. chapter glossary6
    2. one American History (AH) handout: The 1950s: A Decade of Change
    3. Cool Characteristics
    4. Hard Bop and Funky Jazz Characteristics
    5. Modal Jazz Characteristics
    6. time line (1950s)
    7. Jazz Biographies (JB) handout (Miles Davis and Art Blakley)
INSTRUCTIONAL ACTIVITIES:
The instructor will
  1. distribute student handouts
  2. have students read and discuss the student handout, The 1950s: A Decade of Change
  3. discuss Cool, Hard Bop and Funky Jazz, and Modal Jazz
  4. examine the biographical sketches of Miles Davis and Art Blakley
  5. play significant Cool recordings: Boplicity, Miles Davis (IHJ), and/or Bernie's Tune, Gerry Mulligan Quartet (IHJ), and/or Take Five, Dave Brubeck (JIA)7
  6. play significant Hard Bop recordings: Nica's Dream, Horace Silver Quintet (IHJ), and/or Walkin', Miles Davis (JIA),and/or St. Thomas, Sonny Rollins (JIA), and/or Giant Steps, John Coltrane (JIA)
  7. play significant Funky Jazz recordings: Moanin', Art Blakey & The Jazz Messengers (IHJ) and/or Song for My Father, Horace Silver (JIA)
  8. play significant Modal Jazz recordings: Impressions, John Coltrane (IHJ), and/or All Blues, Miles Davis (JIA), and/or Footprints, Miles Davis (JIA)
  9. lead a class discussion regarding jazz's contribution to and reflection of American culture during the Cool, Hard Bop, and Modal Jazz Eras
ASSESSMENT:
Test Bank
  1. Multiple Choice
  2. Fill in the Blank
  3. True-False
  4. Matching
  5. Essay

the Herbie Hancock institute of jazz
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