Upload
vanthuan
View
214
Download
1
Embed Size (px)
Citation preview
EDUCATOR
GUIDE
Will Burton (Gaelan Connell) and Sa5m (Vanessa Hudgens) become
friends while working on a school project in BANDSLAM.
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
BANDS AM s about a h gh schoo d, W Burton, who wears h s non
conform st heart on h s s eeve. t s about what t means (and what t ta es) for a
person to express hmse f oud and c ear through mus c. W roc s to the mus c
he hears, captur ng the hearts and mag nat ons of h s band, h s peers, and
even that of a famous roc star a ong the way.
The mus c of BANDS AM and the hstory of that mus c provde extraordnary
“teachab e moments.” To optmze these opportun t es, Wa den Med a has partnered
w th two organzat ons that brng mus c and earnng together w th great harmony
the GRAMMY Museum, new y opened n os Ange es and ded cated to exp orng
and ce ebratng the endurng egac es of a forms of mus c, and MENC The Nat ona
Assoc at on for Mus c Educat on, the foremost arts educat on organzat on and
one that rea zes the power of mus c as a teachng too . Drawng on the
r ch mus ca resources of these esteemed partners, we have created
th s nteract ve Educator Gude f ed w th hstory, sc ence, and mus ca
r ches.
Teenager W Burton (Gae an
Conne ) ves n h s head, and h s
head s f ed w th mus c. When h s
mom Karen Burton ( sa Kudrow) gets
a new ob n New Jersey, W starts at
a new schoo on y to fnd that wh e
the o d c ques and c ches st app y,
roc n ro ru es the scene. A perpetua
msf t, W str es up a fr endshp w th
e mnded outsder Sa5m “the 5 s
s ent” (Vanessa Hudgens). They re
both surpr sed when the schoo s “ t”
g r , Char otte (A y M cha a) recru ts
W to he p assemb e a band to
compete n “Bands am,” a batt e of
the bands of ep c proport ons. W th
Char otte s ex boyfr end Ben (Scott
Porter) and h s band po sed to w n t
a , W fnds that, for the frst t me n
h s fe, he s unque y su ted to ma e a
meanngfu contr but on to somethng
that s mportant to hm and h s peers.
W th mus c as the great equa zer,
BANDS AM s a mov e that proves
ove, fr endshp, and mus c can a
roc your wor d.
A Message from WALDEN MEDIA
About BANDSLAM
“If a man does not keep pace
with his companions, perhaps it
is because he hears a different
drummer. Let him step to the
music which he hears, however
measured or far away.”
– Henry David Thoreau, Walden
Read the Mov e
t e n boo s from
SBN 978-0843 34865SBN 978-0843 3484SBN 978-0843 34858
Bandslam: Will s Guide to Music
Bandslam: The Novel
Bandslam: The Movie Scrapbook
teacher reference page
The act v t es n th s Educator Gude are recommended for grades s x and up and meet nat ona standards n Mus c, Eng sh/ anguage Arts, Soc a Stud es, and Sc ence. A pages are gray sca eab e to be eas y reproduc b e.
Some of the mus c c ted n these essons may nc ude references, cons stent w th the eras portrayed, to substance abuse, v o ent acts, and top cs of a sexua and/or po t ca nature. Because th s may be cons dered nappropr ate for c assroom use n some commun t es, you are encouraged to rev ew essons before present ng them to your students and, f necessary, choos ng those sect ons that enhance your esson and are acceptab e for use n your c assroom.
MENC The Nat ona Assoc at on of Mus c Educat on be eves that mus c a ows us to ce ebrate and preserve our cu tura her tages and a so to exp ore the rea ms of express on, mag nat on, and creat on resu t ng n new know edge. Therefore, every nd v dua shoud be guaranteed the opportun ty to earn mus c and to share n mus ca exper ences. The m ss on of MENC s to advance mus c educat on by encourag ng the study and mak ng of mus c by a . Wa den Med a s gratefu to MENC for the r cooperat on, the use of ts su tab ty statement, and the r expert rev ew of the content of th s gude. To earn more about MENC, p ease see
www.menc.org
The GRAMMY Museum at .A. VE exp ores and ce ebrates the endur ng egac es of a forms of mus c; the creat ve process; the art and techno ogy of the record ng process; and the h story of the GRAMMY® Awards, the prem er recogn t on of recorded mus c accomp shment. Wa den Med a s gratefu to The GRAMMY Museum for the r generous contr but ons to the contents of th s gude and the r expert rev ew of the curr cuum created from those contr but ons. To earn more about The GRAMMY Museum, v s t
www.grammymuseum.org
It Starts with a songunderstanding music formsmusic epicenters / new york city
spotlight on the 1970s / be a music critic like willculture shock, 1950s - 2000 revolutions of recorded soundnational content standards for activities
Table of Contents
ACTIVITY 1:activity 2:activity 3:
activity 4:
activity 5:activity 6:
Our PARTNERS
We Know It’s Only ROCK & ROLL But–
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
teacher reference page
Charlotte Barnes (Aly Michalka)
and Bug (Charlie Saxton) are
members of a band called I Can t
Go On, I ll Go On in BANDSLAM.
Karen Burton (Lisa Kudrow)
is Will Burton s proud and pro
tective mother in BANDSLAM.
Will Burton (Gaelan Connell)
is a passionate music expert in
BANDSLAM.
Apr l 14, 2009
Dear Colleague
As you watch BANDSLAM, I’m certa n that you catch the enthus asm that young people br ng to mus c mak ng every day all across our nat on. And I’m also certa n that the enthus asm expressed by the characters n the mov e matches the enthus asm that you observe n your school’s students when they nteract w th mus c.
And we have new ev dence that documents the mportance of that nteract on. For example
A Harr s poll showed that h gh schools w th strong mus c programs have h gher attendance and graduat on rates than those schools w thout such programs.
A recent study showed that mus c study s strongly assoc ated w th h gher l felong educat onal atta nment and even h gher l fet me earnng potent al.
mus c study has a longstand ng correlat on w th standard zed test scores, and w th mportant ntell gence measures
W th all of th s, t’s d ff cult to understand when we have cutbacks to mus c programs. But the cutbacks keep appear ng, wh ch means that all too many Amer can students don’t get the benef ts of a full, balanced educat on that ncludes mus c. And though mus c s so compellng n tself that students w ll naturally seek mus c exper ences outs de of the school env ronment, the value of d scplned, sequent al mus c study s such that th s sub ect must be at the core of each and every one of our schools. It’s l sted that way n Federal educat on leg slat on, t’s recognzed n the academ c standards of the states, and t’s the r ght thng for our chldren.
I hope that you w ll o n w th me n work ng to make certa n that all of our students rece ve the benef ts of mus c as part of the r school exper ence. One thng you and your students can do r ght now s to s gn the Pet t on for Equal Access to Mus c Educat on at www.thepet t ons te.com/157/pet t on for mus c ed.
Sncerely,
Barbara GeerPres dent, MENC The Nat onal Assoc at on for Mus c Educat on
•••
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
Bug (Charlie Saxton) is a talented bass player for the band I Can t Go On, I ll Go On in BANDSLAM.
Sa5m (Vanessa Hudgens) loves reading and making music in BANDSLAM.
Charlotte Barnes (Aly Michalka) is a singer songwriter in BANDSLAM..
The songwr ters of “Tn Pan
A ey” fed th s nat ona
mar et. ocated a ong
West 28th Street
between Broadway
and S xth n New
Yor C ty, the area
was f ed w th sheet mus c pub shers and re ated bus nesses.
The no se of many songwr ters bang ng out new mater a on
the r p anos gave the street ts name. A though at frst the name
referred to one ocat on, Tn Pan A ey s now used to refer to
ma nstream Amer can popu ar mus c from the 1890s unt the
ear y 1950s and the ma n songwr t ng sty es of the t me.
Ear y Amer can song came from European
c ass ca , fo , and sacred mus c. But n
the md 19th century, un que Amer can
sty es began to appear. These songs
b ended s mp e me od es w th yr cs
about Amer can fe and and. By the
c ose of the 19th century, the growth of
transportat on and manufactur ng brought a nat ona mar et for popu ar
songs. They were promoted nat onw de n trave ng mnstre shows and
through pr nted sheet mus c. Than s n arge part to the ra road and other
new techno og es, these songs and the r wr ters were among the frst to
fnd a nat onw de “popu ar” aud ence.
In the mid 19th century, Daniel Emmett and Stephen Foster became some
of the first widely published songwriters of American popular music. Their
music (including Emmett’s “Dixie” and Foster’s “Oh! Susanna”), spread
throughout the country, made popular by traveling minstrel shows.
It Starts With a SONG
The Birth of
AMERICAN
POPULAR SONG
TIN PAN ALLEY:
Birthplace of the
Music Industry
activity 1:
BANDSLAM celebrates words and music, two things that come together in songwriting. Explore the beginnings of American songwriting and popular musical entertainment.
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
student reference page
The Band The Daze are
finalists at Bandslam because
of their unique style and
songwriting in BANDSLAM.
An Amer can enterta nment made up of com c s ts, var ety acts, dancng, and mus c, performed by wh te peop e n
b ac face or, espec a y after the Amer can Cv War, b ac s n b ac face. M nstre shows were once a very popu ar (and very acceptab e) form of enterta nment. Today mnstre shows are seen as r d cu ng Afr can Amer cans dep ct ng them as azy, buffoon sh, gnorant, mus ca or oyous. How do you account for the d fference n att tudes about mnstre shows over t me?
TALK
ABOUT
IT!
Court
esy
of
The
GRA
MM
Y M
use
um
The term “songw r t e r ” refe rs to a person who wr tes songs ( n genres e c ass ca and azz, the term “composer” s more common y used). Pr or to Wor d War , most popu ar
performers d d not wr te the r own mater a , re y ng nstead on profess ona songwr ters. W th a few except ons to th s (part cu ar y n fo , bues, and country mus c), pop songwr ters hard y ever performed themse ves.
Th s began to change n the years fo ow ng Wor d War . As new sounds and sty es emerged, art sts who both wrote and performed the r mater a found popu ar ty. Today s popu ar mus c s fed by songwr ters from both trad t ons. Whether performng the r own songs or creat ng mater a for other art sts, songwr ters cont nue to be the frst of many creat ve peop e who p ay a ro e n br ng ng you your favor te songs whether they be roc , pop, country, hp hop, R&B, or another popu ar genre.
Actor, dancer, producer,
and songwr ter, George M. Cohan. The father of Amer can
mus ca comedy wrote many p ays and popu ar songs, ncud ng “G ve
My Regards to Broadway,” and “Over There.”
The “Father of the B ues,”
W.C. Handy, ear y 1940s. H s song, “St. ou s B ues,” f rst
pub shed n 1914, was among the frst w de y pub shed popu ar songs
to present e ements of bues mus c n a standard form.
Composer Scott Jop n s
“Map e eaf Rag,” f rst pub shed n St.
ou s, ke y so d over one m on cop es. t p ayed
an mportant ro e n ntroducng “ragged rhythms” to popu ar
song.
Band eaderand composer
John Ph p Sousa (“The Stars and
Str pes Forever”) was among the most
pub shed popu ar songwr ters of the ate 19th
century.
J mm e Rodgers, the
“father of country mus c”; Thomas A.
Dorsey, the “father of gospe mus c”; and Woody Guthr e,
egendary fo k s nger.
activity 1:
It Starts With a SONG (cont’d)
Some songwriters create work so enduring that it sets a standard for everything that comes after.
MINSTREL SHOWS
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
student reference page
BANDS AM, W w es e e s o Dav d Bow e, w o s bo a so gw e a d a pe o me W a s abou Dav d Bow e s so gs a makes W w e o m a d e m abou s e? W y do you k e Dav d Bow e so g “C a ges” s W s g o e?
TALK ABOUT
IT!
Will’s Favorite songwriter
1. Another word for a songwr ter, th s term s used when referr ng to one who wr tes c ass ca or azz mus c _ _ _ _ m _ _ _ _ _ _ _ _ _ _
2. He s cons dered the “Father of Gospe Mus c” _ _ _ _ _ _ _ _ _ _ _ _ A. _ _ _ _ _ _ _ _ _ _ _ _ 3. An ear y Amer can enterta nment cons st ng of com c s ts, var ety acts, dancng, and mus c, performed by wh te peop e n b ac face or, after the Amer can Cv War, b ac s n b ac face. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
4. The no se of count ess songwr ters bang ng out new mater a on the r p anos gave th s New Yor C ty street ts name. _ _ _ _ _ _ P _ _ _ _ _ _ _ _ _ _ _ _ _ _
5. He wrote “Oh! Susanna.” _ _ _ _ _ _ _ _ _ _ _ _ _ _ F _ _ _ _ _ _ _ _ _ _
6. John Ph p Sousa, band eader and composer, wrote th s famous Amer can song. “ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ S _ _ _ _ _ _ _ _ _ _ _ _ F _ _ _ _ _ _ _ _ _ _ _ _”
7. He s cons dered the “Father of the B ues” and h s song “St. ou s B ues” was frst pub shed n 1914 and he ped ntroduced e ements of bues mus c n a standard form. W. _ _ _ _ _ _ _ _ _ _ _ _ 8. Th s “ragged rhythm” was wr tten by Scott Jop n, e y so d over a m on cop es, but was frst pub shed n St. ou s not New Yor C ty. “_ _ _ _ p _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _”
9. He s nown as a egendary fo s nger. _ _ _ _ _ _ _ _ _ _ G _ _ _ _ _ _ _ _ _ _ _ _
10. After th s event, art sts began to appear who a so performed the mater a they wrote. _ _ _ _ _ _ _ _ _ _ _ _ _ _ _ _
Use what you’ve learned about the beginnings of songwriting and popular music to fill in the words that follow each statement. Some letters have been filled in for you.
It Starts With a Song
student activity sheet
NAME
DATE
Ben W
hea
tly (Scott
Port
er) is
the lea
d
singer
for
the b
and
Ben W
hea
tly a
nd
The G
lory
Dog
s in
BA
ND
SLA
M.
Sa5
m (Vaness
a H
ud
gens)
is a
tale
nte
d g
uitarist
and
singer
in B
AN
DSLA
M.
Tow
ard
th
e b
eg
nn
ng
of
BA
ND
SA
M,
W d
esc
rb
es
hs
exp
erence
n
scho
o.
W
says,
“
ha
ve
becom
e
com
fort
ab
y num
b.” W
ha
t so
ng
a
re th
ese
yrcs
from
?
Wha
t b
and
sng
s th
s so
ng
? W
hy d
o y
ou th
nk W
quote
s
ths
song
and
these
yrcs?
(Accord
ng to R
olling S
tone t
he yrcs
cam
e f
rom
Roger
Wate
rs e
xperence w
hen h
e w
as
necte
d w
th tra
nqu
zers
for
hepatts
by
a
docto
r b
efo
re
pay
ng
a
show
n
Ph
ad
eph
a o
n tour
n 1
97
7. “
That
was
the ongest
tw
o
hours
of
my
fe,” W
ate
rs s
ad
. “T
ryng to d
o a
show
when
you c
an h
ard
y
ft y
our arm
.” The e
xperence g
ave h
m the
dea, w
hch b
ecam
e the yrcs
to th
s so
ng. F
rom
ww
w.ro
lling
sto
ne
.co
m/n
ew
s/st
ory
/65
961
59
/co
mfo
rta
bly
n
um
b )
How
does
mus
c h
ep
W e
xp
ress
hm
sef?
Rock
ng
and
som
etm
es
rock
ng
and
ro
ng
w
ere
term
s d
atng b
ack to c
ontr
y
bes
and
cass
c b
es
record
ngs
of
the
90
s and
93
0s c
onnotng e
ther
a h
ard
dance r
hyth
m o
r th
e
nte
nse
fe
engs
and
att
td
es
of
ad
oesc
ents
th
e
swng v
oca
gro
p the B
osw
e S
sters
record
ed
Rock
and
Ro
n
934
. B
t t
wasn
t nt
dsc
ockey A
an
Fre
ed
ap
ped
ro
ck &
ro
n
95
to the m
sc o
n h
s
Ceve
and
R&
B r
ad
o s
how
that th
e h
and
e b
egan to
ga
n w
desp
read
ct
ra tra
cton.
Rock &
ro
event
ay c
am
e to d
efne
rhyth
mc te
en-o
rente
d m
sc
perf
orm
ed
by
both
w
hte
and
A
frcan-A
mercan
ms
cans
wh
ch
encom
pass
ed
b
oth
R&
B
and
h
by
roots
n
a
synth
es
s
that
was
not
race-s
pec
fc.
Form
er
co
ntr
y
ms
can
B
Ha
ey
s 95
4
ht
Rock A
rond
th
e C
ock
w
as
the
bggest
eary
record
ng
cass
fed
as
rock &
ro
wh
e E
vs
Pre
sey
s p
ost
-Sn
record
ngs
for
RC
A w
ere
d
entfed
not
as
rockab
y b
t as
rock &
ro
. C
hck
Berr
y B
o D
dd
ey
tt
e R
chard
and
Fats
D
om
no w
ere
am
ong th
e cr
ca
back rock &
ro
ers
.
Dsc
o—
from
dis
coth
eque (r
ecord
b
rary
a te
rm n
vente
d
to d
esc
rb
e t
he d
ance c
bs
of
the
96
0s—
beca
me t
he
most
pop
ar
da
nce m
sc o
f th
e m
d-
970
s to
ea
ry
98
0s
org
na
y n E
ast
Coast
ctes.
he s
ond
wa
s b
ottom
-hea
vy
perc
ssve d
ancefo
or
tra
cks
tha
t
feat
red
hea
vy orc
hest
rate
d sw
rng
p
rod
cton
w
hch to
ok
ts c
es
from
eary
970
s Ph
ad
ep
ha
so
. C
b D
Js d
eve
op
ed
an
nd
erg
rond
cente
e
—b
ack
wh
te a
nd
bro
wn
peop
e f
rom
a w
aks
of
fe—
for
wha
t b
eg
an a
s a
ma
ny nd
ep
end
ent-
ab
e e
xp
os
on.
Hom
eg
row
n a
cts
ke C
hc a
nd
E
rod
sco d
va
s ke exp
atr
ate
D
onna
Sm
mer
racked
p
a
rge h
ts b
t th
e d
sco g
enre
tr
y c
ross
ed
over
wth
the
Be
e G
ees
97
7 s
ond
tra
ck f
or
Sa
turd
ay N
ight
Fever w
hch s
od
a r
ecord
5 m
on c
op
es.
By the e
ary
98
0s
the d
sco s
ond
—w
hch h
ad
be
en e
mb
raced
n e
xcs
ve
crc
es
at c
bs
ke N
ew
York
s e
te S
td
o 5
4—
ha
d p
ayed
ts
ef o
t b
t st
rans
can b
e h
ea
rd n s
ch a
ter
sty
es
as
ho
se a
nd
hp
-hop
.
• B
a
ey, “R
ock A
ou
d
e C
ock”
• E
vs
Pes
ey, “
ea
beak
oe
”
• C
uck B
ey, “M
ayb
ee
e”
• e R
ca
d
• B
o D
dd
ey
• Fa
s D
om
o
• D
oa
Sum
me
• C
c
• T
e B
ee G
ees,
“S
ay
Ave”
• G
oa
Ga
yo
, “ W
Su
vve”
• KC
&
e S
us
e B
ad
,
“Ta
s e W
ay (
ke
”
Imp
ort
ant A
rtis
ts:
Imp
ort
ant A
rtis
ts a
nd
Band
s:
Every
pie
ce o
f m
usi
c h
as
an o
vera
ll p
lan
or
a s
tructu
re, its
“big
pic
ture
.”
his
is
calle
d the form
of
the m
usi
c.
Sourc
e: Ric
e U
niv
ers
ity,
Connexio
ns:
cnx.o
rg
log
on t
o w
ww
.wal
den.
com
for
add
itio
nal a
ctiv
itie
s &
info
rmat
ion
regi
ster
at
ww
w.w
alde
n.co
m/b
ands
lam
to
win
a $
250
gift
car
d fo
r yo
ur c
lass
room
.
refe
re
Unders
tandin
g M
usic
FORMS
acti
vity2
:
ROCK &
ROLL
DIS
CO
Exp
ress
Yours
elf T
hro
ug
h M
usi
c
What Is
a M
usi
c F
orm
?
stud
ent
refe
renc
e page
The
crow
d go
es w
ild fo
r th
eir
favo
rite
band
s in
BA
ND
SLA
M.
Rap
s a
rhyt
hmc
and
rhym
ed v
oca
sty
e sp
oken
ove
r a
oop
ng b
ed o
f m
sc.
rad
tona
y t
s c
onsd
ered
one
of
seve
ra e
emen
ts t
hat
mak
e p
the
broa
der
ct
re o
f hp
-ho
p.
oday
ho
wev
er
thes
e te
rms
are
freq
enty
se
d nt
erch
ange
aby
wth
hp
-hop
con
sder
ed s
ynon
ymo
s to
ra
p m
sc.
Rap
was
bor
n n
the
Bron
x n
the
eary
97
0s
as
oca
DJs
ch
ef a
mon
g th
em D
J oo
Her
c (Ja
ma
ca-b
orn
Cve
Cam
pbe
se
d pa
rs o
f t
rnta
bes
to
soat
e an
d en
des
sy r
epea
t th
e m
ost
danc
eab
e se
cton
s of
son
gs.
Usn
g a
mcr
opho
ne t
hey
d sp
eak
n tm
e ov
er t
hese
br
eaks
to e
nco
rage
the
danc
ers
and
ca o
t fre
nds
and
othe
rs to
the
foor
.
As t
hese
voc
a d
tes f
e to
the
r fre
nds
the
anno
ncem
ents
be
cam
e nc
reas
ngy
wtty
and
com
pex
—an
d ra
p w
as o
n ts
way
. S
nce
arrv
ng o
n re
cord
n
979
t h
as s
nce
gone
th
rogh
sev
era
ma
or s
tyst
c sh
fts d
rven
as
mch
by
the
evo
vng
sks o
f ts
yrc
sts a
s ma
or c
hang
es n
the
tech
noog
y th
at s
se
d to
pro
dce
the
msc
.
Dsm
ssed
as a
tren
d w
hen
t arr
ved
rap
has s
nce
end
red
and
evo
ved
to b
ecom
e on
e of
the
wor
ds
mos
t pop
ar a
nd
dyna
mc
msc
form
s.
• DJ
Koo
e
c
• Aka
Bam
baa
aa,
“Pa
e R
ock”
• Ga
dmas
e F
as,
“Te
Adv
eu
es o
Ga
dmas
e F
as
O
e W
ees
o
See
”
• Sug
a
Ga
g,
“Rap
pes
De
g”
An
eary
96
0s J
ama
can
msc
form
ska
s so
nd
borro
wed
hea
vy
from
Am
erca
n az
z an
d po
p a
ong
wth
men
to a
oc
a m
sc. S
ka e
mp
oyed
nm
ero
s ho
rns
an e
nerg
etc
danc
ebea
t an
d a
dst
nct
sand
ex
bera
nce
ts
fag
shp
gro
p w
as t
he S
kata
tes
wh
ch f
rom
96
3 to
96
7 w
as J
ama
cas
mos
t pop
ar b
and.
D
rng
ths
tme
the
Skat
ate
s m
ade
ska
s sg
nat
re re
cord
ngs
nder
the
dre
cton
of
egen
dary
pr
odce
r Cox
sone
Dod
d at
hs
Std
o O
ne.
ed b
y tro
mbo
nst
Don
Dr
mm
ond
the
Skat
ate
s fe
atre
d m
ore
than
a d
ozen
msc
ans
ncd
ng h
orn
pay
ers
omm
y M
cCoo
k an
d Ro
and
Aph
onso
and
bas
sst
oyd
Nbb
s w
ho b
acke
d sk
a vo
cast
s. A
mer
ca w
as
ntro
dce
d to
a m
ans
tream
ver
son
of
ska
whe
n te
en-a
ger
Me
Sma
had
a h
t n
964
wth
M
y Bo
y o
pop.
Des
pte
ts
over
whe
mng
pop
arty
n J
ama
ca s
ka h
ad r
n ts
co
rse
by th
e at
e 96
0s g
vng
way
to ro
ck s
tead
y an
d re
ggae
. n
the
ate
970s
a s
ka r
evva
beg
an n
Eng
and
and
spre
ad to
th
e U.
S. t
hank
s to
U.
. ban
ds M
adne
ss a
nd t
he S
pec
as
wh
ch
com
bne
d sk
a an
d e
emen
ts o
f pnk
and
new
wav
e.
Aso
a
thrd
wav
e e
mer
ged
n th
e U.
S. b
y th
e m
d 99
0s
wh
ch n
cde
d ba
nds s
ch a
s No
Do
bt w
hch
org
nay
bega
n as
a s
ka b
and.
n 94
9 B
boar
d m
agaz
ne s
taffe
r (a
nd f
tre
Ata
ntc
Reco
rds
partn
er J
erry
Wex
er c
one
d th
e te
rm
rhyt
hm &
b
es t
o re
pac
e th
e of
fens
ve t
erm
ra
ce r
ecor
ds o
n th
e p
bca
ton
s b
ack
msc
cha
rt.
he n
ame
sa
y de
scrb
ed
swng
-der
ved
sma
-gro
p m
p b
es re
cord
s fe
atrn
g p
ano
and
saxo
phon
e so
ost
s th
at h
ad b
een
pop
ar s
nce
the
eary
94
0s.
os
Jord
an R
oy M
ton
Roy
Bro
wn
Wyn
one
Har
rs J
mm
y an
d Jo
e gg
ns C
hare
s Br
own
and
Nat
ng
C
oe
wer
e am
ong
the
mos
t scc
essf
ear
y R&
B ac
ts.
By th
e ea
ry
950s
the
R&B
mon
ker/
nam
e en
com
pass
ed
the
pop
ar w
ork
of s
nger
-gta
rsts
Gta
r S
m a
nd J
ohn
ee H
ooke
r vo
cast
s R
th B
row
n F
aye
Ada
ms
vory
Joe
H
nter
and
Bg
Joe
rner
and
voc
a g
rops
ke
the
nk
Spot
s th
e D
omno
es t
he C
over
s th
e D
rfte
rs a
nd t
he
5
Roya
es. S
nger
-pan
st R
ay C
hare
s w
hose
gos
pe-d
erve
d st
ye
was
roo
ted
n m
p b
es w
as t
he q
ntes
sent
a R
&B
ar
tst o
f the
day
.
• Te
Ska
aes
, “G
us
o N
ava
oe”
• Te
Do
Dum
mo
d A
Sa
s
• Jac
ke
Moo
ad
e So
u V
edo
s
• Te
Spec
as,
“A M
essa
ge o
You
Rud
y”
• Mad
ess
• Me
Sma
, “M
y B
oy
opo
p”
• ou
s Jo
da &
s
Tym
pay
Fve
,
“Coo
Coo
CB
oog
e”
• Te
De
s
• Ray
Ca
es, “
ve G
o a
Wom
a”
• Te
Dom
oes,
“Sx
yM
ue
Ma
”
Impo
rtant
A
rtist
s:
Impo
rtant
Art
ists
and
Ban
ds:
Impo
rtant
Art
ists
and
Gro
ups:
log
on t
o w
ww
.wal
den.
com
for
add
itio
nal a
ctiv
itie
s &
info
rmat
ion
regi
ster
at
ww
w.w
alde
n.co
m/b
ands
lam
to
win
a $
250
gift
car
d fo
r yo
ur c
lass
room
.
Unders
tandin
g M
usic
FORMS (
cont’d
)
acti
vity2
:
RAP
SKA
CLASS
IC (Tra
ditional)
RHYTHM &
BLUES
(R&B)
stud
ent
refe
renc
e page
Rap
is on
e of
the
man
y m
usic
form
s se
en a
nd h
eard
in
BA
ND
SLA
M.
he
rra
so
nd
s of
co
ntr
y
&
west
ern
m
sc
gra
da
y
merg
ed
wth
e
em
ents
of
pop
n
the
96
0s b
road
en
ng
the
sty
es
ap
pea
.
n
add
ton
to
(and
som
etm
es
rep
ac
ng
the
sgnat
re
ped
a
ste
e g
tar sw
eep
ng
strngs
swe
ete
ned
th
e
sond
. M
ae a
nd
fem
ae c
hor
ses
smo
oth
ed
ot
twangy v
oca
s. S
ong
yrcs
foc
sed
on b
roken h
eart
s and
the tro
bes
of
mod
ern
fe
. A
t frs
t
ma
e sngers
w
ere
th
e m
aorty
of
co
ntr
y
sng
ers
b
t
gra
da
y
ma
ny
wo
me
n
be
ca
me
stars
of
co
ntr
y
ms
c to
o.
Co
ntr
y or
rra
b
es
was
the frs
t k
nd
of
bes
ts
ro
ots
exte
nd
b
ack to
th
e
ate
8
00
s.
Payed
p
rm
ar
y
by
ma
e
ms
cans
co
ntr
y
bes
took s
hap
e n
ke o
nts
at
fsh
fres
and
d
rng
Sat
rday
nght
pa
rtes
where
ve
ente
rta
nm
ent
occ
rred
.
yp
ca
y so
ngs
were
p
erf
orm
ed
on
gta
r w
th
occas
ona
ha
rmon
ca
accom
pan
ment.
Afr
can-A
mercans
vng
on
or
nea
r
panta
tons
em
bra
ced
co
ntr
y b
es
as
a m
an
sorc
e of
ente
rta
nm
ent
and
as
a f
d fo
rm of
ct
ra exp
ress
on.
M
any co
ntr
y b
es
song
s
refect
the hard
tm
es
exp
erenced
by So
thern
backs
drng the J
m C
row
era
.
No o
ne k
now
s w
ho t
he f
rst
co
ntr
y b
esm
an
was s
nce record
com
pan
es on
y b
egan record
ng
co
ntr
y b
es
art
sts
n the m
d-
90
s—yea
rs a
fter
the m
sc fo
rm s
rfaced
. Sem
na
co
ntr
y b
es
art
sts
nc
de C
harey P
atton
Son H
ose
and
the
egend
ary
Rob
ert
Jo
hnso
n a
fr
om
M
ssss
pp
Bnd
em
on J
effers
on fro
m
exa
s a
nd
Bnd
Ba
ke
from
Georg
a a
nd
Ford
a.
od
ay
th
e co
ntr
y b
es
form
re
ma
ns
ave
n th
e m
sc of
eb
M
o
a M
aha
and
Jo
hn
Ham
mond
.
he
term
p
nk
rock
w
as
org
na
y
em
poyed
n
970
by w
rte
r N
ck
osc
hes
to
desc
rb
e w
ha
t s
now
know
n a
s g
ara
ge r
ock.
n
ts m
ore
com
mon
ate
r sa
ge
pnk d
efnes
a ty
pe of
econom
ca
o
d a
gg
ress
ve ro
ck
form
ate
d n the m
d- a
nd
a
te 70
s n rea
cton
to
the
perc
eved
b
oa
t a
nd
d
eca
dence
of
the e
ras
pop
and
dsc
o.
nte
ns
ty w
as
va
ed
ab
ove
techn
ca
exp
ert
se
and
th
e
ms
cs
most
ce
eb
rate
d p
erp
etr
ato
rs d
rew
nsp
raton
from
sch ra
co
s p
red
ecess
ors
as
the S
toog
es
and
the N
ew
York
Do
s. B
eftt
ng
a r
eneg
ad
e
movem
ent m
any p
nk b
and
s re
ea
sed
th
er
work
as
nd
ep
end
ent-
ab
e s
ng
es.
ho
gh p
one
ers
ke the R
am
ones
rece
ved
cro
s m
ed
a a
ttenton
on
y th
e C
ash
a
nd
sch new
w
ave-ea
nng
a
cts
a
s B
ond
e a
nd
ak
ng
Hea
ds
so
d m
any r
ecord
s n t
he d
ay
and
th
e frs
t p
nk ep
och w
as
short
-ved
. B
t
the
ms
c
end
red
to
nsp
re
a
nm
ber
of
cha
rt-top
png
b
and
s
nc
dng
N
rva
na
a
nd
Gre
en D
ay.
• G
eo
ge J
oes,
“e S
op
ped
ov
g
e T
od
ay”
• Ta
mm
y W
ye
e , “
Sa
d B
y
You
Ma
”
• o
ea
y
, “C
oa
Me
s
Da
ug
e”
• Rob
e J
oso
, “
eou
ds
o M
y T
a”
• C
aey P
ao
• B
d
em
o J
ee
so, “S
ee T
a M
y
Gave s
Kep
Cea
”
• B
d B
ake “
Ddd
e W
a D
dd
e”
• Ra
mo
es,
“B
zk
eg
Bop
”
• Pa
Sm
• T
e C
as
, “W
e R
o”
• Te
ev
so
, “
e J
oy J
ew
e”
Imp
ort
ant
Art
ists
and
Band
s:
Imp
ort
ant A
rtis
ts:
Imp
ort
ant A
rtis
ts a
nd
Band
s:
Om
ar
(Tim
Jo) is
a rock
guitarist
in B
AN
DSLA
M.
The c
row
d a
t B
and
slam
is
full
of
exc
ite
ment and
energ
y in
BA
ND
SLA
M.
Msc
gen
re
desc
rpto
ns c
ort
esy
of
he G
RAM
MY
Mse
m.
log
on t
o w
ww
.wal
den.
com
for
add
itio
nal a
ctiv
itie
s &
info
rmat
ion
regi
ster
at
ww
w.w
alde
n.co
m/b
ands
lam
to
win
a $
250
gift
car
d fo
r yo
ur c
lass
room
.
Unders
tandin
g M
usic
FORMS (
cont’d
)
acti
vity2
:
COUNTRY
COUNTRY B
LUES
PUNK
stud
ent
refe
renc
e page
What makes one mus c
form “cross over” nto
another form?
TALK ABOUT
IT!
Crossing Over
Will Burton is an expert on many genres of music. Read about Will’s favorites and find out about some of yours. Then use this sheet to compare and contrast rock & roll with two other forms of music.
Type of Mus c Rock & Ro
Ma or performers
Other nfuences
Character st cs of
the sty e
Where the mus c s
performed?
Why, when, where
and/or how
d d th s form come
about?
Understanding Music Forms
student activity sheet
NAME DATE
Pac
es a
nd t
mes
whe
re th
e so
nd o
f A
mer
can
msc
cha
nged
.
Wth
hnd
reds
of t
hosa
nds
of A
mer
cans
n se
arch
of m
sc
to p
ay o
n th
er
new
mas
s-pr
odce
d p
anos
th
e h
ste
and
bst
e of
New
Yor
k C
ty
has
a ne
w b
oom
ng b
snes
s—n
Pan
Aey
. P
bsh
ed m
sc
son
gs fo
r sa
e.
Msc
p
bsh
ers
ntro
dce
th
er
song
s n
the
cty
s po
par
va-
rety
-sho
w t
heat
ers.
he
se t
heat
ers
pop
p ar
ond
mdt
own
Man
hat-
tan
s br
ghty
t G
reat
Wh
te W
ay—
Bro
adw
ay. W
hen
a so
ng h
ts th
ere
t
goes
on
the
road
whe
re t
he g
row
-ng
thea
ter c
rct c
an q
cky
mak
e t
a h
t thr
ogh
ot t
he c
ont
ry.
As t
he e
pce
nter
of t
he p
opar
msc
nd
stry
9
0s N
ew Y
ork
s ho
me
to
man
y ab
es
std
os a
nd p
bsh
ers.
Com
pose
rs
rvng
Ber
n G
eorg
e an
d ra
G
ersh
wn
and
Co
e Po
rter
am
ong
man
y ot
hers
cre
ate
egen
dary
son
gs p
artc
ary
for
the
show
s of
Bro
adw
ay.
he
nato
ns
new
est
and
hotte
st
msc
—az
z—a
so f
nds
a pe
rman
ent
hom
e n
the
cty
. D
ke E
ngto
n fn
ds a
hom
e at
the
C
otto
n C
b w
he
Fet
cher
Hen
ders
ons
bg
band
s
one
of t
he m
ost
pop
ar p
ayng
n
Har
em.
Cot
ton
Cb
star
Dke
Eng
ton
and
Hs
Orc
hest
ras
93 h
t t
Don
t M
ean
a hn
g f
t A
nt
Got
ha
t Sw
ng
sher
s n
the
era
of
bg-
band
sw
ng.
he
C
otto
n C
b
the
Savo
y B
aro
om a
nd t
he A
poo
heat
re b
ecom
e ep
cent
ers
wth
n N
ew Y
ork
nrt
rng
band
eade
rs C
hck
Web
b an
d C
ab C
aow
ay a
s we
as
sng
ers
Ea
Ftz
gera
d a
nd B
e H
od
ay.
New
Yor
ks
azz
scen
e b
ecom
es
a m
sca
ab
orat
ory
n
the
eary
-to-m
d 94
0s a
s a
gro
p of
yo
ng p
ayer
s se
ek to
rec
am
azz
from
th
e co
mm
erc
a s
ond
s of
b
g ba
nds
ke t
hose
of
Gen
n M
er a
nd
omm
y D
orse
y.
rm
pete
r D
zzy
Ges
pe
sa
xoph
onst
C
har
e Pa
rker
and
pan
st
heon
os
Mon
k a
mon
g ot
hers
dev
eop
the
fre
sh
sty
e n
a-n
ght
am
sess
ons
at H
arem
ngh
t sp
ots.
P
ayed
by
sm
a
com
bos
ths
com
pca
ted
msc
s
defn
tey
not
for
da
ncng
. A
94
5 G
esp
e
reco
rdn
g ca
ptre
s th
e na
me
of th
e m
sc
Be
Bop
. D
rven
by
a n
ew b
reed
of
both
m
scan
s an
d st
ener
s ts
po
par
ty m
arks
the
start
of
mod
ern
azz
.
hro
gh
ot
the
950s
the
C
ty
hat
Nev
er
Se
ep
s b
are
y ha
s tm
e to
nap
am
d a
the
m
sca
cha
nges
tak
ng
pac
e.
he r
se o
f oc
a
ndep
end
ent
reco
rd
abe
s s
best
st
rate
d b
y
the
s
cce
ss
of
Ata
ntc
Reco
rds
wh
ch
eads
th
e R&
B
char
ts
wth
hts
by
Rth
Bro
wn
B
g Jo
e rn
er a
nd R
ay
Cha
res
. M
eanw
he
az
z fo
rsh
es
wth
gr
ond
brea
kng
hard
bo
p re
cord
ngs
by s
ch
gan
ts
as
Mes
D
avs
and
John
Co
trane
. And
by
th
e de
cade
s en
d
the
co
ffe
eho
ses
of
Gre
enw
ch
Vag
e ar
e f
ed w
th t
he s
ond
s of
an
em
erg
ng fo
k re
vva
on
e th
at
vaes
so
ngs
abo
t soc
a c
hang
e.
1890s
1900
s
1920s
1930
s
1940
s19
50s
Frie
nds
and
fello
w
mus
icia
ns c
ruise
aro
und
tow
n in
BA
ND
SLA
M.
log
on t
o w
ww
.wal
den.
com
for
add
itio
nal a
ctiv
itie
s &
info
rmat
ion
regi
ster
at
ww
w.w
alde
n.co
m/b
ands
lam
to
win
a $
250
gift
car
d fo
r yo
ur c
lass
room
.
Music
Epicenters
/NEW
YORK C
ITY
EPIC
ENTE
R:
acti
vity3
:
Will
take
s Sa
5m to
New
Yor
k C
ity a
nd s
how
s he
r ju
st w
hat a
cen
ter
of m
usic
act
ivity
, or
epic
ente
r, it
is. T
his
activ
ity e
xplo
res
wha
t mak
es a
mus
ic e
pice
nter
ove
r tim
e by
look
ing
at N
ew Y
ork
City
.
Then
its
your
turn
to fi
nd o
ut a
bout
a m
usic
epi
cent
er n
ear
you.
1930
s19
50s
1940
s1890
s1920
s1900s
stud
ent
refe
renc
e page
Sa5m
(Van
essa
Hud
gens
) and
Will
Bur
ton
(Gae
lan
Con
nell)
expl
ore
New
Yor
k C
ity in
BA
ND
SLA
M.
Sa5m
and
Will
find
CB
GB
, the
bi
rthp
lace
of P
unk,
in B
AN
DSL
AM
.
he
grtty
stre
ets
of
970
s N
ew
York
gve b
rth t
o m
any n
ew
so
nd
s e
vent
ay
nc
dng
pnk
d
sco
sa
sa
and
h
p-h
op
.
Pone
ere
d b
y t
he V
evet
Und
erg
rond
and
the
New
York
D
os
p
nk cente
rs
arg
ey aro
nd
the se
ed
y
ow
er
East
S
de c
b C
BG
B.
he
acts
—nc
dng t
he R
am
ones P
att
Sm
th G
rop
am
ong m
any o
thers
—are
ms
ca
y v
ery
dvers
e
and
the
r re
be
osn
ess
sp
read
s q
ck
y.
Sharp
y c
ontr
ast
ng w
th p
nk s
dsc
o.
he b
est
sym
bo
fo
r d
sco w
as
Md
tow
ns
gtz
y St
do
54
and
97
7s
Bro
ok
yn-s
et
fm
Sat
urda
y N
ight
Fe
ver
wh
ch
ghts
a n
atona
d
sco fever.
n the
meantm
e b
aro
om
s a
cro
ss to
wn are
p
acked
wth
dancers
mov
ng t
o a
dffere
nt
sond
. B
t
pon th
e b
ase
of
Cb
an so
nd
th
s em
erg
ng
sty
e—
nam
ed
sa
sa b
y F
an
a R
ecord
s h
om
e to
the m
sc
s b
ggest
sta
rs—
s an e
xctng b
end
of
pan-
atn s
ond
s w
th p
an-
atn a
pp
ea
.
Fna
y fro
m the to
gh s
tre
ets
of th
e B
ronx
nner-
cty
k
ds
wth
tt
e access
to
any of
the ab
ove
are
b
sy cre
atng th
er
ow
n so
nd
st
ye
and
ct
re k
now
n a
s h
p-h
op
. Sta
rtng n t
he
970
s
the term
was
hst
orca
y
sed
to d
esc
rb
e
nq
e
Am
ercan
rban c
tre
that
exp
ress
ed
ts
ef
n
for
ee
me
nts
M
Cng
o
r ra
pp
ng
D
Jng
bre
akd
anc
ng
and
gra
fft.
B
eg
nn
ng
n
the
ate
9
90
s r
ap
ncre
asng
y c
am
e t
o d
om
nate
ma
nst
ream
pop
ms
c. S
nce t
hen
the t
erm
hp
-
hop
has
be
en
sed
more
genera
y to d
esc
rb
e
rap
ms
c
As th
e
98
0s arr
ve
rap
s sp
rea
dng
natonw
de. O
ver th
e c
ors
e o
f th
e
decad
e t
he m
sc c
hanges
qck
y
and
dra
matca
y a
nd
n o
ny a
few
years
the s
tye
s ear
est
sta
rs—
am
ong
them
Gra
nd
mast
er
Fash
and
th
e F
ro
s F
ve
and
rt
s B
ow
—are
are
ad
y b
eng c
aed
od
sc
ho
o.
he
trn
ng
po
nt
com
es
aro
nd
984
when f
ength
deb
ts f
rom
.. C
oo
J a
nd
Rn-D
.M.C
. b
oth
re
ea
sed
by n
ew
m
prnt
Def
Jam
record
ngs fea
tre
spars
e d
rm
-mach
ne d
rven b
eats
and
a
swaggery
st
ye.
he m
sc and
st
ance
s
n s
harp
contr
ast
to t
he p
art
y-t
me v
be o
f
eary ra
p and
m
ark
s a new
d
recton fo
r
the m
sc.
Wth
a thrv
ng
West
Coa
st r
ap
scene
New
York
ma
y b
e
osng
ts
ho
d o
n
rap
bt
tha
t d
oesn
t m
ea
n ts
dow
n
for
the c
ont.
O
n t
he c
ontr
ary
som
e
of
the c
tys
most
sg
nfca
nt
rap
fg
res
ever
com
e fr
om
th
s era
nc
dng
he N
oto
ro
s
B..G
. a
nd
the W
-a
ng
Ca
n.
he h
om
e o
f
Def
Jam
record
s a
so s
ees
a n
ew
a
be
Ba
d
Boy Record
s. Est
ab
shed
n
993
by Sea
n
Pffy
C
om
bs
t
qck
y
ea
ps
to th
e to
p
of
the cha
rts
wth
re
ea
ses
by B
..G
. C
rag
Ma
ck
and
Fa
th E
va
ns
am
ong
ma
ny o
thers
.
t ves
on a
s one o
f th
e
99
0s
most
mp
ort
ant
record
ng
a
be
s.
New
York
Cty
s
gro
wng
a n
ew
genera
ton
of
yo
ng
ba
nd
s th
at
are
bsy
rec
am
ng
New
York
s p
ace a
s a
n e
pcente
r of new
and
pop
ar
ms
c.
he m
ost
sccess
f o
fferng
mod
ern
and
nd
vd
a t
wst
s w
heth
er
ts t
he S
trokes r
et
ned
refe
rences
to
970
s N
ew
York
nte
rpo
s a
sons
to
98
0s
Eng
and
or
CD
So
nd
syst
em
s ro
ck
ng
ncorp
ora
ton o
f c
ass
c h
ose
and
techno s
tyes.
Cou
esy
o T
e G
RA
MM
Y M
use
um
Rese
ach a
mus
c e
pcen
e n
ea
you o
o n
ees
o y
ou.
he A
cv
y S
he
e o
n
he n
ex
page w
he
p y
ou g
e s
aed
.N
ew
York
contn
es
to b
e a
tre
nd
sett
er
n
the
fast
-paced
96
0s.
nsd
e
the
ms
c
pb
shng
off
ces
of
mes
Sq
are
s B
r
Bd
ng
yo
ng
songw
rtng
tea
ms
ke
G
err
y
Goff
n
and
Caro
e
ng b
rng a
new
pers
pectve to
rban p
op
.
Meanw
he
th
e re
vva
of
fok m
sc t
akes
f f
ght
n
Gre
enw
ch
Va
ge.
Art
sts
sch a
s Jo
an B
aez r
eease
ms
c
on
n
de
pe
nd
en
t
ab
es
ke
Vang
ard
and
Ee
ktr
a.
Re
co
rdn
g
for
Co
mb
a e
ar
y V
ag
e
star
Bob
D
ya
n
swtc
hes
to e
ectr
c m
sc
n
96
5
ma
rkng
th
e
ma
tr
ty
of
rock
&
ro
nto
s
mp
y
rock.
h
e c
tys s
td
os
and
c
bs
aso
se
e
azz
stre
tch
ng
n n
ew
dre
ctons.
YOUR
TUR
N!
log
on t
o w
ww
.wal
den.
com
for
add
itio
nal a
ctiv
itie
s &
info
rmat
ion
regi
ster
at
ww
w.w
alde
n.co
m/b
ands
lam
to
win
a $
250
gift
car
d fo
r yo
ur c
lass
room
.
Music
Epicenters
/NEW
YORK C
ITY (
cont’d
)
acti
vity3
:
1990
s20
00s
1960
s1980
s1970
s
1960
s19
70s
1980
s
1990s
200
0sstud
ent
refe
renc
e page
TALK
!
Use this outline as you do your music epicenter research. Work on your own with a partner or in a group. Present your results to your classmates.
1. What mus c form(s) s/are your favor te(s)?
2. Where d d t/they get ts/the r start?
3.. Choose a mus c ep center to exp ore across a per od of t me(Examp es os Ange es, Ph ade ph a, Nashv e, Memph s, New Or eans, Da as, Ch cago)
4. Dur ng what t me per od d d th s area or c ty beg n to become a mus c ep center? Why? For what form(s) of mus c?
5. Who were some ey mus c ans and/or groups that emerged from th s mus c ep center? What brought them? What made them stay? How d d they nteract w th one another?
6. What are some mportant p eces of mus c or record ngs that came out of th s mus c ep center? (Can you fnd samp es of th s mus c on ne?)
7. What s the most nterest ng thng you earned about your mus c ep center?
8. What s the most surpr s ng thng you earned about your mus c ep center and/or ts mus c?
Other Music Epicenters
Research a music epicenter near you or of interest to you
student activity sheet
NAME
DATE
Be an informed music critic --like Will. Listen to three songs from the “Spotlight on the 1970s” era:
1. Descr be, then compare and contrast the instr ments and vocals n a three songs.
Descr be
Compare
Contrast
2. Descr be, then compare and contrast the songs yr cs, top cs, and moods.
Descr be
Compare
Contrast
3. Wh ch of the three songs s your favor te? Why?
Spotlight on the 1970s
Be a Music Critic Like Will • Punk “I Wanna be Sedated” ( 978) by The Ramones • Disco “Stayin’ Alive” ( 977) by the Bee Gees
(a be e ep ese a o may be C c Good Tmes w c ad p ofou d fue ce a d was samp ed by ma y o e so gs fo ow g ) • Hip hop “It’s Like That” ( 984) by Run DMC
student activity sheet
NAME
DATE
Will Burton (Gaelan Connell) and Charlotte Barnes (Aly Michalka) discuss music and their lives in BANDSLAM.
Sa5m (Vanessa Hudgens) performs with the band I Can t Go On, I ll Go On in BANDSLAM.
Segregat on n the 1950s kept b acks and wh tes n separate ne ghborhoods and schoo s. But the mus c on the rad o a owed them to free y en oy each other s mus c. By the md 1950s, record store owners n the South not ced that ncreas ng numbers of wh te teens were buy ng R&B records by b ack performers ke Chuck Berry and tt e R chard. Soon wh te
performers ke E v s Pres ey, the Ever y Brothers, and others were re eas ng top songs on country & western, rhythm & bues, and pop charts, a at the same t me. Rac a pre ud ce d dn t d sappear, but for most steners, rock & ro he ped them to cross cu tura nes rather than obey them.
W th br ght y co ored outf ts and a pass on for mus c, E v s Pres ey became a symbo of 1950 s coo . arge numbers of teenagers took advantage of Amer ca s wea th n the 1950s and put off adu t goa s. They focused nstead on cars, dat ng and rock & ro . Adu ts often saw rock & ro as a bad nfuence on the r ch dren. n 1955, a Spec a Congress ona Subcomm ttee on Juven e De nquency even he d hear ngs on teen mov es ke The Wild One and Blackboard J ngle.
n the 1950s, te ev s on comed an Steve A en poked fun at the yr cs of rock n ro , thnk ng t ust a s y fad. However, n the 1960s, rock moved from a popu ar enterta nment to a strong force n the cu ture. Bob Dy an frst start ed steners w th song yr cs f ed w th narrat on and mages from the B b e. After they eft tour ng behnd, the Beat es began exper ment ng n the record ng stud o. They produced breathtak ng sounds and mu t part songs. After 1966, a number of art sts created mus c that got steners ta k ng about what they were hear ng.
For a wh e n the ear y 1960s, Bob Dy an was cons dered the spokesperson of the 1960 s generat on. And though he wasn t comfortab e w th the ro e, he was st part of a grow ng movement of young peop e that spoke for freedom from the va ues of the o der “estab shment.” Rock mus c, dent f ed w th sp r t and rebe on, was centra to th s youth movement.
Culture SHOCK, 1950s–2000activity 5:
Throughout history, music has been a powerful force of cultural change. Read about the
intersection of American music and culture at large over the past half century.
• e R cha d, u u • v s P es ey, Don Be C ue • ve y B o he s, Bye, Bye ove
• B a ey, Rock A ound he C ock• ank e ymon and he eenage s,
m No a Juven e De nquen• Chuck Be y, Schoo Days
• Bob Dy an, V s ons o Johanna• he Bea es, A Day n he e• Beach Boys, God On y Knows
• Bob Dy an, mes hey a e A-Chang n
• he Who, My Gene a on • Bu a o Sp ng e d, o
Wha s Wo h
CULTURECLIPS:
CULTURECLIPS:
RACIAL CROSSOVER
TEEN REBELLION
CULTURECLIPS:
CULTURECLIPS:
ROCK & ROLL ARTGENERATION GAP
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
student reference page
Culture SHOCK, 1950s–2000 (cont’d)
activity 5:
The band I Can t Go On, I ll Go On contemplates their future in BANDSLAM.
At the center of the punk revo ut on was a re ect on of s ck, manufactured pop. The punkers dea was that anyone coud do t. Punkers nab ty to p ay was an nsp rat on to k ds everywhere to re ect fancy gu tar so os for aud o chaos and fancy stud o product on for the crazy echo of the garage. The rock of the Ramones and other punk bands returned rock t to ts bas c, w d roots.
Often t mes seen as a rowdy and offens ve form of mus c, the destruct ve behav or of punk was meant to send
a message. n the 1970s, rock had become the ma n money maker for most ma or abe s, and the b ggest bands, from the Eag es to ed Zeppe n, en oyed huge tour ng
budgets and a av sh festy e. Punk rockers re ected that excess as a s gn of ust how rotten they thought modern soc ety was.
Ear y rap appeared most y on oca abe s ke New York s En oy and Sugar H Records. However, after the Sugar H Gang h t t b g w th 1979 s “Rapper s De ght” and MC Kurt s B ow became the frst rap act s gned w th ma or abe , Mercury Records, n 1980, the mus c began to attract more ma nstream nat ona attent on. By the md 1980s, Run DMC, Sa tN Pepa, . . Coo J, and the Beast e Boys h t the top ten, chang ng the sound and stor es n modern popu ar mus c and openng the door, at the end of the decade, for West Coast rappers ke N.W.A. to take over the charts.
n the ate 1980s, Eazy E s abe , Ruth ess Records, was re eas ng songs dep ct ng gang v o ence, drugs, and po ce
bruta ty. Wh e th s “gangsta” rap woud qu ck y make a hero out of the out aw f gure for many wh te suburban k ds, Eazy E, ce Cube, ce T, Too Short, and others,
spoke from exper ence. Un ke ater gangsta rappers, they re ected the mater a sm of urban wh te peop e n the 1980s
and demanded respect and recogn t on.
The r songs served as a warnng to Amer ca about the poverty and cr me of South Centra .A. a most f ve years before those ne ghborhoods exp oded n r ots of 1992.
REBELLIOUS ROOTSCORPORATE ROCK
• he Ramones, B zk eg Bop • he Adve s, One Cho d Wonde s • Dead Boys, Son c Reduce
CULTURECLIPS: • Joe Wa sh, e s Been
Good• he B a ns, Money Changes ve y hng
CULTURECLIPS:
• N.W.A., Boyz n he ood • ce- , Co o s • oo Sho , C y o Dope
• . . Coo J, Can ve W hou My Rad o• Beas e Boys, gh o You R gh ( o Pa y) • Ku s B ow, he B eaks
CULTURECLIPS: CULTURE
CLIPS:
n BANDS AM, he s me W hea s he band he w soon wo k w h, hey p ay he song, Wan You o Wan Me. Who s pe o med h s song? Who w o e he song s y cs?
BONUS! NAME THAT TUNE!
RAP GOES NATIONAL BOYZ IN THE HOOD
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
student reference page
Charlotte performs one of her original songs in BANDSLAM.
Brass players rehearse for the
Bandslam competition in BANDSLAM.
Grunge grew out of Seatt e s underground mus c scene n the ate 1980s, espec a y w th bands ke the Me v ns and Screamng Trees. The r mus c was ke heavy meta and punk mus c. But t was N rvana who most nfuenced the sound of popu ar mus c n the 1990s. Seemng y out of nowhere, N rvana s Nevermnd he ped to knock M chae Jackson out of the number one a bum spot n 1992 and br ng n a new sty e ca ed “grunge.”
After the success of N rvana s 1991 a bum, Nevermnd, ts ead s nger Kurt Coba n became the spokesperson for a new “ ost” generat on that was accused of be ng unnterested n seek ng fame and money. Many argued that the abe “Generat on X” was negat ve, but n
books, mov es, and popu ar mus c, the name stuck. There was a new generat on of young peop e nterested n a break w th the cheerfu out ook of the 1980s.
The year 2003 marked an h stor c moment for b ack art sts n October, every one of the top ten songs n the country was by a b ack performer. Wh e hp hop had so d we through the 1990s, t topped “urban” charts not pop charts. B board created a narrower “Pop 100” chart n 2005 to g ve rock and country acts a chance, but t was no use. n that year, 50 Cent was the frst art st s nce the Beat es to have the top four songs on the Hot 100 chart. H p hop had become a pop force.
• 5o Cen , n Da Cub• Beyonce, C azy n ove• udac s, Numbe One Spo
GRUNGE GENERATION X
• Pea Jam, B ack • N vana, A Apo og es • Beck, ose
CULTURECLIPS:• Me v ns, Revu s on/We Reach
• N vana, Sme s ke een Sp• Sc eamng ees, oub ed mes
CULTURECLIPS:
CULTURECLIPS:
HIP-HOP, NEW POP
Culture SHOCK, 1950s–20O0 (cont’d)
activity 5:
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
student reference page
Bug (Charlie Saxton), Omar (Tim Jo), Sa5m,
Charlotte, and Basher Martin (Ryan Donowho) go
for a ride and blast some tunes in BANDSLAM.
Armed with information from your Culture Shock resource pages, write a short essay for each of these questions.
1. What was the message pun roc ers were try ng to send to corporate roc ? Why?
2. Descr be “grunge” mus c. Where d d t start out? Dur ng what era? What d d t try and express?
3. Why do you thn t s mportant that n October 2003 every one of the top ten songs n the country was by a b ac
performer?
4. Why has roc mus c been thought to encourage rebe on n young peop e?
Culture Shock, 1950s-2000
student activity sheet
NAME
DATE
n the 1950s some adu ts be eved that rock
& ro caused teenagers to comm t cr mes
and become “ uven e de nquents.”
What made them thnk that?
TALK ABOUT
IT!
5. How did rock & roll help people “cross cultural lines?” What does “obeying cultural
lines” mean?
6. Why were “respect and recognition” important to gangsta rappers of the 980s?
7. What do you think this sentence means “ he right song at the right time can set you in
the right direction.”
Culture Shock, Continued
student activity sheet
NAME
DATE
Charlotte Barnes (Aly Michalka) plays guitar and sings in BANDSLAM.
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
The acoust c record ng era began when Thomas Ed son
nvented the phonograph n 1877. He and other “ta k ng
machne” p oneers frst so d the r machnes to bus nesses.
They hoped that bus nesses woud use them as d ctat on
dev ces and te ephone answer ng machnes. By the
1890s, however, a surpr s ng new market emerged the
genera pub c. Peop e n amusement par ors pa d to
hear the r favor te songs, comed ans, and
performances. As compan es popped
up by the dozens to meet the
new demand, the
modern bus ness
of recorded sound
was born.
n acous c eco d ng, sound waves a e cap u ed by a eco d ng ho n.
A he end o h s ho n a hn d aph agm s a ached o a need e and
moves w h he sound. he mov ng need e sc a ches a pa h d ec y n o
a o a ng cy nde o d sc. ve y hng s eco ded a once, and oo much
vo ume can un a eco d ng.
Acous c eco d ng wasn pe ec . mean ha some sounds we e
eco ded mo e eas y han o he s. B ass was mo e aud b e han s ngs,
o examp e, and sma g oups o mus c ans we e eas e o eco d han
a ge g oups. a y eco d ng cy nde s and d scs coud on y s o e a ew
mnu es o sound, so onge p eces o mus c needed o be b oken down
n o sepa a e eco d ngs. he eco d ng d sc was nven ed n 888, bu s
sound wasn any be e han he sound eco ded on a cy nde . Bu d scs
coud be made mo e cheap y, qu ck y, and accu a e y han cy nde s.
hey we e a so much eas e o s o e. h s made hem eas e o peop e
o use. By he 9 0s, d scs ep aced cy nde s as he way o d na y peop e
s ened o sound.
The e ectro mechan ca record ng era began w th
the ntroduct on of the Western E ectr c record ng
system. t was patented by the Be Te ephone
Company. Th s system great y mproved the qua ty
of sound record ng. t made use of many new
techno og es such as m crophones, amp f ers, and
oudspeakers for e ectr c p ayback. E ectr ca
record ng and p ayback captured and produced
a greater range of sound w th ess d stort on than
before. By us ng many m crophones at
once, sound eng neers coud b end
or “m x” sounds as they were
recorded.
n e ec o-mechan ca eco d ng, a m c ophone changes sound waves
o an e ec c s gna . h s new s gna , ca ed an ana og, behaves ke he
o g na waves bu can now be p ocessed us ng amp e s, equa ze s, and
o he e ec c e s. hese e s mp ove he qua y and s eng h o he
ana og s gna . he esu d ves a need e ha cu s he na eco d ng n o
a d sc.
ec o-mechan ca eco d ng made poss b e o eco d an nc eased
ange o qu e and oud sounds. h s esu ed n he c oone , an en e y
new ype o s nge who used a m c ophone o s ng swee y and so y.
a so a owed sounds o be eco ded mo e accu a e y and mo e o en. h s
he ped sp ead he mus c and pe o mance s y es o azz, coun y, and
bues na onw de.
Reco d ngs n he acous c and e ec o-mechan ca eco d ng e as we e
a cu d ec y o a cy nde o d sc. h s o g na eco d ng was known as he
mas e . a y eco d ng eng nee s ed o make he mas e s sound as
c ose as poss b e o he ve pe o mances hey eco ded.
Will s world changes when his band s performance at BANDSLAM
is recorded and then uploaded to the internet for all the world to
hear. In an age of digital downloads and personali ed playlists,
it s easy to take for granted the impact of sound recording on our
world. Learn about how whirling cylinders and spinning hard discs
—revolutions of recorded sound—make entirely new sounds possible,
and alter how and where we hear them.
I. ACOUSTIC RECORDING: 1877-1925
II. ELECTRO-MECHANICAL RECORDING: 1925-1950s
HO
W IT
WO
RKS
HO
W IT
WO
RKS
activity 6:
Revolutions of RECORDED SOUND
student reference page
Cou
es
y o
Te G
RA
MM
Y M
use
um
TALK ABOUT IT!These talking machines are going to r in the
artistic development of m sic in this co ntry.... We will not have a vocal chord left. The
vocal chord will be eliminated by a process of evol tion, as was the tail of man when he
came from the ape.” -Band eader John Ph p So sa
What do you think made Sousa
make this prediction?
n what ways wo d yo r fe be d fferent
f t were not poss b e to record so nd?
What do yo thnk t meant for m s c once m s c ans co d do
a record ng over and over aga n or nt they got t r ght ?
ook nto the ves of homas Ed son Ch chester A. Be and Em e
Ber ner. Why were they so nterested n record ng so nd?
Revo t ons n recorded so nd have made t eas er for peop e to
obta n record ngs of the r favor te m s c. t has a so made t eas er for
peop e to copy the work of m s c ans and performers. Do yo thnk
the nterests of art sts and the r fans are ba anced?
Why s t mportant to nderstand how the ear works
n order to nderstand how so nd s recorded?
1
2
3
4
5
Revolutions of RECORDED SOUND (cont’d)
activity 6:
YOUR TURN: FOR FURTHER INVESTIGATION
l o g o n t o w w w. wa l d e n . c o m f o r a d d i t i o n a l a c t i v i t i e s & i n f o r m at i o n
r e g i s t e r at w w w. wa l d e n . c o m/ b a n d s l a m t o w i n a $ 2 5 0 g i f t ca r d f o r yo u r c l as s r o o m .
III. THE MAGNETIC RECORDING ERA: 1948-present Magnet c record ng was frst
demonstrated n 1898. However, t was
too no sy unt mproved by German
sc ent sts dur ng Wor d War . Th s
German techno ogy was captured by
Amer can so d ers and brought home
after the War. The r d scover es nsp red
severa U.S. compan es to
deve op magnet c record ng
systems of the r own.
n magne c eco d ng, a m c ophone changes sound waves o an e ec c s gna .
h s s gna s hen p ocessed and sen o a eco d ng med um—mos o en, a eco d ng
ape h ough a magne c dev ce ca ed a head. As he s gna go ng h ough he head
changes, cha ges he ape, eav ng an ana og eco d o he o g na sound wave.
Magne c eco d ng comp e e y changed he eco d ng s ud o. ape was eas e o
use and ed han d scs. ape a so o e ed onge eco d ng mes. Now, a s s d dn
have o eco d eve y hng pe ec y he s me. ape a so made poss b e o eco d
acks one a a me and b end hem oge he a e . h s p ocess s ca ed mu - ack
eco d ng.
Ree - o- ee ape con nues o be used n magne c eco d ng s ud os, bu mos peop e
ound d cu o hand e. h s changed once was pu ns de ca dges and casse es.
apes we e easy o use, po ab e, and coud even be used o make cus om eco d ngs.
Peop e a so began o make eco dngs o songs o eco ds and pass hem a ong o ends.
HO
W IT
WO
RKS
D g ta record ng began n the 1970s. t was not
w despread unt the 1980s. Snce then t has rep aced
tap ng as the stud o standard. Th s s n part due to
decreas ng equpment costs and ncreased computer
power. D g ta
record ng has
put the too s of
stud o product on
nto the hands of
more art sts than
ever before.
n d g a eco d ng, a m c ophone changes
sound waves o an e ec c s gna . A compu e
hen akes samp es o h s s gna a a se
a e and u ns he samp ed n o ma on n o
a numbe o ma . h s p ocess s ca ed
d g z ng. hese numbe s a e hen eco ded
n a magne c ( ape o ha d d sc) o op ca
s o age med um. D g a eco d ng makes
eco d p oduc on eas e because makes
asks such as p ayback, ed ng, and s gna
p ocess ng s mp e .
IV. THE DIGITAL RECORDING ERA: 1972-presentH
OW
IT W
ORK
S
Will Burton (Gaelan Connell) reads and learns about music in BANDSLAM.
student reference page
Cha
rlotte
Bar
nes
(Aly
Mic
halka
) an
d Ka
ren
Bur
ton
(Lisa
Kud
row
) ch
eer
on th
e ba
nd I
Can
t Go
On,
Ill
Go
On
at B
AN
DSL
AM
.
The
crow
d go
es
craz
y fo
r th
e ba
nds
com
petin
g in
BA
ND
SLA
M.
ENG
LISH
/LA
NG
UAG
E A
RTS:
NC
E/RA
Sta
ndar
d R
ead
ng fo
r Pe
rspe
ctve
St
anda
rd
Rea
dng
for
Unde
rsta
ndng
Sta
ndar
d 9
Mtc
tra
Un
ders
tand
ng
SOC
IAL
STUD
IES:N
CSS
Sta
ndar
d C
tre
MUS
IC: M
ENC
Msc
Sta
ndar
d 9
Und
ersta
ndng
Msc
n R
eat
on to
Hsto
ry
and
Ct
re.
ACTI
VITY
1:IT
STA
RTS
WIT
H A
SON
G
ENG
LISH
/LA
NG
UAG
E A
RTS:
NC
E/RA
Sta
ndar
d R
ead
ng fo
r Un
ders
tand
ng
Stan
dard
3 E
vaat
on S
trate
ges
Sta
ndar
d 9
Mtc
tra
Und
ersta
ndng
SOC
IAL
STUD
IES: N
CSS
Sta
ndar
d C
tre
Sta
ndar
d
me
Con
tnty
and
C
hang
e
MUS
IC: M
ENC
Msc
Sta
ndar
d 6
st
enng
to A
nayz
ng a
nd D
escr
bng
Msc
St
anda
rd 7
Eva
atng
Msc
Per
form
ance
s St
anda
rd 9
Und
ersta
ndng
Msc
n
Reat
on to
Hsto
ry a
nd C
tre
.
ACTI
VITY
2:UN
DERS
TAND
ING
MUS
IC F
ORM
S
ENG
LISH
/LA
NG
UAG
E A
RTS:
NC
E/RA
Sta
ndar
d R
ead
ng fo
r Un
ders
tand
ng S
tand
ard
3 E
vaat
on S
trate
ges
Sta
ndar
d 6
App
yng
no
wed
ge S
tand
ard
8 D
eve
opng
Res
earc
h Sk
s St
anda
rd 9
M
tct
ra U
nder
stand
ng
SOC
IAL
STUD
IES: N
CSS
Sta
ndar
d C
tre
Sta
ndar
d
me
Con
tnty
an
d C
hang
e S
tand
ard
3 P
eop
e P
aces
and
Env
ronm
ents
MUS
IC: M
ENC
Msc
Sta
ndar
d 9
Und
ersta
ndng
Msc
n R
eat
on to
H
story
and
Ct
re
ACTI
VITY
3:M
USIC
EP
ICEN
TERS
/NE
W Y
ORK
ENG
LISH
/LA
NG
UAG
E A
RTS:
NC
E/RA
St
anda
rd 3
Eva
aton
Stra
teg
es S
tand
ard
9 M
tct
ra U
nder
stand
ng
SOC
IAL
STUD
IES: N
CSS
Sta
ndar
d
Ct
re S
tand
ard
3 P
eop
e P
aces
and
En
vro
nmen
ts S
tand
ard
5 n
dv
da
s G
rops
and
nst
tto
ns
MUS
IC: M
ENC
Msc
Sta
ndar
d 7
Eva
atng
M
sc a
nd M
sc P
erfo
rman
ces
ACTI
VITY
4:SP
OTLI
GHT
ON T
HE
1970
s/BE
A M
USIC
CR
ITIC
LIK
E W
ILL
ENG
LISH
/LA
NG
UAG
E A
RTS:
NC
E/RA
Sta
ndar
d
Read
ng fo
r Pe
rspe
ctve
Sta
ndar
d R
ead
ng fo
r Un
ders
tand
ng S
tand
ard
6 A
ppy
ng
now
edge
St
anda
rd 9
Mtc
tra
Und
ersta
ndng
SOC
IAL
STUD
IES:N
CSS
Sta
ndar
d C
tre
Sta
ndar
d
me
Con
tnty
and
Cha
nge
Sta
ndar
d 3
Peo
pe
P
aces
and
Env
ronm
ents
Sta
ndar
d 5
nd
vd
as
Gro
ps a
nd n
stt
tons
MUS
IC: M
ENC
Msc
Sta
ndar
d 9
Und
ersta
ndng
Msc
n
Reat
on to
Hsto
ry a
nd C
tre
ACTI
VITY
5:CU
LTUR
E SH
OCK,
19
50s-
2000
ENG
LISH
/LA
NG
UAG
E A
RTS:
NC
E/RA
Sta
ndar
d R
ead
ng fo
r Pe
rspe
ctve
St
anda
rd
Rea
dng
for
Unde
rsta
ndng
Sta
ndar
d 6
App
yng
no
wed
ge
SOC
IAL
STUD
IES: N
CSS
Sta
ndar
d C
tre
Sta
ndar
d
me
Con
tnty
and
C
hang
e S
tand
ard
8 S
cen
ce
echn
oog
y a
nd S
ocet
y
MUS
IC: M
ENC
Msc
Sta
ndar
d 8
Und
ersta
ndng
Re
aton
shps
Bet
wee
n M
sc th
e O
ther
Art
s an
d D
scp
nes
Ots
de th
e A
rts
9 U
nder
stand
ng M
sc n
Re
aton
to
Hsto
ry a
nd C
tre
SCIEN
CE:
NSE
S Sc
ence
and
ec
hno
ogy
Stan
dard
s A
bte
s of
ec
hno
ogca
Des
gn
Unde
rsta
ndng
s A
bot S
cen
ce a
nd
echn
oog
y
ACTI
VITY
6:RE
VOLU
TION
S OF
RE
CORD
ED S
OUND
log
on t
o w
ww
.wal
den.
com
for
add
itio
nal a
ctiv
itie
s &
info
rmat
ion
regi
ster
at
ww
w.w
alde
n.co
m/b
ands
lam
to
win
a $
250
gift
car
d fo
r yo
ur c
lass
room
.
NATI
ONAL
CON
TENT
STAN
DARD
S FO
R A
CTIV
ITIE
S