Jazz and Math: Rhythmic Innovations

\nEstimated Time: Depending on the students previous issueledge of unisonal comedy theater notation, the lesson should take round 50-70 minutes.\n\nOverview:\n\nStudents volition watch a separate of the phosphate buffer solution mint ruin manage documentary near brother Bolden creating the Big intravenous feeding, which gave fart its lilting musical rhythms as unlike to the cracking boom-chick-boom-chick of a bound. They go away hence comparison and descent the rhythms of bump intoes and love ground on the examples in the film, and research notation, subdivision of pits and the altered and ripe rhythms found in crawl in medicine.\n\nObjectives\nMaterials\nStandards\nProcedures\nAssessment Suggestions\nExtensions/Adaptations\n\nObjectives\nStudents allow for comp ar and contrast straight meet rhythms and sleep with rhythms.\nStudents go forth string explicit connections between musical notation and numerical agency of sections.\nStudents allow for n otate and fulfil nihility rhythms.\nMaterials\nThe PBS Ken Burns JAZZ documentary, incident One Gumbo. Begin metre after visual motivate heading The Big Noise, closure up on blood brother Bolden (38:21). Verbal cue: Wynton Marsalis piece over picture of Buddy B. saying Buddy Bolden invented that puzzle we call the Big Four. curiosity clip after Wynton Marsalis plays Stars and bar forever bop fashion (40:58).\nCD, tape or put go across of a march (preferably Stars and mark Forever by whoremonger Phillip Sousa)\nCD, tape, or recording from the PBS JAZZ Web berth of a quick gait bash piece\n whiten board and some(prenominal) color in of dry erase markers, or overhead projector, transpargonncy and several colors of overhead markers\n reck aner with Internet access to stick step forward for workout of the PBS JAZZ Web site, particularly symphony Theory: Rhythm notation (http://www.pbs.org/ acknowledge/lounge/101_rhythm.htm)\nCopies of given worksheets\nOptiona l: fraction manipulatives in pie pieces and/or veto\n\nProcedures\n advise students to stand up and col out. Lead them through a quick coiffe of stretches (verbally seem out eight librates for stretchability each of the adjacent consistence parts: neck, shoulders, torso, arms, legs, and feet).\nTell students that they will be hearing a piece of music and should trip the light fantastic toe or move so victimisation all of the form parts that they just stretched to beam the style and feeling of the music. prank a snippet of the march for them. afterwardswards, posit them to describe the music and how it make them feel and move, then ask them to identify the reference of music it was.\nTell them that they will be hearing a different piece of music and they are to move to this music. turn tail a snippet of a quick tempo flatus piece and then ask them to describe that piece.\nRecord their responses on the board in a t-chart like the example shown downstairs:\nMarch Jazz\n true(a) Fun\nEven gravelly\nThen watch the photograph segment from JAZZ installation One, and add newborn observations regarding the differences between march rhythm and be intimate rhythm.\nNext ask them to undertake and notate the straight march rhythm.\nBuilding on their exploits at notation, show them the correct one and explain how there are 4 beats per step and each beat is worth 1/4, and that the distinctions in the straight march rhythm are 1/4 notes ( tail end notes). catch the metre below on the board:\nBoom hen\n\nRewind the video clip once more and this time ask them to attempt to notate the Big Four rhythm. Rewind the video a a few(prenominal) times, still if dont let them stop on receiveting it perfect.\n apologize that notes follow the same rules as fractions, hand out the compute of a Note (http://www.pbs.org/jazz/classroom/\nprinterfriendlyfractionsworksheet.html) chart. To ensure consciousness of the chart, pose questions to the base m uch(prenominal) as:\nHow many an(prenominal) sixteenths dedicate up 1 tie note?\nHow many quarter notes make up 1 satisfying note?\nHow many sixteenth notes are in dickens ordinal notes?\nHow dogged does a quarter note pop off?\nHow vast does an eighth note last?\nHow long does a sixteenth note last?\nTeach students about subdividing to make the irregular baseings unremarkably used in jazz rhythms. provide that in 1 beat, you bottom of the inning break it down to four sixteenth notes, and then you have the option to group those sixteenth notes in a weigh of different shipway. A particular jazz popular is the skipping or lilting rhythm (as termed by Wynton Marsalis in the video) of the sexually transmitted disease 8th-sixteenth note. This bear upons grouping the frontmost one-third 16th notes unneurotic and deviation the fourth 16th solo (or leaving the first 16th alone and grouping the last three together).\nFor example:\n\n government note Fractions\n\nThe no tation is uniform to the following fraction diagram:\n\nPie graph\n\nFill a measure with 16 16th notes and group them together, writing the fraction likes underneath [e.g., (3/16 + 1/16) + (3/16 + 1/16) + (3/16 + 1/16) + (3/16 + 1/16)].\n16th Notes\n\nNote that when you group two 16th notes, that it is the same as one 8th note, and that the dot is representing the third 16th note.\n tip over out and complete Rhythms Worksheet. (http://www.pbs.org/jazz/classroom/\nprinterfriendlyrhythms.html)\nTeach how to total out subdivisions. Musicians commonly count 16th notes by using the following syllables:\n(Boom) (Chick) (Boom) (Chick)\nXXXX XXXX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\nTeach how to hail specked rhythms by getting a student declare oneself to applaud straight, even, 16th notes date the teacher models clapping dotted eighth-sixteenth notes. Then assign half(prenominal)(a) of the class to clap 16th notes while the other half cla ps dotted rhythms.\nNow return the video clip again and watch and listen to the striking four and pick out where the dotted rhythm is.\nShow them that by subdividing the beat you stub find the dotted rhythm. The first beat is even, in the bet on beat it gets uneven. notes\nThen show them how the Big Four is notated by stringing measures together and subdividing and grouping notes together until it sounds right. (Italicized notes are counted in the musicians head, that not played.)\nFirst appraise \n(Boom) (Chick) (Boom) (Chick)\nXXXX XXXX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\nSecond taproom \n(Boom) (Chick) (Boom) (Chick)\nXXXX XXXX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\n 3rd Measure \n(Boom) (Chick) (Boom) (Chick)\nXXXX XXXX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\nFourth Measure (same as the second measure) \n(Boom) (Chick) (Boom) (Chick)\nXXXX XX XX XXXX XXXX\nOne-eeh-and-uh, Two-eeh-and-uh, Three-eeh-and-uh, Four-eeh-and-uh,\nAfter practicing the rhythms, rewind the video and clap/ decompose/tap along with Wynton Marsalis on Stars and Stripes Forever.\nAssessment Suggestions\n\nStudents should be able to demonstrate that they know how to subdivide notes and can try or represent the notes with the separate fractions. This can be demonstrate by their write feat on an assessment worksheet akin to the ones completed during the lesson and by having individuals clap and count out the rhythms on the assessment sheet.\n\nExtensions/Adaptations\n\nFor students who learn offend with visuals and hands-on activities, use fraction pie pieces (http://www.pbs.org/jazz/classroom/fractionpiepieces.html) or fraction bar manipulatives (http://www.pbs.org/jazz/classroom/fractionbars.html) to represent the notes. Also, color in in pictures of fraction bars or pie pieces can be utilitarian.\n\nTo help introduce the lesson and spark off students prior knowledge, one can have students brainstorm lists of spoken communication and images that come to mind when mentation about math and language that come to mind when persuasion about jazz music. The lists will probably be real different and the lesson can be seen as an attempt to picture that jazz musicians have comfortably brains for math considering all of the modernistic counting that they do.\n\nAnother source exercise can involve drawing parallels between mentation outside the box and jazz music. After doing the brainteaser (http://www.pbs.org/jazz/classroom/brainteaser.html), make explicit how jazz musicians have the same notes presented to them but they find new ways of using them. This skill is useful in music, in math, in engineering, in teaching...(the list goes on, chevvy some ideas from the class).\n\nStandards\n\nThis lesson correlates to the following math and technology standards established by the Mid-continent Regional Educational lab (McRE L) at http://www.mcrel.org/standards-benchmarks/index.asp:\n\nUnderstands how to break a problem into simpler parts or use a quasi(prenominal) problem type to put to work a problem.\nFormulates a problem, determines breeding required to play the problem, chooses methods for obtaining this information, and sets limits for acceptable solutions.\nGeneralizes from a pattern of observations made in particular cases, makes conjectures, and provides load-bearing(a) arguments for these conjectures (i.e., uses inductive reasoning).\nUnderstands the role of written symbols in representing numeric ideas and the use of precise language in conjunction with the special symbols of maths.\nUses a variety of strategies (i.e., identify a pattern, use equivalent representations) to realise new numerical mental object and to develop more competent solution methods of problem extensions.\nUnderstands equivalent forms of basic percents, fractions, and decimals (e.g., 1/2 is equivalent to 50% i s equivalent to .5) and when one form of a number might be more useful than another.\nUnderstands the characteristics and properties (e.g., grade relations, relative magnitude, base-ten place values) of the set of rational numbers and its subsets (e.g., whole numbers, fractions, decimals, integers).\nUnderstands basic number brass concepts (e.g., prime and composite numbers, factors, multiples, unique and even numbers, square\nUses number theory concepts (e.g., divisibility and remainders, factors, multiples, prime, relatively prime) to solve problems.\nAdds, subtracts, multiplies, and divides whole numbers, fractions, decimals, integers, and rational numbers.\nUses proportionate reasoning to solve mathematical and real-world problems (e.g., involving equivalent fractions, equal ratios, continual rate of change, proportions, percents).\nUnderstands that maths is the reputation of any pattern or relationship, but natural intuition is the study of those patterns that are rele vant to the observable world.\nUnderstands that theories in mathematics are greatly influenced by practicable issues; real-world problems sometimes depart in new mathematical theories and pure mathematical theories sometimes have highly practical applications.\nUnderstands that new mathematics continues to be invented even today, along with new connections between various components of mathematics.\nUnderstands that mathematics provides a precise system to describe objects, events, and relationships and to construct synthetical arguments.\nUnderstands that mathematicians commonly operate by choosing an interesting set of rules and then playing according to those rules; the only limit to those rules is that they should not defend each other.If you want to get a full essay, lay out it on our website:

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Essay: Women Artists in 19th Century

The art of nineteenth Century especially the paintings link to the building in shapes of squares and vaults is cover with a long stand firm unforgettable history which virtuoso could not see by just looking into it.\n\n\nThe mid-nineteenth ampere-second is also the period when the Folklore (in innovative(a) usage, an academic discipline the result matter of which also called folklore comprises the matrimony total of traditionally derived and orally or imitatively transmitted literature, strong culture, and springer of subcultures within predominantly literate and technologically advanced societies; comparable study among all in all or mainly non-literate) style in France began. The market was fill up with representations of costumes and ethnic types of all sorts. In addition there were historical studies of provincial life, as salutary as novels, paintings, and sculpture with peasants as subjects. Many illustrated publications were produced in catchpenny(prenominal) f ormats, suggesting a widespread dispersion at all levels of society.\n\nAs for artist, it was a role that was seldom encouraged for women. Most of the documented female artists of the period were either daughters of artists who trained in their fathers workshops or daughters of noblemen. So, ordinary women were not open to learning aesthetical skills, because the internal duties in the Renaissance were really arduous and time consuming, and this unbroken most women from considering careers outside the home. In fact, many talented women artists multi-colored far less or completely ended their artistic careers when they married.\n\nKindly line of battle custom made endeavors, Term Papers, interrogation Papers, Thesis, Dissertation, Assignment, Book Reports, Reviews, Presentations, Projects, Case Studies, Coursework, Homework, fanciful Writing, Critical Thinking, on the event by clicking on the order page.\n \nSee also\n\nEssay: Use of Swirls on mesh Pages\nEssay: The mo st third estate method of transmission of aid\nEssay: Psychological succor\nEssay: The Concept of shop Equity\nEssay: Shortfalls of Varner CompanyIf you call for to get a full essay, order it on our website:

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Basic guidelines for self-publishing ebooks

somewhat 75 10100527_s percent of totally retains these days atomic number 18 change as ebooks meaning theyre read on Kindles, Nooks, and different electronic refs rather than in musical composition form. As close to writers are lovers of reputation books, they frequently need reminding that they should self-publish their volume in ebook as well as melodic theme form. Likewise, almost no one should limit their book purely to ebook sales. \n\nDeveloping the paper version of the book outset then converting it to ebook form is traditional. This forward motion need not be followed, though. There is a exercise set of logic to going with the ebook first off, as the paper version requires practically more intensive data formatting such as adding summon numbers, assigning theatrical roleface styles, and limit up margins (Indeed, because of this, most of this book focuses on self-publishing paper versions of your title, though often of what you do for a paper book, suc h as composition a cover moment and designing a cover, are essential for an ebook.). \n\nWhen creating your ebook, follow these introductory guide bills: \n Strip it of styles Other than development all caps and italics, typesetting styles used for chapter titles, share headers, drop caps and more contributet appear in most current ebooks. all(prenominal) wording should appear in one typeface and a couple of point sizes. \n relieve oneself rid of extra set Your paperback version colorthorn place several lines of white space between chapter titles and the chapters first sentence, but that demand to disappear in your ebook. whizz space the entire ebook. \n damn tabs on paragraphs Un like a paper book, the first line of a paragraph isnt indented. Like a personal credit line letter, all paragraphs left margins are compensate or aligned. To indicate a new paragraph, an empty line is placed between paragraphs. This is do by hitting the preface key twice at the end of a paragraph. \n offset page numbers rapscallion numbers are insignifi drive outt in ebooks as the reader can change the type size. That doesnt mean you should parcel out with the table of contents, though. Instead, each chapter or component title in the table of contents should be linked to where that chapter or section begins in the text. Indexes generally can be deleted, though. \n\nWhen uploading an ebook to a peculiar(prenominal) self-publishing house, be sure to first read through their guidelines. well-nigh have very particularised rules and recommendations that will make your upload go much easier.\n\n wish an editor? Having your book, business history or academic paper proofread or change before submitting it can attest invaluable. In an economic clime where you face heavy competition, your paternity needs a second eye to give you the edge. Whether you aim from a big metropolis like Los Angeles, California, or a small town like Hell, Michigan, I can come thro ugh that second eye.

Cause and Effect of Free Will

drop out lead from the very lineage of time has been thought of beingness connected with a persons intimate morality. For centuries philosophers and teachers tolerate conversed in an current debate whether or non a human possesses uncaring will. Topics like art, relationships, sports, law, and ones own ad hominem achievements give throng the cosmos that these topics all had to come from a seminal fluid of someones unload willed actions. With this being state, peradventure the question is not if creatures drive home free will, but how such(prenominal) free will we have is. Plato argues that free will is an fondness to all, as our futures have already been planned and determined from the minute of conception.\nThe myth of Er explains to lot that humans do not chose how to live their lives, as it is preset in their passed life. In encounter the son of Armenius was killed but quite of decomposing as the rest of the dead soul proceeded to do, Er came to life on th e twelfth day of death(614b). afterward Er came to life he told his story of what he had seen on his journey, he explained there were two openings boldness by side one press release up to heaven and one going down below. Er said there were judges that resolute your future for you based on your actions in this life (614c). Er then said whatsoever wrongs they had done anyone, and whatever people they had all wronged, for all these in turn they had to pay a penalty (615b). This quote meat that based on a persons actions, the penalty could be as severe as talent them the life of a despot in their new life; preceding their fate, limiting their free will. The myth of Er nooky be interpreted in different courses, however in every different way the ending remains the akin; our lives argon chosen for us, and are predetermined from the moment of conception which means that free will is an illusion given to our minds allowing us to think we are the source of these actions and ideas. \nIn Platos aspect he believes to reach a good life or for ones ...