Gogue Center Performance Study Guide: Black Violin
PERFORMANCE STUDY GUIDE
GRADES 5 — 12
The Jay and Susie Gogue Performing Arts Center at Auburn University engages audiences across the university, the state of Alabama and beyond with curated arts experiences that inspire, enlighten and unite.
Our annual K–12 School Performance Series provides opportunities for students to enjoy exclusive performances by some of the most talented and accomplished artists from around the world. Prior to each K–12 school performance, teachers receive a study guide containing details about the performance, artist and company, supplemental information about the art form and its history, and grade-appropriate activities designed to spark conversation and exploration in the classroom.
To learn more about education and engagement initiatives at the Gogue Center, visit goguecenter.auburn.edu/education.
produced by Jay and Susie Gogue Performing Arts Center at Auburn University 910 South College Street Auburn, Alabama 36849
k–12 school performance series contact Andrea Jarmon, D.M.A. Education Coordinator telephone: 334.844.7371 email: gpac.education@auburn.edu
Black Violin
PERFORMANCE STUDY GUIDE
GRADES 5 — 12
left to right: Wil Baptiste and Kev Marcus of Black Violin
The Jay and Susie Gogue Performing Arts Center at Auburn University
Where will we go?
GOING TO THE GOGUE CENTER
The Jay and Susie Gogue Performing Arts Center, otherwise known as the Gogue Center, is located on the campus of Auburn University in Auburn, Alabama.
The Gogue Center houses the 1,200-seat Woltosz Theatre. The theatre was built with exceptional acoustics so that it is possible to hear well from every seat.
WHO WILL YOU SEE HERE?
Ushers
These are the people who will greet your bus, lead your class into the building and help you find your seat. Be sure to say “hello!”
Stage Crew
These are the people who work backstage, so you won’t see them in the lobby, but you might see them before or after the performance, and sometimes, they even come on stage during the performance to move things.
Lighting & Sound Operators
These are the people who control the lighting and the sound for the performance. You may see them in the middle of the auditorium at the big sound board or in the back of the auditorium in the booth. Sometimes, the spotlight operators are in the back way above your head.
Performers
These are the people on the stage who may be dancers, musicians, singers, actors or acrobats. It is their job to communicate using their bodies, instruments and voices.
Audience Members
This includes you, your classmates, and other students and teachers from around the state of Alabama and maybe even Georgia.
What Does the Audience Do?
Alabama Course of Study
GMu3-5.15
GMu6-8.14
National Standards
MU:Pr6.1.3-8b
The audience is an important part of the performance. Without the audience, who would watch the performers? Who would clap and sing along and appreciate what the artists bring to the stage? When you are a member of an audience at the theatre, there are a few things to know about what to do and what not to do.
Sit in your seat and look around, but please keep your feet toward the ground.
Listen and watch, but do not talk.
Have a camera or phone? Please turn it off.
The performers will take to the stage, and we know they will engage. You can laugh, you can sing, you can get up and dance, but just make sure that you give them all a chance!
BRAVO!
THANK YOU!
When the song is done, or the show comes to an end, make sure that you give the performers a hand! Applause is the way that we can say thank you for all that they did today!
Stanley and Virginia Katharyne Evans
Walter
Woltosz Theatre
Acoustics: The Science of Sound
Alabama Course of Study Standards
SC1.1
National Standards
NS.K-4.1 NS.5-8.2
Acoustics is the study of sound and how that sound reacts in spaces, particularly rooms and buildings. What is sound? Sound is vibration. That vibration travels through the air and into our ears where we hear it.
Vibration begins through movement—for example, strumming a guitar string. That vibration creates a sound wave. In a theater or concert hall, acoustics are important so that everyone can hear the performers.
There are two ways that acoustics are controlled. The first, reverberation, is controlling how sound waves bounce off surfaces, like walls and floors. Hard surfaces cause more reverberation and make spaces louder. The second way, absorption, is the opposite of reverberation. Soft surfaces absorb sound waves and make rooms quieter.
Let’s see if we can figure out which of these materials cause reverberation and which cause absorption of sound:
• Tile
• Carpet
• Marble
• Curtains
• Cushions
• Wood
The controlling of reverberation and absorption of sound waves is how acoustics are controlled in the Woltosz Theatre.
Who to know at the show
ABOUT THE ARTISTS
Wil Baptiste (viola) immigrated to the United States from the Bahamas with his family at the age of 11. He wanted to join the school band to play saxophone, but accidentally was placed in the string program. “Wil-B” grew to love the viola and mastered it as well as the trumpet, drums and bass guitar.
Kev Marcus (violin) began playing violin at the age of 9, with the encouragement of his mother. He and Baptiste met while attending the famed Dillard High School of the Performing Arts in Fort Lauderdale, Florida, where they were trained in the classical tradition. During their class and practice time, they developed firm classic techniques and in their free time listened to hip hop and R & B.
Both Baptiste and Marcus attended college on full music scholarships, Baptiste at Florida State University and Marcus at Florida International University.
It was an experience of expecting greatness but being completely floored by the level of excellence. If you can get to a Black Violin performance of any kind, don’t hesitate.” — WRAL News
DJ SPS (DJ) is an American DJ, turntablist and producer who was raised abroad and now calls Orlando, Florida, his home. He is known for his intricate and fast cuts, stylish juggles and complex beat manipulation on wax. Never afraid to show his skills, SPS has entered numerous DJ battles, where he has gained notoriety as a fierce competitor who shows no mercy. With a variety of titles under his belt, including the 2008 DMC USA Supremacy Championship, he has made multiple tours across the United States and Europe, showcasing a live skill set that wows audiences and fans alike. With an extensive, years-long knowledge of music, it seems only inevitable that SPS would produce multiple albums and remixes. To see him party rock is a musical journey that will be sure to take you from old school to obscure, new to rare, and beyond. SPS is the epitome of a real, live DJ who is guaranteed to heighten any entertainment experience.
Nat Stokes (drums) was born in Brooklyn, New York. At the age of 3, he started drumming on pots and pans in his parents’ home. By the age of 7, he was playing regularly at Beulah Church of the Nazarene in Brooklyn (where his late grandfather, Rev. Stanley Moore, was the senior pastor). In 1999, Stokes’ family relocated to Daytona
Beach, Florida, where he quickly landed on the drum stool for his middle and high school jazz bands. Stokes later matriculated at the University of North Florida, where he received a bachelor’s degree in jazz studies and was awarded Outstanding Senior Musician. In 2012, Stokes received a master’s degree in jazz performance from the University of Miami. He regularly performs with original music acts and cover bands and does drum recordings for studio sessions. On the side, Stokes also composes and arranges in different genres.
Liston Gregory III (keyboard) also known as “LG3DidDat,” is a highly soughtafter pianist and producer who has achieved a creative output known for its high standard of excellence and creative mastery. Best known for his intricate, unique and soulful approach to the piano, Gregory is a man of many talents: a music director, producer, arranger, content creator, entrepreneur, recording engineer and educator. He has performed with many legends and current stars in a diverse range of genres, with artists including Grammy Award winners Ulysses Owens Jr. and Kurt Elling, and the Grammy-nominated Black Violin, with whom he is currently touring. A creative and innovative performer, Gregory has appeared at venues across the globe, playing at the Apollo Theater, Kennedy Center, WEPA Saudi Arabia, Jazz at Lincoln Center Shanghai and nearly every performing arts center in the United States. These performances have opened many doors, allowing Gregory to work alongside some of the most notable artists of our time.
dj sps
gregory
stokes
ABOUT THE BAND
Black Violin were born when Marcus’s professor sat him down and told him to listen to the music of Stuff Smith, considered to be the first violinist to use electrical amplification techniques. Marcus thought Smith’s music was unbelievable, saying “[it was] classical violin with soul and fire. I loved it.” He passed the music on to Baptiste and together they decided to form Black Violin, naming the band after Smith’s soulful solo album of the same name. Inspired by Smith’s music, Marcus and Baptiste realized that they could synthesize all the styles they loved—classical, jazz, R&B, hip hop, and even reggae and Romani music.
Along with DJ SPS, drummer Nat Stokes and keyboardist Liston Gregory, Marcus and Baptiste have created the ultimate synergy between classical and hip-hop music, and through it a unique opportunity to reach young children. Among their many achievements, Black Violin clinched the Showtime at the Apollo Legend title in 2005, performed on the same bill with some of the industry’s biggest artists and performed at the official President’s Inaugural Ball in 2013. Black Violin have composed for a major FOX television original, Pitch, and have been featured by ESPN as the official artist of the 2017 US Open (tennis) and 2016 and 2017 Heisman Trophy Award ceremonies. They have been featured on The Tonight Show, The Today Show, Ellen, The Wendy Williams Show, NPR and more. The two are also avid producers and writers and have released four albums of original music: Black Violin (2008), Classically Trained (2013), Stereotypes (2015) and Take the Stairs (2019). Their debut holiday album, Give Thanks, was released in November 2020. Black Violin have since earned Grammy nominations for Best Contemporary Instrumental Album for Take the Stairs and for Best Americana Performance for their track “The Message,” which was produced in collaboration with The Blind Boys of Alabama.
One of Black Violin’s most well-known works, “Brandenburg,” quotes Bach’s Brandenburg Concerto No. 3, Movement 1, considered one of six works to be the finest and most influential of the Baroque period. (In jazz, performers “quote” musical material by using melodies and ideas from other artists as the basis for their interpretation.)
In 1721, Bach presented a series of six concerti to the Margrave of Brandenburg, who then put these great works on the shelf where they sat until the 19th century. Bach wrote each concerto for a different combination of instruments, often requiring virtuosos to play the solos. Concerto No. 3 was composed for three violins, three violas, three cellos and basso continuo, while Concerto No. 6, for example, does not use a violin at all!
Black Violin’s “Dirty Orchestra” utilizes fugues and counterpoints to create a musical narrative. A fugue is a composition tool in which one instrument plays a short melody, then another instrument echoes the piece, then another echoes, and so on, with all parts interweaving into each other. A counterpoint in music is two corresponding melodies played at the same time.
Their song “Gypsy” takes its cue from the Romani musical tradition that has influenced classical music since Bach and Haydn, and particularly Liszt, Dvořák and Bartók. In turn, the local musical traditions influenced the music and style of the Roma living there. Originally from India, the Roma are a nomadic people who began migrating westward more than 2,000 years ago. (They picked up the name “gypsies” in the 1500s because it was believed they were from Egypt.) Romani music is most associated with the violin, incorporating tempo changes, slides in notes and pitches, energy and soul.
About Stuff Smith
Stuff Smith was born Hezekiah Leroy Gordon Smith and lived from 1909 to 1967. Known as a swing violinist, he was also a vocalist. He performed with such jazz greats as Jelly Roll Morton, Ella Fitzgerald, Coleman Hawkins, Dizzy Gillespie, Charlie Parker and Sun Ra, but he looked to Louis Armstrong as a role model.
Smith is regarded as the first person to amplify a violin. Combined with his virtuoso playing and ability to swing a tune, his electronic experiments might be why, years later, Marcus and Baptiste looked to him as a role model. In fact, they even named their band after one of his albums.
What to know before the show
EXPLORING MUSICAL GENRES & STYLES
Within Black Violin’s signature multigenre sound, audiences will recognize musical elements used by a wide range of artists, from Puccini to The Temptations and Imagine Dragons to Bach.
Some elements of music remain the same across genres. A melody is always the tune, or the line of music that carries the main idea. Harmony is the combination of multiple notes, usually sounded at the same time, that create chords. Harmony helps to make the music interesting. The rhythm is the pattern that sound and silence take within a piece of music. Form refers to the structure of the piece, how all the elements are put together. The person who writes the music is often called a composer or songwriter.
While these elements may remain the same no matter the genre, Black Violin is known for blending genres of music. To appreciate and understand their work, here is some information about different styles they frequently explore.
Classical
Classical music is the general term used to refer to art music in the Western tradition. It is characterized by the formality and complexity of its harmonic structure and form. The music notation system we use today grew out of the classical tradition. Though it can be traced back to medieval times, the common practice period for classical music runs roughly from 1600 to the modern era. Classical music is often divided into periods based on shared stylistic components and musical characteristics: Baroque, Classical, Romantic and Modern.
During the Baroque period, which lasted from approximately
CLASSICAL
1580 to 1750, the standardization of tonality began to take root. It was during this period that the importance of instruments began to grow, and the first instrumental ensembles were created and developed. Opera, the concerto, sonata form, oratorio and the cantata all were born during the Baroque period. A famous Baroque composer is Bach. He is credited with developing many of the techniques and rules that governed Western classical music for centuries.
The Classical period began in 1750 and lasted until 1820. The best-known composers of this period are Mozart, Haydn and Beethoven, though Beethoven is also considered part of the transition to the Romantic period. Music of the Classical period has a clearer and simpler texture than that of the Baroque. It was during the Classical period that the piano became the dominant keyboard instrument, replacing the harpsichord.
The Romantic period is said to have begun in 1810, possibly as early as 1800, and continued through 1910. The music of this period expanded upon what was created in the Classical period. Romantic period music is still structured, but the themes are longer and more defined. There is an emphasis on a connection to nature, the supernatural and honest emotion. There was also a strong emphasis on national identity during this time. To better express these new ideas, composers used larger orchestras, more dynamics, more elaborate harmonies, chromaticism, and newer forms like the nocturne, arabesque and song cycle. Composers of the Romantic period include Schubert, Brahms, Chopin, Liszt and Bellini. It was also during this period that the leitmotifs of Wagner and the works of Verdi, Puccini, Strauss and Mahler were produced. In France, Satie influenced impressionist composers like Debussy and Ravel. In England, Elgar gave rise to Vaughan Williams and Holst, who paved the way to the 20th century and the Modern period.
The Modern period is anything that has occurred since 1910. Some historians define the 20th century and its musical characteristics separately from the 21st century. Others stop marking time at the conclusion of the Romantic period, because composers during this musical period started to break from traditional tonality. Atonality and the twelve-tone technique were employed by many composers of the 20th century. Technology entered the picture at mid-century, adding another new layer. Composers of the Modern period include Stravinsky, Prokofiev, Shostakovich, Ives, Gershwin and Cage, who introduced elements of dance into his music, making no two performances the same. Many of the styles and techniques from 20th century classical music have carried over into the 21st century.
Hip-hop
Hip-hop is a multifaceted cultural movement that includes rap, poetry, dance, theatre, literature, visual arts (like graffiti) and fashion. It was born in the South Bronx in New York City as a uniquely African American style of expression and shared experience, but the love for hiphop as a cultural phenomenon has spread across the globe. Musically, hip-hop is defined by four central stylistic elements: MCing/rapping, DJing, sampling and beatboxing. The term “DJ” stands for disc jockey, meaning someone who selects and plays music to accompany MCs/rappers, singers or in the case of Black Violin, other musicians. DJs use multiple turntables, computers and other mediums to sample sounds and keep the beat.
Jazz
J A Z Z
Jazz is a form of music developed by African Americans in the late 19th century. A blend of African and European musical traditions, it has been called “the first original art form” to develop in the United States. The music is characterized by blue notes, syncopation, swing, polyrhythms and a lot of improvisation. Improvisation means that performers make up parts of songs on the spot. Many jazz songs also use the call and response, which has one musician calling out with an instrument or a voice, and another responding with a musical “answer.”
Blues Blues is a musical form originally created in the South in the late 19th century from field hollers, work songs and spirituals sung by enslaved African Americans. This expressive genre, often played with a somber tone, has had a strong influence on jazz, R & B, rock ‘n’ roll and country music. Blues music is often characterized by specific chord progressions, most frequently a twelve-bar progression, blues scales and the call and response pattern. Blue notes are another essential element of the sound.
HIP-HOP
BL UE S
V0 C a B U La R y
to fully understand the performance, students should be familiar with these key terms.
Arabesque
A highly ornamented style of music which uses melodies to create the atmosphere of Arabian architecture
Atonality
Music that does not conform to the system of tonal hierarchies that characterized European classical music between the 17th and 19th centuries
Blue note
In jazz and blues, a note that is sung or played at a slightly different pitch from standard, for expressive purposes
Canon
A type of structure where a theme or melody is introduced, and later the same melody or a variation is layered on top
Cantata
A vocal composition with an instrumental accompaniment, typically in several movements, often involving a choir; from the Italian verb cantore, “to sing”
Chord
A group of two or more notes played simultaneously, the building blocks of harmony that form the harmonic foundation of a piece of music
Chromaticism
A compositional technique using more than just the seven notes of the diatonic scale
Chromatic scale
A set of 12 pitches used in tonal music separated by the interval of a semitone
Common practice period
The period in European art music during which the tonal system was regarded as the only basis for composition
Composer
A person who writes music
Concerto
A form of music that features a solo instrument with an orchestra or other ensemble
Counterpoint
The relationship between two melodies in a piece of music that fit together harmoniously but are independent rhythmically
Dynamic
The loudness or softness of the music
Fugue
A composition tool in which one instrument plays a short melody then another instrument echoes the piece, then another echoes, and so on, so that all the parts interweave with each other
Leitmotif
A short, recurring musical phrase associated with a particular person, place or idea
Major
A diatonic scale that consists of seven notes. In a major scale, the third scale degree is major third above the first scale degree or tonic note.
Melody
A series of notes that form a distinctive sequence
Minor
A diatonic scale that consists of seven notes. In a minor scale, the third scale degree is a minor third above the first scale degree or tonic note. A minor third is a half-step lower than a major third. The lowered third scale degree is what makes minor keys sound “sad” in comparison to the major scale.
Mode/Modal
The term used to describe a musical scale. It can refer to major and minor scales as well as the seven diatonic modes, Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian and Locrian. The Ionian mode is the same as a major scale and the Aeolian mode is the same as a minor scale.
Musical score
The written form of a musical composition
Nocturne
An ensemble piece in several movements, often intended for performance at night
Octave
A series of eight notes occupying the interval between (and including) two notes, one having twice the frequency of vibration of the other
Opera
A form of theatre in which music is a fundamental part and dramatic roles are taken by singers
Oratorio
A musical composition with dramatic or narrative text for choir, soloists and orchestra
Ostinato
A continually repeated musical phrase or rhythm
Pentatonic
A musical scale that consists of five notes per octave
Pitch
The relative highness or lowness of the tone
Polyrhythm
The simultaneous use of two or more conflicting rhythms
Rhythm
A flow of sound in music having regularly accented beats
Round
A limited type of canon in which multiple voices sing the same melody, but with each voice beginning at different times
Sonata form
A musical structure used widely since the middle of the 18th century that generally consists of three main sections: an exposition, a development and a recapitulation
Song cycle
A group of individually complete songs intended to be performed in sequence, as a unit
Swing
A style of jazz developed during the late 1920s and early 1930s, with an emphasis on an off-beat or weaker beat, and featuring soloists who would improvise on the melody
Syncopation
A variety of rhythms played together to make part or all of a piece of music off-beat
Theme
A melody around which a musical composition is based
Tonality
The arrangement of pitches and/or chords of a musical work in a hierarchy of perceived relations, stabilities, attractions and directionality
Twelve-bar progression
One of the most common chord progressions in the blues and popular music, with its most basic form based on the I, IV and V chords of a key
Twelve-tone technique
A technique ensuring all 12 notes of the chromatic scale are sounded as often as one another in a piece of music while preventing the emphasis of any one note
• Connect musical periods to key historical events and explain the context in which they relate to each other
MATERIALS
For this activity, you will need the following items:
• “Musical Periods and Historical Events” worksheet on page 20
• A computer or electronic device
• European and U. S. history textbooks (if available)
• Paper
• Pencil
PROCEDURE
To complete this activity, follow these steps:
1. Copy and distribute the “Musical Periods and Historical Events” worksheet. Explain to students that they will be working to connect different musical periods to a corresponding time in history.
2. Ask students to identify and research key historical events that occurred in Europe and the United States during the following musical time periods:
• Baroque (approx. 1580–1750)
• Classical (approx. 1750–1820)
• Romantic (approx. 1820–1910)
• Modern (since 1910)
3. Tell students they are going to create a timeline by following these steps:
• Select five key historical events from each musical time period. Place these events in chronological order and explain the significance of at least one from each period. Include the date for each event.
• Listen to several pieces of music from each period; afterward, include a link to a favorite piece from each period.
• Research a piece of artwork from each period. Place of picture of the artwork in the appropriate chronological spot on the timeline.
adaptation for younger students
4. Explain that a lot was happening in the world while some of the most significant pieces of music were being created. To connect a musical period to what was happening in history, students will research some specific historical events and explain the importance of each one of them.
musical periods and suggested events
• Baroque
Columbian Exchange
Plymouth Rock
Thirteen Colonies
First Great Awakening
• Classical French and Indian War Declaration of Independence
Louisiana Purchase War of 1812
• Romantic
Missouri Compromise
Mexican-American War
Civil War
Reconstruction
• Modern World War I
The Great Depression
World War II
Cold War
5. Have students write the date or year for each event in the corresponding space on the timeline. Ask them to arrange the events in chronological order.
6. Have students provide a brief description of the event, explaining why it is important.
7. Ask students to include a picture of at least one event from each period.
RESOURCES THAT MAY BE HELPFUL FOR STUDENTS
X https://www.theartstory.org
X https://encyclopediaofalabama.org
(1563–1639)
c. 1612/1620
Orazio Gentileschi
The Lute Player,
Oil on canvas
National Gallery of Art, Washington D.C.
Musical Periods and Historical Events
Edgar Degas (1834–1917)
The Dance Lesson, c. 1879
Pastel and black chalk on paper
The Metropolitan Museum of Art, New York
EXAMINING MUSICAL STYLES
Alabama Course of Study Standards
OBJECTIVE
By completing this activity, students will:
• Listen to different songs to determine the style of each work
• Write a comparing and contrasting essay that analyzes the style of two songs
• Participate in the writing process by doing each of the following:
- Brainstorm
- Prewrite
- Write a rough draft
- Engage in the peer-editing process
- Type or write a final draft
MATERIALS
For this activity, you will need the following items:
• “Anticipation Guide” worksheet on page 23
• Technology with internet access
• Brandenburg Concerto No. 3
• “Brandenburg” by Black Violin
• Pencil
• Paper
PROCEDURE
To complete this activity, follow these steps:
1. To begin this activity, copy and distribute the “Anticipation Guide” worksheet.
2. Before listening to any music, students should respond to each statement listed in the first column.
3. Listen to Brandenburg Concerto No. 3 and “Brandenburg” as a class.
4. Conduct a thorough class discussion of each work to identity the musical styles and instruments heard.
5. Have students identify similarities and differences between the two works. Students should create a Venn diagram to chart and explain their findings on the various musical styles and instruments heard in each song.
6. Students will have a choice of comparing and contrasting the musical styles by using the Venn diagram or writing about the way the music makes them feel by using the “Anticipation Guide.”
Anticipation Guide: How Does Music Affect You?
Before listening to any music, respond to the statements provided. Write “A” if you agree with the statement or “D” if you disagree with the statement in the “Before both songs” column below.
• Listen to Bach’s Brandenburg Concerto No. 3. Pay attention to the different musical styles and instruments heard. After listening to the song, respond to the statements in the corresponding column.
Before both songs
• Listen to Black Violin’s “Brandenburg.” Once again, be sure to pay close attention to the different musical styles and instruments heard throughout the song. After listening to the song, respond to the statements in the corresponding column.
After Brandenburg Concerto No. 3
After Black Violin’s “Brandenburg”
You listen to music to calm you down when upset.
Music gets you hyped.
There are certain songs that you feel were written just for you.
There are songs where you can identify with the theme or overall message.
Music is just noise to you.
You only listen to a certain genre of music.
You can listen to a variety of musical genres.
THE HISTORY OF STRING INSTRUMENTS
The history of string instruments is long. In fact, the earliest string instruments can be traced back to around 2500 BCE in Sri Lanka. They were made from gourds, had long necks, two strings and were played with a bow. Some examples of ancient, long-necked string instruments include the rebab, which was more common in the Middle East, and the erhu, more commonly found in the Far East.
Through the centuries, string instruments were played in a variety of ways. Some were held, some were perched on the knee, and some rested on the floor. Some string instruments were strummed with the fingers while others were bowed. As these instruments evolved and changed, they started to look and become more like the string instruments we know today.
In the 16th century, Italians began to emerge as the best makers of fine string instruments. They invented the viol da braccio, which was the ancestor of the modern-day violin and viola, and the viol da gamba, which became the cello. The main differences between the viol instruments and the modern string instruments are in the shape of the resonator (the body), the depth of the resonator, the shape of the sound holes, the
number of strings, and the presence or absence of frets. The viol instruments have sloped shoulders, a deeper resonating chamber, c-shaped sound holes, six strings and frets. In comparison, the modernday string instruments are more rounded in body, shallower in depth, have f-shaped sound holes, four strings and no frets.
Antonio Stradivari was born in Italy in 1644 and made the crafting of extraordinary string instruments his life’s work. He is well known for his violins, but he made violas, cellos, guitars, lutes and mandolins as well. Stradivari is also credited with changing the bow’s shape to the one used today. The instruments that he created are labeled “Stradivarius.”
Instruments made by Stradivari still exist today and can sell at auction for millions of dollars.
The European development of string instruments led to the traditional orchestral string instruments of today: the violin, viola, cello and double bass.
Viol da gamba compared to a cello
stradivari statue, italy
Rebab Erhu
WAIST
BRIDGE
FINE TUNERS
TAILPIECE
CHINREST
Anatomy of a Violin
SCROLL PEGS
FINGERBOARD NUT
UPPER BOUT
STRINGS
F HOLES
LOWER BOUT
END BUTTON
EXPLORING THE VIOLIN
Alabama Course of Study Standards
OBJECTIVE
By completing this activity, students will:
• Research an assigned topic
• Write about their research findings
• Present their research to the class
MATERIALS
For this activity, you will need the following items:
• Technology with internet access
• Access to the library or books in which students can find the information they will need about violins
• Paper
• Pencil or pen
• Additional materials as needed to create a presentation
PROCEDURE
To complete this activity, follow these steps:
1. Divide the students into small groups.
2. Assign each group one of these topics to research:
• The history of the violin
• How violins are made
• How the violin is played and how it creates sound
• The importance of varnish on acoustic violins
• Acoustic violins versus electric violins
• Why antique violins are desirable and/or why Stradivarius instruments are highly valued
3. Ask each group to write a well-organized essay about their research findings.
4. Ask each group to present their findings to the class. Ask them to find a creative way to present their findings, such as a poster, video or digital presentation.
5. After the presentations, conduct a follow-up conversation with the class.
suggested discussion questions
• What did you know about the violin prior to your research?
• What is the most interesting thing you learned from your research?
• What is the most interesting thing you learned from another group’s presentation?
• Which presentation stood out to you the most? Why?
MAKING VIOLIN PRINTS
Alabama Course of Study Standards
AE17.VA.5.2 AE17.VA.6.6
National Standards
VA:CR2.1.5A VA:Cr2.2.5a VA:Cr2.1.6a
OBJECTIVE
By completing this activity, students will:
• Demonstrate methods of the art-making process
• Create a work of art
MATERIALS
For this activity, you will need the following items:
• Styrofoam printmaking sheets, like these or similar:
X Foam Printing Plates Econo Pack, 4"x6", 100 Sheets
• Paper
• Pencil
• Masking tape
• Block printing ink
• Brayers and trays for ink
• Paper for printing
PROCEDURE
To complete this activity, follow these steps:
1. Provide students with images of violins or other musical instruments for observational drawing (or, if available, bring in real violins or other instruments!).
2. Provide students with drawing paper that is the same size as your Styrofoam printing sheets. On the paper provided, have students focus on drawing all parts of the violin (refer to the “Anatomy of a Violin” diagram on page 25 if needed).
3. Encourage students to vary the composition of their drawings. They could choose to draw their violin at an angle, include the bow, draw various wavy lines and patterns to represent sound, or include musical notes.
4. Once they have a drawing they like, have students tape it on top of a Styrofoam sheet and trace all their lines to transfer their image onto the Styrofoam.
5. After the image has transferred, students will need to go over their carved lines one more time to make them deep enough to resist the ink when printing.
6. Once the Styrofoam sheets are carved deep enough, it’s time for students to print their images using their choice of colored ink on paper. (We suggest black block printing ink on colored paper for a variety of fun prints!) Have students roll their brayers in the ink until there is a thin, even layer of ink on the brayers. Instruct students to roll their brayer across their violins, making sure to transfer ink to the entire Styrofoam sheet. Students may need to roll over their violins multiple times from multiple directions.
7. Once students have enough ink on their images, carefully lay a piece of paper on top. Students can use their hands to rub all the parts of the paper, feeling for the Styrofoam underneath. Suggest students push their paper into contact with all the parts of their image so the ink transfers.
8. When you are confident your students have transferred their images entirely, ask them to peel back their papers and reveal their prints.
9. Sometimes it takes a few tries before students get a good print. Repeat the printing process until all students have a print they are happy with.
fun tip: Play music from Black Violin for students to listen to while drawing. You can find their music here:
X https://blackviolin.net/videos/
REIMAGINING VIOLIN ART
Alabama Course of Study Standards
National Standards
VA:Cr2.1.IIa VA:Re.7.2.IIIa
OBJECTIVE
By completing this activity, students will:
• Learn about a chosen genre of art
• Create a unique piece of artwork inspired by that genre
MATERIALS
For this activity, you will need the following items:
• Painting, drawing or other materials, dependent on what genre students choose to complete their work and what medium they prefer
PROCEDURE
To complete this activity, follow these steps:
1. Have students research famous cubist paintings by Marc Chagall and Pablo Picasso that depict violins. These two websites have information about them.
X https://www.benningviolins.com/images-of-violins-inthe-work-of-marc-chagall.html
X https://www.benningviolins.com/reference/pablopicasso-and-the-violin
2. Have students choose an artwork as inspiration for their own work and recreate that artwork in a different genre.
writing extension
3. Have students write an artist statement explaining their inspiration, ideas and creative process.
Marc Chagall (1887–1985)
Newlyweds and Violinist, 1956 Oil on canvas
Private Collection
Pablo Picasso (1881–1973)
Violin, glass, pipe and inkwell, 1912 Oil on canvas
National Gallery Prague, Czech Republic
Marc Chagall (1887–1985)
The Fiddler, 1913 Oil on canvas
Stedelijk Museum, Amsterdam, Netherlands
Pablo Picasso (1881–1973)
Three Musicians, 1921 Oil on canvas
Philadelphia Museum of Art, Pennsylvania
Share your students' colorful creations with us.
We'd love to see the masterpieces your talented students create. Send us a photo of their violin art and other projects from this performance study guide. Be sure to include each student's name, age, grade and school with your submission. You can send all submissions to the Gogue Center via email at gpac.education@auburn.edu.
Delta, Alabama
Bald Rock at Cheaha State Park
Why we go to the show
ALABAMA & THE FIDDLE
The Appalachian Mountains stretch from Mt. Cheaha in Alabama up the eastern side of the United States and all the way to Canada. A large portion of this area is known as Appalachia. It encompasses parts of New York, Pennsylvania, Ohio, Maryland, Virginia, Kentucky, North Carolina, South Carolina, Tennessee, Georgia, Mississippi and, of course, Alabama. It also includes the entire state of West Virginia. The people of Appalachia have a rich history and are well known for their music.
The music of Appalachia grew out of the songs and fiddle music that immigrants from Scotland and Ireland brought with them to the United States. European immigrants were not the only people that brought their music to America. Enslaved Africans, who were brought to the Appalachian region in the 18th century, brought instruments that were very similar to the banjo. They also introduced the guitar to the region. Additionally, early African American singing influenced the development of the music of Appalachia.
The music of Appalachia was passed down through the aural tradition, meaning it was heard but not written down. This type of music is sometimes referred to as folk music. Folk music is the music of the people. Appalachian music uses the fiddle, the banjo, and the guitar as well as some other instruments including the dulcimer. The dulcimer has strings that stretch the length of its body, has frets, and is played by plucking the strings; however, it lays across the player's lap rather than being held by their arms.
let’s listen
Click here to hear a mountain dulcimer.
Another string instrument that is used in the music of Appalachia is the autoharp. The autoharp looks like a guitar without a neck, but it has a series of bars that the player uses to mute all the strings except the ones they want to use. It is most often played by strumming the strings, but it can be plucked too.
let’s listen
Click here to hear an autoharp.
Recordings of Appalachian music from the 1920s
influenced musicians and led to the creation of bluegrass and country music.
The fiddle is essentially a violin. The instrument is, in most cases, exactly the same. The differences are typically found in the strings, as many fiddle players prefer to use steel strings to create a brighter tone. While the term “fiddle” is used by players in all genres, it is a style more commonly associated with folk music. Fiddle playing stretches back to Scottish,
Irish and other European traditions. In America, the fiddle can be found in the Cajun and zydeco music of Louisiana, as well as in bluegrass and country music; however, the most well-known style of fiddle music in the United States comes from the old-time music of Appalachia. After all, it was what influenced the development of bluegrass and country styles.
Famous Alabama Fiddlers
Charlie Stripling (1986–1966) was born in Pickens County, Alabama. He began playing the fiddle as a teenager and learned the traditional music of Appalachia from his neighbor in the aural tradition. His brother Ira learned to play the guitar, and the two were very successful performing in contests held at fiddler conventions. Fiddler conventions were popular in small towns as fundraisers. (In 1914, a first-place cash prize could be worth as much as $25, equivalent to $780 today!)
In 1928, a company set up a recording studio in the basement of a hotel in Birmingham with the hope of recording some of the local musical talent to appeal to more rural audiences. The Stripling Brothers recorded two songs and played live on a popular radio station while in Birmingham. The recording, “The Black Mountain Rag,” became a popular bluegrass tune, and the exposure led to many gigs. There was a demand for dance tunes, and the Striplings responded by creating what they called “ragtime breakdowns.” These syncopated tunes drew on the popular music of the day. The brothers went on to record 38 tunes between 1929 and 1936, before the pressures of the Great Depression caught up with the music industry and the brothers were dropped from their label. Charlie continued to play for dances and at fiddler conventions, first with two of his sons and later with
a band he put together. He died in 1966 at the age of 69. In 1971, 13 of the Stripling Brothers’ songs were rereleased, helping to establish Charlie as one of the most important American old-time fiddle players.
Roy Crawford (1934–2021) was born in Lineville. He was introduced to the fiddle by his grandfather, but his first instrument was the guitar, which he began playing at the age of 6. He then learned the mandolin. Crawford picked up the fiddle when his brother, who had been the family fiddle player, left home. It was then that Crawford fell in love with the instrument. At that time, live music was the only available entertainment aside from the radio, so Crawford’s performances always drew a crowd. After quickly learning that the life of a fiddler did not provide the financial stability to support his young family, Crawford chose to take a corporate job; nevertheless, he continued to play semiprofessionally and became an awardwinning fiddle player. Crawford represented the Southeastern traditional music at the Bicentennial celebration at the Smithsonian in 1976. In 1980, he and fellow Alabama fiddler J.T. Perkins recorded Flattops and Fiddles, which became a standard among lovers of old-time fiddling. Crawford became well known for his rich tone, pure pitch and masterful double stops. His recording of “Beautiful Dreamer” was included on the Grand Master Fiddlers compilation album. Later in his life he continued to play with his bluegrass band, Roy Crawford and the Cullman County Bluegrass, as well as the Honeysuckle Fiddle Show. Crawford passed away in 2021. He spent much of his later years teaching the next generation of fiddle players.
stripling
crawford
Other Alabama Fiddlers
J.T. Perkins of Arab was a six-time fiddle king and Grand Master Fiddle Championship finalist.
Paisley Hagood of Limestone County was known for holding the fiddle on his chest when he played, rather than under his chin.
Jeff Cook was born in Fort Payne and was a founding member of the band Alabama. He played lead guitar and fiddle. Cook was inducted into the Fiddlers Hall of Fame in 2018.
INVESTIGATING ALABAMA FIDDLERS
Alabama Course of Study Standards
OBJECTIVE
By completing this activity, students will:
• Research a chosen Alabama fiddler
• Create visually engaging posters (electronic or physical) that represent their research
• Collaborate in groups to design and present their posters to the class
MATERIALS
For this activity, you will need the following items:
• Technology with internet access
• Paper
• Pencil
• Poster board (for physical posters)
• Art supplies (for physical posters)
• Screen for displaying digital posters
Charlie stripling
Biography ContriButions
PROCEDURE
To complete this activity, follow these steps:
1. Ask students what they know about the violin and string instruments in general.
2. Teach the introductory material about Alabama fiddlers on pages 33–35.
3. Divide the class into groups for the research project.
4. Explain that each group will research a fiddle player from Alabama, exploring their life and musical career. Either allow each group to choose a fiddle player or assign a fiddle player to each group.
5. Tell students they will need to research and report on the following:
• Key biographical information
• Musical contributions
• Cultural significance
6. Once they have completed their research, ask groups to create posters to present to the class. Explain that they should include the important information from their research. If they are creating digital posters, they could include audio or video clips, if available.
7. Allow each group to present their poster to the class.
Charlie Stripling, second from right, poses with his brother Ira Stripling, far right, and the Freeman brothers of Pickens County, c. 1927.
Larry Owen on guitar, Paisley Hagood on fiddle, Bob Holland on banjo and an unknown musician on upright bass perform at Pleasant Point School in 1966.
What to do after the show
POST-SHOW DISCUSSION
Included in this section are some post-performance activities you can share with your students.
1. After seeing Black Violin, guide students in a discussion about the performance.
suggested discussion questions
• Were there any songs or portions of songs that you recognized during the performance (both pop/hip-hop and classical)? What did you think of the changes that Black Violin made to the songs that you recognized? What did you like or not like?
• What did you think of the music? Did the different styles mesh effectively and sound harmonious? Did anything surprise you about the music?
• If you have been to a traditional classical music concert and/or hip-hop concert, how did this performance compare? What were the differences? What were the similarities?
• What do you see as the mission of Black Violin’s performance? What do you believe they want you to think about after you see them perform?
• Black Violin named their group after an album by Stuff Smith, a jazz violinist from the Swing era. If you had to give the group a different name, what would it be and why?
• What did you notice about the different instruments that were played? Were any of the instruments new to you? Were they played in a way that you had not experienced before?
Black Violin
WRITING A MUSIC REVIEW
Alabama Course of Study Standards
OBJECTIVE
By completing this activity, students will:
• Compose a concert review consisting of at least four paragraphs
• Demonstrate the ability to critically analyze and articulate their thoughts on the concert
MATERIALS
For this activity, you will need the following items:
• “Elements of Music” worksheet on page 40
• Technology with internet access
• Pen or pencil
• Paper
PROCEDURE
To complete this activity, follow these steps:
1. After a post-show class discussion, ask students to write a review of the concert. Copy and distribute the “Elements of Music” worksheet.
2. Explain the review must have at least four paragraphs and follow this basic structure:
• First paragraph (the basics): Include the who, what, when, where and why.
• Second paragraph (the music): What is the genre of music? What was the theme of the performance? Refer to the “Elements of Music” worksheet to help with the description of the musical elements of the performance.
• Third paragraph (your reaction): How did the performance affect you? Which songs did you like the best and why? Describe some of the lyrics that stood out and explain what it was about them that grabbed you. Which songs did you like the least and why?
• Fourth paragraph (audience’s reaction): What was the performance’s effect on the audience? Was the audience attentive? Was the audience engaged?
• Conclusion: What was your overall impression of the performance?
REMINDERS
• Back up all opinions with valid reasons. If you liked something, say specifically why you liked it. Use the same approach for things that you did not like.
• Be objective, fair and sincere.
• Evaluate the entire production. How was it put together? How did it flow? Think about the entire show, not just the individual numbers.
• Be constructive. Indicate good points along with those you think need improvement.
Element
Elements of Music
Things to consider
Rhythm Was there a steady beat? Did the music use fast notes, slow notes or both? Did the rhythm feel smooth and even or disjunct and uneven?
Melody Did the melody move mostly by large skips or by steps? In which direction did it move? Does it sound like a major, minor, pentatonic, modal or twelve-tone melody?
Texture How many lines of music can you hear at a time: one or two (thin texture) or many (thick)? Does the music go into a round at any point? Do you hear any ostinatos?
Harmony Does the music use consonant harmonies or discords or a combination of the two? Does there seem to be a traditional tonal center to the music (major or minor)?
Form Are there like and unlike sections that form a pattern such as ABA, ABC, etc.? Could the music be described as a theme and variations?
Dynamics/ Tempo
What pattern of loud and soft, slow and fast does the music feature?
Style Does the music remind you of any other music you know of, or a particular musical style (e.g., classical, jazz, hip-hop, etc.)?
Tone What instruments or voices were used? Were any unusual or hard to identify?
What you heard
Alabama Course of Study standards index
ARTS EDUCATION
AE17.VA.5.2 Demonstrate the methods of the art-making process, including brainstorming, sketching, reflecting, and refining, to create a work of art/design.
AE17.VA.6.6 Make observations and reflect on whether personal artwork conveys the intended meaning and revise accordingly.
AE17.VA.9-12.N.2 Utilize the elements and principles of art/design in an artistic investigation of present-day life using traditional and/or contemporary practices.
AE17.VA.9-12.N.13 Expand the use of art-specific vocabulary to describe and define techniques and materials used to evaluate art.
AE17.VA.9-12.I.3 Make works of art and/or design that demonstrate technical skill and craftsmanship with various art media when creating images from observation, memory, and imagination.
AE17.VA.9-12.I.12 Interpret and evaluate artwork or a collection of works supported by relevant and sufficient evidence found in the work and its various contexts.
AE17.VA.9-12.A.2 Make informed choices using a range of materials, methods, and techniques of traditional and/or contemporary artistic processes to plan works of art and design.
AE17.VA.9-12.A.3 Explore and create works of art and/or design that demonstrate increased technical skill and craftsmanship with various art media to explore a theme, idea, or concept.
AE17.VA.9-12.A.11 Evaluate the effectiveness of an image or images to influence ideas, feelings, and behaviors of specific audiences
AE17.M.5.16 Demonstrate and explain, citing evidence, how selected music connects to and is influenced by specific interests, experiences, purposes, or contexts.
AE17.M.5.17 Demonstrate and explain, citing evidence, how responses to music are informed by the structure, the use of the elements of music, and context.
AE17.M.5.18 Demonstrate and explain how expressive qualities, including dynamics, tempo, and articulation, are used in performers’ and personal interpretations to reflect expressive intent.
AE17.M.5.19 Evaluate musical works and performances, applying established criteria, and explain appropriateness to the context, citing evidence from the elements of music.
ARTS EDUCATION (CONTINUED)
how the elements of music and expressive qualities relate to the structure of musical pieces
AE17.M.6.18 Describe a personal interpretation of how creators’ and performers’ application of the elements of music and expressive qualities, within genres and cultural and historical context, convey expressive intent.
and explain how the elements of music and expressive qualities relate to the structure of contrasting pieces.
Identify and compare the context of music from a variety of genres, cultures, and historical periods.
AE17.M.7.18 Describe a personal interpretation of contrasting works and explain how creators’ and performers’ application of the elements of music and expressive qualities, within genres, cultures, and historical periods, conveys expressive intent.
ENGLISH LANGUAGE ARTS (CONTINUED)
Use audio and/or visual sources of information to obtain the answer to a question.
Summarize in writing a variety of texts, stating their implied and/or explicit main ideas.
Include multimedia components and visual displays in presentations to enhance the development of main ideas or themes when appropriate.
informative or explanatory texts using multiple sources to examine a topic, conveying ideas and information clearly and incorporating a strong organizational structure, relevant details, and elaboration.
Write about research findings independently over short and/or extended periods of time.
Gather information on a topic or question, and share the results through various modes of writing, including
using grade-appropriate general academic and domain-specific words and phrases accurately, including those that signal contrasting ideas, additional information, and other logical relationships.
Produce clear, coherent narrative, argument, and informative/explanatory writing in which the development, organization, style, and tone are relevant to task, purpose, and audience, using an appropriate command of language.
by introducing ideas in digital formats with specific attention to subject, occasion, audience, and purpose.
ENGLISH LANGUAGE ARTS (CONTINUED)
Produce clear, coherent narrative, argument, and informative/explanatory writing in which the development, organization, style, and tone are relevant to task, purpose, and audience, using an appropriate command of language.
ELA21.7.23 Implement ethical guidelines while finding and recording information from a variety of primary, secondary, and digital sources.
or
Produce clear, coherent narrative, argument, and informative/explanatory writing in which the development, organization, style, and tone are relevant to task, purpose, and audience, using an appropriate command of language.
Produce research writings independently over extended periods of time which encompass research, reflection, and revision and over shorter time frames.
ENGLISH LANGUAGE ARTS (CONTINUED)
Quote, paraphrase, summarize, and present findings, following a recognized citation style and avoiding plagiarism to demonstrate responsible and ethical research practices.
ELA21.8.27
Synthesize and present information during the research process to answer follow-up questions and participate in both informal and formal discussions about research findings with grade-appropriate command of language.
Utilize a writing process which includes planning, revising, editing/peer-editing, and rewriting to create a focused, organized, and coherent piece of writing for a specific purpose and audience.
Compare and/or contrast the perspectives in a variety of fiction, nonfiction, informational, digital, and multimodal texts produced from diverse historical, cultural, and global points of view, not limited to the grade-level literary focus.
both short and extended narrative, informative/explanatory, and argumentative writings that are clear and coherent, use an appropriate command of language, and demonstrate development, organization, style, and tone that are relevant to task, purpose, and audience.
audience, either formally or informally, conveying credible, accurate information from multiple sources, including diverse media.
write clear, coherent products with a command of language
Integrate information from at least two sources into writing by quoting, paraphrasing, or summarizing and cite sources, following the rules of a particular style guide.
ENGLISH LANGUAGE ARTS
Compose clear, coherent writing that incorporates information from at least one scholarly source and demonstrates a clear position on a topic, answers a research question, or presents a solution to a problem.
ELA21.9.27 Utilize responsible and ethical research practices to present clear, coherent products with a command of language suitable for a particular target audience and purpose.
Compose both short and extended narrative, informative/explanatory, and argumentative writings that are clear and coherent, use an appropriate command of language, and demonstrate development, organization, style, and tone that are relevant to task, purpose, and audience.
ELA21.10.21 Locate and determine the usefulness of relevant and credible information to answer a question, solve a problem, or defend a
Utilize responsible and ethical research practices to write clear, coherent products with a command of language suitable for a particular target audience and purpose.
Integrate information from at least two kinds of sources into writing, using quotations, paraphrases, and summaries that consistently follow a particular style guide.
Compose clear, coherent writing that incorporates information from at least one scholarly and at least one non-scholarly source and demonstrates a clear position on a topic, answers a research question, or presents a solution to a problem.
Utilize responsible and ethical research practices to present clear, coherent products with a command of language suitable for a target audience and purpose.
Use digital and electronic tools appropriately, safely, and ethically.
Compose and edit both short and extended products in which the development and organization are relevant and suitable to task, purpose, and audience, using an appropriate command of language.
ENGLISH LANGUAGE ARTS (CONTINUED)
ELA21.11.27 Synthesize research results, using responsible, ethical practices to gather information, and write clear, coherent products demonstrating command of language that is suitable for the target audience and purpose.
ELA21.11.28 Integrate ethically-acquired information from at least three sources of varying types, including at least one visual or statistical source, into a research product, using proper quoting, paraphrasing, summarizing, and citation practices that consistently follow rules of a particular style guide.
ELA21.11.29 Compose clear, coherent writing that incorporates information from a variety of scholarly and nonscholarly sources and demonstrates a clear position on a topic, answers a research question, or presents a solution to a problem.
ELA21.11.30 Synthesize research using responsible and ethical practices to create and orally present clear, coherent products demonstrating command of language that is suitable for the target audience and purpose.
ELA21.12.11 Compose, edit, and revise both short and extended products in which the development, organization, and style are relevant and suitable to task, purpose, and audience, using an appropriate command of language.
ELA21.12.27 Synthesize research results, using responsible, ethical practices to gather information, and write clear, coherent products demonstrating command of language that is suitable for the target audience and purpose.
ELA21.12.28 Integrate ethically-acquired information from at least three sources of varying types, including at least one visual or statistical source, into a research product, using proper quoting, paraphrasing, summarizing, and citation practices that consistently follow rules of a particular style guide.
ELA21.12.29 Compose clear, coherent writing that incorporates information from a variety of scholarly and nonscholarly sources and demonstrates a clear position on a topic, answers a research question, or presents a solution to a problem.
ELA21.12.30 Synthesize research using responsible and ethical practices to create and orally present clear, coherent products demonstrating command of language that is suitable for the target audience and purpose.
LITERACY READING
LSR10.6-8.7 Integrate visual information (e.g., in charts, graphs, photographs, videos, or maps) with other information in print and digital texts.
LS10.9-10.10 By the end of Grade 10, read and comprehend history/social studies texts in the Grades 9-10 text complexity band independently and proficiently.
LSR10.11-12.7 Integrate and evaluate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, as well as in words) in order to address a question or solve a problem.
LSR10.11-12.9
Integrate information from diverse sources, both primary and secondary, into a coherent understanding of an idea or event, noting discrepancies among sources.
LSR10.11-12.10 By the end of Grade 12, read and comprehend history/social studies texts in the Grades 11-CCR text complexity band independently and proficiently.
LSW10.6-8.7 Conduct short research projects to answer a question (including a self-generated question), drawing on several sources and generating additional related, focused questions that allow for multiple avenues of exploration.
LSW10.6-8.8 Gather relevant information from multiple print and digital sources, using search terms effectively; assess the credibility and accuracy of each source; and quote or paraphrase the data and conclusions of others while avoiding plagiarism and following a standard format for citation.
a question (including a selfgenerated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding
the subject under investigation.
LSW10.9-10.8 Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the usefulness of each source in answering the research question; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and following a standard format for citation.
LSW10.11-12.7 Conduct short as well as more sustained research projects to answer a question (including a selfgenerated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.
LITERACY WRITING (CONTINUED)
LSW10.11-12.8 Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the strengths and limitations of each source in terms of the specific task, purpose, and audience; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and overreliance on any one source and following a standard format for citation.
SOCIAL STUDIES
SS10.5.4 Determine the economic and cultural impact of European exploration during the Age of Discovery upon European society and American Indians.
SS10.5.5 Explain the early colonization of North America and reasons for settlement in the Northern, Middle, and Southern colonies, including geographic features, landforms, and differences in climate among the colonies.
SS10.5.7 Determine causes and events leading to the American Revolution, including the French and Indian War, the Stamp Act, the Intolerable Acts, the Boston Massacre, and the Boston Tea Party.
SS10.5.8 Identify major events of the American Revolution, including the battles of Lexington and Concord, Bunker Hill, Saratoga, and Yorktown.
SS10.5.9 Explain how inadequacies of the Articles of Confederation led to the creation and eventual ratification of the Constitution of the United States.
SS10.5.10 Describe political, social, and economic events between 1803 and 1860 that led to the expansion of the territory of the United States, including the War of 1812, the Indian Removal Act, the Texas-Mexican War, the Mexican-American War, and the Gold Rush of 1849.
SS10.5.11 Identify causes of the
SS10.6.9
SS10.8.17 Explain how events and conditions fostered political and economic changes in the late Middle Ages and led to the origins of the Renaissance.
SS10.9.1 Describe developments in Italy and Northern Europe during the Renaissance period with respect to humanism, arts and literature, intellectual development, increased trade, and advances in technology.
SS10.9.5 Describe the rise of absolutism and constitutionalism and their impact on European nations.
and
and
SS10.9.7 Describe the impact of the French Revolution on Europe, including political evolution, social evolution, and diffusion of nationalism and liberalism.
SS10.9.9 Describe the impact of technological inventions, conditions of labor, and the economic theories of capitalism, liberalism, socialism, and Marxism during the Industrial Revolution on the economies, societies, and politics of Europe.
SS10.11.5 Evaluate the impact of social changes and the influence of key figures in the United States from World War I through the 1920s, including Prohibition, the passage of the Nineteenth Amendment, the Scopes Trial, limits on immigration, Ku Klux Klan activities, the Red Scare, the Harlem Renaissance, the Great Migration, the Jazz Age, Susan B. Anthony, Margaret Sanger, Elizabeth Cady Stanton, W. C. Handy, and Zelda Fitzgerald.
Supplemental books
FICTION
The Autobiography of Gucci Mane by Gucci Mane
Blues Journey by Walter Dean Myers
Bud, Not Buddy by Christopher Paul Curtis
Can’t Stop, Won’t Stop: A History of the Hip-Hop Generation by Jeff Chang
Classical Music: The 50 Greatest Composers and Their 1,000 Greatest Works by Phil G. Goulding
Hip Hop Speaks to Children: A Celebration of Poetry with a Beat edited by Nikki Giovanni
Jazz by Walter Dean Myers
Jazz Owls: A Novel of the Zoot Suit Riots by Margarita Engle
Muddy: The Story of Blues Legend Muddy Waters by Michael James Mahin
The Rap Year Book: The Most Important Rap Song From Every Year Since 1979, Discussed Debated and Deconstructed by Shea Serrano
The Story of Jazz by Marshall W. Stearns
Strange Fruit: Billie Holiday and the Power of a Protest Song by Gary Golio
What’s so Great About Bach?: A Biography of Johann Sebastian Bach Just for Kids! by Sam Rogers
When the Beat Was Born: DJ Kool Herc and the Creation of Hip Hop by Laban Carrick Hill
The Young Person’s Guide to the Orchestra by Aia Ganeri
If you would like to continue to learn and explore, here are some resources that might be helpful.
Overture Center for the Arts
X https://www.overture.org/media/vvkpwt14/black-violinofficial-resource-guide.pdf
Cincinnati Arts Association
X https://www.cincinnatiarts.org/assets/doc/Black%20 Violin%20Resouce%20Guide%20FINAL%203-1f16d153fe. pdf
World History Infoplease
X https://www.infoplease.com/history/world/1800-1899-adworld-history
Fiddler Magazine
X https://fiddlermag.com/
Athens News Courier article on fiddle kings
X https://www.enewscourier.com/archives/past-fiddle-kingsmake-marks-in-music-industry/article_faef231a-4497-5663b315-b7ed635925fe.html
Op art drawing tutorial
X https://www.enewscourier.com/archives/discoveryarchaeology-and-fiddling-paisley-hagood-when-to-startand-when-to-quit/article_9156a097-63b0-5bcf-9ed0b7e59635fdc0.html
Online resources Credits
All images featured in this performance study guide are wholly owned and copyrighted by their respective copyright holders and are used for educational purposes only. No copyright infringement is intended. The Gogue Performing Arts Center does not claim ownership of any images unless explicitly stated otherwise. If you have concerns about the use of any image included herein, please contact us immediately.
For a list of additional image sources and credits, please contact our Department of Communications and Marketing by telephone at 334.844.7234 or via email at jaosborne@auburn.edu
The Jay and Susie Gogue Performing Arts Center at Auburn University serves students and educators across the state of Alabama and beyond with its annual K–12 School Performance Series.
These high-quality and transformative arts experiences are further enriched with performance study guides that provide meaningful cross-curricular connections.
Developed by our Department of Education and Engagement, in collaboration with the Gogue Center Curriculum Council, each performance study guide contains information about the featured performing artist(s) or company, the art form, and relevant, grade-appropriate lessons and activities designed to help incorporate academic and arts standards into the classroom.
Our sincerest thanks to the members of the 2024–25 Gogue Center Curriculum Council.
2024–25 Gogue Center Curriculum Council
Lacey Basgier
Secondary Art
Lee-Scott Academy
Alabama Independent School Association
Stacey Blakemore
Secondary ELA
Oak Mountain High School
Shelby County Schools
Brooke Braswell
2nd Grade
Cary Woods Elementary School
Auburn City Schools
Euri Carr
Arts Specialist
Alabama State Council on the Arts
State of Alabama
Jennifer Dempsey Media Specialist
Wrights Mill Elementary School
Auburn City Schools
Abbie Gaston
4th Grade
Creekside Elementary School
Auburn City Schools
Cynthia Jackson ELA, Curriculum & Instruction
W.F. Burns Middle School
Chambers County Schools
Martin McKay
Assistant Principal Headland Middle School
Henry County Schools
Amber Pickard Social Studies
Lee-Scott Academy
Alabama Independent School Association
Josh Roberts Head of School
Alabama Christian Academy
Private School, Montgomery
Ruth Marie Romero
Pre–K
Peter Crump Elementary School
Montgomery Public Schools
Charlotte Ellison Williams Retired Educator/Administrator
