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Brief History of TUTSPage 1: Purpose of Study Guides

Page 2: What is Musical Theatre?Page 2: History of Musical TheatrePage 3: Elements of ProductionPage 4: Stage DiagramPage 4: How is Musical Theatre Different from Other Media?Page 4: Why is Musical Theatre Important? Page 5: Glossary of TermsPage 6: Theatre EtiquettePage 7: How A Musical Is Born Page 8: Review Questions Page 9: Review Activities

Page 10: Show Background The Creative Team

Page 11: Show Synopsis

Page 13: Thats All FolksWhat is a Big Band?

Page 14: Jazz TerminologyPage 15: Get Creative!

a. A Chance To Danceb. It Aint The Musicc. The Big Band Sound

Page 14: The Story Comes to Life a. Say Listen Boyb. Dont Mean A Thingc. Swing Brother Swing

Page 16: Out of This World a. Weve Got A New Beatb. Hit Me With A Hot Note

Page 17: c. Dont Stop To Diddle Daddled. Lets Swing!

Page 18: Word Search Hand-out Page 19: Word Search Answer KeyPage 20: Crossword Puzzle Hand-out Page 21: Crossword Puzzle Answer Key

Page 22: Digging A Little DeeperWhat is the USO?

Page 23: Get Creative!a. Two Thumbs Up! d. Stars Are Bornb. Test Your Knowledgec. Youre The Writer

Page 24: Mini Quiz Hand-outPage 25: Mini Quiz Answer Key

Page 26: Major Artists BiographiesPage 27: Poems Dream Boogie and The Weary Blues

by Langston Hughes & Electronic ResourcesPage 28: Song Lyrics

a. Bounce Me Brother g. Stompin At The Savoyb. Ill Be Seeing You h. Blues In the Nightc. It Dont Mean A Thing (If It Aint Got That Swingd. Boogie Woogie Bugle Boye. Swing Brother Swingf. Cry Me A River

SECTION ONE: Introduction

SECTION TWO: Musical Theatre 101

SECTION THREE: About the Show

SECTION FOUR: Elementary School Curriculum

SECTION FIVE: Middle & High School Curriculum

SECTION SIX: Supplemental Material

Tableof Contents

Swing!Educational Study Guide

Theatre Under The StarsHouston, Texas

Written byAlicia Hodge

x -- Table of Contents -- Swing! Study Guide

Theatre Under The Stars (TUTS), founded in 1968 by Frank M. Young, is Houston's acclaimed musical theatre production company.During its 34 seasons, TUTS, one of America's largest non-profit producers of musical theatre, has produced a total of 39 Premieres,including 11 World Premieres, one U.S. Premiere, three Southwest Premieres, and 24 Houston Premieres.

TUTS' name originates from performing in its first venue, the Miller Outdoor Theatre in Hermann Park. This outdoor setting trulyprovided spectators "theatre under the stars." TUTS was the first theatrical organization in Houston to perform free to the publicat the Miller and has since performed there each summer, giving Houston 42 lavish musicals in total. TUTS is the only Houston artsinstitution to perform every summer without interruption since the theatre opened in 1968. In July 1999, TUTS set a Miller OutdoorTheatre all-time attendance record with an audience of 91,000 for Grease.

TUTS established the Humphreys School of Musical Theatre (HSMT) in 1972 as its official training wing. Today, HSMT continues toprovide instruction and stage experience for more than 1,000 students annually. Established with a grant from the HumphreysFoundation of Liberty, Texas, HSMT trains students, ages four through adult, in acting, voice, dance and musical theatre techniqueduring school semesters and through on-going workshops. Students perform in a fully-staged end-of-term musical and may auditionfor juvenile roles in TUTS' major musical productions.

Purpose of Study GuidesTUTS has designed online study guides such as this one to enhance students' theatrical experiences. Using the guide, teachers canencourage their students to explore both the story and the production elements of the show. Live theater can enrich young peo-ples lives like few other experiences. The study guides contain various discussion questions, projects, and activities that allowstudents to engage in literary analysis, historical research, and personal reflection. TUTS' hope is that these young people will beable to gain a greater understanding and appreciation for musical theatre.

No child is fully educated or adequately prepared to livein an increasingly technological world without understandingthe meaning and beauty transmitted by the arts.

J.P. Getty Trust Beyond Creating a Place for Art in Americas School, 1985

1 -- Introduction -- Swing! Study Guide

History of Theatre Under The Stars

1Section I n t r o d u c t i o n

The origins of the musicals trace all the way back to story telling ballads. The ballads were stories in songs, passed down orallyfrom generation to generation. In 1597, Dafne, the first opera emerged. Like ballads, opera told stories through music. However,opera is written down and performed on stage. And from opera, the operetta, literally meaning "little opera", developed. Relativeto its predecessor, operettas dealt with less serious topics and used more dialogue. Finally, in 1866, the very first musical, TheBlack Crook by Charles M. Barras and Giuseppe Operti, was performed in New York. However, American musical theatre did notestablish its own identity until after the turn of the 20th Century.

George M. Cohan--librettist, lyricist, and composer, was a powerful influence in creating a truly native musical art form. Not onlywere the settings and characters of Cohan's musicals thoroughly American, but his dialogue, lyrics, and melody had the spirit ofenergy and pride that were unmistakably American. Cohan also established some of the procedures governing musical-comedywriting. Any plot, however improbable, was possible just so long as it could be the frame for songs and dances. For many years,American musicals were governed by this principle.

However, efforts were made to break loose from the rigid formula. The greatest revolu-tion in American musical theatre up to that time came in 1927 with Show Boat, byOscar Hammerstein II and Jerome Kern. The show featured popular music, such as jazzand gospel, which separated Show Boat from both operetta and all the musicals beforeit. Here was a complete integration of song, humor, and production numbers into a sin-gle and inextricable artistic entity; a musical with a consistent and credible story line,authentic atmosphere, and three-dimensional characters.

Then came the first of the Rodgers and Hammerstein masterworks, Oklahoma!, in 1943,with which musical theatre finally became a significant American art form. According toRodgers, "By opening the show with the woman alone onstage and the cowboy beginninghis song offstage, we did more than set a mood; we were, in fact, warning the audi-ence, 'Watch out! This is a different kind of musical." The national tour of Oklahoma!ran for an unprecedented ten years, playing before a combined audience of more thanten million people. In 1955, Oklahoma! was made into a film where it also found greatsuccess.

During the late 1950's and early 1960's, popular music began to change when rock 'n rollbecame more mainstream. This trend influenced musicals such as West Side Story(1957) and Bye Bye Birdie (1960) to feature more popular, contemporary music. Hair in1968 continued this movement by incorporating rock music with storylines based on the hearts of the younger generation.

And setting a pattern that would redefine Broadway, Cats premiered in 1982, introducing opulent sets, extravagant costumes andmakeup, and over-the-top special effects. The visual spectacle was unlike the painted backdrops and simple costumes seen in thepast. The trend continued with shows like The Phantom of the Opera, Les Misrables, Miss Saigon, and The Lion King.

Then came Rent in 1996, which revolutionized the very concept of musical theatre around the world. Rent blended pop, dance,salsa, rhythm and blues, gospel, and rock music together to tell its moving tale of hopes and dreams, while also addressing theserious and controversial issues of homelessness, AIDS, and drug addiction. Rent not only challenged the mainstream, but reinvent-ed it. Shows following Rent, such as Ragtime (1998) and Wicked (2003), also contained intricate storylines, unique styles of music,and visual spectacle, while continuing to address social and political issues.

Musical theatre is defined as the presentation of a story using the elements of music, singing, and dance on a stage in front of alive audience. This art of telling stories either through or with songs dates back to time immemorial. The ancient Greeks includedmusic and dance in many of their stage comedies and tragedies as early as the 5th Century B.C. Staged in open-air amphitheaters,these plays featured humor, political and social satire, jugglers, and anything else that might entertain the masses. While theseplays had no direct effect on the development of musical theatre as we know it, they prove that musicals have been around for atleast 2500 years.

2 -- Musical Theatre 101 -- Swing! Study Guide

History of Musical Theatre

What is Musical Theatre?

2Section Musical Theatre 101

Crew: The set designer creates the locale and period in which the musical occurs.While some sets are very simple and focus the audience's attention on the show itself,some are lavish and extravagant providing visual appeal. The head carpenter isresponsible for building the actual set. The lighting designer decides where the light-ing instruments should go, how they should be colored, and which ones should be on atany particular time. The electrician implements the lighting designer's work and makessure the lights are set properly and safely. The property (props) master is in charge ofobtaining or making and maintaining all props used in the show. He or she also sets theprops in their proper places before the show begins. There is also a flyman, who oper-ates the flying system (if necessary), and controls the raising and lowering of back-drops, light set pieces, and the curtain itself. When young performers (18 and younger)need extra guidance and direction, the child wrangler helps them through therehearsals and production for a smooth and successful show. The stage manager isresponsible for the overall integrity of a production. He or she assists the director by calling out forgotten lines during rehearsals,and calls the show, making sure each performance runs as smoothly as possible.

Sound: The sound designer plans the layout of all sound playback and equipment for the show and adjusts the pitch, volume,duration, and overall quality of the music to meet each specific scene's needs. The sound operator executes the sound designer'splans and handles the mixing equipment for the show. Music and sound must fit the context in which they are used. The adjust-ments are made using the soundboard. The sound effects designer is responsible for creating or enhancing sounds distinct frommusic and dialogue, such as doorbells or running water.

Costumes and Make-up: The costume designer first researches the setting of the musical. Costumes must be appropriatefor the time period and culture of the show, beautiful and elaborately designed, while also practical enough to all for movementand dance. He or she then decides which styles and fabrics to use, and draws the costumes in renderings. Through costume fit-tings, the tailor adjusts the outfits to fit each individual performer. During dress rehearsals and performances, actors havedressers to help put on his or her costume. The ensemble or chorus members also have dressers to help them change during quickcharacter or scene transitions. The make-up artist is responsible for applying cosmetics to each performer's face and body toincrease visibility, enhance certain features, and modify the actor's look to resemble his or her character. In addition to make-up,certain roles call for a specific hairstyle. The wig master/mistress obtains the wigs, styles and shapes them, and helps the actorsput them on.

Elements of Production


A musical is much more than the two and a half hour show the audience sees. The production process often takes many months,even years, to complete.

Creative Team The Cast The Rehearsal No musical would be possible with-out the imagination or inspirationof its authors. Many times, the ideafor a show grows from an existingbook, play, article, or movie. Othertimes, authors write musicals froman original idea or concept. Oncean idea is developed, composersand lyricists begin to write thesongs. The music needs to not onlyfit the overall tone and pace of themusical, but also contain lyrics thathelp the audience understand thestory and its characters. The chore-ographer designs dance sequencesfor the performers. The dances areintricate movements that allow theperformers to express the meaningof each song. The director workswith all of them to help guide theoverall artistic vision of the show.

The director works with the castingagent to cast both the principalperformers and the ensemble orchorus members. Each performermust have a well-trained singingvoice, acting skills, the ability todance, and fit the look of his/hercharacter. These elements are allevaluated during the auditionprocess. Actors are asked to bring aheadshot as well as perform twopieces, one uptempo song and oneballad. Those who are not chosenfor a principal role through theauditioning process sometimesbecome standbys or understudies,who take over the part when theleading actor is unable to perform.There are also swings, who serve asbackups for ensemble or chorusmembers.

The cast will do an initial read-through of the script, withoutsinging or dancing, followed by addi-tional practices with the rehearsalpianist. The music director or con-ductor teaches and rehearses themusic with the orchestra and isresponsible for the musical aspect ofthe production. The dance captain,sometimes together with the chore-ographer, teaches and rehearses thedance sequences with the perform-ers. During rehearsals, the directorcoaches the actors' reading of thelines and emotions and also givesthem their blocking, line by line,scene by scene. Next, the cast doesa sitzprobe, where they sit and singwith the orchestra before incorpo-rating any staging, scenery, cos-tumes, or props. Eventually, the castdoes a wanderprobe, where theyrun through the show, includingmovements and dancing, while theorchestra plays. The technicalrehearsal is when the full cast andcrew walk through the entire show,ensuring every light cue, soundeffect, microphone, etc. works asplanned. This rehearsal is mainly forthe tech staff. The cast and crewwill also go through a dress rehears-al, many times to bring all the dif-ferent elements (costumes, music,dance, lights, sound) together.

Audience: At the front of the theater, audience members will see a marquee displaying the name of the show being per-formed that night. After purchasing tickets at the box office and entering the theater, audience members will receive a program,which provides information about the show, actors' biographies, a song listing, characters, scenes, and possibly a synopsis. An usherescorts them to their seats, which may be in the boxes, orchestra, mezzanine, or gallery sections. Each show begins with theoverture and is separated into two acts by a fifteen-minute intermission. At the end of intermission, the entr'acte plays, signalingthe start of Act II. The show ends with the finale or curtain call. Audience members will then give a standing ovation, if they feltthe show was exceptionally good. The house manager oversees all aspects of the audience, including supervising the ushers andcontacting the stage manger about any audience delays for starting the show or ending intermission.

How is Musical Theatre Different from Other Media?The live theatrical experience not only involves the actors on stage, it also involves the audience in ways that film and televisiondo not. In reality, although the audience is sitting in an auditorium and the actors are on stage, there is very little separating theaudience from the performers. How the audience reacts to the show deeply affects the actors. Something seemingly trivial likewhispering or unwrapping a piece of candy can distract the actors and alter the mood and tone of their performance. Another dif-ference of film, video or television is that the camera and editing define what the audience sees. In the theater, however, eachmember of the audience works as a camera and editor, choosing his or her personal points of focus. The wonders of movies andtelevision are remarkable, but often provide an isolated experience. Being part of the communal magic when performer and audi-ence connect at the theater cannot be duplicated.

Why is Musical Theatre Important?Musical theatre can help students grow academically, aesthetically and personally. Musical theatre writers, lyricists, and composershave long looked to literature for their inspiration and subject material. As a result, students have the opportunity to engage inliterary analysis of both the story and its inspiration. Elementary students can begin to explore plot and characters, while juniorhigh and high school students can delve into theme, symbolism, and historical context.

Students will also have the opportunity to discover how music, dance, lighting, backdrops, etc. contribute to the show. Musicaltheatre allows young people to explore the elements of production beyond television and film, and gain a greater appreciation forthe arts.

Musical theatre can bring students together, build confidence and solidarity, and stimulate discussion. Furthermore, with showsthat address political or social issues, musical theatre encourages young people to reflect on these issues, explore alternativeoptions for action, and build a personal commitment to change.


StagePerformer Point of View

Stag

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Audience Point of View

Hous

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Stage Diagram

Glossary of TermsAuthor - the writer of a musical script also called the book Auditioning - to perform in order to get a role in the produc-tion; usually includes singing, dancing, and reading scenes fromthe showBallad - a slow, romantic song for actors to showcase vocal clar-ityBlocking - the specific movements of actors on stage Box - a separate compartment of seats usually elevated on thesides of the theater, for the accommodation of VIP'sBox Office - a booth inside the theater where tickets are soldCalling the Show - the process of calling out the lighting,sound, and scene-change cues during a performance usuallydone by the stage manager Casting - the process through which actors are chosen for rolesin the production Casting Agent - one who chooses actors for roles in the produc-tion Child Wrangler - one who works with child performers Choreographer - one who designs dance sequences Composer - one who writes music Conductor - one who directs the orchestraDance Captain - one who teaches and rehearses dancesequences with the performers Director - one who supervises the creative aspects and guidesthe artistic vision of the production Dress Rehearsal - rehearsal in which performers practice withcostumes and propsDresser - one who assists performers with their costumes duringdress rehearsals and showsElectrician - one who works with the lighting designer to adjustand operate lighting instrumentsEnsemble / Chorus - a group of singers, dancers, or actors whoperform musical numbersFlyman - one who pulls the curtain before and after perform-ances and operates the flying system, if one is usedGallery - the section of seats in a theater farthest away fromthe stage; separated into front gallery and rear gallery Head Carpenter - one who builds the sets for the production Headshot - a photograph of an actor from the shoulders up andlists his or her credits on the back House Left - the left side of the theater, when facing the stage(audience's point of view)House Manager - one who oversees all aspects of the audience;responsible for ushers and audience safety House Right - the right side of the theater, when facing thestage (audience's point of view)Lighting Designer - one who decides where the lighting instru-ments should go, how they should be colored, and which onesshould be on at any particular time to affect mood, visibility,and to showcase costumes and setsLyricist - one who writes the words to a songMakeup Artist - one who applies cosmetics to a performer'sface and bodyMarquee - a signboard projecting over the theater's entrance

Mezzanine - the middle section of seats in a theater betweenthe orchestra and the gallery; separated into front mezzanineand rear mezzanineMusic Director - one who teaches and rehearses the music withthe orchestraOrchestra - the section of seats in a theater immediatelybehind where the orchestra sits Principal Performers - the leading actors, those who portraythe major roles Program - a listing of the order of events, names of the castand crew, and other relevant information for the productionProperty (Props) Master - one who manages all items used onstage that cannot be classified as scenery, electrics or wardrobeRead-through - the cast reads through the script without move-ment or music Rehearsal Pianist - one who plays the piano for early-stagerehearsals Set Designer - one who creates the scenery for the stageSitzprobe - the first rehearsal with both the performers and theorchestra, with no staging or dancingSound Designer - one who plans and executes the layout of allsound playback and equipment for the showSound Operator - one who handles the sound playback and mix-ing equipment for the show; works with the sound designer Sound Board - a desk comprising a number of input channelswhere each sound source is provided with its own control chan-nel through which sound signals are routed into two or moreoutputs; changes the quality of the soundSound Effects Designer - one who creates or enhances soundsthat are not part of the music or dialogue Standby / Understudy - one who studies a role and is preparedto substitute the principal performer when neededStage Left - the left side of the stage, when facing the audi-ence (performer's point of view)Stage Manager - one who is responsible for the quality of theshow's production, assists the director and oversees the show ateach performanceStage Right - the right side of the stage, when facing the audi-ence (performer's point of view)Swings - one who is prepared to substitute for ensemble or cho-rus members who are unable to performTailor - one who alters garments to fit a person's specific meas-urements Technical Rehearsal - rehearsal incorporating the technical ele-ments of a show, such as the scene and property shifts, light-ing, sound, and special effectsUptempo Song - a fast, upbeat song for actors to showcasedancing and acting abilityUsher - one who guides audience members to their seatsWanderprobe - rehearsal in which the performers practicesinging and dancing on stage while the orchestra playsWig Master / Mistress - one who obtains and customizes wigsfor performers to wear


Some basic theatre etiquettetips:

1. Do not talk, whisper, sing, orhum during the performance.Singing and swaying with themusic or leaning forward inyour seat blocks the view ofthose sitting behind you.

2. Do not eat and drink duringthe performance. It is distract-ing to both the performers andyour neighbors.

3. Keep feet on the floor, noton the seat or balcony in frontof you.

4. Clap after the songs to showthe performers that you areenjoying the show. Also keepin mind that performers appre-ciate enthusiastic applause,but not whistling or shouting.

5. Appropriate laughter, tears,and applause are the best waysto express your feelings aboutthe performance.

6. Stay until the end of theshow and clap during the cur-tain call to say "thank you" tothe performers.

7. No electronic devices shouldbe brought into the theatre,and please silence all cellphones, pagers and watches.

Going to theTheatre!



















Use the following page about proper theatre etiquette during performances to copy and print out handouts for your students orcut along the dotted lines to make reminder cards for students to keep with them throughout the show.


How a Musical is BornThe inspiration for a musical comes from many different places. Authors may conceive an idea themselves, or they might be com-missioned by a producer to write a musical on a specific subject. Many times, musical theatre draws on material from existingplays, books, movies, and other sources for a new show.

Screen to Stage: Screen-to-stage musicals are basedon existing movies. Authors adapt the material to fit musi-cal theatre, possibly adding songs and changing dialogue.Some examples of successful movie-turned-musicals areSingin' in the Rain in 1985 (movie 1952), Beauty and theBeast in 1994 (movie 1991), The Producers in 2001 (movie1968), and Mary Poppins in 2004 (movie 1964).

Stage to Screen: Stage-to-screen musicals are musi-cal theatre shows that have been made into movies.Hollywood filmmakers choose popular musicals to guaran-tee a hit movie. Though this is not always true, some suc-cesses include Grease in 1972 (movie 1978), Chicago in1975 (movie 2002), The Phantom of the Opera in 1988(movie 2004), and Rent in 1996 (movie 2005).

Original / Concept Musicals: Concept musicalsare built around a single idea rather than a traditional plot.Once a concept is raised (love, hate, friendships, relation-ships, etc.), characters can comment on or act out variousaspects of the subject. There is a storyline, but it exists inorder to illustrate the central concept. Some well-knownconcept musicals include Company (1970), A Chorus Line(1975), and Assassins (2004). A revue could fall into thiscategory, like Swing! (1999) or Radio City ChristmasSpectacular (1933).

Revival / Revisal: While many musicals are revivals,today is the age of the "revisal", when old musicals arereinvented in new productions. The new shows usually havethe same basic storyline with revisions to the music andartistic style. An example is Chicago (1996), which original-ly premiered in 1975. A revisal is different from a revival inthat revivals make no change to the old production. Forexample, Fiddler on the Roof premiered in 1964, and thesame production has been revived in 1976, 1981, 1990, and2004, usually unchanged from the original.

Workshop Musicals: Unlike traditional musicals, workshop musicals do not have a single author and the plot is notcompletely established before the production process begins. These musicals are developed by multiple members of the cre-ative team through brainstorming sessions or "workshops". Workshop musicals are relatively new and are setting a new trendfor future shows.

Review Questions

1. Name the five types of musicals. Explain the advantages and disadvantages of each one.

2. What are some examples of stage-to-screen musicals? Screen-to-stage musicals?

3. If you were making a screen-to-stage musical, which movie would you choose and why?

4. How are workshop musicals different from all the other types?

5. If you were writing a musical, which type would you prefer to make and why?



Checking for Understanding

1. What is the definition of musical theatre?

2. How have the ancient Greeks contributed tomusical theatre?

3. How did George M. Cohan shape theAmerican musical?

4. Which was the first show to not followCohan's formula? How was it different?

5. What do West Side Story, Bye Bye Birdie, andHair have in common?

6. How has Cats contributed to broadway?

7. What is the significance of Rent?

8. What are the three differences betweenmusical theatre and television or film?

9. How can musical theatre help people growacademically? Artistically? Personally?

10. Name the eight major elements of produc-tion and summarize each one.

11. What are four major theatre etiquette tips?

Review QuestionsThe following questions are intended to help students learn the basics of musical theatre. These may be used for class discussionor given as homework and written assignments.

Critical Thinking

1. What do you think are some major differ-ences between ancient Greek theatre andmusical theatre as we know it today?

2. How did West Side Story, Bye Bye Birdie, andHair reflect young people's attitude in the late1950's - 1960's?

3. What do you think Jonathan Larson, thewriter of Rent, hoped to accomplish byaddressing the issues seen in the musical?

4. The actors perform the same show eachnight, but how could you make the experienceunique and personal to you?

5. What do you hope to gain from experiencingmusical theatre?

6. Is there one element of production that ismore important than all the others? Explainyour answer.

7. The audience does not participate in themaking of the show, so why are they importantto a musical production?

8. If you were to teach a child how to behaveat the theater, what would you tell them?

Review Activities


The following activities and projects are intended to encourage students to further their understanding of musical theatre, andmay also be used for class assignments or take-home projects.

E V O L U T I O NOBJECTIVE: To learn the major shows throughout the histo-ry of musical theatreACTIVITY: Have students create a timeline of the majormusicals (Show Boat, Oklahoma, West Side Story, Bye ByeBirdie, Hair, Cats, Rent, Ragtime, Wicked). They can drawor find and cut-out pictures to represent each one.MATERIALS: Construction paper, crayons/markers/coloredpencils

I N S P I R A T I O NOBJECTIVE: To learn how historical context has affectedand inspired musical theatre, and develop research andpublic speaking skills ACTIVITY: Have students choose a musical to research andthen create a presentation of how the show reflects thetimes in which it was created, including historical figuresand relevant social or political issues. Encourage studentsto watch videos of the show, study song lyrics, andresearch the time period in which the musical was written.Suggested Shows: Oklahoma, West Side Story, Bye ByeBirdie, Chicago, Annie, Rent

E V E R Y O N E S A S T A R ! OBJECTIVE: To learn the elements of production in musicaltheatre, stimulate imagination, develop teamwork skills,and build self-confidenceACTIVITY: As a class, choose a story and act it out, incorpo-rating music with real or homemade instruments. SuggestedStories: Hansel and Gretel, Little Red Riding Hood, ThreeLittle Pigs, Johnny Appleseed, Rapunzel, RumpelstiltskinMATERIALS: Homemade or real instruments, props (optional)

D E B A T EOBJECTIVE: To learn the differences between variousmedia, develop public speaking and verbal expressionskills, and encourage self-expressionACTIVITY: Divide the class into three groups and have eachgroup choose a form of media (ex. television, movies, ortheatre). Then have the groups debate on which medium isthe best. Make sure students support their claims with spe-cific benefits and limitations of each medium.

1st - 5th Grade

6th - 12th Grade

Show BackgroundSwing! is a musical revue that celebrates the swing era of jazz through high-energy dancing, singing, and acrobatics. The produc-tion opened on Broadway December 9, 1999 at the St. James Theatre in New York and closed on January 14, 2001, after 461 per-formances. The original cast included Ann Hampton Callaway, Everett Bradley, Laura Benanti, and Casey MacGill. Originally theconcept for Swing! was conceived by Paul Kelly, who pitched the idea of a Broadway show that would focus on swing dance andmusic to producer Marc Routh. Director-Choreographer Lynne Taylor-Corbet and Production Supervisor Jerry Zaks collaborated tobring the broad range of swing styles to life.

While the creative team of Swing! arranged the music uniquely for the production with the occasional new lyric, the songs andmusic featured are well-known from the swing era. Major swing era artists, such as Duke Ellington, William "Count" Basie, andBenny Goodman, have their time to shine, during the thrilling performances.

The Swing Era typically refers to the time period between 1935-1946, or more loosely termed the time "between the two wars",the two wars being the Spanish Civil War and World War II. However, the swing style of jazz had been around since the 1920s. Asthe Great Depression loomed during this time period (1929-1930s), swing was both a method of escapism and a symbol of hopethrough those dark years. Very large bands, fixed written arrangements, and solo-driven improvisations characterized swing music.Along with the music, a variety of forms to swing dancing emerged with most varying by geographic regions, such as the Lindyhopor Jitterbug in Harlem or the Whip in Houston.

10 -- About the Show --Swing! Study Guide

3

The Creative Team

Lynne Taylor-CorbettCHOREOGRAPHYLynne Taylor-Corbett is an Americanwriter, director, and choreographerof both ballet and modern dancefor musical theatre and film.Taylor-Corbett also directed theoriginal production of Swing!. Hercommissions include GreatGalloping Gottschalk and Estuaryfor American Ballet Theatre,Mercury and Chiaroscuro for NewYork City Ballet's Diamond Project,In a Word for Ohio Ballet,Appearances for Atlanta Ballet andworks for Pacific Northwest Ballet,Hubbard Street Dance Company,Pennsylvania Ballet among others.Taylor-Corbett's film credits includeFootloose, My Blue Heaven, andBewitched. She was also nominatedfor two Tony awards for Swing!, asBest Director and BestChoreographer..

Jerry ZaksPRODUCTION SUPERVISORJerry Zaks, born in Stuttgart,Germany on September 7, 1946, isa film, TV, and theatre director. Hehas received four Tony Awards, fourDrama Desk Awards, two OuterCritics Circle Awards, an ObieAward and an NAACP Image Awardnomination. He served as residentdirector at Lincoln Center Theaterfrom 1986-1990, is a foundingmember of the Ensemble StudioTheatre, and has directed morethan 30 New York productions. Zaksalso directed the award-winningfilm Marvin's Room, and episodes ofthe long-running sitcoms"Everybody Loves Raymond" and"Frasier." He received the GeorgeAbbott Award for LifetimeAchievement in the Theatre in 1994and an honorary Doctorate of FineArts from Dartmouth in 1999.

Featuring Music by *Duke Ellington ("It Don't Mean A Thing...")Irving Mills ("It Don't Mean A Thing...")Benny Goodman ("Stompin' at the Savoy")Don George ("Hit Me With a Hot Note...")Count Basie ("Jumpin' at the Woodside" and"Shout and Feel It")Don Raye ("Bounce Me Brother..." and "BoogieWoogie Bugle Boy")Hughie Prince ("Bounce Me Brother..." and"Boogie Woogie Bugle Boy")Ilene Reid ("Throw That Girl Around")Sid Kuller ("Bli-Blip")Earl Hagen ("Harlem Nocturne")Johnny Mercer ("GI Jive" and "Blues in theNight")Sammy Fain ("I'll Be Seeing You")Irving Kahal ("I'll Be Seeing You")Joe Garland ("In the Mood")Walter Bishop ("Swing, Brother, Swing")Lewis Raymond ("Swing, Brother, Swing")Clarence Williams ("Swing, Brother, Swing")Juan Tizol ("Caravan")Arthur Hamilton ("Cry Me A River")Seymour Simons ("All of Me")Gerald Marks ("All of Me")Dorothy Fields ("I Won't Dance")Otto A. Harbach ("I Won't Dance")Jimmy McHugh ("I Won't Dance")Jerome Kern ("I Won't Dance")Oscar Hammerstein II ("I Won't Dance")Edgar Sampson ("Stompin' at the Savoy")Chick Webb ("Stompin' at the Savoy")Andy Razaf ("Stompin' at the Savoy")

* Complete List in Section 6

Section

Abou t The Show

11 -- About the Show --Swing! Study Guide

Swing! is a musical celebrating the Swing era of jazz, through an excitingmusical production. Swing! combines high-energy dancing, singing, andacrobatics and includes an array of music spanning from the early ages ofSwing, to jazz, to even hip-hop. While there is limited dialogue, musicand dance tell a story in each song.

Act I

It Don't Mean a Thing (If If Ain't Got That Swing) / Jumpin' at theWoodsideWith a tinge of blues, the opening number ponders a simple question:what good is melody, what good is music if it ain't possessin' somethingsweet? On stage, ten unison dancers match the band's energy note fornote and give a preview of the high-flyin' swing dance to come.

Bounce Me Brother with a Solid FourThe singer in this song prefers her music in a 'solid four' when she hearsthis new beat. She tells the band to keep the rhythm pumpin' and thewhole place jumpin'.

Two and Four / Hit Me with a Hot Note and Watch Me BounceA woman gets a quick lesson in swing rhythm from a friend: you do it(snap) on the two and four. Soon she has it down and is ready to show offher stuff.

Rhythm / Throw That Girl Around / Show Me What You Got Need directions if you're just lookin' to have some fun? You need rhythmto get you started, and it's guaranteed to bring a smile. Or, when you gettired of the frantic pace of a press one for me, press two for you kind oflife, you just need a girl to swing, swang, swung. And, finally you have toshow everyone what you got.

Bli-BlipWho needs words? A man and a woman find their courtship is perfectly fit for a good chat in scat.

Harlem Nocturne A steamy number, solid playing, and a fine example of Swing!'s clever interaction between music and dance with a dancer and thebass.

Kitchen Mechanics' Night Out / Shout and Feel ItA hard-working group of kitchen workers' in a very exclusive kitchen longing for a night at a ballroom in Harlem, and on Thursdaysat seven, they can put down their frying pans and have a swingin' night out.

Boogie Woogie Bugle BoySong follows a famous trumpet player in Chicago who has a funky style that no one else could play, but he gets called to the armyand trades in his trumpet for a Boogie Woogie Bugle.

The USO

G.I. Jive / I'm Gonna Love You TonightMan alive! A woman questions a man why she should love him for the night, when he's already spoken for.

I'll Be Seeing You Two lovers separated by time and continent, but their love is not lost when they look around them.

In the Mood / Don't Sit Under the Apple Tree It's the last dance! But the dancers find themselves in the mood for a swing classic. Then, two lovers promise that neither of themwill find someone new before they can be reunited.

Show Synopsis

12 -- About the Show -- Swing! Study Guide

Act II

Swing, Brother, Swing The singer requests that they not waste any more time, because they are rarin' to go and there ain't nobody, gonna hold 'them'down from swingin' it.

Caravan The band gets one for itself, in a thrilling moment.

Cry Me a River A sad but funny number in which a woman is scolding her love for breaking her heart, but a "talking" trombone voices her lover.

Blues in the Night Her mama done told her: a woman sings of the wise advice her mama told her when she was just a young girl.

Boogie Woogie Country Western Swing! A usually clumsy dancing cowboy celebrates when the band plays the one number he knows and his feet just startkickin'.

All of Me/I Won't Dance Broken-hearted lovers sing of their now defunct relationship but realize they cannot live without each other. Soon, they are danc-ing once again.

Stompin' at the Savoy The Savoy in Harlem was the home of sweet romance, and the place where happy feet got a chance to dance.

Finale

Swing, Brother, Swing/Sing, Sing, Sing/It Don't Mean a Thing The end of the show pulls out all the stops. First, another visit to Swing, Brother, Swing, then onto Sing, Sing, Sing, and finally,back to It Don't Mean a Thing.

Show Synopsis (continued)

13 -- Elementary School Curriculum -- Swing! Study Guide

4Section Elementary CurriculumThats All Folks!1. Which song or dance performance from Swing!was your favorite? Which was your least favorite? In acouple of short sentences, explain why.

2. What does the song Two and Four teach you todo on the two and four?

3. In the song Blues In The Night, a woman regretsnot taking her mothers advice. Recall a time youregretted not taking a parents advice. Write a shortparagraph about your experience.

4. Why do you think swing music was so popular?Explain in a couple of sentences, and then add tothat explaining why you think people still enjoymusic from the Swing Era.

5. During most of the performance of Swing,Brother, Swing, there are no lyrics sung, but thelead singers are singing throughout the entire piece.What are the singers mimicking with their voices?Can you name some of the ones you hear beingplayed?

6. Someone is saying goodbye in the song Ill BeSeeing You. Where do you think they are going?

7. Swing is infectious and energetic, which was partof its widespread appeal in the 1930s (the years ofthe Great Depression). Would you describe the musicyou heard in Swing! in the same way?

8. What mood are you in when you normally listen tomusic? Happy? Sad? Energetic? What songs do youonly listen to when you are sad? Happy? With friends?

The questions and activities are encouraged for use with elementary level students to cover basic knowledge and understandingabout the show. These may be used to prompt class discussions or be given as a written assignment.

What is a Big Band?

Saxophone Section Rhythm Section Brass SectionThe saxophone section usually compris-es five players: two altos, two tenorsand one baritone. The section leader,who sets overall style, volume, andphrasing, is always the first alto player.At times, players also play other windinstruments, such as flute, clarinet, andsoprano saxophone.

The section is the backbone of the windinstruments, because they frequentlycarry the melody or the backing harmo-ny. As the saxophone is physically lessdemanding than brass instruments, theyare usually written to play a great dealof the time in typical big band arrange-ments.

The rhythm section comprises drums,double bass (or bass guitar) and guitar.The rhythm section is essential both tothe band and to the audience in provid-ing the important pulse. The rhythmsection is sometimes referred to as the'powerhouse' or engine room of theband as one of its main purposes is todrive the band forward at a steadyrate. The rhythm section is also some-times said to provide a large part of the'swing' to a band. A rhythm section notplaying together will not swing and willsound awkward. The rhythm sectionachieves what is known in electronicsterms as 'phase-lock', when totallytogether in tempo and phase. Then, therhythm section is said to be 'swinging'.

Double bassThe double bass player is sometimessaid to be the most important memberof the rhythm section because thisinstrument not only provides the beat,but gives a foundation to the harmony.It can be heard and sometimes felt bythe band below all other instrumental-ists.

The brass section is a collective termfor the trombone and trumpet sections.Quite often these sections play thesame phrases and rhythms, for a power-ful, brassy sound.

Trumpet sectionThe trumpet section usually comprisesfour (sometimes five) players, eachplaying a separate part. The sectionleader is usually the first (or lead)trumpet, who plays the highest andmost strenuous part. When the wholeband is playing tutti (in unison, or allthe same), the lead trumpet player isstill considered the lead player of theband and is followed in phrasing, artic-ulation, etc., by the rest of the band.The second trumpet player is usuallythe jazz soloist.

Trombone sectionThis is similar in formation to the trum-pet section, except that there are threetenor trombones and one bass trom-bone. The trombone section provides adeeper sound than that of the trum-pets.


Dont Mean A Thing If It Aint Got That SwingHailing from early 20th century New Orleans, jazz is an original American musical art form and has been described as AmericasClassical Music. Jazz is rooted in Western music technique and theory, and is also significant because of its profound cultural con-tributions by African Americans. It is characterized by blue notes, syncopation, swing, call and response, polyrhythms, and improvi-sation.

Accent: To emphasize a beat or series of beats.Afro-Cuban jazz: A mostly non-vocal music that integrates modernjazz practice and style with the rhythmic elements of Cuban folk-loric music.Arrangement: The organization of a musical work for a givenensemble; determines which instruments play when, what har-monies and what rhythmic groove will be used, and where improvi-sation occurs.Arranger: Someone who creates arrangements for musical ensem-bles.Bar: A musical unit consisting of a fixed number of beats-alsoknown as a measure.Beat: The basic pulse of a piece of music; the unit by which musi-cal time is measured.Bebop: A style of music developed by Charlie Parker, DizzyGillespie, and others in the early 1940s and characterized by chal-lenging harmonies and heavily syncopated rhythms that demandeda new standard for instrumental virtuosity and impacted every sub-sequent style of jazz.Big band: A style of orchestral jazz that surfaced in the 1920s andblossomed as popular music during the Swing Era (1935-50). Also:any ensemble that played this type of music (i.e., a band consist-ing of a brass, woodwind, and rhythm section that played carefullyorchestrated arrangements).Blue notes: Notes sung or played at a lower pitch than those ofthe major scale for expressive purposes.Blues: African-American music, developed in the South during themid-1800s that became the foundation of most American popularmusic.Bossa nova: A musical style developed in the 1960s that combineselements of cool jazz with Brazilian music and features complexharmonies, a steady straight-eighth-note groove, and sensualmelodies.Brass: A family of musical instruments that includes trumpets,trombones, tubas, and French horns.Break: An established pause in the form of a tune during which animprovised phrase is usually played.Call and response: A musical conversation in which instrumental-ists and/or vocalists answer one another.Chord: Three or more notes played at the same time, creating onesound.Chorus: A song form played to completion.Composer: The creator of a musical composition. See composition.Composition: A musical idea, generally including melody, rhythm,and harmonic structure, created by a composer.Cool: A style of playing characterized by sparse lyricism and arelaxed demeanor. First inspired by the understated style of saxo-phonist Frankie Trumbauer in the 1920s, cool jazz became wide-spread in the early 1950s.Cornet: A brass instrument very similar to the trumpet but possess-ing a darker sound.Crescendo: A gradual increase in volume.Dissonance: A harsh, disagreeable combination of sounds that cansuggest unresolved tension.Dynamics: The variation and contrast of loudness and softness in apiece of music.Ensemble: A group of more than two musicians.Free jazz: A style of music pioneered by Ornette Coleman in the

late 1950s that avoided Western harmony and rhythm in favor ofgreater freedom of self-expression.Front line: Collectively, the primary melody instruments in a NewOrleans band, namely the trumpet, the trombone, and the clar-inet.Groove: A musical pattern derived from the interaction of repeat-ed rhythms.Hard bop: A style of jazz characterized by intense, driving rhythmsand blues-based melodies with a bebop sensibility.Horn section: A grouping of musical instruments in a band ororchestra that generally includes saxophones, trumpets, and trom-bones.Improvisation: The impromptu creation of new melodies to fit thestructure of a song.Key: The central group of notes around which a piece of musicrevolves.Orchestrate: To arrange music in a form that facilitates variousinstruments playing together.Percussion: A family of instruments generally played by strikingwith hands, sticks, or mallets.Polyrhythm: Contrasting rhythms played simultaneously.Ragtime: A musical precursor of jazz, generally played on thepiano, that appeared in the first years of the 20th century and thatcombined European classical technique with syncopated rhythms,which were said to "rag" the time.Register: The range of a voice or musical instrument (generally:high, medium, or low).Rhythm: The organized motion of sounds and rests; the patternedrepetition of a beat or accent that drives a musical piece forward.Rhythm section: A grouping of instruments that provide the rhyth-mic and harmonic structure in band or orchestra; usually thedrums, bass, and piano.Riff: A short, repeated musical phrase used as a background for asoloist or to add drama to a musical climax.Scale: An ascending or descending progression of related notes.Scat: A vocal technique that uses nonsense syllables to improviseon a melody.Score: A written map of a piece of music that is created by thecomposer and that dictates the notes to be played by each instru-ment.Section: A group of instruments in the same family (e.g., brass orwoodwind) that form a discrete part of a band or orchestra.Shuffle: A rhythmic style that formed the basis of the blues andearly jazz and had the feeling of swing.Solo: The act or result of a single musician improvising, usuallywithin the structure of an existing song.Swing: The basic rhythmic attitude of jazz; based on the shufflerhythm. Also: a style of jazz that appeared during the 1930s andfeatured big bands playing complex arrangements.Syncopation: The act of placing a rhythmic accent on an unexpect-ed beat.Tempo: The speed at which a piece of music is played.Time signature: A numeric symbol, expressed as a fraction, at thebeginning of a written composition; describes the number of beatsper measure and the rhythmic value of each note.Woodwind: A family of musical instruments that includes saxo-phones, clarinets, flutes, oboes, and bassoons.

J A Z Z T E R M I N O L O G Y


A C H A N C E T O D A N C EOBJECTIVE: To identify rhyme schemes, develop creativewriting skills, stimulate imagination, and encourage cre-ative expressionACTIVITY: The song Stompin At The Savoy is about apopular ballroom in the 1930s. By reading the lyrics outloud, you will notice that the song rhymes. Now, re-read allthe lyrics carefully and jot down all the words that you feelrhyme together. Remember not all rhyming words are nec-essarily spelled the same (ex. ride and tide), but some canrhyme based on prounication (ex. now and bough). Foreach group of rhyming words, create a new sentence thatuses at least three to four of the words. By the end, youwill probably have three or four sentences. Try to tell astory. Share your creation with the class.You could alsomake a poem with the rhyming words.

I T A I N T T H E M U S I COBJECTIVE: To review the elements of the show, developartistic ability, stimulate imagination, and encourage cre-ative expressionACTIVITY: Each song in Swing! tells its own unique story. Tounderstand these stories, read over all the lyrics in SectionSix (pg. 28-29), and look at the synopsis (pg. 11). Then,choose your favorite song, and identify one lyric or group oflyrics (maximum of three) that you particularly love.Illustrate in whatever way you want these lyrics. For exam-ple, with the lyric Savoy, gives happy feet a chance todance, one might draw a foot with a big smiley face on itand music notes surrounding it. You can hand draw your art-work or even use pictures you find on the internet or inmagazine. Put your lyric somewhere on the back, so yourclassmates can guess the lyric you chose.

T H E B I G B A N D S O U N DOBJECTIVE: To review the elements in the show, develop artistic skills, and encourage creative expressionACTIVITY: A big band is a large musical ensemble that plays jazz music, and the term is synonymous with the bands of theSwing Era. Review the section covering Big Bands (pg. 13), and become familiar with each of the instrumental sections. Doa bit of research as a class to find out what each instrument sounds like, and find some pictures if you do not already knowwhat the instruments look like. Briefly, the saxophone (or winds) section usually carries the melody (the part youll mostlylikely remember and hum later on!). The brass section is powerful and showy. And the rhythm is the swingin backboneupon which everything else depends on. Based on these descriptions and your own personality, decide which section youbelong in. Are you memorable? Do you like to be in the spotlight and have all the power? Or, do people tend to depend onyou? Once youve decided, draw your favorite instrument out of your section. Write your name on top and a couple ofadjectives that describe you. When everyones done, see what your class big band looks like!

S A Y L I S T E N B O YDuring Swing!, you see many different performers.Sometimes everyone all at once, and sometimes there isonly one person performing a solo. These soloists areknown as principle performers (pg. 5), and they have big-ger parts than the rest of the cast. This also goes for theband. In each section, there is usually someone known asthe section leader, on which the rest of the players areexpected to follow in technique and interpretation of themusic. Think about how leaders play a part in your ownlife. Who is a leader that you follow, either by choice or byauthority? How are you a leader? Are you the president ofany organizations or have you ever had a solo performanceof any kind? What did you have to do to be chosen? Write ashort paragraph describing the basic qualities you think agood leader must have to be effective.

D O N ' T M E A N A T H I N GScat is singing either wordlessly or with nonsense words andsyllables. This technique is most often associated with jazzsingers who create the equivalent of an instrumentalimprovisation using only the voice. In the song Bli-Blip, acouple holds an entire conversation in scat! How do youthink they understand one another? What do you supposethey are talking about? Many times with friends we toohave our own unique way of talking that others do notalways understand. This could be due to inside jokes thatonly a few people share, nicknames, abbreviations, slangterms, or even just finishing one anothers sentences. Oftentimes, children make up secret languages, and twins arealso known to do this especially. Can you remember a timesomeone has stumbled upon you and someone else and beentotally confused by the way you were talking? Describe yourexperience in a short paragraph.

S W I N G , B R O T H E R , S W I N GRecall the song Two and Four. By now you know what to do on the two and four. Just in case, you snap. In a very basicswing rhythm, there are four beats in a bar of music (also known as a measure). Refer to Jazz Terminology chart for defini-tions (pg. 14). The teacher should be designated as the metronome (a device used to produce a regulated pulse or beat).Start the class off by saying One, Two, Three, Four in a steady count. Repeat this several times (do not speed up or speeddown, keep steady!), until the class follows the counting, perhaps even tapping their foot along to the counts. If you have acowbell or a tambourine to play with your counting, this might help. While the counting continues, have the class snap onthe two and four beats. Next, snap on the one and three beats. Does it sound different? You can also try simple polyrhyth-mic exercises, in which different portions of the class snap in different rhythms at the same time. What does it sound likewhen more of the class is on the two and four? One and three? Add groups clapping just on one or stomping just on three.Or, have the class come up with something new. After some practice, try to increase or decrease the speed of the beat (yourcounting).

Get Creative!

The Story Comes To Life

Out of This World

16 -- Elementary School Curriculum -- Swing! study Guide

The activities and questions in this section should be used to encourage students to learn about the historical and cultural contextof the story. These may be used as in-class activities, prompts for class discussions, or be given as home or written assignments.

W e v e G o t A N e w B e a t

Though a swing style existed before the1920s, the Swing Era refers to the time period of 1935-1946, when swing music was at theheight of its popularity. Swing had been established as Americas pop (or popular) music by the mid-1930s. Significantly, this is oneof the last times the country collectively listened and embraced the same genre of music. However, something else was takingplace, as swing artists like Duke Ellington and Count Basie were coming into the national spotlight. After the stock market crash in1929, life became grim in America; this period of time is also known as the Great Depression, when economic activity was stagnantand at an all time low in many countries of the world. The effects of the Great Depression in the United States lasted from 1929 tothe late 1930's. There were years of widespread unemployment and poverty. The lively new four-beat music called swing was abeacon of hopefulness and energy, in an otherwise gloomy situation.

1. As a class, conduct research about the effects of the Great Depression in America to help you better understand theappeal of swing music to Americans in this time. Create a place in the classroom to serve as a holding zone for all thematerials the class finds, such as pictures, articles, movies, or even books borrowed from the library. Try to get a feelfor what life was like and the hardships faced by the poor and middle class. Books covering the Dust Bowl, the migra-tions to Western California (people called Okies and Arkies), and the sharecroppers of the rural South will help you.Reading passages from novels written in this time period, such as John Steinbecks The Grapes of Wrath and Of Mice andMen, are also relevant. For many people, the Great Depression brought an unexpected crisis to their lives. When some-thing unexpected happens in your life, how do you deal with it?

2. Along with swing music, movies provided another form of escapism. Stars, such as Shirley Temple and The ThreeStooges, found popularity in this time, along with animated cartoons from Disney and Warner Brothers, lavish musicals,Westerns, gangster movies, and newsreels. Discuss why you think people found solace in swing music and other enter-tainment during this time. When you are having a bad day, how do you escape?

H i t M e W i t h A H o t N o t e

Today Americas cultural and ethnic melting pot of peoples is simply part of the national landscape. However, in the earlier periodsof Americas history, racism and segregation was an everyday part of life. Typically, race relations in America refers to the situationbetween whites and blacks, and swing music and jazz in 1920s and 1940s was able to cross this ethnic and racial line freely. In theearly part of the 1930s, black and white jazz musicians were not allowed to play together in most clubs or concerts. BennyGoodman, a child of Jewish immigrant parents, was known as the King of Swing, and he played an important part in the integra-tion of popular music (notably, ten years before the integration of Jackie Robinson into Major League Baseball). Shockingly break-ing tradition in 1934, Goodman hired Teddy Wilson and Gene Krupa to form the Benny Goodman Trio. Wilson became the first blackmusician to perform in public with a previously all-white jazz group.

1. Jazz and its variations, like swing music, find their origins in the black community. Understandably, some of the majorartists and contributors to the success of swing music are black musicians, despite previously inaccessible avenues due tosegregation and racism during this time. Research segregation in the music industry between the 1920s-1940s, as a class.As noted above, jazz musicians of different races could not play together. Commercial successes were also not as fullyavailable to all musicians, along with certain radio play. Performances were often segregated, including the famousnightclubs of this time period, such as The Cotton Club.

2. For a group assignment to accompany your research, divide the class into groups of four to five students. Assign one ofthe major artists of swing music to each group. Though there are many artists the class can add to the list, the fivenoted artists in this study guide are Duke Ellington, William Count Basie, Ella Fitzgerald, Benny Goodman, and BillyHoliday. Groups should create a presentation that will introduce each artist to the class. Cover such topics as biography,music career, and famous songs. Try to obtain a recording of the artists music to play for the class during your presenta-tion. Make sure you also find a picture to show the class. To tie-in the class research on segregation and music duringthis time, research an instance(s) of your artists experience with segregation to share with the class. See pg. 26 for abrief introduction on each artist.

Out of This World (continued)

17 -- Elementary School Curriculum -- Swing! study Guide

D o n ' t S t o p T o D i d d l e D a d d l eA period of flourishing artistic expression and cultural activity during the 1920s and 1930s, the Harlem Renaissance is one of themost significant cultural phenomenons of African-American history. Uniting most of this influx of art, literature, and music was theconvergence of its creators in Harlem, New York. They would make Harlem the most famous center of Negro life in the UnitedStates at that time. Some of Americas foremost black writers, artists, musicians, and political thinkers emerged at the forefrontof American culture, during this time. Marcus Garvey, James Weldon Johnson, Langston Hughes, Zora Neale Hurston, and the schol-ar and civil rights activist W.E.B. DuBois, as well the other contributors, all examined what it meant to be black and American,during this time of segregation, and challenged the pervading racism and stereotypes of the larger white community. Many promot-ed racial and social integration. The NAACP and the Urban League both were created during the Harlem Renaissance.

1. African-Americans believed that by writing stories, plays, and poems based on their personal experiences, they could uniteblack Americans and change people's attitudes about racism. Research and discuss the most famous faces and literary andartistic works to come out of the Harlem Renaissance. Try to find examples of this in your research, either in a play, an essay,or perhaps a piece of music, and discuss them as a class. Think of one thing you would like to change peoples attitudes aboutwhich you think could benefit either America or the world. Perhaps, you think everyone should do a better job of recycling orthat people should be more caring for one another. Find a way to express your opinion they way the people of the HarlemRenaissance did. Maybe write a poem or an essay covering your thoughts and personal experiences. Present your work to theclass.

2. There was no uniting style that singularly characterized the various forms of art that was produced during the HarlemRenaissance; instead, there was a mix of contradictory styles embracing European standards, which celebrated both highand low culture and art. There was a meeting of classical music and jazz, as well as new experimental forms of literature,like modernism in poetry. This could be said to have resulted in a new form of jazz poetry. An example of this form would bethe poems The Weary Blues and Dream Boogie by Langston Hughes, which combined poetry with the syncopated rhythmsof blues, jazz, and swing. Read the poems (pg. 27) in class, and then listen to and/or read the lyrics of some of the musicfrom Swing!, particularly Blues In The Night and Boogie Woogie Bugle Boy. Discuss as a class whether you feel LangstonHughes was able to capture the feel of jazz rhythms in his poetry. Why do you think this combination of poetry and jazz wasimportant for African-American artists to create?

L e t s S w i n g !Swing music characterized American popular culture of the 1930s, by being constantly present on records, on the radio, and on thetours of the swing bands through virtually every city in America. Swing was not just popular music, but a culture. A distinctive gen-erational culture, was created in many ways, such as by slang, dances, and clothing styles. Taking a further look at how swing infil-trated American life beyond the music will give insights into the way popular culture tends to evolve over time. Below are someexamples of slang, popular dances, and clothing from the Swing Era. The class can also research each of these areas more indepth, if wanted. Discuss how each is different for popular culture today. The Swing Era was unique in being one of the last timesAmerica was united by music and culture. List some of the more popular forms of music today. Do people that listen to these dif-ferent genres of music have their own culture of slang, dance, and clothing? As a class, list some of the characteristics of eachof these culture items for the genres you listed. Why do you think music serves a uniting force among groups of people orAmericans in general?

Lindy, Jitterbug: Harlem, NYCarolina Shag: Myrtle Beach, SC'50s Rock & Roll: Philadelphia,PAWest Coast Swing: Southern CaliforniaBalboa, Bal Swing: Southern California Bop (Beach Bop):Jacksonville, FLDC HandDancing:Washington, DCSt. LouisImperial: St.Louis, MOPush: Dallas, TXWhip: Houston,TX

Popular Swing Dances

Jitters: anxietyBug: anyone ferventabout somethingJitterbug: ardent swingfanA dance party: bat, ben-der, brawl, crawl, drag,jolly-up, pig fight,shindig, winger, wobbleEgg Harber: a free dance Sweet (or straight)bands: played music aswritten on the pageHot bands: music includ-ed improvisation Cats or alligators: swingfansgob stick: clarinet

doghouse: string basetram: tromboneskins: drumsgobble-pipe: saxophoneiron horn: cornetbarrel-house: improvis-ingfrisking the whiskers: amusician warming uplong underwear gang: asweet bandlip-splitter: an wood-wind musicianspots: music noteswang it: play louderQuit mugging light andmug heavy: play fasterkick out: to improvise

Swingin Slang Swing Style

Clothing

Swing! Word Search

Swing dance Boogie Woogie Jazz Lindyhop Scat Rhythm Jitterbug Energetic Big bands Trumpet Count Basie Caravan The Savoy Double Base Saxophones Solid Four Choreography Depression

V X O S W I N G D A N C E O B U T N B O Y

M W T M A H Y C E O D Y S F V C U A Y K R

C K H D Y F K L X I C N F C S A E C N I O

S O L I D F O U R H D T M B N T X T D R F

V D S X L S T R V F E H O I R H M O E L C

D F H C V N G Z S P T I T Y Y E T I H A O

E V A B L T A X M Y P T B N C S U P J E U

P R R K Z A Q E H X I A V F C A R A V A N

P H K Z J C B R V Y R X O I P V U C E U T

R F A E K A S V N A T D A S H O E I Y O B

E J C H O R E O G R A P H Y S Y H R Y P A

S L O W S P E U A N R T P T R Y B D B N S

S M Z G C E B K U C L L I N D Y H O P I I

I D O H R R J I D S K I M C R E Y U B X E

O E F D E A R I G W V L Y F V P W B S U N

N O O T V L W U P B O E M N J M C L G C J

L B T H E J T Y K E A X G W N K N E T A E

N I S J L E M A F C B N G B E L I B O U N

J W E Q O K G R N V I B D E E W B A D R E

T S A X O P H O N E S O D S C R H S J Y R

E S F D Y A K H U X Y T R E I F G S H G G

H T A C S C S I R M T R U M P E T A U Y E

Q A B E T G L A D B E V S J A K B K L J T

A P W A H J A S R L D E M W H I Y T D D I

X Y I B O O G I E W O O G I E R C E A S C

Swing! Word Search Answer Key

V X O S W I N G D A N C E O B U T N B O Y

M W T M A H Y C E O D Y S F V C U A Y K R

C K H D Y F K L X I C N F C S A E C N I O

S O L I D F O U R H D T M B N T X T D R F

V D S X L S T R V F E H O I R H M O E L C

D F H C V N G Z S P T I T Y Y E T I H A O

E V A B L T A X M Y P T B N C S U P J E U

P R R K Z A Q E H X I A V F C A R A V A N

P H K Z J C B R V Y R X O I P V U C E U T

R F A E K A S V N A T D A S H O E I Y O B

E J C H O R E O G R A P H Y S Y H R Y P A

S L O W S P E U A N R T P T R Y B D B N S

S M Z G C E B K U C L L I N D Y H O P I I

I D O H R R J I D S K I M C R E Y U B X E

O E F D E A R I G W V L Y F V P W B S U N

N O O T V L W U P B O E M N J M C L G C J

L B T H E J T Y K E A X G W N K N E T A E

N I S J L E M A F C B N G B E L I B O U N

J W E Q O K G R N V I B D E E W B A D R E

T S A X O P H O N E S O D S C R H S J Y R

E S F D Y A K H U X Y T R E I F G S H G G

H T A C S C S I R M T R U M P E T A U Y E

Q A B E T G L A D B E V S J A K B K L J T

A P W A H J A S R L D E M W H I Y T D D I

X Y I B O O G I E W O O G I E R C E A S C

Swing! Crossword Puzzle Hint: If you are having trouble, refer to the About the Show, Creative Team, Story Synopsis, Character Lists, and the Song Lyric sections of the study guide for help.

Down: Across:

1 Swing! is this type of musical. 1 Instrument which is part of the brass section.

2 Contrasting rhythms played at the same time. 2 _____________ Basie.

3 The city where Jazz comes from. 3 The Great ________________ took place after the stock market crash of 1929. 4 Part of the brass section, also known as a tram in swing slang. 4 He came up with the show concept for Swing!

5 You snap on these two beats. 5 Requested by Franklin D. Roosevelt during WWII.

6 Organized motion of sounds and rests. 6 Harlem ____________________. 7 Call and ___________ is a type of musical conversation between vocalists and/or instrumentalists.

7 A vocal technique using nonsense syllables to improvise on a melody.

8 _______________ music as more than just music but an entire culture. 8 Throw that _______ around.

9 The _______________ was a swing dance from Houston, Texas.

9 A style of orchestral jazz that formed in the 1920s and become popular music during the Swing Era.

10 Described as Americas Classical Music. 10 The impromptu creation of new melodies to fit the structure of a song.

1 1

3 2

3

2 4

4

5

5

6 7

8

7

8 10

9 9

10

Swing! Crossword Puzzle Answer Key

1 T R U 1 M P E T

U 3 D E 2 P R E S S I O N

S O

I 3 N L

2 C O U N T E Y 4 T

A W R R 4 P A U L K E L L Y O H O

R R Y 5 T M

E L T W B

V E H O O 5 T H E U S O A M A N

E 6 R E N A I S S A N C E 7 R

H S D E 8 S Y F S

W 7 S C A T O P

I H U O

N M R N 8 G I R L 10 J S

9 W 9 B I G B A N D E

H Z

I Z

10 I M P R O V I S A T I O N

22 -- Middle & High School Curriculum -- Swing! Study Guide

5Section Middle & High School CurriculumDigging A Little Deeper1. Discuss why periods of time are optimistic and pes-simistic. What are some historical happenings that couldpotentially categorize the Swing Era as both optimistic andpessimistic? Consider the perspectives of different groups aswell. How might African-Americans living in Harlem viewthis time versus the people migrating to California due tothe Depression?

2. Define popular music. Discuss how popular music reflectsthe times in which it is created and how is this relevant tothe Swing Era. How did the popularity of swing music playan integral role in race relations of America during thistime? Do you feel music today continues to express social orpolitical thought in our time? Explain why or why not andcite specific music examples to back either argument.

3. Why do you think Jazz became a unifying force and sym-bol of American identity and culture? Do you feel musictoday continues to be unifying or does it act as a source ofseparation in todays American culture? Explain.

4. A main characteristic of Swing and Jazz, alike, is the actof improvisation, in both music and scat. How would you sayimprovisation in swing music relates to the lack of andsearch for freedom in the African-American community dur-ing this time? How is music a source of freedom for you?

5. What is scat? Research some of the most famous perform-ers of scat in Jazz music, such as Ella Fitzgerald. Listen toboth scat and improvisation recordings, and decide how thetwo are related. Afterward, try to find examples of modernday versions of scat, such as in doo-wop, hip-hop, and evenrock music. What do you think is the appeal of scat singinghistorically and today?

6. Other topics to discuss: the role and portrayal of blacksin the growing entertainment industry with the popularity ofswing and jazz musicians, the growth of big bands, theimportance of bandleaders and arrangers, the significanceof the creation of jazz poetry during the HarlemRenaissance, the relationship between nightclubs and jazz.

The questions and activities are encouraged for use with middle and high school level students to go beyond just the surface of thestory, including looking at the historical and cultural happenings during the time period. These may be used to prompt class discus-sions or be given as a written assignment.

What is the USO?The USO was formed in response to a 1941 request from President Franklin D. Roosevelt, whodetermined it would be best if private organizations handled the on-leave recreation of therapidly growing U.S. armed forces. Roosevelt's call to action led to six civilian agencies tocoordinate their civilian war efforts and resources to form a new organization - the USO(United Service Organizations). The six civilian agencies were the Salvation Army, Young Men'sChristian Association (YMCA), Young Women's Christian Association (YWCA), National CatholicCommunity Services, National Travelers Aid Association and the National Jewish WelfareBoard. The USO is a private, nonprofit organization, supported entirely by private citizensand corporations.

Throughout World War II, the USO was the channel for community participation in the wareffort. In more than 3,000 communities, USO centers were established to become the GI.'s"Home Away from Home." Between 1940 and 1944, U.S. troops grew from 50,000 to 12 millionand their need for a variety of services grew accordingly. USO facilities were quickly openedin such unlikely places as churches, log cabins, museums, castles, barns, beach and yachtclubs, railroad sleeping cars, old mansions and storefronts.

At its high point in 1944, the USO had more than 3,000 clubs. USOs could be many things to many people: a lively place to danceand meet people; a place to see movies or find religious counsel; a quiet place to talk or write letters; and, of course, the placeto go for free coffee and doughnuts. From 1941 to 1947, USO Camp Shows presented an amazing 428,521 performances. In 1945,

curtains were rising 700 times a day to audi-ences as large as 15,000 and as small as 25 onsome outposts all over the world. More than7,000 entertainers traveled overseas. DuringWorld War II, Americans had come together asnever before. By war's end, the USO couldclaim that more than 1.5 million volunteershad worked on its behalf.

Taken from http://www.uso.org.

1. Research the presence of Jazz in the USO Camp Shows, specifically musiciansand big bands that provided entertainment during WWII.

2. Why do you think songs like Boogie Woogie Bugle Boy were popular?

3. Research and discuss African-American band leaders role in the USO.

Review Questions

Get Creative!

23 -- Middle & High School Curriculum -- Swing! Study Guide

The following project ideas are intended to enhance students' musical theatre experience through the analysis and creation of art.They may be assigned as in-class written assignments, take-home projects, or presentations.

T W O T H U M B S U P !OBJECTIVE: To develop an understanding of the elements ina theatre production

ACTIVITY: After seeing Swing!, pretend you are a theatrecritic and write an in-depth review of the show. Using spe-cific examples, evaluate the music style, performance,scenery, lighting, and costumes. Be sure to include howeach contributes to the show's overall imagery and tone.You might also use information from class discussions toprovide for insight into the significance of the show. Makesure to give your personal opinion about whether you likedthe show and how it affected you.

T E S T Y O U R K N O W L E D G EOBJECTIVE: To engage in literary analysis, develop researchtechniques, and develop presentation skills

ACTIVITY: Choose a question that interests you from theones provided in the Digging A Little Deeper section (pg.22). Create a presentation that conveys your thoughts andanalysis for the question you choose. Conduct outsideresearch to support your ideas, and present some of thosetopics to the class. A good presentation should be four tofive minutes long, and you should also create a visual aid tohelp the class understand the information you are giving,such as an informational handout or a Power Point presenta-tion. Work independently or with a partner on this project.

Y O U R E T H E W R I T E ROBJECTIVE: To develop creative writing skills, stimulateimagination, and develop presentation skills

ACTIVITY: Pretend you are a big band leader in the 1930s.You have a huge performance tonight at The Savoy, and youwant a fresh new song to wow the crowd. The lyrics in thistime period were often times quite poetic in nature andusually used simple rhyme scheme. Write the lyrics to yourown new swing song about anything you wish. It can takeplace in the 1930s or today. It can be about you or one ofyour friends. Be creative. Read the lyrics in Section Six tohelp give you ideas about content and rhyme schemes. Tryto include some swing vocabulary in your song. A list ofslang is given in pg. 17. After youre finished, present yoursong to the class by reading the lyrics.

S T A R S A R E B O R NOBJECTIVE: To develop an understanding of plot, developcreative writing skills, stimulate imagination, encourageteamwork, and develop presentation skills

ACTIVITY: Research the creation and use of jazz poetry dur-ing the 1930s. Why was jazz poetry a significant contribu-tion by Harlem Renaissance writers? Read the poems byLangston Hughes included on pg. 27 in class, noting the useof jazz rhythms and style. Then, have each student preparean example of a jazzy poetry piece, by either finding apoem or writing one themselves. When presenting the poemto the class, try to read in a style that emphasizes the syn-copated rhythms.

Swing! Mini Quiz

1. What year did Swing! premiere on Broadway? a. 1997 b. 1998 c. 1999 d. 2000 e. 2001

2. What genre of music does Swing! cover?

a. Rock b. Country c. Blues d. Jazz e. Pop

3. Who is Jerry Zaks?

a. Production Supervisor of Swing! b. Composer of Swing! c. Writer and composer of Swing! d. Choreographer of Swing! e. He was a principle dancer for the

original production of Swing!

4. What U.S. city is considered the birthplace of jazz?

a. New York City b. Memphis c. Charleston d. Chicago e. New Orleans

5. When was the Swing Era?

a. 1990-1999 b. 1925-1935 c. 1975-1985 d. 1945-1955 e. 1935-1945

6. In the song Two and Four, what should one

do on the beats? a. Jump b. Clap c. Snap d. Shout e. Spin around

7. The USO ____________________.

a. Was requested by President Teddy Roosevelt

b. Does not include the Salvation Army c. Was formed in 1942 d. Consists of government run

organizations

e. None of the above 8. What is scat?

a. An improvisational vocal technique in jazz

b. A made up language by Ella Fitzgerald c. A jazz instrument d. A form of swing dance from the

midwest e. None of the above

9. In Boogie Woogie Bugle Boy, where is the

boy in the song from? a. Harlem b. Houston c. Chicago d. New York City e. Detroit

10. Who is Ella Fitzgerald?

a. She wrote Swing! b. Benny Goodmans wife c. A woman known as the Queen of Song d. An influential Jazz vocalist of the 20th

Century e. She wrote the lyrics for Boogie

Woogie Bugle Boy

11. How did swing dances in 20th century generally develop

a. Culturally b. Geographically c. By age group d. By gender e. Ethnically

Swing! Mini Quiz Answer Key

1. C 2. D 3. A 4. E 5. B 6. C 7. E 8. A 9. C 10. D 11. B

26 -- Supplemental Materials -- Swing! Study Guide

Born August 21, 1904, Died April 26, 1984Ive always played happy music, William Count Basie oncesaid. Music that people can tap their feet to.... Thats what Iintend to keep on playing. He kept that pledge for nearlyfifty years.

There were two great Basie bands. The first, Old Testament,version was loose, loping, and suffused with an optimism per-fectly suited to buoy the spirits of a people battered by theGreat Depression. With Jo Jones on drums and Lester Youngplaying tenor saxophone, it set a standard for swinging towhich most other bands could only aspire. After first hearingit, Benny Goodman said, There is nothing like the pure swingthis outfit has."

The New Testament band that emerged in the 1950s wastight and brassy and built around arrangements that highlight-ed the great dynamic range of Basies musicians.

But both bands were rooted in the blues. And at the heart ofeach was the unmistakable, irresistible piano style of itsleader. A native of Red Bank, New Jersey who had apprenticedwith the masters of Harlem stride, Basie found his musicalhome in the wide-open entertainment capital of theSouthwest, Kansas City, Missouri, where, he remembered, youcould hear the blues from every window. Witty and economi-cal, but always calculated to encourage his men on to greatereffort, never playing five notes when one would do, his play-ing embodied the jazz definition of less is more.

Major Artists Biographies Taken from NEAjazzintheschools.orgCCoouunntt BBaassiiee

Born April 25, 1917, Died June 15, 1996If the musicians like what I do, Ella Fitzgerald once said,then I feel Im really singing. She was really singing all herlife. Discovered at sixteen after winning an amateur night con-test at the Apollo Theater in Harlem, she first won fame in thelate 1930s, performing ebullient novelty tunes and romanticballads with the hard-swinging Chick Webb Orchestra. Duringthe 1940s, she recorded with every kind of backup group andestablished herself as a master of scat singing, incorporatingthe fresh harmonies and rhythms of bebop into wordless acro-batic performances that astonished audiences and musiciansalike. Then, in the 1950s, she recorded definitive versions ofstandards by Americas greatest songwriters, from Cole Porterto Duke Ellington. Through it all, she never lost the girlish joyevident on her earliest records, never seemed to sing out oftune, and never failed to swing. Musicians were awed by hermusicianship. For her, music is everything, her sometimeaccompanist Jimmy Rowles said. When she walks down thestreet, she trails notes.

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Born April 7, 1915, Died July 17, 1959Me and my old voice, Billie Holiday once told an accompa-nist. It just goes up a little and comes down a little. Its notlegit... It may not have been legit, but it was unforgettableand helped make her the most influential female singer in jazzhistory. Her friend and frequent collaborator Lester Young gaveher the nickname, Lady Day, and she shared with him andwith her acknowledged model, Louis Armstrong a great jazzinstrumentalists ability to shift the rhythm, alter the melody,and uncover new meanings in any song she chose to perform.

The personal turmoil that shortened her life has sometimesbeen allowed to obscure the power of her singing. Her great-ness lies not in the pain she endured but in her ability to tran-scend her suffering and transform it into art. Its not nice tothink that each time she goes into the lights shes crying herheart out, the singer Bobby Short said after her death. Itsnice to remember that she had a good time when she wassinging.

BBiilllliiee HHoolliiddaayy

Born April 29, 1899, Died May 24, 1974If jazz means anything, Edward Kennedy Ellington once said,it is freedom of expression. No one in the history of jazzexpressed himself more freely or with more variety or swingor sophistication. He was a masterful pianist but his realinstrument was the orchestra he led for half a century. Moreconsistently than anyone else in jazz history, Ellington showedhow great music could simultaneously be shaped by the com-poser and created on the spot by the players. Each of hisalmost 2,000 compositions love songs and dance tunes, balletand film scores, musical portraits and tone poems, orchestralsuites and choral works and more was crafted to bring outthe best in one or another of the extraordinary individuals whotraveled the road with him. Ellington hated what he calledcategories, and refused to conform to anyone elses notionof what he should be doing. As a result he managed to encom-pass in his music not only what he once called Negro feelingput to rhythm and tune but the rhythm and feeling of hiswhole country and much of the wider world, as well..

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