The Music Master: Advanced DJ Techniques Third course, Third grading period, Week 1

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1 The Music Master: Advanced DJ Techniques Third course, Third grading period, Week 1 To be the host with the most when it comes to music, you have to be more passionate, more knowledgeable and more conversant than other DJs. You do this by truly knowing your subject. Whether it s Country (knowing why Johnny Cash wore black), or the Blues (knowing that Eric Clapton deeply respects Robert Johnson), or Classical (why Hitler loved Richard Wagner), knowing the details of the music you want to present its history and the history that surrounds its creation is the first step. Not interested in these musical genres? How about Soul and Motown s Berry Gordy s role in the stellar rise of the Supremes and Marvin Gaye? Whatever your choice, get immersed in your musical topic or theme. Then Step Two present it with flair! Enduring Understanding DJs abound. But there s always one whom listeners tune into again and again because that DJ knows the music and musicians, provides perspective and makes them feel at home. Essential Questions How do DJs become knowledgeable about the music they are playing? How do DJs present their music show with real flair and keep it moving in an interesting way? Objectives and Outcome Students will research a musical theme. Students will plan an order of musical presentation, prepare a script and produce a show that has a billboard, announcer trax and two pieces of music. Students will present their show in a conversational, informal and engaged manner. Suggested Time One week Resources and Materials XM Satellite Radio Pronouncing Dictionary of Music and Musicians ( Archived programs of Adventures in Good Music, hosted by Karl Haas ( Grove s Dictionary of Music & Musicians, 10 volumes The New Harvard Dictionary of Music, Don Michael Randel, ed., Harvard University Press Oxford Dictionary of Music, Michael Kennedy and Joyce Bourne, eds. Liner notes to CDs Internet Movie Database (

2 Movies about musicians Rock and Roll Hall of Fame and Museum ( Biographies about musicians Preparing for Your First Job, Announcing, page 12, 16, 332 Music Programming, Radio Production, pages Music Announcing, Chapter Nine, Broadcast Announcing Worktext Procedure 1. Have the class generate a list of musicians whose music they admire. Talk about the links in the on-going musical chain. Many performers are influenced by others whom they have musically admired. Does the class know who has influenced the people they like to listen to? You may want to look up one or two of the names generated during class and demonstrate how to do research on them using the Web. Have another list with some of the great musicians from the past. See Great Composers and Performers: A Partial List as an example. (Note: It will be easier and quicker, in general, for students to research someone who has been written about, filmed, and perhaps dramatized extensively; hence the reason for providing illustrious musicians with a long established body of work, people who have definitely influenced others.) Assign or have each student select an individual, perhaps, someone students have heard of and would enjoy listening to. You may want to divide the class according to musical preferences before making the individual assignments. Or teachers could use the list provided which, presumably, will take students out of their comfort zones and stretch their music knowledge. Distribute Notable Masters and give students their homework and long-term assignment. 2. The second part of class or the second day will be a rest day, in a sense, for the class. That s because students will watch part of a movie (or segments of several selected by teachers) about a performer(s). You might choose Ray (biographical drama of Ray Charles), Amadeus (perhaps paired with Rimsky-Korsakov s one-act opera Mozart and Salieri), Walk the Line (bio film of Johnny Cash and June Carter Cash), Coal Miner s Daughter (Loretta Lynn bio pic), Purple Rain (Prince) or What s Love Got to Do with It? (Tina and Ike Turner). You want to watch enough about twenty minutes to get a discussion going. What did they learn from the film(s)? Was it a sense of the composer/performer and who that person is? The music created? What can be misleading about a Hollywood version of someone s life? Did the film win awards? For acting or for accuracy? If you choose the Johnny Cash film, for example, teachers may want to compare and contrast the film version of his performing style with an actual video of him on stage. The point of this exercise is to establish two main ideas: 1) Using Hollywood films to research your musician is a good idea, but don t trust everything you see, although what you see may be very helpful as a beginning point; 2) Seeing a musician perform in person is invaluable.

3 3. Students are to bring to class 20 note cards providing research information about their assigned musician. Allowing reference to their note cards, students orally present their musician/performers to the class and one piece of music. Students should be specific. They can present a mini-biography or provide information about the one piece of music in detail. The presentation can be about individuals who influenced the musical style. Each presentation should be three to four minutes in length. Students and teacher provide feedback. Was there a focus and obvious link between script and music played? Was the information sufficient? Did the host provide new connections and insight or merely report what everyone knows? Did the musical selection work well with the script? Students will refine their scripts and add an additional musical selection. 4. Play examples of different DJ presentation styles. You ll find some of the best examples on XM Satellite. Their specials on musicians are very good. Look for a variety of styles and content examples. Some shows have guests who knew the featured musician. Sometimes the announcer knew the musician too. Discuss what makes these shows so alive, present and exciting. Teachers may want to play a musical tribute to a performer or a profile. Choosing what you want to play may take a little research and preparation, but it s well worth it. You ll be adding to students awareness of how to add depth to their own presentation of music and musicians in the future. Adding the Flair 5. Using the script as a guide, each student writes a one-minute billboard about a musician. The billboard needs to be written tightly. Encourage each student to think about the music that could be put under it. Can the music come up in the middle of the billboard to jazz it up some more? How about cross fading more than one piece of music to another to add even more movement and zip? Students may need to revise their scripts this way too; they should be snazzy, lively and colorful. 6. Students should record the complete show that has a billboard, announcer trax and two pieces of music. 7. Take time to present their work to the class. Homework Review Notable Masters. Each step is designed to be a nightly homework assignment. Assessment Evaluate students homework, in-class work, participation in discussions and progress in their understanding of the overall assignment. The radio scripts should exhibit command of written English as well as be written for the ear. What students present should relate to the two pieces of music they have selected. Each student should be assessed on the content of the script and billboard, selection of music and final taping. Is the announcer voice engaging and appropriate for the music, script and audience?

4 Academic Content Standards Use standard bibliographic format to document sources (e.g., MLA, APA, CMS). (DCPS English Language Arts, Research. 9.R.1-12.R.1) Analyze the effect on the reader s or viewer s emotions of text and image in print journalism, and images, sound, and text in electronic journalism, distinguishing techniques used in each to achieve these effects. (DCPS English Language Arts, 10.M.2) Create coherent multimedia presentations that combine text, image, and sound, synthesizing information from a wide range of sources, test audience response and revise the presentation accordingly. (DCPS English Language Arts, 12.M.3) Industry Standards and Expectations Distinguish among various musical radio formats. (Performance Element, Pathway KS Statement: Demonstrate the ability to deliver a broadcast production. States Career Clusters, National Association of State Directors of Career Technical Education Consortium) Apply knowledge of equipment and skills related to audio production. (Pathway KS Statement: Audio and Video Technology and Film, States Career Clusters, National Association of State Directors of Career Technical Education Consortium) America s free over-the-air radio and television broadcasters have a long and proud tradition of universal, local broadcast service to the American people. These broadcasters, large and small, representing diverse localities and perspectives, have strived to present programming of the highest quality to their local communities pursuant to standards of excellence and responsibility. They have done so and continue to do so out of respect for their status as daily guests in the homes and lives of a majority of Americans and with a sense of pride in their profession, in their product and in their public service. (National Association of Broadcasters, Statement of Principles)

5 Great Composers and Performers: A Partial List The following list contains composer/performers who have a large body of work from which to select. They, their compositions, and performances will yield stories that will engage your listeners. Classical Bach Fanny Mendelssohn Hensel Debussy Mozart Dvorak Clara Schumann Country Johnny Cash Willie Nelson June Carter Cash Dolly Parton Loretta Lynn Hank Williams Jazz Louis Armstrong Ella Fitzgerald John Coltrane Dizzie Gilespie Chic Corea Herbie Hancock Miles Davis Billie Holiday Duke Ellington Jelly Roll Morton Opera and Musicals George Gershwin Verdi Randy Newman Wagner Beverly Sills Andrew Lloyd Webber Popular Mariah Carey Michael Jackson Eva Cassidy Madonna Cher Maria Muldaur Eric Clapton Paul McCartney Nat King Cole Tony Joe White George Harrison The White Stripes Rock Jimmy Hendrix Linda Ronstadt Elton John Bruce Springsteen Janice Joplin U2 Elvis Presley Frank Zappa Soul Aretha Franklin Gladys Knight Marvin Gaye Otis Redding Barry Gordy Smokey Robinson Folk Eric Anderson Joni Mitchell Joan Baez Peter, Paul & Mary Bob Dylan Pete Seeger Woodie Guthrie Simon and Garfunkel Blues Willie Dixon BB King Bessie Smith Dr. John Muddy Waters Robert Johnson Howlin Wolf Great Composers and Performers: A Partial List

6 Notable Masters 1 Know your person well. Begin researching your musician and be prepared to come to class with a list of resources. Be specific. What Web sites, books, movies and other resources will you be reviewing through the week? Compile a brief biography of your performer including birth and death (if deceased), dates and names of major hits and accomplishments. If the hits are more than 20 items, evaluate which are the 10 most important ones to keep on your list. 2 Know your person s music well. Prepare 20 note cards on your musician. Hone your research and select two short pieces that you would play. If you are researching an operatic composer, pick an aria, not an entire opera. Know why you chose this aria. Is it pivotal to the plot of the story, a good example of the composer s style, or used as a theme song for a TV show or movie? Approach any piece of music you choose in this way. What does this music tell your audience about this person? Why is it important? Add this information to your note cards. Be prepared to speak in class for three to four minutes about your performer and the music you have selected. 3 Be selective. Type a short radio script based on what you said in class. Refine it, hone it down, and be sure to relate what you are saying about your musician to the two pieces of music you have selected. Prepare to tell a small portion of the musician s story well. Don t forget to write for the ear. You should be writing no more than five minutes of copy. Less is better if it s good. BUT do not write less than three minutes of honed, interesting copy. You must introduce your musician, give background details about him/her and specific information about the two music selections you have chosen. Try to develop a flow to your presentation a beginning, middle and end. Don t tell the musician s whole story. Tell a small portion of it well. 4 Be specific. Brainstorm a list of where you would look to know more about your musician. Include specific Web sites, articles, books, and movies you would check into if you had more time. Who could you interview about this musician? Are there clips of the musician you could use in a longer show? Where would you find them? 5 Be prepared. Compile your work from 1-4. This should include: Your bio notes and intended research list Your 20 note cards Your script Your list of additional resources Your billboard, narrative and two pieces of selected music on CD with an explanation of why you picked these two selections (one paragraph on each selection) Notable Masters

Learning Outcomes: Upon successful completion of this course, students will be able to:

Learning Outcomes: Upon successful completion of this course, students will be able to: Music 801-History of Rock and Roll T/Th 11:00am-12:20pm, 240 Biddle Hall Prof. Jeffrey L. Webb/Fall 2018 Office Hours: MWF 9-10am, TTh 10-11am Office Phone and Address: 269-7155, 233A Biddle Hall e-mail: