Techno Composition Assignment - click here
Save the above file to your Google Drive and convert it into a Google Doc. Then fill it out. After creating your plan, you can begin working on your project. You will need the following app to record your layers
Hokusai Audio Editor - click here
If you have a different app which would allow you to complete the assignment (such as GarageBand), feel free to use that instead
This assignment will be due on Thursday, May 21
Below is the rubric Mr. Follum will use to grade your composition
Save the above file to your Google Drive and convert it into a Google Doc. Then fill it out. After creating your plan, you can begin working on your project. You will need the following app to record your layers
Hokusai Audio Editor - click here
If you have a different app which would allow you to complete the assignment (such as GarageBand), feel free to use that instead
This assignment will be due on Thursday, May 21
Below is the rubric Mr. Follum will use to grade your composition
Leadbelly Writing Prompt
Did Huddie Ledbetter deserve to go to prison, or was he unjustly imprisoned due to racism? Gather evidence from both the Making Music article on pg. F-22 and the article below. Feel free to use other evidence; just write down the place you gathered this additional evidence (cite your sources).
Leadbelly Racism vs. Crime - Click Here
Open in 7th grade guitar class shared folder and fill out
Leadbelly
1885-1949 Huddie Ledbetter, aka Leadbelly, played a pivotal role in the development of modern music. Interpreting songs and stories from the South, he exerted a powerful influence on musicologists and folk musicians, influencing popular music’s evolution.
Music and Violence
Leadbelly was born to sharecroppers on a plantation near Mooringsport, Louisiana in 1885. At the age of five, his father bought land in Texas and moved the family. Leadbelly received early lessons on the accordion and later on the guitar from family members. He was in school from age eight through approximately age 13, when he began working on the farm full time. He owned his own guitar at an early age which he would play at local dances, and moved to Shreveport, Louisiana when he was roughly 16 to make his way performing. He left two years later, and spent the subsequent two years wandering through Texas and Louisiana, working a variety of trades while listening and playing. An illness forced him home at about age 20, where he married and spent years farming.
Leadbelly and his wife moved to Dallas in 1910. In about 1912, he met the young Blind Lemmon Jefferson, then a street musician. The two played together for the next few years, during which time Leadbelly took up the 12-string guitar. Returning home in 1915, he was arrested after a violent altercation, and sentenced to 30 days on a chain gang. He escaped and spent two years in Bowie County, Texas under an assumed name. However, in 1917 he was arrested and convicted of the murder of the husband of his cousin, and of “assault to murder” another man. Sentenced to seven to 30 years, Leadbelly used this time to learn songs from fellow inmates, and earned his nickname for his tough physical condition. Governor Pat Neff heard him play on a prison tour, at which time Leadbelly sang a specially written “pardon song.” Neff did pardon Leadbelly in 1925, only five months short of his minimum sentence.
After short periods in Houston and back home, Leadbelly settled in Mooringsport. By this time, his marriage was over. In 1930, he was involved in a stabbing altercation, and sentenced to six to 10 years for “assault with intent to murder” in Angola Prison.
Discovered in Prison
There, Leadbelly met two folk musicologists in 1933, John Lomax and his son Alan. The Lomaxes were traveling throughout the South and its prisons, seeking music to record for the Library of Congress. Lomax recorded an initial session with Leadbelly of hundreds of songs (Leadbelly claimed to know 500), which included an early version of a song he’d learned from an uncle called “Irene.” In 1934, the Lomaxes returned to Angola and recorded a second session, including “Midnight Special” and a song in support of Leadbelly’s petition for early release under a good behavior program. The Lomaxes delivered a copy to the state Governor, who granted Leadbelly’s petition. Although the state denied any connection, Leadbelly would promote the idea that he’d sung his way out of prison twice.
Did Huddie Ledbetter deserve to go to prison, or was he unjustly imprisoned due to racism? Gather evidence from both the Making Music article on pg. F-22 and the article below. Feel free to use other evidence; just write down the place you gathered this additional evidence (cite your sources).
Leadbelly Racism vs. Crime - Click Here
Open in 7th grade guitar class shared folder and fill out
Leadbelly
1885-1949 Huddie Ledbetter, aka Leadbelly, played a pivotal role in the development of modern music. Interpreting songs and stories from the South, he exerted a powerful influence on musicologists and folk musicians, influencing popular music’s evolution.
Music and Violence
Leadbelly was born to sharecroppers on a plantation near Mooringsport, Louisiana in 1885. At the age of five, his father bought land in Texas and moved the family. Leadbelly received early lessons on the accordion and later on the guitar from family members. He was in school from age eight through approximately age 13, when he began working on the farm full time. He owned his own guitar at an early age which he would play at local dances, and moved to Shreveport, Louisiana when he was roughly 16 to make his way performing. He left two years later, and spent the subsequent two years wandering through Texas and Louisiana, working a variety of trades while listening and playing. An illness forced him home at about age 20, where he married and spent years farming.
Leadbelly and his wife moved to Dallas in 1910. In about 1912, he met the young Blind Lemmon Jefferson, then a street musician. The two played together for the next few years, during which time Leadbelly took up the 12-string guitar. Returning home in 1915, he was arrested after a violent altercation, and sentenced to 30 days on a chain gang. He escaped and spent two years in Bowie County, Texas under an assumed name. However, in 1917 he was arrested and convicted of the murder of the husband of his cousin, and of “assault to murder” another man. Sentenced to seven to 30 years, Leadbelly used this time to learn songs from fellow inmates, and earned his nickname for his tough physical condition. Governor Pat Neff heard him play on a prison tour, at which time Leadbelly sang a specially written “pardon song.” Neff did pardon Leadbelly in 1925, only five months short of his minimum sentence.
After short periods in Houston and back home, Leadbelly settled in Mooringsport. By this time, his marriage was over. In 1930, he was involved in a stabbing altercation, and sentenced to six to 10 years for “assault with intent to murder” in Angola Prison.
Discovered in Prison
There, Leadbelly met two folk musicologists in 1933, John Lomax and his son Alan. The Lomaxes were traveling throughout the South and its prisons, seeking music to record for the Library of Congress. Lomax recorded an initial session with Leadbelly of hundreds of songs (Leadbelly claimed to know 500), which included an early version of a song he’d learned from an uncle called “Irene.” In 1934, the Lomaxes returned to Angola and recorded a second session, including “Midnight Special” and a song in support of Leadbelly’s petition for early release under a good behavior program. The Lomaxes delivered a copy to the state Governor, who granted Leadbelly’s petition. Although the state denied any connection, Leadbelly would promote the idea that he’d sung his way out of prison twice.
Leadbelly's Musical Contributions
(from the ENCYCLOPÆDIA BRITANNICA)
His first commercial recordings were made for the American Record Corporation, which did not take advantage of his huge folk repertory but rather encouraged him to singblues. He settled in New York City in 1937. He struggled to make enough money, and in 1939–40 he was jailed again, this time for assault. When he was released, he worked with Woody Guthrie, Sonny Terry, Brownie McGhee, and others as the Headline Singers, performed on radio, and, in 1945, appeared in a short film. In 1949, shortly before his death, he gave a concert in Paris.
Leadbelly died penniless, but within six months his song “Goodnight, Irene” had become a million-record hit for the singing group the Weavers; along with other pieces from his repertoire, among them “The Midnight Special” and “Rock Island Line,” it became a standard.
Leadbelly’s legacy is extraordinary. His recordings reveal his mastery of a great variety of song styles and his prodigious memory; his repertory included more than 500 songs. His rhythmic guitar playing and unique vocal accentuations make his body of work both instructive and compelling. His influence on later musicians—including Eric Clapton, Bob Dylan, Janis Joplin, and Kurt Cobain—was immense.
(from the ENCYCLOPÆDIA BRITANNICA)
His first commercial recordings were made for the American Record Corporation, which did not take advantage of his huge folk repertory but rather encouraged him to singblues. He settled in New York City in 1937. He struggled to make enough money, and in 1939–40 he was jailed again, this time for assault. When he was released, he worked with Woody Guthrie, Sonny Terry, Brownie McGhee, and others as the Headline Singers, performed on radio, and, in 1945, appeared in a short film. In 1949, shortly before his death, he gave a concert in Paris.
Leadbelly died penniless, but within six months his song “Goodnight, Irene” had become a million-record hit for the singing group the Weavers; along with other pieces from his repertoire, among them “The Midnight Special” and “Rock Island Line,” it became a standard.
Leadbelly’s legacy is extraordinary. His recordings reveal his mastery of a great variety of song styles and his prodigious memory; his repertory included more than 500 songs. His rhythmic guitar playing and unique vocal accentuations make his body of work both instructive and compelling. His influence on later musicians—including Eric Clapton, Bob Dylan, Janis Joplin, and Kurt Cobain—was immense.
Compare and Contrast - Click Here!
Busy Child - Click Here
Download the above file and open in Notability.
While listening to the song, place the cards in the number of the measure where you first hear each element occur. Each card will be used only once.
When you are finished, upload the completed file in PDF format to your Google Drive shared folder
Download the above file and open in Notability.
While listening to the song, place the cards in the number of the measure where you first hear each element occur. Each card will be used only once.
When you are finished, upload the completed file in PDF format to your Google Drive shared folder