MUS-2540: JAZZ HISTORY LISTENING I

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1 MUS-2540: Jazz History Listening I 1 MUS-2540: JAZZ HISTORY LISTENING I Cuyahoga Community College Viewing:MUS-2540 : Jazz History Listening I Board of Trustees: Academic Term: Subject Code MUS - Music Course Number: 2540 Title: Jazz History Listening I Catalog Description: Through directed, analytical and comparative listening experiences, students gain detailed knowledge of and familiarity with selected works of jazz masters (circa 1850s -1940s) from pre-jazz roots music and early jazz through swing jazz. A listening laboratory and aural training course, this is a companion and supplement to MUS-2520 Jazz History I. Credit Hour(s): 1 Lab Hour(s): 2 Requisites Prerequisite and Corequisite MUS-1650 Jazz Theory I, and concurent enrollment in MUS-2520 History I, or departmental approval. I. ACADEMIC CREDIT Academic Credit According to the Ohio Department of Higher Education, one (1) semester hour of college credit will be awarded for each lecture hour. Students will be expected to work on out-of-class assignments on a regular basis which, over the length of the course, would normally average two hours of out-of-class study for each hour of formal class activity. For laboratory hours, one (1) credit shall be awarded for a minimum of three laboratory hours in a standard week for which little or no out-of-class study is required since three hours will be in the lab (i.e. Laboratory 03 hours). Whereas, one (1) credit shall be awarded for a minimum of two laboratory hours in a standard week, if supplemented by out-of-class assignments which would normally average one hour of out-of class study preparing for or following up the laboratory experience (i.e. Laboratory 02 hours). Credit is also awarded for other hours such as directed practice, practicum, cooperative work experience, and field experience. The number of hours required to receive credit is listed under Other Hours on the syllabus. The number of credit hours for lecture, lab and other hours are listed at the beginning of the syllabus. Make sure you can prioritize your time accordingly. Proper planning, prioritization and dedication will enhance your success in this course. The standard expectation for an online course is that you will spend 3 hours per week for each credit hour. II. ACCESSIBILITY STATEMENT If you need any special course adaptations or accommodations because of a documented disability, please notify your instructor within a reasonable length of time, preferably the first week of the term with formal notice of that need (i.e. an official letter from the Student Accessibility Services (SAS) office). Accommodations will not be made retroactively. For specific information pertaining to ADA accommodation, please contact your campus SAS office or visit online athttp:// Blackboard accessibility information is available athttp://access.blackboard.com. Eastern (216) Voice Metropolitan (216) Voice Western (216) Voice Westshore (216) Voice

2 2 MUS-2540: Jazz History Listening I Brunswick (216) Voice Off-Site (216) Voice III. ATTENDANCE TRACKING Regular class attendance is expected. Tri-C is required by law to verify the enrollment of students who participate in federal Title IV student aid programs and/or who receive educational benefits through other funding sources. Eligibility for federal student financial aid is, in part, based on your enrollment status. Students who do not attend classes for the entire term are required to withdraw from the course(s). Additionally, students who withdraw from a course or stop attending class without officially withdrawing may be required to return all or a portion of the financial aid based on the date of last attendance. Students who do not attend the full session are responsible for withdrawing from the course(s). Tri-C is responsible for identifying students who have not attended a course, before financial aid funds can be applied to students accounts. Therefore, attendance will be recorded in the following ways: For in-person courses, students are required to attend the course by the 15th day of the semester, or equivalent for terms shorter than 5-weeks, to be considered attending. Students who have not met all attendance requirements for an in-person course, as described herein, within the first two weeks of the semester, or equivalent, will be considered not attending and will be reported for non-attendance and dropped from the course. For blended-learning courses, students are required to attend the course by the 15th day of the semester, or equivalent for terms shorter than 5-weeks, or submit an assignment, to be considered attending. Students who have not met all attendance requirements for a blended-learning courses, as described herein, within the first two weeks of the semester, or equivalent, will be considered not attending and will be reported for non-attendance and dropped from the course. For online courses, students are required to login in at least two (2) times per week and submit one (1) assignment per week for the first two (2) weeks of the semester, or equivalent to the 15th day of the term. Students who have not met all attendance requirements for an online course, as described herein, within the first two weeks of the semester, or equivalent, will be considered not attending and will be reported for non-attendance and dropped from the course. At the conclusion of the first two weeks of a semester, or equivalent, instructors report any registered students who have Never Attended a course. Those students will be administratively withdrawn from that course. However, after the time period in the previous paragraphs, if a student stops attending a class, wants or needs to withdraw, for any reason, it is the student's responsibility to take action to withdraw from the course. Students must complete and submit the appropriate Tri-C form by the established withdrawal deadline. Tri-C is required to ensure that students receive financial aid only for courses that they attend and complete. Students reported for not attending at least one of their registered courses will have all financial aid funds held until confirmation of attendance in registered courses has been verified. Students who fail to complete at least one course may be required to repay all or a portion of their federal financial aid funds and may be ineligible to receive future federal financial aid awards. Students who withdraw from classes prior to completing more than 60 percent of their enrolled class time may be subject to the required federal refund policy. If illness or emergency should necessitate a brief absence from class, students should confer with instructors upon their return. Students having problems with class work because of a prolonged absence should confer with the instructor or a counselor. IV. CONCEALED CARRY STATEMENT College policy prohibits the possession of weapons on college property by students, faculty and staff, unless specifically approved in advance as a job-related requirement (i.e., Tri-C campus police officers) or, in accordance with Ohio law, secured in a parked vehicle in a designated parking area only by an individual in possession of a valid conceal carry permit. As a Tri-C student, your behavior on campus must comply with the student code of conduct which is available on page 29 within the Tri-C student handbook, available athttp:// must also comply with the College s Zero Tolerance for Violence on College Property available athttp:// documents/ zero-tolerance-for-violence-policy.pdf Outcomes Objective(s): 1. Recognize, identify, analyze and compare characteristic sounds of various styles and sub-styles of pre-jazz roots music (work songs and field hollers, minstrelsy, church music and spirituals, 19th entury band music, blues, ragtime), early jazz (New Orleans, Chicago, Kansas City, New York) and swing jazz. 2. Recognize, identify, analyze and compare characteristic sounds of the important masters of prejazz roots music, early jazz and swing jazz. 3. Recognize, identify, analyze and compare the important works of the masters of pre-jazz roots music, early jazz and swing jazz. 4. Recognize, identify, analyze and compare the sounds of characteristic harmonic patterns and phrase structures. 5. Recognize, identify, analyze and compare the improvisational techniques of master soloists. 6. Recognize, identify, analyze and compare the orchestrations of master composers.

3 MUS-2540: Jazz History Listening I 3 Methods of Evaluation: 1. Aural comprehension and recognition tests 2. Listening tests requiring analysis and comparison 3. Written quizzes and examinations 4. Outside projects (reports, reviews, performances, transcriptions) 5. Research projects 6. Discussion and participation Course Content Outline: 1. Pre-Jazz Roots Music a. Work songs and field hollers (19th century) b. Minstrelsy (circa ) c. Church Music and Spirituals (19th century) d. 19th Century Band Music (circa 1850s-1910) e. Blues (circa 1880s-1920s) i. Country, Delta ii. Chicago iii. Urban, Vaudeville iv. Boogie-Woogie v. Jazz Blues f. Ragtime (circa 1880s-1920s) i. Jig piano ii. Commercial rag iii. Classic rag 2. Early Jazz (Recordings should be presented featuring the artists listed below as well as the sidemen who regularly performed with them. The order listed below does not imply an order of presentation.) a. Charles "Buddy" Bolden b. Geary "Bunk" Johnson c. Oscar "Papa" Celestin d. Ferdinand Joseph "Jelly Roll" Morton e. Joseph "King" Oliver f. Clarence Williams g. Johnny Dodds h. Warren "Baby" Dodds i. Arthur "Zutty" Singleton j. Sidney Bechet k. Freddie Keppard l. Edward "Kid" Ory m. Jimmie Noone n. Daniel Louis Armstrong o. Earl Hines p. Leon "Bix" Beiderbecke q. Frankie Trumbauer r. James P. Johnson s. Willie "The Lion" Smith t. Meade Lux Lewis u. Pinetop Smith v. Cow Cow Davenport w. Fats Waller x. Jimmy Yancey y. Red Nichols z. Joe Venuti aa. Pops Foster bb. Jack Teagarden cc. Eddie Lang dd. Lonnie Johnson ee. New Orleans Rhythm Kings

4 4 MUS-2540: Jazz History Listening I ff. Chicago Rhythm Kings gg. Original Dixieland Jazz Band hh. The Austin High Gang 3. Swing Jazz (Recordings should be presented featuring the artists listed below as well as the sidemen who regularly performed with them. The order listed below does not imply an order of presentation.) a. Fletcher Henderson b. Jimmie Lunceford c. Benny Goodman d. Count Basie e. Duke Ellington f. Earl Hines g. Chick Webb h. Tommy Dorsey i. Paul Whiteman j. McKinney''s Cotton Pickers k. Bennie Moten l. Charlie Barnet m. Artie Shaw n. Glenn Miller o. Harry James p. Erskine Hawkins q. Louis Armstrong r. Lionel Hampton s. Benny Carter t. Gene Krupa u. Jo Jones v. Sid Catlett w. Joe "Tricky Sam" Nanton x. Bunny Berigan y. Roy Eldridge z. Bubber Miley aa. Cootie Williams bb. Buck Clayton cc. Django Reinhardt dd. Charlie Christian ee. Eddie Durham ff. Art Tatum gg. Teddy Wilson hh. Mary Lou Williams ii. Nat Cole jj. Erroll Garner kk. Walter Page ll. Jimmy Blanton mm. Slam Stewart nn. Red Norvo oo. Coleman Hawkins pp. Lester Young qq. Johnny Hodges rr. Ben Webster ss. Don Byas tt. Jimmy Dorsey uu. Billie Holiday vv. Ella Fitzgerald Resources Gridley, Mark C.Jazz Styles: History and Analysis.8th ed. New Jersey: Prentice Hall, 2003.

5 MUS-2540: Jazz History Listening I 5 Gridley, Mark C.Concise Guide to Jazz.4th ed. New Jersey: Prentice Hall, Tirro, Frank.Jazz: A History.2nd ed. New York: W.W. Norton Company, Tanner, Paul O., David W. Megill, and Maurice Gerow.Jazz.9th ed. New York: McGraw-Hill, Berendt, Joachim E.The Jazz Book: From Ragtime to Fusion and Beyond.6th ed. Chicago: Lawrence Hill Books, Schuller, Gunther.Early Jazz: Its Roots and Musical Development.Reprint edition. Oxford: Oxford University Press, Schuller, Gunther.The Swing Era: The Development of Jazz, Reprint edition. Oxford: Oxford University Press, Resources Other 1. Smithsonian Collection. Smithsonian Collection of Classic Jazz. Smithsonian: RI 0010, (four CDs and a booklet of liner notes including history, commentary and analysis by Martin Williams). 2. Smithsonian Collection. Big Band Jazz from the Beginnings to the Fifties. Smithsonian: RD 030 (four CDs and a booklet of liner notes including history, commentary and analysis by Martin Williams and Gunther Schuller). 3. Smithsonian Collection. Jazz Piano. Smithsonian: RD 039 (four CDs and a booklet of liner notes including history, commentary and analysis by Martin Williams et. al.). 4. Ellington, Duke. Duke Ellington Centennial Edition: The Complete RCA Victor Recordings ( ). RCA Victor: (24 CDs, a complete discography, extensive essays by renowned musicologists and critics, 128 page book and liner notes including rare photographs). 5. Burns, Ken. Jazz: The Story of America''s Music. Columbia/Legacy: C5K 61432, 5 CD set, (94 tracks of music on five CDs, 48 pages of annotation, explanation, and photographic documentation). 6. Smithsonian Collection. Jazz, Vol Smithsonian Folkways Recordings: (11 CDs with liner notes including history, 7. Collection. Riverside History of Classic Jazz. Riverside: RBCD-005-2; (three CD set). 8. Smithsonian Collection. Early Band Ragtime. Smithsonian Folkways Recordings: RBF 38 (CD, liner notes including history, 9. Collection. Sousa and Pryor Bands: Original Recordings New World Records: 282 (extensive liner notes with history, 10. Collection. Steppin'' On the Gas: From Rags to Jazz New World Records: 282 (extensive liner notes with history, 11. Smithsonian Collection. Jazz: Some Beginnings Smithsonian Folkways Recordings: RF 31 (CD, liner notes including history, 12. Smithsonian Collection. Street Cries and Creole Songs of New Orleans. Smithsonian Folkways Recordings: FA 2202 (CD, liner notes including history, 13. Collection. Field hollers from Southern Mosaic: John and Ruby Lomax 1939 Southern States Recording Trip, American Folklife Center, Library of Congress, Collection. Roots of the Blues. New World Records: 252 (extensive liner notes with history, 15. Collection. Greatest Ragtime of the Century. Biograph/Shout! Factory/Sony: ISBN Collection. Band Music from the Civil War Era. Library of Congress, Digital Library Program; cwmhtml/cwmhome.html. 17. Armstrong, Louis. The Hot Fives & Hot Sevens, Vol. 3. Columbia: CK 44422, Armstrong, Louis. Louis Armstrong and Earl Hines, Vol. 4. Columbia: CK 45142, Bechet, Sidney. The Legendary Sidney Bechet. RCA Bluebird: RB, Beiderbecke, Bix. Vol. 1: Singing the Blues. Columbia: CK 45450, Young, Lester. The Kansas City Sessions. Commodore/GRP: CMD Basie, Count. The Complete Decca Recordings. Decca Jazz/GRP: GRD3-611, 3 CD set, Ellington, Duke. The Blanton-Webster Band. RCA Bluebird: RB, 3CD set, Goodman, Benny. Carnegie Hall Concert. Columbia: G2K 40244, 2CD set, Eldridge, Roy. Little Jazz. Columbia: CK 45275, Collection. Jazz Classics CD for Jazz Styles. Prentice-Hall: ISBN , Collection. Jazz Classics CD for Concise Guide to Jazz. Prentice-Hall: ISBN ,

6 6 MUS-2540: Jazz History Listening I 28. Z For many additional recordings and liner notes directly related to this course, visit the following websites: 1. Smithsonian Folkways Recordings: 2. New World Records: 3. Fantasy Jazz: 4. The Red Hot Jazz Archive - A History of Jazz Before 1930: Collection. Masters of Jazz, Vol. 1: Traditional Jazz Classics. Rhino:72468, Collection. Masters of Jazz, Vol. 3: Big Bands of the ''30s & ''40s. Rhino: 72470, Collection. The Prentice Hall Jazz Collection. Prentice Hall: ISBN Levine, Mark. The Jazz Theory Book. Sher Music Co.:ISBN , 1995 (contains extensive discography of jazz master recordings). Top of page Key: 3206

ETHN 179A and MUSIC 127A Music of African Americans ANTHONY DAVIS JAZZ: ROOTS AND DEVELOPMENT (19OO-1943)

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