Course Proposal Form for the 2018/19 Academic Year

The Honors College Course Proposal Form for the 2018/19 Academic Year Complete this form and send it as an attachment (Word or PDF) to Hui-Ching Chang, Dean of the Honors College (hchang3@albany.edu). Basic Information: 1. Course title: Black American Music 2. Instructor(s): Robert Gluck 3. Department and College/School: Music and Theatre (CAS) 4. Semester for which course is proposed: Fall 2018 Spring 2019 If the proposal cannot be accepted for the indicated semester, could it be taught during the other semester? yes, it could be taught the other semester no, it could only be taught during the indicated semester Course History (please check one): This course has already been taught as an honors course. Course number: Click here to enter text. What General Education requirements does the course currently meet*? Click here to enter text. If you will be applying to have the proposed course meet other General Education requirements, list them here: Click here to enter text. This course is an existing 100-level or 200-level course, but has not been taught as an honors course. Current course number: AMUS 209 What General Education requirements does the course currently meet? Arts If you will be applying to have the proposed course meet other General Education requirements, list them here: Click here to enter text. This course is an existing 300-level or 400-level course, but has not been taught as an honors course. ** Current course number: Click here to enter text. What General Education requirements does the course currently meet?click here to enter text. If you will be applying to have the proposed course meet other General Education requirements, list them here: Click here to enter text. This course will be a newly developed course and has not been taught at UAlbany before.*** If you will be applying to have the proposed course meet one or more General Education requirements, list them here: Click here to enter text. * Most honors courses should meet at least one general education requirement. Many meet more than one. ** A current 300-level or 400-level course will have to be established as a new 100-level or 200-level course. *** For a new or renumbered course to be offered during the Fall 2017 semester, the process to establish the course and its general education requirements must start in October 2016 and must be completed by the fourth week of the Spring 2017 semester. For a new course to be offered during the Spring 2018 semester, the process must start by February 2017 and must be completed by the fourth week of the Fall 2017 semester. Lecture Center 31 1400 Washington Avenue, Albany, NY 12222 PH: 518-442-5333 FX: 518-442-7484 www.albany.edu/honorscollege

The Honors College About the Course (please feel free to use additional paper to answer the following questions): 1. Describe the course in one or two paragraphs (this description will appear on the website of The Honors College). This introduction to Black American Music will focus on two important African American musicians of the late 20 th century, Jimi Hendrix and Nina Simone, with an eye to their construction, representation, and self-understanding of personal, collective, and musical identities. 2. Describe the principal forms of instruction for the course. Lecture, musical listening, video viewing, and small/large group discussion. 3. Describe readings or other materials to be used in the course (if specific readings have not been determined, please describe the type of readings that will be used). David Henderson, Scuse Me While I Kiss the Sky: Jimi Hendrix: Voodoo Child. Atria Books, 2009. Alan Light, What Happened, Miss Simone? A Biography. Crown Archetype, 2016. Steven Roby and Brad Schreiber: Becoming Jimi Hendrix: From Southern Crossroads to Psychedelic London, the Untold Story of a Musical Genius. Cambridge: Da Capo Press, 2010. Nina Simone & Stephen Cleary, I Put a Spell on You: The Autobiography of Nina Simone. Da Capo Press, 2003 (1993). Supplemental readings will be available on Blackboard in PDF format. Listening examples will be on YouTube. 4. Describe assignments the students will complete and other activities in which they will engage. Precis of core readings, brief essays about Simone and Hendrix from the perspective of identity development, and a personal essay. 5. Describe the instructor s interest and expertise in undergraduate education, documenting this interest and expertise as thoroughly as possible (awards or other recognition, positive course evaluations, and participation in activities focused on teaching or other components of undergraduate education). Prof. Gluck is a widely published author about jazz and electronic music. His ten recordings as a pianist have been reviewed by major jazz periodicals internationally. 6. If available, please attach a course syllabus or a draft of a course syllabus. Attach other relevant information as desired. Lecture Center 31 1400 Washington Avenue, Albany, NY 12222 PH: 518-442-5333 FX: 518-442-7484 www.albany.edu/honorscollege

The Honors College Syllabus attached. As noted in the Call for Proposals, it is essential that the Chair of your department be consulted about this proposal and that the Chair approve your submitting the proposal. Please indicate below that your Chair has approved your submitting this proposal by putting an x in the appropriate space: Yes, I have consulted with the Chair of my department about this course and the Chair of my department approves the submission of this proposal. Note: No honors course may be offered during the Wednesday 5:45 8:35 time period (fall semester) or the 4:15-5:35 time period (spring semester), as courses for all first-year or second-year honors students will be offered then. Lecture Center 31 1400 Washington Avenue, Albany, NY 12222 PH: 518-442-5333 FX: 518-442-7484 www.albany.edu/honorscollege

1 TMUS 209 Black American Music: Nina Simone and Jimi Hendrix Bob Gluck, Department of Music and Theatre, Music Program Required books: David Henderson, Scuse Me While I Kiss the Sky: Jimi Hendrix: Voodoo Child. Atria Books, 2009. Alan Light, What Happened, Miss Simone? A Biography. Crown Archetype, 2016. Steven Roby and Brad Schreiber: Becoming Jimi Hendrix: From Southern Crossroads to Psychedelic London, the Untold Story of a Musical Genius. Cambridge: Da Capo Press, 2010. Nina Simone & Stephen Cleary, I Put a Spell on You: The Autobiography of Nina Simone. Da Capo Press, 2003 (1993). Additional readings will be available on Blackboard in pdf format. Recommended books: Steven Roby, editor, Hendrix on Hendrix: Interviews and Encounters with Jimi Hendrix (Musicians in Their Own Words), Chicago Review Press, 2012. Nadine Cohodas, Princess Noire: The Tumultuous Reign of Nina Simone. Pantheon Books, 2012. Steven Roby, ed., Hendrix on Hendrix: Interviews and Encounters with Jimi Hendrix Chicago Review Press, 2012. George, Nelson, The Death of Rhythm & Blues. New York: Pantheon Books, 1988. Course overview: This course represents a variant on the historical survey that is generally taught under this course number. It will focus on two important African American musicians of the late 20 th century, Jimi Hendrix and Nina Simone, with an eye to how they constructed, represented, and understood their identities. The course will involve extensive listening/watching and reading of original and secondary sources about these figures and others representing relevant musical genres and issues. It is a goal of this course for students to explore their own personal and collective identities in the context of the explorations of the two musicians discussed in the class. Expectations: Students are expected to do all assigned reading and listening assignments, attend class consistently and punctually (maximum of two unexcused absences), and engage in classroom discussion. Student ideas and opinions are welcomed and encouraged. Writing assignments must be turned in typed, preferably in electronic format, and on their appropriate due date. Independent, original thinking is expected. The instructor will be readily available and, in fact, eager, to assist students in developing their ideas. Original work is expected. No un-attributed 1

2 source material may be utilized in course work, nor can web-based articles be cut and paste within student papers, beyond the use of short, accurately attributed quotations in support of original student ideas. Plagiarism will have serious consequences as it is considered by this and all academic institutions to be impermissible. Be sure and review the University s policy on plagiarism: http://www.albany.edu/undergraduate_bulletin/regulations.html General Education: This course fulfills the requirements of general education within the category of the Arts in accordance with the following Gen Ed criteria. 1. offers explicit understandings of the procedures and practices of disciplines and interdisciplinary fields. * This course is a broad outline introducing an expansive field. It addresses students to a wide array of areas within this field of study: historical, cultural, methodological, research, performance practice, critical assessment and others, all of which could constitute a general body of knowledge or a gateway to further study. 2. provides multiple perspectives on the subject matter, reflecting the intellectual and cultural diversity within and beyond the university. 3. emphasizes active learning in an engaged environment that enables students to be producers as well as consumers of knowledge. * The course will be taught in a manner that strongly encourages individual reflection (through journal writing) and active dialogue. Student papers are designed to encourage creative thinking and integration of bodies of knowledge. * promotes critical inquiry about the assumptions, goals, and methods of various fields of academic study and the interpretive, analytic, and evaluative competencies central to intellectual development. Assignments: There will be weekly musical listening (often via youtube) and reading assignments. It is expected that you will have carefully read and listened to the material and will be prepared to discuss it in class. When there is more than one class session on a topic area, reading and listening assignments must be prepared for the first day of that topic. A 2-page precise of the readings (an outline of salient points made in the articles) will be due (preferably electronically) on that date (& bring them with you to class for reference) Small group presentations and papers: The class will be divided into small topically organized groups (see possible topics below) which will present in class. On the same days as your small group presentation, each individual group member will submit their own, unique, 4-5-page commentary reflecting their own thoughts and feelings about the topic, grounded in (and citing) materials considered in class. Final paper: personal essay How do you understand who YOU are, what is/are the most important elements in how you identify yourself and what in your life, experience, and environment brought you there, and what have been the pivotal events, stages, and encounters that have helped shaped your 2

3 identity? What do you learn about your own identity through exploring what you understand of the experience of Nina Simone and Jimi Hendrix? First drafts will be written in mid-semester and final versions by the end of the final week of classes. Length: approximately five pages. Concert reports: As is the case for most Music classes, students are required to attend and write a one-page report about two concerts or musical events. At least one should be selected from the PAC schedule. While these represent a small percentage of final grades, completing them is an absolute requirement; until submitted, you will receive an incomplete. Grading: Attendance & Participation: 20% Small group presentation and commentary essay: 20% each; total = 40% Weekly précis: 20% Final essay: 20% Concert reports: required, but do not factor within the final grade Small group projects: Identify one aspect of the identity of Nina Simone (project 1) and Jimi Hendrix (project 2) and develop a thesis about the nature of that identity, its relevance to your assigned musician, and its relationship to issues of race and gender (or ethnicity/sexuality/ ) in America. Each member of your group should individually write a four to five-page paper. This should be original work in which you support your arguments by citing musical and written sources from the words of the musician, and writers reflecting on their work. Each group will also make a presentation in class. Small group themes/paper topics Jimi/Jimmy/James Marshall Hendrix: 1. As a Black man As a musician grounded in traditional Black musical forms As one who sought black communal connection As one who reflected upon his experience of racism 2. As non-racial man As a person viewed as external to black communal bonds As a participant in the British invasion (musical, that is) As a hippie / a self-described Gypsy As a male musician for whom women often functioned as groupies (noting the complex interplay between his sense of self & sexual stereotypes of Black men) 3. As an iconoclast As one who didn t fit within conventional categories As an outsider As a sound sculptor 4. As a spiritual person As a self that was seeking imaginary / otherworldly connection As a person who constructed his own identity Eunice Kathleen Waymon/Nina Simone: 1. As an aspiring classical musician 3

4 As a musician who spanned many / transcended genres As a singer in clubs 2. As a Black musician As a member of the circle of Black intellectuals As an evolving political activist 3. As a woman, as a Black woman As a female musician As a mother and partner, as a victim of sexual violence As a woman exploring her sexuality 4. As a complex human being As an ex-patriot (person who leaves the country to live elsewhere) As a victim of racism As a person dealing with mental health challenges As a person who constructed her own identity General Education This course is designated a general education course in the Arts category. The course offers an introduction to central topics within the study of Music, explicitly explores methodologies by which one can explore this field, offers multiple perspectives on core issues, emphasizes active learning through seminar-style discussion and the writing of thought papers, and seeks to promote critical inquiry as to basic definitions of this field and questions regarding the artistic expression of issues relating to personal and collective identity. Weekly course layout Session 1 first class day, intro Topic 1. What is Black Music Thursday, January 26, Tuesday, January 31 Peoplehood, culture, African roots, African-American historical experience Isn t music (supposedly?) a universal language? Universalism and particularism in the human experience The problem of musical categories and genres The problem of essentialism Reading: Olly Wilson, Black Music as an Art Form. Black Music Research Journal, Vol. 3. (1983), pp. 1-22 (pdf) Topic 2a and b. Constructions of personal/collective identity Precis 1: Gilligan/Erikson/Kohlman due on date x; Parham on date x Identity as: Individual Cultural Family/friends ethnicity/racial gender/sexuality Societal and how one s group(s) is/are viewed/treated by society Developmental/stages/changes across one s life 4

5 Intersectionality, hyphenations, and multiplicities Thursday: Eric Erikson s stages of identity and psychosocial development (1959) [3-page outline]: http://www.learning-theories.com/eriksons-stages-of-development.html Thursday: Carol Gilligan: In a Different Voice: Women's Conceptions of Self and of Morality (pdf) Tuesday: Thomas A. Parham, Cycles of Psychological Nigrescence. The Counseling Psychologist 1989 17: 187. [An assessment of the W.E. Cross model (1971)] (41 pages, pdf) Journal writing assignment (five pages): How do I identify myself as a person? Are there particular categories (race, gender, religion, culture ) that are core to my identity? Has my identity changed during my life so far? Is there a particular direction where I see it heading while I am in college? Post college? (note: the question isn t about career, but identity) Topic 3. African-American roots in the music of [Jimi/Jimmy] Hendrix *Journal writing assignment is due today Southern map: Huntsville, AL; Nashville, TN; Camp Campbell, KY (just south of Clarksville, TN): http://nortonsafe.search.ask.com/search?chn=retail&ctype=maps&doi=&geo=us&guid=&loc ale=en&o=apn11957&p2=%5eeq%5esd03us%5e&page=1&prt=nim&q=map%20huntsville, %20AL&ver=5 Henderson: 22-58 (Hendrix growing up), 59-94 (army and R&B) Roby & Schreiber: 16-26 (army), 27-151 (R&B) [extra: George, Nelson. 1988. The Death of Rhythm & Blues. pp. 59-119]. Musical examples of Jimi Hendrix, Muddy Waters, Big Joe Turner, Bill Haley & the Comets The Isley Brothers with Jimmy Hendrix, King Curtis with Jimmy Hendrix, Little Richard with Jimmy Hendrix, and Jimmy Hendrix and the Blue Flames (1966), I m a Man Topic 4. Jimi Hendrix: emerging rock star and guitar hero Hendrix as hippie, self-styled Gypsy, sexuality Maps will be projected that trace the various New York City neighborhoods and communities within which Hendrix s early career emerged: Apollo Theater, Palm Café, Hotel Theresa, 125 th Street, Greenwich Village, Village Folk scene, Café Wha? 5

6 Henderson: 95-105, 106-163 (on his own in NYC, becoming Jimi in London) Henderson: 164-291 (JH Experience, 1967-1969) Roby & Schreiber: 151-185 (on his own in NYC) Wesley Morris: Last Taboo: Why Pop Culture Just Can t Deal with Black Male Sexuality (pdf) [and at: http://www.nytimes.com/interactive/2016/10/30/magazine/black-malesexuality-last-taboo.html?_r=0] Rock-and-Roll Culture A Groupie s Perspective (Blog from Sex and Society, a 2014 course at Vanderbilt University taught by Prof. Rebecca Chapman) Full text with film clips: https://wgs160.wordpress.com/2014/10/13/rock-and-roll-culturea-groupies-perspective/ The Upsetters with Jimi Hendrix, Sound of Soul (1966) Bob Dylan, The Times They Are A Changing (live, 1964) Jimi Hendrix, Hey Joe & Purple Haze, Beat Club, Germany (TV), March? 1966 Beatles, Rock and Roll Music etc. live in Far East 1966 The Who, Marquee Club, London, 1967, My Generation (5:30- and 8:00-) Cream, Crossroads (1968) Karlheinz Stockhausen, Kontakte (1960) The Jimi Hendrix Experience Hey Joe (Monterey Pop 1967) The Jimi Hendrix Experience - Foxy Lady (Miami Pop 1968) Jimi Hendrix Experience, Royal Albert Hall, Feb. 24, 1969 Jimi Hendrix at Woodstock Topic 5. Jimi Hendrix: late career, identity reassessment? Precis 4 due date x Greg Tate, Midnight Lightning: Jimi Hendrix and the Black Experience (2003), 11-39 (PDF) Henderson: 291-332 (Gypsies, Suns & Rainbows, Woodstock) Henderson: 333-425 (Band of Gypsies, Cry of Love) Band of Gypsies, Fillmore East (New Year s Eve 1969-70), Promo Video w/ Who Knows Isle of Wight Promo Video (with Billy Cox and Mitch Mitchell), Summer 1970 Jimi Hendrix, Freedom (1970 Atlanta Pop?) Hendrix performance at Harlem United Block Benefit, September 1969 6

7 Topic 6a. Hendrix in the context of Sun Ra s Afro-Futurism Precis 5 due date x Scott McFarland, Sun Ra and his Intergalactic Harmonies (February 1997, PDF). Hendrix lyrics (PDF) Sun Ra: Space Is the Place film (1974, excerpt) Sun Ra Arkestra w/june Tyson: Mystery Mr. Ra Jimi Hendrix: Third Stone from the Sun Jimi Hendrix: Valleys of Neptune Topic 6b. Discussion: Hendrix within the context of identity issues Small group meetings (an out-of-class meeting will also be needed) Topic 6c. Hendrix small group reports [every individual s (4-5) page paper about Hendrix is due on their presentation date] Topic 7a. Nina Simone: Childhood/Adolescence [The third set of small groups report for first half of this class session] **First draft of final paper due today Autobiography of Nina Simone: childhood, the church, pp. 1-27; adolescence, 28-43; music: 7, 14, 16-19; piano lessons & music school: 21-27; 32-33, 38-44. Alan Light, What Happened, Miss Simone? A Biography : Childhood: 17-24; Early musical experience: 24-26; piano lessons: 27-32; Adolescence: 32-38; Music school: 38-42. Topic 7b. Nina Simone: Early musical career Precis 7 due today Autobiography of Nina Simone: Early musical career, 44-60; audiences in Greenwich Village: 66-75; First recording & first marriage: 61-66; Alan Light, What Happened, Miss Simone? A Biography : young adulthood and early musical career: 43-51; First recording and first marriage: 51-54; audiences in Greenwich Village: 55-66; gay audiences: 66-68 My Baby Just Cares for Me (from Little Girl Blue, 1958) Mood Indigo (from Little Girl Blue, 1958) He Needs Me (from Little Girl Blue, 1958) Black is the Color of My True Love s Hair (from Live at Town Hall, 1959) 7

8 Summertime (Gershwin) (from Live at Town Hall, 1959) Samson and Delilah (from Live at Carnegie Hall, 1963) It Don't Mean a Thing (from Sings Ellington, 1962) Topic 8a. Nina Simone: Growing career & activism Precis 8 due today Reading: Autobiography of Nina Simone: second marriage: 75-79; growing career, 80-83; daughter born 84-85; political consciousness and activism: 85-91, 94-95, 96-110; Alan Light, What Happened, Miss Simone? A Biography : second marriage, violence & daughter born 69-92; political consciousness and activism: 93-116; 183-185; Political/racial consciousness: 1-4; Complexity/paradoxes in her life: 5-9. Audre Lorde: The Uses of the Erotic: The Erotic as Power (pdf) Délice Mugabo: In Ntozake Shange s Words: Sexual Violence Against Black Women, Organizing for Transformative Justice, and Finding My Way as a Black Feminist (pdf) I Put a Spell on You (from I Put a Spell on You, 1965) Feeling Good (from I Put a Spell on You, 1965) Sinnerman (from I Put a Spell on You, 1965) Mississippi Goddam (1964 recording) w/ video of segregation.,, Topic 8b. Nina Simone: Growing developing career & Four Women Precis 9 due today Reading: Autobiography of Nina Simone: concertizing: 92-94; 110-111; 114-115, 117-118; Continuing musical career; song about Black women: 115-117; End of second marriage, personal & financial issues: 118-128. Alan Light, What Happened, Miss Simone? A Biography : concertizing: 117-126; song about Black women and activism: 129-138; 151-158; difficulties at home: 138-142; & her sexuality: 159-165; divorce: 174-177. Cathy J. Cohen: Punks, Bulldaggers, and Welfare Queens (pdf) The Combahee River Collective Statement (1977) (pdf) Four Women (from Wild is the Wind, 1966) Take Me to the Water (Live at Morehouse College in Atlanta, June 1969) To Love Somebody (Recording session: Live in Antibes, 1969) 8

9 Strange Fruit (Interview and performance juxtaposed w very graphic video; Live at Morehouse College in Atlanta, June 1969) Topic 9a. Nina Simone: Barbados Precis 10 due today Reading: Autobiography of Nina Simone: Life in Barbados: 129-136. Alan Light, What Happened, Miss Simone? A Biography : Life in Barbados 163-164; 177-180; her daughter: 181-182; ongoing career: 143-151; 166-173; 183-184. To Be Young, Gifted and Black (Live 1970 performance; lyrics by Weldon Irvine) [for comparison, Donny Hathaway version, from These Songs for You: Live, 1972] Here Comes the Sun (from Here Comes the Sun, 1971) Go to Hell (from Live at The Village Gate 1970 ) Topic 9b. Nina Simone: Liberia Precis 11 due today Autobiography of Nina Simone: Life in Liberia: 137-153. Alan Light, What Happened, Miss Simone? A Biography : family struggles: 185-194; changing audiences: 194-197; Life in Liberia: 198-208, 217; career challenges: 208-211; financial and family troubles: 212-216. Sinnerman (from Nina Simone Sings Billie Holiday, 1972) Come By Here, Good Lord (from It is Finished, 1974) The Pusher (from It is Finished, 1974) Topic 10. Nina Simone: Paris and late career Precis 12 due today Autobiography of Nina Simone: Life in Paris & elsewhere: 153-164; 165-176. Alan Light, What Happened, Miss Simone? A Biography : shifting career & antagonistic behavior towards audiences; mental health issues: 216-228; 229-242; Life in Paris and late career, honors and death: 245-260; Her legacy & influence: 9-15. Baltimore (from Baltimore, 1978) Live at Ronnie Scott s (1987) Listen to the first 15 minutes Live in Hamburg, Germany (1989) Listen to the first 15 minutes 9

10 Topic 11. Nina Simone: Discussion of Simone in the context of identity issues Date x - in-class Simone small group meetings (an out-of-class meeting is also needed) Topic 12. Simone small group reports [every individual s (4-5 page) paper about Simone is due on their presentation date] Final paper: personal essay 10