MUS-2550: Jazz History Listening II 1 MUS-2550: JAZZ HISTORY LISTENING II Cuyahoga Community College Viewing:MUS-2550 : Jazz History Listening II Board of Trustees: 2005-03-24 Academic Term: 2005-08-29 Subject Code MUS - Music Course Number: 2550 Title: Jazz History Listening II Catalog Description: Through directed, analytical and comparative listening experiences, students gain detailed knowledge of and familiarity with selected works of Modern Jazz masters from Bebop (1940s) to the present. A listening laboratory and aural training course, this is a companion and supplement to MUS-2530 Jazz History II. Credit Hour(s): 1 Lecture Hour(s): 0 Lab Hour(s): 2 Other Hour(s): 0 Requisites Prerequisite and Corequisite MUS-1650 Jazz Theory I, and concurrent enrollment in MUS-2530 Jazz History II, 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://www.tric.edu/accessprograms. Blackboard accessibility information is available athttp://access.blackboard.com.
2 MUS-2550: Jazz History Listening II Eastern (216) 987-2052 - Voice Metropolitan (216) 987-4344 -Voice Western (216) 987-5079 - Voice Westshore (216) 987-5079 - Voice Brunswick (216) 987-5079 - Voice Off-Site (216) 987-5079 - 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://www.tri-c.edu/student-resources/documents/studenthandbook.pdfyou must also comply with the College s Zero Tolerance for Violence on College Property available athttp://www.tri-c.edu/policies-and-procedures/ documents/3354-1-20-10-zero-tolerance-for-violence-policy.pdf Outcomes Objective(s): 1. Recognize, identify, analyze and compare characteristic sounds of various Modern Jazz styles and sub-styles from Bebop to the present. 2. Recognize, identify, analyze and compare characteristic sounds of the important masters of Modern Jazz. 3. Recognize, identify, analyze and compare the important works of the Modern Jazz masters. 4. Recognize, identify, analyze and compare the sounds of characteristic harmonic patterns and phrase structures.
MUS-2550: Jazz History Listening II 3 5. Recognize, identify, analyze and compare the improvisational techniques of master soloists. 6. Recognize, identify, analyze and compare the orchestrations of master composers. 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. Common Modern Jazz Style Categories and their Characteristic Sounds a. Bop b. Cool c. Hard Bop d. Modal e. Free f. Fusion g. Others (such as Third Stream, Avant-Garde, Soul and Funk, Mainstream, Latin, New Age, Smooth, Acid, Rap, New Swing, World Music) 2. Modern Jazz Artists (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. Charlie Parker b. Dizzy Gillespie c. Thelonious Monk d. Miles Davis e. Bud Powell f. Kenny Clarke g. Max Roach h. Tadd Dameron i. John Lewis j. Fats Navarro k. J.J. Johnson l. Kai Winding m. Oscar Pettiford n. Charles Mingus o. Ray Brown p. Dexter Gordon q. Sonny Stitt r. Stan Getz s. Woody Herman t. Sonny Rollins u. Milt Jackson v. Roy Haynes w. George Shearing x. Oscar Peterson y. Gil Evans z. Gerry Mulligan aa. Sarah Vaughan bb. Lennie Tristano cc. Lee Konitz dd. Stan Kenton ee. Dave Brubeck ff. Paul Desmond gg. Jimmy Giuffre
4 MUS-2550: Jazz History Listening II hh. Art Pepper ii. Jim Hall jj. Mel Lewis kk. Thad Jones ll. Chico Hamilton mm. Chet Baker nn. Shorty Rogers oo. Bob Brookmeyer pp. Zoot Sims qq. Claude Thornhill rr. Clifford Brown ss. Horace Silver tt. Cannonball Adderley uu. Art Blakey vv. Wes Montgomery ww. Freddie Hubbard xx. Slide Hampton yy. John Coltrane zz. Bill Evans aaa. Joe Henderson bbb. Wayne Shorter ccc. McCoy Tyner ddd. Herbie Hancock eee. Chick Corea fff. Keith Jarrett ggg. Tony Williams hhh. Elvin Jones iii. Tommy Flanagan jjj. Philly Joe Jones kkk. Paul Chambers lll. Maynard Ferguson mmm. Gerald Wilson nnn. Ornette Coleman ooo. Cecil Taylor ppp. Albert Ayler qqq. Eric Dolphy rrr. Sun Ra sss. Richard Abrams ttt. Art Ensemble of Chicago uuu. World Saxophone Quartet vvv. John McLaughlin www. Joe Zawinul xxx. Jaco Pastorius yyy. Pat Metheny zzz. Larry Coryell aaaa. Donald Byrd bbbb. Blood Sweat & Tears cccc. Chicago dddd. George Winston eeee. Grover Washington ffff. Wynton Marsalis gggg. John Zorn hhhh. Steve Coleman iiii. Medeski, Martin and Wood jjjj. Dave Douglas kkkk. Steve Turre llll. Henry Threadgill
MUS-2550: Jazz History Listening II 5 mmmm. Joe Lovano nnnn. Don Byron oooo. Brad Mehldau pppp. Bill Frisell qqqq. Bela Fleck rrrr. Maria Schneider ssss. Others Resources Other 1. Smithsonian Collection. Smithsonian Collection of Classic Jazz. Smithsonian: RI 0010, 1916-1981 (a collection of 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 (a collection of 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 (a collection of four CDs and a booklet of liner notes including history, commentary and analysis by Martin Williams et. al.). 4. Burns, Ken. Jazz: The Story of America''s Music. Columbia/Legacy: C5K 61432, 5 CD set, 1917-1992 (94 tracks of music on five CDs along with 48 pages of annotation, explanation, and photographic documentation). 5. Collection. Masters of Jazz, Vol. 2: Bebop''s Greatest Hits. Rhino: 72469, 1945-1954. 6. Gillespie, Dizzy. Dizzy Gillespie: The Complete RCA Victor Recordings. RCA Bluebird: 07863-66528-2, 2 CD set, 1937-1949. 7. Parker, Charlie. Yardbird Suite: The Ultimate Charlie Parker Collection. Rhino: 72260, 2 CD set, 1945-1954. 8. Powell, Bud. Jazz Giant. Verve: 829 937-2, 1949-1950. 9. Monk, Thelonious. Best of Thelonious Monk: The Blue Note Years. Blue Note: 95636, 1947-1951. 10. Davis, Miles. The Complete Birth of the Cool. Blue Note: 94550, 1948-1950. 11. Herman, Woody. The Thundering Herds. Columbia: CK44108, 1945-1947. 12. Konitz, Lee. Subconscious Lee. Fantasy: OJCCD-186-2, 1949. 13. Kenton, Stan. New Concepts of Artistry in Rhythm. Blue Note: 92865, 1952. 14. Getz, Stan. The Roost Quartets. Roulette: 96052, 1950-1951. 15. Brubeck, Dave. Jazz at Oberlin. Fantasy: OJCCD-046-2, 1953. 16. Rollins, Sonny. Sonny Rollins Plus 4. Fantasy: OJC-243-2, 1956 (with Clifford Brown). 17. Blakey, Art. A Night at Birdland, Vols. 1 & 2. Blue Note: 46519/46520, 2 CDs, 1954 (with Horace Silver). 18. Mingus, Charles. Mingus Ah Um. Columbia: CK 40648, 1959. 19. Coleman, Ornette. The Shape of Jazz to Come. Atlantic: 1317-2, 1959. 20. Ayler, Albert. Spiritual Unity. ESP DISK: 1002, 1964. 21. Davis, Miles. Kind of Blue. Columbia: CK 64935, 1959 (with Cannonball Adderley, John Coltrane, Bill Evans). 22. Coltrane, John. Giant Steps. Atlantic: 1311-2, 1959. 23. Evans, Bill. Sunday at the Village Vanguard. Fantasy: OJCCD-140-2, 1961. 24. Coltrane, John. Live at Birdland. Impulse/GRP: GRD-198, 1963 (with McCoy Tyner, Elvin Jones). 25. Davis, Miles. Sorcerer. Columbia: CK 65680, 1967 (with Wayne Shorter, Herbie Hancock, Tony Williams). 26. Davis, Miles. Bitches Brew. Columbia: G2K 40577, 2 CD set, 1969-70 (with Joe Zawinul, John McLaughlin). 27. Corea, Chick. Now He Sings, Now He Sobs. Blue Note: 90055, 1968. 28. Taylor, Cecil. Silent Tongues. 1201 Music: OTZO 9017, 1974. 29. Jarrett, Keith. Staircase. ECM: 78118-21090-2, 2 CD set, 1976. 30. Weather Report. I Sing the Body Electric. Columbia: CK 46107, 1971-1972. 31. Powell, Bud. The Complete Bud Powell on Verve. Verve: 521 669-2, 1949-1956. 32. Powell, Bud. The Complete Blue Note and Roost Recordings of Bud Powell. Blue Note: 30083. 33. Monk, Thelonious. Genius of Modern Music, Vols. 1 and 2. Blue Note: 32138/32139, 1947-1952. 34. Gordon, Dexter. Dexter Rides Again. Savoy: SV-120, 1945-1947. 35. Getz, Stan. The Complete Roost Recordings. Blue Note: 59622. 36. Getz, Stan. Jazz Samba. Verve: 521 414-2, 1962. 37. Getz, Stan. Getz/Gilberto. Verve: 521 414-2, 1964. 38. Getz, Stan. Immortal Concerts: Storyville. Giants of Jazz: 53113, 1951. 39. Getz, Stan. Stan Getz and J.J. Johnson at the Opera House. Verve: 831272, 1957. 40. Gillespie, Dizzy. Shaw `Nuff. Musicraft: 70053, 1945-1946. 41. Parker, Charlie. The Genius of Charlie Parker. Savoy: SV 104. 42. Parker, Charlie. The Charlie Parker Story. Savoy: SV 105. 43. Parker, Charlie. The Best of the Complete Savoy and Dial Studio Recordings. Savoy: 17120. 44. Davis, Miles. Birth of the Cool. Blue Note: 30117, 1948-1950.
6 MUS-2550: Jazz History Listening II 45. Kenton, Stan. Kenton Showcase. Capitol: 25244. 46. Tristano, Lennie. Intuition. Blue Note: 52771. 47. Konitz, Lee. Konitz Meets Mulligan. Blue Note: 46847. 48. Mulligan, Gerry. The Best of the Gerry Mulligan Quartet with Chet Baker. Blue Note: 95481, 1952-1953. 49. Brubeck, Dave. Time Out. CBS: CK65122. 50. Adderley, Cannonball. Quintet in Chicago with John Coltrane. Polygram: 559770, 1959. 51. Adderley, Cannonball. Mercy, Mercy, Mercy. Blue Note: 29915, 1966. 52. Hancock, Herbie. Empyrean Isles. Blue Note: 98796, 1964 (with Freddie Hubbard). 53. Hancock, Herbie. Maiden Voyage. Blue Note: 95331, 1965 (with Freddie Hubbard). 54. Silver, Horace. Horace-Scope. Blue Note: 84042, 1960. 55. Silver, Horace. Cape Verdean Blues. Blue Note: 84220, 1965. 56. Blakey, Art. Mosaic. Blue Note: 46523, 1961. 57. Coleman, Ornette. Free Jazz. Atlantic: 1364, 1960. 58. Coltrane, John. My Favorite Things. Rhino: 75204, 1960. 59. Coltrane, John. A Love Supreme. Impulse/GRP: GRD 155, 1964. 60. Coltrane, John. Interstellar Space. Polygram: PLG 543415, 1967. 61. Collection. Jazz Classics CD for Jazz Styles. Prentice-Hall: ISBN 0-13-099348-4, 1917-1977. 62. Collection. Jazz Classics CD for Concise Guide to Jazz. Prentice-Hall: ISBN 0-13-088792-7, 1917-1987. 63. Collection. Prentice Hall Jazz Collection. Prentice-Hall: ISBN 0-13-111674-6. 64. Z For many additional recordings and liner notes directly related to this course, visit the following websites: 1. Smithsonian Folkways Recordings: www.folkways.si.edu 2. New World Records: www.newworldrecords.org 3. Fantasy Jazz: www.fantasyjazz.com. 65. Davis, Miles. Filles de Kilimanjaro. CBS: CK 86555, 1968. 66. Weather Report. Weather Report. CBS: 48824, 1971. 67. Weather Report. Heavy Weather. CBS: 65108, 1977. 68. Williams, Tony. Emergency!. Polygram: 539117, 1969 (with John McLaughlin, Larry Young). 69. McLaughlin, John. The Inner Mounting Flame. CBS: CK 65523, 1971. 70. McLaughlin, John. Birds of Fire. CBS: 66081, 1972. 71. Corea, Chick. Light As A Feather. Polydor: 827148-2, 1972. 72. Corea, Chick. Return To Forever. ECM: 811978, 1972. 73. Corea, Chick. Hymn of the Seventh Galaxy. Polydor: 825 336-2, 1973. 74. Hancock, Herbie. Future Shock. CBS: 65962, 1983. 75. Hancock, Herbie. Head Hunters. Columbia: CK 65123, 1974. 76. Us3. Hand on the Torch. Blue Note: 8088, 1993. 77. Davis, Miles. doo-bop. Warner Bros.: 926938, 1991. 78. Levine, Mark. The Jazz Theory Book. Sher Music Co.:ISBN 1-883217-04-0, 1995 (contains extensive discography of jazz master recordings). Top of page Key: 3207