University of Waterloo Department Of Music Music 240, INTRODUCTION TO, Winter 2017 Professor: Bonnie (Patricia) Brett pbrett@uwaterloo.ca Lectures: Tuesdays 6:00 8:50 PM Conrad Grebel University College CG Room #1208 Office Hours: Tuesdays 4:00 PM 6:00 PM CG Room # 1113 (519) 885 0220 ext. 24248 -------------------------------------------------------------------------------------------- Course Syllabus Course Description and Objectives: An introductory survey of jazz history, culture and repertoire. Topics explored include the roots and development of the main periods and styles of jazz, the lives of important jazz artists and composers, and significant concurrent historical events. Repertoire recognition and learning how to listen to jazz are the primary objectives of this course. Prerequisites: Curiosity about jazz and big ears. Required Text: Jazz (2 nd edition) 2015 Scott DeVeaux; Gary Giddins W.W. Norton and Company ISBN 978-0-393-93706-0 * Students who do not wish to invest in the hard copy of this text can gain access to the EBook at a lower price at: www.wwnorton.com http://books.wwnorton.com/books/webad.aspx?id=4294989967 Resources: WW Norton StudySpace Student Website http://wwnorton.com/college/music/jazz2/welcome.aspx - offers sound-files, chapter outlines, a glossary of terms and podcast tutorials from the authors of Required listening sound files will be available online at U of Waterloo s LEARN website.
2 (Resources cont.) Oxford Music Online is an e-resource that can be accessed from the University Library Home Page http://www.lib.uwaterloo.ca/ (On Line Reference Shelf) You will need to sign in using your library card. Oxford Music Online includes the Grove Dictionary of Jazz and is an excellent all-round resource for music research. Occasionally extra music or reading may be posted on LEARN Evaluation: Listening and Terminology Tests (2 X 24%) 48 % Written Assignment 15 % Final Test 25 % Attendance & Participation 12 % Required Listening Music Files online at LEARN: The most important, required component of this course is listening to jazz music. ALL required listening items are posted on the UW LEARN Music 240 website, found within six designated Modules containing individual mp3 files. Complete listings of sound file contents appear in the Music 240 Discography found at the end of this Course Syllabus. TO ACCESS SOUND FILES: Go to U of Waterloo s LEARN site http://learn.uwaterloo.ca using your WatIAM user ID and password. Select Music 240. Go to Course Materials in top left menu, and select Content. Select the desired module and then the desired sound file. Access the file, and you can play it on your computer or follow the prompt to download the tunes into your computer.
3 Tests and Assignments Quizzes: Listening and Terminology (Keywords) Three quizzes (1 every 3 weeks) will test students on Musical Examples From Modules 1-6 and on jazz terminology (Keywords) In the listening portion of each quiz students need to know: 1) the title of the musical example, 2) the name of the performer/composer, genre/style and year the recording was made (the era or time period) of the recording, 4) the basic musical form of the example. In the terminology/keywords portion of each quiz students will provide short definitions for a number of keywords and jazz concepts. These definitions should include cited examples of songs from music listened to in class. Each quiz will be a closed-book quiz. No electronic devices (computers/iphones, etc.) may be accessed during the quiz. If such items are found, the student will receive no credit for the quiz. All materials to be included in listening quizzes will be confirmed before quizzes take place to give students ample time to do their listening. NOTE: This material is not easy to cram The night before a quiz is NOT a great time to begin. Do yourself a favour and make listening a daily part of your study routine. Written Assignment: Choose one of the following options. Option a) How did Bebop change jazz? Write a short essay (5 pages approx. 1500 words double spaced + Bibliography / Works Cited) in which you discuss the changes to jazz brought about by Bebop in terms of musical elements such as performance practises, instrumentation, rhythm and harmony. Option b) Create a Listening Guide: Using the listening guides in your textbook as templates, make a listening guide of your own for one of the songs in modules #5 or #6 (Additional Listening) List all performers and instruments. (Cont d)
4 Option b) Cont d Provide a brief (one or two paragraphs) biography of the principal performer. Provide a paragraph or two explaining your reasons for choosing this particular musical example. (Reasons can include historical or musical significance, the song s relative popularity, or simply that you just love it or just hate it explain your reasons.) Provide a list of What to listen for: Make your own time line or flow chart of the song s form and progression. Option c) Compare different versions of either All Of Me or Flying Home Write a short essay (5 pages double spaced) comparing the three versions of All Of Me recorded by Billie Holiday, Ella Fitzgerald and Sarah Vaughan. In your own words describe what you hear in terms of timbre, rhythm, arrangement / instrumentation and each singer s treatment of the melody and lyrics. Do you have a favourite version? Explain why. OR Compare the three versions of Flying Home (Benny Goodman, Lionel Hampton and Ella Fitzgerald) In terms of instrumentation/arrangement, timbre, rhythm and melody what differentiates each version. Do you have a favourite version? Explain why. IMPORTANT: The bibliography/works cited page is in addition to the four pages of your written assignments. Cite musical examples from your list of recordings to illustrate each point. ALL references to your textbook, Oxford Music Online and recordings must be cited in your Bibliography / Works cited page. All Internet sources must be cited. Rule of thumb: IF IT ISN T YOURS CITE IT! This applies to quotes, articles, ideas from books, recordings, photographs (YES PHOTOGRAPHS) and anything else you didn t create, shoot or think up yourself. *** Consult the Chicago Manual of Style for proper formatting of Works Cited page, footnotes and discographical citations etc. http://www.chicagomanualofstyle.org/tools_citationguide.html
5 Academic Integrity: In order to maintain a culture of academic integrity, members of the University of Waterloo are expected to promote honesty, trust, fairness, respect and responsibility. Guidelines and links from University of Waterloo regarding Academic Integrity and related topics Discipline: A student is expected to know what constitutes academic integrity, to avoid committing academic offences, and to take responsibility for his/her actions. A student who is unsure whether an action constitutes an offence, or who needs help in learning how to avoid offences (e.g., plagiarism, cheating) or about rules for group work/collaboration should seek guidance from the course professor, academic advisor, or the Undergraduate Associate Dean. When misconduct has been found to have occurred, disciplinary penalties will be imposed under Policy 71 Student Discipline. For information on categories of offenses and types of penalties, students should refer to Policy 71 - Student Discipline, http://uwaterloo.ca/secretariat/policies-procedures-guidelines/policy-71. Grievances: A student who believes that a decision affecting some aspect of his/her university life has been unfair or unreasonable may have grounds for initiating a grievance. Read Policy 70 - Student Petitions and Grievances, Section 4, http://uwaterloo.ca/secretariat/policies-proceduresguidelines/policy-70. Also consult http://arts.uwaterloo.ca/student-grievances-faculty-artsprocesses for the Faculty of Arts grievance processes. Appeals: OR A student may appeal the finding and/or penalty in a decision made under Policy 70 - Student Petitions and Grievances (other than regarding a petition) Policy 71 - Student Discipline if a ground for an appeal can be established. Read Policy 72 - Student Appeals, http://uwaterloo.ca/secretariat/policiesprocedures-guidelines/policy-72. Academic Integrity website (Arts): http://arts.uwaterloo.ca/arts/ugrad/academic_responsibility.html
6 Academic Integrity Office (uwaterloo): http://uwaterloo.ca/academic-integrity/ Accommodation for Students with Disabilities: Note for students with disabilities: The AccessAbility Services (AS) Office, located in Needles Hall, Room 1132, collaborates with all academic departments to arrange appropriate accommodations for students with disabilities without compromising the academic integrity of the curriculum. If you require academic accommodations to lessen the impact of your disability, please register with the AS Office at the beginning of each academic term. Appeals: A decision made or penalty imposed under Policy 70 (Student Petitions and Grievances) (other than a petition) or Policy 71 (Student Discipline) may be appealed if there is a ground. A student who believes he/she has a ground for an appeal should refer to Policy 72 (Student Appeals) www.adm.uwaterloo.ca/infosec/policies/policy72.htm.
7 Tentative Lecture Schedule Lectures Week/Date 1 Jan. 3 2 Jan. 10 3 Jan. 17 Material Covered Introduction: Instruments, Form, Rhythm, Terminology Beginning a glossary/ /List of Keywords ==== The Roots of Jazz: Africanisms Blues, Ragtime New Orleans === Great Migration Harlem Renaissance Tin Pan Alley Louis Armstrong The Swing Era Begins The Swing Era Duke Ellington / Count Basie Assigned Reading Chapters 1-3 Chapter 4-6 Chapter 7-9 Assigned Listening Module #1 & I Got Rhythm Modules #1 & 2 Modules #1 & #2 Important Dates: Assignments Due Quizzes Final Test Listening and Keywords Quiz #1 4 Jan. 24 The Swing Era 5 Jan. 31 6 Feb. 7 Bebop Klook, Bird and Dizzy Hard Bop Chapters 7-9 Chapters 10-11 Chapters12-13 Modules #2 & #3 Modules #2 & #3 Modules #2 & #3 Jan 23 Final day to drop course without academic penalty. Listening and Keywords Quiz #2 Modal Jazz 7 Feb. 14 Module #3 Chapter 14 Feb. 20 24 READING WEEK READING WEEK READING WEEK READING WEEK Singers Written 8 Feb. 28 (See Chapter 16) Chapter 16 Module #6 Assignment Due The Avant Garde Listening and 9 Mar. 7 Chapter 15 Module #4 Keywords Quiz #3 10 Mar. 14 Fusion Jazz Chapters 16-18 Modules #4 - #6 11 Mar. 21 Jazz Today Chapters 16-18 Module #4 12 Mar. 28 Final Test Modules #1 - #6 Final Test
8 MUSIC 240 Course Discography Module #1 The Norton Jazz Recordings Listening Guides Pre Jazz, Blues & Early Jazz Title Performer(s) Listening Guide Page # 1. The Buzzard Lope Georgia Sea Island Singers 45 2. Reckless Blues Bessie Smith 49 3. Down Home Rag Wilbur Sweatman 57 4. Dixie Jass Band One-Step Original Dixieland Jazz Band 69 5. Dead Man Blues Jelly Roll Morton 72 6. Snake Rag King Oliver 77 7. Cake Walking Babies From Home The Red Onion Jazz Babies 80 8. Changes Paul Whiteman Orchestra 89 9. Copenhagen Fletcher Henderson 93 10. You ve Got To Be Modernistic James P. Johnson 99 11. Black and Tan Fantasy Duke Ellington & His Orchestra 103 12. Hotter Than That Louis Armstrong & His Hot Five 112 13. West End Blues Louis Armstrong & His Hot Five 114 14. Weather Bird Louis Armstrong / Earl Hines 116 15. Singin The Blues Bix Beiderbecke / 120 Frankie Trumbauer 16. Blue Lou Fletcher Henderson 139
9 Module #2 The Norton Jazz Recordings Listening Guides Boogie Woogie, Swing Title Performer(s) Listening Guide Page # 1. Dinah Benny Goodman 143 2. Star Dust Artie Shaw 148 3. Annie Laurie Jimmie Lunceford 150 4. It s All Right Baby Big Joe Turner / Pete Johnson 159 5. Walkin and Swingin Andy Kirk / Mary Lou Williams 162 6. One O Clock Jump Count Basie 168 7. Mood Indigo Duke Ellington 173 8. Conga Brava Duke Ellington 176 9. Blood Count Billy Strayhorn/ Duke Ellington 180 10. Body and Soul Coleman Hawkins 187 11. Oh! Lady Be Good Count Basie / Lester Young 192 12. I m Coming Virginia Benny Carter / Django Reinhardt 196 13. You re Driving Me Crazy Valaida Snow 199 14. A Sailboat in the Moonlight Billie Holiday 203 15. Blue Skies Ella Fitzgerald 206 16. Christopher Columbus Fats Waller 212 17. Over The Rainbow Art Tatum 215 18. Swing To Bop (Topsy) Charlie Christian 218
10 Module #3 The Norton Jazz Recordings Listening Guides Modern Jazz Bebop, Hard Bop, Mainstream & Modal Title Performer(s) Listening Guide Page # 1. Ko-Ko (false start) Charlie Parker 2 Ko-Ko (master take) Charlie Parker 239 3. Embraceable You Charlie Parker 242 4. Now s The Time Charlie Parker 243 5. Tempus Fugue-It Bud Powell 249 6. Long Tall Dexter Dexter Gordon 253 7. Venus de Milo Miles Davis 263 8. Vendome Modern Jazz Quartet (MJQ) 268 9. Song For My Father Horace Silver 273 10. A Night In Tunisia Clifford Brown 277 11. I m An Old Cowhand Sonny Rollins 280 12. Thelonious Thelonious Monk 291 13. Rhythm-a-ning Thelonious Monk 293 14. Boogie Stop Shuffle Charles Mingus 297 15. King Porter Stomp Gil Evans 300 16. Concerto For Billy The Kid George Russell 304 17. So What Miles Davis 316
11 18. Witchcraft Bill Evans 318 19. Giant Steps John Coltrane 321 20. Acknowledgement John Coltrane 326 21. E.S.P. Miles Davis 330
12 Module #4 The Norton Jazz Recordings Listening Guides Avant Garde, Bossa Nova & Fusion Title Performer(s) Listening Guide Page # 1. Lonely Woman Ornette Coleman 347 2. Bulbs Cecil Taylor 352 3. Ghosts Albert Ayler 356 4. Spirit Possession Anthony Braxton / Max Roach 361 5. Hattie Wall World Saxophone Quartet 364 6. O.G.D. Wes Montgomery / Jimmy Smith 375 7. All Of Me Sarah Vaughan 380 8. Manteca Dizzy Gillespie 384 9. Só Danço Samba Stan Getz / João Gilberto 387 10. Una Dia Bonito Eddie Palmieri 390 11. Teen Town Weather Report 407 12. Cantaloupe Island Herbie Hancock 410 13. Chank John Scofield / Medeski, 417 Martin and Wood 14. Why Do We Try Robert Glasper 421 15. The Pearls Wynton Marsalis 434 16. Maiden Voyage SF Collective 438 17. My Favorite Things Betty Carter 443 18. Timeline Michael Brecker 445
13 19. You ve Got To Be Modernistic Jason Moran 448 20. Lude Vijay Iyer 460 21. Short And Sweet Esperanza Spalding 463 22. John Henry Cécile McLorin Salvant 466 23. Calypso Minor Abdullah Ibrahim 470
14 Module #5 Additional Listening Instrumental Jazz 1. Moten Stomp Benny Moten 1927 2. Moten Swing Benny Moten 1932 3. Jumpin At The Woodside Count Basie 1938 4. Take The A Train Billy Strayhorn / D. Ellington 1941 5. C Jam Blues Duke Ellington (w/ Ray Nance) 1942 6. Pitter Patter Panther Ellington & Jimmy Blanton 1940 7. Flying Home Benny Goodman 1941 8. Flying Home Lionel Hampton 1942 9. Ornithology Charlie Parker 1946 10. St. Thomas Sonny Rollns 1956 11. Four Miles Davis 1956 12. The Promise John Coltrane 1963 13. Hot House Dizzy Gillespie 1945 14. What Is This Thing Called Love? Bill Evans Trio 1959 15. Soul Station Hank Mobley 1960 16. Senor Blues Horace Silver 1957 17. The In Crowd Ramsey Lewis 1965 18. Poinciana Ahmad Jamal 1958 19. Space Is The Place Sun Ra Arkkestra 1984
15 Module #6 Additional Listening Vocal Jazz 1. Run Old Jeremiah Ring Shout 1934 2. Old Alabama Lomax Prison Recordings 1947 3. Backwater Blues Bessie Smith / James P. Johnson 1927 4. Sent For You Yesterday Jimmy Rushing w/ Count Basie 1938 5. He Ain t Got Rhythm Jimmy Rushing W/ Benny Goodman 1936 6. Swing It Brother Swing Billie Holiday w/ Count Basie 1937 7. He Ain t Got Rhythm Billie Holiday 1937 8. All Of Me Billie Holiday 1941 9. Take The A Train Betty Roché w/ Ellington 1952 10. A Tisket A Tasket Ella Fitzgerald 1938 11. All Of Me Ella Fitzgerald 1961 12. Duke s Place (C Jam Blues) Ella Fitzgerald w/ Duke Ellington 1966 13. Flying Home Ella Fitzgerald 1945 14. How High The Moon Ella Fitzgerald 1947 15. How High The Moon Sarah Vaughan 1957 16. How High The Moon Ella Fitzgerald Live In Berlin 1960 17. What Is This Thing Called Love? Sarah Vaughan 1963 18. Someday Sweetheart Bing Crosby c. 1933-1935 19. The Song Is You Bing Crosby 1956 20. You re Driving Me Crazy Betty Carter 1958 21. The Surrey With The Fringe On Top Betty Carter 1970
16 22. Get It Straight Carmen McRae 1988 23. I Only Have Eyes For You Carmen McRae 1959 24. Sweet Georgia Brown Anita O Day 1956 25. Old Devil Moon Anita O Day 1957