Ursuline College Accelerated Program CRITICAL INFORMATION! DO NOT SKIP THIS LINK BELOW... BEFORE PROCEEDING TO READ THE UCAP MODULE, YOU ARE EXPECTED TO READ AND ADHERE TO ALL UCAP POLICY INFORMATION CONTAINED ON THIS LINK BELOW CLICK HERE... http://www3.ursuline.edu/ucap/modules/ucappolicies.pdf MU 236 HISTORY OF JAZZ Created: L. Coach 5/08 COURSE DESCRIPTION A survey of the development of Jazz with emphasis on the elements that comprise the art form, its evolutionary character and the multiple styles that have resulted. INSTRUCTIONAL MATERIALS Martin, Henry and Waters, Keith. Jazz The First 100 Years. 2 nd ed. Schirmer. 2006 Compact discs accompany the text. Additional resource material on reserve in Ursuline library Gioia, Ted. History of Jazz. Oxford University Press: NY, 1997 Gridley, Mark. Jazz Styles. Prentice Hall: Upper Saddle River, NJ,2006 Nicholson, Stuart. Is Jazz Dead? Routledge: NY, 2005 Burns, Ken. Jazz Audio CDs that accompany the film. INSTRUCTIONAL OBJECTIVES Knowledge The student will: 1. Recognize the elements of Jazz, and be able to distinguish between different style periods 2. Become acquainted with major Jazz artists, past and present. 3. Identify African and European influences on American Jazz. 4. Understand that the history of Jazz reflects United States history in the 20 th century. Skills The student will: 1. Be able to distinguish aurally the different instruments in jazz ensembles. 2. Be able to identify the main song forms used in jazz. Attitudes and Values The student will: 1. Identify the special talents of Jazz musicians.
2. Make personal value judgments and develop informed taste regarding Jazz. 3. Respect Jazz as an accurate, through limited, mirror of American cultural history. CRITERIA FOR ASSESSMENT The instructor will make clear the specific means of evaluation, with reference to such criteria as: 1. Participation in class activities and small-group collaboration 2. Quizzes and in-class responses 3. Formal and informal class presentations 4. Written assignments 5. Participation in a course-related fieldtrip 6. A culminating experience COURSE EXPECTATIONS 1. Active listening is a focused endeavor that requires careful attention. It is very different from having music in the background while one works, drives or relaxes. This skill develops gradually when practiced regularly; therefore, frequent active listening is an expectation. 2. Students entering MU 236 are expected to have a subjective awareness of their own musical preferences. It is not the goal of the course necessarily to change one's musical taste, but rather to broaden the repertoire on which one's taste is based and to allow the student to make more deliberate, informed choices. 3. Because active participation in discussion, group collaboration, quizzes, and in-class writing require your presence, attendance is a core issue. Please read carefully the "Class Attendance" section of Important Information for UCAP Students. If emergency circumstances warrant an absence, you must contact the instructor; coverage of missed material will be at her/his discretion. 4. MU 236 presumes general facility with written communication. Students are strongly encouraged to take responsibility for their own writing practices by such means as referring to a standard writing handbook, planning multiple drafts of any writing assignment, establishing informal peer writing groups, making use of the writing consultants in the campus Learning Resource Center. Please read carefully the "Written Assignments and Workload" section of Important Information for UCAP Students. See also the "Writing Evaluation Guidelines" and the "Characteristics of Writing" in the white pages of this module. 5. One way to integrate new material is to compare and contrast it with previous knowledge. Be prepared to reflect on the music under study by finding points of comparison with music of previous historical periods and/or music of one's own experience. In other words, nothing on the syllabus is "finished" just because the class has moved on to a new topic. 6. Another way to grasp unfamiliar material is to approach it as a "connected knower."
Be prepared to reflect on the music currently under study as if one were living at the time/place/circumstance of the persons who took ownership for it. AMERICANS WITH DISABILITIES ACT PROVISION Students with documented disabilities, including those with learning disabilities, may be entitled to reasonable accommodations for this course. If you would like to request testing or other accommodations because of a disability, please make an appointment with the instructor as soon as possible to discuss your situation and possible needs. Effective and timely communication will allow us to work with Ursuline College s Office of Academic Support and Disabilities Services (Mullen 312, 449-2049), if necessary to arrange for appropriate accommodations.
SESSION 1 TO BE COMPLETED PRIOR TO THE SESSION: READ AND REVIEW The entire module packet READ Chapter 1, Roots Chapter 2 pages 39-45 and 50-53 LISTEN To musical examples #1- #8 on the CD that accompanies the text, and be prepared to explain the musical concepts discussed in the chapter. ASSIGNMENT: Define any 5 terms listed on page 37. In one or two paragraphs answer one question (of your choice) listed under Questions and Topics for Discussion on page 37. Complete the Personal Music Interest Inventory (Appendix A)
SESSION 1 ORIGINS OF JAZZ OUTCOMES: Upon completion of this session, students should be able to *Define the elements of jazz and be able to use basic musical vocabulary correctly when describing a musical experience. * Describe the cultural setting in early twentieth century as Jazz developed in America. ACTIVITIES: *Introductions * Discussion of Personal Music Interest Inventory * Overview of the course. * Questions on assigned reading. * Short Lecture: What does Jazz tell us about US (history) * Collaborative demonstration of understanding of the musical vocabulary. * Video: Sousa to Satchmo
SESSION 2 TO BE COMPLETED PRIOR TO THE SESSION READ Chapter 3 Louis Armstrong pages 71-79 Chapter 4 1920s Jazz in NY through Harlem Stride Piano pages 87-94 Duke Ellington s Early Career pages 105-111 Chapter 5 The Swing Era through Territory Bands pages119-129 Benny Goodman through Ellington after the Cotton Club pages 138-151 LISTEN To musical examples #11, 14, 16 & 20 on the CD that accompanies the text, and be prepared to explain the musical concepts discussed in the chapter. ASSIGNMENT 1: GUIDED LISTENING Present a piece of Jazz (from any era) and explain how the composer used the elements of music discussed in class 1. Use the GUIDED LISTENING REPORT FORM- APPENDIX B ASSIGNMENT 2: Between the two World Wars the face of America changed dramatically. During this time period Jazz became America s music. The great American writer F. Scott Fitzgerald dubbed the 1920s the Jazz Age. In the 1930s Jazz was the most popular music in America. To understand the impact of Jazz during this time it becomes necessary to understand the historical events that shaped this art form. -Pick one of the following events in U.S. history: End of W.W. I and the start of a10 year economic boom in US. First great Black Migration from the South Harlem Renaissance Prohibition Origins of Mass Media Radio/ phonograph Great Depression W.W.II Write a 2-3 page (approx.. 750-1000 word) paper that includes both of the following: 1- How the event impacted the U.S. in general 2- How the event impacted Jazz in particular. Some things to consider- Why/how would this event change attitudes/ values of people? How do you think this particular event impacted Jazz at that time? Be sure to include major relevant facts about the event you choose/.. Precisely which years did the event occur?
SESSION 2 New York 1920 through Swing Era 1945 OUTCOMES: Upon completion of this session students should be able to * Articulate the factors that made Jazz America s Music. * Understand the stylistic differences between Early Jazz and Swing. * Know the importance of the key figures of this time frame: Louis Armstrong James P. Johnson Duke Ellington Benny Goodman ACTIVITIES: * Presentation of guided listening * Discussion of assigned reading/listening. * Presentation/discussion of impact of history on Jazz. * Report on plans for concert/club report * Video: Listening to Jazz
SESSION 3 TO BE COMPLETED PRIOR TO THE SESSION READ Chapter 7 The Bebop Era pages 191-218 Chapter 8 The 1950s and the new Jazz Substyles pages 222-229 Hard Bop pages 246-264 LISTEN To musical examples #-24,25,26 & 27 on CD 1 and #1,2,3 & 4 on CD2 and be prepared to explain the musical concepts discussed in the chapter. ASSIGNMENT: * Write a 2 page (approx. 750 word) research paper on an artist listed in Chapters 8 or 9. This should be a formal paper with at least 2 references with proper MLA format for all citations. Some things to consider: -Why was he/she important in the history of Jazz? -What were their notable compositions or stylistic innovations? -What style did they represent? -Did they work in several different styles? GUIDED LISTENING: * Present a guided listening of a representational piece by your artist. NOTE: Spend some time listening to your artist. Do they sound different than other artists from that style period? What are some of the elements of music that YOU hear that make their sound distinctive? Use the comments section of the guided listening to express YOUR opinions about the artist. STUDY Musical terms for quiz.
SESSION 3 Bop 1945-1955 Hard Bop 1955-1960 OUTCOMES: * Understand how America changed post W.W.2 and how Jazz reflected those changes. * Be able to articulate the stylistic differences between Swing and Bop Jazz. * Know the importance of the key figures of this time frame: Charlie Parker Dizzy Gillespie Thelonius Monk Bud Powell ACTIVITIES: * Discussion of assigned reading/listening. * Test on musical terms. * Presentation of research paper with guided listening. * Report on plans for concert/club report * Video: Ken Burns Jazz
Session 4 TO BE COMPLETED PRIOR TO THE SESSION READ Chapter 9 1960 s Avant- Garde pages267-288 Chapter 10 Miles Davis in the 1960s pages 301-304 LISTEN to all relevant musical examples ASSIGNMENT: Oral History presentation All Art is a reflection of the time in which it was created. In order to understand the art, one must understand the events during the time in which it was created. The uniquely American art form of Jazz certainly mirrors the history of America. The years from 1960 to 1970 were particularly turbulent. To get a greater understanding of Jazz during the 1960 s, you are required to do an Oral History of someone who lived during this time. Pick someone who lived through that decade and interview them about this era. There were many events that marked this time: Civil Right Movement Vietnam War Assassinations Shootings of students at Kent State, and war protests. John F. Kennedy, 1 st Catholic President. Cold War, effect of Communism on American life Student Demonstrations Bay of Pigs invasion and subsequent Cuban embargo BEFORE YOU BEGIN THE INTERVIEW: -Do some reading about this time to familiarize yourself with some of these events. -Prepare a list of questions BEFORE you begin the interview. However, let your respondent talk, only go back to the list of questions if they haven t covered them in the discussion. -Once you have done the interview, look up the specific event that your respondent has talked about in a paper, magazine, etc. and be prepared to discuss the impact of that article. -Talk to parents, grandparents, other relatives, neighbors, teachers, clergy, etc. YOUR PAPER SHOULD BE A MINIMUM OF 750 WORDS AND INCLUDE: 1-THE ORAL HISTORY ITSELF How did that specific event affect your respondent? What were their direct experiences with the event? According to your respondent, how did that event affect the decade? 2- WHAT DID YOU LEARN FROM THIS PROJECT What did you get out of the interview? What do you think are the differences between then and now?
WEEK 4 Explosion of Styles 1955-1970 OUTCOMES: Upon completion of this session students should be able to * Realize the changes in America that occurred in the decade of the 1960s. * Understand the stylistic differences between Cool, Hard Bop, and Avant Garde Jazz. * Know the importance of the key figures of this time frame: Miles Davis John Coltrane Charles Mingus ACTIVITES: * Discussion of assigned reading/listening * Short lecture on Jazz styles from 1955-1960. * Presentation of Oral History reports * Report on plans for concert/club report * Video: Jazz 1960 s
SESSION 5 TO BE COMPLETED PRIOR TO THE SESSION READ Chapter 11 Jazz-Rock-Funk Fusion pages 325-343 Weather Report pages 348-351 Is Jazz Dead? pages 1-21, entitled The Jazz Mainstream 1990-2005. A copy of this book is on reserve in the library. ASSIGNMENT: Write a 3 page (approx. 1000 word) opinion paper on why you think the U.S., as a culture, does or does not embrace Jazz as an important American art form. Is Jazz a great American art form? If so, why has Jazz decline in popularity? In the Swing Era, Jazz was America s popular music. Less than ten years later, modern Jazz started the slow decline in listener interest. Today Jazz represents less than 2% of all music sold in this country. Some points to consider: Is music art? If Jazz, like any other art is a product of its time, what has changed in American culture to diminish its impact? Consider the amount of music education in the our schools. Should music educate as well as entertain? Jazz is overwhelmingly more popular in Europe than it is in the US. What does this tell us about who were are as a culture? Do we, as listeners, only like simple music? The author from Is Jazz Dead? lists 5 reasons for the decline of the popularity of Jazz. Do you agree? Why? Why not? According to Billboard magazine, The music business went from bad to worse in 2002, as OVERALL sales declined by more than 10% from the previous year. This trend has continued over the last 6 years. -Do you think that jazz is simply suffering the same fate as other genres of music such as classical, rock, folk, and blues? Explain your answer. The author states that, If art is meant to be a reflection of life, then in America, by instinct a conservative nation, the main area of Jazz (or musical activity in general) has become conservative -Do you agree with this statement? Why? Why not? CONCERT/CLUB REPORT See Appendix C
Week 5 1970 -Present OUTCOMES: Upon completion of this session students should be able to * Articulate the experience of hearing live music. *Discuss what changes in American culture have precipitated the decline in the popularity of Jazz as an American art form. ACTIVITES: 1. Discussion of assigned reading/listening 2. Concert/ Club Presentation 3. Discussion of Jazz as an art form.
APPENDIX A PERSONAL MUSIC INTEREST INVENTORY During a 24-hour period, keep track of the music you experience/hear/perform. What kind of music is it? What is the source of the music? (e.g., car radio, choir/congregation at church! yourself whistling in the shower) What function does the music serve? (e.g., background sound, set pace for aerobic exercise, distract you when your are a patient in the dentist's chair) What are your favorite radio stations? For what type of music or musical performance are you willing to spend money (if finances permit)?
APPENDIX B FORM FOR GUIDED LISTENING REPORTS Name: WEEK # CHAPTER # Name of artist: Style period: Name of band: Title: INSTRUMENTS What instruments do you hear? What instruments are used for soloing, or supporting the soloist? TEXTURE: The relationship between different sounds. How the sounds are woven together. (i.e., Trumpet against flute) (The uses of different instruments create a certain texture.) MELODY Intervals, range, melodic contour, phrase structure, ornamentation. Clear, easily recognizable or difficult to follow? WHY? RHYTHM Syncopation or accents on strong beats? Meter: The organization of the basic pulse into units or measures TEMPO Rate of speed FORM How is the piece organized? Outline of Form is there a recognizable form? Free Improv: No recognizable form, music adds new melodic material without reverting to original material. IF YOU CAN T HEAR THE FORM- TELL ME WHAT YOU HEAR- Example: PIECE STARTS WITH ALL INSTRUMENTS THEN TRUMPET WITH RHYTHMS, ETC. DYNAMICS Loudness or softness of a musical sound. Does it change or remain the same throughout the piece? GENERAL COMMENTS: -This is a very subjective question. What is the most intriguing aspect of this music, or does it have one? Does it sound like other pieces from that era, or does it sound different? Can you tell what makes it sound different? Does the piece sound fresh or does it sound dated? WHY? These questions under General Comments are merely guidelines. I am interested to hear what you thought of the piece, good or bad and WHY you thought that way. MAKE SURE TO BRING IN A COPY OF THE CD TO CLASS.
APPENDIX C CLUB/CONCERT REPORT -NOTE: This is NOT a formal paper. When: Date of performance Name of ensemble: Did the band play any specific style of jazz? What was the instrumentation? Did all the instruments solo? Where: What did you think about the club/concert setting? Was it conducive to listening? Too noisy/too quiet? Music: Did you recognize any of the pieces? Could you recognize the form of any of the pieces? Did they vary the tempo during the set? Did they play songs from different eras? Different genres? General Comments: Tell us about your experience. Is this something that you have done before? If you normally attend live music shows of a different genre of music, how much similar/different was this show from what your usual concert/club experience? These are only suggested questions; please feel free to add any relevant comments or observations you may have regarding your listening experience. Use the musical terms that you have learned over the course of the semester to articulate your experience. I am interested in BOTH 1. The music you heard 2. Your personal experience SPECIAL NOTE: If this is a club setting, talk to the musicians about the particulars of the music. (i.e., The pieces, where they usually play, where they studied, etc.) Having played in clubs for over 20 years, it has been my experience that the musicians will be more than happy to answer any questions you may have.
COURSE PERFORMANCE CRITERIA In general, the performance criteria or expectation for each letter grade is as follows: Grade Requirements A 1. Demonstrates accurate and sophisticated understanding of readings and issues. Does more than repeat what the text says or what was said in class. Draws out additional important implications. 2. Shows a critical stance toward opinions expressed in class or in the readings. The student expresses his or her own views articulately and defends them well. 3. Shows originality of thought in expressing the critical stance, in drawing out additional implications from the readings and class discussions, and in finding personal meaning in the readings and issues discussed. 4. Expresses his or her ideas clearly. Papers contain few grammatical or stylistic weaknesses. B 1. Shows all the elements of" A" work, but with less accomplishment. 2. There is still: accurate understanding of readings and issues with a demonstrated ability to do more than repeat the text. 3. A critical stance with some effort to defend that stance, though not always successful; some attempt to find personal meaning, with at least hints of originality and creativity of thought, and very clear expression of thoughts and ideas. C 1. Overall, demonstrates an accurate grasp of the readings and issues, but with some inaccuracy and without deeper sophistication and the ability to draw out additional implications. 2. Some attempt to take a critical stance, but with little effort or success in \ defending that stance. 3. Some attempt to find personal meaning. 4. Sufficient clarity of expression to communicate ideas, but stylistic or grammatical weaknesses create some difficulties. D 1. A genuine effort to understand has been made, with some demonstrated understanding of readings and issues, but with serious deficiencies. 2. Generally lacking in critical stance or defense of that stance. 3. The attempt to find personal meaning is either lacking or greatly hindered by difficulties in understanding. F Simply an unsatisfactory effort in key respects, especially in understanding or clarity of expression.
URSULINE COLLEGE DEFINITION OF COURSE LETTER GRADES As they relate to mastery, each of the letter grades has the following meaning: A (93-100) = exceptional achievement B+ (90-92) = achievement qualitatively greater than that required for a grade of "B" B (86-89) = achievement superior to the basic level C+ (83-85) = achievement discernibly above the basic achievement C (76-82) = basic achievement in which both qualitative and quantitative requirements are met adequately and satisfactorily D (75-70) = work below the basic level of achievement but of sufficient quality to warrant credit F complete failure to meet course requirements CHARACTERISTICS OF EFFECTIVE WRITING Refer to UCAP guidelines. While proofreading your paper, ask yourself the following questions: 1. Have I fulfilled all facets of the assignment? 2. Is my major point or question clear and appropriate? 3. Is the structure apparent and easy to follow? 4. Have I supported generalizations, opinions and conclusions with specific examples or arguments? 5. Have I cited appropriately as needed? 6. Have I avoided using unnecessary words and clichés, or overly complex sentences? 7. Does my paper have spelling, punctuation and typographical errors?