Semester at Sea, Course Syllabus Colorado State University, Academic Partner Semester: Fall 2016 Discipline: Ethnomusicology Course Number and Title: MU 332 History of Jazz (Section 1) Course Level: Upper Faculty Name: David Borgo, Ph.D. Semester Credit Hours: 3 Prerequisites: none COURSE DESCRIPTION Explores the history of jazz from its roots to the present day. The course begins with an investigation into African and African American musical precursors, including spirituals, work and play songs, minstrel traditions, ragtime and the blues. It continues by exploring the emergence of jazz in New Orleans, Chicago, Kansas City, and New York City, as well as the exportation of jazz to locales around the world. Special attention will be paid to jazz artists and practices in Africa, Cuba, Brazil, Panama, and Peru. In addition to a survey of the most important performers and their associated styles and techniques (e.g., swing, bebop, cool, modal, avant-garde, jazz-rock fusion, etc.), this course explores the often provocative role jazz music has played in American and global society, and the diverse perceptions and arguments that have surrounded its production and reception. The course is designed to increase our abilities to hear differences among performances and styles of jazz, and to interpret the meanings of such differences. We will learn to use historical perspective, social context, and technological mediation as prisms through which we can understand why a piece of music sounds the way it does, what the music signifies about a particular time and place, and how its meanings may change for musicians and audiences over time. LEARNING OBJECTIVES Upon completion of this course, students should have: An awareness of jazz with regards to cultural and historical significance An ability to discuss instrumentation, form, function, and style in jazz A chronological understanding of the development of jazz up to the present day An ability to differentiate between pre-composed melody and improvisation in jazz An ability to identify by style previously unheard performances or recordings A vocabulary to describe a jazz performance in both spoken and written formats A knowledge of how a jazz performance is created, from composition to rehearsal to concert Deep enough understanding of jazz to formulate opinions on the quality of a given performance based on accepted stylistic norms and personal opinion
REQUIRED TEXTBOOKS AUTHOR: John Edward Hasse and Ted Lathrop TITLE: Discover Jazz PUBLISHER: Pearson ISBN-13: 978-0136026372 ISBN-10: 0136026370 DATE/EDITION: 1st ed., 2011 [NOTE: All required listening examples will be made available through the ship s Intranet] TOPICAL OUTLINE OF COURSE [NOTE: all reading, listening, and viewing assignments should be done prior to the class session for which they are listed. Reading Quizzes are comprised of both objective and short answer questions related to the reading and listening assignments that will be handed out at least one class session in advance of their due date.] Depart Hamburg September 10 A1 September 12: Course Introduction and Overview What is jazz? What are its defining elements? What different approaches can we take to studying jazz? What is its musical, historical, and cultural significance? READ: Chapter 1 A2 September 14: Listening to Jazz What are some strategies for focused and critical listening specific to jazz? How do jazz musicians approach melody, harmony, rhythm, sound color, and musical interaction? Did jazz retain any aspects of African musical practices? What are typical jazz forms and structures? What role does improvisation play in jazz and how should we listen for it? What factors help us to determine the quality of a jazz performance? READ: Chapter 2 No Classes September 16
A3 September 17: The Birth of Jazz What roles did African, European, and Caribbean music play in the early development of jazz? Why was New Orleans important to jazz s formation? How was early jazz related to other musical practices of the time, such as ragtime and the blues? READ: Chapter 3 to page 45 and Chapter 10 pages 265-267 ( Early Latin Influences on Jazz ) LISTEN: tracks 1-6 ASSIGNMENT: bring your Reading Quiz #1 responses to class Piraeus September 19-23 A4 September 24: New Orleans Notables Who were some of the early jazz innovators in New Orleans? How did their music sound and why? How did issues of race play out in jazz s first decades? Who made the first jazz records? How was early jazz music received, and for what reasons? What impact did jazz have on Europe in these early years and what controversies often surrounded it? READ: Chapter 3 from page 46 and Chapter 11 pages 288-298 LISTEN: tracks 7-9 and 35 Civitavecchia - September 26-28 Livorno September 29-30 A5 October 1: The Jazz Age How did jazz develop in the 1920s in Chicago, Kansas City, and New York City (especially in Harlem)? Who were some of the leading figures of jazz at the time? What controversies did jazz music provoke? What role did arrangers, singers, and the record industry play in popularizing the style? What impact did jazz have on both popular and classical music of the period? Who were some important artists in this regard? READ: Chapter 4 LISTEN: tracks 10 and 11 ASSIGNMENT: bring your Reading Quiz #2 responses to class Barcelona October 3-7 A6 October 8: The Swing Era How did jazz become America s popular music during the swing era? What contributed to the sound of the big bands, and who were the royalty of swing? What impact did the racial climate of the time
have on how big bands formed and operated? Why did all-female bands arise during this period? What role did smaller ensembles and soloists play? What contributed to the decline of the big bands?how did jazz develop in the Middle East and what are some Middle Eastern and Andalucian influences on jazz? READ: Chapter 5 and Chapter 11 pages 306-308 ( Jazz in the Middle East ) LISTEN: tracks 12-15 Casablanca October 10-14 A7 October 15: Bebop and Modern Jazz What musical and social movements during and after WWII were pivotal to the development of bebop? Who were some of the pioneering bebop musicians, and where did they hone their craft? How were bebop musicians portrayed in the media at the time? READ: Chapter 6 to page 146 LISTEN: tracks 16-18 ASSIGNMENT: bring your Reading Quiz #3 responses to class A8 October 17: Piano Modernists, Cool Jazz and the West Coast Scene How do the piano styles of Bud Powell, Thelonious Monk, Lennie Tristano, and Dave Brubeck differ? Why was Monk often considered too far out for his time, even by his fellow modernists? How did cool jazz differ from bebop, and who were its key proponents? How did this style of jazz relate to the lifestyle and environs of California? Why did artists look to make inroads with college and concert audiences at this time? What is third stream music? How did it develop and what has been its lasting impact? READ: Chapter 6 from page 146 and pages 176-177 ( Two Takes on the Piano ) LISTEN: tracks 19-21 A9 October 19: Jazz in Africa Where is jazz performed in Africa, what styles tend to be popular, and who are/were some prominent musicians? Why has jazz played such an important role in South Africa, in particular, and what styles and celebrated performers have emerged from there? Why did the US State Department export jazz during the 1950s and 60s, and, in particular, why did they view the African continent as an especially important destination for sponsoring bands led by African American musicians? READ: Chapter 11 pages 311-317 ( Jazz in Africa ) and Ingrid Monson, Africa, The Cold War, and the Diaspora at Home LISTEN: track 36
ASSIGNMENT: bring your Reading Quiz #4 responses to class Dakar October 21-24 A10 October 25: MIDTERM EXAM A11 October 27: Latin Jazz: Common Sources, Different Sounds How did Afro-Cuban and Afro-Brazilian jazz draw on similar musical roots to create different musical styles? What native Cuban and Brazilian rhythms and musical instruments have influenced the development of Latin jazz? READ: Chapter 10 to page 265 No Classes October 28 A12 October 30: Brazilian Music and Jazz READ: Chapter 10 pages 277-281 ( Brazilian Music and Jazz ) and Brazilian instrumental music and jazz (Chp. 8) from The Brazilian sound : samba, bossa nova, and the popular music of Brazil / Chris McGowan and Ricardo Pessanha. (revised ed. 2009, Temple University) LISTEN: track 34 Salvador November 1-6 A13 November 7: Cuban Music and Jazz How and why did musical exchanges between the United States and Cuba change over the years? Who were the key Puerto Rican and Cuban musicians in jazz history? READ: Chapter 10 pages 268-277 and Swing Shift: The 1940s (Chp. 4) in Latin Jazz by John Storm Roberts (Shirmer Books, 1999) LISTEN: tracks 32 and 33 A14 November 9: Calle 54 FILM: Calle 54 also recommended: Cachao Como Su Ritmo No Hay Dos ASSIGNMENT: bring your Reading Quiz #5 responses to class A15 November 11: More Sounds from the Caribbean READ: Chapter 10 pages 281-284 Port of Spain November 13-14
A16 November 15: Mainstream Jazz What currents in American society influenced the development of jazz in the 1950s? Why was Miles Davis among the most important musicians of this period? How did hard bop develop in response both to bebop and cool jazz? What is soul jazz? What vocalists were important during the mainstream era? How was jazz presented on television at this time? What impact did the longplaying record have on jazz? How did jazz interact with or influence the literary and visual arts of the time? READ: Chapter 7 LISTEN: track 25 A17 November 17: Miles Davis LISTEN: track 22 No Classes November 18 A18 November 20: John Coltrane LISTEN: track 23 Callao November 22-26 A19 November 27: 1959 Why was 1959 such a pivotal year in jazz history? What innovative albums were released that year, and by whom? What exploratory practices were hinted at in jazz at this time with regards to melody, rhythm, and harmony? READ: page 199 FILM: 1959: The Year that Changed Jazz ASSIGNMENT: bring your Reading Quiz #6 responses to class A20 November 29: The Sound of Freedom What were the roots of free jazz, and who were the leading innovators? How did Ornette Coleman s music become a lightning rod for praise, confusion, and scorn? What changes were being explored in performance style and compositional practice? READ: Chapter 8 pages 200-213 LISTEN: tracks 26 and 28 Guayaquil December 1-4 A21 December 5: Further Explorations
How did free jazz resonate with the Civil Rights Movement? What role did artist-run collectives and performance spaces play in free jazz? Which artists were in the second-generation of the jazz avant-garde, and how did they approach their music and message? How was exploratory jazz received in Europe and beyond? READ: Chapter 8 from page 214 and pages 300-301 ( Experimental and Free Jazz in Europe and Beyond ) LISTEN: track 27 A22 December 7: Fusion Jazz What is fusion jazz and how does it compare to other jazz styles? What were some of the early forms of fusion jazz? What are some of the key fusion bands of the 1970s. and how did their styles differ? How did fusion jazz become more commercial by fusing with R&B music? How has fusion continued to develop and who are some current performers? READ: Chapter 9 LISTEN: tracks 24 and 29-31 ASSIGNMENT: bring your Reading Quiz #7 responses to class Puntarenas December 9-13 A23 December 14: The Mainstream Revival What precipitated a revival in mainstream acoustic jazz in the late 1970s and 1980s? Who were some of the important figures in this revival? How did Wynton Marsalis become a spokesperson for jazz and a lighting rod for criticism at this time? In what directions has mainstream jazz continued to develop? READ: Chapter 12 to page 329 LISTEN: 38 A24 December 16: Jazz Forward Who are some important contemporary jazz artists? What is meant by jazz in the twenty-first century? Has the music continued to evolve? What is the current health of the jazz industry and the jazz community? Who listens to jazz? Do differences of race, class, gender, and sexuality continue to be factors in the jazz world today? READ: Chapter 12 from page 330 LISTEN: tracks 37, 39, and 40 ASSIGNMENT: bring your Reading Quiz #8 responses to class
Study Day December 18 A25 December 19; A Day Finals San Diego December 22 FIELD WORK Paying attention to music you encounter in each of the ports we visit is an important aspect of this course. Whenever possible, try to seek out opportunities in the ports that involve music, especially musical activities that might be related to jazz in some way. Attend live musical events whenever possible, but also pay special attention to where and how recorded music is utilized in daily activities. How does the music you are hearing seem to relate to the people, the place, and/or the other activities going on? How is music marketed and consumed (i.e., purchased, engaged, or understood) in the places you visit? By whom? Why? To what effect? Try speaking with participants, listeners, and musicians whenever possible. You are welcome to make field recordings of small portions of the music you encounter, if this seems appropriate to the context of the event or performance. [NOTE: Before you record, do your best to make certain that making a recording at the event or performance is acceptable. If you can, try to get approval from the involved parties. If you have any lingering concerns, then don t record.] Most importantly, you should make a habit of recording your observations, reflections, and information that you collect about music and culture in a dedicated field notebook or journal. We will set aside time during the class session immediately following our time in port to share and discuss student observations. FIELD CLASS AND ASSIGNMENT Field Class attendance is mandatory for all students enrolled in this course. Do not book individual travel plans or a Semester at Sea sponsored trip on the day of your field class. Field Classes constitute at least 20% of the contact hours for each course, and will be developed and led by the instructor. Barcelona, Spain History of Jazz (Section 1) October 3, 2016 The Field Class will involve a visit to the Taller de Músics in Barcelona. We will tour the Escuela de Musica to see their facilities and teaching approach first hand. The school is home to La Original Jazz Orquestra (OJO), a professional training orchestra for student musicians to hone their skills in performance, improvisation, and composition. David Pastor, a celebrated jazz trumpeter and the director of OJO, will be our guide. He will introduce us to the student musicians, explain the relationship that the orchestra has will celebrated Spanish jazz composers, and demonstrate how he rehearses the ensemble. Experimental improvisor and percussionist Luis Tabuenca will also be on hand to provide an example of more avant-garde approaches to improvisation and to guide our students through an improvising workshop.
Finally, the JazzSí Club is located in the same area as the Taller de Músics, and we will go there to experience a jazz jam session first hand. This offers a wonderful opportunity to experience how jazz musicians put together complete performances, full of improvisation and interaction, in a smaller, less formal club setting. On the final day of the semester you are expected to hand in your final FIELD ASSIGNMENT. This will take the form of an original essay of a minimum of five pages, typed and double-spaced. Your writing should demonstrate a sophisticated and ongoing engagement with all of the course materials, and it should draw upon your experiences and reflections from our field class and from at least two additional ports of call. It should contain detailed ethnographic observations, critical reflection, some limited musical analysis, and some basic interview materials. Your writing should demonstrate a familiarity and ease with new analytical musical vocabulary introduced in the course, and it should make connections between the musics you encounter and their cultural and social context. The bulk of your report can focus on our field class activities in Barcelona, including what you learned about improvisation and ensemble performance and pedagogy, but you should also make some references to musical activities that you have witnessed in different ports. Your essay should have a controlling idea and make insightful and nuanced observations about the music, places, and people you engaged, as well as demonstrate an ability to discuss and analyze music with terminology we learn in the course. You are welcome to submit a field recording or two in tandem with your final paper, especially if those recordings are analyzed in the text, but this is not required. For your FIELD ASSIGNMENT to be judged excellent, it should contain error-free articulate prose, varied sentence construction, and be organized into sections and paragraphs that effectively enhance the development of ideas. INDEPENDENT FIELD ASSIGNMENTS As previously mentioned, paying attention to music you encounter in each of the ports we visit is an important aspect of this course. Each student should be prepared at some point to share observations about a musical event they attended in port with the class. METHODS OF EVALUATION / GRADING SCALE The following Grading Scale is utilized for student evaluation. Pass/Fail is not an option for Semester at Sea coursework. Note that C-, D+ and D- grades are also not assigned on Semester at Sea in accordance with the grading system at Colorado State University (the SAS partner institution). Pluses and minuses are awarded as follows on a 100% scale: Excellent Good Satisfactory/Poor Failing
97-100%: A+ 94-96%: A 90-93%: A- 87-89%: B+ 84-86%: B 80-83%: B- 77-79%: C+ 70-76%: C 60-69%: D Less than 60%: F READING QUIZZES - 40% (5% ea.) MIDTERM EXAM - 20% FINAL EXAM - 20% FIELD CLASS AND ASSIGNMENT - 20% * Exams involve listening identification, written reflection on what you are hearing, and short answer responses to prompts or terms based on course themes, lectures, and readings. The final exam is NOT cumulative. * Reading Quizzes are comprised of both objective and short answer questions related to the reading and listening assignments that will be handed out at least one class session in advance of their due date. ATTENDANCE/ENGAGEMENT IN THE ACADEMIC PROGRAM Attendance in all Semester at Sea classes is mandatory. I expect students to be on-time and prepared for each class session. Each unexcused missed class will lower the the student s final grade by 3% points. Tardiness will lower the the student s final grade by 1% point. Missing more than three classes without an excuse (or 6 days arriving tardy) can be grounds for failing the course. Students must inform their instructors prior to any unanticipated absence and take the initiative to make up missed work in a timely fashion. Instructors must make reasonable efforts to enable students to make up work which must be accomplished under the instructor s supervision (e.g., examinations, laboratories). In the event of a conflict in regard to this policy, individuals may appeal using established CSU procedures. Class discussions should be both informed and respectful. All students are encouraged to raise questions, explore ideas, and express misgivings. We will aim to make certain that everyone s voice is heard and that all viewpoints are given equal consideration. Contributions to class discussions and active participation in small group work are essential to both the momentum of the course and the development of your ideas. This requires that you come to class prepared (having completed assigned reading, listening and assignments) and ready to participate in class activities. LEARNING ACCOMMODATIONS Semester at Sea provides academic accommodations for students with diagnosed learning disabilities, in accordance with ADA guidelines. Students who will need accommodations in a class,
should contact ISE to discuss their individual needs. Any accommodation must be discussed in a timely manner prior to implementation. A memo from the student s home institution verifying the accommodations received on their home campus is required before any accommodation is provided on the ship. Students must submit this verification of accommodations pre-voyage as soon as possible, but no later than July 19, 2016 to academic@isevoyages.org. STUDENT CONDUCT CODE The foundation of a university is truth and knowledge, each of which relies in a fundamental manner upon academic integrity and is diminished significantly by academic misconduct. Academic integrity is conceptualized as doing and taking credit for one s own work. A pervasive attitude promoting academic integrity enhances the sense of community and adds value to the educational process. All within the University are affected by the cooperative commitment to academic integrity. All Semester at Sea courses adhere to this Academic Integrity Policy and Student Conduct Code. Depending on the nature of the assignment or exam, the faculty member may require a written declaration of the following honor pledge: I have not given, received, or used any unauthorized assistance on this exam/assignment. RESERVE FILMS FOR THE LIBRARY [For all of the films listed under electronic course materials I can provide a digital copy] RESERVE BOOKS FOR THE LIBRARY none ELECTRONIC COURSE MATERIALS Films: Calle 54 Cachao Como Su Ritmo No Hay Dos 1959: The Year that Changed Jazz Scans: AUTHOR: John Storm Roberts TITLE: Swing Shift: The 1940s JOURNAL/BOOK TITLE: Latin Jazz
PUBLISHER: Shirmer ISBN #: 0825671922 DATE/EDITION: 1999 PAGES: Chapter 4 AUTHOR: Chris McGowan and Ricardo Pessanha TITLE: Brazilian instrumental music and jazz JOURNAL/BOOK TITLE: The Brazilian sound : samba, bossa nova, and the popular music of Brazil PUBLISHER: Temple University Press ISBN #: 1592139299 DATE/EDITION: 2009 (revised and expanded edition) PAGTES: Chapter 8 AUTHOR: Ingrid Monson TITLE: Africa, The Cold War, and the Diaspora at Home JOURNAL/BOOK TITLE: Freedom Sounds: Civil Rights Call Out to Jazz and Africa PUBLISHER: Oxford University Press ISBN #: 9780195128253 DATE/EDITION: 2007 PAGES: Chapter 4 (pp.107-151)