Course Description

This is an introductory course to the cultural, social, and musical history of jazz music and some of its derivatives. We will explore the styles and structures of the music itself as well as some of the major creators and innovators that shaped the music. We will also look at some of the surrounding art forms that helped create the music and some that came about because of the music.

Required Materials (all available at Amazon.com)

Baraka, Amiri (Jones Leroi). Blues People . New York: Morrow Quill Paperbacks, 1963.

Gridley, Mark C. 1997. Jazz Styles History & Analysis Eighth Edition New Jersey: Prentice Hall

Course Requirements

Test 1 30%

Test 2 30%

Paper 25%

In-class presentation 10%

Discussion and participation 5%

Examinations

For each examination the students will be responsible for all material presented and discussed in class, readings from the text, supplemental reading materials, and listening as assigned. The final examination will not be cumulative; however, a conceptual understanding of materials from the first half of the semester will be required to clearly answer some questions.

Only under specific circumstances will there be a make-up examination given for any student in this class. The student must give reasonable advanced notice to the instructor that they will not be present at the examination AND the student must either:

(1) have an illness of such severity that undertaking the examination would have been impossible, as a visit to the doctor was required, and for which the doctor or Health Center has provided a specific written excuse for the student’s absence on the date of the examination clearly stating the nature of the medical emergency; OR

(2) have experienced a death in the immediate family

No other absences on test days or other due dates will be excused. Travel plans, including difficulty with departure dates, return flights, or otherwise, do not constitute an excused absence and will result in a grade of zero on the given assignment or exam. Please do not schedule travel or other events that preclude attendance in class.

Listening Assignments

Assignments will generally be made on a weekly basis. Students are expected to have listened to assigned materials prior to the next class. Listening should not require more then a maximum of one to two hours per week. Please schedule accordingly. All listening materials will be found online.

Written Assignments and Presentations

A topic paper of 5-7 pages and a 10-minute presentation are required for the successful completion of this course. These papers will require some objective as well as subjective analysis. Quality of thought and clarity of communication are implicit to the assignments and will be reflected in the grade.

Topic paper: A paper of 5-7 type written pages (double-spaced with standard margins) discussing a Jazz history topic of the student’s choice. The instructor, on or before October 2nd, must receive all paper topics for approval. In order to receive approval for a specific topic, the student must submit, in writing (typed on a sheet of paper or via email) the following:

(1) a working title (or several possibilities) for the paper;

(2) a bibliography of materials specific to the topic (this may be brief if on target);

(3) a one paragraph abstract of what the student hopes to discover and discuss in the course of the paper

Students may submit more than one topic for comment as the instructor will provide feedback and will help clarify the contents of the student’s research bibliography. For this paper all students must follow the writing procedures and formats given in a standard writing manual such as Kate Turabian’s A Manual for Writers or MLA. All non-original thoughts and quotations must receive a proper citation in the form of a footnote following the proper procedures given in the writing manual chosen.

For the in-class presentation, prepare an outline handout for the class that includes a bibliography and/or discography of the sources you used. Your presentation topic must be turned in and approved in advance by September 13th.

Academic Integrity

Standards of academic conduct are set forth in the University’s Academic Integrity Code. By registering, you have acknowledged your awareness of the Academic Integrity Code, and you are obliged to become familiar with your rights and responsibilities as defined by the Code. Violations of the Academic Integrity Code will not be treated lightly, and disciplinary actions will be taken should such violations occur. Please see me if you have any questions about the academic violations described in the Code in general or as they relate to particular requirements for this course.

Class Attendance and Participation

Regular and punctual attendance at all lectures is expected. There will be discussion lead by the students and instructor throughout the semester from which observations will be introduced that do not necessarily appear in any text. Please realize that the nature of this course demands continuous attendance in order to be successful. In addition, musical examples will be played and discussed in class that may not be available to the students in the listening library. All students are required to be active participants in the weekly discussions throughout the semester; therefore, the student must maintain a current understanding of both the textbook and supplemental reading assignments. Attendance will be taken at all lecture sessions.

Grading

There will be no opportunity for extra credit or make-up assignments. Students who miss a class are responsible for the information discussed during that session. The student’s final grade will be based entirely on the requirements given above. If a student’s grade is borderline (i.e. within 2% up or down to the next grade), a consideration will be made by the instructor to adjust the grade of a student up (particularly if absences number one or less for the semester) or down (if absences number two or greater).

COURSE CALENDAR

Week 1 Introduction: What is Jazz/Elements of Music (rhythm, harmony, melody)

How to Listen (song forms & performance routines: blues/A-A-B-A form)

Chapter 2 & 3 in Jazz Styles

Week 2 Origins of Jazz: African musical retentions, Work Songs and Blues

Chapter 4 in Jazz Styles

Introduction – Chapter 5 in Blues People

Week 3 Spirituals and Gospel: Thomas Dorsey, James Cleveland

Chapter 4 in Jazz Styles

Chapters 6-7 in Blues People

Week 4 Ragtime and Early Jazz (Dixieland): Scott Joplin, Louis Armstrong

Chapter 5 in Jazz Styles

Chapters 8-9 in Blues People

Week 5 Swing & The Big Bands: Fletcher Henderson, Duke Ellington, Count Basie,

Benny Goodman

Chapter 6, 7, 8 in Jazz Styles

Chapters 10-11 in Blues People

Week 6 Midterm Review

Test 1 (Topic paper and presentation topics due)

Week 7 Bebop: Charlie Parker, Dizzy Gillespie, Thelonius Monk, and Bud Powell

Chapter 9 in Jazz Styles

Chapter 12 in Blues People

Week 8 Latin Jazz: Chano Pazo, Tito Puente/ Class Presentations

Vocalists: Ella Fitzgerald, Sarah Vaughn, Billie Holiday. Billy Eckstine,

Nat King Cole/Class Presentations

Week 9 Cool Jazz, Third Stream & Hard Bop: Lennie Tristano, Lee Konitz, Miles & Gil Evans,

Horace Silver, Art Blakey, Sonny Rollins

Chapter 10 in Jazz Styles/Class Presentations

Week 10 Miles Davis: Groups and Sideman

Chapter 12 in Jazz Styles/Class Presentations

Week 11 Avante Garde and Free Jazz: John Coltrane, Ornette Coleman, Cecil Taylor

Chapter 13 &14 in Jazz Styles/Class Presentations

Week 12 Fusion: Weather Report, Yellowjackets, Pat Metheny/Class Presentations

Chapter 16 in Jazz Styles

Week 13 Young Lions, New Age & Hip Hop/Class Presentations

Class Presentations/Review for Exam/Papers Due

Week 14 Test 2

FINAL EXAM

Jazz History Class

Tuesday, August 21, 2012

Suggested Readings and Listenings