COURSE TITLE: Music 231: Honors Jazz History
CREDITS: 3 Credits
CLASSIFICATION DESIRED : Gen Ed categories (B) Humanities and Arts, (E)
Contemporary Issues, and Racial and Ethnic Studies - A
RATIONALE FOR REQUEST:
I am proposing the course Honors Jazz History as an addition to the Honor’s program course offerings to fulfill the General Education categories of (C) Arts & Humanities, (E)
Contemporary Issues, and fulfill the requirements to be a Racial and Ethnic Studies Category A.
This class takes as its core jazz music and examines the influences, emergence, characteristics, purpose, and development of the musical style from circa 1900 to the present. In addition to the understanding of the music, the course will also study the development of jazz in context of
American social history and the contributions of African Americans to jazz. Faculty members I have consulted support this course and anticipate great student interest.
Approval for a two-time offering is requested for Music 231: Honors Jazz History. This request is justified to help fulfill the need for Honors courses in the 2012-13 academic year that meet the Gen Ed and RES-A requirements. The Honors Advisory Board has approved this course for Fall of 2012. The course will be offered in the Fall of 2012 and if the demand is warranted in the Spring of 2013.
Due to changes in the Gen Ed policy taking effect in Fall 2013, I believe it is the best route to pursue a limited approval and offer this course as a Humanities with a RES-A classification in the Fall of 2012. I am concurrently submitting a proposal for this course to the
Expedited EF Gen Ed Committee. During the 2012-13 academic year, I will submit a proposal to the Gen Ed Committee, CIC Committee, and Racial and Ethnic Studies Committee for approval as a Gen Ed in Humanities and Contemporary Studies, with a RES-A classification.
COURSE DESCRIPTION:
American Jazz connections to changes in society: jazz origins and characteristics, a development of artists and styles, and a music’s reflection of individual expression, race relations, and acceptance by society.
COURSE OBJECTIVES:
1.
Demonstrate knowledge of facts about jazz history, artists, and compositions.
2.
Cultivate an active interest in listening to jazz.
3.
Use a vocabulary of musical terms to accurately describe characteristics of different jazz styles.
4.
Evaluate and describe musical performances critically and coherently with a personal interpretation.
5.
Employ a perspective of historical context and analysis to accurately illuminate the changes in jazz styles.
6.
Write and present an investigation that identifies connections between a jazz artist, musical expression, race, racism, and society.
COURSE EVALUATION:
Evaluations of students in this course will be based on a written paper, class presentation, a written journal, and class participation and discussions.
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COURSE OUTLINE: In the history of American Jazz, there are number of possible divisions that can be made depending on how music and prominent musicians are grouped. Musical concepts related to jazz, influences, the emergence and development of the style may all be covered as outlined below, however each topic and subtopics may be modified at the instructor’s discretion.
1.
Musical Concepts. (Objectives 2,3) Understanding the vocabulary, elements, and characteristics of music. Organization may be:
•
Timbre
•
Pitch (Melody & Harmony)
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Time
•
Form
•
Texture & Expression
2.
The Origins of Jazz: African, European, American (1890s) (Objectives 1, 2, 3, 4)
Examining the music of African slaves, European tradition, and American society and racism: Creoles of Color and Jim Crow Laws. Styles included may be:
•
African Folk Traditions
•
The Blues
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American Brass Bands
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Ragtime
3.
New Orleans: Hot Jazz! (1900-1920) (Objectives 1, 2, 3, 4) The emergence of jazz in a cosmopolitan city as scandalous music in a society of vices. Prominent individuals may include:
•
Buddy Bolden
•
Jelly Roll Morton
•
King Oliver
4.
The Spread of Jazz (1920s) (Objectives 1, 2, 3, 4) The popularity of jazz begins to appeal to the masses of Chicago and New York, spurred on by connections to prohibition, the entertainment of the roaring 20s, and the establishment of segregated black communities in the North. Prominent individuals may include:
•
Louis Armstrong
•
Fletcher Henderson
5.
Big Band Swing (1930s and 40s) (Objectives 1, 2, 3, 4) The moment in US history when jazz is the most popular music in the US. Jazz artists challenge socio-economic, racial barriers, and racist attitudes. The music becomes part of Carnegie Hall, the Harlem
Renaissance, and WWII. Prominent individuals may include:
•
Benny Goodman
•
Count Basie
•
Duke Ellington
•
Glenn Miller
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6.
Bebop Revolutions (1940s) (Objectives 1, 2, 3, 4) Changes to jazz as artists move from a popular music to an intellectual art intentionally separating themselves from mass appeal to satisfy artistic creativity, deal with an emerging civil rights conflict, and struggle with substance abuse. Prominent individuals may include:
•
Thelonious Monk
•
Charlie Parker
•
Dizzy Gillespie
7.
Reactions to Bebop: Cool, Hard Bop, Modal (1950s and 60s) (Objectives 1, 2, 3, 4) New jazz styles erupt as reaction to bebop, some extending and crossing the boundaries of the definition of jazz and music. Jazz artists are outspoken (or remain disturbingly silent) on racism and civil rights, war, and music as an artistic expression.
Prominent individuals may include:
•
Miles Davis
•
John Coltrane
•
Charles Mingus
•
Dave Brubeck
8.
Fusions: Rock and Latin Jazz (late 1960s, 70s, and 80s) (Objectives 1, 2, 3, 4) The jazz style crosses international and musical barriers taking influences from Caribbean and
South American music. Artists also merge characteristics of popular rock styles with jazz concepts reflecting a new inclusiveness of the artists in regards to style and culture.
Prominent individuals may include:
•
Stan Getz
•
Miles Davis
•
Chick Corea
•
Herbie Hancock
9.
Jazz Issues Today (1990s-present) (Objectives 1, 2, 3, 4, 5) What is the role of Jazz in society today? Jazz continues to be part of the entertainment industry in America but also considered an American musical art form. Some of the questions that may be considered include:
•
Neo-traditional jazz and authentic performance practices
•
Jazz as part of public music education
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Is jazz a black music style?
•
Does racism still exist in jazz?
•
Where are all the women in jazz?
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Jazz and the rebuilding of New Orleans after Hurricane Katrina: jazz musicians and the development of community
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JUSTIFICATION AS A GEN ED COURSE:
2.
Develop and apply effective reading, writing, speaking and listening skills.
Expectations for Honors Jazz History will be more than simple recitation of knowledge and facts. Instead, through the investigation and experience of jazz history, students will be asked to actively engage and apply what they are learning at a higher level through reading, discussion, writing, and presentation.
Class discussion will bring to light the musical aspects of jazz style and its evolution over time: how the music is put together with elements of pitch, time, timbre, form and expression. Equally important is the historical, political, and social perspective along with the potential connections to other art forms. Reading primary source documents will offer students firsthand accounts to describe perceptions and reactions to jazz. Writing in a journal as a response to listening to music will serve as a means of reflection for the student.
Being able to detail emotional reactions, musical observations, and questions that inquire to the nature of a musical work’s creation, acceptance, and development will allow the student to engage in and reflect on class discussions to better understand the music and musicians.
Journal writing will be reviewed and students will be required to participate in class discussions by speaking and listening.
As a culminating project, the student will research a jazz artist focusing on the artist’s contribution to music as a refiner and/or innovator, an artist’s role in society, how the music was a means of expression, and reactions to the music and musician. This research will then be presented to the class to summarize the particular artist’s role in the overall history and development of jazz and its changing role in society.
5.
Understand and value the historical, economic, political and psychological forces that shape the development and consequences of the behavior of individuals, groups, and institutions.
In the course, music serves as a portal to examine the forces that shaped and changed jazz style, its role in society, the people that participated in it, and the music market to which it belongs. From its seedy beginnings in bars and brothels, jazz has undergone a transformation to one of America’s popular music styles, to an intellectual activity, and finally to a refined music of America accepted throughout the world by different socioeconomic groups. Jazz may have been a style at first only associated with African-
Americans but now involves musicians of all races.
In addition to studying the jazz style of music, it is important to make the connections to the history surrounding the music. Many jazz musicians have been part of the civil rights movement in America while others have been silent. Two notable artists – Louis Armstrong and Dizzy Gillespie – have been official representatives of the US as musical ambassadors to foreign countries. Dizzy Gillespie was a popular write-in candidate for the 1964 presidential election. Music is often considered to be a reflection of society and it is for that reason connections will be made to historical, economic, political and psychological forces that shaped the music made by jazz artists, how it was accepted by society, and used by leaders in history. These connections will be a part of class discussions. Students will be expected to make similar connections as they research a jazz artist of their choice. A written paper and class presentation will be the culmination of that research.
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JUSTIFICATION AS AN (A) HUMANITIES AND THE ARTS CLASSIFICATION:
Definition : The Humanities investigate human constructs and values, as opposed to those studies that investigate natural and physical processes and those that are concerned with the development of basic or professional skills.
The humanistic disciplines--such as art history, history, music appreciation, literature, and philosophy--are concerned with questions, issues and concepts basic to the formation of character and the establishment of values in a human context; they induce an organic study of letters and knowledge; they provide literary, aesthetic and intellectual experiences which enrich and enlighten human life.
Criteria : Courses used to satisfy GE distribution requirements for the Humanities must employ
(a) and one other of the following as the primary instructional purposes: a.
Humanistic means of inquiry, such as the critical use of sources and evaluation of evidence, the exercise of judgment(,) an expression of ideas, the organization, logical analysis, and creative use of substantial bodies of knowledge.
Honors Jazz History takes as its core of study jazz music and examines the influences, emergence, characteristics, purpose, and development of the musical style from circa 1900 to the present. Students will listen to, examine, and discuss music by significant jazz artists representing diverse jazz styles to understand how these examples use musical elements and are constructed. Musical contrasts and commonalities of the examples serve to identify the evolution of the jazz style and contributions by individuals or groups of musicians. Conditions of performance will be noted along with evidence of purpose, or meaning behind each work of art, to understand the role of jazz music as an individual’s artistic expression. Music recordings, recorded interviews, and written sources will all serve as primary evidence with which students will judge the meaning and interpretation of jazz as a part of American culture. d.
Enhancement and extension of responses to literature and/or other arts by introducing the process of thoughtful and systematic analysis, or by fostering an appreciation of distinctive cultures and traditions, or by increasing sensitivity to language and its nuances.
Through the study of jazz history students will develop an understanding of musical vocabulary, concepts, and characterization. Analyzing the evolution of the jazz style and comparing the distinct style differences that have been established allows the student to better recognize and appreciate the music’s distinctiveness and purpose. Ultimately the student will gain a better perception of the rich musical heritage of this American art form and take pleasure in listening to it.
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JUSTIFICATION AS AN (E) CONTEMPORARY ISSUES COURSE:
CONTEMPORARY ISSUES: courses that engage students in interdisciplinary learning experiences focused on the analysis of significant issues that require two or more disciplinary perspectives to synthesize solutions. Contemporary Issues courses aim at understanding the interdisciplinary nature of knowledge and the application of an interdisciplinary approach to problem solving.
Briefly explain how your course meets each of these criteria:
1.
Focus on issues that cross disciplinary boundaries.
Honors Jazz History seeks to develop an understanding and appreciation for jazz as an artistic expression in music. But to understand the role jazz has had in American history, we must go beyond an appreciation for the style. The course also seeks to place the musical style in historical context, examining factors that precipitated the emergence of the jazz style, the appeal of jazz to different societal groups, the role jazz has had in conjunction to historical events, and the relationship jazz artists have had with civil rights. By tracing the musical style and its place in history – putting real people in a complex situation – students may reflect and contemplate how they would react to such a situation. With this foundation, students may better understand the importance of jazz as part of American identity.
2.
Integrate two or more disciplinary perspectives AND at least one of these perspectives must include a discipline from GE categories B, C, or D (ANRSN, ARTSHUM, or SBSCI). o Disciplinary Perspective 1: ____Music (category C)_____. o Disciplinary Perspective 2 ____History (category C)_____. o One of these perspectives is in GE Category B, C, or D.
3.
Develop the student’s ability to synthesize information and analyze problems from multiple perspectives.
The creation of a musical style is a result of complex forces acting on individuals who respond with an expressive art. This course utilizes music, aesthetics, primary source documents, and group discussion to investigate an American art form and its history. By using jazz as a portal, students will examine the people considered to be great jazz artists. To better identify with these individuals and their music, the class extends the scope of investigation to include historical/social events that influenced them: from stereotypes of class and race, to economic and political events, and even personal beliefs. Placing jazz in the context of these different perspectives, students will gain a better understanding of the music and the society of which it is a part.
4.
Develop the student’s ability to creatively synthesize multiple perspectives to solve complex issues.
The final stage of an historical examination of jazz is to apply what has been learned to current conditions. Having studied jazz in a historical context, the students may then better understand the role of jazz today – how it contributes to the unique identity of
America, and as a way to build and strengthen relationships. Contemporary issues such as: jazz as part of the music industry, the role of jazz in public education, jazz artists’ contributions to community identity ( i.e.
the rebuilding of New Orleans after hurricane
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Katrina), or an examination of continued stereotypes in jazz (race, gender roles, addictions, behavior, etc.) can be seen in context of artistic identity, racial identity, tradition, an exploration of musical concepts, and historical forces. Through the process of viewing music through multiple perspectives, students will ultimately gain the ability to use music as a way to relate to people across the spectrum of society, race, and cultural backgrounds. The skills learned in this class will hopefully extend beyond and be applied throughout one’s education, career, and life.
JUSTIFICATION AS A RES-A COURSE:
Briefly explain how your course meets the criteria below and indicate the percent time spent on each. RES
‐
A courses must devote 75%
‐
100% of content to the topics below while
RES
‐
B courses must devote 50%
‐
74% of content to these topics. While a quality Racial and
Ethnic Studies course will address each of the topics in some fashion, it is not expected that each will be emphasized equally.
1.
Historical and ideological construction of race – 15%
2.
Racial/ethnic identity formation – 15%
3.
Racial impact on public policy – 20%
4.
Stratification of differences – 25%
5.
Exploration of students’ cultural and racial/ethnic experiences – 10%
Jazz traces its origins to the practices of African Americans in the New Orleans area of
Louisiana, mixed with musical influences of Africa, Europe, and the Caribbean. Throughout its development, jazz has been closely associated with African American artists and has been an avenue for their artistic expression in music along with the means to earn a living. (criteria 1, 2,
4)
The struggles that black jazz artists endured include being cheated out of earnings due, not being able to eat or use the restroom in a performance venue, scorn and mockery off the stage, and acts of terrorism while traveling between performance venues. White jazz musicians have also endured injustices because of their association and partnership with black musicians.
Jazz is ironic in that the music was enjoyed by white Americans, but those same people despised the black musicians that created it. There have been a number of jazz artists that have used their status to demand better treatment for African Americans and even become leaders in the Civil
Rights movement – Benny Goodman, Louis Armstrong, Dizzy Gillespie, and Charles Mingus – and sought to change public perception and policy with their music and influence. (criteria 2, 3,
4)
Through the history of the jazz, race has been associated with the ability to play jazz – getting in touch with your “black” soul as a white musician or being an inferior performer if you are white – which continues to this day. The ability to create good jazz music is often associated with stereotypes based on socio-economic status and the amount of “suffering” one may have endured in life – common to many African Americans considered great jazz artists. These stereotypes will be examined in regard to individual artists and their experiences as musicians and how they dealt with these attitudes. (criteria 1, 2, 4, 5)
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Many students from small, predominantly white communities may have never experienced jazz or appreciated the role African Americans have played in the development of the style and the struggles they overcame. Students of any race may hold misconceptions regarding jazz and the artists that create it or not realize the importance jazz has had as an art form for many African Americans in the past and in the present. Jazz may be a portal through which these struggles and triumphs might be better understood. (criteria 4, 5)
Throughout the study of jazz history, racial identification, public perception and policies of race, and stratification of differences are present. Virtually every jazz artist – of any ethnicity
– has had to deal with race in some way in their career, and for many, it has played a large role in shaping their contributions to the music and their role as a public figure. This course offers to the students an exciting opportunity to explore the study of racial and ethnic relationships in context of jazz as an expressive art form and a part of American history. (criteria 1, 2, 3, 4, 5)
SPECIAL CONSIDERATIONS:
•
Music 231 is an Honors Course that will first be filled by students in the UHP. If space exists, students with a 3.00 GPA or higher will be admitted, or students approved by the instructor.
IMPACT ON EXISTING OFFERINGS:
•
No other music courses exist that are intended for UHP students. Students may receive credit for Music 231 and Music 130 or Music 132.
HOUSING OF THE COURSE:
•
Music faculty competent in the performance and knowledge of the jazz style will staff this course as part of the Speech Communications, Foreign Languages, Theatre, and
Music Department in the College of Arts, Humanities, and Social Sciences.
RESOURCE REQUIREMENTS
•
Additional faculty time and expertise needed?
Honors Jazz History requires an instructor highly competent with jazz performance practices and techniques, artists, recordings, and the history of its development. With current instructional loads, this course will result in an overload of 3 credit hours each semester taught.
•
Other – space, equipment, supplies, etc.?
A classroom with sound and video projection is needed for instruction.
RECOMMENDED TEXTS:
•
Jazz: Essential Listening by Scott DeVeaux & Gary Giddins, Norton, 2011.
•
DVD to accompany Jazz: Essential Listening , Norton, 2011.
•
Keeping Time: Readings in Jazz History , edited by Robert Walser, Oxford, 1998.
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SELECTED RESOURCES (theoretical foundation of the course as well as suggested readings)
Basie, Count. Good Morning Blues: The Autobiography of Count Basie.
With Albert Murray.
New York: Random House, 1985.
Clarke, Donald. Wishing on the Moon: The Life and Times of Billie Holiday.
NewYork: Viking
Press, 1994.
Collier, James Lincoln. Benny Goodman and the Swing Era. New York: Oxford University
Press, 1989.
DeVeaux, Scott. The Birth of Bebop: A Social and Musical History.
Berkeley and Los Angeles:
University of California Press, 1997.
DeVeaux, Scott and Gary Giddins. Jazz . New York: Norton, 2009.
Dicaire, David. Jazz musicians of the early years, to 1945 . Jefferson, N.C. : McFarland, 2003.
Ellington, Duke. Music Is My Mistress.
Garden City, N.Y.: Doubleday, 1973.
Gioia, Ted. The History of Jazz.
New York: Oxford University Press, 1997.
Jones, LeRoi (Amiri Baraka). Black Music. New York: Morrow, 1967.
Jones, LeRoi (Amiri Baraka). Blues People: Negro Music in White America.
New York:
Morrow, 1963.
Jazz . Ken Burns (director). Washington D.C.: Florentine Films, 2001. Videorecording.
Kernfeld, Barry, ed. The New Grove Dictionary of Jazz . New York: Macmillan, 1988.
Kirchner, Bill, ed. The Oxford Companion to Jazz.
New York: Oxford University Press, 2000.
Szwed, John. So What: The Life of Miles Davis . New York: Simon and Schuster, 2002.
Von Eschen, Penny. Satchmo Blows Up the World: Jazz Ambassadors Play the Cold War.
Cambridge: Harvard University Press, 2004.
Wald, Elijah. Escaping the Delta: Robert Johnson and the Invention of the Blues. New York:
Amistad, 2004.
Walser, Robert, ed. Keeping Time: Readings in Jazz History . New York: Oxford University
Press, 1999.
Ward, Geoffrey C., and Ken Burns. Jazz: A History of America’s Music.
New York: Knopf,
2000.
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