Music 123

I. Course Title: The Art of Jazz (GE)

II. Course Number: MUSC 123

III. Credit Hours: 3 credits 

IV. Prerequisites: None

V. Course Description: 

Study of the basic elements and history of jazz music through lectures and listening.

Note(s): General Education and Cultural or Behavioral Analysis designated course.

VI. Detailed Description of Content of the Course:

The purpose of this course is to trace the development of musical style in jazz music from the late nineteenth century to the present day, with a focus on how jazz was shaped by cultural contexts, social struggle and institutional influences. The course also examines historically significant musicians and their music, and provides a primer for critical listening. 

MUSC 123:

I. Jazz Origins – Cultural Influences

  • a. Africa
  • b. Europe
  • c. West Indies
  • d. Creole

II. Pre-Jazz – Music Influences

  • a. The Blues
  • b. Ragtime
  • c. Minstrelsy
  • d. Parade Music

III. Critical Listening

  • a. Instrumentation
  • b. Structure
  • c. Components of Jazz Style

IV. New Orleans

  • a. Birthplace of Jazz
  • b. Segregation – Leads to mix of musical styles
  • c. Storyville – Red-light District/musicians flourish
  • d. Improvisation
  • e. Buddy Bolden/”Jelly Roll” Morton
  • f. Joe “King” Oliver/Louis Armstrong

V. The Great Migration

  • a. 6 million African Americans move to northern cities from the southern United States
  • b. Fear/Opportunity
  • c. Jazz moves north

VI. Chicago

  • a. Late 1910s and Early 1920s
  • b. Expansion of solo improvisation
  • c. First Jazz recording – Dixieland Jazz Band
  • d. Music and Key figures

VII. New York

  • a. Harlem Renaissance – Literary/Artistic Movement 
  • b. Ballrooms and Nightclubs
  • c. Recording/Publishing/Radio
  • d. Prohibition / Speakeasies
  • e. Music and Key Figures

VIII. Kansas City

  • a. “Paris of the Plains” 
  • b. Political corruption/Gambling/Alcohol/Prostitution – Depression resistant  
  • c. Territory Bands
  • d. Music and Key Figures

IX. The Great Depression

  • a. “Rent Parties”
  • b. Radio – Shared national listening experience 
  • c. Music Industry Downturn

 X. The Swing Era / Big Bands

  • a. Hot vs. Sweet Jazz
  • b. World War II – Impact and Influence
  • c. Swing Vocalists
  • d. Music and Key Figures

X. Café Society

  • a. First Integrated Nightclub
  • b. Social Causes
  • c. John Hammond/Barney Josephson/Benny Goodman
  • d. Billie Holiday

  XI. BeBop and Beyond – 1940s and 1950s

  • a. Response to Big Band 
  • b. Race and Economics in the birth of Bebop
  • c. Pushing musical and technical boundaries
  • d. Music and Key Figures

    XII. Important Jazz Composers/Innovators

  • a. Duke Ellington 
  • b. Miles Davis        
  • c. John Coltrane

   XIII. 1960s Forward

  • a. Jazz Fusion 
  • b. Avant-Garde/Free Jazz         
  • c. Neo Traditionalists

VI. Detailed Description of Conduct of Course:

Primarily a lecture class, the class discussions will be augmented by music listening. The basic text will be supplemented by materials presented in class and provide further discussion of cultural significance and social contexts of the development and growth of jazz music. Students will be required to attend a minimum of two live jazz performances throughout the semester to experience the idiom first hand. Each student will complete two record/CD reviews during the semester, allowing for a more in-depth listening experience outside of class. Also, an emphasis on students developing critical listening skills. 

VII. Goals and Objectives of the Course:

Students will demonstrate knowledge of how jazz music developed over time, driven by cultural developments, social constraints, the artistic aims of individual musicians and composers, and the expectations and behavior of audiences.

VIII. Assessment Measures:

Grades are based upon four exams during the semester, one of which is a cumulative or non cumulative final exam and a series of quizzes. In addition, students are graded on attendance at two live jazz performances with a written review of the performance. Students are also graded on a written record/cd review, which will include historical, cultural and social context, as well as musicality.

 

Other Course Information: None

 

Review and Approval

DATE ACTION REVIEWED BY
February 2006 Reviewed E. Fellin, Chairman

March 01, 2021