MUS 364A THOMPSON JAZZ HISTORY, FALL 2012

CLASS SYLLABUS

THIS IS THE FIRST OF A TWO SEMESTER COURSE EXAMINING THE HISTORY AND DEVELOPMENT OF JAZZ MUSIC IN THE UNITED STATES. EMPHASIS WILL BE PLACED ON GAINING FAMILIARITY WITH MANY MUSICAL EXAMPLES. THE DEVELOPMENT OF THE MUSIC WILL BE RELATED TO THE CONCOMITANT CULTURAL AND SOCIAL CLIMATE. RELEVANT EXCERPTS FROM THE KEN BURNS DOCUMENTARY “JAZZ” WILL ALSO BE SHOWN IN CLASS.

THE CLASS MEETS ON FRIDAY IN ROOM 207. 2.00-3.50. p.m.

Prof. Richard Thompson, SDSU Music Dept. Office phone number is 594-1605 (Voice Mail) E Mail : [email protected] Office M240, Music Bldg. [Office hour, Wednesday 2-2:50pm] Music Dept. phone number is 594-6031

Required Text:- Jazz, by Scott DeVeaux and Gary Giddins

WEEK 1 INTRO TO COURSE Excerpt from Episode #1 of Ken Burns’ Documentary “Jazz”, for PBS

WEEK 2 SPIRITUALS AND THE BLUES

WEEK 3 RAGTIME, JOPLIN AND TREEMONISHA

WEEK 4 JELLY ROLL MORTON

WEEK 5 ARMSTRONG, BIX BEIDERBECKE

WEEK 6 SIDNEY BECHET

WEEK 7 STRIDE PIANO

WEEK 8 MIDTERM EXAM

THE EXAM WILL BE IN TWO PARTS;THE IS FIRST A LISTENING TEST, THE SECOND PART IS A FOUR PAGE ESSAY ON A TOPIC RELATING TO THE FIRST HALF OF THE SEMESTER’S WORK.

WEEK 9 FLETCHER HENDERSON

WEEK 10 COUNT BASIE

WEEK 11 DUKE ELLINGTON

WEEK 12 DUKE ELLINGTON

WEEK 13 BENNY GOODMAN, CHARLIE CHRISTIAN

WEEK 14 LESTER YOUNG, BILLIE HOLIDAY

WEEK 15 COLEMAN HAWKINS, BEN WEBSTER, DON BYAS

WEEK 16 FINAL EXAM

THE FINAL WILL CONSIST OF TWO PARTS. THE FIRST WILL BE A LISTENING EXAM. THE SECOND PART WILL CONSIST OF AN EXTENDED ESSAY ABOUT ONE OF THE MUSICIANS OR TOPICS ARISING OUT OF THE SEMESTER’S WORK. THE PAPER IS DUE ON MONDAY OF WEEK 16.

GRADING:- MIDTERM EXAM= 40% OF FINAL GRADE FINAL EXAM = 60% OF FINAL GRADE

The University grading system will be utilized: ( A=90+; B=80+; C=70+; D=60+; F=59-) A Credit grade for this class begins at 70%.

STUDENT LEARNING OUTCOMES

• The Student will understand the social and cultural conditions surrounding the birth of jazz, including the elements, that can be described as retentions from African culture. • The student will understand the compositional and improvisational components of early jazz, as seen in the work of Armstrong, Ellington and Morton. • The student will understand the development of the jazz orchestra in the late twenties and early thirties. • The student will demonstrate an appreciation of the work and aesthetics of Duke Ellington’s music, in relation to the Harlem Renaissance movement. • The student will be able to identify the musical styles of the leading jazz soloists of the 1920s and 1930s.