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Instructor's Resource Manual See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/260363119 Jazz Styles, 11th Edition, Instructors' Resource Manual Book · January 2012 CITATIONS READS 0 4,368 1 author: Mark Charles Gridley Heidelberg University 62 PUBLICATIONS 123 CITATIONS SEE PROFILE All content following this page was uploaded by Mark Charles Gridley on 26 February 2014. The user has requested enhancement of the downloaded file. Instructor's Resource Manual Discography Updated by WILLIAM E. ANDERSON eleventh edition JAZZ STYLES history & analysis MARK C. GRIDLEY Heidelberg College Tiffin, Ohio 44883 prentice-hall upper saddle river, new jersey 07458 1 TABLE OF CONTENTS ABOUT THE AUTHOR iv PREFACE v IF YOU ARE TEACHING THIS COURSE FOR THE FIRST TIME 1 PREVENTING CONFRONTATIONS ABOUT GRADES 3 SAMPLE COURSE REQUIREMENTS 8 GETTING ORGANIZED IS HALF THE BATTLE 10 DIFFERENT WAYS TO USE THE TEXTBOOK 12 CAN YOU TEACH WITHOUT ACCOUNTING FOR PERCEPTUAL SKILLS? 15 CONVEYING THE EXTENT OF SPONTANEITY IN JAZZ 17 IT IS EASY TO HELP STUDENTS HEAR THE CHORD CHANGES 19 PITFALLS TO AVOID 21 CONSIDERATIONS REGARDING NONMUSICIANS IN GENERAL EDUCATION COURSES 25 VIDEO RESOURCES FOR TEACHING JAZZ APPRECIATION 29 HOW TO USE THE DEMONSTRATION CD 32 HOW TO USE THE JAZZ CLASSICS CDs AND LISTENING GUIDES 39 INTRODUCTION TO SAMPLE SYLLABI; RATIONALE FOR USING COURSE SYLLABI; SYLLABUS DESIGN TIPS 40 15-WEEK "STRAIGHT HISTORY" COURSE - MON-WED-FRI SCHEDULE 47 15-WEEK "STRAIGHT HISTORY" COURSE -TUESDAY-THURSDAY 53 15-WEEK "INTRO TO JAZZ" COURSE - MON-WED-FRI SCHEDULE 57 15-WEEK "INTRO TO JAZZ" COURSE - TUESDAY-THURSDAY SCHEDULE 64 10-WEEK "STRAIGHT HISTORY" COURSE - MON-WED-FRI SCHEDULE 68 10-WEEK "STRAIGHT HISTORY" COURSE - TUESDAY-THURSDAY 72 10-WEEK "INTRO TO JAZZ" COURSE - MON-WED-FRI SCHEDULE 75 10-WEEK "INTRO TO JAZZ" COURSE - TUESDAY-THURSDAY SCHEDULE 79 DEMONSTRATION CD CONTENTS 82 JAZZ CLASSICS CDs CONTENTS 86 CONTENTS FOR CLASSICS CDs FOR CONCISE GUIDE TO JAZZ 5e, 6e 88 TEACHING THE ORIGINS OF JAZZ: ISSUES, BIBLIOGRAPHY AND DISCOGRAPHY 91 DISCOGRAPHY (alphabetized by artist - anthologies at the end) 102 iii ABOUT THE AUTHOR Mark C. Gridley is an active professional jazz musician with a life-long involvement in educating the public about jazz. He created and produced "Jazz, That Lively Art" for WOAK-FM radio in Detroit from 1962 to 1965. From 1971 to 1981, he taught "History and Styles of Jazz" for non-musicians at Case Western Reserve University in Cleveland, where he earned M.S. and Ph.D. degrees. During 1976 he led the jazz demonstration unit for the Cleveland chapter of Young Audiences. By the time he earned a B.S. degree at Michigan State University, Gridley had won honors playing flute, oboe and saxophone, and he had led numerous bands in Michigan. (The Mark Gridley Quartet was finalist at the 1968 Notre Dame Collegiate Jazz Festival in which Gridley won the "Best Flutist" award and his combo tied with the Michael Brecker-Randy Sanke combo.) Gridley has performed and toured with several name bands (Harry "Sweets" Edison, Les Elgart) and accompanied numerous popular singers (Lou Rawls, Sammy Davis, Tony Bennett, Yolande Bavan, Vic Damone, Marlena Shaw, Steve Lawrence, The Fifth Dimension, The Jacksons, The Temptations, etc.). He has performed with the Chautauqua Symphony Orchestra in New York, and he continues to maintain the steady schedule of performances with his own jazz groups that he began in the Cleveland area in 1969. Gridley's critically acclaimed text, Jazz Styles: History and Analysis, has been translated into Bulgarian, Japanese, Danish, Korean, and Polish, and it has earned its author a listing in Who's Who in America, as well as commissions that led to extensive contributions in the Encyclopaedia Britannica, The New Grove Dictionary of American Music, The New Grove Dictionary of Jazz and the Encyclopedia of African American Music. Gridley has done field research in all the jazz centers of the U.S. as well as Africa, South America and the Caribbean. He frequently addresses scholarly conferences as well as lecturing at colleges and universities throughout the U.S. Beginning with its 1985 edition, Jazz Styles became America's most widely-used introduction to jazz. Gridley's articles about jazz have appeared in The Musical Quarterly, The Instrumentalist, The Black Perspective in Music, Popular Music and Society, Jazz Educator's Journal, The College Music Symposium, Current Musicology, and Black Music Research Journal. In 1987, The Educational Press Association of America gave Gridley its Distinguished Achievement Award. iv PREFACE This manual should ease your job and help your students get the most out of their brief time with you. The contents reflect experiences of numerous other professors and their students who shared observations with me. Much of the material represents teaching techniques and materials that I devised while teaching jazz history to non-musicians during 23 semesters at Case Western Reserve University. This manual is keyed to the 11th edition of Jazz Styles: History and Analysis (ISBN 978-0-205-03683-7), the Demonstration CD (ISBN 0-13-601098-9), and the Jazz Classics 3CD set (ISBN 978-0-205-03686-8) as well as the Jazz Classics CDs for Concise Guide to Jazz, editions 5, 6 and 7. If you are missing any of those items, contact your Pearson sales representative, phone 800-526-0485, write College Humanities Marketing, Pearson Education, Inc., 1 Lake St., Upper Saddle River, NJ 07458, or email: [email protected]. A Test Bank for Jazz Styles is available to teachers who contact Pearson sales representatives at pearsonhighered.com or [email protected] to obtain their personal login and password. Also known as a test item file (TIF), it is available for download in various formats, with test editing and test generating capacities and instructions. The chapter titled "If You Are Teaching This Course for the First Time" originally appeared in altered form as "Teaching Jazz History for the First Time" in The Jazz Educators Journal, Volume XIX, No. 4, the official publication of the International Association of Jazz Educators. This article is reprinted by permission of the editors. “Considerations Regarding Non-musicians in General Education Courses” is an edited form of a presentation made at the IAJE convention in Chicago, January, 1997. The outline of the presentation first appeared in Instructors’ Resource Manual for Concise Guide to Jazz, Edition 2 (Prentice-Hall, 1998). An edited form of it appeared in Jazz Educators Journal, Volume XXXIII, No. 2, pages 54-55 as “Teaching Jazz History/Appreciation to the Non-musician.” Other portions of the material in this manual were presented to the National Association of Jazz Educators conventions held in Columbus, Ohio on January 15, 1984 and Boston, Massachusetts on January 14, 1994. In the preparing earlier editions of this manual, I benefitted from detailed suggestions by William E. Anderson of Cleveland State University, Ola Jones of San Diego State University, Lewis Porter of Rutgers University, Lawrence Gushee of University of Illinois, Wallace Rave of Arizona State University, Rosemary Snow of John Carroll University, Terry Steele of Slippery Rock State College, Richard Davis of the University of Wisconsin, Chas Baker of Kent State University, Anita Clark of the University of Nebraska at Omaha, Bill Kirk of Saddleback Community College, and John Specht of Queensborough Community College. Thanks also go to Chuck Braman, Victor Schonfield, John Richmond, and Karl Koenig, who commented on many drafts of these materials. New materials and changes in passages from previous editions reflect recent interviews with students and their professors Pete Ford of Adrian College and John Reid of University of Calgary. v IF YOU ARE TEACHING THIS COURSE FOR THE FIRST TIME You might be apprehensive when you are first assigned to teach an entire semester of an academic course, especially if your training is in band leading or choir leading, not in musicology. The job looms even larger if the course is in jazz history and you do not already have a long standing interest in the area and a large personal collection of jazz records. But it is not difficult to get past your apprehensions as soon as you begin realizing that such an undertaking is going to be fun. You will enjoy it because of the immense freedom you have in choosing material and the great opportunity you will have to hear so much new jazz with your students in the classroom. So, the first idea to keep in mind is that, more than anything else, music appreciation classes are taught because listening to music is fun, and people like yourself already understand so much about music that you are in a position to help others derive more enjoyment from music. It is always a kick to watch others enjoy jazz for the first time. The course becomes all the more rewarding when you realize that, first, you will be coaching listening skills that your students will carry with them the rest of their lives and, second, that you will be introducing students to styles that many will like enough to go and share with their friends. I have never met anyone who teaches this course who said he/she did not enjoy it. In fact, one professor remarked to me that he had resisted taking the position of teaching it because he thought he would not like teaching non-musicians, yet now he finds he likes it more than conducting (and this is a conductor with a good reputation and a string of successful bands and albums under his directorship). In other words, if you keep reminding yourself that the basic purpose is musical pleasure for you and your students, not only will you succeed in making the course fun for yourself and your students, but you will also have created a good course and enhanced your reputation as a stimulating teacher.
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