MUGN V-246-W01 History of New Orleans Music 3 Credits
Summer, 2014 May 19, to July 14, 2014
Instructor: Sanford Hinderlie,
E-mail [email protected] Office hours: By appointment via email because I will be administering this course from overseas for most of the summer session. (No calls on my cell).
Online Technical Source Contacts:
Jonathan Gallaway Blackboard Support [email protected] 504 864 7168 Brian Sullivan Course Support [email protected] 504 864 7129 Phil Rollins Media Support [email protected] 504 864 7167
Class Meeting Time: Via Internet: To be determined in the syllabus following and on Blackboard in “Course Materials.”
Course Description
This course is a comprehensive study of the history of New Orleans music, dating from the nineteenth century music in Congo Square and opera to the present-day musicians of rhythm- and-blues, rock, jazz and rap. The sources of the music, listening, music identity, social and racial influences, and the history of the music business in New Orleans are components of this course.
Prerequisites:
English T-122; or English A-205; or English H-233; or TSSAT verbal 680 or higher; or TSSAT2 verbal 680 or higher; or TSSAT English 30 or higher; TSSAT1 English 30 or higher; or is required for this class.
Textbooks and Other Materials Purchased by Student:
Armstrong, Louis. Satchmo: My Life in New Orleans. Englewood Cliffs, New Jersey: Prentice Hall, 1954.
Berry, Jason, Foose, Jonathan, and Jones, Tad. 2009 Up from the Cradle of Jazz, New Orleans Music since World War II, New Addition Edition. Lafayette, LA: University of Louisiana at Lafayette Press.
Course Objective
Students acquire an appreciation of the importance of the creative arts as it pertains to New Orleans music through listening, reading, presenting and writing. They identify and discuss cultural, social and racial issues relating to the past and present music of New Orleans. Students acquire an understanding of specific genres of music and musicians from New Orleans through research and the writing of a paper. They identify past and contemporary technology in music and the music business.
Expected Student Learning Outcomes
Students gain knowledge of the history of music as it applies to New Orleans dating from the nineteenth century to the present. They engage in critical and creative thinking through written and oral communication. Listening examples of influential music and artists from New Orleans and the vocabulary of this topic support discussions, and both promote critical thinking.
Types of Assignments/Course Requirements
Because this course is entirely online, you will have freedom to work at your own pace. However, you should be aware of due-dates for all assignments. You should work ahead and stay ahead of the syllabus schedule listed in “Course Material” in Blackboard so you are not penalized for late work or lose credit altogether if it is too late (see “Assignments” below). If you are planning a trip or need a block of time away from the Internet during the summer semester, you are still responsible to plan ahead of the scheduled due-dates. All assignments up to the midterm exam are listed in Blackboard in “Course Materials” and feel free to work ahead. After the midterm the second half of the semester will be posted in the same place.
§ Use your Loyola email account daily for announcements. Only loyno.edu is used. § Announcements will be posted on Blackboard on a regular basis. Please check periodically. § Assignments, papers and exams are due on the date posted on Blackboard. § Students will be expected to read the assigned readings that are posted on Blackboard. § Chapter Overviews, Important Names, Key Terms and Review Questions will be posted on Blackboard under “Course Materials”. These are guides for you in your studies of the course. § Students complete Review Questions for each chapter via Blackboard after most reading assignments, and then submit the Word document in “Course Materials” via Blackboard. They are due on the date announced in the syllabus and in Blackboard. § Students view PowerPoint presentations in Blackboard (In “Course Materials”). § Students watch films about New Orleans music in Blackboard (In “Course Materials”). § Students listen to musical examples representing performers and composers of various eras of popular music. All listening will be streamed in Blackboard for study. § Students read newspaper music reviews of a current show or concert and submit a copy or Web link to the professor via Blackboard. § Students attend one live performance of popular music and write a review of their experience in the style of a professional music critic, using the template developed from discussions about newspaper reviews. § Students will write a paper from five to seven pages double-spaced with the topic regarding a specific genre of New Orleans music. More information follows on Blackboard. § Students will write a paper of one to two pages double-spaced involving a song or artist originating from New Orleans of the student’s choice from the present decade. The song or artist represents what the student regards as a potential for historical significance in fifty years from now. § Online listening and cognitive mid-term and final examinations are administered to students. § Extra Credit is also included in this course. Students are allowed to present a one-page paper on a current event in the news that relates to the music industry.on a current event in the news that relates to the music industry.
Assignments
Assignments are due on the due-dates as assigned by the instructor on this syllabus and on Blackboard Assignments. An assignment may be turned in late by two days, but the grade is lowered two letter grades. Assignments are not accepted after two days (no exceptions). All written assignments must include your name, email address, and due-date. You must keep on schedule with all assignments. You can work ahead and this is advisable so you can keep on task. Exams are due as assigned by the instructor on this syllabus and on Blackboard. Exams will not be accepted late. How to take the exams will be discussed on Blackboard. Papers are due as assigned by the instructor on this syllabus and on Blackboard. Papers will be accepted up to the due-date late. Papers are not accepted after two days under any circumstances (no exceptions), so work ahead.
Grading:
§ 5% Participation in Discussion Groups § 5% Live Performance Review and Newspaper Review § 5% Paper: 50 Years Future Musician § 15% Paper: Specific Genre of Past or Present New Orleans Music § 30% Review Questions § 40% Exams (Mid Term and Final)
Grades will be updated on a regular basis in Blackboard Grade Center.
Grade Scale
§ A 4.00 § A- 3.70 § B+ 3.30 § B 3.00 § B- 2.70 § C+ 2.30 § C 2.00 § C- 1.70 § D+ 1.30 § D 1.00 § F 0.00
Emergency
§ In the event that there is an interruption to our course due to the cancellation of classes by the university as a result of an emergency, we will continue our course on Blackboard within 48 hours after cancellation.
§ All students are required to sign on to Blackboard and to keep up with course assignments within 48 hours of evacuation and routinely check for announcements and course materials associated with each class. Class handouts will be posted under “course materials”.
§ Students should be familiar with their responsibilities during emergencies, including pre- evacuation and post-evacuation for hurricanes. This information is available on the Academic Affairs web site: http://academicaffairs.loyno.edu/students-emergency-responsibilities
§ Additional emergency-planning information is also available: http://academicaffairs.loyno.edu/emergency-planningParticipation
Content Disclaimer
This class contains content that the instructor believes may be problematic for some students. Inform your instructor if you require further information or if you feel unable to participate in any or all of the requirements of the class.
Academic Integrity
All work you do for this class is expected to be your own, and academic dishonesty (including, but not limited to, plagiarism on papers or cheating on exams) will be punished. A summary of the University’s definitions and procedures concerning academic integrity can be found in the Undergraduate Bulletin (pp. 46-47 of the 2003-5 Bulletin). If you are uncertain how to use and cite the work of others within your own work, consult reference works such as Kate L. Turabian, A Manual for Writers of Term Papers, Theses, and Dissertations, 6th ed., revised and by John Grossman and Alice Bennett, Chicago Guides to Writing, Editing, and Publishing (Chicago: University of Chicago Press, 1996), or see the instructor. The university now subscribes to an online program that can scan submitted papers and provide the teacher a percentage of what words and sentences are copied from the Internet.
Special Accommodations
If you have a disability and wish to receive accommodations, please contact Sarah Mead Smith, Director of Disability Services at 504-865-2990. If you wish to receive test accommodations (e.g., extended test time), you will need to give the course instructor an official Accommodation Form from Disability Services. The Office of Disability Services is located in Monroe Hall 405.
Technical Assistance
Loyola University will provide you with technical assistance if you have any problems with using the Internet. See contacts above.
Internet Connection: A Broadband connection* is required for anyone taking this online course. You must have high speed Internet capability to access the materials and music for this class. *note – not all broadband services are created equal. Connection speed can vary wildly based on geographic location and ISP. This is particularly true for the “lite DSL” or similar levels of service.
Additional suggested software: Microsoft Office 2003 or higher or other Office compatible software; Quicktime Speaker or headphones: You must have the ability to listen on your computer
Course Outline: The History of New Orleans Music Topics to Choose From
Topic 1: Introduction: Course Requirements and Expectations Theme One: Listening Theme Two: Music and Identity in New Orleans Theme Three: Music and Society in New Orleans Theme Four: The Music Business of New Orleans Streams of Tradition: The Sources of New Orleans Music
Topic 2: Music in the 18th and 19th Centuries Social History, Influx of Haitian Creoles, Civil War Louis Moreau Gottschalk, Edmond Dede, French Opera, Cotillion Balls, Mardi Gras Balls, Street Parades, Congo Square.
Topic 3: The Pre-jazz Era Segregation: Social Composition of New Orleans Society and Segregation Laws. The Spanish Tinge, Marching Bands, Early Brass Bands, Society Dance Bands
Topic 4: Early Jazz Buddy Bolden, Jelly Morton and Ragtime, James Brown Humphrey, Lorenzo Tio, Sr., Freddie Keppard, Jack Laine, The Early New Orleans Piano Tradition.
Topic 5: Jazz of the 1920s; The First Recordings Original Dixieland Jass Band, Kid Ory, King Oliver, Johnny Dodge, The Original Tuxedo Orchestra, Sidney Bichet, Johnny Dodds, Danny Barker, Jelly Morton’ Jazz Bands, Armand Priron’s Orchestra, Sam Morgan’s Jazz Band
Topic 6: A Segregated City; A Segregated Music Culture? Reading: Satchmo: My Life in New Orleans Musicians in a Racially Divided Society Clubs and Venues
Topic 7: Louis Armstrong, Continued Reading: Satchmo: My Life in New Orleans
Topic 8: Dixieland Revival Preservation Hall: Louis Nelson, George Lewis, Danny Barker Al Hirt, Pete Fountain, Louis Prima
Topic 9: Gospel Local Churches Mahalia Jackson, Moses Hogan, Gospel Groups Past and Present Topic 10: Origins of New Orleans Rhythm-and-Blues Musical Families; The Founding Tradition Professor Longhair, Antoine Domino, The Lasties
Topic 11: 1946-1955 New Orleans Rhythm-and-Blues Part I Club Life Vernon Wilson: Radio Play of R&B, Early Players: Roy Brown, Roy Price, Champion Jack Dupree, Cousin Joe, Tommy Ridgley, Smiley Lewis, Tuts Washington, Shirley and Lee, James “Sugar Boy” Crawford
Topic 12: New Orleans Rhythm-and-Blues Part II Huey “Piano” Smith and Guitar Slim
Topic 13: New Orleans Rock and Roll 1955-59 Lloyd Price, Little Richard, Sidemen of Rock and Roll,
Topic 14: Deejays of New Orleans Rock and Roll Jim Russell, Larry Regan, Ken Elliot Teen Idols: Bobby Charles, Jimmy Clanton, Frankie Ford
Topic 15: Allen Toussaint and the Minit Sound Ernie K-Doe, Irma Thomas, Aaron Neville, Benny Spellman, Chris Kenner
Topic 16: Era of Decline and Exodus Earl King, Clarence “Frogman” Henry, Johnny Adams, Oliver Morgan, Aaron Neville, Cosimo Mattasa
Topic 17: New Jazz and AFO Harold Battiste, Ed Blackwell, Alvin Batiste, Earl Turbinton, Ellis Marsalis, James Black, Red Tyler, Tami Lynn, Al Belletto, Richard Payne
Topic 18: New Orleans Jazz and Blues of the 60s and 70s Earl Turbinton, Willie Tee, James Rivers, Luther Kent, Charlie Brent, Wynton Marsalis, Branford Marsalis,
Topic 19: New Orleans Piano Players Dave “Fat Man” Williams, Eddie Bo, Tommy Ridgley, Edward Frank, James Booker
Topic 20: Dr. John
Topic 21: Allen Toussaint and the Meters
Topic 22: Mardi Gras Indians Willie Tee and the Wild Magnolias
Topic 23: Big Chief Jolly and the Neville Brothers
Topic 24: Zydeco and Cajun, New Orleans and Beyond Dennis McGee, Sady Corville, Hackberry Ramlbers, Harry Choates, D.L Menard, Doug Kershaw, Balfa Brothers, Bruce Draignepont, Michael Doucet and Beausoliel, Zachary Richard, Clifton Chenier, Stanley Dural and Buckwheat Zydeco, Wayne Toups, C. J. Chenier, Rockin’ Dopsie, Boozoo Chavis
Topic 25: The Music Festivals of New Orleans George Wien and Quint Davis and the Jazz and Heritage Festival, The French Quarter Festival, The Voodoo Festival, The Essence Music Festival, The Satchmo Fest
Topic 26: New Orleans Rap Master P and No Limit Records, Birdman & Mannie Fresh, Juvenile, Turk and Lil Wayne of Cash Money Records
Topic 27: A Cultural Awakening: Hurricane Katrina Musicians Flee, Destruction of a Music Culture?
Topic 28: New Orleans Brass Bands of the 21st Century Olympia Brass Band, Dirty Dozen Brass Band, Rebirth, Soul Rebels.
Topic 29: Following the Traditions in the 21st Century Tom McDermott, Evan Christopher, Tim Laughlin, Leroy Jones, The Dukes of Dixieland, Preservation Hall, The Palmcourt
Topic 30: The 21st Century: Where is it Going? Who is Important? Bonarama, Stanton Moore and Galactic, Papa Gros Funk, World Leader Pretend, Iguanas, Better Than Ezra, Britney Spears, Cowboy Mouth, Funky Meters, Jon Cleary, The Neville Brothers, The Radiators, The Subdudes, Luther Kent, John Mooney, Marc Broussard, Tab Benoiot,
Topic 31: The 21st Century: Where is it Going? Who is Important? Spensor Boren, John Rankin, Henry Butler, John Boutté, Deacon John, Frankie Ford, Astro Project, Harry Connick, Jr., Kermit Ruffins, Delfeyo Marsalis, Branford Marsalis, Wynton Marsalis, Ellis Marsalis, Jason Marsalis, Nicholas Payton, Terrence Blanchard, The Next Generation, Jeremy Davenport, Trombone Shorty, Brian Blade, Preservation Hall Jazz Band