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Jazz Appreciation – Music 206-03

Jazz History – Music 207-02


Fall 07
Instructor: James Sodke
Office: Communication Arts 220
Phone: 595-2292
Office Hours: Monday & Wednesdays 9 -11, or by appointment
Email: sodke@uwp.edu
Text: Mark Gridley’s Concise Guide to Jazz

Jazz Appreciation and Jazz History are General Education courses in the Arts and Humanities.
Both courses count towards the university diversity (dv) requirement.

I Objectives: (how to pass this class!)


At the end of the semester, each student should be able to:
1. recognize the instruments of jazz, and the roles they play.
2. recognize song form, meter, solo choruses, and the special techniques of the jazz idiom.
3. describe the musical characteristics from each style period, the innovators, and
recognize the key recordings of each era.
4. know the contributions of various ethnic groups, women in jazz, and the politics of jazz
5. know the key performers, the instruments they played, key compositions & recordings,
the jazz style of the performer, key historical contributions
6. know title, performer, form, meter, choruses & techniques of key recordings covered in
class

II Course Grade is determined by:


1. Four exams, 80% of final grade.
1. Exams: Sep 27th, Oct 23rd, Nov 20th, and Dec 18th. The final is at 10:30!
2. Exam Content: Lecture material, text assignments, and assigned listening.
The material presented in lectures is not all a duplicate of the textbook, and
questions will appear on the exam based upon lecture material.
3. Exam Format: Each test will have: Listening, Multiple Choice, T/F.

2. A final project, 20% of the final grade (Due Dec 11th).


1. Must be double spaced, using 12 point font.
2. Graphics or pictures are not to be included in the 5 pages of text.
3. You must use a minimum of 5 sources.
1. Internet research is ok, but you include a printed copy of the material used,
and highlight the information you use.
2. You may use two of the sources I have on reserve.
3. You may NOT use the text book or class notes as a reference.
4. Cite all sources! Failure to do so is plagiarism, and will result in an F.
5. Deductions from a perfect grade will include:
1. 5% for each ½ page too short
2. 10% for each missing source
3. Deductions will be made for excessive misspellings or poor grammar.
6. The paper must be DIV centered, not just a historical paper. Topics may include
(but not limited to):
1. Researching a jazz artist, including their struggles with racial
attitudes.
2. The effects of segregation and racial bias found in early jazz.
3. The pioneers of segregated jazz bands.
4. Women in jazz.
5. Jazz in other cultures (for example, jazz in Japan).
6. Jazz found in your own ethnic heritage

4. Extra Credit: a Performance Review, worth 5%


1. You may attend one live JAZZ performance during the semester. There are two live
concerts on campus (Oct 31st at noon and Dec 4th at 7:30) that will be acceptable. The
review will consist of a three-page paper listing the musicians, the instruments played,
titles of the songs performed, and an analysis of two of the songs played. Included in
the analysis will be a description of form, meter, solo choruses, and any special
techniques used in that song.
2. The paper should be double spaced, 12-point font.
3. This review is due on or before the beginning of class on Dec 11th.

Absence Policy - Attendance will be taken at random, extreme absences may result in a
lowering of your grade.

Missed Exam Policy - An un-excused absence for any exam will result in an “F”. A make-
up will not be scheduled unless a valid excuse is available. I must be contacted prior to an
exam, or in extreme cases, the day of an exam. Only then will a rescheduled exam be
given.

Scantron testing requires an activated Ranger Card. Please have your card activated
before the first exam. You will need a UWP email account setup in order to access D2L.
Your email ID and password allow you access to the readings listed below.

5. Grading Scale:
93 - 100% = A 80 – 82% = B- 67 – 69% = D+
90 – 92% = A- 77 – 79% = C+ 63 – 66% = D
87 – 89% = B+ 73 – 76% = C 60 – 62% = D-
83 – 86% = B 70 = 72% = C-

III Semester Outline: All dates and topics are subject to change!
1. The Basics
1. Chapters 1-3, Appendix
2. Selected cd examples
2. Early Jazz & Swing - Chapters 4 & 5
Style comparisons, major artists, key recordings, instruments & techniques
Additional materials
Jazz in Black & White – Black Music, Black Identity
Jazz, A Century of Change – African Americans in the Swing Era
Jazz, A Century of Change – Louie Armstrong and his Audiences
Ken Burns Jazz – Episode 1
The Reception of Jazz in America
Topics for discussion
What is Racism?
Louis Armstrong, cultural icon, entertainer, artist or Uncle Tom?
Jazz, black or white?
Exoticism and the assimilation of jazz.
African Americans in the Swing Era
Creoles of Color, life in New Orleans
Black Codes in New Orleans
1896 Supreme Court Decision
Separate but equal policies of the US
3. Be Bop, Cool, Hard Bop – Chapters 6 – 8
Style comparisons, major artists, key recordings, instruments & techniques
Additional Materials
Jazz, A Century of Change - Jim Crow on the Band Stand
Jazz, A Century of Change – Negro Music Goes To Par
Jazz in Black & White – Black Music, White Identity
Keeping Time – Jazz & Gender during the war years
Topics for discussion
Women in Jazz – to be taken seriously?
“Strange Fruit” by Billie Holiday
Be Bop – no whites allowed?
The white face of cool jazz.
Back to the roots – hard bop and gospel.
4. Avant-Garde, Fusion, and Now – Chapters 9 - 11
Style comparisons, major artists, key recordings, instruments & techniques
Additional Materials
Jazz in the Sixties – Jazz as a Social Protest
Jazz in the Sixties – The Rise of Black Nationalism
Jazz in the Sixties – The Position of Young Black Musicians
Keeping time - Beyond Categories
Jazz in Black & White – Race and Jazz Communities
Jazz in Black & White – Colorless Swing
Cats of Any Color – Jazz Black & White
Topics for Discussion
The politicization of Jazz in the 60s & 70’s
Musical protest: Mingus’ “Fables of Faubus” and Columbia Records
AACM & jazz collectives - surviving in a white controlled industry
Is it possible to be colorblind?
Is reverse discrimination possible, does it exist in the jazz world?
Latino and other influences

Jim Sodke – Who I am…


I grew up on the south side of Racine. My youngest years were spent in the area of 6th and Memorial Drive
where we lived with my Grandmother on Riverside Drive. My parents built a home in a new subdivision
south of Durand Avenue, and we moved at age three. Soon after, we became a lower middle class single
parent family when my Mother died.

I graduated from Case High School, without honors. “I had enough of school” by the time I got to my
senior year, but passed. I started my college career at Parkside which was the right school for me. Once in
college I felt alive and challenged. The friendships and connections made here have stayed with me to this
day. The remainder of my schooling was at UWM where I studied Music Education and performance.

My years in college provided training I needed in choosing my many career paths. My love of performing,
writing, and teaching were nurtured in school, and the schooling I received stays with me today.
I had plenty of opportunity to interact with a variety of people in my life in Racine and Milwaukee, but
probably failed to see the White Privilege I possess. I am rethinking all of the perspectives I grew up with,
and am looking for new understandings as I continue to teach.

My playing career has included appearances with the Racine, Waukesha, and Milwaukee Symphony
Orchestras, the Milwaukee Chamber Ensemble, and Present Music. In addition to that, I’ve performed with
Lou Rawls, Gladys Knight, the Moody Blues, Dianne Schuur, Frankie Vali, Bobby Vinton, The Drifters,
The Coasters, The Platters, Little Anthony, and Lee Greenwood. I’ve played piano or trumpet with the
tours of Zorba, South Pacific, Camelot, Grease, Peter Pan, Chorus Line, Stop the World, the Rockettes, and
42nd St. These tours featured Anthony Quinn, Robert Goulet, Richard Harris, Anthony Newley, and others.
I have been the musical director for John Garry, Cary Hoffman, and Milwaukee’s Festa Italiana. In addition
I continue to be a music director of a church in Racine, and currently a regular performer on the Milwaukee
jazz scene.

In addition to teaching at Parkside, I co-founded and continue to teach at the Lakeshore Conservatory of
Music. In recent years I have taught at Carthage, UWM, and Mount Senario.

I have an active writing career, and have written or edited hundreds of books for Hal Leonard Publishing.
There are two under my name still in distribution, “Be Bop Piano Solos” and “Cool Jazz Piano Solos.” In
addition to Hal Leonard, I write for several Wisconsin High Schools and Drum Corps.

I am married, and am proud to be raising two daughters adopted from China.

General Education Goals:


Students enrolled Music 206 & 207 will gain a breadth of knowledge in three areas:

Literacy – reading for understanding and writing for effective communication


Oral Communication: listening and speaking effectively by:
• Communicating about jazz repertoire, history, and performance
• Actively listening and critiquing all styles of jazz

Reasoned Judgment
Aesthetic skills: critiquing musical performances by:
• Expressing insights about music heard on recordings and concerts
• Understanding musical principals like, melody, harmony, rhythm, timbre, form, and
improvisation

Social and Personal Responsibilities


Social Equality: understand and critique social, political, economic, and historical conditions by
• Perceiving and discussing the hardships faced by minority musicians within
mainstream America
• Writing about the social issues involved in jazz & American history

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