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BLST 14: The History of JazzDepartment of Black Studies
(UCSB)
Winter 2015
Instructor:
Dr. Jeffrey [email protected]: Please no
emails to explain readings or class lectures. I will gladly answer
questionsduring office hours if you need help with the
material.
Office: South Hall 3718 Class Meeting: T R 12:30-1:45 pmTel:
(805) 893-5747 T D - W 2600
Office Hours: T R 11:00-12:15 pmNOTE: Office hours are for
clarification of course readings and lectures. If you miss a
class,I expect you to have read the material and obtained the
lecture notes from a classmate
before seeing me during office hours.
Teaching Assistant:Mr. George K. [email protected]
The third party is a constitutive aspect of the whole
utterance,who, under deeper analysis, can be revealed in it.
--M.M. Bakhtin
Course Description:This is a course surveying the historical
origins and development of jazz, beginningwith the West African
heritage and the African American folk tradition, andexamining the
social and cultural context of this twentieth-century music.
Furthermore, this class is designed to introduce students to
historical, social, andcultural contexts of jazz music.
Course Goals: To get students to move from thinking of jazz
merely as a cultural object and
think of jazz as a process of production of music by a people
and place whoare the subject of jazz, as the story of its
production.
To get students to recognize that jazz as a processis also the
story of itgetting ripped off and commercialized so viciously by
the larger society andthe corporate interests in it that part of
its vitality is resistanceresistance towhat already is, to what has
been commodified as a jazz riff, because that is
the specter of death and decline always facing an art form,
especially onecreated largely by poor blacks and consumed and
distributed andappropriately largely by middle class or wealthy
whites.
To get students to think things together that they would not
normally thinkof togethermusic, history, oppression, urban
ghettoes, modernism, race,class, and commodification and thus
foster in them a more syncretic andsynthetic sense of music and its
importance as an expression of peopleslives, rather than simply
entertainment.
mailto:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]:[email protected]
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Course Readings:Students are expected to read required course
material prior to Lecture and beforeSections. You should always
read the material with the following in mind: what isthe author(s)
thesis, main point(s), or argument(s)? In other words, what is
theauthor trying to get across to you? Students may be called on at
random to answer
these and similar questions about course readings. Be prepared
for class. You havebeen warned.
Readings will include selected chapters from the following
texts:Davis, M. w/ Q. Troupe (1989). Miles:The Autobiography of
Miles Davis.New York:
Simon and Schuster, Inc.
Gioia, T. (2011). The History of Jazz. 2nd. Ed. New York: Oxford
University Press.
Kelley, R. D. G. (2009). Thelonious Monk: The Life and Times of
an AmericanOriginal.New York: Simon and Schuster, Inc.
Shack, William (2001). Harlem in Montmartre. Berkeley:
University of CaliforniaPress.
ALL OTHER READINGS will be found on GauchoSpace, the Moodle
site.
Anticipated Student Learning Outcomes:Upon successful completion
of this course students should be able to:
Explain the contributions key figures spread across the musical
map, takingroot in major cities such as New Orleans, Chicago, New
York, Paris, St. Louis.
Describe how Jazz emerges from particular cities and reflects
social andcultural conditions of life in those cities (e.g. ethnic
diversity, migration,institutions, geography, etc.)
Explicate how jazz shaped and reflected Black identity in the
United States.
Integrate knowledge constructed throughout course to discuss the
social andcultural conditions that affect the emergence of distinct
cultural forms of
jazz. Outline how those social and cultural conditions are
represented, but also
transcended by the jazz forms.
Collectively produce an online forum discussion reflecting the
kinds ofknowledge being formed from participating in the class.
Write more quality posts reflecting understanding of content and
criticalawareness of others perspectives.
Methods of Blended Learning Instruction:Blended learning for
this course concerns the thoughtful fusion of face-to-face and
online learning experiences (Garrison & Vaughan, 2008). A
number of onlinelearning activities will be used including: online
discussion as a formativeassessment, listening to and analyzing
Jazz music, and viewing videos portraying
Jazz sessions on Youtube. Utilizing blended learning strategies
is my way ofengaging students and constructing a more
student-centered, interactive,collaborate approach to teaching an
undergraduate course. Some of you may find itdifficult to
participate in a course requiring weekly access to computers or
tonavigate through the GauchoSpace site. If this is the case,
please contact George
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The Blues: Country and Urban
Required Reading
Gioia: The History of Jazz,pp. 12-25
The City (GauchoSpace)
Featured: Robert Johnson, Leadbelly, Mamie Smith
View videos of the blues
1/15
New Orleans Jazz: Urban Music and Jazz Soloists
Required Reading
Gioia: The History of Jazz,pp. 27-51.
Featured: Buddy Bolden, Jelly Roll Morton, OriginalDixieland
Jazz Band, Louis Armstrong
View videos of the Second
Line
1/20
Complicating New Orleans: Borderlands and
Community
Required Reading
Gaye Theresa Johnson, `Sobre Las Olas: A Mexican
Genesis in Borderlands Jazz and the Legacy for EthnicStudies.
(GauchoSpace)
Featured: Jelly Roll Morton, Anita Gonzales, LouisArmstrong
Blog #1 & Comment
Due no later than
1/22/2015
(by 11:59pm)
Chicago: Migration and Community
1/22
Chicago Style: Migrating Musicians
and the Black Belt
Required Readings
King Oliver
Chapter 6: You Are Going to Be More Than Me.
Liz Cohen, Blacks Go Commercial
(all on GauchoSpace)
Giola, The History of Jazz, [The Age of the Soloist],
pp. 53-57.
Featured: King Oliver, Louis Armstrong, Lil Hardin
1/27
Bix and the White Chicagoans
Required Readings
Giola, The History of Jazz, pp. 57-87.
The Jazz Slave Masters (GauchoSpace)
The Chicagoans (GauchoSpace)
Featured: Bix Beiderbecke, the Austin Hill Gang
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What is Jazz? New York, Man!
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The Two Harlems: Stride Piano
Required Readings
Gioia: The History of Jazz,pp. 89-125.
James P. Johnson (GauchoSpace)
Featured: James P. Johnson, William "The Lion" Smith
View videos of Stephani e
Tr ick playing Str ide Piano
2/3
Jazz Culture in New York
Required Readings
Gioia: The History of Jazz,pp. 127-147.
Fletcher Henderson (GauchoSpace)
Featured: Fletcher Henderson and Duke Ellington
Blog #2 & Comment
Due no later than
2/5/2015
(by 11:59pm)
Jazz Migrations of the 1920s and 1930s
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Paris, Le Grand Duc, le tumulte noirand
the Women of Jazz
Required Reading
Shack:Harlem in Montmartre, ch. 2 and 3.
Featured: Eugene Bullard Alberta Hunter, JosephineBaker,
Bricktop, Florence Mills, Nancy Cunard
2/10
Swing and Jazz in Kansas City
Required Reading
Gioia: The History of Jazz,pp. 147-183.
Featured: Benny Goodman, Tommy Dorsey, Count Basie
Blog #3 & Comment
Due no later than
2/12/2014
(by 11:59pm)
2/12
The Political Economy of Race and Swing
Required Reading
Swing Changes(GauchoSpace)
Featured: Duke Ellington, John Hammond, Glen Millerand Billie
Holiday
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Final Project: Jazz and the City
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The Street in Jazz: From I n A Silent Wayto On the
CornerRequired Reading
Miles:Autobiography, Chapters 14 & 15.
Featured: Miles Davis, Jimi Hendrix, Joe Zawinul,
PaulBuckmaster
Guest Presenter: Dr. Anissa Stewart, Project Director,
UCSB Extension: Creating iMovie Presentations on
the History of Jazz in the City.
Work on FinalProject!
3/12 Workshop/Lab TimeComplete Final
Project!
3/16 Final Project Presentations 12-3 pm
