` Jazz History and Literature Fall Semester 2006
Professor: Brad Goode
Office : C129 Imig Office Phone: 303-735-2970 Email: brad.goode@colorado.edu
Required Texts: EARLY JAZZ by Gunther Schuller, pub. Oxford Univ. Press
THE SWING ERA by Gunther Schuller, pub. Oxford Univ. press
THE BIRTH OF BEBOP by Scott DeVeaux, pub. Univ. of Calif. Press
JAZZ MASTERS OF THE 50Õs by Joe Goldberg, pub. MacMillan
Required Recordings: THE SMITHSONIAN COLLE CTION of CLASSIC JAZZ (cd box)
THE BRANDEIS CONCERT
WEATHER REPORT,ÓHeavy WeatherÓ
EDDIE HARRIS ÒSilver CyclesÓ
Recordings on reserve in the music library.
Grades will be based on the following criteria:
1. Regular and punctual class attendance. Two unexcused absences constitutes the lowering of your grade by one full letter.
2. Successful completion of 8 assignments. Assignments will often involve individual research-with presentation of such in class, passage analysis and critical listening. Assignments will always be due at the class meeting following the one in
which they are assigned.
3. A research paper, suggested length of 15 to 20 pages, which will focus on a musical
or stylistic aspect of an artist not covered in the course. This paper should be analytical and biographical in nature, also discussing the social and historical relevance and importance of the artist. . Topics must be discussed with and approved by the professor. Due Dec.5.
4. Active participation in discussions.
5. Three book reviews, each review to be of a scholarly text or biography in jazz.
Each review should give an overview of the book, a description of the approach/presentation of material, and an evaluation of its usefulness as a possible
Academic tool. Suggested length, 3-4 pages.
6. A final exam. The exam will be comprehensive, and essay style.
The objective of this course is to provide the student with a deepened knowledge of
the history of jazz, through a survey and analysis of the most important artists and to
understand the socio-cultural aspects of this history. It is my desire that the materials and methods of this course will provide the student with an advanced understanding of the subject, one that will allow him or her to be comfortable and prepared to teach this material in the future.
Calendar Of The Course
. 1/17. Presentation of the syllabus. Overview:
Techniques for Analysis; A.Harmonic B. Rhythmic C. Developmental Techniques D. Influences E. Historical Context. F. Social Context
. 1/22. History, Historiography, Research. Primary vs. Secondary Research Methods.
.1/24. The origins of jazz . African American traditions and European American traditions.
Read and prepare for discussion: EARLY JAZZ, pp.1-88.
.1/29. Early jazz and the recording industry.. Jelly Roll Morton
Read and prepare for discussion: EARLY JAZZ, pp. 134-187.
. 1/31. Louis Armstrong.
Read and prepare for discussion: EARLY JAZZ, pp. 89-133 Assignment #1: Transcription and thematic analysis of a Louis Armstrong improvisation.
. 2/5. Bix Beiderbecke, Frank Trumbauer. Race relations in the early jazz era.
Read and prepare for discussion: EARLY JAZZ,pp.187-206. Assignment #2: Harmonic analysis of ÒSinging the BluesÓ.
.2/7. Piano styles, New Orleans, Harlem. Earl Hines.
Read and prepare for discussion: EARLY JAZZ, pp.214-225.
.2/12. History of Early big band writing.
Read and prepare for discussion: EARLY JAZZ, pp. 242-317 Assignment #3: Formal analysis of a Bill Challis or Don Redman arrangement.
. 2/14. Bill Challis, Don Redman.
. 2/19. Fletcher Henderson, Duke Ellington.
Read and prepare for discussion: EARLY JAZZ, pp.318-357. Assignment #4:
Analysis for tonal/instrument combinations.
. 2/21. Duke Ellington
Read and prepare for discussion: THE SWING ERA, pp.46-157 .
. 2/26. Coleman Hawkins
Read and prepare for discussion: THE BIRTH OF BEBOP, pp. 1-164 . Assignment # 5: Harmonic analysis of ÒBody and SoulÓ solo.
. 2/28. Lester Young
Read and prepare for discussion: THE SWING ERA, pp. 547-562.
Assignment #6: Harmonic analysis of ÒLady Be GoodÓ solo. Comparison of
Hawkins and Young.
.3/5. Art Tatum
Read and prepare for discussion: THE SWING ERA, pp.476-502
.3/7. Count Basie and the Territory Band Tradition. FILM: ÒBorn to SwingÓ.
.3/12. Dizzy Gillespie
Read and prepare for discussion: THE BIRTH OF BEBOP, pp. 167-269
.3/14. Thelonious Monk , FILM: ÒStraight, No ChaserÓ Read: JAZZ MASTERS, pp.24-44.
.3/19 Charlie Parker
Read and prepare for discussion: THE BIRTH OF BEBOP, pp.364-450
Assignment #7. SOLO ANALYSIS: ÒKoKoÓ.
.3/21. Clifford Brown. Sonny Rollins. Read and prepare for discussion: JAZZ MASTERS, pp.87-112.
.3/26. Wes Montgomery
.3/28. .Lennie Tristano : FILM : ÒManhattan StudioÓ
.4/2. Gerry Mulligan, Gil Evans, ÒWest Coast JazzÓ Read and prepare for discussion:
JAZZ MASTERS, pp.9-23
.4/4. Miles Davis. Read and prepare for discussion: JAZZ MASTERS, pp.62-86.
.4/9. Third Stream Jazz . Discussion: ÒThe Brandeis ConcertÓ(recording on reserve)
.4/11. John Coltrane. Read and prepare for discussion: JAZZ MASTERS, pp.189- 212.
Assignment #8: Identifying ColtraneÕs modal structures.
.4/16. Eric Dolphy,. Charles Mingus , FILM: ÒLast DateÓ Read: JAZZ MASTERS, pp.132-153.
.4/18. Ornette Coleman, Cecil Taylor.
Read and prepare for discussion: JAZZ MASTERS, pp. 213-246.
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.4/23. The Avant Garde. A discussion of African-American Identity and the modern jazz movement.
.4/25. The Avant Garde; Chicago & Europe
.4/30. The Jazz Fusion Movement Discussion: ÒSilver CyclesÓ ÒHeavy WeatherÓ (recordings on reserve)
.5/2. Postmodernism & Jazz.
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