Download Music 2310

Music 2310/3310: Jazz, Pop, & Rock
An Introductory Survey of Jazz
& the American Popular Song to Approximately 1970
Fall 2014
Credits: 3 hours
Prerequisites: none
Location of class: http://online.utpb.edu/webapps/portal/frameset.jsp
Professor:
E-mail (most effective):
Office hours: .
Course description: Jazz, Pop, and Rock seeks to inform the student about the progression of
jazz and American popular song from its beginnings in New Orleans, through the “golden era” of
rockabilly, and finally, to explain modern rock music with appropriate vocabulary. The class
concludes with students analyzing their own listening habits and articulating those as a music
preference.
Why teach jazz history?
Wow - why not? Jazz is America's musical contribution to the world. Americans cannot claim
rock music, classical music, rap, or even country. We can only claim jazz and blues as truly
"American" in origin. Jazz, like many other styles of music, are recognized internationally as an
art form. The early jazz musicians became international cultural icons. Such musicians include
Louis Armstrong, Ella Fitzgerald, Duke Ellington, Dizzy Gillespie, Charlie Parker, and Miles
Davis to name but a few. You can hear street musicians performing jazz in Paris, London,
Moscow, and Tokyo. Rightly so - jazz is a mixture of many cultures' music; from West Africa,
Europe to the Caribbean and Latin America. Jazz is not the end of the influence - it influences
too! Jazz has influenced art music, rhythm and blues, soul, pop, country, and even rock-n-roll.
Your learning objectives are to:
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Students will draw well-reasoned, logically-supported conclusions from information
(term paper).
Students will demonstrate effective written, oral, and visual communication skills (term
paper).
Students will work effectively with others in support of a shared purpose or goal (group
member evaluation).
Students will demonstrate intercultural competence, civic responsibility and the ability to
engage effectively in regional, national, and global communities (CD Review)
Text and required materials:
An open ear
A reliable Internet connection
A desire to learn
A commitment to the course
A customized reading list has been made for this course. It is sold as a single digital
package of collected readings. This customized reading package can only be
purchased through the UT Permian Basin Bookstore. These reading texts are
REQUIRED and essential for your progression in this course.
Details:
CoursePack Title: Jazz History
CoursePack ID: 455664
CoursePack Delivery:
Format: Digital access with desktop printing
Purchase Location: Bookstore
Distribution Location: UT Permian Basin Bookstore
Listening quiz format:
There are three listening quizzes in this course. Listening quizzes are graded quizzes that may
only be taken once. Please be sure to have at least an hour to take the quiz once you click
"Begin." You are required to listen to an audio file, so make sure you have your speakers on
before starting the quiz. Questions will be in the form of short answer. Each quiz contains 30
questions. Listening quizzes are counted as 10% each of the final course grade (totaling 30% of
your course grade).
 Listening quiz #1 covers material from lecture and reading up to, and including, the
Swing Era.
 Listening quiz #2 covers material from lecture and reading from Bop through FreeFusion-Mainstream Jazz.
 Listening quiz #3 covers material from lecture and reading from the Popular Song
Tradition through 1970's and Beyond.
My expectations for your time:
A normal 3 credit hour course meets MWF for one hour each day or T/Th for an hour and a half
both days. My expectation is that you will spend time online with this course in a similar fashion
(Monday, Wednesday, Friday for one hour each, or Tuesday and Thursday for one hour and
thirty minutes each) and maybe some other times if needed to complete assignments, projects,
papers, and quizzes. Learning is not done in isolation, but during interaction with others.
Therefore you will be consistently interacting with your classmates.
Communication guidelines:
Dr. Keast (within Blackboard Learn’s “Mail” function) (if Blackboard Learn fails,
[email protected] )
– I will make every effort to respond to email within 24 hours of receiving it. Many
of my former students have commented that they received answers within only a
few minutes. I constantly check my email and try to respond as soon a possible to
every student quickly.
24/7 Help Desk (1-877-633-9152)
– Technical questions about logging in to Blackboard Learn, server questions, etc.
Basically any kind of technical support question should be called to this number.
Discussion Boards
– Discussion boards are to be used for most communication in the course except for
the private messages to your peers and questions about your grades.
Discussion board postings:
 Your participation is necessary for the course to work. I believe that learning is not done
in isolation, but in interaction with materials and/or other learners.
 Keep your comments focused on the topic at hand. If you want to leave an off-topic
posting, please do so in the appropriate spot – the "water cooler" discussion board. In
most offices, the water cooler or coffee pot is where a lot of random topics occur. The
same concept should apply in our course. Want to vent about something – vent away!
 Please respond to your peers in the discussion boards – let them know your ideas about
their posting. The interaction is important.
 Your participation grade in the discussion boards is not based on the length or number of
your postings, but rather on the quality of your postings. If your posting is a simple "I
agree with you, Jim.", then you are not participating in a meaningful way. Follow up on
the comment with why or how you agree with Jim. Give your arguments or position some
context and justification.
Technologies involved:
Convert files from mp3 to wav (instructions provided in course)
Upload MS Word documents (or Rich Text Format documents) and PowerPoint slides
Visit external links (to websites outside of Blackboard Learn)
Print materials
Listen to music using RealPlayer (free download at www.realplayer.com)
Viewing Flash media found within the lectures (free download at
http://get.adobe.com/flashplayer/)
Email peers (some attachments may be necessary)
Viewing portable document files (PDF) (free download at www.adobe.com)
Post and view comments on discussion boards
Course structure:
Unit 1 includes:
 Reading from the Xanedu course pack
 Lecture
 Individual assignment
 Course familiarity quiz
Units 2-7 include:
 Reading from the Xanedu course pack
 Lecture
 Group activity
 CD Review is submitted at the end of Unit #2
 Listening quiz #1 is completed at the end of Unit #3
 Listening quiz #2 is completed at the end of Unit #7
 Group member evaluation is submitted after Unit #7 via private email
Units 8-11 include:
 Lecture
 Individual assignment
 Special Topic Research Paper is submitted at the end of Unit #10
 Listening quiz #3 is completed at the end of Unit #11
 Self-evaluation is submitted after Unit #11 via private email
 Posting of concert program in forum “My Musical Involvement”
 Jazz concert review is submitted anytime before the end of the course
"Dr. Keast, what do I need to do to get an A?"
 View and complete all readings in a timely manner
 View and listen to lectures on time
 Be active in the course with your peers
 Complete 3 Listening Quizzes
 Complete the Course Familiarity Quiz
 Attend a jazz concert during the course of this class and complete a review of the event
for your peers
 Complete a review of a favorite CD and post the review in the appropriate discussion
board
 Post a concert program showing your involvement in a musical performing ensemble
 Complete a topic research paper of your choice
 Complete a group member evaluation
 Complete a self evaluation of your performance in this course
Evaluation of learning:
5%
Self-Evaluation of Your Performance in Course
5%
Group Member Evaluation
10%
Jazz Concert Review (2 pg. paper)
10%
CD Review
10%
Special Topic Research Paper
30%
Class contributions (group projects & discussion forum postings)
CB
Course Familiarity Quiz
10%
Listening Quiz #1
10%
Listening Quiz #2
10%
Listening Quiz #3
Assignments
70%
Quizzes
30%
(* CB = completion based grade)
Grading scale:
99-100%
A+
92- 98%
A
90- 91%
A87- 89%
B+
82- 86%
B
80- 81%
B-
77-79%
C+
72-76%
C
70-71%
C60-69%
D
below 60% F
Incompletes are highly discouraged and rare.
Format for papers:
 Microsoft Word (File, Save as type, Word 2007) or RTF (rich-text-format) documents
only
 14 point Times New Roman font
 Double-spaced
 1 inch margins (top, bottom, and sides)
 APA or MLA Styles are acceptable
 Please proofread your papers
 Book and CD titles should be italicized (i.e.: Miles Davis’ Steamin’)
 Chapters from books or newspaper articles and song titles should be in quotes (i.e.: “Salt
Peanuts” from Miles Davis’ album Steamin’)
 University Writing Center (432-552-3350, Mesa Building 2215): FREE service for
brainstorming, organizing your paper, proofreading, citing resources, and APA or MLA
styles guidelines. After you email the paper, call 432.552.3350 and set an appointment
with a writing tutor; a tutor will review your work with you in real time over the phone or
on Skype. Make the appointment several days before the due date to allow time to revise
and, if you want, make a follow up appointment with the tutor. Your file must be in .doc
or .rtf format and should include your name, student number, and “MUSI 2310.701 –
Jazz, Pop, & Rock with Dr. Keast”. The style is up to you (APA, MLA, Turabian, etc.).
Just pick a style and be consistent. To receive credit for your rough draft from Dr. Keast,
please Cc him when sending the manuscript to the Writing Center. His email is
[email protected].
 All student work is graded on individual merit and completion of assignment's objective
as per the standards set forth in the grading rubric distributed prior to the assignment's
due date. Graded work will be returned to students as quickly as possible with feedback
to support the grade earned.
Term paper guidelines:
A course in music can be boring unless you, the student, have some input into what you study.
This is that opportunity! Think of a topic that we might have touched on a bit, not enough, a lot,
whatever, and research it further. The purpose of writing a term paper is to convince the reader
of your unique perspective on a subject. I am anxious to see your inspired research! A paper
about the cool jazz style may seem narrow, but there are many things to cover in such a paper. A
good topic may have a fairly long title – my dissertation was a 200 page book about a very small
topic. I had plenty to talk about in the book.
Over the next few weeks you will be assigned tasks that will lead to the completion of your term
paper. There are due dates for each task. Completing each task by its due date is vital in order for
you to complete the term paper by the final due date so do not get behind. The paper, including
the process, is 10% of your final grade, so please take it seriously.
I generally ask that the topic for your paper be stated as an unsettled argument. State the topic as
some sort of problem or argument and then work to convince me of your position or unique
perspective. For example, something along the lines of: Elvis was the primary developer of the
Rockabilly style. State your argument and use words of probability such as "probably," "might
be," or "75% chance." The point is to describe your topic as a discussion of what is more or less
likely. Be aware of your data and resources when making statements. Data from a 4th grade class
project is not as strong as data generated from the US Census Bureau. To get your topic
approved, send an email to Dr. Keast BEFORE YOU START! Once your topic is approved,
gather your resources and begin formulating your arguments. Research librarians and the
databases in the library are amazing resources.
The introduction to your paper is the thesis where you put forth an unsettled argument. I
generally suggest that a thesis is about one paragraph containing roughly 5-8 sentences. More
than this ends up off topic, less than this will have some problems successfully arguing the
case. As you develop your thesis, the 4-5 main arguments to support the topic become your
thesis and outline of your paper. Each argument becomes a page or two of your paper. I request
that you cite a source or some data in each argument with your commentary weaving it into your
topic. Your claim (the topic or argument) is supported by the data. Tie the data to your topic (this
is the warrant). For example, your claim is that humans cause global warming and your data is
that we are emitting substantially more carbon dioxide into the environment than we were a
century ago. The warrant would be the explanation of what products increase CO2 emissions.
The warrant is the REASON why. Think of the arrest warrant - that is the reason why police are
taking the person to jail.
Simply put - control your topic by utilizing a thesis and resulting outline: Take the four or five
points to your argument and list them as major sections of your paper. Under each point, list a
few sub-points to support the main point. Cite some data or another person’s writing as a
reference to back up your point that supports your argument (topic).
To get your thesis paragraph approved create an email to Dr. Keast ([email protected]) with
your thesis as the body of the email. Dr. Keast will reply with his approval or suggestions for
improvement.
Once your thesis is set and approved by Dr. Keast, begin adding in your discussion points,
citations, and material. Anticipate attacks on your position and respond to them. For example, in
the global warming argument, address the issue that some scientists have publicly acknowledged
using false data. You could do this by saying: "Some people object that scientists have
committed serious mistakes in explaining warming. While true, the errors of some scientists do
not negate the large body of objective science which has accumulated on this point." The
intention is to get the reader to see particular objections that you point out and explain the
objection away before the reader can object to your argument.
The final paragraph(s) of your paper is the burrito - wrap it all up and show how/why you’re
correct. You cannot say anything new here. If you haven’t said it earlier in the paper, you cannot
introduce the thought now.
Submit a rough draft to the UTPB Success Center by sending them an email to:
[email protected]. After you email the paper, call 432.552.3350 and set an
appointment with a writing tutor; a tutor will review your work with you in real time over the
phone or on Skype. Make the appointment several days before the due date to allow time to
revise and, if you want, make a follow up appointment with the tutor. Your file must be in .doc
or .rtf format and should include your name, student number, and “MUSI 2310.701 – Jazz, Pop,
& Rock with Dr. Keast”. The style is up to you (APA, MLA, Turabian, etc.). Just pick a style
and be consistent. To receive credit for your rough draft from Dr. Keast, please Cc him when
sending the manuscript to the Writing Center. His email is [email protected].
CD Review guidelines:
Select your favorite band or musical artist which you have access to a few of their CD's or
cassettes. Review one of their albums discussing the singer's/group's instrumentation, the variety
of musical sounds on the CD you are reviewing, the creativity or freshness of the sound for the
singer/group. Once you select a group/singer to study, listen to a variety of their work (2-5
albums). Decide which album you want to review for the project.
1. Discuss the album as a whole - is it fresh or divergent of past albums by the
singer/group? Support your answer with comparisons. (10 points)
2. Pick at least two tunes to discuss further and analyze them for the "trademark" sounds
of the performer. (10 points)
3. Listen to lyrics and see if they are consistent with other pieces. Discuss the ethical
issues that you find (i.e.: drugs, alcohol use, sex, marriage, abortion, suicide, religion,
or immigration) (5 points)
4. Why are you drawn to listening to this group? Sell the group as if you are a used car
salesman. (10 points)
5. Compare the group/singer’s sound to “Mora Na Roca (I Live on a Farm)” or “Corporal
Williams” using a musical element discussed in Unit #1 (melody, harmony, rhythm,
timbre, texture, form, or expressive elements). Discuss the differences you hear in
terms of cultural influence (not just the language barrier). (10 points)
6. Reply to at least two others' CD Reviews in this discussion forum. (5 points)
You will be expected to submit this assignment to the appropriate drop box located on the "Drop
Boxes" button of your main course menu. Additionally, you will need to post this assignment as
a new thread in the appropriate forum found in the course Discussion Board. Review the work
of several of your other classmates and respond with your comments about their review.
Group Member Evaluation form (completed near end of the course for each peer in your
small group):
GROUP MEMBER EVALUATION FORM
Group member being evaluated:
Your name:
Using the following scale, rate the group member listed above:
5=Excellent 4= Good
3=Average 2=Fair
1=Needs improvement
Contributed higher-quality work than expected by the team
Was prepared and accomplished tasks on time, present for team meetings
Asked for feedback or provided feedback to team members
Encouraged the team and was enthusiastic
Kept team members informed and checked for understanding
Helped the team stay focused on the goals of the tasks
Provided timely and constructive feedback
Illustrated a desire to achieve more than a grade, but to create a good product
Acquired knowledge or skills necessary to perform tasks on behalf of the team
Overall rating I would give this team member
Policy on late work:
This is not a self-paced course. All work is due the date announced by Dr. Keast. Late work
might be deducted 5% per day the assignment is late. In my face-to-face courses, I am rather
forgiving about deadlines. However, in an online course with a degree of social interaction such
as this, we need deadlines.
Dr. Keast’s philosophy of college teaching and learning:
I believe students who regularly attend class, participate in classroom discussions and activities,
complete assigned readings, and thoughtfully finish assignments should arrive at a mastery of the
course material. The purpose of learning in college is to master course skills. When a student
does not achieve the objectives of a course, then the student has not learned the material and the
student should initiate corrections to quizzes or quizzes in order to learn from their mistakes.
Quizzes and quizzes are not the end of learning, but rather a measure of student learning. The
students’ mastery of the material is my teaching goal. I hope that learning the material is every
student’s learning goal.
My philosophy of music education: A music curriculum should consist of sequentially
organized learning experiences leading to specific skills and knowledge. The goal of music
education is not great student performances, but musical learning allowing active participation
in, or appreciation of, a musical culture. The curriculum should include the performance of
published music and provide students with opportunities in improvisation and composition.
Music classes should develop students’ problem-solving and higher-order thinking skills. The
curriculum should also emphasize the interdisciplinary potential – facets of musical
understanding that can be applied to other areas of the fine arts, as well as to social studies,
language arts, and other fields of study. If these elements are absent from a music curriculum,
classes are mere rehearsals and music education becomes music production.
My teaching style is that of a social constructivist approach:
What is Social Constructivism?
– Social constructivism emphasizes the importance of culture and context in
understanding what occurs in society and constructing knowledge based on this
understanding (Derry, 1999; McMahon, 1997). This perspective is closely
associated with many contemporary theories, most notably the developmental
theories of Vygotsky and Bruner, and Bandura's social cognitive theory (Shunk,
2000).
Assumptions of Social Constructivism
– Social constructivism is based on specific assumptions about reality, knowledge,
and learning. To understand and apply models of instruction that are rooted in the
perspectives of social constructivists, it is important to know the premises that
underlie them.
– Reality: Social constructivists believe that reality is constructed through human
activity. Members of a society together invent the properties of the world (Kukla,
2000). For the social constructivist, reality cannot be discovered: it does not exist
prior to its social invention.
– Knowledge: To social constructivists, knowledge is also a human product, and is
socially and culturally constructed (Ernest, 1999; Gredler, 1997; Prat & Floden,
1994). Individuals create meaning through their interactions with each other and
with the environment they live in.
– Learning: Social constructivists view learning as a social process. It does not take
place only within an individual, nor is it a passive development of behaviors that
are shaped by external forces (McMahon, 1997). Meaningful learning occurs
when individuals are engaged in social activities.
Civility statement: Because this class needs to be a participatory community, if students are to
fulfill their potential for learning, people who disrupt the community by their words or actions
(rude, sarcastic, obscene, disrespectful speech, or disruptive behavior) will be removed from the
course. In order to achieve our educational goals and to encourage the expression,
understanding, and creation of a variety of ideas and opinions, respect must be shown to
everyone.
Acceptable Student Behavior:
Classroom behavior should not interfere with the instructor’s ability to conduct the class or the
ability of other students to learn from the instructional program (Code of Student Life).
Unacceptable or disruptive behavior will not be tolerated. Students engaging in unacceptable
behavior may be asked to leave the course. Inappropriate behavior may result in disciplinary
action or referral to the University’s Behavioral Intervention Team. This prohibition applies to
all instructional forums, including electronic, classroom, labs, discussion groups, field trips, etc.
Class netiquette:
Dr. Keast and your fellow students wish to foster a safe on-line learning environment. All
opinions and experiences, no matter how different or controversial they may be perceived, must
be respected in the tolerant spirit of academic discourse. You are encouraged to comment,
question, or critique an idea but you are not to attack an individual. Our differences, some of
which are outlined in the University's nondiscrimination statement, will add richness to this
learning experience. Please consider that sarcasm and humor can be misconstrued in online
interactions and generate unintended disruptions. Working as a community of learners, we can
build a polite and respectful course ambience.
Academic honesty is fundamental to the activities and principles of a university. The academic
community regards academic dishonesty as an extremely serious matter, with serious
consequences. Any effort to gain an advantage not given to all students is dishonest whether or
not the effort is successful. Any suspicion of academic dishonesty will be reported and
investigated. A student who engages in scholastic dishonesty that includes, but is not limited to
cheating, plagiarism, and collusion will receive an “F” for the course. All persons involved in
academic dishonesty will be disciplined in accordance with University regulations and
procedures. For complete information on UTPB student conduct and discipline procedures
consult the university’s handbook at: http://ss.utpb.edu/dean-of-students/scholastic-dishonesty/.
When in doubt about plagiarism, paraphrasing, quoting, collaboration, or Internet applications,
consult Dr. Keast. Assignments generated by downloading or printing from the Internet are
considered under the auspices of academic dishonesty. Academic dishonesty will not be
tolerated in this course.
Americans with Disabilities Act: Students with disabilities that are admitted to The University
of Texas of the Permian Basin may request reasonable accommodations and classroom
modifications as addressed under Section 504/ADA regulations. Students needing assistance
because of a disability must contact Leticia Madrid, Director, Programs Assisting Student Study
(PASS) Office, 552-2630, no later than 30 days prior to the start of the semester.
The definition of a disability for purposes of ADA is that she or he (1) has a physical or mental
impairment that substantively limits a major life activity, (2) has a record of such an impairment
or, (3) is regarded as having such an impairment.
Students who have provided all documentation and are eligible for services will be advised of
their rights regarding academic accommodations and responsibilities. The University is not
obligated to pay for diagnosis or evaluations nor is it obligated to pay for personal services or
auxiliary aids.
If you need accommodations because of a disability, if you have emergency medical information
to share with the instructor, or if you need special arrangements in the case the building must be
evacuated, please inform Dr. Keast immediately. It is best to contact Dr. Keast after class or
during his office hours.
Let this syllabus serve as an outline to the objectives and materials that we will cover.
This syllabus is subject to revision at the discretion of Dr. Keast.