MUS 111 - Jazz In Contemporary America

1. Students will be able to identify and explain the historical significance of Jazz as a culture in the United States and abroad. (GELO4)
2. Students will be able to identify and discuss the historical and societal influences that contributed to the evolution of jazz. (GELO4)
3. Students will be able to identify and explain how various ethnic, religious and cultural changes in the United States have influenced jazz as an American art form. (GELO4)
4. Students will be able to compare and contrast the similarities and differences of the various styles within the jazz genre and suggest cultural and economic catalysts for these similarities and differences. (GELO4)
5. Students will be able to identify and discuss how the different cultural and societal backgrounds and exposures of individual jazz musicians contributed to the evolutionary changes in jazz as an art form. (GELO4)
6. Students will be able to explain the various characteristics and development of the major periods of jazz history (e.g. Dixieland, Ragtime, Swing, Bebop, Cool, Hard Bop, Fusion, and Modern).
7. Students will be able to identify and explain musical forms and genres as related to jazz (12-bar blues, standard song form, jazz head/chorus form, etc.)
8. Know and use active listening skills. (GELO2)
9. Complete work accurately, with attention to detail. (GELO2)
10. Manage time effectively.
11. Give and receive constructive feedback. (GELO2)

II.  How to Listen to Jazz
     A. Open your ears
     B. How do musicians keep their place while improvising
     C. Instrument roles
     D. Are solo improvisations completely original
     E. Key Terms
     F. Summary Questions

III.  The Origins of Jazz
     A. Beginnings, cultural influences
     B. New Orleans
     C. The Blues
     D. Brass Bands
     E. Ragtime
     F. Combining Influences
     G. The Party Atmosphere
     H. Summary
     I.   Key Terms
     J.  Scott Joplin, Preservation Hall Jazz Band, New Orleans Funeral

IV. Early Jazz
     A. Culture and Society
     B. Instrument in Early Jazz Bands
     C. Early Jazz Innovators
     D. Vocal Blues
     E. Popularity of Early Jazz
     F. Summary
     G. Key Terms

V.  Swing
     A. How swing differs from early jazz
     B. Instruments in swing bands
     C. Cultural changes and influences
     D. Swing Era Soloists
     E. Swing Era Bandleaders

VI. More Swing
     A. Vocalists
     B. Pianists
     C. Popular Culture of swing
     D. Summary
     E. Key Terms

VII. Bebop
     A. The birth of Bebop
     B. The Culture of Bebop
     C. Charlie Parker
     D. Dizzy Gillespie
     E. Thelonious Monk
     F. Bud Powell
     G. Dexter Gordon
     H. Stan Getz
     I.  Sarah Vaughan
     J. The popularity of Bebop
     K. Summary
     L. Key Terms

VIII. Cool Jazz
     A. Lennie Tristano
     B. Lee Konitz
     C. Birth of  the Cool
     D. Gerry Mulligan
     E. Dave Brubeck
     F. Stan Kenton
     G. The popularity of jazz
     H. Summary
     I.   Key terms

IX. Hard Bop
     A. Horace Silver
     B. Miles Davis
     C. Clifford Brown
     D. Freddie Hubbard
     E. Cannonball Adderly
     F. Sonny Rollins
     G. John Coltrane
     H. Wes Montgomery
     I.  The popularity of Hard Bop
     J. Summary

X.  Avant-Garde of the 60’s and 70’s
     A. Ornette Coleman
     B. Cecil Taylor
     C. Modal Jazz
     D. Bill Evans
     E. Miles Davis Mid-60’s
     F. The popularity of Avant-Garde Jazz
     G. Summary
     H. Key Terms

XI. Fusion
     A. Distinguishing jazz from rock
     B. How did jazz and rock merge
     C. Miles Davis and fusion
     D. John McLaughlin
     E. Weather report
     F. Herbie Hancock

XII. More Fusion
     A. Chick Corea
     B. Smooth jazz
     C. Acid Jazz
     D. But is it Jazz?
     E. The appeal of fusion
     F. Summary
     G. Key Terms

XIII. Now
     A. Soul Saxes and Contemporary Jazz
     B. Continuing Legacies
     C. Fresh Approaches
     D. Latin Jazz
     E. Modern Big Bands

XIV. Even More Now
     A. Celebrating the Past
     B. Popular Appeal
     C. Summary
     D. Key Terms

Videos and Recordings: 10-30%

Group Discussion: 30-50%

Listening to Live Performances:  5-10%
Mandatory Course Components:

• GRCC Jazz Night Attendance
• Attendance at one additional jazz performance Individual or group presentation
• Research Paper and Presentation.

The Grand Rapids Community College Music Department faculty has specified essential abilities critical to the success of students in any GRCC Music Department program. Students must demonstrate these essential abilities and technical standards to succeed in their program of study. Qualified applicants are expected to meet all admission criteria and matriculating students are expected to meet all progression criteria, as well as these essential abilities and technical standards with or without reasonable accommodations.

1. Essential judgment skills to include:
* Time management – Students are expected to schedule no less than two hours each day in applied music private practice. Additional hours of individual practice toward proficiency in piano, aural skills and theoretical concepts will require daily practice.
* Respect for other music majors, faculty and staff – Students are expected to hold all members of the Music Department Community in the highest regard. Music majors are a unique cohort who must rely on the support and cooperation of all other members of the community.
* Creative Problem Solving – Students are expected to resolve issues of practice room and lab scheduling, accompanist rehearsal schedule, additional sectional rehearsals and performances.

2. Essential physical/neurological functions to include: ability to use the senses of seeing, hearing, and touch to make correct judgments regarding performance. Behaviors that demonstrate essential neurological and physical functions include, but are not limited to observation, listening, understanding relationships, writing, and psychomotor abilities consistent with course and program expectations. Specifically this includes:

* Keyboard competency.
* Ability to hear the notes on the page
* Hear, identify, and work conceptually with the elements of music such as rhythm, melody, harmony, structure, timbre, and texture
* Ability to read (musical literacy) at sight with fluency demonstrating both general musicianship and, in the major performance area, a level of skill relevant to undergraduate standards appropriate for the particular concentration.
* An understanding of the common elements and organizational patterns of music and their interaction, the ability to employ this understanding in aural, verbal, and visual analyses, and the ability to take aural dictation.

3. Essential communication skills to include: ability to communicate effectively with fellow students, and all members of the music department. Skills include verbal, written, and nonverbal abilities as well as information technology skills consistent with effective communication. Specifically this would include:
* Knowledge and skills sufficient to work as a leader and in collaboration on matters of musical interpretation and performance.
* Knowledge and skills sufficient to work as a leader and in collaboration on matters of research and class presentation.

4. Essential emotional coping skills: ability to demonstrate the mental health necessary to safely and effectively engage in live musical performance. Specifically this would include:
* Mental and emotional preparation for artistic self-expression in at least one major performance area at a level appropriate for the particular music concentration.
* Mental and emotional stability to demonstrate an ability to perform at a level that is appropriate to performance class or department recital.

5. Essential intellectual/conceptual skills to include: ability to measure, analyze, synthesize, and evaluate competently in the study of music theory, music history and repertory. Specifically, students must demonstrate a basic knowledge of music history and repertories through the present time. Students must also demonstrate a rudimentary capacity to create original or derivative music. This may include but is not limited to:
* An overview understanding of the repertory in their major performance area.
* The creation of original compositions or improvisations and variations or improvisations on existing materials.
* Imitation of musical styles, and manipulating common musical elements in non-traditional ways.
* Growth in artistry, technical skills, collaborative competence and knowledge of repertory through regular ensemble experiences
* Ability to comprehend musical forms, processes, and structures. To use this knowledge and skill in compositional, performance, analytical, scholarly, andragogical and pedagogical applications.
* The ability to place music in historical, cultural, and stylistic contexts.

6. Other essential behavioral attributes: ability to engage in group rehearsals and/or individual and small group practice without demonstrated behaviors of addiction to, abuse of, or dependence on alcohol or other drugs that may impair behavior or judgment. The student must demonstrate responsibility and accountability for actions as a student in the music department and as a developing professional in the music field consistent with accepted standards of practice.

Grand Rapids Community College strives to be more than ADA compliant. We strive to be accessible and welcoming to all students of all abilities. After reviewing the Essential Abilities/Technical Standards for this program; your responsibilities as a student entail determining if you can complete all associated coursework either:
A. With Accommodation. I am otherwise qualified to meet the same academic standards as any other student entering the program. However, based on a medically documented condition or diagnosis, I would qualify for reasonable accommodation under the Americans with Disabilities Act (1990). I will meet with Disability Support Services on campus to arrange those accommodations in an interactive process with the department of music.

B. Without Accommodation. I am able to complete the program without need for reasonable accommodation or modification. In the event my medical documentation reveals otherwise or a condition manifests that would necessitate an accommodation; it is my responsibility to inform a responsible authority figure within the department of music and work with Disability Support Services to see if a reasonable accommodation or modification can be made.
If you have a medically documented condition or diagnosis, please contact the Music office, or contact Disability Support Services (DSS) at disability@grcc.edu or by phone at 616.234.4140 to arrange accommodations through our interactive process.