| MUSIC | |||||
| Bachelor | TR-NQF-HE: Level 6 | QF-EHEA: First Cycle | EQF-LLL: Level 6 | ||
| Course Code | Course Name | Semester | Theoretical | Practical | Credit | ECTS |
| MSC2181 | Jazz History | Fall | 2 | 0 | 2 | 3 |
| Language of instruction: | English |
| Type of course: | Must Course |
| Course Level: | Bachelor’s Degree (First Cycle) |
| Mode of Delivery: | Face to face |
| Course Coordinator : | Instructor YEŞİM PEKİNER |
| Course Objectives: | This course will provide students with chronological study of jazz, with insightful commentaries on it's origins, and full descriptions of the various styles of jazz and the personalities that have contributed to this innovative form of music. This study is a necessary foundation for students to analyse, connect and compare diferrent jazz styles within curicial periods of jazz history.It also gives students in-depth analysis of musicalelements such as jazz music forms and its technical appendices that discuss advanced music theory concepts. |
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The students who have succeeded in this course; 1) Have an intense knowledge of the history of the development of the music and the social and cultural factors that gave birth to it. 2) Students will begin to develop a deeper appreciation and understanding of jazz and through it, music as a whole while constructing the listening, reading and analytical skills necessary to be culturally conversant. 3) Conduct an in-depth analysis of musical elements such as jazz music forms and its technical appendices that discuss advanced music theory concepts. 4) Analyse, connect and compare diferrent jazz styles within curicial periods of jazz history 5) Learn the sociopolitical background which led to the formation of that jazz style 6) Listen to the albums of leading jazz musicians therwof 7) Learn the main jazz compositional forms and harmonic structure through analysis. 8) Start recognizing the differences in performing technics and approaches of different jazz musicians 9) Understands the close connection between the performer/composer |
| Starting from the origins of Jazz music, this course covers the periods of Jazz music from Ragtime to the Bebop period, the styles that emerged in these periods, and the characteristics of these styles. The teaching methods of this course are lecture, reading, research and discussion. |
| Week | Subject | Related Preparation |
| 1) | Roots 1. 19th Century Afro-american musical traditions: Worksongs, spirituals Blues and Ragtime; 2. Sub-Sahara Musical traditions and dance rhythms 3. Classical Western Music: Intsrumentation, form and harmony | |
| 2) | What is Jazz? Its defining features; 1. Rhythm, syncopation 2. Blue notes 3. Improvisation 4. Harmony 5. Form | |
| 3) | Ragtime and Early Jazz; New Orleans Dixieland | |
| 4) | Big Migration: Main political social and economic factors that led to Big Migration? Its implication for the development of jazz music. | |
| 5) | Roaring Twenties, Modernism and the Jazz Age; The main economic and industrial developments in Europe and the United States and their effects on social life, arts and literature. (car industry, aviation, film industry, redefining women's role in social life) | |
| 6) | Early Jazz of the Chicago -19th Century Chicago Music styles -New Or; Louis Armstrong, Sydney Bechet, Jelly Roll Morton, Earl Hines, King Oliver, New Orleans Rhythm Kings | |
| 7) | Harlem Renaissance W. E. B. Du Bois, Alain Locke New Afro-American Movement 1. Effects of the Great Migration 2. Free Expression of Afro-American Identity 3. Main Organisations of mobilization 4. The National Association for the Advancement of Colored People (NAACP) 5. The National Urban League | |
| 8) | Mid-term | |
| 9) | Swing Period; Age of Bigband 1930–1945. Jimmie Lunceford Fletcher Henderson Artie Shaw Benny Goodman Trombon Players Kid Ory, Jack Teagarden, J.C. Higginbotham ve Tommy Dorsey, Bill Harris Trompet players Rol Elridge | |
| 10) | Swing Saxophone Players Lester Young, Coleman Hawkins, Jhonny Hodges, Ben Webster, Don Byas, Benny Carter. Biographies, compositions and album analysis | |
| 11) | Swing Pianists Art Tatum, Teddy Wilson, Nat King Cole, Fats Waller, Errol Garner, Milt Buckner. Their biographies, compositions and album analysis | |
| 12) | Swing Guitarists; Django Reinhardt and the Nazi Germany; Charlie Christian Gender in the Age of Swing; Marry Lou Williams and the Clouds of Joy | |
| 13) | Count Basie and Duke Ellington Orchestras, compositions, form analysis and contributions to Afro American Culture | |
| 14) | Age of Bebop Defining characteristics, socio-cultural background that led the way to Bebop, what are the basic freatures that differentiate bebop from swing period Dizzy Gillespie, Thelonious Monk ve Charlie Parker |
| Course Notes / Textbooks: | 1. Martin, Henry and Waters Keith. (2009). The Essential Jazz, First 100 years. Schirmer Cengage Learning Boston; USA 2. Gioa, Ted. (1998). The History of Jazz. Oxford University Press; USA 3. Gitler, Ira. (1985). An Oral History of Transition in Jazz in the 1940s. Oxford University Press. NewYork; USA 4. Stokes Royal. (1991). The Jazz Scene. An Informal Oral History from New Orleans to 1990. Oxford University Press; Oxford University Press. NewYork; USA. 5. Lopes Paul. (2002). The Rise of a Jazz Art World. Cambridge University Press. Cambridge; UK. 6. Martinelli, Francesco. (2018). The History of European Jazz. The Music, Musicians and Audience in Context (Hardback)Equinox Publishing Ltd. 7. Franck Bergerot. (2004). Tarih Boyunca Caz. Dost kitapevi. 8. Joachim E. Berendt. (2019). Caz Kitabı. Ayrıntı Yayınları. 9. EBOOK *Blues People, The Negro Experience in White America And The Music That Developed From It by LeRoi Jones,1963 (edition – 1999), Harper Perennial. ISBN-10: 068818474X ISBN-13: 978-0688184742 http://solomon.bltc.alexanderstreet.com/cgibin/asp/philo/bltc/documentidx.pl?sourceid=S7672 10. EBOOK: Subversive Sounds: Race and the Birth of Jazz in New Orleans. Charles B. Hersch, 2007. University of Chicago Press. ISBN: 9780226328690 http://site.ebrary.com/lib/yale/docDetail.action?docID=10265903 PDF Books/ Articles: 11. Gavin, James (2001). Homophobia in Jazz. Jazz Times. (pdf) 12. Ostransky, Leroy (1978). Jazz City, The Impact of Our Cities on the Development of Jazz. Prentice-Hall, ISBN 0-13-509372-4 Jazz City[2].pdf 13. Tucker, Sherrie (2000). Swing Shift: ""All-Girl"" Bands of the 1940s.”Durham, NC: Duke University Press, 2000. (pdf) (excerpts) 14. Tucker, Sherrie (2008). When Did Jazz Go Straight: a queer question for jazz studies. Critical Studies in Improvisation / Études critiques en improvisation, Vol. 4, No 2 (2008). (pdf) 15. Wilson, Amy Leigh (2003). A Unifying Anthem or Path to Degradation?: The Jazz Influence in American Property Law. Alabama Law Review. Vol. 55:2:425 (pdf) |
| References: |
| Semester Requirements | Number of Activities | Level of Contribution |
| Attendance | 14 | % 0 |
| Midterms | 1 | % 40 |
| Final | 1 | % 60 |
| Total | % 100 | |
| PERCENTAGE OF SEMESTER WORK | % 40 | |
| PERCENTAGE OF FINAL WORK | % 60 | |
| Total | % 100 | |
| Activities | Number of Activities | Duration (Hours) | Workload |
| Course Hours | 13 | 2 | 26 |
| Study Hours Out of Class | 8 | 5 | 40 |
| Midterms | 1 | 2 | 2 |
| Final | 1 | 2 | 2 |
| Total Workload | 70 | ||
| No Effect | 1 Lowest | 2 Low | 3 Average | 4 High | 5 Highest |
| Program Outcomes | Level of Contribution | |
| 1) | To develop performance skills in the field of Music at an expert level based on the main discipline. | 2 |
| 2) | To understand the interdisciplinary interactions inherent in the field of Music and evaluate the sub-disciplines together. | 5 |
| 3) | To individualize competent technical knowledge related to the main field of Music. | 1 |
| 4) | To acquire the ability to follow universal standards in the field of Music and possess the necessary qualifications to participate in international platforms. | 5 |
| 5) | To evaluate the theoretical and practical knowledge in the field of Music together with conceptual and abstract thinking skills in the domains of art theory and aesthetics. | 4 |
| 6) | To gain the ability to design a working process required for production and performance of works and acquiring time management skills. | 2 |
| 7) | To gain increasing awareness of the historical and social relationships between one's main field and other disciplines by having a command of Music history. | 5 |
| 8) | To acquire skills in abstract thinking related to artistic criticism and to evaluate these in their own practice. | 3 |
| 9) | To gain experience in finding and developing the equivalents of creative thinking in the field of Music. | 2 |
| 10) | To plan and organize programs in various areas such as concerts and conceptual events and handle the organization and practice aspects, fulfilling requirements before and after the events. | 1 |