Jazz Apprec.

Music 105 - Jazz Appreciation
Jim Scully, Instructor

Jim Scully
Office: MUS 107
Phone: 654.2511
Cell: 330.9304

Music 105 Syllabus Download (PDF)
Music 105 Concert Attendance Rubric
Track List for the Course (should open in iTUNES)

Important Dates and Events

April 26 – LBWA #1 DUE
May 24 – LBWA #2 DUE
June 7 - YouTube Playlist DUE
June 14 – LBWA #3 DUE
June 14 @ 2 PM – FINAL EXAM


Days and Times: T and TR from 12:20 to 2:40 PM in Music Building, room 112

Office Hours: M, W, F from 9:00 AM to 10:00 AM and T, TH from 10:00 AM to 11:00 AM. I am also available for appointments outside of these times if need be. Contact me by phone or email to request an appointment.

Course Description:
Appreciation of Jazz (Music 105) will introduce students to the many musical characteristics, techniques, styles, terms, and methods found in the jazz tradition.  This course will focus on the study of African and African-American folk origins through blues, early jazz, the swing era, bebop, cool, avant-garde jazz, jazz-rock fusion and new creative music. In addition to musical issues, we will examine critical issues related to the social and cultural history of African-Americans (Slavery, African Diaspora, the World Wars, the Civil Rights Movement, etc.) and how that history influenced the creation of the music.  Ultimately, the class will attempt to align those social and historical issues with the corresponding musical developments within jazz.

Learning Goals:
Upon completion of Music 105 students will be able to define important musical elements and techniques such as melody, harmony, rhythm, form, improvisation, swing, call-and-response, etc., and how they are used in the many sub-styles within jazz. 

Students will be able to identify
artists and compare and contrast important compositions from the various historical periods within jazz; identify the impact of the African-American experience on the expressive characteristics of jazz, and trace the evolution of jazz in relation to the important historical events of the nineteenth and twentieth centuries.

Textbook Information:
Jazz - The First 100 Years, 3rd Edition.  Henry Martin and Keith Waters.  Schirmer, 2011

Course Audio/Video Media: Students are required the access roughly 50 tracks of music for this class. A playlist created in iTunes can be accessed here:

iTunes Playlist for Music 105

There are a handful of really important tunes that can not be purchased individually on iTunes - so here are streaming versions of those tunes:

Misterioso (Thelonious Monk)

In Walked Bud (Thelonious Monk)

Haitian Fight Song (Charles Mingus)

Maiden Voyage (Herbie Hancock)

In A Silent Way/It’s About that Time (Miles Davis)

Chameleon (Herbie Hancock)

Angola, LA and the 13th Amendment (Christian Scott)

While much of this music may be acquired by other means (e.g. CDs, Amazon, Rhapsody, Spotify, YouTube), students are expected to study (and will be tested on) the full versions of each song on this playlist (plus the seven tunes listed above).

Weekly Outline & Course Readings

Week 1: Introduction to Music 105 and the Basic Elements of Music & African Roots of Jazz

Reading: Martin/Waters: Chapter 1 (pp. 3-20)

Course Requirements and Basic Elements & Africanisms

Week 2: Ragtime and the Blues (country and classic); New Orleans and Chicago

Reading: Martin/Waters: Chapters 1, 2 & 3 (pp. 21-103)
The Anatomy of a Jazz Band, The Migration North (to Chicago), Joe “King” Oliver, Jelly Roll Morton and Louis Armstrong

Minstrelsy, Ragtime and Blues, Early New Orleans Jazz & Jazz in Chicago

Week 3: New York in the 1920’s and the Swing Era
Reading: Martin/Waters: Chapters 4, 5 & 6 (pp. 105-189)
Harlem Stride & Art Tatum and Influential Big Bands (Goodman & Ellington)

Pre-Swing in New York & Swing Era Big Bands

Week 4: Bebop, Vocalists and Vocalese

Reading: Martin/Waters: Chapter 7 (pp. 191-223)
Creators of a style: Charlie Parker, Dizzy Gillespie, Bud Powell and Thelonious Monk

Bebop 1 - Parker and Gillespie & Bebop 2 - Monk and Powell

Week 5: The 1950’s – Substyles
Reading: Martin/Waters: Chapter 8 (pp. 223-258)
Reactions to Bebop: Cool Jazz (Davis/Evans), Third-Stream (Brubeck & MJQ), Hard Bop (Blakey and the Jazz Messengers and Mingus), Funky/Soul Jazz (Horace Silver), Modal Jazz, Bossa Nova, etc

1950's and Substyles

Week 6: The 1950's - Substyles (continued) and MIDTERM

Week 7: The 1960’s Avant-Garde

Reading: Martin/Waters: Chapter 9 (pp. 259-283)
Opening up the music: Ornette Coleman, John Coltrane, Albert Ayler, Cecil Taylor

1960's Avant Garde and Free Jazz

Week 8: The 1960’s Mainstream Jazz
Reading: Martin/Waters: Chapter 10 (pp. 285-319)
Further Development of Traditional Styles: Miles Davis, Bill Evans, Herbie Hancock, Cannonball Adderley, Wes Montgomery and Lee Morgan

Mainstream Jazz

Week 9: The 1970’s Jazz-Rock Fusion

Reading: Martin/Waters: Chapter 11 (pp. 321-343)
Electrifying the Music: Miles Davis, Chick Corea and Return to Forever, Weather Report, Mahivishnu Orchestra and Pat Metheny

1970’s Fusion

Week 10: The 1980’s and Beyond - Current Trends

Reading: Martin/Waters: Chapter 12 (pp. 345-375)
Contemporary artists: Wynton Marsalis, Toshiko Akiyoshi, Joshua Redman, Michael Brecker, Brad Mehldau, Kurt Rosenwinkel

Current Trends

Course grading scale:

Listening Based Writing Assignments - 5% each (3 total) - 15%
Concert Attendance Questionnaires – 10% each (3 total) – 30%
YouTube Video Playlist Project - 10%
Midterm - 20%
Final – 25%

Listening Based Writing Assignments: Students are required to write three short papers based on the materials from the course and the textbook. Each paper will delve into one artist of the many that we study throughout the quarter. The student is expected to 1) write a minimum of two type-written pages, 2) use terms and ideas from the class to back up your thoughts/conclusions about the question posed to the class.

This assignment is intended to force the student to grapple with, describe and discuss the music being presented in the course. Secondly, the assignments will afford the instructor many opportunities to assist the student as he/she works to improve their writing skills.


For the first Listening Based Writing Assignment, I ask you to read
Dr. Martin Luther King's opening remarks at the Berlin Jazz Festival and then use those remarks as a prism to re-examine this Louis Armstrong classic:

LBWA #1 is due on April 26.

LBWA #2 -For LBWA #2, students will compare and contrast two different videos of instrumental blues compositions.

1) Straight, No Chaser by Thelonious Monk



2) No Private Income Blues by Charles Mingus (w/ Booker Ervin)


Listen for how the rhythm section accompanies in each piece, the melodic content of the soloists, the amount of space, etc.

Compare the two recordings and use the language from the class to express your opinions.

LBWA #2 is due on May 24.

LBWA #3 - Coming Soon....

is due on June 14.

The three listening based writing assignments are each worth 5% of the final grade - for a total of 15% of the final grade.

You Tube Video Playlist Project: Students are required to create a video playlist of at least 12 videos on YouTube. Students must create a YouTube account and compile these videos based on their favorite genre/composer-performers from the course and their favorite non-jazz music.

Students will email the URL for their playlist to the instructor with a document that provides individual annotations for each video.
The email subject MUST INCLUDE Music 105 - YouTube Playlist Project. The annotations should be turned in as a hard copy on the due date - NOT typed into the body of the email.

Of course, the videos in the students’ playlist may not be contained in the video playlists created by the instructor. At least 75% of the videos
MUST be "jazz" videos. The other 25% can be at the discretion of the student.

The YouTube Video Playlist is worth 15% of the students’ final grade and due on June 7, 2012 – the last day of class.

Concert Attendance/Concert Report: Students are required to attend three (3) live jazz concerts during the quarter. The instructor has provided a list of approved concerts in Bakersfield and students are always welcome to travel to jazz clubs in Los Angeles to attend a concert. Please consult with the instructor if you choose this option. Some clubs are better than others and some artists are better than others.

The student will fill out the concert attendance questionnaire for each event and turn it in within
2 class-meetings of the event. Each questionnaire is worth 5% of the final grade.

The Midterm Exam
will consist of multiple choice and short answer/identification questions. Additionally, there will be at least one extended essay covering a major musical, historical or cultural development in jazz. Approximately 40% of the midterm exam will deal with identification of specific music from the course audio pages.

Students are required to bring a
BLUE BOOK and SCANTRON (Blue Form - # 30423) for the exam. The Midterm is worth 25% of the quarter grade and is scheduled for Tuesday, May 8 during class time.

The Final Exam will consist of multiple choice and short answer/identification questions. Additionally, there will be at least one extended essay covering a major musical, historical or cultural development in jazz. Approximately 50% of the final exam will deal with identification of specific music from the course audio pages.

Students are required to bring a
BLUE BOOK and SCANTRON (Blue Form - # 30423) for the exam. The Final Exam is worth 25% of the students’ final grade and is scheduled for: Thursday, June 14 @ 2 PM

Syllabus Subject to Change