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Unformatted text preview: Welcome to Music 1313-- (also known as Am St 1313) Please take a Syllabus, Lecture Schedule, and Student Data Sheet if you need one. These are the same as the ones posted on the course Blackboard web site. If you are not yet enrolled, or do not yet have access to the Survey of Jazz Blackboard web site, please see Prof. Pond after class. Please fill out a Student Data sheet if you have not already done so, and give it to us at the end of class. Willow Weep for Me Art Tatum Here Come de Honey Man Herbie Hancock Listening to jazz Who plays jazz? Who listens to jazz? How can we listen to jazz? Listening to jazz As an art As entertainment Listening to jazz As interaction: Between players Between players & audience Between styles Between audience members (via the players) Jazz as interaction: Collective Improvisation King Oliver Dippermouth Blues, 1923 Jazz as interaction: cues Agitation, 1965 Art Blakey to Ben Sidran, 1985 Jazz as interaction: sensitive listening Free Jazz, 1960 Jazz as interaction: between players and audience:
Pointer Sisters Salt Peanuts, 1972 Jazz as interaction between styles: Dizzy Gillespie in the late 1930s-1940s plays: Swing & rhythm & blues 1940s
BooWah-BooWah, 1943 Mambo 1940s
Mambo No. 5 (Perez Prado, 1952) Bebop 1940s ff
Shaw `Nuff, 1945 Afro-Cuban Jazz 1947
Manteca, 1947 Interaction between audience members (via the players) Crazeology, 1945 Which jazz should we listen to? Which represents the "real" jazz? The Great Masters (in the studio) The Great Recordings The everyday (jazz) people The ones in the margins of genre Jazz represents an engagement between traditions. Not a style, but an approach to style Based in, and referential to, African American cultural traditions and aesthetics. Signifyin(g) "...a technique of indirect argument or persuasion...to imply, goad, beg, boast, by indirect verbal or gestural means." "repetition with a difference" ... "quotation and redirection" ... "stinging with innuendo" (Henry Louis Gates, Jr., The Signifying Monkey,
1988) "I Got Rhythm" Ethel Merman, in Girl Crazy (1930) Glenn Miller (1939) Duke Ellington: "Cotton Tail"(1940) Dizzy Gillespie: "Shaw Nuff"(1947) Monty Alexander: ???? Signifyin(g) "repetition with a difference" ... "quotation and redirection" ... (Henry Louis Gates, Jr., The Signifying Monkey, 1988) Signifyin(g) and African American music
"In African American music, musical figures Signify by commenting: On themselves On other performances of the same piece On other performances of other music On other musical figures... Signifyin(g) and African American music
"...Moreover, genres Signify on other genres: Ragtime on marches and European dance music Blues on the ballad The spiritual on the hymn Jazz on blues and ragtime Gospel on the hymn Bebop on swing/ragtime rhythms/the blues Funk on soul Rap on funk and so on." Samuel Floyd, The Power of Black Music, 1995 That's all, folks! If you are not yet enrolled, or do not yet have access to the Survey of Jazz Blackboard web site, please see Prof. Pond after class. Please fill out a Student Data sheet if you have not already done so, and give it to us at the end of class. Discussion sections DO MEET THIS WEEK. This time only, meet in the Electronic Classroom (Rm. B05) in URIS LIBRARY. Sarah Vaughan Prelude To a Kiss ...
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This note was uploaded on 09/17/2009 for the course BIO G 101-104 taught by Professor Michealbradshaw during the Spring '09 term at Cornell University (Engineering School).
- Spring '09