Choose ONE topic from the list below and write a well-thought and sourced paper. Papers must be at least two full pages (typed, 12-pt font Times New Roman, double-spaced, standard (default) margins). Please choose between MLA or APA formatting (Links to an external site.). Formatting will be strictly enforced, and points will be taken away if papers are not formatted correctly. Late assignments will receive a maximum of 90% credit, and will drop by a letter grade for each class missed beyond the due date. None will be accepted after the final exam.
Minimum number of sources: at least one (1) “book” (i.e. full-text/book-length sources, e.g. DeVeaux & Giddens), PLUS at least one (1) or more “articles” (not blogs) . Online sources are ok as long as they meet the above (and academic-quality) standards. A strong “A” paper typically will cite 3-6 such sources, on average.
Writing Assignment #1 is due by Friday, October 7th at 11:59pm.
Please note: Late submissions will lose 1 letter grade (10 points) for each week beyond the due date
Please choose from the following prompts:
1. What was the Great Migration? What is its significance for jazz history?
2. Compare and contrast the style of two of these bands:
Original Dixieland Jazz Band
King Oliver’s Creole Jazz Band
Jelly Roll Morton’s Red Hot Peppers
3. How did racial issues in the post–Civil War United States affect the development of jazz
during the period covered by Chapter 1?
Basic Cover/Title page (your name, our class, project/paper title, your submission date). While strict MLA formatting typically shuns cover pages, you should include one for this assignment and omit a header on the first page of your essay. This will save space on an already short 2-page persuasive essay.
Omit a header on the first page of your essay. Instead, include a cover page. This may be different than strict MLA formatting, but it will save space for your impassioned and well-cited/sourced essays!
Minimum 2 pages, double-spaced (not inclusive of your cover page & bibliography/works cited pages).
12 pt. standard-sized font Times New Roman (not wide fonts e.g. Courier or Copperplate, to manipulate page limit)
Default/standard margins (also don’t use this to manipulate page limits; penalties will apply)
Bibliography page (sometimes called Works Cited; sources laid out in a proper MLA or APA citation format, separate from your in-text citations)
In-Text citations (sources cited as you go, in proper citation format, separate from bibliography page)
Essentially, think of this as an argument sandwich. You’ve got your cover and bibliography/works cited pages acting as the bread (rye, brioche or French roll for me!), and your well researched and sourced/cited arguments are the filling (I’m a sucker for a good tuna sandwich personally, and nothing is better than a New Orleans fried shrimp Poboy (Links to an external site.). But I deliciously digress!) Make the arguments delicious and filling, like a Clyde Stubblefield solo (Links to an external site.), and sandwich it between your cover page and your thorough works cited/bibliography.
What is “American” music and what differentiates it from European or African music? Be sure to use scholarly sources and specific musical examples from this week’s listening to support your ideas.
Canada: Cape Breton Fiddling – “E Minor Jigs”
U.S.A.: Ballad-Singing – “Edward”
U.S.A.: Old Regular Baptist Lined Hymn – “And Must This Body Die”
U.S.A.: Singing School Shape-Note Music – “Exhortation”
U.S.A.: Bluegrass – “True Life Blues”
U.S.A.: African-American Spiritual – “Come and go to that land”
U.S.A.: African-American Gospel Choir – “God is Good All The Time”
Country Blues – “Sweet Home Chicago”
Nuyorican (New York City) Salsa – “Quítate de la vía Perico”
Cajun Music – “La talle des ronces”
Plains Indian Dance Song – “Rock Dance Song”
Native American Flute – “Courting Song”
To what extent does this week’s music reflect pre-Columbian, European, or African musical traits? Be sure to use specific musical examples from this week’s listening and scholarly sources to support your ideas.
World Music CD 3 – #4 Haiti: Vodou ritual – Excerpts from “Bosou Djo Eya”
World Music CD 3 -#5 Jamaica: Reggae – “Torchbearer”
World Music CD 3 – #6 Trinidad: Calypso – “Money is King”
World Music CD 3 – #7 Trinidad: Steel Band – “Jump Up”
World Music CD 3 – #8 – Puerto Rico: Plena – “Carmelina”
World Music CD 3 – #9 Cuba: Son – “Soneros Son”
World Music CD 3 – #10 Dominican Republic: Merengue – “Apágame la Vela”
World Music CD 3 – #11 Brazil: Amazonian Chant – “Nhiok: Okkaikrikti”
World Music CD 3 – #12 Peru: Sikuri (Panpipe) Ensemble – “Easter Music”
World Music CD 3 – #13 Argentina: Tango – “El Choclo”
World Music CD 3 – #14 Brazil: Samba – “Agoniza, Mas Nao Morre”
World Music CD 3 – #15 Brazil: Capoeira Music – “Saia do Mar Marinheiro”
World Music CD 3 – #16 Mexico: Mariachi – “Los Arrieros”
Listen to each and choose one musical selection from this list to write your listening reflection.
Linked to Chapter 6
It’s All Right by Ray Charles
Think by Aretha Franklin
Linked to Chapter 7
A Day In the Life by The Beatles
Paint it Black by The Rolling Stones
Answer the following questions as a text entry in your listening reflection.
What musical selection did you choose and why?
What instruments do you hear on this recording? (remember to include vocals in your instrumentation list)
Describe the timbre of the performers? (remember that timbre describes the sound with your own adjectives)
What is the harmonic texture of the song? (remember that harmonic texture defines how the layers work together using the terminology from the Prelude Page in Week 1 Module)
Describe the overall mood and how this is accomplished.
What else do you hear? (remember this question is designed for you to talk about things that weren’t already discussed – how is repetition treated, how does the music enhance the lyrics, is there anything that sticks out that seems unusual, etc)
What is the most interesting thing about this recording to you? Why?
For each module you will be expected to complete a short writing concerning the topics covered by the lecture and readings for that module and insert it as a text entry below. Please do not put your name in the text box with your writing. Writings are to be no less than 300 words, and no more than 400 words, in length, and will be assessed taking into account five areas: 1) word count; 2) summarize the key changes in scholarly perspective over time on the particular topic for each module; 3) critical compare and contrast opposing claims; 4) clear expression of your perspective on the subject matter; and, 5) use of proper grammar and punctuation.
For module 3, your paper should reflect your knowledge of the issues, for copyright holders and bootleggers, particularly involving fake books.
FAKE BOOKS AND MUSIC PHOTOCOPYING (1930s-1990s)
Module 3 covers events that occurred between the 1930’s and 1990’s. Of primary interest will be the production and distribution of Fake Books and how music photocopying impacted these music books.
After successful completion of this module you will be able to:
synthesize your knowledge of bootlegging and illegal activity involving Fake Books
organize and discuss the implications surrounding the legal and illegal use of Fake Books
Introduction to Module 3
Module 3 is devoted only to chapter 4 from our class text. And there are two primary interests in
this chapter. First, is the production and distribution of fake books. These books had, and
continue to have, a very different role within the music distribution industry than that which
songs sheets have. However, you will find some amazing similarities as the story of fake books
plays out in the chapter.
You will want to make sure you understand the importance of fake books to the music industry
and musicians. The second interest of chapter 4 involves the physical photocopying of music on
paper. This is a disobedient practice that began with the advent of photocopying machines, or
Xerox machines, and continues to today. Just like with fake books, illegal photocopying of music
has primarily involved a pretty specific audience.
But how the music industry has reacted to photocopying, has been quite different than any other
disobedient practice we’ve looked at so far. You will want to understand these differences.
Chapter 4 also contains some discussion concerning the continued decline of sheet music, as well
as the eventual decline of song sheets. One of these, as you will see, has experienced something
of a revival.
There is one sentence in chapter 4 that really caught my attention. And I’m wondering if it will
do the same for you. There is mention of the internet as a modern method of song lyric
distribution. This is compared in the same sentence to the original bootleg sheets of the 1930s.
However, the author does not comment any further on this practice. I found this an interesting
omission. I’m curious if you feel the same way. Anyway, I hope you enjoy working through this
I download the book you can look up for chapter 4
the introduction of the paper, which should include the title, the musician you chose to focus on (Billie Holiday), why you chose this person, and your thesis in bold print.
Billie Holiday is the artist to focus on.
No outside sources. Just knowledge from what you know.
Critical Essay on a Musician or Band Instructions
When learning music history and/or “appreciation,” there is an extent to which we study and absorb the critical consensus about the musicians we examine. Certain admired artists are/were great, certain other people were less great, and so on. It is important to know that this is the conventional wisdom, and it is likely that you will frequently agree. However, it is also important to have a critical ear and allow yourself to assimilate the information you are gathering and draw conclusions of your own. This assignment is an exercise to get you moving in that direction.
For this essay, you will explore the music of an artist or band (different from whoever you will be studying for your Final Project) who is relevant to this course’s subject matter (for example, an artist who is represented on the course Spotify playlist, who is mentioned at any length in the textbook, or who makes/made music in a similar style). You should do some basic research on the career and style of that musician and listen to several recordings of this musician (and, in particular, ones that your reading has suggested to be particularly significant and/or representative of that artist’s sound).
Your objective for this paper is to briefly lay out the basics of what you have read about that artist’s career and style (as discovered in your research – maximum ½ page) and then focus primarily on explaining specific ways in which your listening supports and/or contradicts the “conventional wisdom” about that artist. Likewise, read what people have said about the specific recordings to which you listened and see how your own observations line up. The website www.allmusic.com is a great resource for this kind of thing, but many other reference works and web resources are also available. There is no “correct” conclusion, of course, only the responsibility to explain yourself thoroughly and with detail.
Approximately 2-3 pages/600-800 words
Please cite your sources – both the resources you used in your research and the recordings you listened to (ideally citing which moments in those recordings you are referring to in your observations).
describe in your own words how African-American music genres (jazz, blues, and R&B) break down racial barriers in the 1950’s and start to create a common culture amongst teenagers of all races.
I don’t want you to simply give me a fact-based response – I want your ideas and opinions as well. Remember that by 1950 teenagers had become a distinct social group with economic and cultural power. Never before had youth been such an important factor in music, movies, radio, television, fashion, and politics. In thinking through the situation as Rock and Roll began to emerge in the 1950’s, try to put yourself in this time frame. As you write your one-page essay, remember that music allowed teenagers in the 1950’s to learn about tolerance and to communicate with people they had been taught they were not supposed to be friends with. Think through these five prompts from the perspective of someone who might have lived through these events.
Read: World Music: Traditions and Transformations by Michael Bakan Chapter 3, pp. 31-40; Chapter 5, pp. 58-59.
Watch: Touch The Sound. The link is under the course materials tab on Blackboard.
Prompt: Based upon Bakan’s discussion of rhythm, write a 500-word essay that examines in detail two different music examples of rhythm of your choosing. Explain the musical cultures they come from, the role of rhythm in the music and how these rhythms are performed. Compare and contrast these two musical examples.
Write a free form summary of the chapters covered this week submitted either as a text entry or file upload. In order for this assignment to be marked complete, you must include all of the following requirements.
Paragraph form with complete sentences
200 words minimum
Brief summary of each chapter
Include at least 2 musical terms that you find interesting
Include a comparison of at least 1 musical style to the music you enjoy listening to