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JOHN CABOT UNIVERSITY

COURSE CODE: "MUS 105"
COURSE NAME: "American Music"
SEMESTER & YEAR: Spring Semester 2012
SYLLABUS

INSTRUCTOR: Carpene Aaron
EMAIL: [email protected]
HOURS: MW 14:30-15:45
TOTAL NO. OF CONTACT HOURS: 45
CREDITS: 3
PREREQUISITES:
OFFICE HOURS: MW 12.00 - 13.00

COURSE DESCRIPTION:

The course is designed to examine music expressions that were manifest in particular moments of the United States of America's history. Special attention will be given to the nature of the music expression with relation to the social and cultural need that generated it in an approach that is both analytical and critical. Today’s music in the States is very much a child of significant social and political movements in the 20th century. These movements are examined in depth with relation to the music they produced. A correlation is thus made between musical forms, expressions, technologies – recording, film and internet – and the context in which they are situated.
Analysis of representative pieces; consideration of critical and aesthetic issues relating to popular music; relationship of popular music to "art" music and to American culture and society. Special attention will be given to the role of music in major social movements that have defined contemporary American history. Students will acquire a knowledge of musical form and content, and techniques of critical analysis of these expressions in their historic contexts.

SUMMARY OF COURSE CONTENT:

1.      African American
•       Slavery and African music traditions
•       Christian conversion of slaves, evolution of musical expressions
•       The Negro Spiritual and development of Gospel music
•       Blues, Ragtime and Jazz

•       Secular-sacred musical interactions in the 20th century – the Civil Rights (1950s) and the Black Power movements (1960s)

2.      Pop music
•       The Rock’n’roll movement of the 1950s
•       Rock, Soul, Motown and Country in the 1960s
•       Disco, Heavy Metal, Reggae and Punk Rock in the 1970s
•       Hip Hop and Rap in the 1980s
•       The Implications of Technology
•       Social significance
•       The Internet Era: America and the Global Village


3.      Music, Theatre and Cinema
•       The Musical
•       Music in the movies


4.      Art music
•       The legacy of the Plymouth colony
•       The 19th century:  the foundation of urban musical societies; the first American Art music composers.
•       The 20th century: Charles Ives to Aaron Copland, John Cage to Philip Glass and Steve Reich. Leonard Bernstein.
LEARNING OUTCOMES:
The course is designed to provide an overview of the diverse strains of music making in three general categories: African music from its inception in the Slave era, the Rock’n’roll movement in the 50s up to contemporary pop forms and Art Music up to its present forms. Students will gain a deeper understanding of music in a historic, cultural and social context through a analytical and critical approach. Group discussions and a special project presentation will form a key part in the course structure.
TEXTBOOK:
Book TitleAuthorPublisherISBN numberLibrary Call NumberCommentsFormatLocal BookstoreOnline Purchase
America’s Music, from the Pilgrims to the presentGilbert ChaseUniversity of Illinois Press0-252-06275-2     
REQUIRED RESERVED READING:
Book TitleAuthorPublisherISBN numberLibrary Call NumberComments
The History of JazzTed GioiaOxford University Press0-19-512653-X  

RECOMMENDED RESERVED READING:
NONE
GRADING POLICY
-ASSESSMENT METHODS:
AssignmentGuidelinesWeight
Assignment work found on the course site www.moodle.johncabot.edu 25%

-ASSESSMENT CRITERIA:

Assessment Guidelines for assigning main letter grades: A, B, C,D, and F.

A:  Work of this quality directly addresses the question or problem raised and provides a coherent argument displaying an extensiveknowledge of relevant information or content. This type of work demonstrates the ability to critically evaluate concepts and theory and has an element of novelty and originality. There is clear evidence of a significant amount of reading beyond that required for the course.

B:  This is highly competent level of performance and directly addresses the question or problem raised.

There is a demonstration of some ability to critically evaluatetheory and concepts and relate them to practice. Discussions reflect the student’s own arguments and are not simply a repetition of standard lecture andreference material. The work does not suffer from any major errors or omissions and provides evidence of reading beyond the required assignments.

C:  This is an acceptable level of performance and provides answers that are clear but limited, reflecting the information offered in the lectures and reference readings.

D:  This level of performances demonstrates that the student lacks a coherent grasp of the material.

Important information is omitted and irrelevant points included.In effect, the student has barely done enough to persuade the instructor that s/he should not fail.

F: This work fails to show any knowledge or understanding of the issues raised in the question. Most of the material in the answer is irrelevant.


-ATTENDANCE REQUIREMENTS:
Obligatory
ACADEMIC HONESTY
As stated in the university catalog, any student who commits an act of academic dishonesty will receive a failing grade on the work in which the dishonesty occurred. In addition, acts of academic dishonesty, irrespective of the weight of the assignment, may result in the student receiving a failing grade in the course. Instances of academic dishonesty will be reported to the Dean of Academic Affairs. A student who is reported twice for academic dishonesty is subject to summary dismissal from the University. In such a case, the Academic Council will then make a recommendation to the President, who will make the final decision.
STUDENTS WITH LEARNING OR OTHER DISABILITIES
John Cabot University does not discriminate on the basis of disability or handicap. Students with approved accommodations must inform their professors at the beginning of the term. Please see the website for the complete policy.

SCHEDULE

  1. Introduction and outline of music expressions in the United States
  2. The Puritans in 1620, what was brought from Europe and how it developed and interacted with social realities in the next century.
  3. African exiles: the arrival of Africans in the early 1600s, the musical traditions they brought with them and how they were expressed in their new existential contexts.
  4. Negro spirituals and religious song expressions in the 1800s. Discussion of musical syncretism.
  5. New Orleans in the 1800s: a musical and cultural melting pot, Congo Square dances and the assimilation of musical expressions by Louis Moreau Gottschalk.
  6. The rise of Ragtime
  7. Singin’ the blues: a manifestation of Afro-American folk music in solo singing.
  8. Jazz: the pioneers.
  9. The consummate Jazz musician: Duke Ellington – the man and his music.

10.   The Americanists: George Gershwin and Aaron Copland – the search for an ‘American’ musical identity.

11.   Processes of Innovation and Experiment in American Art Music: Charles Ives, Henry Cowell and Charles Ives.

12.  Popular music in the interwar years: Broadway musicals and Bebop.

13.   Rhythm and Blues, Country Music and the birth of Rock and Roll.

14.   Niches in popular music: Disco, Punk, New Wave and Rap

15.   Minimalism and post-minimalism: Terry Riley, Steve Reich, Philip Glass and John Adams

16.   Pop and Contemporary music today

17.   Review