Syllabus Information |
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| (AA) AMERICAN MUSIC - 94460 - MUS 134 - MS |
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Associated Term: Fall Semester 2017
Levels: Graduate, Undergraduate Main Campus Campus Lecture Schedule Type Classroom Lecture Instructional Method 80 Day(s) Duration Learning Objectives: The history of American music is as complex and unique as the American experience itself. Countless influences from all over the globe have contributed to the music we call uniquely American, and the music we listen to continues to be profoundly influenced by a myriad of performers and styles, not to mention by the often unseen but looming hand of the music industry. Students will learn the origins of American music and trace the history of American music since the 19th century, with a focus on popular music styles of the 20th century. Economic, political, and social issues and their influence on American music will also be explored. Students will be challenged to think critically about the choices they make when deciding on what music to listen to, and understand some of the outside influences that have undoubtedly affected their taste in music. Students will also be introduced to performers and genres they may have not heard before and expand their musical horizons. Although a musical background is not required for this course, it should be understood that theoretical concepts and listening skills will be part of this class, including formal analysis, chord/scale identification, identifying instruments in songs, and the like, as it pertains to the subject matter. There will also be weekly reading assignments and homework assignments. Required Materials: Required: American Popular Music, Fourth Edition, by Larry Starr/Christopher Waterman. Reading from this text will be assigned on a weekly basis. The Cambridge History of American Music, edited by David Nicholls. This text is at the Axinn Library and it is not required that you purchase it. We will use certain sections of this text for the course as outlined in the syllabus. Blackboard Readings. Additional readings will be uploaded to Blackboard for certain units. Technical Requirements: Writing Assignments Students will be assigned writing assignments based on the reading and lectures in class. Students will be expected to write one double-spaced page per assignment using the format given them in class. Concert Assignment & Term Paper Students will be required to attend one concert of uniquely American music and write a paper about the experience that is at least 5 double-spaced pages. This can be any kind of music as long as it is American music: jazz, rock, pop, blues, country, etc. The paper should be written at a collegiate level and is expected to contain analysis of the music based on what we learn in class. The paper must contain a bibliography and cite sources used throughout. Paper is due December 1, 2016. Final Exam The final exam will be cumulative contain multiple choice and short answer questions. It will also contain a listening section. The final will be based on all material covered in lectures and in the texts. Grading Homework Assignments 30% Concert Review Term Paper 30% Final Exam 40% All homework assignments will be averaged together for a total of 100 points. The midterm and final will each be worth 100 points. All points (300 total) will be averaged to render the letter grade on the following scale: A (94-100) A- (93-90) B+ (88-89) B (84-87) B- (80-83) C+ (78-79) C (74-77) C- (70-73) D+ (68-69) D (64-67) D- (60-63) F (59 & below) Attendance Students are expected to attend class and arrive on time. Students are allowed one unexcused absence without penalty. Any additional unexcused absences will result in a ½ letter deduction from your final grade. An excused absence requires a dated doctor’s note. Listening Listening will be a substantial part of this course (in and out of class). Each week, there will be listening assignments based on the reading. There is a difference between passive listening and active listening. Passive listening is how we listen to music when shopping, driving in our cars, or while while working out. Active listening requires focus on the music without any other distractions. This is the kind of listening needed to be successful in this course, and this type of listening will make you a more thoughtful consumer of music as a person. This is a skill we will develop during this class! Course Policies and Student Expectations • Students are expected to attend each class and arrive on time. • Students are expected to participate in each class. • Students are expected to prepare for each class by doing the required reading, homework and listening assignments. • Once in class, it is expected that students will be attentive and participate in the discussions. • Students are expected to be respectful and professional when discussing the racial and social issues related to the course subject matter. • Cheating of any kind will not be tolerated. This includes plagiarizing printed or online materials, improper citations, cheating on exams and the like. Cheating on any assignment will result in a failing grade for the assignment and may result in a failing grade for the course. Students caught cheating will be reported to the Provost and the Dean of Students. • Since this is a mid-semester course, it is imperative that students stay on top of the assignments and keep up with all reading. NOTICE ON CAMPUS SEXUAL ASSAULT AND DISCRIMINATORY HARASSMENT University policy and federal laws such as Title IX, Title VI and the ADA make it clear that sexual violence and harassment based on any protected characteristic are strictly prohibited and are subject to standards of accountability at the University. If you or someone you know has been sexually assaulted or subjected to discriminatory harassment, the University offers multiple resources to support you and has policies and procedures to address these offenses. For more information, contact the University Title IX Coordinator, Jean Peden-Christodolou, at 516-463-6815, Jean.C.PedenChristodoulou@hofstra.edu; the University Equal Rights & Opportunity Officer, Jennifer Mone, at 516-463-1800, eroo@hofstra.edu; or refer to the applicable University policy atwww.hofstra.edu/eoe. Academic Honesty: · Hofstra University Honor Code: “As a member of the Hofstra community I pledge to demonstrate integrity and ethical behavior in all aspects of my life, both inside and out of the classroom. I understand that I am accountable for everything I say and write. I will not misrepresent my academic work, nor will I give or receive unauthorized assistance for academic work. I agree to respect the rights of all members of the Hofstra community. I will be guided by the values expressed in the P.R.I.D.E Principles. I accept the responsibility to follow this Honor Code at all times.” · Honor Code Short Form: “I pledge on my honor that I have done this work with honesty and integrity, without giving or receiving unauthorized assistance.” · Academic Honesty: Plagiarism and other forms of academic dishonesty are serious ethical and professional infractions. For information regarding Hofstra’s statement of principles with respect to academic honesty, examples of violations, procedures for handling violations, as well as a student’s right to appeal a charge, see Faculty Policy Series #11 for undergraduate students (http://www.hofstra.edu/pdf/Faculty/Senate/senate_FPS_11.pdf) and Faculty Policy Series #11G for graduate students (http://www.hofstra.edu/pdf/Faculty/Senate/senate_FPS_11G.pdf). Student Access Services (SAS): If you believe you need accommodations for a disability, please contact for Student Access Services (SAS). In accordance with Section 504 of the Rehabilitation Act of 1973 and the Americans with Disabilities Act of 1990, qualified individuals with disabilities will not be discriminated against in any programs, or services available at Hofstra University. Individuals with disabilities are entitled to accommodations designed to facilitate full access to all programs and services. SAS is responsible for coordinating disability-related accommodations and will provide students with documented disabilities accommodation letters, as appropriate. Please note that accommodations may require early planning and are not retroactive; please contact SSD as soon as possible. All students are responsible for providing accommodation letters to each instructor and for discussing with him or her the specific accommodations needed and how they can be best implemented in each course. For more information on services provided by the university and for submission of documentation, please contact the Services for Students with Disabilities, 107 Student Center, 516-463-7075 Deadlines: Please be mindful of University deadlines. See www.hofstra.edu/deadlines. Incomplete Policy: Hofstra’s policies regarding Incomplete grades, default grades, and associated deadlines can be found in the Undergraduate and Graduate Studies Bulletins (http://bulletin.hofstra.edu/). Student Policy Prohibiting Discriminatory Harassment, Relationship Violence and Sexual Misconduct Hofstra prohibits sexual and other discriminatory harassment, stalking, domestic and dating violence, sexual assault and other sexual misconduct (collectively, “Gender Based Offenses”). If you or someone you know believes they have been subjected to any of these Gender Based Offenses, help is available. To make a report, or for more information about Hofstra’s Student Policy Prohibiting Discriminatory Harassment, Relationship Violence, and Sexual Misconduct (available at http://hofstra.edu/sexualmisconduct), please contact the Title IX Coordinator at (516) 463-5841 or TitleIXCoordinator@hofstra.edu, or Public Safety at (516) 463-6606. Confidential resources and support are also available from clinicians in Student Counseling Services (516-463-6791), medical professionals at the Health and Wellness Center (516-463-6745), and clergy in the Interfaith Center. 2016-17 Academic Year: Guidelines Related to Absences for Religious Observances Absences for Religious Observance Hofstra University recognizes that students and/or faculty may from time to time miss class due to religious observances. Students who anticipate missing class for this reason should notify faculty members in advance. Likewise, faculty members who anticipate missing class for religious observance should notify students in their classes. As per Faculty Policy Series 12 (B): “No student shall be expelled or refused admission to Hofstra University because he or she is unable to participate in any examination, study or work requirement because of his or her religious obligations and practices. However, all students are expected to complete all assignments and examinations. It is understood that no adverse or prejudicial effects shall result to any student who avails him or herself of religious observances. The University, faculty, and student shall work together to achieve a reasonable accommodation concerning any conflicts between educational and religious obligations.” Faculty are encouraged to include notice of this policy in their syllabuses and announce it during the first week of each semester, and make reasonable efforts to avoid scheduling exams and/or due dates of assignments that would otherwise interfere with religious observances of students. Additionally, in accordance with New York State Law, each student who is absent from school because of his or her religious beliefs will be given an equivalent opportunity to register for classes or make up any examination, study or work requirements which he or she may have missed because of that absence on any particular day or days. WEEK 1: Thinking Critically About Music (Starr/Waterman Chap. 1 & 2; Cambridge pp. 167-174) - Popular music verses Art music - Thinking critically about music - Active verses passive listening - Compare and contrast styles and artists - Goals of the course Minstrelsy and Early American Music - Slave songs and dance - The first uniquely American “art” form - The complex history of Minstrelsy - 3 songs by Stephen Collins Foster - Parlor songs verses minstrel songs - “After the Ball” and introduction of AABA form - Major and natural minor scale harmony and ear training WEEK 2: The Birth of Tin Pan Alley (Starr/Waterman Chap. 3; Cambridge 244-249, 518-519) - The rise of the American Music Business - Tin Pan Alley songs and Vaudeville - Ragtime - Jazz as popular music - The rise and fall of sheet music - The phonograph - The Original Dixieland Jazz Band & the Creole Jazz Band Charles Ives & American Classical Music (Blackboard reading on American Classical Music and Concord Sonata) - Art music in the 20th century - Concord Sonata & The Unanswered Question - Influence of popular music on Ives - Leonard Bernstein & Aaron Copland - The rise of the American composer WEEK 3: The Jazz Age (Starr/Waterman Chap. 4) - The Roaring Twenties - Prohibition and the Great Depression - Crooners and the electric microphone - Talkies - Jazz music: born of a confluence of influences - Dixieland and early jazz - Syncopation - Chromaticism - Louis Armstrong and jazz as a soloists’ art The Golden Age of Tin Pan Alley - AABA form continued - Verse/Refrain form - Tin Pan Alley song content - Standards - George Gershwin and Paul Whiteman - “I Got Rhythm” - Rhapsody in Blue - Art music and popular music revisited WEEK 4: The Blues (Starr/Waterman Chap. 5; Early Downhome Blues on Record: A Representative Sample pp. 63-65, 113-116) - Blue note scale ear training - 12 bar blues form - Classic blues & Country blues - Bessie Smith - Robert Johnson and Blind Lemon Jefferson WEEK 5: The Swing Era (Starr/Waterman Chap. 6 & 7) - Swing music and American culture - African American influence on popular culture - Benny Goodman, The “King of Swing” - Duke Ellington - AABA form and variants in the big band era - Understanding and identifying swing music - Sweet and hot jazz The Postwar Era - New technologies - Les Paul and multi-track recording - Les Paul and the electric guitar - Frank Sinatra and the birth of pop stars - Nat Cole - Louis Jordan & jump blues WEEK 6: Rock ‘n’ Roll (Starr/Waterman Chap. 8 & 9; The Harmonic Language of Rock) - Baby boomers - Buddy Holly, Chuck Berry & Little Richard - Elvis Presley - Cover songs - The electric guitar - Simplified harmonic structures The British Invasion & American Pop - Phil Spector, teenage symphonies & the wall of sound - Berry Gordy & Motown - Harmonic complexity and the Jackson 5 - Introduction to the Beatles - The changing role of European harmony in popular music WEEK 7: The Beatles & the 1960s (Starr/Waterman Chap. 10) - An era of pervasive social change & unrest - Lyric analysis of three Beatles’ songs - Listening skills and instrument identification/signification Guitar Heroes - Jimi Hendrix & Eric Clapton - Psychedelic rock - The blues scale and minor pentatonic scale in rock - Increasing harmonic complexity in rock music - Bob Dylan and the folk artists - An analysis of the lyrical content and poetry of Bob Dylan WEEK 8: Rock in the 1970s (Starr/Waterman Chap. 11) - Postmodernism in America in the 1970s - The 70s as an era of radical change and social upheaval - Stevie Wonder - Led Zepplin & The Eagles - Analysis of “Hotel California” and “Stairway to Heaven” Michael Jackson & New Media (Starr/Waterman Chap. 13) - MTV - The music video as a new musical genre - The genius of Michael Jackson - Thriller WEEK 9: Conclusion & Review for Final View Catalog Entry
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