Music 1311: Jazz, Pop & Rock

AN INTRODUCTORY SURVEY OF JAZZ &

THE AMERICAN POPULAR SONG TO APPROXIMATELY 1970

MICHAEL J. BUDDS, INSTRUCTOR

Fall Semester 2007
University of Missouri-Columbia

Course Requirements

• Attendance of course lectures (MWF, 11:00-11:50 a.m.)

• Purchasing and reading Tanner, Megill & Gerow, Jazz (10th ed.) and
Budds & Ohman, Rock Recall
• Purchasing and learning the two compact discs [keyed to the Tanner,
Megill & Gerow text]
• Viewing 3 documentary films outside of class (video reviews)
• Completing 3 exams—all 3 exams must be taken and all 3 videos
must be viewed to receive a grade other than F

Class Behavior

• Students are expected to demonstrate courtesy and to extend

respect to fellow students and to the instructor.
• No drinks or food may be brought into Whitmore Recital Hall.
• Students are expected to arrive on time and to remain for the
duration of the lecture.
• Students are expected to refrain from irrelevant conversation.
• Sleeping and magazine/newspaper reading during lectures are
unacceptable.

Video Reviews

• All students are required to attend 3 video review sessions that will
occur outside of class. Two viewings—an early show (5:00 p.m.) and a
late show (7:00 p.m.)—will be scheduled: 16 September, 21 October,
and 2 December (all Sundays).

Grading

• Course grade will be determined by the scores on 3 exams according

to the following formula: Exam 1, 30%; Exam 2, 30%; Exam 3, 40%.
• Make-up exams will be given only under the most extraordinary
circumstances.
• Plus-minus grading will be used to calculate course grade.
 • Grades will be distributed to student email addresses through
Blackboard.
Academic Dishonesty

• Academic dishonesty will not be tolerated. The instructor is

obligated to report any incident of academic dishonesty to the
Provost’s Office and to inform the School of Music Chair. Penalties
vary with the nature of the offense and range from a lowered course
grade to suspension or expulsion.

Students with Special Needs

• Those students with special needs addressed in the Americans with

Disabilities Act should contact the instructor immediately and should
register with the Access Office (A048 Brady Commons, 882-4696) for
assistance.

Reaching the Instructor

• Office—23 Fine Arts Annex

• Phone—882-0927 (voice mail)
• Email—BuddsM@missouri.edu
• Office Hours—1:10 p.m.-2:00 p.m. on Mondays and Wednesdays

Teaching Assistant

• Jason Lozer — Email: lozerjpr@gmail.com

• • • • •

For Your Information

RECORDINGS

For many years, the single best anthology of recordings relating the history of
jazz was The Smithsonian Collection of Classic Jazz (a 5-CD set with booklet).
It now seems to be out of print but is well worth acquiring, if you can find it.
The recent collections generated by the Ken Burns Jazz project—especially
The Best of Ken Burns Jazz (1 CD) and Ken Burns Jazz: The Story of America’s
Music (a 5-CD set with booklet)—are widely available and can be highly
beneficial. Such investments will pay listening dividends for a lifetime!

INTERNET WEB PAGE FOR THE TEXT

The publisher has provided a web page on the Internet for assistance in
taking command of the information.

• • • • •
A PRIORI ASSUMPTIONS FOR THE STUDY OF MUSIC IN THE UNITED STATES

1. Music is a product of a society and is likely to reflect the priorities and

nature of that society.

2. Because of the historical circumstances, the importation of pre-existing

musical traditions of immigrant populations is significant, and the
opportunity for synthesis is a fundamental condition.

3. The democratic nature of American society and the hard-working

lifestyle of the majority of Americans—and the resulting strong
currents of anti-elitism and anti-intellectualism—have tempered
musical practices.

4. The mainstream society's reverence for European culture has special

implications for the historical development of American music.

5. Some musical developments are the result of purely musical thinking.

CALENDAR OF CLASS SESSIONS
WEEK 1

20 Aug (M) Introduction

22 Aug (W) Concepts and Performance Practice
24 Aug (F) The European-American and African-American Heritages

WEEK 2

27 Aug (M) The European-American and African-American Heritages

29 Aug (W) The European-American and African-American Heritages
31 Aug (F) The European-American and African-American Heritages

WEEK 3

3 Sept (M) Labor Day Holiday—No Class

5 Sept (W) Early Jazz: New Orleans Beginnings
7 Sept (F) Early Jazz: Satchmo

WEEK 4

10 Sept (M) Early Jazz: Jelly Roll

12 Sept (W) Early Jazz: The White “Accent”
14 Sept (F) The “Classic” Blues & Boogie Woogie

WEEK 5

16 Sept (Su) Video Review: Satchmo

17 Sept (M) Swing: Early Developments

19 Sept (W) Swing: The Swing Spectrum
21 Sept (F) Hour Examination No. 1

WEEK 6

24 Sept (M) Swing: The Duke

26 Sept (W) Swing: Commercial Swing
28 Sept (F) Swing: Singers and the Southwest

WEEK 7

1 Oct (M) Bop: The Revolution

3 Oct (W) Bop: The Revolutionaries
5 Oct (F) Bop: The Silent Theme Tradition

WEEK 8

8 Oct (M) Bop: Applications

10 Oct (W) Cool: The Birth of the Cool
12 Oct (F) Cool: Experiments in Color, Procedure, & Form
WEEK 9

15 Oct (M) Cool: West Coast Jazz

17 Oct (W) Cool: Miles Davis
19 Oct (F) The Sixties: The Freedom Principle

WEEK 10

21 Oct (Su) Video Review: The Story of Jazz

22 Oct (M) The Sixties: The Quest & Fusion

24 Oct (W) The Music of Tin Pan Alley
26 Oct (F) Hour Examination No. 2

WEEK 11

29 Oct (M) The Music of Tin Pan Alley

31 Oct (W) Black Popular Music before 1955
2 Nov (F) Country Music before 1955

WEEK 12

5 Nov (M) The Golden Age of Rock and Roll

7 Nov (W) The Golden Age of Rock and Roll
9 Nov (F) Commercialism—White

WEEK 13

12 Nov (M) Commercialism—Black

14 Nov (W) The Beatles
16 Nov (F) The Beatles

WEEK 14 Thanksgiving Recess

WEEK 15

26 Nov (M) The Beatles

28 Nov (W) The Folk Revival & Folk Rock
30 Nov (F) Soul of the 1960s

WEEK 16

2 Dec (Su) Video Review: Woodstock (Part 1)

3 Dec (M) British Heavyweights

5 Dec (W) The Woodstock Nation
7 Dec (F) Reading Day (Stop Day)

FINALS WEEK

15 Dec (Th) Hour Examination No. 3 (10:30 a.m.-12:30 p.m.)