In this essay, we would like you to use music analysis to concentrate on a
pair of pieces; at the same time, we would like you to use analysis in the
broader context of an argument.
Choose one of the pairs of musical examples listed below. Each of the pairs
is related in some way-- by style, performer, or time period. Relying
primarily on your analysis of musical sound, construct an argument that
simultaneously links the two pieces to a common style, while explaining in
detail how each of the examples is unique. Your argument must relate
directly to the sound of the music. If you wish, you may place your
observations within a social or historical context (e.g., the nature of
"blackness" as social identity); you may also draw on readings for the class
(chapters from the text, or assigned articles on Monk, bebop, or Miles
Davis). Please remember, though, that your argument will be judged on its
relationship to musical sound.
Please be sure that your music analysis describes short segments of each
performance in detail. Cite specific examples with CD timings. Be specific
in your writing by using the musical vocabulary introduced in class to
articulate your points. (For a list of terms, see "Definitions" on the web
Dizzy Gillespie, "Salt Peanuts" and Charlie Parker, "Scrapple from the
If you wish to propose a different pair of examples, you will have to submit
a proposal to your TA that must be approved by Prof. DeVeaux.
A few disclaimers:
- This is not a research paper. You may cite articles from outside the
class, but your argument should be based primarily on your own observations
and material presented in class.
- Do not base your argument directly on arguments or analysis presented in
class or in the textbook. You may use this information as a guide, but use
your own ears and your own mind to find specific ideas and musical moments
that are interesting to you.
- Do not suggest in your argument that one kind of jazz is superior because
it is compared to an example that is inferior. All the music chosen in this
class is of superior quality.
- Do not hinge your argument on the music's "greatness" or "brilliance." We
are interested in more detail and more nuance than that.
- Make sure that the ideas behind your argument are clearly stated, and that
the relationship of your argument to the pieces in question is clear.
- Be sure to use paragraphs effectively. Each paragraph should have a point,
and should normally not last long. A paper written in one or two long
paragraphs suggests that the author does not know yet what he/she thinks.
- Remember that in music analysis, it is very easy simply to follow a piece
from beginning to end, but all too often, such a description fails to make
any kind of point at all. As before, students who make their argument
without analysis can expect to receive a lower grade (B as the best possible
- If you cite a source--whether it's a page in the textbook, an article in
the reading, or some other resource--be sure to put it in quotation marks
and cite the source. Failure to do so can be considered plagiarism, which is
a serious offense against the Honor System.
- When citing the class textbook Jazz, use in-text parenthetical notes, listing
the source. For example: "According to Jazz [Chapter 8, p. 149], the
melody for 'Mood Indigo' came from Barney Bigard." Or: "According to Albert
Murray ["The Blues as Such," p. 74], blues musicians were professionals, not
Your paper should have your name, your TA's name, and your discussion
section (either the COD # or the time/place).
These papers will be graded by your TAs in time for the submission of the
final grades in mid-December. They are perfectly willing to provide detailed
comments, but they are also pressed for time. Students who would like
detailed comments should indicate this on the paper (e.g., "comments,
please!"). Those students will then be responsible for picking up their
papers at the beginning of the next semester.
3 to 5 pages, double-spaced.
The paper should be delivered to your TA's mailbox no later than Monday, 3
Personnel for the examples
- "Salt Peanuts" (1945): Dizzy Gillespie, trumpet; Charlie Parker, alto sax;
Al Haig, Piano; Curley Russell, bass; Sid Catlett, drums
- "Scrapple from the Apple" (1947): Miles Davis, rrumpet; Charlie Parker,
alto sax; Duke Jordan, piano; Tommy Potter, bass; Max Roach, drums
- "Doodlin'" (1954): Kenny Dorham, trumpet; Hank Mobley,
tenor sax; Horace
Silver, piano; Doug Watkins, bass; Art Blakely, drums
- "Mercy, Mercy, Mercy" (1966): Cannonball Adderley, alto sax; Nat Adderley,
cornet; Joe Zawinul, electric piano; Victor Gaskin, bass; Roy McCurdy, drums
- "Wednesday Night Prayer Meeting" (1959): Willie Dennis, Jimmy Knepper,
trombones; John Handy, Jackie McLean, alto saxophone; Booker Ervin, tenor
saxophone; Pepper Adams, baritone saxophone; Horace Parlan, piano; Charles
Mingus, bass; Dannie Richmond, drums
- "Far Wells, Mill Valley" (1959): Richard Williams, trumpet; Jimmy Knepper,
trombone; Jerome Richardson, flute & baritone saxophone; John Handy, alto
saxophone; Booker Ervin, Benny Golson, tenor saxophone; Teddy Charles,
vibraphone; Roland Hanna, piano; Charles Mingus, bass; Dannie Richmond,
drums and timpani
- "Bye Bye Blackbird" (1956): Miles Davis, trumpet; John Coltrane, tenor sax; Red Garland, piano; Paul Chambers, bass; Philly Joe Jones, drums.
- "Flamenco Sketches" (1959): Miles Davis, trumpet; John Coltrane, tenor
sax; Cannonball Adderley, alto sax; Bill Evans, piano; Paul Chambers, bass;
Jimmy Cobb, drums
- "Spirit Possession" (1978): Anthony Braxton, tenor sax; Max Roach, drums
- "Song X Duo" (1986): Ornette Coleman, alto sax; Pat Metheny, electric