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 site.)
All the examples are on the web site.
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.
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 Friday, 5 December.
"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): Jimmy Knepper, Willie Dennis, trombones; Jackie McLean, John Handy, alto saxophones; Booker Ervin, tenor saxophone; Pepper Adams, baritone saxophone; Horace Parlan, piano; Charles Mingus, bass; Dannie Richmond, drums
"Bye Bye Blackbird": 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 guitar
"Misterioso" (1948): Milt Jackson, vibes; Thelonious Monk, piano; John Simmons, bass; Shadow Wilson, drums
"Straight, No Chaser" (1951): Sahib Shihab, alto sax; Milt Jackson, vibes; Thelonious Monk, piano; Al McKibbon, bass; Art Blakey, drums