The first part of the class consists of a Listening Orientation
in which basic musical concepts, as well as the special listening skills
needed for the study and appreciation of jazz, will be explained and discussed.
The remainder of the course is a historical survey, proceeding
chronologically from the origins of jazz at the beginning of the century
to the present. Emphasis will be placed on important performers (and associated
stylistic schools) and their musical achievements. Social and cultural
issues will be discussed wherever relevant.
- This course assumes no previous musical knowledge or experience.
- This course satisfies the College of Arts and Sciences Area Requirements
- "Fine Arts"
- "Non-Western Perspectives."
- This course does not satisfy requirements for the major
Required at Newcomb Hall Bookstore:
- Ken Burns Jazz (5-CD anthology of jazz)
Texts will either be available as pdf files on the Toolkit web site
(under "Materials"), or in a course reader Brillig Books
(7 Elliewood Ave.)
Recommended at Newcomb Hall Bookstore (N.B.: all these items
- DeVeaux, The Birth of Bebop: A Social and Musical History
- Freebridge Quintet, Spanning Time (CD) (John D'earth, trumpet;
Jeff Decker, tenor sax; Bob Hallahan, piano; Peter Spaar, bass; Robert
Other CDs by members of the Freebridge Quintet (usually available at
Plan 9 Records):
Jeff Decker, I'll Know
- John D'earth, Thursday Night: Live at Miller's
For detailed guides to these recordings, click here!
The required reading and listening for the course is divided up into
arranged on a weekly basis. You should do the work by or during the
week indicated on the assignment.
Please note that the contents of the Assignments page may change
over the course of the semester!
The reading will be drawn from
- the xeroxed anthology from Brillig Books
- material on the relevant Assignments page.
The listening assignments will be made from:
- the required anthology of recordings (Ken Burns Jazz)
- sound files available on the web.
Because the assignments contain sound files, they are password
protected. I will give you the proper password in class.
Given the size of the class, and the finitude of web space, please do
not expect to be able to do all of your listening within 24 hours
of any examination! (Click here for some hard statistics
about MUSI 212 web site use during the Fall of 2002.)
A good deal of the material for this course is available only on the
web site, so as above, please expect a certain amount of change
during the semester. Some of the changes this semester will involve a
shift in the means by which the sound files are delivered.
PLEASE NOTE: The digital files on this course site are intended to
be viewed or played by class members only. Any copying or distributing
of these files is a violation of copyright law and an Honor offense.
A significant amount of the course material will be covered
only in the classroom. You are responsible for obtaining this material
through regular classroom attendance, both in the lecture and in the T.A.-led
discussion section. The instructor and the T.A. reserves the right
to consider attendance as a factor in the final grading.
I expect the lecture to start classes on time, at 1 p.m.
By the same token, I expect all students to stay attentively in class
until it ends at 1:50 p.m.
Note: students with cell phones should turn
them off before entering class.
The course may be taken for a grade or for CR/NC. For those
students enrolled in Architecture, College of Arts and Sciences (undergraduate),
Commerce, Continuing and Professional Studies (B.I.S. only), or Nursing,
the deadline to choose the grading option is 17 September. For
those enrolled in the Graduate School of Arts and Sciences, Engineering,
or Education, the deadline is 14 September. A grade of "D" or better
is required for Credit under the CR/NC option. For more information, see
the portion of the web site devoted to grading
Students in this course are expected to familiarize themselves
with and follow the Honor System of the University of Virginia, a copy
of which is found at the following website .
Additionally, if you have any questions regarding plagiarism--what it
is and how to avoid it--please consult with Prof. DeVeaux or one of your
TAs on this. You may also refer to a very informative article written
by Julie Adcox for the UC Davis Student Computing Guide at the following
Plagiarizing the work of others may result in expulsion from the University.
ADA Statement: (Americans with Disability Act)
If you have a physical, psychological, medical or learning disability
that may impact on your ability to carry out assigned course work, I would
urge you to contact Services for Students with Disabilities through the
MIDTERM I: Wednesday, 6 October, 15% of the grade
MIDTERM II: Wednesday, 10 November, 25% of the grade
FINAL: Monday, 20 December, 9 a.m., 40% of the grade
NOTE: The date and time of the final cannot be changed.
Each exam will consist of a multiple-choice test, given on the dates
above. In addition, the two midterms will include a take-home essay,
to be graded by your TA. The question will be distributed separately, on the web site,
and will be due a few days
at a time to be designated in the assignment. The scores on your essay will
count as one-third of the total score for each examination.
Discussion sections: 20% of the grade
The TA-led discussion sections will assign quizzes and written assignments:
these will count toward the grade for the discussion section. Among
these assignments will be two concert
reports, due on the following dates (with a third extra credit report
Report #1: Monday, 18 October
Report #2 (and extra credit report): Friday, 10 December
Course Outline for lectures:
1 September: Introduction, Basic Musical Concepts
6 & 8 September: Basic Musical Concepts
13 & 15 September: Form and Improvisation
(TBA: Freebridge Quintet, lecture/demonstration)
Wednesday, 15 September: Drop deadline
Friday, 17 September: Add deadline (see exceptions above)--
Last day to change to or from the "Credit/No Credit" option,
last day to elect the AU (Audit) option.
20 & 22 September: Historical background; New Orleans
27 & 29 September: Jazz in the 1920s; Louis Armstrong
The Swing Era:
4 October: Swing bands: an overview
6 October: MIDTERM I
11 October: Fall break
13 October: Duke Ellington; Kansas City Swing
18 & 20 October: Swing Era soloists
Modern Jazz to 1960:
25 & 27 October: Bebop (Charlie Parker, Dizzy Gillespie); Thelonious
1 & 3 November: Cool jazz; Hard bop
8 November: Miles Davis (1950s)
10 November: MIDTERM II
15 & 17 November: Charles Mingus, John Coltrane
Jazz since 1960:
22 November: The jazz avant-garde
24 November: Thanksgiving
29 November & 1 December: Post-bop; Fusion
6 & 8 December: historicist jazz; summing up
Monday, 20 December, 9 a.m.
(Wilson Hall 402)