As part of MUL 2016, you are to listen to the recorded music examples that accompany the course textbook, Martin & Waters Jazz : The First 100 years, and other items as assigned on this web page. Rather than simply listen to those items, you are to keep a listening journal that will improve your ability to hear and identify the most important stylistic traits of these music examples.

General Directions

• Your listening journal must be kept in a separate, bound notebook that is not used for other note-taking or any other work connected with this or any other current class. [Old notebooks from other classes are acceptable, provided the old materials have been removed.]
• All entries are to be written in longhand in your journal. You are not to revise, retype, or word-process your entries in any significant way. Remember, there is no single "correct" answer; rather, your intent should be to describe what you hear as accurately as possible on the first hearing (as you will later encounter these pieces on listening quizzes).
• Each entry must be clearly identified and labeled with the CD and track numbers (or other source) and a brief title. You must also indicate the date on which you wrote your entry. (E.g., "Jazz CD 1, Track 8, 'Tiger Rag,' 20 Sep 06") Finally, separate each entry clearly from the preceding and following entries, either by leaving several blank lines or by beginning each entry on a new page.
• Do not write an entry before you have been instructed to do so (on this page or in class). This will prevent you from making major errors that may mislead you on the listening quizzes.
• Remember, the purpose of the listening journal is to help you to learn how to identify aurally the most important stylistic traits of these examples. Write to yourself (and your instructor as a second reader) in such a way that makes clear what you hear in the example that is unique or otherwise helps to distinguish the example (and similar works by the same composer, performer or comtemporaries) from other examples. Try to be objective (initially) in your description and use the correct technical terminology as much as possible.
• Finally, grading of the listening journal will be based chiefly on completeness, i.e., have you simply done the work. There are no absolute right answers for this work. Extremely brief or half-hearted efforts, or work that appears to have been written without listening will be down-graded. Your journal will be checked during the term (after each listening quiz) and at the final exam. The listening journal counts for 10% of your course grade.

The following is a chronological list of all assignments for your Listening Journal during the Fall 2006 Semester. The date on each assignment is the date on which it was made. Generally, you should try to complete each of these assignments within seven days (or less) of its posting on this page.

This first assignment involves three separate recordings from two different sources. Read the instructions carefully, as you write descriptions of the individual works and the summary.

1. In the "Red Hot Jazz Archive" (web link on course home page), use the search function to find "Castle House Rag" played by [James Reese] Europe's Society Orchestra. For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo, and how important is syncopation to the melody line?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Do you think improvisation is used in this piece? How can you tell?
   • "other" interesting points to note - Are there any distinctive instrumental effects or other aspects that tell you immediately that this is JRE's group?
2. In the "Red Hot Jazz Archive" (web link on course home page), use the search function to find "Livery Stable Blues" played by the Original Dixieland Jazz Band. For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo, and how important is syncopation to the melody line?
   • form - How is this piece organized? How does it relate to the traditional "Blues" (can you hear 12-bar units)?
   • improvisation - Do you think improvisation is used in this piece? How can you tell?
   • "other" interesting points to note - What distinctive instrumental effects do you hear, and why do you think they are used in this piece?
3. On the 1st CD of the set accompanying your textbook, listen to "Tiger Rag" played by the Original Dixieland Jazz Band (CD 1-track 8). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo, and how important is syncopation to the melody line?
   • form - How is this piece organized? How does it relate more to the traditional "Blues" or to a ragtime piece?
   • improvisation - Do you think improvisation is used in this piece? How can you tell?
   • "other" interesting points to note - What distinctive instrumental effects do you hear, if any?
4. Conclude this assignment with a brief comparison of JRE's ensemble with the ODJB. Which group is the more "European" in your opinion, and why? Which one sounds more like a "jazz" group to you (and again, why)? Remember, there are no correct answers here. The point is to think about how these ensembles fit into the early history of jazz.

This assignment involves two separate recordings from the CD accompanying your textbook. Read the instructions carefully, as you write descriptions of the individual works and the summary.

1. On the 1st CD of the set accompanying your textbook, listen to "West End Blues" played by Louis Armstrong and His Hot Five (CD 1-track 11). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? Which are the most important instruments in this group and why?
   • rhythm - What is the meter of this piece (duple or triple), and what is the tempo? How regular is the rhythm of solo istruments? Can you hear "swing" in this recording?
   • form - How is this piece organized? How does it relate to the traditional "Blues" (can you hear 12-bar units)?
   • improvisation - How is improvisation used in this piece (especially when compared to a group like the ODJB)? How are individual players featured (again, compared to the ODJB)?
   • "other" interesting points to note - What distinctive instrumental effects do you hear, and why do you think they are used in this piece?
2. On the 1st CD of the set accompanying your textbook, listen to "Singin' the Blues" played by Frank Trumbauer and His Orchestra (CD 1-track 12). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? Which are the most important instruments in this group and why?
   • rhythm - What is the meter of this piece (duple or triple), and what is the tempo? How regular is the rhythm of solo istruments? Can you hear "swing" in this recording?
   • form - How is this piece organized? How does it relate to the traditional "Blues" (can you hear 12-bar units)? Why might this piece be called a "Blues"?
   • improvisation - How is improvisation used in this piece (especially when compared to a group like the ODJB)? How are individual players featured (again, compared to the ODJB)?
   • "other" interesting points to note - What distinctive instrumental effects do you hear, and why do you think they are used in this piece?
3. Conclude this assignment by making several comparisons:
   • First, how do the general sounds of these two groups relate to the traditional Dixieland groups like ODJB? Make sure you discuss both groups
   • Second, compare Armstrong's band with Trumbauer's. Which has the "sweet" sound and which is the "hot" band (ignore the names of the two groups), and why?
   • Third, compare the sound Armstrong's trumpet-playing with Beiderbecke's What is distinctive about each, and how can you tell the two apart?

This assignment involves one recording from the CD accompanying your textbook. Read the instructions carefully, as you write a description of the work and a summary.

1. On the 1st CD of the set accompanying your textbook, listen to "Grandpa's Spells" played by Jelly Roll Morton's Red Hot Pepers (CD 1-track 10). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? Which are the most important instruments in this group and why?
   • rhythm - What is the meter of this piece (duple or triple), and what is the tempo? How regular is the rhythm of solo istruments? Can you hear "swing" in this recording?
   • form - How is this piece organized? How does it relate to the traditional "Blues" (can you hear 12-bar units), or is it more like a ragtime piece?
   • improvisation - How is improvisation used in this piece (especially when compared to groups like the ODJB or King Oliver)? How are individual players featured (again, compared to the other groups), i.e., how long are solos, where are they placed, and how improvised do they seem to be?
   • "other" interesting points to note - What distinctive instrumental effects do you hear, and why do you think they are used in this piece?
2. Conclude this assignment by noting any ways in which you can tell that this piece is more "arranged" than improvised.

This assignment involves one recording from the CD accompanying your textbook. Read the instructions carefully, as you write a description of the work and a summary.

1. On the 1st CD of the set accompanying your textbook, listen to "Tiger Rag" played by Art Tatum (CD 1-track 13). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - How does Tatum use the piano? Does he play a basic melody in the right hand and a fixed accompaniment in teh left hand, or does he do other things?
   • rhythm - What is the meter of this piece (duple or triple), and what is the tempo? Does Tatum maintain a regular rhythm throughout the entire piece? Can you hear "swing" in this recording?
   • form - How is this piece organized? How does it relate to a traditional "Dixieland" piece? How does Tatum make eeach new section known?
   • improvisation - How is improvisation used in this piece (especially when compared to earlier groups like the ODJB and other piano players)?
   • "other" interesting points to note - What distinctive effects do you hear, and how do you know this is Art Tatum? How would this piece have been judged in a "cutting contest"?
2. Conclude this assignment by noting any ways in which you can tell that this piece is more "arranged" than improvised.

This assignment involves three separate recordings from two different sources. Read the instructions carefully, as you write descriptions of the individual works and the summary.

1. In the "Red Hot Jazz Archive" (web link on course home page), use the search function to find "Whispering" (1920, acoustical recording) played by the Paul Whiteman Orchestra. For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo, and how important is syncopation to the melody line? Do you hear "swing" in this piece?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? How can you tell?
   • "other" interesting points to note - Are there any distinctive instrumental effects such as "riffing"? (If you are truly curious, compare this to the 1928 electrical recording [directly below the link on the RHJA])
2. In the "Red Hot Jazz Archive" (web link on course home page), use the search function to find "Stampede" (1927) played by The Fletcher Henderson Orchestra. For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo, and how important is syncopation to the melody line? Do you hear "swing" in this piece?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? How can you tell?
   • "other" interesting points to note - Are there any distinctive instrumental effects such as "riffing"?
3. On the 1st CD of the set accompanying your textbook, listen to "East St. Louis Toodle-Oo" played by Duke Ellington and His Orchestra (CD 1-track 14). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo, and how important is syncopation to the melody line? Do you hear "swing" in this piece?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? How can you tell?
   • "other" interesting points to note - Are there any distinctive instrumental effects such as "riffing"?
4. Conclude this assignment with a brief comparison of these three bands. Which is the "hottest" and which the "sweetest"? What sorts of audiences would each have served in your opinion, and why? Which one sounds more like a "jazz" group to you (and again, why)? Remember, there are no correct answers here. The point is to think about how these ensembles fit into the early history of jazz.

This assignment involves three separate recordings from the CD accompanying your textbook. Read the instructions carefully, as you write descriptions of the individual works and the summary.

1. On the 1st CD of the set accompanying your textbook, listen to "Down South Camp Meeting" played by Fletcher Henderson and His Orchestra (CD 1-track 16). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo, and how does the bass line (rhythm section) differ from earlier jazz bands (Is the rhythmic emphasis in 4 or 2?)? Do you hear "swing" in this piece?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? How can you tell?
   • "other" interesting points to note - How many different "riffs" are used in this piece?
2. On the 1st CD of the set accompanying your textbook, listen to "Mary's Idea" played by Andy Kirk and His Twelve Clouds of Joy (CD 1-track 17). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? What new timbre do you hear in the rhythm section?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo, and how important is syncopation to the melody line? Do you hear "swing" in this piece?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? How many solos are there compared to the Fletcher Henderson piece (just above)?
   • "other" interesting points to note - How do the "riffs" here differ from those of Henderson's arrangement?
   • What traits do you hear that identify this as a Kansas City or Territory Band piece?
3. On the 1st CD of the set accompanying your textbook, listen to "Shoe Shine Boy" played by Count Basie's small group (CD 1-track 18). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? What two new timbres do you hear in the rhythm section?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo, and how important is syncopation to the melody line? Do you hear "swing" in this piece?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? How many solos are there compared to the Henderson and Kirk pieces (just above)? How are the solos around 2:16 arranged differently from solos in previous pieces?
   • "other" interesting points to note - How do the "riffs" here differ from those of Henderson's arrangement?
   • How does Basie's style of piano-playing differ from that of earlier pianists, e.g., Harlem stride pianists?
   • What traits do you hear that identify this as a Kansas City or Territory Band piece?

This assignment involves two separate recordings from the CD accompanying your textbook. Read the instructions carefully, as you write descriptions of the individual works and the summary.

1. On the 1st CD of the set accompanying your textbook, listen to "Solo Flight" played by Benny Goodman and His Orchestra (CD 1-track 19). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? How does the "swing" feel of this piece compare to earlier examples?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What new solo instrument(s) are used here?
   • "other" interesting points to note - How precise and disciplined is this band, and how does that compare to earlier groups you've heard?
2. On the 1st CD of the set accompanying your textbook, listen to "Sepia Panorama" played by Duke Ellington and His Famous Orchestra (CD 1-track 20). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? How are the "primary" timbres of each section used, and how does that differ from other ensembles?>
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? How does the "swing" feel of this piece differ from otherexamples? Is this a piece of "dance" music (and why or why not)?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What solo instruments are use?
   • What traits do you hear that identify this as a Duke Ellington piece?

This assignment involves one recording from the CD accompanying your textbook. Read the instructions carefully, as you write descriptions of the individual work and the summary.

1. On the 1st CD of the set accompanying your textbook, listen to "Vi Vigor" played by International Sweetheaerts of Rhythm (CD 1-track 21). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? How does the "swing" feel of this piece compare to earlier examples?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What solo instrument(s) are used here?
   • "other" interesting points to note - Is there anything in the sound of this band that identifies it as a "girl" band? In fact, does anything about this recording sound different (specifically, "feminine") compared to the earlier examples?

Items above this point may be used for Listening Quiz # 1, and these items should be in your Listening Journal by the time of that quiz. Items below this point may appear on the second Listening quiz, and those items should be in your Listening journal by the end of the course.

This assignment involves two recordings from the CD accompanying your textbook. Read the instructions carefully, as you write descriptions of the individual works and the summary.

1. On the 1st CD of the set accompanying your textbook, listen to "Body and Soul" sung by Billie Holiday and Her Orchestra (CD 1-track 23). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments, etc., and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? How does the "swing" feel of this piece compare to earlier examples?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What new solo instrument(s) are used here?
   • "other" interesting points to note - How does Holiday's vocal fit into the texture of the ensemble? Is she an equal or does she stand apart (and how so)?
2. On the 1st CD of the set accompanying your textbook, listen to "Body and Soul" played by Coleman Hawkins and His Orchestra (CD 1-track 22). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? How are the "primary" timbres of each section used, and how does that differ from other ensembles?>
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? How does the "swing" feel of this piece differ from otherexamples? Is this a piece of "dance" music (and why or why not)?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What solo instruments are use?
   • "other" interesting points to note - How does Hawkin's sax line fit into the texture of the ensemble? Is she an equal or does she stand apart (and how so)?
3. Conclude this assignment with a brief comparison of these two soloists. Which is a "vertical improvisation" and which more of a melodic embellishment?

This assignment involves two recordings from the CD accompanying your textbook. Read the instructions carefully, as you write descriptions of the individual works and the summary.

1. On the 1st CD of the set accompanying your textbook, listen to "Salt Peanuts" played by Dizzy Gillespie and His All Stars (CD 1-track 24). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments, etc., and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? Does this piece still have a "swing" feel, especially compared to earlier examples?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What new solo instrument(s) are used here?
   • "other" interesting points to note - How are the opening and final sections of this piece alike or similar? What does that tell you about those sections?
2. On the 1st CD of the set accompanying your textbook, listen to "Manteca" played by Dizzy Gillespie and His Orchestra (CD 1-track 25). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? How are the "primary" timbres of each section used, and how does that differ from other ensembles?>
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? Does the piece still have a "swing" feel, especially compared to earlier examples?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What solo instruments are use?
   • "other" interesting points to note - Is this a piece of "dance" music (and why or why not)? In general, how does this piece fit into the "big Bnad" styles of the 1930s and 40s?
3. Conclude this assignment with a brief comparison of these two recordings. What ties them together as "bebop" tunes?

This assignment involves one recording from the CD accompanying your textbook. Read the instructions carefully, as you write a description of the individual work and the summary.

1. On the 1st CD of the set accompanying your textbook, listen to "Four in One" played by the Thelonious Monk Quartet (CD 1-track 26). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments, etc., and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? Does this piece still have a "swing" feel, especially compared to earlier examples?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece?
   • "other" interesting points to note - What is the "sound" of Monk's improvisation (1:02-1:50) like, especially when compared to Bebop and Swing players?
2. Conclude this assignment with a brief comparison of Monk's style to that of Dizzy Gillespie's. Is Monk a true Bebop player or not?

This assignment involves one recording from the CD accompanying your textbook. Read the instructions carefully, as you write a description of the individual work and the summary.

1. On the 1st CD of the set accompanying your textbook, listen to "Jeru" played by Miles Davis and His Orchestra (CD 1-track 27). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments, etc., and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? Does this piece still have a "swing" feel, especially compared to earlier examples?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What new solo instrument(s) are used here?
   • "other" interesting points to note - How "free" is Mulligan's improvisation (1:31-2:13), i.e., does it related to anything you've heard so far in the piece?
2. Conclude this assignment with a comparison of this group's sound with that of an earlier Bebop group led by Dizzy Gillespie. How does the "Cool" sound compare with Bebop?

This assignment involves one recording from the CD accompanying your textbook. Read the instructions carefully, as you write a description of the individual work and the summary.

1. On the 2nd CD of the set accompanying your textbook, listen to "Moanin'" played by Art Blakey and the Jazz Messengers (CD 2-track 1). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments, etc., and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? Does this piece still have a "swing" feel, especially compared to earlier examples, or is there a better way to describe the basic "feel" of this piece?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What solo instrument(s) are used here?
   • "other" interesting points to note - What influences from outside jazz do you hear in this music?
2. Conclude this assignment with a comparison of this group's sound with that of an earlier "jazz" styles. Is "Moanin'" a kind of "jazz" or not?

This assignment involves one recording from the CD accompanying your textbook. Read the instructions carefully, as you write a description of the individual work and the summary.

1. On the 2nd CD of the set accompanying your textbook, listen to "Hora Decubitus" played by Charles Mingus and his Orchestra (CD 2-track 3). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments, etc., and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? Does this piece still have a "swing" feel?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What new solo instrument(s) are used here?
   • "other" interesting points to note - What earlier jazz influences do you hear in this music?
2. Conclude this assignment with a comparison of this group's sound with that of "jazz" in the 1950s and 60s. Why is Mingus' music "jazz," and why might it also be considered something else?

This assignment involves one recording from the CD accompanying your textbook. Read the instructions carefully, as you write a description of the individual work and the summary.

1. On the 2nd CD of the set accompanying your textbook, listen to "So What" (excerpt) played by the Miles Davis Sextet (CD 2-track 3). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments, etc., and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? Does this piece still have a "swing" feel? In fact, how regular is the rhythm of this piece?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What solo instrument(s) are used here?
   • "other" interesting points to note - How is the harmony different from that of earlier examples? What effect does that have on the improvisations in this piece?
2. Conclude this assignment with a comparison of this group's sound with that of "jazz" in the 1950s and 60s. Why is Miles Davis' music "jazz," or should it also be considered something else?

NB. To hear the entire recording of "So What," follow the link on the course web site to the "Official Miles Davis web page" (under Chapter 8 resources). Click on the link to "music" (at the top left), and on the next web page, open the "Miles Davis Music Player" (bottom left). "So What" is the first available track in the next window.

This assignment involves one recording from the CD accompanying your textbook. Read the instructions carefully, as you write a description of the individual work and the summary.

1. On the 2nd CD of the set accompanying your textbook, listen to "Acknowledgement" played by John Coltrane (CD 2-track 6). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments, etc., and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? Does this piece still have a "swing" feel? In fact, how regular is the rhythm of this piece?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What solo instrument(s) are used here?
   • "other" interesting points to note - How is the harmony different from that of earlier examples? What effect does that have on the improvisations in this piece?
2. Conclude this assignment with a comparison of Coltrane's sound with that of "jazz" in the 1950s and 60s. Is Coltrane still playing "jazz," and if so, why? I f not, what is this music?

This assignment involves three recordings from the CD accompanying your textbook. Read the instructions carefully, as you write a description of the individual works and the summary.

1. On the 2nd CD of the set accompanying your textbook, listen to "It's About That Time/In a Silent Way" (1969) played by Miles Davis (CD 2-track 9). NB. Remember, this track conflates two separate recordings, which you should address as separate items. For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments, etc., and in what numbers do you think) of this group?
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? How does the "swing" feel of this piece compare to earlier examples?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What new solo instrument(s) are used here?
   • "other" interesting points to note - What group or kinds of instruments are new in this ensemble?
2. On the 2nd CD of the set accompanying your textbook, listen to "Chameleon" played by The Herbie Hancock Group (CD 2-track 10). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? How are the "primary" timbres of each section used, and how does that differ from other ensembles?>
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? How does the "swing" feel of this piece differ from otherexamples? Is this a piece of "dance" music (and why or why not)?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What solo instruments are use?
   • "other" interesting points to note - What is unusual or new about the bass in this piece (compared to earlier jazz pieces)?
3. On the 2nd CD of the set accompanying your textbook, listen to "Hymn of the Seventh Galaxy" played by Chick Corea and Return to Forever (CD 1-track 11). For this item, write an objective description that addresses the following questions. Should you prefer, you may put your statements in the form of a list.
   • timbre - What are the performing forces (what instruments and in what numbers do you think) of this group? How are the "primary" timbres of each section used, and how does that differ from other ensembles?>
   • rhythm - What is the meter of this piece (duple or triple), what is the tempo? How does the "swing" feel of this piece differ from otherexamples? Is this a piece of "dance" music (and why or why not)?
   • form - How is this piece organized? Is it made from discreet units (and if so, how is each unit marked off from others) or is it more continuous?
   • improvisation - Where is it used in this piece? What solo instruments are use?
   • "other" interesting points to note - What is the general "attitude" that you see in the titles and this music in general?
4. Conclude this assignment with a brief comparison of these three groups. Collectively, how do they represent the "fusion" of jazz and rock? Individually, what does each have that the others lack (or avoid)? Which is closest to jazz (and why)? Whic is the least like "jazz" (and again, why)?

When you have completed this last assignment, you are done with your listening assignments for MUL 2016. Use your journla to study for the final exam, and remember to bring it to the final so that you may receive credit for your work.

Last updated on 27 November 2006