Unit 2 music and culture

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Unit 2 music and culture

  1. 1. Analytical Unit 2: Music as Culture Reasoning: From Enslavement to Freedom, a Productive Life-long Learner Music as Culture Music has played a central role in the culture and sociopoliOcal strivings of African‐Americans. Using the coded messages of slave songs (field hollers, work songs and spirituals) as a background, discuss the contemporary messages of hiphop and the overarching development of jazz. How has commercializaOon impacted pop art and culture in contemporary society? How has this commercializaOon been exported to the world? Unit Descrip?on: Music adds the spice to life, since it directly and indirectly affects language, fashion, educaOon, history, and many other elements of human disOncOon. Students will consider the obvious and not‐so obvious connecOons between music and culture. In addiOon, students will explore the connecOons of hip‐hop to slave songs and Jazz and consider the affects of commercializaOon on music around the world. Unit Narra?ve: Storytelling is the link, which Oes the American Slave to the African. In West African culture the Griot is an esteemed member of the community who is charged with preserving the history of the tribe or village. The Griot uses humor, drama Oc narraOves, poetry, song and dance not only to entertain but to glorify and extol the virtues of the community at important cultural events. This tradiOon of poetry, dance, and storytelling combined and crossed the waters with the enslaved African. The tradiOon was carried forward by the field hollers, the blues, jazz, and rap musics of the twenty first century. Music is ohen labeled as a common denominator, one of the greatest avenues of unity among human groups around the planet. The response to the death of music icon Michael Jackson would be a prime example of how music can unite those who seem worlds apart. Almost everyone connects with others via some type of music. So, music directly results from culture, and culture directly results from music. What beIer way to look at historical elements and connecOons than through the evoluOon of music itself. In this unit’s research tasks, students
  2. 2. have wonderful opportuniOes to explore the connecOons between music and culture and the current music trend 13 with which they idenOfy (hip‐hop) and its historical connecOons to slave songs and Jazz. They also have the opportunity to research the commercializaOon elements that affect music and, thereby, affect culture. Class 1 IntroducOon A. Faculty IntroducOon B. Class Goals C. Review of Unit Syllabus D. Class Guidelines and RegulaOons E. Blog Intro and instrucOons Bell, Ed; Lennon, Thomas, “Unchained Memories: Readings From the Slave NarraOves”, HBO Documentary, 2003 Class 2 Timeline/history A. YouTube examples to correlate with the Omeline B. Excerpts maybe from the HBO series, or from the movie Love Jones Conyers, James L. ed., “African American Jazz and Rap”, McFarland and Co., 2001. hIp://books.google.com/books? id=e9lTE2pmAlYC&dq=Jazz+Rap&printsec=frontcover&source=in&hl=en&ei=‐ ZEwTJ_KEsKqlAeQsYWeCQ&sa=X&oi=book_result&ct=result&resnum=12&ved=0CFEQ6A EwCw#v=onepage&q &f=false Class 3 YouTube Video examples A. You Tube/ Video 1. Rap/Hip Hop 2. Jazz 3. Rap and Jazz B. Blogging assignment 1 (Instructor’s choice of topic) C. PresentaOon/Discussion Daulatzai, Sohail; Dyson, Michel Eric, “Born to Use Mics:Reading’s Nas IllamOc”, Basic Civitas Books, New York, 2010. Als, Hilton, “The Next Music Mogul, The New Negro”, The New Yorker, 1997. hIp://www.newyorker.com/archive/1997/10/20/1997_10_20_144_TNY_CARDS_000380491 Class 4 Oral Discussion ‐ show clip for Beyond Beats and Rhymes, which looks at misogyny and the history. A. Ideas, impression, criOcal discourse B. Blogging assignment 2 (Instructor’s choice of topic)
  3. 3. 14 Class 5 Roots of Rap /Hip Hop A. PresentaOon on African influences B. Modern Influences ‐ guest speaker Wastrous, Peter, “Review/Jazz; Rap Group Releases Album That Includes Disputed Song”, New York Times, 1990. hIp://www.nyOmes.com/1990/04/11/arts/review‐jazz‐rap‐group‐releases‐album‐that‐includes‐ disputed‐song .html Brody, Richard, ”MILES TO GO”, The New Yorker, 2010. hIp://www.newyorker.com/online/blogs/movies/2010/01/miles‐to‐go.html Frere‐Jones, Sasha, “Doom’s Day, Madvillain redeems the pretensions of independent hip‐hop”, The New Yorker, 2004. hIp://www.newyorker.com/arcive/2004/04/12/040412crmu_music#ixzz0sivsr979 Class 6 Minstrel Shows A. Slave narraOves, audio and visual B. Work songs/field hollers, audio and visual C. Modern comedy shows, audio and visual Pilgrim, David, “The Coon Caricature”, Oct. 2000. hIp://www.ferris.edu/jimcrow/coon/ Class 7 Quiz Class 8 Group PresentaOon A. Oral presentaOon by groups B. Individual wriIen documentaOon Youtube Resources hIp://www.youtube.com/watch?v=‐eh16a7n_44&feature=related Gang Starr‐ “Jazz thing” hIp://www.youtube.com/watch?v=ot6j7Jf9al0 Miles Davis‐ “Fusion” hIp://www.youtube.com/watch?v=F22yKJRZoZc Tribe called Quest‐ “Jazz (We’ve Got)” hIp://www.youtube.com/watch?v=54OlRNrnAes&feature=related GURU‐“Hood Dreamin h. Solar” hIp://www.youtube.com/watch?v=SRpdlij3GVo Public Enemy‐ “Fight The Power” 15 Reading List • Bernard, Shane K., Swamp Pop: Cajun and Creole Rhythm and Blues, University Press of Mississippi, Jackson, Mississippi, 1996. (MenOons black Creole music, but not Creole folk songs.)
  4. 4. • Borders, Florence E., "Researching Creole and Cajun Musics in New Orleans," Black Music Research Journal, vol. 8, no. 1 (1988) 15‐31. • Cable, George W., "The Dance in Place Congo," Century Magazine, vol. 31, Feb., 1886, pp. 517‐ 532. • McGinty, Doris E. and Nickerson, Camille, "The Louisiana Lady," The Black Perspec5ve in Music, vo. 7, no. 1 (Spring, 1979) 81‐94. • Nickerson, Camille, Africo‐Creole Music in Louisiana; a thesis on the planta5on songs created by the Creole negroes of Louisiana, Oberlin College, 1932. • Perone, James E., Louis Moreau GoOschalk, a Bio‐Bibliography, Greenwood Press, Westport, ConnecOcut, 2002. • Scarborough, Dorothy, On the Trail of Negro Folk‐Songs, Harvard University Press, 1925. • Starr, S. Frederick, Bamboula! The Life and Times of Louis Moreau GoOschalk, Oxford University Press, 2000. • Tiersot, Julien, "Notes d'ethnographie musicale: La Musique chez les peuples indigenes de l'Amerique du Nord," Sammelbande der Interna5onalen MusikgesellschaS 11 (1910); 141‐231. Melodies only, with musicological notes. • Tiersot, Julien, Chansons Negres, Heugel, Paris, 1933. • Veillon, Ching, Creole Music Man: Bois Sec Ardoin, Xlibris, 2003

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