The History of African American Music --1

Music 39
The History of African American Music
Tufts University, Fall 2010
Lecture: Professor:
Monday, Wednesday Stephan Pennington
3:00-4:15 PM Stephan.Pennington@tufts.edu
Room: 155 Granoff Office: 268 Granoff, ext. x72619
Office Hours: Wed 10:00AM-12:00PM,
Or by appointment
TA:
Kaersten Mehlin
kaersten.mehlin@tufts.edu
Office Hours: Fri 11:30AM-12:30PM
38 Granoff
Course Description:
The History of African American Music is a survey engaging with the wide variety
of African
American musics produced in the United States. This course will explore the cont
ested and shifting ideas
of musical blackness across time and genre in the context of social and cultural
history. This course is
based on the supposition that musical styles articulate social, cultural, and po
litical circumstances as they
emerge at specific moments in history. Students will become familiar with the hi
storical and stylistic
evolutions of African-American musics and their connection to the social fabric
of America and debates
within the African-American communities through lecture, assigned reading, discu
ssion, listening and
analysis. Students need neither formal musical background nor familiarity with A
frican-American music,
but everyone will be expected to learn how to listen actively and carefully to t
he selections and then
articulate their insights in a sophisticated way. Class objectives include:
-Increasing students abilities to hear differences among performances and styles
of African-
American musics, to interpret the meanings of such differences, and to talk and
write about
them.
-Appreciating the stakes and motives behind the controversies and debates that h
ave
continuously reemerged around musical blackness in terms of identity and the rep
resentation
of African-American communities.
-
Gaining greater knowledge of U.S. and African-American history as it affects and
is affected
by musical activities.
-Understanding musical histories and canons as arguments, and as products of con
testation.
-Learning to understand the history of African-American music in terms of change
s in both
musical techniques and social values; recognize music as a site of celebration a
nd struggle
over relationships and ideals.
Departmental Learning Objectives for Music include:
d.
The foundations of ethnomusicological and/or cultural theory and their applicati
on to
world, folk, and popular music traditions.
e.
The logical, linguistic, and rhetorical skills to construct a compelling and per
suasive
argument based on primary and secondary sources, the means to convey such argume
nts
successfully in written and oral form; and the ability to identify and use appro
priate
library research tools and resources effectively and persuasively.
The History of African American Music -- 2
Departmental Learning Objectives for American Studies include:
2. An understanding of how histories of power, privilege, migration, race, sex,
class &
gender shape the cultures of the United States;
3. An understanding of the ways that the intersecting dynamics of race, ethnicit
y, class, and
gender produce dissimilar "American" experiences for individuals and groups;
7. The ability to think critically through immersion in close reading, rhetorica
l analysis, and
historical contextualization;
Email and Office Hours Policy:
If you cannot make my or the TA s listed office hours, contact either Kearsten or
I and we will try
to find an alternate meeting time. Please note that I tend to check my email onc
e a day, and so you may
sometimes have to wait 24 hours or longer before you receive an answer. If I get
the same question form
many people, rather than an individual response, I may email the whole class ins
tead. In order to
discourage procrastination, I will not answer email questions regarding assignme
nts 24 hours prior to the
assignment s due date.
Course Structure:
Classes will be comprised of a mixture of lecture and class discussion, and eval
uative listening of
recorded and video material. Student participation and discussion is encouraged
and expected. As a large
amount of material will be covered in a short time, attendance at every lecture
and thorough note taking is
essential. The course will culminate in a research paper. Assigned reading and l
istening are to be
completed before the lecture for which they are assigned.
Required Texts
Lornell, Kip (ed). From Jubilee to Hip Hop: Readings in African American Music.
Upper Saddle River,
NJ: Prentice Hall, 2010.
Required Listening, short video clips, and additional readings will be available
on the course website
through Blackboard.
Course Websites
http://blackboard.tufts.edu
http://www.turnitin.com [Course ID: 3411877, Enrollment Password: funky]
Course Requirements, Expectations, & Policies:
Grading:
Short Writing Assignments 15%
Midterm Paper 15%
Midterm 20%
Final Paper 25%
Final Exam 25%
1. Prepare reading and listening before each class as listed in the Schedule of
Classes. Not all of the
musical examples listed in the Schedule of Classes will be discussed in class, o
r played in full,
but you are expected to listen to each song multiple times on your own. All list
ed musical
examples are fair game for the exams. It is crucial that you keep up with the li
stening
assignments along with your readings, as you will not be able to learn all of th
em in one or two
nights before the exam.
2. There will be three short writing assignments for the first half of the semes
ter. Assignment
details will be handed out in class. The short writing assignments will be worth
15% of the course
grade.
3. There will be a 4-6 page midterm paper worth 15% of the course grade; the top
ic will be
distributed two weeks before the due date. The topic will be distributed Oct 4.
It will be due the
The History of African American Music -- 3
day of the midterm, Oct 21. You will submit an electronic version via Turnitin.c
om in order to
protect your work as an author. A hard copy version will also be turned in durin
g class.
4.
There will be a midterm exam worth 20% of the course grade. It will include list
ening and short
answers. The format of the exam will be discussed in detail in class. Blue books
will be
provided.
5.
There will be a final exam worth 25% of the course grade. It will be similar in
format to the
midterm but will concentrate more heavily on the last half of the course. The li
stening portion of
the exam will include only music studied since the midterm. There will also be e
ssay portions.
6.
There will be a 8-10 page final paper for this course due on the last day of cla
ss. The topic will be
distributed Nov 8th. On November 15th you will turn in a paper proposal, which w
ill be worth 5%
of your Final Paper grade. The Final Paper is due December 8th. You will submit
an electronic
version via Turnitin.com in order to protect your work as an author. A hard copy
version will
also be turned in during class. This paper will be worth 25% of your course grad
e.
7.
There are resources for students with disabilities. If you wish to request an ac
commodation, as a
result of a documented disability, you need to register with the Disability Serv
ices Office at the
beginning of the semester. To do so, call the Student Services Desk at (617) 627
-2000 to arrange
an appointment with Sandra Baer, Program Director of Disability Services.
8.
Tufts University is committed to preserving the highest academic standards. In o
rder to maintain
academic integrity, University policy mandates that any suspected case of miscon
duct (i.e.
cheating, plagiarism, etc) must be reported to the Dean of Student Affairs, and
an investigation
will ensue. Penalties for academic misconduct can be severe, ranging from a zero
on an
assignment to expulsion from the university and a permanent blemish on your acad
emic record.
Please refer to the student handbook for further information on these policies a
nd regulations.
9.
Late Assignment Policy: Assignments are due at the beginning of class on the day
due. Late
papers will be docked 10% of its grade each day it is late and no paper will be
accepted four days
past the due date. Emailed assignments will not be accepted. Extensions are only
allowed when
provided with a letter from an administrator, the Dean of Students, or healthcar
e professional. If
you are having issues that are interfering with your ability to be a productive
student, it is crucial
that you come to speak with me before exams and assignments rather than afterwar
ds.
10. I am happy to answer questions and chat with you about your thoughts and ide
as. Please feel free
to stop by my Office Hours. I am also available by appointment.
11. This syllabus is subject to change.
Grading Scale:
A 93-100% B+ 87-89% C+ 77-79% D+ 67-69%
A-90-92% B 83-86% C 73-76% D 63-66% F 0-59%
B-80-82% C-70-72% D-60-62%
Grades are not rounded up.
The History of African American Music --4
Schedule of Classes:
Week 1:
1. Sep 8 Wednesday- Introduction
Week 2:
2. Sep 13 Monday- Work Songs, Spirituals, and Minstrelsy
Reading: From Jubilee to Hip Hop: Introduction (ix-xix), Black American Music: In
tro & Make me a
World (xix-xxi), Ch 2, Ch 6
Listening:
1. Thomas J. Marshall, "Arwhoolie (Cornfield Holler)" (1939)
2. James Carter & The Prisoners, "Po' Lazarus" (1959)
3. Marian Anderson, "Nobody Knows De Trouble I've Seen" (1924)
4. Hall Johnson Negro Choir, Ezekiel Saw De Wheel/Swing Low, Sweet Chariot/Keep Y
o
Hand on the Plow, Hold On (1930)
5. Carroll C. Clark & Vess Ossman, De Little Old Log Cabin in De Lane (1907)
6. Bert Williams, Nobody (1906)
SEP 14, TUESDAY 8PM, CAROLINA CHOCOLATE DROPS CONCERT AND Q&A
3. Sep 15 Wednesday - Banjo Music, Rural Blues, and the Beginnings of the Great
Migrations
Reading: From Jubilee to Hip Hop: Black American Music: Jump Jim Crow (xxi-xxii),
Ch 4
Listening:
1. Irvin Cook & Leonard Bowles, "Mama Don't Allow" (1984)
2. Gus Cannon, Jonestown Blues (1927)
3. Bogus Blind Ben Covington, Adam and Even in the Garden (1928)
4. Blind Lemon Jefferson, That Black Snake Moan (1926)
5. Charlie Patton, Mississippi Boweavil Blues (1929)
6. Robert Johnson, "Sweet Home Chicago" (1936)
Week 3:
4. Sep 20 Monday- Ragtime to New Orleans Jazz
Reading: From Jubilee to Hip Hop: Ch 5, Ch 7, Ch 10, Ch 14
Writing: Short Writing Assignment 1 (Concert Analysis)
Listening:
1. Scott Joplin, Maple Leaf Rag (1899/rec. 1926)
2. James Reese Europe, Castle House Rag (1914)
3. Kid Ory s Sunshine Orchestra, Society s Blues (1922)
4. King Oliver s Creole Jazz Band, Dippermouth Blues (1923)
5. Louis Armstrong, "West End Blues" (1928)
6. Jelly Roll Morton, "Maple Leaf Rag" (1938)
5. Sep 22 Wednesday - Vaudeville and Urban Blues
Reading: From Jubilee to Hip Hop: Black American Music: Crazy Blues (xxii-xxv), Ch
9, Ch 12
Listening:
1. Mamie Smith and Her Jazz Hounds, Crazy Blues (1920)
2. James P. Johnson, Charleston (South Carolina) (1925)
3. Ma Rainey, Prove It On Me Blues (1928)
4. Bessie Smith, St. Louis Blues (1925)
5. Ethel Waters, No Man s Mama (1925)
6. Lonnie Johnson, "Careless Love" (1928)
The History of African American Music --5
Week 4:
6. Sep 27 Monday-Big Band Jazz and the end of the Harlem Renaissance
Reading: From Jubilee to Hip Hop: Ch 29
Writing: Short Writing Assignment 2 (Research and Evaluation)
Listening:

1. Duke Ellington and His Famous Orchestra, East St. Louis Toodle-Oo (1927)
2. Cab Calloway, Minnie The Moocher (1931)
3. Fletcher Henderson and His Orchestra, Wrappin It Up (1934)
4. The Chick Webb Orchestra, Stomping at the Savoy (1934)
5. Count Basie & His Orchestra, Jumpin at the Woodside (1938)
6. Jimmy Lunceford & His Orchestra, T Aint What cha Do, It s The Way How cha Do It
(1939)
7. Duke Ellington and His Famous Orchestra, Concerto For Cootie (1940)
7. Sep 29 Wednesday -Jubilee to Gospel
Reading: From Jubilee to Hip Hop: Ch 1, Ch 16, Ch 21, Ch 23
Listening:
1. Fisk Jubilee Singers Ezekiel Saw the Wheel (1920)
2. Reverend J.M. Gates, "Amazing Grace" (1926)
3. Elders McIntorsh and Edwards, "Since I Laid My Burden Down" (1928)
4. Mahalia Jackson, "Get Away Jordan" (1948)
5. Golden Gate Jubilee Quartet, Rock My Soul (1938)
6. Blind Boys of Mississippi, Jesus Gave Me Water (1950)
Week 5:
8. Oct 4 Monday-Jump Blues to Rhythm & Blues
Reading: From Jubilee to Hip Hop: Black American Music: The Rise of Rhythm n Blues (
xxv-xxvi),
Ch 20, Ch 22
Writing: Short Writing Assignment 3 (Music Analysis)
Mid-Term Topic Handed Out.
Listening:
1. Louis Jordan, "Choo Choo Ch Boogie" (1946)
2. Wynonie Harris, "Good Rockin' Tonight" (1947)
3. T-Bone Walker, Call It Stormy Monday (1947)
4. Big Mama Thornton, "Hound Dog" (1952)
5. Ruth Brown, "(Mama) He Treats Your Daughter Mean" (1953)
6. Muddy Waters, "I'm Your Hoochie Coochie Man" (1954)
7. Bo Diddley, Bo Diddley (1955)
9. Oct 6 Wednesday - Rock n Roll
Reading: Redd, Lawrence N. Redd. Rock! It s Still Rhythm and Blues." The Black Pers
pective in Music,
Vol 13, no. 1 (Spring, 1985): 31-47.
Listening:

1. The Dominoes, "Sixty Minute Man" (1950)

2. Jackie Brentson, "Rocket 88" (1951)
3. Big Joe Turner, Shake, Rattle, and Roll (1954)
4. Chuck Berry, "Maybelline" (1955)
5. Fats Domino, Ain t That a Shame (1955)
6. Little Richard, "Long Tall Sally" (1956)
The History of African American Music --6
Week 6:
10. Oct 11 Monday-Doo Wop and Girl Groups
Guest Lecture: Kaersten Mehlin
Listening:
1. The Ink Spots, If I Didn t Care (1939)
2. The Harp-Tones, Sunday Kind of Love (1953)
3. The Penguins, "Earth Angel (Will You Be Mine)" (1954)
4. The Chantels, Maybe (1958)
5. The Shirelles, "Will You Love Me Tomorrow?" (1960)
6. The Ronettes, "Be My Baby" (1963)
11. Oct 13 Wednesday Crooners, Cabaret, and Jazz Singers Music for Adults
Reading: Dyer, Richard. "The Colour of Entertainment." In Musicals: Hollywood an
d Beyond,
edited by Bill Marshall and Robynn Jeananne Stilwell, 23-30. Exeter, England:
Intellect, 2000.
Listening:

1. Nat King Cole, "Mona Lisa" (1950)

2. Johnny Mathis, "Wonderful! Wonderful!" (1957)
3. Betty Carter, "You re Driving Me Crazy (What Did I Do?) (1958)
4. Sammy Davis Jr. & Ella Fitzgerald, "S'Wonderful" (1964) [Video]
5. Lena Horne, Love Me or Leave/The Eagle & Me (1965) [Video]
6. Eartha Kitt, "Champagne Taste" (1965)
Week 7:
12. Oct 18 Monday-MIDTERM EXAM!!
Writing: Midterm Paper Due.
13. Oct 20 Wednesday-60s Soul: Motown vs. Stax
Reading: From Jubilee to Hip Hop: Black American Music: Dancing in the Streets (xx
vii-xxix), Ch 25,
Ch 26
The Pilgrim Travellers, "This Little Light of Mine" (c. 1950)**
1. Ray Charles, "This Little Girl of Mine" (1955)
2. Barret Srong, Money (That s What I Want) (1959)
3. The Mar-Keys Last Night (1961)
4. Martha and the Vandellas, Dancing in the Street (1964)
5. The Supremes, "Baby Love" (1966)
6. Otis Redding, "Try A Little Tenderness" (1966)
7. Aretha Franklin, "Respect" (1967)
Week 8:
14. Oct 25 Monday-Music and the Civil Rights Movement
Reading: From Jubilee to Hip Hop: Ch 19, Ch 24
Listening:
1. Southern Sons, Lift Every Voice and Sing (1941, written 1906)
2. Marion Anderson, America (1939) [Video]
3. Billie Holiday, "Strange Fruit" (1939)
*Billie Holiday, Strange Fruit (1959) [Video]
4. The Freedom Singers, Aint Gonna Let Nobody Turn Me Round (1961)
5. Guy and Candie Carawan, We Shall Overcome (1964)
6. Sam Cooke, A Change Is Gonna Come (1964)
7. Curtis Mayfield, Keep on Pushing (1964)
The History of African American Music --7
15. Oct 27 Wednesday Music and the turn to Black Power
Reading: From Jubilee to Hip Hop: Ch 35
Garland, Phyl. "Nina Simone: High Priestess of Soul." Ebony, Aug 1969, 156-59.
Listening:
1. Max Roach, Driva Man, from the Freedom Now Suite (1960)
2. Nina Simone, "Mississippi Goddamn" (1964)
3. Grady Tate, Be Black (1969)
4. Gil Scott-Heron, "The Revolution Will Not Be Televised" (1970)
5. Curtis Mayfiled, (Don t Worry) If There s a Hell Below We re All Going to Go (1970)
6. Rahssan Roland Kirk, Blacknuss (1972)
7. Kim Weston, Lift Every Voice and Sing (1971, written 1906)
Week 9:
16. Nov 1 Monday-Funk and Afro-Futurism
Reading: From Jubilee to Hip Hop: Ch 30
Listening:
1. James Brown, "Superbad" (1970)
2. Sly & the Family Stone, "Don't Call Me Nigger, Whitey" (1969)
3. Betty Davis, "Nasty Gal" (1975)
4. Sun Ra Arkestra, "Space is the Place (1972) [*21:15]
5. Parliament, "Star Child (Mothership Connection)" (1974)
6. Earth, Wind & Fire, "Serpentine Fire" (1977)
17. Nov 3 Wednesday -Cinematic Funk, Philly Soul, and Smooth Jazz
Reading: Burnim, Mellonee V. and Portia K. Maultsby (ed). African American Music
: An Introduction.
New York: Routledge, 2006, pg. 470-489.
Listening:

1. Isaac Hayes, "Theme from 'Shaft'" (1971)

2. Curtis Mayfield, "Superfly" (1972)
3. Billy Paul, Me and Mrs. Jones (1972)
4. MFSB, "TSOP (The Sound of Philadelphia) Theme from 'Soul Train'" (1973)
5. Barry White and the Love Unlimited Orchestra, "Love's Theme" (1973)
6. Grover Washington, Jr. "Mister Magic" (1974)
Week 10:
18. Nov 8 Monday-Disco
Reading: Reading: Burnim, Mellonee V. and Portia K. Maultsby (ed). African Ameri
can Music: An
Introduction. New York: Routledge, 2006, pg. 315-329.
Writing: Final Paper Prompt Distributed
Listening:

1. Hues Corporation, Rock the Boat (1974)

2. Thelma Houston, "Don't Leave Me This Way" (1976)
3. Donna Summer, "I Feel Love" (1977)
4. Carl Bean, "I Was Born This Way" (1977)
5. Gloria Gaynor, "I Will Survive" (1978)
6. Chic, Good Times (1979)
Nov 10 Wednesday VETERAN S DAY!!
The History of African American Music --8
Week 11:
19. Nov 15 Monday-Early Rap
Reading: From Jubilee to Hip Hop: Black American Music: Hip Hop America (xxix-xxxi
ii), Ch 31
Writing: Final Paper Proposal Due
Listening:
1. The Sugar Hill Gang, "Rapper's Delight" (1979)
2. Grandmaster Flash and the Furious Five, "The Message" (1981)
3. Afrika Bambaataa & The Soulsonic Force, "Planet Rock" (1982)
4. Frankie Smith, Double Dutch Bus (1980)
5. Doug E. Fresh & The Get Fresh Crew, La Di Da Di (1985)
6. Run DMC, "Walk This Way (1986)
7. Salt-N-Pepa, "Push It " (1987)
20. Nov 17 Wednesday Electronic Dance Music of the 80s
Reading: Reading: Burnim, Mellonee V. and Portia K. Maultsby (ed). African Ameri
can Music: An
Introduction. New York: Routledge, 2006, pg. 331-352.
Listening:

1. Taanya Gardner, Work That Body (Larry Levan Mix) (1979)

2. New York Citi Peech Boys, Don t Make Me Wait (Larry Levan Mix) (1982)
3. Jesse Saunders, "On and On" (1983)
4. Marshall Jefferson, Move Your Body (1986)
5. Model 500 (Juan Atkins), "No UFOs" (1985)
6. Rhythim is Rhythim (Derrick May) Strings of Life (1987)
7. Beatmasters feat. Cookie Crew, Rock da House (1987)
8. Tyree, Turn up the Bass (1987)
9. Rob Base & DJ EZ Rock, It Takes Two (1988)
Week 12:
21. Nov 22 Monday-Rock
Reading: From Jubilee to Hip Hop: Ch 33
Listening:
1. Jimi Hendrix, "The Star Spangled Banner" (1969)
2. Ike & Tina Turner, "Proud Mary" (1969)
3. Bad Brains, Pay to Cum (1980)
4. Living Colour, "Cult of Personality" (1988)
5. Lenny Kravitz, "Let Love Rule" (1989)
6. Body Count, "Cop Killer" (1992)
Nov 24 Wednesday- THANKSGIVING BREAK!!
Week 13:
22. Nov 29 Monday-Country and Folk
Reading: From Jubilee to Hip Hop: Ch 8
Listening:
1. Ray Charles, "I Can't Stop Loving You" (1962)
2. Charley Pride, "Is Anybody Goin' To San Antone" (1970)
3. Rissi Palmer, "Country Girl" (2007)
4. Leadbelly, Cotton Fields (c. 1941)
5. Libba Cotten, "Freight Train" (1958)
6. Tracy Chapman, "Talkin' Bout A Revolution" (1988)
The History of African American Music --9
23. Dec 1 Wednesday -Crossover Pop Mega Stars of the MTV Era
Reading: Harper, Phillip Brian. Redd. Synesthesia, Crossover, and Blacks in Popular
Music." Social
Text, no. 23 (Autumn-Winter, 1989): 102-121.
Listening:

1. Michael Jackson, Billie Jean (1982)

2. Prince, "When Doves Cry" (1984)
3. Tina Turner, What s Love Got to do With It (1984)
4. Whitney Houston, The Greatest Love of All (1985)
5. Janet Jackson, "Rhythm Nation" (1989)
6. Mariah Carey, "Vision of Love" (1990)
Week 14:
24. Dec 6 Monday-From Rap to Hip-Hop
Reading: From Jubilee to Hip Hop: Ch 32
Listening:
1. N.W.A., "Straight Outta Compton" (1988)
2. Jungle Brothers, Straight Out the Jungle (1988)
3. 2 Live Crew, Me So Horny (1989)
4. Queen Latifah-Monie Love, "Ladies First" (1989)
5. MC Hammer, U Can t Touch This (1990)
6. Dr. Dre feat. Snoop Dogg, "Nuthin' But a G Thang" (1992)
7. Notorious B.I.G, Juicy (1994)
25. Dec 8 Wednesday Contemporary R&B, New Jack Swing to Hip-Hop
Reading: From Jubilee to Hip Hop: Ch 34, 36
Writing: Final Paper Due
Listening:
1. Luther Vandross, "A House is Not a Home" (1981)
2. Sade, Smooth Operator (1984)
3. Anita Baker, "Caught Up in the Rapture" (1986)
4. Michel le, Nicety (1989)
5. Bell Biv DeVoe, "Poison" (1990)
6. Boyz II Men, Motownphilly (1991)
7. TLC, "Waterfalls" (1994)
Dec 17 Thursday-FINAL EXAM (I+ Block), 12:00-2:00PM!!