Skip to main content
Unit outline_

JAZZ2018: Jazz History 3

Semester 2, 2021 [Normal day] - Sydney

Jazz History 3 provides the student with a practical understanding of the Jazz styles developed, played and composed from the mid-1940s through to 1960 and the historical context in which it was created. The classes will be structured around the use of sound recordings, archival footage with group discussion/analysis and by practical application. Students will be expected to be able to recognise, write about and discuss the major musical contributors of this period and their music, the cultural and socio-economic influences upon and of this music. Aural examinations will be of the 'Blindfold Test' variety. Students will transcribe notable performances from recordings and will direct ensemble performances of these. A listening list, reading list, video links and audio examples will be provided.

Unit details and rules

Academic unit Jazz
Credit points 3
Prerequisites
? 
JAZZ1022
Corequisites
? 
None
Prohibitions
? 
None
Assumed knowledge
? 

None

Available to study abroad and exchange students

Yes

Teaching staff

Coordinator Andrew Dickeson, andrew.dickeson@sydney.edu.au
Type Description Weight Due Length
Assignment Group Assignment
Group Presentation
30% Multiple weeks Approximately 30 minutes.
Outcomes assessed: LO1 LO2 LO3
Creative assessment / demonstration Full Band Transcription and performance
Transcription and Performance
35% Week 13
Due date: 08 Nov 2021 at 23:00
Dependent upon student tune selection.
Outcomes assessed: LO1 LO3 LO2
Assignment Solo Transcription/Performance/Analysis
Transcription and performance of recorded solos, with comparative analysis.
35% Week 13
Due date: 08 Nov 2021 at 23:00
Dependent upon choice of solos.
Outcomes assessed: LO1 LO2 LO3

Assessment summary

  • Group Written Assignment: Students will be divided into groups and will collaborate on an in class presentation on allocated artist/artists (if Covid restrictions necessitate this will become a video presentation). Presentations should include a general biography of the major artists/groups involved, the recording date/dates, personnel, any significant historical, social or cultural associations, and an analysis of the imortant, unique aspects of the allocated tracks and the musical style of the artist/artists generally. The assignment is to be of approximately 30 minutes duration. Presentations will be done during class time, opening up into further discussion as relevant. Assessment criteria - content of presentation is relevant and appropriate to the subject matter. Demonstrates evidence of effective collaboration. Demonstrates understanding of content, initiative in research, appropriate relevant language, correct spelling and grammar, evidence of independent thought, good referencing.
  • Full Band Transcription and performance: Each student will provide a complete transcription, with rhythm section parts, with transpositions as relevant, of a tune of their own choice – chosen from the Jazz2018 listening track sand tunes studied in class - these are located in the class dropbox folder. Full transcription scores (as a PDF) and a video or audio track recorded either live, following appropriate distancing guidelines, or by overdubbing parts, (no computer/Sibelius files) are to be submitted by the due date. Transcriptions are to be of all instruments on the chosen recording – melody, accompaniments, rhythm section etc. Rhythm section parts must represent what is actually played on the recording – and not just a set of chord changes etc. Accurate bass-lines as played on the recording, and any particular particular rhythmic/harmonic devices employed by the rhythm section should be provided. The minimum requirement for this assessment is the first melody chorus (or choruses if more than one chorus of melody is played) along with any introductions etc. Students should also provide a set of solo “blowing” changes where appropriate. For the sake of a unified performance it may be useful to provide a written ending. At their own discretion students may elect to transcribe more material – solos etc. This assessment will be assessed on the accuracy of written parts, understanding of the repertoire involved, evidence of preparation and rehearsal, and ability ability to conceive and direct a historically accurate performance.
  • Solo Transcription, Performance and Analysis. Students will choose 2 solos from any of the tunes available for Jazz2018. Students will: 1 Transcribe 1 chorus (minimum) of each solo (for solos on a 12 bar blues a minimum of 2 choruses are required). 2) Record themselves playing the two solos along with the recording. 3) Write a written analysis comparing the two solos – showing what language, musical devices etc are common to both, what the differences are, and how the solos relate to the styles, developments and innovations etc we have discussed in class.The transcription and written analysis shall be submitted as PDF files. The performance may be submitted as a video or audio file.This assessment will be assessed on the accuracy of the transcription, the accuracy and authenticity of the performance, and the depth and relevance of the comparison/analysis.
  • Detailed information for each assessment can be found on Canvas.

Assessment criteria

 

The following assessment criteria are used for written work in this unit of study:

Result name

Mark range

Description

High distinction

85 - 100

Demonstrates high level of initiative in research and reading; sophisticated critical analysis of evidence; high level engagement with theoretical issues, innovative use of reading/research material and impressive command of underlying debates and assumptions; properly documented and written with style, originality and precision.

Distinction

75 - 84

Demonstrates initiative in research and wide, appropriate reading; complex understanding of question and ability to critically review material in relation to underlying assumptions and values; analyses material in relation to empirical and theoretical contexts; properly documented; clear, well-developed structure and argument with some signs of literary style.

Credit

65 - 74

Evidence of broader understanding than pass level; offers synthesis with some critical evaluation of material; coherent argument using a range of relevant evidence; some evidence of independent thought, good referencing. A high credit (70-74) shows some evidence of ability to problematise and think conceptually.

Pass

50 - 64

Written work meets basic requirements in terms of reading/research; relevant material; tendency to descriptive summary rather than critical argument; makes a reasonable attempt to avoid paraphrasing; reasonably coherent structure; often has weaknesses in particular areas, especially in terms of narrow or underdeveloped treatment of question; acceptable documentation.

Fail

0 - 49

Work may fail for any or all of the following reasons: Unacceptable paraphrasing; irrelevance of content; poor spelling; poor presentation; grammar or structure so sloppy it cannot be understood; failure to demonstrate understanding of content; insufficient or overlong word length.

 

  • Assessment type and category: creative assessment/demonstration 30%
  • Each student will provide a complete transcription, with rhythm section parts, transpositions as relevant, of a tune of their own choice – chosen from the jazz history to listening tracks these are located in the jazz history to dropbox folder
  • Transcriptions are to be of all instruments on the chosen recording – Melody, accompaniments, rhythm section etc.
  • Rhythm section parts must represent what is actually played on the recording – and not just a set of chord changes etc.
  • Accurate bass-lines as played on the recording, and any particular particular rhythmic/harmonic devices employed by the rhythm section should be provided.
  • The minimum requirement for this assessment is the first melody chorus (or choruses if more than one chorus of melody played) along with any introductions etc.
  • Students should also provide a set of solo “blowing” changes where appropriate.
  • For the sake of the performance it may be useful to provide a written ending – this is not compulsory.
  • At their own discretion students may elect to transcribe more material – solos etc.
  • Students are expected to form ensembles well in advance and to rehearse outside of class time.
  • Transcriptions will be performed and recorded in class.
  • This assessment will be assessed on the accuracy a written part, understanding of the repertoire involved, evidence of preparation and rehearsal, and ability ability to conceive and direct a historically accurate performance.

For more information see guide to grades.

Late submission

In accordance with University policy, these penalties apply when written work is submitted after 11:59pm on the due date:

  • Deduction of 5% of the maximum mark for each calendar day after the due date.
  • After ten calendar days late, a mark of zero will be awarded.

Academic integrity

The Current Student website provides information on academic integrity and the resources available to all students. The University expects students and staff to act ethically and honestly and will treat all allegations of academic integrity breaches seriously.

We use similarity detection software to detect potential instances of plagiarism or other forms of academic integrity breach. If such matches indicate evidence of plagiarism or other forms of academic integrity breaches, your teacher is required to report your work for further investigation.

Use of generative artificial intelligence (AI) and automated writing tools

You may only use generative AI and automated writing tools in assessment tasks if you are permitted to by your unit coordinator. If you do use these tools, you must acknowledge this in your work, either in a footnote or an acknowledgement section. The assessment instructions or unit outline will give guidance of the types of tools that are permitted and how the tools should be used.

Your final submitted work must be your own, original work. You must acknowledge any use of generative AI tools that have been used in the assessment, and any material that forms part of your submission must be appropriately referenced. For guidance on how to acknowledge the use of AI, please refer to the AI in Education Canvas site.

The unapproved use of these tools or unacknowledged use will be considered a breach of the Academic Integrity Policy and penalties may apply.

Studiosity is permitted unless otherwise indicated by the unit coordinator. The use of this service must be acknowledged in your submission as detailed on the Learning Hub’s Canvas page.

Outside assessment tasks, generative AI tools may be used to support your learning. The AI in Education Canvas site contains a number of productive ways that students are using AI to improve their learning.

Simple extensions

If you encounter a problem submitting your work on time, you may be able to apply for an extension of five calendar days through a simple extension.  The application process will be different depending on the type of assessment and extensions cannot be granted for some assessment types like exams.

Special consideration

If exceptional circumstances mean you can’t complete an assessment, you need consideration for a longer period of time, or if you have essential commitments which impact your performance in an assessment, you may be eligible for special consideration or special arrangements.

Special consideration applications will not be affected by a simple extension application.

Using AI responsibly

Co-created with students, AI in Education includes lots of helpful examples of how students use generative AI tools to support their learning. It explains how generative AI works, the different tools available and how to use them responsibly and productively.

WK Topic Learning activity Learning outcomes
Week 01 Online lecture/tutorial The leaders of Progressive Jazz (1) Lecture and tutorial (2 hr) LO1 LO2 LO3
Week 02 Online lecture/tutorial The leaders of Progressive Jazz (2) Lecture and tutorial (2 hr) LO1 LO2 LO3
Week 03 Online lecture/tutorial Miles Davis part 1 Lecture and tutorial (2 hr) LO1 LO2 LO3
Week 04 Online lecture/tutorial The legacy of Young, Hawkins, Berry and Parker - new directions in improvisation. Lecture and tutorial (2 hr) LO1 LO2 LO3
Week 05 The Hard Bop Revolution Lecture and tutorial (2 hr) LO1 LO2 LO3
Week 06 Student Presentations Presentation (2 hr) LO1 LO2 LO3
Week 07 Student Presentations Presentation (2 hr) LO1 LO2 LO3
Week 08 Miles Davis part 2 Lecture and tutorial (2 hr) LO1 LO2 LO3
Week 09 Miles Davis part 2 Moving into Ornette Coleman Lecture and tutorial (2 hr) LO1 LO2 LO3
Week 11 Pre-recorded lecture/tutorial Max Roach and Charles Mingus. Progressive Jazz and Civil Rights. Moving into John Coltrane part 1. Lecture and tutorial (2 hr) LO1 LO2 LO3
Week 12 John Coltrane part 2 moving into Post Coltrane and Ornette Lecture and tutorial (2 hr) LO1 LO2 LO3
Week 13 Post Coltrane and Ornette Moving into Soul Jazz - the organ tradition. Lecture and tutorial (2 hr) LO1 LO2 LO3

Attendance and class requirements

  • Attendance: Students are expected to attend a minimum of 90% of timetabled activities for a unit of study, unless granted exemption by the Dean, Head of School or professor most concerned. The Dean, Head of School or professor most concerned may determine that a student fails a unit of study because of inadequate attendance. Alternatively, at their discretion, they may set additional assessment items where attendance is lower than 90%.
  • Due to COVID-19, this information is subject to change and in class attendance may be substituted for online activities. Please always refer to your timetable and information on Canvas.

Study commitment

Typically, there is a minimum expectation of 1.5-2 hours of student effort per week per credit point for units of study offered over a full semester. For a 3 credit point unit, this equates to roughly 60-75 hours of student effort in total.

Learning outcomes are what students know, understand and are able to do on completion of a unit of study. They are aligned with the University's graduate qualities and are assessed as part of the curriculum.

At the completion of this unit, you should be able to:

  • LO1. demonstrate a well rounded knowledge of the development of jazz from the late 1940s onwards
  • LO2. understand the styles, sounds, and cultural influences of and upon the jazz music and musicians of this period, and be able to recognise them aurally
  • LO3. understand and, for instrumentalists, be able to perform competently in the varying styles of this era, and demonstrate an understanding of the social and cultural influences upon, and of, the music of this period.

Graduate qualities

The graduate qualities are the qualities and skills that all University of Sydney graduates must demonstrate on successful completion of an award course. As a future Sydney graduate, the set of qualities have been designed to equip you for the contemporary world.

GQ1 Depth of disciplinary expertise

Deep disciplinary expertise is the ability to integrate and rigorously apply knowledge, understanding and skills of a recognised discipline defined by scholarly activity, as well as familiarity with evolving practice of the discipline.

GQ2 Critical thinking and problem solving

Critical thinking and problem solving are the questioning of ideas, evidence and assumptions in order to propose and evaluate hypotheses or alternative arguments before formulating a conclusion or a solution to an identified problem.

GQ3 Oral and written communication

Effective communication, in both oral and written form, is the clear exchange of meaning in a manner that is appropriate to audience and context.

GQ4 Information and digital literacy

Information and digital literacy is the ability to locate, interpret, evaluate, manage, adapt, integrate, create and convey information using appropriate resources, tools and strategies.

GQ5 Inventiveness

Generating novel ideas and solutions.

GQ6 Cultural competence

Cultural Competence is the ability to actively, ethically, respectfully, and successfully engage across and between cultures. In the Australian context, this includes and celebrates Aboriginal and Torres Strait Islander cultures, knowledge systems, and a mature understanding of contemporary issues.

GQ7 Interdisciplinary effectiveness

Interdisciplinary effectiveness is the integration and synthesis of multiple viewpoints and practices, working effectively across disciplinary boundaries.

GQ8 Integrated professional, ethical, and personal identity

An integrated professional, ethical and personal identity is understanding the interaction between one’s personal and professional selves in an ethical context.

GQ9 Influence

Engaging others in a process, idea or vision.

Outcome map

Learning outcomes Graduate qualities
GQ1 GQ2 GQ3 GQ4 GQ5 GQ6 GQ7 GQ8 GQ9

This section outlines changes made to this unit following staff and student reviews.

NO INFORMATION ENTERED HERE YET

Disclaimer

The University reserves the right to amend units of study or no longer offer certain units, including where there are low enrolment numbers.

To help you understand common terms that we use at the University, we offer an online glossary.