Outline

Overview

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%	Week 06 Due date: 05 Sep 2022 at 23:00 Closing date: 01 Aug 2022	Approximately 30 minutes.
Outcomes assessed:
Assignment	Solo Transcription/Performance/Analysis Transcription and performance of recorded solos, with comparative analysis.	35%	Week 13 Due date: 06 Nov 2022 at 23:00 Closing date: 10 Feb 2023	Dependent upon choice of solos.
Outcomes assessed:
Assignment	Full Band Transcription and Performance Full Band Transcription and Performance of iconic recordings.	35%	Week 13 Due date: 06 Nov 2022 at 23:00 Closing date: 11 Feb 2023	Dependent upon selected recording.
Outcomes assessed:

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.
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. Assessment Criteria the accuracy of the transcription, the accuracy and authenticity of the performance, and the depth and relevance of the comparison/analysis.
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 tracks and tunes, videos etc 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 playing and overdubbing individual parts, 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. Assessment Criteria: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.
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.

Learning support

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.

Weekly schedule

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

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

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.

Outcomes
Graduate qualities

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.
LO4. Will be introduced to the music, contributions and history of some of the influential important and under-recognised female artists of this era.

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
Learning outcomes

Responding to student feedback

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.

Current students

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links

Media

Student links

About us

Connect

Current students

JAZZ2018: Jazz History 3

Semester 2, 2022 [Normal day] - Sydney

Overview

Overview

Unit details and rules

Teaching staff

Assessment

Assessment

Assessment summary

Assessment criteria

Late submission

Academic integrity

Learning support

Learning support

Simple extensions

Special consideration

Using AI responsibly

Weekly schedule

Weekly schedule

Attendance and class requirements

Study commitment

Learning outcomes

Learning outcomes

Graduate qualities

Outcome map

Responding to student feedback

Responding to student feedback

Disclaimer

On this page

Useful links

Media

Student links

About us

Connect